Podcast appearances and mentions of louis symphony orchestra

After performing at various venues for its past two seasons, the St. Louis Symphony Orchestra is gearing up to return to Powell Hall. The $140 million expansion and renovation will include an education and learning center, rehearsal space and places for the community to gather before and after performances. Music director Stéphane Denève and President and CEO Marie-Hélène Bernard discuss the past two nomadic seasons and how they're looking forward to returning to Powell Hall in September.

This episode of The Other Side of the Bell, featuring women's trumpet trailblazer, founder of the International Women's Brass Conference, and 40-year First Trumpet of the St. Louis Symphony Orchestra, Susan Slaughter, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Susan Slaughter trumpet interview"   About Susan Slaughter:   Born in McCordsville, IN, Susan Slaughter started playing trumpet at the age of 10. Graduating from Indiana University with a coveted performer's certificate, Susan auditioned for and won the Principal Trumpet position in 1967 with the Toledo, Ohio Symphony.   Susan then joined the Saint Louis Symphony Orchestra in l969 and four years later became the first woman ever to be named Principal Trumpet of a major symphony orchestra.   In 1992, Susan founded the International Women's Brass Conference, an organization dedicated to provide opportunities and recognition for women brass musicians. As a fund-raising effort to support the International Women's Brass Conference, Ms. Slaughter organized and produced the very popular Holiday Brass Concerts, which are now in their second decade, and are performed each December in the Cathedral Basilica of Saint Louis. Other cities in the United States are holding their own Holiday Brass Concerts to help support the ever-growing International Women's Brass Conference.   In 1996, Ms. Slaughter founded Monarch Brass, an all women's brass ensemble, which has toured in the United States and Europe to critical acclaim.   Susan appears regularly in area recitals and religious programs, and has been a frequent soloist with the Saint Louis Symphony Orchestra, as well as with several other ensembles throughout the country. Her work is represented on a number of Saint Louis Symphony releases, including the highly acclaimed recordings of Mahler's Symphony No. 2, Prokofiev's Symphony No. 5, Gershwin's Piano Concerto in F, Mussorgsky's Pictures at an Exhibition, Barber's Capricorn Concerto, and most recently, John Adams' Doctor Atomic. Many of these and other recordings have been nominated for or won Grammy Awards. Susan has performed with Wynton Marsalis, Kathleen Battle, Christine Brewer, Doc Severinsen, Al Hirt in duets, amongst others.   She has served on the faculty of the Grand Teton Orchestra Seminar and the National Orchestra Institute, and has been lecture/recitalist at the International Trumpet Guild, while also serving on its board of directors.   Since the 1980's, Susan has performed the National Anthem and “God Bless America” on an annual basis for the St. Louis Cardinals Baseball Club and, at the invitation of the Baseball Commissioner Fay Vincent, performed the National Anthem at Game 3 of the 1991 World Series, played in Atlanta between the Braves and Twins (link).   Some of the awards and recognition Susan has received over the years include nomination by Ladies Home Journal for its annual Woman of the Year award, a special Leadership Award in the Arts from the Young Women's Christian Association, the American Federation of Musicians, Local 2-197 Owen Miller Award for loyalty, dedication and fairness in actions and deeds, and the 2007 Arts and Education Council Award for Excellence in the Arts.   Susan has studied over the years with Herbert Mueller, Bernard Adelstein, Arnold Jacobs, Robert Nagel, Claude Gordon and Laurie Frink, and retired as Principal Trumpet from the Saint Louis Symphony on September 1, 2010.   Podcast listeners! Enter code "podcast" at checkout for 15% off any of our Gard bags! Visit trumpetmouthpiece.com for more info.     Episode Links: Holiday Brass Los Angeles Brass Alliance website https://www.instagram.com/losangelesbrassalliance/  International Women's Brass Conference, May 19-24, Hartford, Connecticut. Register: myiwbc.org Sign up sheet for valve alignments: bobreeves.com/iwbc International Trumpet Guild Conference, May 27-31, University of Utah, Salt Lake City. Sign up sheet for valve alignments: bobreeves.com/itg William Adam Trumpet Festival, June 19-22, Clarksville, Tennessee. williamadamtrumpet.com  Sign up sheet for valve alignments: bobreeves.com/williamadam Greg Wing, Reflections on a Grateful Journey, available on Apple Music   Podcast Credits: “A Room with a View“ - composed and performed by Howie Shear Podcast Host - John Snell Cover Art - Susan Slaughter Audio Engineer - Ted Cragg

In this episode, step into the world of Disney magic with Mostly Superheroes as host Logan Janis sits down with Susan Egan (Broadway's original Belle, voice of Meg in Hercules) and Adam J. Levy (Co-Executive Producer, Broadway's Moulin Rouge) to talk all things Disney Princess – The Concert. This internationally acclaimed production brings over 30 iconic Disney songs to life, featuring Broadway stars, breathtaking visuals, and unforgettable performances. Susan and Adam dive into the evolution of the show, the magic of performing live, and how audiences worldwide continue to connect with these beloved stories. Don't miss this behind-the-scenes look at what makes the concert a must-see event, including its upcoming performances with the St. Louis Symphony Orchestra on May 9th and 10th. Get your tickets now at www.slso.org. Learn more about Susan Egan at https://susaneganofficial.com/about and Adam J. Levy at https://linktr.ee/adamjlevy Watch highlights from the concert at https://www.youtube.com/watch?v=vU3c5Af34oM&t=1 Subscribe, review and shares are appreciated! Enjoy! www.mostlysuperheroes.com ©2025 Carrogan Ventures, LLC

Watch the full episode here: https://mostlysuperheroes.com/posts/slso-disney-princess-the-concert-st-louis-2025 In this episode, step into the world of Disney magic with Mostly Superheroes as host Logan Janis sits down with Susan Egan (Broadway's original Belle, voice of Meg in Hercules) and Adam J. Levy (Co-Executive Producer, Broadway's Moulin Rouge) to talk all things Disney Princess – The Concert. This internationally acclaimed production brings over 30 iconic Disney songs to life, featuring Broadway stars, breathtaking visuals, and unforgettable performances. Susan and Adam dive into the evolution of the show, the magic of performing live, and how audiences worldwide continue to connect with these beloved stories. Don't miss this behind-the-scenes look at what makes the concert a must-see event, including its upcoming performances with the St. Louis Symphony Orchestra on May 9th and 10th. Get your tickets now at www.slso.org. Learn more about Susan Egan at https://susaneganofficial.com/about and Adam J. Levy at https://linktr.ee/adamjlevy Watch highlights from the concert at https://www.youtube.com/watch?v=vU3c5Af34oM&t=1 Subscribe, review and shares are appreciated! Enjoy!

Chris and Amy are joined by founding member of Run DMC Darryl McDaniels to discuss how he's performing with the Sugarhill Gang and St. Louis Symphony Orchestra at Stifel Theatre coming up on May 8th.

Can food truly be medicine? What if science and cooking came together to make plant-based eating both powerful and practical? In this episode, we explore the science behind plant-based nutrition and how to bring it to life in your kitchen with Chef Caryn Dugan and Dr. Jim Loomis. Chef Caryn Dugan is the founder of the Center for Plant-Based Living, the nation's first plant-based culinary education center. After facing personal health challenges, she turned to a whole food, plant-based diet and never looked back. Caryn is a certified instructor with the Physicians Committee for Responsible Medicine (PCRM) and has trained under leading experts in plant-based nutrition. Dr. Jim Loomis is an internal medicine physician, lifestyle medicine expert, and Medical Director at PCRM. He has served as the team doctor for the St. Louis Rams and Cardinals, as well as the tour physician for the St. Louis Symphony Orchestra. Dr. Loomis is a strong advocate for food as medicine and has been featured in the documentary The Game Changers. Together, Caryn and Dr. Loomis co-host The Doc and Chef, a YouTube series where science meets cooking. Each episode breaks down a health topic—Dr. Loomis explains the research, and Caryn brings it to life with a practical, delicious recipe. Tune in now and learn how to bring the power of plants to your plate! #ThriveBitesPodcast #plantbasedfamily #wfpbfamily   Chef Caryn Dugan →Instagram: https://www.instagram.com/plant_based_center/ → Website: CPBL-STL.com

In the first hour, Chris and Amy discuss the delayed launch of sports betting in Missouri and its impact on the state. They also analyze Elon Musk's push for federal government efficiency and the risks of hasty job cuts. Later, Stéphane Denève, Music Director of the St. Louis Symphony Orchestra, joins to talk about the grand reopening of Powell Hall at the Jack C. Taylor Music Center and the excitement around the 146th season, featuring world premieres, major symphonic works, and collaborations with renowned soloists. In Hour 2, Chris and Amy share their humorous take on an email from their boss asking for 5 weekly accomplishments or risk losing their jobs, echoing the recent Musk-inspired directive. They also discuss the potential impact of federal job cuts and hear from Matt Pauley about the latest from Cardinals spring training, including Nolan Arenado's adjustment, automated strike zone testing, and early standout performances. Hour 3 continues with Chris and Amy analyzing the controversy surrounding Musk's email to federal employees, causing confusion among government agencies. Chris Cillizza joins to break down Trump's shifting policies on Ukraine and Russia, and the show wraps up with a discussion on St. Louis Mayor Tishaura Jones' challenges and concerns about federal budget cuts impacting the city.

Chris and Amy welcome Stéphane Denève, Music Director of the St. Louis Symphony Orchestra, to discuss the orchestra's 146th season and the grand reopening of Powell Hall at the Jack C. Taylor Music Center. Denève shares insights on the excitement surrounding the renovation, the emotional impact of the orchestra's performances, and highlights of the upcoming 2025-2026 season, including world premieres, major symphonic works, and collaborations with renowned soloists. Plus, a look at Powell Hall's acoustics compared to other world-class concert venues and the important role of the orchestra's chorus.

Chris and Amy discuss the delayed launch of sports betting in Missouri and its impact on the state. They also analyze Elon Musk's push for federal government efficiency, questioning the potential risks of hasty job cuts. Later, Stéphane Denève, Music Director of the St. Louis Symphony Orchestra, joins the show to discuss the orchestra's 146th season and the grand reopening of Powell Hall at the Jack C. Taylor Music Center. Denève shares insights on the excitement surrounding the renovation, the emotional impact of the orchestra's performances, and highlights of the upcoming 2025-2026 season, including world premieres, major symphonic works, and collaborations with renowned soloists. Plus, a look at Powell Hall's acoustics compared to other world-class concert venues and the important role of the orchestra's chorus. To wrap the hour, "Did You See This?" features a shocking story of a death row inmate who chose death by firing squad.

The Horn Signal is proudly brought to you by Bob Reeves Brass. Join hosts John Snell and Preston Shepard as they interview horn players around the world.  Today's episode features Greg Roosa, 2nd horn of the Los Angeles Philharmonic. About Greg: Gregory Roosa was appointed Second Horn of the Los Angeles Philharmonic by Gustavo Dudamel in September 2012. Prior to that he held the Fourth Horn position in the St. Louis Symphony Orchestra beginning in 2003. His previous positions include Fourth Horn with the Kennedy Center Opera and Ballet Orchestra, and Fourth Horn with the Colorado Symphony in Denver. A native of Troy, Michigan, Roosa attended the University of Illinois and studied with Ralph Froelich at the University of South Florida. In 1992, he moved to Chicago to study with Dale Clevenger, Principal Horn of the Chicago Symphony. He was a member of the Civic Orchestra of Chicago for three seasons. Active as a freelance musician in the Chicago area for eight years, Roosa played in the Broadway shows Ragtime, Phantom of the Opera, and Miss Saigon. He also played with the Chicago Symphony Orchestra, including a European tour and two recordings. Roosa has appeared as soloist and clinician at numerous universities and horn workshops around the world. Roosa has performed with the Melbourne Symphony Orchestra and Queensland Orchestra in Australia, as well as with the Florida Orchestra and Detroit Symphony in the U.S. He was a member of the Colorado Music Festival Orchestra from 1999 to 2012, where he met his wife, Amy Jo Rhine, the Third Horn of LA Phil. Together they have two young boys, Norton and Sutton.

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

Adam Wainwright joins Tom Ackerman to discuss his upcoming concert with the St. Louis Symphony Orchestra on February 22 at the Stiefel Theater. He shares his excitement about performing with the symphony, his experiences opening for major artists like the Zac Brown Band, and the talented musicians on his team—including his daughter

British rock legend David Bowie called on saxophonist Donny McCaslin and his band to record Bowie's album, “Blackstar,” after checking out the jazz group's performance at the 55 Bar in Greenwich Village. Bowie never had a chance to to perform its songs live because he died two days after the album's release in 2016. With the backing of the St. Louis Symphony Orchestra, “Blackstar Symphony” will have its Midwest premiere this Friday at Stifel Theater.

