Podcasts about Louisville Orchestra

SynopsisClaudette Sorel was a pianist, educator and passionate advocate for equal rights for women in music, especially composers and performers. In 1996, she founded the Sorel Organization to expand opportunities and stretch the boundaries for promising emerging female musicians through a variety of collaborations and scholarships, and to acknowledge notable masters in the field.On today's date in 2022, for example, Cuban-born American composer Tania J. León was awarded the Organization's Sorel Legacy Medallion for her life and work in music.While still in her 20s, León became a founding member and the first musical director of the Dance Theater of Harlem, establishing its music department, school, and orchestra. She has composed a number of both large scale and chamber works that have been performed here and abroad. In February 2020, the New York Philharmonic premiered her orchestral piece Stride and in 2021 that work was awarded the Pulitzer Prize for Music.León said, “Stride was inspired by women's rights pioneer Susan B. Anthony. She kept pushing and pushing and moving forward, walking with firm steps until she got [it] done. That is what Stride means. Something that is moving forward.”Music Played in Today's ProgramTania León (b. 1943): Batá; Louisville Orchestra; Lawrence Leighton Smith, conductor; Soundmark CD 48027

Recent political developments in the U.S.—from executive orders to proposed agency closures and evolving federal funding guidelines—have placed cultural organizations at the center of a national conversation about how institutions uphold their values and navigate their role in a rapidly changing America.  In this episode, Brett Egan of the DeVos Institute of Arts and Nonprofit Management breaks down what's happening now, what's at stake, and where cultural organizations might find unexpected opportunity in the turbulence.  CI to Eye with Brett Egan (1:30) -- CI's President (Interim) Christopher Williams sits down with Brett Egan, President of the DeVos Institute of Arts and Nonprofit Management. They discuss how to prepare for threats to the arts and cultural industry, and rethink what resilience means moving forward. CI-lebrity Sightings (31:55) -- Dan Titmuss shares his favorite stories about CI clients in the news. This month's episode spotlights The Juilliard School, Louisville Orchestra, and San Diego Theatres.  LINKS: DeVos Institute of Arts and Nonprofit Management Capacity Interactive | The Arts and Culture Sector is Facing a Funding Squeeze in 2025 New York Times | Juilliard Plans $550 Million Drive to Go Tuition Free Sentinel News | Louisville Orchestra bring classical music to all corners of Kentucky Broadway World | San Diego Civic Theatre Will Get $7.5 Million Renovation  

Famed singer and American songbook preservationist Michael Feinstein will perform with the Louisville Orchestra on Friday, April 11 at Whitney Hall. It will be a tribute to Feinstein's longtime friend Tony Bennett.Michael learned his craft from family friends Rosemary Clooney, Frank Sinatra, and other legends.tix: louisvilleorchestra.org 

We got a chance to chat with Chris Kirkpatrick from NSYNC about his show with the Louisville Orchestra, then in Group Therapy, Abby is worried that things have cooled romantically with her boyfriend of 5 months. Plus we sling Dad Jokes at each other and one of us takes ourselves OUT!

This Saturday night at the Kentucky Center, Jeff Timmons (98 Degrees) & Erik-Michael Estrada (O-Town) join Chris Kirkpatrick for a BOY BAND SYMPHONY performannce with the Louisville Orchestra.Jeff & Erik-Michael joined me on 840WHAS to update their stories since the glory boy band days of the 90s.louisvilleorchestra.org

Louisville Orchestra principal cellist Nicholas Finch and hsi colleagues are taking music to many pockets of the community this weekend.Music Without Borders hits three Louisville neighborhoods this weekend.  Details: louisvilleorchestra.org Listen to our 840WHAS conversation about the health of the orchestra, getting out of major theaters for more intimate shows, and upcoming specials.

In this episode of Inspired Nonprofit Leadership, Sarah Olivieri welcomes Alan Harrison, a seasoned nonprofit arts professional and author, to discuss the critical need for nonprofit arts organizations to focus on creating measurable impact in their communities. Alan emphasizes that arts organizations must go beyond just producing art and work towards making a tangible, positive difference in society. He shares powerful examples of organizations like the