When The Kansas City Chiefs take on the Philadelphia Eagles for their third Super Bowl win in a row, tight end Travis Kelce will once again be in the spotlight. His journey from football star in the Midwest, to international fame. Plus, STLPR's Jeremy Goodwin talks to jazz player Donny McClaslin about how he set out to adapt David Bowie's album “Blackstar,” ahead of his performance with the St. Louis Symphony Orchestra.

Get ready for an exciting upcoming episode of Broadway Drumming 101! I'll be talking with the legendary timpanist Jonathan Haas about his groundbreaking work with the NYU Broadway Percussion Seminar. Jonathan shares how the program started, its impact on over 400 students worldwide, and how it gave young musicians a real taste of Broadway—playing with top percussionists, sitting in active pits, learning about unions at Local 802, and getting advice from icons like contractor John Miller.We'll also dive into how a simple lunchroom conversation sparked the creation of the NYU Broadway Orchestra Program. You won't want to miss these incredible behind-the-scenes stories about Broadway music education and what it takes to succeed.Subscribe now to Broadway Drumming 101 on your favorite platform and turn on notifications so you'll be the first to know when this episode drops!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

(00:00-11:00) Jackson's either out sick again or with Brian Windhorst breaking down the Lebron/Luka trade. Jim Edmonds will join us at 7:45. Rough one for Robbie Avila and the Billikens on Friday. Big road win for Mizzou against Mississippi State. Our best people are on the camera situation. (00:00-00:00) Edmonds off the Cardinals broadcasts. Waino at the St. Louis Symphony Orchestra. Today felt like a Florida morning here in STL. TMA returning to Spring Training next week. Jack Flahrety back with Detroit. Tim hasn't released his MLS power rankings. Hoosier aficionados. (00:00-00:00) Trouble with the alderman meeting with the Rams money. Learn more about your ad choices. Visit podcastchoices.com/adchoices

(00:00-11:00) Jackson's either out sick again or with Brian Windhorst breaking down the Lebron/Luka trade. Jim Edmonds will join us at 7:45. Rough one for Robbie Avila and the Billikens on Friday. Big road win for Mizzou against Mississippi State. Our best people are on the camera situation. (00:00-00:00) Edmonds off the Cardinals broadcasts. Waino at the St. Louis Symphony Orchestra. Today felt like a Florida morning here in STL. TMA returning to Spring Training next week. Jack Flahrety back with Detroit. Tim hasn't released his MLS power rankings. Hoosier aficionados. (00:00-00:00) Trouble with the alderman meeting with the Rams money. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode of Broadway Drumming 101, I sit down with Jonathan Haas, a percussion legend who revolutionized the timpani and built an extraordinary career performing with major orchestras, rock bands, and jazz icons. We talk about what it really takes to make it on Broadway—the hard work, the unexpected breaks, and the reality of starting at the bottom. Jonathan shares real-world advice and stories from his career, giving you a no-nonsense look at the industry. If you're serious about breaking into Broadway or curious about what it takes to succeed as a musician, you have to listen to this episode!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

Today is Holocaust Remembrance Day, a time to honor the millions of people murdered by the Nazis. Students in middle school and high school will soon be learning some of that history through music, in a curriculum created by the St. Louis Symphony Orchestra and the St. Louis Kaplan Feldman Holocaust Museum. Three contributors to the project speak to STLPR's Jeremy Goodwin about what they took away--and hope students do, too.

The sound of music took center stage at the St. Louis County Justice Center in Clayton this week. Two St. Louis Symphony Orchestra musicians visited the women's residence to announce “Melodies of Hope,” a music education program for people incarcerated there. We talk with STLPR Arts and Culture reporter Jeremy Goodwin about his coverage of the new program. We also meet Dustin Politte-Bender, a music therapist overseeing the Maryville University students leading music exercises in the program.

Members of the St. Louis Symphony Orchestra performed before women inmates at the St. Louis County jail Tuesday with the goal of inspiring them to learn an instrument. Stuart McMillian has details.

Holiday traditions. All of us have them. In this episode, hosts George Mahe and Cheryl Baehr dive into a few holiday essentials for St. Louisans—the dishes, the drinks, the places, and the feel good stuff we look forward to experiencing every year. Get the dish on classic traditions including: Where to find the best baked goods in town—for gifting, or indulging yourself The most festive spots in St. Louis to soak up the holiday spirit Classic Christmas Eve dinner options The coziest fireplaces for warming up on chilly nights Why fruitcake deserves a second chance … and plenty more seasonal delights! Tune in and get ready for some memorable—and delicious—holiday fun! Listen and follow Arch Eats on Apple Podcasts, Spotify, YouTube, or wherever podcasts are available. This episode is sponsored by Gateway Arch Park Foundation and supported by St. Louis Symphony Orchestra . Winterfest, presented by Bank of America and World Wide Technology, is open downtown through December 31. Experience ice skating, s’mores, igloos, food and drinks, and more. Learn more. Have an idea for a future Arch Eats episode? Send your thoughts or feedback by emailing podcasts@stlmag.com. Hungry for more? Subscribe to our Dining newsletters for the freshest coverage on the local restaurant and culinary scene. And follow George (@georgemahe) and SLM on Instagram (@stlouismag). Interested in being a podcast sponsor? Contact Lauren Leppert at lleppert@stlmag.com. Mentioned in this episode: Clementine’s Ice Cream: Multiple locations. Missouri Baking Co.: 2027 Edwards, The Hill, 314-773-6566. Anheuser-Busch Brewery Lights: 1200 Lynch, Soulard, 314-577-2626. Grant’s Farm: 10501 Gravois, Grantwood Village, 314-843-1700. Sam’s Steakhouse: 10205 Gravois, Grantwood Village, 314-849-3033. Our Lady of the Snows: 442 S DeMazenod, Belleville, 618-397-6700. BEAST Craft BBQ: 20 South Belt West, Belleville, 618-257-9000. Tavern on Main: 301 East Main, Belleville, 618-233-6246. Grüv Wine Bar & Bistro: 223 E Main, Belleville, 618-416-2471. Candy Cane Lane: 6500 Block of Murdoch Avenue, St. Louis Hills. holidaylighthopping.com Ted Drewes: Multiple locations, 314-481-2652. Peno (Feast of Seven Fishes dinner): 7600 Wydown, Clayton, 314-899-9699. Bolyard’s Meat and Provisions: 2733 Sutton, Maplewood, 314-647-2567. Kenrick’s Meats and Catering: 4324 Weber, Affton, 314-631-2440. Yen Ching: 1012 S. Brentwood, Richmond Heights, 314-569-3463. The Cheshire: 6300 Clayton, Richmond Heights, 314-647-7300. Basso: 7036 Clayton, Richmond Heights, 314-932-7820. Fox & Hounds: 6300 Clayton, Richmond Heights, 314-647-7300. Cyrano’s Café: 603 East Lockwood, Webster Groves, 314-963-3232. Tucker’s Place: Multiple locations. Del Pietro’s: 1059 South Big Bend, Richmond Heights 314-224-5225. SqWires: 1415 S 18th, Lafayette Square, 314-865-3522. Sasha’s: Multiple locations. Edera: 48 Maryland Plaza, Central West End, 314-361-7227. Assumption Abbey: 2860 State Highway OO, Ava, Missouri, 417-683-5110. Collin Street Bakery (Texas): Multiple locations, 800-267-4657. toogoodtogo.com You may also enjoy these SLM articles: Over 25 holiday pop-up bars in St. Louis STL restaurants with fireplaces Where to order Christmas and Christmas Eve dinner in St. Louis More episode of Arch Eats See omnystudio.com/listener for privacy information.

Lynn & Carl speak with Eric Dundon from the St. Louis Symphony Orchestra about their upcoming holiday productions. Then out west with Ryan Cooper to talk about St. Charles Christmas Traditions. Lynn then talks new releases: Mancini on Great Performances, Beatles '64, Moana 2, Spellbound and Maria. Plus the USAF band is playing for FREE!

It's time to celebrate Christmas with the St. Louis Symphony Orchestra! Julia Paine, 2nd bassoonist with the St Louis Symphony Orchestra, joins Andy and Sarah to talk about how she became a professional bassoon player and why she still loves playing, what she loves about playing Christmas music with the SLSO, and all of the upcoming Christmas performances. Find details for these performances at slso.org. A Baroque Christmas Friday, December 6, 10:30am CST Saturday, December 7, 7:30pm CST The Pillsbury Theatre at Washington University's 560 Music Center 560 Trinity Ave., St. Louis, MO 63130 Celtic Woman Christmas Symphony Sunday, December 8, 7:00pm CST Stifel Theatre 1400 Market Street, St. Louis, MO 63103 IN UNISON Christmas with Take 6 Friday, December 13, 7:30pm CST Stifel Theatre 1400 Market Street, St. Louis, MO 63103 The Muppet Christmas Carol in Concert Saturday, December 14, 7:00pm CST Sunday, December 15, 2:00pm CST Stifel Theatre 1400 Market Street, St. Louis, MO 63103 Mercy Holiday Celebration Tuesday, December 17, 7:30pm CST Wednesday, December 18, 7:30pm CST J. Scheidegger Center for Performing Arts at Lindenwood University 2300 W. Clay St., St. Charles, MO 63301 Saturday, December 21, 2:00pm CST Sunday, December 22, 2:00pm CST Stifel Theatre 1400 Market Street, St. Louis, MO 63103 How to Train Your Dragon in Concert Saturday, December 28, 7:00pm CST Sunday, December 29, 2:00pm CST Stifel Theatre 1400 Market Street, St. Louis, MO 63103 New Year's Eve Celebration Tuesday, December 31, 7:30pm CST Stifel Theatre 1400 Market Street, St. Louis, MO 63103 As you grab your morning coffee (and pastry, let's be honest), join hosts Andy Bates and Sarah Gulseth as they bring you stories of the intersection of Lutheran life and a secular world. Catch real-life stories of mercy work of the LCMS and partners, updates from missionaries across the ocean, and practical talk about how to live boldly Lutheran. Have a topic you'd like to hear about on The Coffee Hour? Contact us at: listener@kfuo.org.

In this episode, host Veronica Theodoro sits down with Marcella Hawley, an artist, botanical illustrator, and creative director who has contributed her talents to Martha Stewart Living and the Mary Engelbreit Home Companion. Many in the St. Louis community may also know Marcella for her stunning front garden in Webster Groves, lovingly called "The Slope of Possibility." Filled with thousands of vibrant flowers, the garden is a living tribute to her mother and embodies Marcella's belief in the transformative and healing power of gardens. Here, Marcella takes us on a personal journey, filled with insights about life, loss, and rebirth. Marcella also fills us in on the exciting new project she plans to launch early next year. It's an episode filled with inspiration and hope and one that you won't want to miss.  Listen and follow House of Lou on Apple Podcasts, Spotify, YouTube, or wherever you get your podcasts. This episode is sponsored by The Repertory Theater of St. Louis and supported by the St. Louis Symphony Orchestra. This December, The Rep and STAGES St. Louis present: Million Dollar Quartet Christmas. Join Elvis Presley, Johnny Cash, Jerry Lee Lewis, and Carl Perkins for a rock n' roll celebration. Don't miss the Black Friday and Cyber Monday sale on repstl.org. Got an idea for a future House of Lou episode?  We love hearing from our audience. Send your thoughts or feedback to Veronica at vtheodoro@stlmag.com or to podcasts@stlmag.com. We can't wait to hear from you! Looking for more inspiration? Subscribe to our Design+Home newsletter to receive our latest home, design, and style content in your inbox every Wednesday. And follow Veronica (@vtlookbook) and St. Louis Magazine on Instagram (@stlouismag). Interested in being a podcast sponsor? Contact Lauren Leppert at lleppert@stlmag.com. Mentioned in this episode: Sharon Dorram Color at Sally Hershberger  Johanna Ortiz  (see photo of showroom) Schumacher x Johanna Ortiz  New York School of Interior Design  Marcella Hawley  Martha Stewart Mary Engelbreit Greater St. Louis Daffodil Society  Jason Delaney/PHS Daffodils  Missouri Botanical Garden  Brent & Becky's Bulbs  Dutch Growers  ColorBlends  John Scheepers, Inc. Van Engelen, Inc.  QDaffs Home Depot This Naked Mind  Great Dixter House & Gardens  Fergus Garrett Fennel Cooking School  Top cooking and mixology classes in St. Louis Reimagining Home: Design for All Ages and Abilities Gardening Heals with Marcella Hawley  See omnystudio.com/listener for privacy information.

We explore requiems today, specifically an upcoming performance of Mozart's Requiem with the St. Louis Symphony Orchestra! First, the Rev. Brian Hamer, US Navy Chaplain, joins Andy and Sarah to talk about what a Requiem is and what texts make up a requiem, which ones are familiar to Lutherans, and how we can appreciate the beauty of requiems in light of our Lutheran doctrine. Read Chaplain Hamer's writing on the Requiem at whatdoesthismean.org/lifted-voice--brian-hamer/rescuing-the-requiem-the-sanctus. Then, mezzo-soprano Kelley O'Connor, performing the upcoming Mozart Requiem with the St. Louis Symphony Orchestra, joins Andy and Sarah to talk about her journey to becoming a professional vocalist, some of her favorite performances and composers, what makes Mozart's Requiem unique, and what she loves about singing this Requiem. Find more from Kelley at kelleyoconnor.com. Find more information about this performance from the St. Louis Symphony Orchestra on November 9 & 10 at shop.slso.org/8089. As you grab your morning coffee (and pastry, let's be honest), join hosts Andy Bates and Sarah Gulseth as they bring you stories of the intersection of Lutheran life and a secular world. Catch real-life stories of mercy work of the LCMS and partners, updates from missionaries across the ocean, and practical talk about how to live boldly Lutheran. Have a topic you'd like to hear about on The Coffee Hour? Contact us at: listener@kfuo.org.

On November 6, St. Louis will roll out new short-term rental regulations, requiring operators to obtain permits to address noise, absentee landlords, and neighborhood concerns. Key rules include a two-night minimum stay, a visible display of house rules, and the presence of a local contact for quick responses. Operators in single-family zones must also attend a public hearing. As Cat Neville delves into these changes, she also highlights exciting upcoming events in St. Louis, such as "A Beautiful Noise" at the Fox, the Cherokee Street Jazz Crawl, "Luminary After Dark," and "Coco in Concert" with the St. Louis Symphony Orchestra.

: Alan Stewart, the St. Louis Symphony Orchestra's Associate Principal Percussionist, shares his insights on performing live to Disney's Coco at the Stifel Theatre. He details the challenges of syncing live music with film, juggling over 20 instruments, and the physical demands of the performance. Stewart also emphasizes the joy of introducing young audiences to symphonic music, sharing nostalgic moments from performances of scores like Batman and How to Train Your Dragon. Families are encouraged to attend and engage with the musicians after the show. Tickets are still available for November 2 and 3!

The St. Louis Symphony Orchestra will be chanelling the Day of the Dead for it's next performance. The Orchestra will be performing music from the popular animated film Coco at the Stifel Theater this weekend. Alan Stewart, Associate Principal Percussionist, joins Megan Lynch with details.

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

Raymond Bisha's podcast spotlights two classic recordings in the Vox Audiophile Edition that were first released in the mid-1970s and feature two former music directors of the St. Louis Symphony Orchestra in their prime – Walter Susskind, who directs orchestral extracts from Smetana's opera The Bartered Bride, and Jerzy Semkow, who leads a performance of Rimsky-Korsakov's Scheherazade, one of the most popular suites in the entire orchestral canon.

The St. Louis Symphony Orchestra kicks off its 145th season this month, and this week on the podcast, we sat down with Music Director Stéphane Denève. This season is a bit unique as it's a nomadic season, and historic Powell Hall is undergoing a major expansion and renovation. Stéphane shares his excitement for the upcoming season, which includes shows for everyone, including movie lovers, families and kids, and the most enthusiastic symphony fans. The season kicks off with their free concert in Forest Park on September 19. For more information and the full schedule of shows for the season, visit slso.org and if you haven't seen the renderings for the future of Powell Hall, head to our Meet St. Louis Instagram and Facebook pages.

Join Brendan Fitzgerald, Assistant Principal Double Bass for the St. Louis Symphony Orchestra, as he shares his comprehensive approach to preparing for and succeeding in orchestra auditions. From practicing at half tempo and balancing practice with a full-time job to managing nerves with beta-blockers, Brendan covers all aspects of his preparation process. Learn how to handle the audition day, manage your workload, and ensure your best performance under pressure. Don't miss his key takeaways for musicians looking to secure a professional orchestra position. Check out Brendan's past podcast appearance here as well as his appearance on Ryan Beach's podcast.     Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Thank you to our sponsors!   Upton Bass Rosin, developed by Gary Upton, boasts an excellent feel, response, and tone for double bass bows. Gary believes it's the best bass rosin available. It's appreciated by users like Blake Hinson from the New York Philharmonic for its quality and performance.  Learn more about Upton's rosin, basses, and more at uptonbass.com. Carnegie Mellon University Double Bass Studio is a valued part of an innovative fine arts community in a top research university. Students receive weekly private lessons and solo classes with Micah Howard, and Peter Guild teaches weekly Orchestral Literature and Repertoire. They encourage students to seek lessons and guidance from local bassists. Members of the Symphony, the Opera, and the Ballet provide annual classes and individual attention. Visit Micah's website to sign up for a free online trial lesson here. theme music by Eric Hochberg

On this week's episode of ‘New Classical Tracks,' English horn player Cally Banham and her ensemble Cortango, made up of musicians from the St. Louis Symphony Orchestra, present their latest album featuring a classical twist on the Argentine tango. Listen now!

Mike Mills sold over 60 million albums as bassist and songwriter with R.E.M., which emerged from the college-rock scene of the 1980's to become one of the world's most successful bands. Now he's blending genres with his concerto for orchestra and rock band. Mills and violinist Robert McDuffie will perform it Friday with the St. Louis Symphony Orchestra, in a program that also includes orchestral interpretations of R.E.M. songs.

Former bassist and cofounder of R.E.M. Mike Mills joined us to talk about the R.E.M Explored show at the Stifel Theatre with the St. Louis Symphony Orchestra.

"It's your life and you can do what you wantDo what you likeBut please don't keep-a me waitingPlease don't keep-a me waiting'Cause I'm so tired, tired of waiting,Tired of waiting for you"No waiting for terrific tunes on the Sunday Edition of Whole 'Nuther Thing, please join me and Wishbone Ash, Van Morrison, Emerson Lake & Palmer, Fairport Convention, XTC, Coldplay, Mahavishnu Orchestra, Seatrain, Loggins & Messina, It's A Beautiful Day, Iain Matthews, Pat metheny, Crosby, Stills & Nash, Moody Blues, Jefferson Starship, Michael Hedges, Renaissance, Yes, Deodato, St. Louis Symphony Orchestra, and The Flock.

Many Asian people in the area say they miss spending the holiday with family back home, but they try to keep the traditions alive in St. Louis. And, St. Louis Symphony Orchestra will perform a musical melding of Radiohead and Brahms.

In this episode of Arch Eats, George Mahe and Cheryl Baehr pick their favorite romantic restaurants, just in time for Valentine's Day. Get their recommendations, including old-school classics and contemporary options, all the way down to the specific table. (See table number information below.) They also share their itineraries for a special day out with a significant other, including top picks for all three meals. Discover which neighborhood Cheryl dubs "Romance Row." Plus, learn about Valentine's Day specials and edible gifts for your lover (because what says "romance" like a chicken tender bouquet)? The episode concludes with a microrant about to-go boxes and a simple way to fix the problem. As George notes, "Romance knows no season," so check out these top romantic and cozy restaurants any time of year. Listen, follow, and review Arch Eats on Apple Podcasts, Spotify, or wherever podcasts are available. This episode is sponsored by St. Louis Symphony Orchestra.  Join your St. Louis Symphony Orchestra and the IN UNISON Chorus on February 23 at Stifel Theatre for a one-of-a-kind celebration of Black History Month, featuring Grammy- and NAACP Image Award-winning vocalist BeBe Winans. Get tickets at slso.org. Have an idea for a future Arch Eats episode? Send your thoughts or feedback to podcasts@stlmag.com. Hungry for more? Subscribe to our Dining newsletters for the freshest coverage on the local restaurant and culinary scene. And follow George (@georgemahe) and SLM on Instagram (@stlouismag). Interested in being a podcast sponsor?  Contact Lauren Leppert at lleppert@stlmag.com. Mentioned in this episode: Tony's Family Farms Napoli restaurants: multiple locations Tony's: 105 Carondelet Plz, Clayton, 314-231-7007.  The Crossing: 7823 Forsyth, Clayton, 314-721-7375. Westchester: 127 Chesterfield Towne, Chesterfield, 636-778-0635. Olive + Oak: 216 W. Lockwood, Webster Groves, 314-736-1370. Twisted Tree Steakhouse: 10701 Watson, Sunset Hills, 314-394-3366 Sidney Street Café: 2000 Sidney, Benton Park, 314-771-5777 (table # 30). Paul Manno's Restaurant: 75 Forum Shop Ctr, Chesterfield, 314-878-1274 (corner booth #13) Bailey's Chocolate Bar: 1915 Park, Lafayette Square, 314-241-8100 (Bar: leather chair deuce #321 and love seat #312 | Dining Room: large love seat #414) and POP: (far corner end of banquette #12) Brass Bar: 4584 Laclede, CWE, 314-454-0600 Annie Gunn's: 16806 Chesterfield Airport, Chesterfield, 636- 532-7684 (fireplace tables #15 and 16 or small snug #6) Brasserie by Niche: 4580 Laclede, CWE, 314-454-0600. akar: 7641 Wydown, Clayton, 314-553-9914.  Bistro La Floraison: 7637 Wydown, Clayton, 314-725-8880. Mainlander: 8 S. Euclid, CWE, no phone Wright's Tavern: 7624 Wydown, CWE, 314-390-1466. Grace Meat + Three: 4270 Manchester, The Grove, 314-533-2700. Songbird: 4476 Chouteau, The Grove, 314-781-4344. Asador Del Sur: 7322 Manchester, Maplewood, 314-802-8587. Idol Wolf: 1528 Locust, Downtown West, 314-325-0360. Ivy Café: 14 N. Meramec, Clayton, 314-776-9377. Bowood by Niche: 4605 Olive, CWE, 314-454-6868. Bar Moro: 7610 Wydown, Clayton, 314-932-1088. You may also enjoy these SLM articles: A Valentine's Day guide to St. Louis restaurants The top romantic and cozy restaurants in St. Louis Ask George: Are heart-shaped pizzas still popular for Valentine's Day? See omnystudio.com/listener for privacy information.

A new year brings new restaurant concepts, additional locations of familiar favorites, and collaborative partnerships. In this episode of Arch Eats, George Mahe and Cheryl Baehr discuss the restaurants that they're most excited to try to in 2024. Listen below, and read about them in order of approximate opening date here. Follow Arch Eats on Apple Podcasts, Spotify, Google Podcasts, or wherever podcasts are available. This episode is sponsored by St. Louis Symphony Orchestra. Join SLSO for the next Young Friends' Night: Music Fables, featuring the timeless classic, Peter and the Wolf, on January 27 at Stifel Theatre. Buy your tickets today and explore even more shows at slso.org/youngfriends. Have an idea for a future Arch Eats episode? Send your thoughts or feedback to podcasts@stlmag.com. Hungry for more? Subscribe to our Dining newsletters for the freshest coverage on the local restaurant and culinary scene. And follow George (@georgemahe) and SLM on Instagram (@stlouismag). Interested in being a podcast sponsor?  Contact Lauren Leppert at lleppert@stlmag.com. Mentioned in this episode: Most anticipated restaurants of 2024 (SLM) Osteria Forto Manileño None of the Above Westport Plaza Additions: Soda Fountain Express and 360 Westport Telva at the Ridge Nexus Cuisine & Craft Cocktails Napoli Bros Pizza & Pasta 4 Hands Brewing Co. and Peacemaker Lobster & Crab Alpha Brewing Company Ben Poremba's Relocated Elaia, Olio, Nixta and More Expat BBQ Good Company Neon Greens Steve's Hot Dogs and the Fountain Off Locust at Maker's Locale The Yale Bar See omnystudio.com/listener for privacy information.

Embark on an enlightening conversation with Heather Mckenzie Patterson and Katherine Sandoval Taylor, co-founders of On Stage Collective, as they recount their journey from college vocal performance majors to pioneers in the immersive performance program landscape. From adapting to major changes during their studies to overcoming setbacks caused by COVID-19, their unwavering dedication and problem-solving spirit shine through. Through auditions and immersive learning, they've empowered aspiring performers, shaping the future of arts education. Join their exciting journey as they gear up for their upcoming New York show, continuing to offer aspiring artists a chance to shine and fulfill their dreams within a supportive and transformative community at On Stage Collective. Guests: Heather McKenzie Patterson and Katherine Sandoval Taylor Host: Mary Sturgill Producer: Isabella Martinez TRANSCRIPT MARY: Hi everyone. Welcome to this episode of the Class E Podcast. I am your host Mary Sturgill. This podcast is brought to you through a partnership between the Hill Institute for Innovation and Entrepreneurship, and the Communication Studies Department here at Furman University. This is also the podcast where we talk to entrepreneurs and innovative thinkers about their endeavors, and we share their stories with you in hopes of inspiring you. And today we welcome guests Katherine Sandoval Taylor and Heather Mckenzie Patterson, who are both Furman alumni and founders of the immersive production company On Stage Collective. Katherine and Heather, welcome to the show.  Katherine: Thank you for having us. Heather: Thank you so much, Mary.  Mary: Yeah, absolutely. I wanted to start because I was of course looking at your all's career paths and your accolades and stuff and you have been… both of you have been in some of my favorite operas and performances. Can you talk and Katherine, we'll start with you. Can you talk about some of your favorite shows that you've been in? Katherine: Yeah. So um, gosh, I've been so fortunate to really be able to check off a lot of bucket list roles in my career. Some of my favorites, I guess, have been Maria in West Side Story. That was a role that I was looking forward to playing my entire life. And I have played that role twice. Love. One of those was actually in South Carolina, with an opera company in South Carolina, and we rehearsed at Furman. So that was really cool. Another one of my favorite roles was from Light in the Piazza. I played Clara and that was a really beautiful production. Another favorite stage memory of mine was when I did two national tours, two national jazz tours. And that was a really great experience, kind of like living the tour bus life for a while. That was fun, and I really got to kind of explore a different side of my voice that I didn't… I haven't had the opportunity to perform that much with, but it was really… it was a really cool experience doing that tour. And I worked with some incredible musicians and singers that I learned a lot from. So yeah, those are some of my favorites.  Mary: Yeah, I love that. Okay. Heather, what about you? Heather: Sure. Um, I would say that, gosh, it's been a minute since I've sung any opera, but I would say that…I did that with Arbor Opera Theater up in Michigan. After I finished my master's up there at Michigan State. And another role that was… I actually only completed scenes of this but it was Sophie from Deb Rosenkavalier..and that's one my favorite operas of all time. So that was really fun. Got to revisit that a couple of times. And I would say one of my most like meaningful memories was singing at Carnegie Hall, which I had done a few times versus a chorister in high school. That was of course like, oh my gosh, I can't believe we're here on the stage. You know, really exciting. And then I went back as a singer with the St. Louis Symphony Orchestra and chorus. We went there a couple of times and we sang Peter Grimes, the full opera concert version of the opera there. And while we were in rehearsal for that, I was singing in the chorus it was a big chorus for that and I, the soprano walked down to the front and I was like, next time I'm on this stage, I'm going to be out front in a big poofy gown as a soloist and I even said it to a friend of mine and of course next year like that's, that's where I'm going to be next time and it was one of those like manifest moments where that's what happened. So the next time I got to perform there was as a soprano soloist with a big choral orchestral work, we were singing a Schubert mass, and I bought the big pink gown and sang at the front of the stage with one of my favorite conductors. And it was a blast and probably the best part was just that I had a lot of friends and family come to the performance from all over the country. We had a big party afterwards and so that was just really special to celebrate. Like I saw my parents, you know, in the 12th row like oh my gosh, freaking out. It was really nice to have that memory with people that I love.  Mary: Yeah, I love that idea of manifesting that, you know, speaking that into existence right? I think that's what well, I think a ton of artists do that no matter what, you know, whether they're performing arts or the you know, different kind of art, but I think that that spirit that comes with just being an artistic person kind of drives that in you and you and you have to believe them, right?  Katherine: Yeah, definitely.  Heather: And it can be scary, I think even like I would call myself a recovering perfectionist. And so I would be like, if those perfectionists out there know you don't want to even do something unless you know you're going to be awesome at it like the best perfect at it, right?  Mary: Yeah.  Heather: And so manifesting something like that or saying something out loud that could easily never happen. Like that could easily never work out for you. I wouldn't, it's not in my nature to want to really, like put it out there unless I knew for sure I could just make it happen. Mary: Right. Right. I don't think you're alone in that.  Heather: It was a leap of faith, you know? Mary: Yeah, for sure. I don't think you're alone in that. I think all entrepreneurs and innovative thinkers have that. I mean, we talk to other entrepreneurs on this podcast and they want to get the best, most perfect product or iteration of whatever their venture is right out there. When in fact, we should just literally just do it, right?  Katherine: Yeah, sometimes Heather and I joke about the phrase that we need to implement in our lives a bit more, which is better done than perfect. Because sometimes, as Heather said, being a perfectionist, I would also lope myself into that category of recovering perfectionist. I feel like being a perfectionist can sometimes hold you back from opportunities and, and at least taking that first step to try and that's important to kind of acknowledge that sometimes you do have to take that leap of faith just to maximize your potential.  Mary: Yeah, absolutely. 100% I love that. Say that phrase again. I want to make sure our listeners get that.  Katherine: Better done than perfect.  Mary: Yeah, better done than perfect. That's my new motto. Heather: Always within reason. Mary: Of course. Yes. Absolutely. We always put our best foot forward anyway. So you guys have known each other for a long time. You were roommates here at Furman?  Heather: Yes, we were. Longer ago than I care to say.  Mary: So you're both vocal performance majors while you were here. And of course, you both went on to get higher degrees and stuff. But was there any competition between you for roles and stuff while you're here?  Heather: Oh, that's so funny. Well, I want to clarify that I started out as a vocal performance major, but I did change my major to a BA in voice. And that was because I wanted to double major with psychology. Mary: Oh, that's great.  Heather: At least at the time, you couldn't get like a Bachelor of Music in one thing and a Bachelor of Arts in something else. You had to get a Bachelor of Music in two things and a Bachelor of Arts in two things. And I remember the conversation sitting down with Dr. Thomas, the department chair at the time, to like deliver this news that I wanted to change my major and how was that going to affect my scholarships and was I going to be allowed to do it, you know? And so I…he said, yes, of course, Heather, we will support you doing that and so I was able to shift. And as much as I could, I tried to take like the classes that the performance majors were taking. And so it was just a matter of like, oh, I guess I'll just overload every semester that I'm here to get in all of the credits for both majors. But there were things that I didn't get to take because I wasn't a performance major, just specific classes. One of them I think, Kat you'll know the…Was it a counterpoint class that you had to take a class…that I didn't have to take and by then we were roommates and so she was just like, I hate this. Katherine: She could have helped me. Heather: But to answer your question about competition… I mean, I don't think so. I never would… I'm very competitive with myself. But with the people that I love, like my my ride or die BFFs I don't want to compete with them at all, you know, like I want to celebrate them and to be honest, if there was ever a time where that might happen like, I mean Kat, you can say if this is not true, but I would just not want to audition like I would just want…if I knew it was something that best friend like Kat really wanted, like, I just wouldn't want to audition for that. I would be like, you know her hype girl for that role rather than like, out of my way let me try, you know. I don't recall any competition. Katherine: No, I don't…Heather and I aren't competitive with each other. And I feel like it's just kind of like a personality trait that we both share. We weren't competitive then with each other and we're not competitive now. I feel like you know, I feel very strongly about surrounding myself with strong, talented, passionate women. And being surrounded by strong, talented, passionate women encourages you to be better at what you do. It's not about competition. It's about lifting each other up and empowering each other and learning from each other. And that's something that Heather and I… I've always really respected and looked up to Heather and learned a lot from her and I feel like that hasn't changed. We did that in college. I felt the same way then that I do now… that we empower each other and motivate each other. So, no, there was never any competition between us.  Mary: Yeah, I love what you say about empowering each other and uplifting each other. And I think both of you have been teachers for close to 20 years now. What has informed… how is that experience and your performance experience informed On Stage Collective and what you're doing now? Katherine: Oh, 100% Yeah. Such a large can of worms.  Heather: Well, the reason that we began the company was out of our two studios. So just the background information is that yes, we both have been teaching in different iterations for years. Then we honed our own private studios. I taught at a few universities for over 10 years, 12,13 years, something like that, but we were both building our private studios of voice and piano. And we both think big and we want what we put out there to be excellent. And I think it's been important to both of us to provide great opportunities for our performers, our students to be able to do big things, big performances, big opportunities. And so before, before COVID, we were talking about like, where maybe if we partner up, we're in totally different cities, totally different states. But what if we brought our students together? And really this was… Kat brought this idea to me. What if we partnered together with the students in our studio? And could we do a performance somewhere excellent that they don't have access to and even we don't have access to on our own, but could we pool our resources, pool our students, our talent base, and make something really incredible? And that was like the first conversation. You know, how it started was just to do something with our own two studios that we couldn't do on our own. Kat,  would you agree with how that started? Katherine: Right. And it just kind of took off from there. So we were thinking big, and we took that leap of faith like we just talked about. It was a little bit scary. And I mean, honestly, it felt impossible to think about performing. I mean, fast forward to where we ultimately decided we wanted to try to perform which was 54 Below at Broadway's living room. I mean, every famous Broadway star you can think of has stood on that stage and has… and behind that microphone. And so that was a little bit intimidating and seemed out of reach. And we just put…we're such big thinkers…it was something we wanted to try for at least and then we surprised ourselves and then we had a full, all of a sudden, we had a full cast of people from all over the country ready to perform with us and make this big event happen. And it kind of just like snowballed from there.  Mary: So talk a little bit about that process. And how did you, you already had some of the students, but did all of your students participate in that and how did that kind of come to fruition?  Heather: Yeah, we auditioned them because, you know, I know what my students sound like, but not Kat's students and vice versa. So, we wanted to make it as fair as possible too, you know, and have an outside person judge and choose who would be performing. So we brought in a panel of people, not just the two of us, but other music directors to listen to all of the singers and they didn't know whose student was coming, you know which student was coming from which studio. And so the students submitted videos, I think two full songs, and we had the panel and ourselves rank the singers and came up with kind of like, okay, our max number of singers was such and such number. And so not everyone got to go from our studios and not everyone from our studios auditioned, but we selected people from that audition, and it was basically half and half. Half students from Kat's studio and half from mine. Now, this was pre COVID. And I did want to back up because when Kat mentioned the leap of faith…I feel like the first leap of faith was… I remember where I was standing. We were on a call and it was like should we just call 54 below like is that a thing? Can we just call them? Let's call them. So we did, you know, go to the website, call the number. This was a better done than perfect situation because we didn't we didn't have anything formulated yet or planned or when or who, what. We just called and that got the ball rolling and I think that built the confidence because it was just a normal person on the other side of the phone who just walked us through their requirements and what it would take to be selected, to be able to perform there. And then it's just steps, you know, one foot in front of the other, do this thing, and this thing, then this thing. And so that first cast, I think it was like 24,26, 28 singers, something in that number, and it's foggy because that group did not end up performing at 54 below. And that is because our first cast was set to perform July 2020. So we all know what that means. So we had planned and this was just the two of us putting on lots of different hats and utilizing every skill we'd ever learned or gained to auditioning singers to craft the show to pick the music to assign the songs to the singers to arrange songs like over the phone. How does this chord sound for this because that cannot be a trio… Mary: Wow. And you did that over the phone?  Heather: Yeah. Before zoom was a thing. We were just on the phone trying to arrange songs together. And we did and the singers learned the music. It was so exciting. And it was I think April 2020 that we had to go, all right, if we don't make a choice right now to postpone or cancel this production, like we'll be within the 90 days of owing all of the money that we owe to the hotel and all the things right so we have to call it at some point. And it's it felt still like oh so optimistic April 2020 us. You know, or maybe by July like this, this virus will just burn up in the summer heat and it'll go away. And that did not happen. And so we did. We postponed it at that point to say okay, cast, we're gonna we're gonna try to do this again, but we need to, you know, wait and we tried to do it the following summer, July 2021. But unfortunately, I think there was some kind of whatever strain had come out that previous winter by December 2020. It still wasn't looking good. Mary: Right.   Heather: And people were still worried about going. It was almost worse then. And so we decided to, at that point, sadly cancel. So we had to just say… just end it. And that was heartbreaking. Really difficult to deliver that news to the cast. And then that is when that was like a big shift for us, which was okay, we're not… that's over but we just can't give up on this dream. We've worked so hard. We've put all these pieces together. We know we can do it. But when and how? And we were watching our own students in our studios every performance that they were in that year got canceled. Every graduation, every prom, you know all of our events after the other. Yes, our college students, just devastating. And talking to our singer friends, our teacher friends, directors just, it's just obliterated and it was so so sad. And so then we were like, Gosh, why can't we just open this up to anyone? We don't have to limit this to our own students. Everybody is just dying for a chance to perform again. Why don't we contact everyone we know? All of the choir teachers, theater directors, singers, voice teachers across the country, this network of people that we now know from our performing and teaching and grad schools and stuff and ask them Hey, do you have students who would want to audition for this? We're going to do this. It's going to happen and now we're opening it up to anyone and everyone. And you know, the first iteration was video auditions. So we could still do that, you know, no problem, of course. And so we did, and we were able to build two casts of singers and perform two performances in 2022, which was so satisfying. Many of the singers were still coming from our own studios, so that was especially satisfying to see them performing after all this time. Even some of them who were in that first 2021 cast that was supposed to perform…sorry 2020. But now with singers who…Maine, California, Florida, Michigan, like all… Katherine: Washington State. Mary: All over the country.  Heather: Yeah. Singers from all over who were just craving performing again. And that was really, really nice to fulfill the dream that we had set out to accomplish and also be fulfilling the dreams of all of these young artists. That was just spectacular. Mary: You know, I think you know, 2020 threw a complete loop and especially for those of you who started companies quite right before and… but we do have a lot of entrepreneurs who really either started right before or during and it was a great time… I will say this, it was a great time for planning and for iterating right? Like figuring out okay, this didn't work because… obviously you guys ran into a brick wall, right? And, but so many people would stop at that point, right? That's.. We failed… you know, COVID took us out, you know, kind of thing. How did you and because I'm sure those thoughts entered your minds at some point. And Katherine, I'll start with you on this one. How did you kind of push those thoughts out and keep going? Katherine: Well, I mean, at the root of it, I feel like artists specifically, I can't speak to other entrepreneurs and different, on different platforms. But artists at the heart of everything are resilient. I mean, look at Broadway artists, Broadway was probably the last, the last group of people that went back to work. They were out the longest, and then… but resilience, you know, wins the race. So I feel like even in my own studio, we were.. I was creating opportunities for my students that were unique. And it pushed my thinking outside of the box in a really exceptional great way that I am grateful for, because it made me think about art, performance art, and singing and acting in a different way than I ever had to one thing that we… in my own studio we started doing during COVID, and we have maintained this project to date, was I produce professional music videos for my students, and I partner with a cinematographer. We started that because of COVID because all of our performances for the year shut down. I was on Zoom teaching all of my regular lessons. And so we decided to do these outdoor music video shoots with a cinematographer that I hired and I directed the shoots and every, every music video had a different theme and a different concept and a different aesthetic. And that was a product of COVID and that's the resilience in artists that you see. It doesn't surprise me that there are other entrepreneurs that kind of like… used the COVID time as a springboard to launch their dreams into reality to kind of regroup, put their nose down, and think about what they wanted to do and kind of get a plan and I feel like that's exactly what Heather and I did. We, you know, if we would have if COVID wouldn't have happened and we would have gone on to do the performance as we planned, it would have been about 25 of our singers from each of our studios and it would have been wonderful, and it would have been great. But what happened in 2022 was phenomenal. And we were so lucky to have so many of those same singers back with us and I was thrilled for them, but to also add other people into the mix, to give those people that we didn't know until now the same opportunity to fulfill those dreams was just… it's just so exciting and it's just it was an amazing experience for us to watch I think especially because Heather and I are both people who love being on the stage and we have had many, many opportunities to fulfill those dreams of our own being front and center performing on grand stages. But to give that back to not only our students, but to really any performing artist that is looking for that opportunity. That is just so fulfilling.  Mary: Yeah. And I think COVID showed us there are different ways of doing things. We don't always have to do things the conventional ways… we can work remotely or do things remotely and I mean, you might not have had the people from St. Louis or from Washington state if you had not had that experience maybe.  Katherine: Exactly.  Mary: Yeah. Yeah. I love that. Heather:  You know what, Mary, I was trying to think back to how long Kat and I were deliberating, giving up, you know, we're just not doing it when COVID hit and I can't even remember a single conversation that we had about not moving forward. Mary: I love that.  Heather: And not trying again. And that's not to say that we're special. I think it's exactly what Kat was saying about artists being resilient. It's, you know, how many times have we auditioned for things and gotten a no? If you aren't already thick skinned from getting rejections as a performer, maybe it would be difficult to persevere. But that's the name of the game. That's what this is like, you know how… so many no's before you get a yes. This was just another no that we just had to move past and maybe maybe it's rose colored glasses looking backwards. I know it was really scary. And I know there was some floundering as to you know, what does this look like next, but I just don't think we were ever ready to throw in the towel. It was just, it was just a wait and plan and ideate and come up with something better. So I'm very grateful. So so grateful to have a partner and best friend forever ride or die. That was my partner that just doesn't give up. No one I know… And this is just me. I'm just gonna like wax poetic here about Kat, but I don't know anyone..anyone, any person in my life who has persevered more than she has both professionally and personally. So I look up to her. I admire her so much for that. And that encourages me to not give up and to persevere. And so it was, although so scary, I wouldn't have wanted to face it with anyone else because I knew that she wasn't going to give up, I wasn't gonna give up, we're just going to, you know, keep moving forward. And I know that not all partnerships are rosy, or perfect and anything like that. And certainly we've had our conflicts and our challenges, but I think our relationship was forged at Furman in those beginning stages of really crafting who we are as people and artists and that just builds a beautiful foundation for our professional partnership. So I'm grateful for that. Mary: We've talked a lot on this podcast about especially when you're starting out on ventures you have to be extremely selective about who you partner with, who you hire, who are your first hires, and those kinds of things. And I think this is a prime example of, you know, this was probably a natural partnership just because you guys have been friends for so long and you both have the same interest and the same talents and want to get to the same place and help people get there too, right? One of the things that I was thinking about is that my students sometimes when I give them a project or they pitch their projects to me, right? And then they pitch their idea and then they start throwing up roadblocks about why they might not be able to do this idea. And my comment to them is don't place roadblocks where there aren't any right? And so I think that's a good kind of philosophy that you guys, you know, kind of have too, is that even though you know the 2020 one got shut down, that's a temporary, you know, thing, right? And we can work around it. We can go around that road that roadblock right? We've talked a little bit about the audition process and that kind of thing. What's so… I guess impressive to you guys about the just that immersive learning that you guys promote and supply the space for for your folks? Heather: Kat, do you want to take that or do you want me to? Katherine: Why don't you start Heather, I'll jump in though. Heather: Sure. Yeah, so that's really important to us. I think. And that comes from the fact that we have been performers and teachers. So we know in our own experience as performers that you learn by doing and every performance you learn something every show that you're in, you take away things that you use in the next project, the next contract and same with teaching. We're always learning as teachers, right? So I think that although we know how important training is and education, and what we do for a living is teach singers how to sing. But then you really have to do the thing to gain the most from it. It's also like learning a foreign language. How do you really establish fluency in that language? By immersing yourself, by going to that country, and being around people speaking that language. So it's the same with what we do. And that's what we were initially looking for for our own students… was an immersive experience. These students who say I want to go sing on Broadway. Well, have you been to Broadway? Have you walked the streets of New York City? Have you been in a New York City rehearsal space? Let's go do that. Let me take you there and you can experience that life and you can work with Broadway stars, guest artists to impart wisdom to you and then you can perform on that stage at 54 below where these other famous people have performed and decide for yourself is this really is this…do I want this more than anything? Now that I've been here now I'm inspired to go after it and really do the work that it takes to get here for real for real. So that's what we continue to aim for. And that's, you know, the mission is to for it to be immersive and experiential and, and, you know, there are a lot of programs out there that provide classes and you can go to even New York and do other camps and those kinds of things. And a lot of times it's classes and they bring in maybe also Broadway stars to teach classes and to do q&a sessions. And maybe they perform a song with these folks at the end or you know, but are they the stars of the show? That's what we wanted to do. We really wanted to make our performances feature these young artists. The young artists aren't the backup singers. They're not in the background. They are on the stage. They are doing the performing.  Katherine: They are the show. They're the show. Mary: Yeah, like that. Yeah.  Heather: And that's how they learn best and grow and are challenged and we've had singers come back and do the next year's show too, because they know that they will continue to gain experience and the education of a lifetime from doing the thing. And so that's been really encouraging to see as well. Mary: Yeah. Katherine, do you want to add anything to that? Or that was actually a pretty good answer.  Katherine: Heather was talking a bit about how giving them this real life New York experience. I feel like in a way not to say what we're what we do the week that we're in New York is perfect and glossy and there are no blood, sweat and tears put in. But I will say it's kind of giving these artists a taste of the New York experience the New York performing experience in New York rehearsal experience, the New York Broadway experience, the tourist experience, all of those things without moving to New York to have to, you know, pound the pavement and go to all the auditions and get a million nose in New York City. I will tell you getting a million no's is always difficult. But getting a million no's in New York City when you've moved there for you know, to pursue your dream is really difficult. So we're not saying that we're, we're, you know, pushing all of those things aside and giving them this path to Broadway. But what we are giving them is an opportunity to experience all of those things for a week without having to move to New York City to try to go to a million auditions to do one performance at 54 below. We're giving that to them kind of in a really neat little fun, awesome package with a bow on top. Mary: I always tell my students how do you know you want to do something until you actually do it? Right? You might think you want this this life, right? But you don't know until you actually do it and you're either gonna fall in love with it or decide that's not for me. Right? And this is a great way for your students to do that without the expense of living in New York. And like you say pounding the pavement working three or four jobs and going through auditions and classes and things like that. Heather: And I feel like you know, there we've had several, there are two people that are coming to mind, that have made life shifts, career shifts, school shifts based on our program, and that is incredible to see. I know. I know one person specifically I'm thinking of, she attended… She was one of our original cast members. Then she came back for our first actual performance in 2022. She performed again in 2023 and after the 2022 performance, she texted me and said, I've changed, I'm changing my major. I'm going to be a music major and I've decided I have to live in this city. I have to perform here and that is what I'm destined to do. And that was amazing. I've also seen people come, you know that said, you know, I'm not I'm specifically not pursuing a professional career and performing but I will be back to perform with you every year because this is the best of both worlds. I get to live my life as an accountant. And I get to come and perform in New York City, not just like in a church basement, but like on the stage of 54 Below. I mean, you're getting the best of both worlds. And so I love to hear stories like that, from either sides of that. People who are making a life shift and saying I have to do this for the rest of my life. Or people who are going to say, you know, I'm not going to do only this for the rest of my life. But this gives me that opportunity that I would never have if I didn't do your program.  Mary: And that's important too, right? Because it creates a life balance. It gives people that creative outlet, they get to hang out with people who have the same interest and work on their personal craft. I love that. So what's next for On Stage Collective? Heather:  We are excited to be opening auditions for our next New York cabaret, which is going to be next June. So the date of that performance will be June 15. So the week leading up to that will be our immersive week in New York City. And auditions are officially open already. So in the audition is filling out an application, attaching a photo of yourself, headshot type photo and uploading too, one minute video cuts and that's it. So we're excited about that. Mary: And they can do that at onstagecollective.com? Heather: They can. Yeah, they head to our website. Our social media handle is onstage collective official. And so we always post information there as well about what's upcoming. But really excited to go back. I think one thing that really solidified this past performance this past June in New York was our team. So that first go around, it was just Kat and me doing all the things and that was a fun time but what was really special is honing our full staff. So we have an incredible music director and an incredible production assistant stage manager. We have found great band members to join On Stage. We have an incredible photographer and videographer. And now we've got this beautiful group who work really well together. All creative, artistic, passionate, hard workers. And, and that's been really fun. So we're able to now continue with that same group rather than reinvent the wheel every time, which is exhausting like any listener knows. So this feels really good to settle into our group, our staff, and it feels like you know, a family of sorts. And so now we know I mean our music director Jeremy Jacobs is like Johnny on the spot. He's so creative, can do anything. Kat always jokes that whenever we ask him hey Jeremy, what do you think of this or can you do this? His answer is always absolutely. Like who doesn't love hearing that? You know? Right, he's ready for anything. He's so excellent with our  cast members, both our youngest members who are the youngest, 13 years old all the way through our adult members, you know, the accountants who are coming to live out their dreams in these performances. So that's been really fun. We had a great group for this past year and hoping to continue those collaborations with those artists. Mary: Yeah, those kind of yes-men are great.  Heather: Yes-men and women are wonderful to have around.  Katherine: I would like to add, you know, the auditions are open and sometimes a misconception that is out there. I'm not sure how it's out there but people kind of like select themselves out of these auditions by saying like, Oh my god, well, I'm too old. I can't do that. Like I mean that's I'm that's not for me. Or my daughter is too young. She's only 13. She can't perform in New York City. We this past cast I don't know if our youngest,  our youngest was 14. I mean, yeah. So we accept cast members for this same show from ages 13 through adults. And that's something that makes a show really exciting and interesting. These… it's a variety of people not only from different walks of life and different career paths in different parts of the country, but different ages in different places in their lives. And that's really cool.  Mary: Yeah, that is really cool. What, how many folks can you take at one time?  Heather: It's about 25 in a cast. It's all online. If you go to our website on stage collective.com, there's an auditions page that will show you what we are currently casting for… what opportunities are open. And you can click on the application there. Pretty short application. You upload a headshot, two videos, one minute cuts of two songs, and we accept singers on a rolling basis. So as we receive them, our panel will listen to the auditions and make casting decisions. And we'll cast them in specific types of roles whether it's a lead role or a supporting role, that kind of thing. And once our cast is full, it's full. Mary: All right, so before I let you guys go this afternoon, I want to have each of you give a piece of advice to a young entrepreneur in the arts. And when I… when I use the term entrepreneur, I'm talking about not just people who have created their own businesses, right, because I think that artists by nature are entrepreneurial in spirit because they have to go out and sell themselves you know, to the directors and the producers and the people who are making the decisions about roles and whatnot. So Kat, I'll start with you. Can you talk a little bit about some advice that you would give young artists and entrepreneurs? Katherine: Yeah, so I was thinking about this question earlier. And the fact is, so I have two pieces of advice. But the fact is, when I was thinking about it, I wanted… I was like, how can this advice not sound intimidating? Because the fact is, being an entrepreneur, being an artist, being a human nowadays, it's just hard. It's just really difficult. So there are challenges and they're low moments. But the two pieces of advice that I would say are really important, and I think about this all the time, like probably every single day. The first thing is, you've got to have hard work, dedication and commitment and those things pave your path to success. There are very few exceptions and very few shortcuts to a path to success. It really comes down to hard work, dedication, and commitment. If you want anything bad enough, you have to be ready to put the work in. There is no… there just not a lot of shortcuts. The second piece of advice that I would say… this applies to artists. When I first heard about this concept, it was about being an artist, being a singer, but I feel like it really applies to anyone either an entrepreneur or just a person living their life. I feel like it's really important… I tell my students this all the time, it's really important to establish a small inner circle of trusted people, colleagues, artists, coaches, therapists, friends that are there for you and help you in whatever you're doing, whether it's business, whether it's artistry, whether it's just your friends, but because the fact is, everyone has an opinion. And sometimes there are just too many cooks in the kitchen. And everyone's opinion is not always helpful to you on your journey. So it's important to have those trusted inner circle of people that you can go to and say, hey, like for instance, I have a business coach. I don't get business advice from just every person on the street, but I guarantee you every person on the street has an opinion on how I should run my business. That is not…that is not useful for me on my journey and, and in the worst case scenario, it's actually traumatizing to hear everyone's opinion about you at all times as an artist specifically, everyone has a thought on the way your voice sounds. Everyone has a thought on your performance. And if you listen to every single person who had an opinion about your voice, or your business or the way you're living your life, it would be traumatizing. So it's very useful for me as an artist and an entrepreneur and as a person in general to have an inner circle of people that I trust, that I know I can go to, and that their opinions are valuable to me. They matter and they affect me and everyone else gets a nice, very polite, thank you very much. I Mary: I think we should learn that phrase. Thank you very much and then take what we want, leave what we want, right? Because I believe what you say is so true about everyone's gonna give you an opinion. I don't know how many entrepreneurs I've talked to on this podcast that say that every single one of them have faced naysayers, you know, and if you face too many and you open that circle up too big then it can be paralyzing, in fact, right? Katherine: And I'm not saying that there shouldn't be people that tell you no… that tell you when you're making a mistake. Heather would be the first person to tell me if I was making a mistake, and I appreciate that. I don't build an inner circle based on people who are yes men. And yes women. I build my inner circle based on people that I trust, and that their opinions and their advice is valuable to me.  Mary: Yeah. All right, Heather, why don't you take that question? Heather: Yeah, I'll say that my first piece of advice because I've got two also…goes hand in hand with that, which is after you surround yourself with that inner circle of people whose advice you trust….after that, you have to trust your gut. What do you have without your gut? You know, you have to trust your gut and so take all of that information, hone all of that down and then believe it and trust what your gut is telling you to do. And sometimes it will go against some of the advice that you receive. And that can be really scary, but sometimes you have to do that. And the second piece of advice goes with that, which is don't be afraid to fail. So trusting your gut might mean making a mistake and having to learn from that. We have made mistakes in our business. We have hired people that didn't work out or spent money on things that didn't bring value to our company and to our clients. And those are hard lessons, but we improve… we get better because of them. So trust your gut and the fear is but what if I fail? Well, what if you do? Then you're going to learn and you're going to brush yourself off and do better the next time. So that's my advice for people, for students, for college kids, or especially artists and entrepreneurs. Mary: Yeah. Ladies, thank you so much. This has been a great conversation and I could probably talk to you all afternoon, but I know we're all busy. Katherine: Thank you for having us.  Heather: Thank you so much Mary. Mary: Yeah, absolutely. So just to remind everybody, you can get in touch with them. Just go to onstage collective.com If you want to find out more about those auditions and the kinds of things that they're doing with their students. So that does it for this episode of the Class E Podcast. Remember, this podcast is brought to you through a partnership between the Hill Institute for Innovation and Entrepreneurship, and the Communication Studies Department here at Furman University. Remember, you can catch the podcast two ways now. You can check us out on our YouTube channel as well as of course listening to wherever you listen to your podcast, but make sure that you don't miss an episode by hitting that subscribe button so you're notified when new episodes are released. This episode is produced by Communication Studies major Isabella Martinez. Thank you for tuning in. I'm Mary Sturgill. Until next time everybody, dream big.

In this episode of House of Lou, Veronica is joined by Shannon Callahan, outreach specialist at Bring Conservation Home, and Susie Van de Riet, owner of St. Louis Native Plants, to discuss the popular topic of native plants and "rewilding" outdoor spaces to their natural state. St. Louis' landscape, climate, and rich biodiversity makes it an ideal environment for cultivating native plants. Shannon and Susie share why we should care more about our local flowers, shrubs, and trees and how to restore original flora and animal habitats to your property. Plus, Veronica touches on exciting updates happening around her home, including refinishing an antique secretary desk and renovating the original tile work on the front entrance of the house. Get updates and photos from these projects on Veronica's Instagram (@vtlookbook) or in the weekly Design+Home newsletter. Listen and follow House of Lou on Apple Podcasts, Spotify, Google Podcasts, or most places podcasts are available. Thank you to St. Louis Symphony Orchestra for sponsoring this episode. Join your St. Louis Symphony Orchestra and music director Stéphane Deneve on February 2 as international sensation and St. Louis favorite, violinist Augustin Hadelich, returns for Samuel Barber's lyrical Violin Concerto. Get tickets at slso.org. Got an idea for a future House of Lou episode?  We love hearing from our audience. Send your thoughts or feedback to Veronica at vtheodoro@stlmag.com or to podcasts@stlmag.com. We can't wait to hear from you! Looking for more inspo? Subscribe to our Design+Home newsletter to receive our latest home, design, and style content in your inbox every Wednesday. And follow Veronica (@vtlookbook) and St. Louis Magazine on Instagram (@stlouismag). Interested in being a podcast sponsor? Contact Lauren Leppert at lleppert@stlmag.com. Mentioned in this episode: Top-performing native plants for the St. Louis area (SLM) Bring Conservation Home St. Louis Audubon Society U City in Bloom Missouri Botanical Garden The Donald Danforth Plant Science Center Shaw Nature Reserve St. Louis Native Plants The Sustainable Backyard Tour St. Louis garden and house tours (SLM) Whitmire Wildflower Garden Native Plant Garden Tour Quarrelsome Coffee Greenscape Gardens (Sue Leahy) St. Louisan Sue Leahy wasn't much of a gardener until she got hooked on native plants Papillon Perennials Missouri Wildflower Nursery Forrest Keeling Nursery Forest Relief Pure Air Native Sue Wheeler - Wheeler Refinishing Wild Ones Orchid Show Photography class at Missouri Botanical Gardens Darning and Mending class at Perennials Pulitzer Arts Foundation (Inside Tadao Ando building) County Glass See omnystudio.com/listener for privacy information.

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

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.

Alan Stewart, St. Louis Symphony Orchestra Associate Principal Percussionist joins Megan Lynch and Tom Ackerman in studio talking about the opening weekend for the SLSO with the annual Forest Park Concert and moving around venues this year with Powell Hall being renovated.   

The St. Louis Symphony Orchestra begins its 144th season this week with one big change — the orchestra is not performing in Powell Hall. SLSO Music Director Stéphane Denève and President and CEO Marie-Hélène Bernard discuss the ongoing renovation and expansion of Powell Hall and the highlights of the upcoming 2023-24 season.

Another great, short piece, here's the first of Joan Tower's Fanfares celebrating risk-taking and adventurous women. This is both celebratory and substantial, plus a workout for brass and percussion. Listening time 8 mins (podcast 5.5', music 2.5') Listen to the music, Fanfare for the Uncommon Woman No.1, here on Youtube, Spotify, Apple Music or Amazon music played by the St. Louis Symphony Orchestra conducted by Leonard Slatkin. You can buy a recording of the piece here at Prestomusic.com (but you have to scroll all the way to the end of a long track listing)   On Youtube you can watch the work's dedicatee, Marin Alsop conduct this alongside Copland's Fanfare for the Common Man. And here there's a nice interview with Joan Tower - she seems like a fun person! Copland's Fanfare was featured last time on Cacophony. Stravinsky's Petrushka was episode 138.   What do you think? Tell me with a comment at www.cacophonyonline.com! I'd love to hear from you!   If you'd like to support Cacophony there are easy, great, ways:   – help with the costs of running it (and me) with a one-off contribution  or with a regular payment at ko-fi.com. https://ko-fi.com/cacophonyonline – share this episode with someone you know – share the 100 second trailer: http://cacophonyonline.com/trailer – subscribe/ review and keep listening!   More episodes at: www.cacophonyonline.com/   Thanks for listening!  

St. Louis Symphony Orchestra is in Europe and Debbie Monterrey talks with Angie Smart.

The St. Louis Symphony Orchestra is on its first international tour since 2017 — and the first under Music Director Stéphane Denève's direction. Denève shares highlights from the tour, what it's like to perform in different venues (“every hall is like a different instrument”) and what it means to represent the Gateway City abroad.

Stéphane Denève, Music Director of SLSO, stopped by to speak with Nancy about the goings on at the symphony. ------ Stéphane Denève is Music Director of the St. Louis Symphony Orchestra, Artistic Director of the New World Symphony, and from 2023 will also be Principal Guest Conductor of the Netherlands Radio Philharmonic. He recently concluded terms as Principal Guest Conductor of The Philadelphia Orchestra and Chief Conductor of the Brussels Philharmonic, and previously served as Chief Conductor of Stuttgart Radio Symphony Orchestra (SWR) and Music Director of the Royal Scottish National Orchestra. ------  Recognised internationally for the exceptional quality of his performances and programming, Stéphane Denève regularly appears at major concert venues with the world's greatest orchestras and soloists. He has a special affinity for the music of his native France, and is a passionate advocate for music of the 21st century. ------ 

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!

Opera Theatre of St. Louis is on a mission to introduce opera to younger audiences. This year they connected with third grade students from Jefferson Elementary in the Normandy Schools Collaborative to write an original libretto that they'll perform Tuesday night. Opera Theatre of St. Louis teaching artist Valerie Smith and Normandy Schools Collaborative's fine arts director Suzanne Palmer discuss their collaboration along with St. Louis Symphony Orchestra.

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.

Some bands achieve fame, only to find themselves unable to recreate it with their subsequent recordings. They are, of course called, “one hit wonders.” One such band experience happened right here in St. Louis. Just Press play to hear the whole story. ——— Click on search links to see if there are episodes with related content: Andrew Wanko, Music, Pastimes and Leisure, People of Note, Business,  Podcast Transcript: I'm Andrew Wanko, Public Historian of the Missouri Historical Society, and Here's History on 88-one, KDHX. ——— St. Louis record label Musicland USA only released one major song, but it was a big one. In St. Louis, no other one-hit wonder approaches Bob Kuban and the In-Men's “The Cheater.” ——— An eight-piece band formed in 1964 by local drummer Bob Kuban, the In-Men sounded snappier and more sophisticated than most of the countless 1960s Beatles-inspired groups. The band was poised for fame, and in late 1965 at Technisonic Studios, they laid down the track that would launch their pop stardom. Released that October, “The Cheater” told the story of a pride-filled stealer of significant others eventually getting his due. It had vibrant horns, a chorus that lingered in your head for days, and baritone crooner Walter Scott's Elvis-inspired vocals. ——— By the spring of 1966, the Cheater had shot up the Billboard Hot 100 chart to number 12. Bob Kuban and the In-Men landed a national television appearance on American Bandstand that April. The group was suddenly sharing concert stages with acts like Otis Redding and the Turtles, and they even joined the St. Louis Symphony Orchestra for a classical performance of “The Cheater” at the Kiel Auditorium. ——— “The Cheater” seemed like the first brick in a tower of hits, but the song's main hook “He's gonna build you up, just to let you down” was about to sound like foreshadowing. In the spring of 1966, the group's follow-ups, “The Teaser,” and a cover of the Beatles song “Drive My Car,” stalled out at numbers 70 and 93 respectively. They tried releases of “the Batman Theme” and a novelty dance song called “The Pretzel” but with no luck. As quickly as they'd arrived, Bob Kuban and the In-Men fell out of pop music's fickle spotlight. ——— St. Louis never lost its “Cheater fever,” and the band outlived quite a few other famous local institutions. For example, Bob Kuban and the In-Men played at the opening of Busch Memorial Stadium in 1966, and also at the last game played there on October 2, 2005. ——— Here's history is a joint production of the Missouri Historical Society and KDHX.  I'm Andrew Wanko and this is 88.1 KDHX St. Louis. ———  

The multi facets of Rich O'Donnell span 65 years as percussionist, improvisor, composer, designer and builder of percussion and electronic instruments, teacher and writer.   He was director of the Electronic Music Studio at Washington University from 1980-2018. He has encouraged and facilitated the growth of independent contemporary music in the community for 49 years as music director of the St. Louis New Music Circle, which he left in 2009.  He retired in 2002 after 43 years as principal percussionist of the St. Louis Symphony Orchestra. In 2009, he co-founded HEARding Cats Collective, an artists collective working to keep St. Louis strange and wonderful.

Jelena Dirks, SLSO Principal Oboe, previews their upcoming opening weekend as well as other upcoming events. For more, visit: https://www.slso.org/

Comprising two works - The Paper Lined Shack” for soprano and orchestra, and “Things Unseen” for string quartet - this album is a deeply personal one for Beal in many respects, representing Beal's lineage, past and present. The libretto to “The Paper Lined Shack” was compiled by Joan Beal, utilizing texts and images sourced from his great-grandmother's memoir, composed in her late years. the world premiere of “The Paper Lined Shack'' took place in 2019 with Plitmann, Slatkin, and the St. Louis Symphony Orchestra. “Things Unseen,” the second complete work of the album, was originally commissioned by Eastman School of Music's quartet-in-residence, the Ying Quartet which, at the time of its world premiere, consisted of four siblings. According to Beal, “Each of the four movements unfolds as balancing acts of controlled dialog and chaos. Ideas are introduced by one player, developed, morphed, and passed around the room, as in the best of dinner party conversations - perhaps a group of siblings,” The recorded version is performed by the New Hollywood String Quartet (Tereza Stanislav & Rafael Rishik, violins; Robert Brophy, viola; Andrew Shulman, cello).Purchase the music (without talk) at:Jeff Beal: Paper-Lined Shack and Things Unseen (classicalmusicdiscoveries.store)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!Donate (classicalmusicdiscoveries.store) staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Crossover Media Music Promotion (Zachary Swanson and Amanda Bloom).

Opening copy: In this episode, you'll learn: -Dr. Loomis' journey into the world of plant-based diet...06:09 -How we unnecessarily overcomplicate healthy living and eating...12:02 -How moderation kills momentum in our diet...16:14 -Is MCT oil essential for brain health?...20:00 -Dr. Loomis' take on the ketogenic diet...23:45 -Lectins: to consume, or not to consume...28:30 -How beets may increase endurance performance...32:27 -The connection between food and stress...38:45 -How to use a plant-based diet to gain weight...42:03 -Something about Dr. Loomis most people don't know...45:04 Resources mentioned: To learn more and for free resources go to www.wendiepett.com. If you haven't listened to the Introduction and the first 5 episodes of the Visibly Fit Podcast make sure you do. You will be encouraged that becoming Visibly Fit is actually within REACH. You can download the worksheets at www.wendiepett.com/visiblyfitpodcast https://amzn.to/3xS02A8 (Blue Zones by Dan Buettner) https://gamechangersmovie.com/ (Game Changers documentary) Barnard Medical https://www.instagram.com/jfloomismd/ (Instagram) https://www.facebook.com/BarnardMedical (Facebook) About the guest, Dr. James Loomis: James F. Loomis Jr., M.D., M.B.A received his medical degree from the University of Arkansas, where he was elected to the Alpha Omega Alpha Honor Medical Society and graduated with honors. He subsequently completed his internship and residency in internal medicine at Barnes Hospital/Washington University in St. Louis, MO. In addition, Dr. Loomis received an M.B.A. from the Olin School of Business at Washington University in St. Louis. He is board certified in internal medicine, is a diplomat of the American College of Lifestyle Medicine and has also completed the certification program in Plant-Based Nutrition from Cornell University. Loomis is also a Fellow of the American College of Lifestyle Medicine. Dr. Loomis has served as team internist for the St. Louis Rams football team and the St. Louis Cardinals baseball team, as well as tour physician for the St. Louis Symphony Orchestra. He is currently the medical director at the Barnard Medical Center in Washington DC. Before coming to the Barnard Medical Center, he practiced internal medicine at St. Luke's Hospital in St. Louis, where he was also the director of prevention and wellness. He is on the clinical faculty of the department of internal medicine at George Washington University School of Medicine in Washington, DC and the department of preventive medicine and biostatistics at the Uniformed Services University for Health Sciences in Bethesda, MD. He speaks internationally on the health benefits of a whole-food plant-based diet and is featured in the documentary “The Game Changers”. When not practicing medicine, Dr. Loomis enjoys reading, cooking, and teaching plant-based cooking classes. He also enjoys hiking, running, biking, and swimming, and has completed numerous half marathons, marathons, and triathlons, including an Ironman triathlon. _________ To learn more and for free resources go to www.wendiepett.com. If you haven't listened to the Introduction and the first 5 episodes of the Visibly Fit Podcast make sure you do. You will be encouraged that becoming Visibly Fit is actually within REACH. You can download the worksheets at www.wendiepett.com/visiblyfitpodcast

In this SLSO Stories Live virtual event, explore the long-time collaboration between the St. Louis Symphony Orchestra and Opera Theatre of Saint Louis. SLSO President and CEO Marie-Hélène Bernard connects with OTSL Principal Conductor Daniela Candillari and General Director Andrew Jorgensen to share experiences from this longtime collaboration as well as what they look forward to this season.This episode was originally an SLSO Stories Live virtual event in May 2022.SLSO Stories Live is sponsored by Washington University Physicians.

Composer-vocalist Annika Socolofsky will present reimagined lullabies with seven members of the St. Louis Symphony Orchestra this week at the Pulitzer Art Foundation. She turns folk melodies into “feminist rager-lullabies” that convey messages she describes as full of beauty, passion and rage.

Nicole Henry at Jazz St. Louis, "Star Wars: Return of the Jedi" at the St. Louis Symphony Orchestra, George Benson at The Factory, plus more!

★ Support the show by becoming a patron: https://www.patreon.com/atpercussion ★ Follow us on:  Facebook: https://www.facebook.com/atperc Instagram: https://www.instagram.com/atpercussion/ PodBean: https://atpercussion.podbean.com/ Hosts: Karli Viña and Ben Charles Producer: Ben Charles Guest: Shannon Wood https://www.malletshop.com Watch here  Listen below  0:00 Introduction and welcome 1:17 Today in history: Birthday of Billie Holiday, Mongo Santamaria, Spencer Dryden; Beethoven's Third Symphony premieres 3:59 Beethoven or Nay-toven game 8:25 Welcome Shannon Wood! 9:01 The start of malletshop.com 12:21 Why vintage instruments over new instruments? 15:25 The Gigster 25:24 Unusual instruments that have come through Mallet Shop 32:41 Pricing of vintage instruments 36:09 Richard Holmes's legacy as the St. Louis Symphony Orchestra timpanist 40:03 Timpani concerti: Michael Daugherty's Raise the Roof and William Kraft's Timpani Concerto No. 2 49:45 Dealing with the Florida Philharmonic dissolving 58:40 Lessons learned via musical stepping stones

Throughout his career, Benjamin Zander has developed a human and transformative approach to making and teaching music. The orchestra is a group of highly trained individuals poised to coalesce into an effective whole. Passion, creativity, and the desire to contribute are basic human instincts. ​In this new model of leadership, the conductor sees his job as awakening possibilities in others. Zander has traveled the world lecturing to organizations on leadership. He has appeared as a keynote speaker at the World Economic Forum in Davos, where he was presented with the Crystal Award for “Outstanding Contributions in the Arts and International Relations.” His best-selling book, The Art of Possibility, co-authored with leading psychotherapist Rosamund Zander, has been translated into seventeen languages. Zander has established an international reputation as a guest conductor. He has conducted orchestras as diverse as the Israel Philharmonic, Bournemouth Symphony, the Scottish and Irish National Orchestras, the St. Petersburg Philharmonic, the Malaysian Symphony, the St. Louis Symphony Orchestra, the Toronto Symphony Orchestra, and the National Youth Orchestras of New Zealand, Australia and Venezuela.   Show Notes: https://www.benjaminzanderspeaker.com/ https://www.benjaminzanderspeaker.com/about.html

There are a lot of really cool things in this world, but one of Nik's personal favorites is the collision of worlds. When the symphonies play with rock bands, it tends to create some wonderful music.   Some bands, like Metallica whiff the first time, but get it right the second time. Here we have Justin Sargent (formerly of Rock Of Ages) joining the St. Louis Symphony Orchestra in playing the music of Pink Floyd.   Nik details the whole night to his intrepid cohost, Keefy of Ghost Cult Mag.  #SLSO #stlouissymphony #justinsargent #pinkfloyd Glacially Musical YouTube Channel: https://www.youtube.com/channel/UC5PhXUW4fIc5i0qCogcWruw www.ghostcultmag.com www.instagram.com/Glacially_Musical --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Welcome to our Fourth "Rip's Rescue" Event, where we tackle big topics and arm you with trusted information and the resources you need to take agency of your own health and performance. Speaking of performance, this episode covers the popular topic of "Athletic Performance on a Plant-Based Diet" with Dr. Jim Loomis. Both Rip and Dr. Loomis were featured in The Game Changers documentary and are also both accomplished athletes. They discuss: Why plants are actually a superior source of protein, and what makes animal protein so damaging The different fuel systems our bodies use while in motion and why plants provide the cleanest fuel source Why beets, tart cherry juice, and other sources of nitric oxide can actually be a performance and recovery enhancer A few mistakes and misconceptions that people have about fueling for athletic performance on a plant-based diet Supplement and vitamin recommendations And, of course, protein requirements and recommendations After this episode, you'll understand why a plantstrong diet that helps prevent and reverse chronic disease, is also the best diet for long-term performance and recovery. About Jim Loomis, MD James F. Loomis Jr., MD, MBA, received his medical degree from the University of Arkansas, where he was elected to the Alpha Omega Alpha Honor Medical Society and graduated with honors. He subsequently completed his internship and residency in internal medicine at Barnes Hospital in St. Louis, Mo. In addition, Dr. Loomis received an MBA from the Olin School of Business at Washington University in St. Louis. He is board-certified in internal medicine, has completed the certification program in Plant-Based Nutrition from Cornell University, and is a Diplomat of the American Board of Lifestyle Medicine. Dr. Loomis has served as team internist for the St. Louis Rams football team and the St. Louis Cardinals baseball team, as well as tour physician for the St. Louis Symphony Orchestra. Before coming to the Barnard Medical Center, he practiced internal medicine at St. Luke's Hospital in St. Louis, where he was also the director of prevention and wellness. He was also on the clinical faculty of the department of internal medicine at Washington University School of Medicine. When not practicing medicine, Dr. Loomis enjoys reading history books, cooking, and teaching plant-based cooking classes. He also enjoys running, biking, and swimming, and has completed numerous half marathons, marathons, and triathlons. Episode and PLANTSTRONG Resources: PLANTSTRONG Podcast Episode Page Download our Free 2022 Big Game Recipe Guide Watch the Episode on YouTube Center for Plant-Based Living - "Optimal Diet for Health and Performance" Webinar Dr. Loomis offers telehealth appointments for residents of D.C., Florida, Maryland, Missouri, and Virginia. Learn More Here. Shop for your Favorite Plantstrong Foods Join the free PLANTSTRONG Community Theme Music for Episode

Section bassist of the St. Louis Symphony Orchestra Brendan Fitzgerald shares his recent passion for grilling barbeque, particularly ribs, brisket and short ribs. Follow Brendan on Instagram @bbqbassist St. Louis Symphony Orchestra www.slso.org Support this podcast at www.patreon.com/haydnmusicstand and follow us on social media @haydnmusicstand Spotify Playlist: https://open.spotify.com/playlist/1mJVam8s0zJ91JhhC7Dpd0?si=03f919267eaf4a11 --- Support this podcast: https://anchor.fm/haydnmusicstand/support

On the Jan. 7 program, join Genevieve Randall, Shannon Claire and guests for lively conversations about: the St. Louis Symphony Orchestra concert at the Lied Center; The Carr Family Cowboy Band's new CD; Nathan Mertens from Hastings College being chosen for a Global Leaders Program; a three film retrospective with Dr. Michael White presented by Wayne State College; and, January events at the Norfolk Arts Center. Also, some more poetry by Kevin Shinn and a look at a new exhibit at Kaneko in Omaha.

On the Jan. 7 program, join Genevieve Randall, Shannon Claire and guests for lively conversations about: the St. Louis Symphony Orchestra concert at the Lied Center; The Carr Family Cowboy Band's new CD; Nathan Mertens from Hastings College being chosen for a Global Leaders Program; a three film retrospective with Dr. Michael White presented by Wayne State College; and, January events at the Norfolk Arts Center. Also, some more poetry by Kevin Shinn and a look at a new exhibit at Kaneko in Omaha.

St Louis Symphony Orchestra JW Show Full Hour 11-22-21 by

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.

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  

This is Part 2 of a great three-part conversation with St. Louis Symphony Orchestra violist Michael Casimir. If you, or someone you know, wants to be a professional artist, this is a must listen. Michael answers the big question - does he think young people should "go for it." The episode begins with him resolving the cliff hanger at the end of Part 1 - does he still hear those voices in his head that tell him he got the job because he's a person of color.  He gives props to teacher Roberto Diaz of Curtis Institute who inspired him to not go down the road of pursuing substitute positions reserved for black musicians, and instead "break down the door" by striving to be the best of the best and win a position outright based on sheer talent.  He talks about having stand partners at Julliard and Curtis  years younger than him who played better, and how it lead to panic attacks over thoughts of being an unemployed musician. Michael offers fascinating insights into the harrowing process of auditioning for professional orchestras. Host Steve Fisher also shares what he typically advises young people to do when they ask if they should go into the arts, and cites the exception he made with Michael's fellow Keystone State Boychoir (KSB) alum Bobby Hill in the aftermath of his spontaneous, viral performance for the Pope. Steve and Michael talk about the importance of authentic partner arts programs with under-resourced schools, the importance of community-based arts programs for both underserved AND privileged young people. Steve  tells a funny but poignant story about two founding members of KSB, from very different backgrounds, on a flight to South Africa. Steve and Michael also muse on other topics, such as how not boring your audience is more important than being artistically perfect, letting your body "sing," and what it takes to get your task master Dad to finally give you the keys to the car.  You can visit Michael's website here.  Join the podcast e-list by clicking here and be entered into a drawing to win a trip to New York to see The Last Boy...a new play with music on Broadway, meet the cast backstage and attend the VIP after-party. 

Leonard Slatkin, conductor laureate of the St. Louis Symphony Orchestra, discusses his new book and what it will take for classical music to thrive again.

This podcast has often remembered young men who never realized their potential because of hate and discrimination. Here's a young man who HAS - St. Louis Symphony Orchestra violist Michael Casimir. Michael was raised in West Philadelphia, a real life Fresh Prince of...Missouri. Unlike Will Smith's character, Michael was not troubled. In fact, his father's dedication to his son's musical future ensured Michael didn't have a lot of time to get in trouble.  But that's not to say he didn't have fun and get into a bit of mischief along the way - including his concert tour adventures in South Africa, Brazil, Alaska and Japan as a founding member of Keystone State Boychoir.  Michael recounts hilarious stories with his fellow choirboys, as well as how his experiences in a boychoir helped him achieve his dream.  He and host Steve Fisher also talk frankly about racism - not only in the world, but within ourselves. Don't miss Part 1 of a fascinating three part conversation with someone who has beat the odds. You can visit Michael's website here. The piece heard throughout this podcast is Handel/Halvorsen's Passacglia for violin and viola, with Elissa Lee Koljonen on violin and Michael Casimir on viola. To watch it on YouTube, click here. Join the e-list by clicking here and be entered into a drawing to win a trip to New York to see The Last Boy...a new play with music on Broadway, meet the cast backstage and attend the VIP after-party. 

In this episode of the SLSO Stories podcast, Music Director Stéphane Denève highlights the St. Louis Symphony Orchestra's 142nd season. Stéphane shares stories about hometown collaborations, music of adventure, and more. Marie-Hélène Bernard, President and CEO, and Erik Finley, Vice President and General Manager, join to share their perspectives and what they're most looking forward to in the upcoming 2021/2022 season.This episode was originally an SLSO Stories Live virtual event in September 2021.SLSO Stories Live is sponsored by Washington University Physicians.

Acclaimed musician Kishi Bashi previews his multimedia performance of "Improvisations on EO9066" by the St. Louis Symphony Orchestra. It explores Japanese internment during WWII.

In this SLSO Stories Podcast episode, members of the St. Louis Symphony Orchestra's various IN UNISON Programs speak about the importance of this multi-faceted efforts to connect with communities across the St. Louis region. IN UNISON encompasses a groundbreaking chorus dedication to the performance and preservation of music of African and African American traditions; a robust academy providing scholarships, fellowships, and mentoring opportunities; a signature church program; and other concert opportunities.Lunch & Learn panelists include:• Kevin McBeth, Director, St. Louis Symphony IN UNISON Chorus• Michelle Byrd, IN UNISON Program Coordinator• Maureen Byrne, SLSO Associate Vice President, Education and Community Partnerships; Moderator• Michael Casimir, SLSO violist, IN UNISON performer• Darrius Duncan, IN UNISON Chorus Young Artist• Nathalie Joachim, Grammy-nominated flutist, composer, and vocalist • Malena Smith, IN UNISON Graduate Fellow, former IN UNISON Scholar• Gwendolyn Wesley, IN UNISON Chorus member and Church Coordinator for West Side Missionary Baptist ChurchThis episode was originally a Lunch & Learn virtual event in July 2020.

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.

Charlie Brennan debates with Sarah Fenske, Ryan Wrecker, Alvin Reid, and Ray Hartmann. In the second half-hour on Donnybrook Next Up, the panel is joined by Leonard Slatkin, Conductor Laureate of the St. Louis Symphony Orchestra.

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

This SLSO Stories podcast episode takes a deep dive into how the St. Louis Symphony Orchestra plans its seasons with Music Director Stéphane Denève, President and CEO Marie-Hélène Bernard, and Vice President and General Manager Erik Finley.This episode was originally a Lunch & Learn virtual event in June 2021.

Gerry Pagano, Saint Louis Symphony tormbone player, on seeing an audience once again, plus their upcoming events! Check out their site: https://www.slso.org/

Penderecki in Memoriam Podcast is produced and hosted by Max Horowitz, Crossover Media. Created by Anna Perzanowska and Klaudia Ofwona Draber, and presented by Polish Cultural Institute New York. Penderecki in Memoriam Podcast unveils a multifaceted portrait of Krzysztof Penderecki, with commentary from musicians, colleagues, radio programmers, and writers who lend insight and memories of Poland's greatest modern composer. This podcast is part of Penderecki in Memoriam Worldwide project, honoring the life and legacy of the great composer. Thank you to project partners DUX, NAXOS, Ludwig van Beethoven Association, and Schott EAM for sharing Krzysztof Penderecki's music with the world. Internationally acclaimed conductor Leonard Slatkin is Music Director Laureate of the Detroit Symphony Orchestra (DSO), Directeur Musical Honoraire of the Orchestre National de Lyon (ONL), and Conductor Laureate of the St. Louis Symphony Orchestra. He maintains a rigorous schedule of guest conducting throughout the world and is active as a composer, author, and educator. Slatkin has received six Grammy awards and 35 nominations. A recipient of the prestigious National Medal of Arts, he also holds the rank of Chevalier in the French Legion of Honor. He has received the Prix Charbonnier from the Federation of Alliances Françaises, Austria's Decoration of Honor in Silver, the League of American Orchestras' Gold Baton Award, and the 2013 ASCAP Deems Taylor Special Recognition Award for his debut book, Conducting Business. His second book, Leading Tones: Reflections on Music, Musicians, and the Music Industry, was published by Amadeus Press in 2017. He is working on a third volume, Classical Crossroads: The Path Forward for Music in the 21st Century. The pieces included: Threnody, De Natura Sonoris No. 2, Diel Illa & Kanon For Orchestra.

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

Jessica Ingraham, Director of Education with the St. Louis Symphony Orchestra, joins Andy and Sarah to talk SoundLab, about a wonderful free music education resource for families, including how music education helps kids and families work through social and emotional aspects of social distancing and stress, the amazing impact this program has already had in classrooms nationwide, the science and technology incorporated into music, and how families can participate. Learn more and register for the digital downloads and watch parties at slso.org/family.

Past guests violinists Autumn Chodorowski and Cindy Burton and violist Andrew Francois join host Patty Ryan around the podcast table to catch up on their outside interests and dive deeper into a common misconception of elitism in classical music. Follow their ensembles - Quad Cites Symphony: www.qcso.org; Louisville Symphony: louisvilleorchestra.org; St. Louis Symphony Orchestra www.slso.org; Ariel Concert Series: www.arielconcertseries.com Check out Cindy's new photography Instagram account @cbphotoexplore Patty's Lutoslawski Quartet Performance: https://youtu.be/y6NjoYzqDbg?t=217 Support this podcast at www.patreon.com/haydnmusicstand and follow us on social media @haydnmusicstand Spotify Playlist: https://open.spotify.com/playlist/1iFJSHos3tN6kQid0BRqiN?si=bwOA9EynTJic7zBk0xDp6A Happy Thanksgiving and please stay safe and healthy (get a flu shot this season!) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/haydnmusicstand/support

The St. Louis Symphony Orchestra is playing small-group concerts for limited audiences during the pandemic. The sites for the pop-up shows include senior living facilities and people's front porches.

The Jazz at Lincoln Center Orchestra is coming to St. Louis tomorrow for a Christmas-themed program at Powell Hall. Musician Wynton Marsalis is enthused about the Swing Symphony, which his orchestra recorded with St. Louis Symphony Orchestra and released this year.

Stéphane Denève makes his much-anticipated debut this weekend as the St. Louis Symphony Orchestra's new musical director. He is a self-described people person, who fell in love with music as a young child in a small town in northern France. We get to know a bit more about the person behind the artistry.

Musiche:..Marcus Strickland's Twi-Life (2016), Frank Zappa feat. Sting (1988), King Crimson (1970),..Michael Nyman Band feat. Shrinivas & Misral (2002), John Zorn + Saft/Baptista/Patton > Morricone (2000), Naked City Live (1989), John Adams + St. Louis Symphony Orchestra (2014)..Letture:..L. V. Arena, "Brian Eno - Filosofia per non musicisti" (Mimesis Edizioni)..Jim Thompson, "Una spaventosa faccenda e altri racconti" (Fanucci Editore)..La Lettura del 1/4/2018 (RCS)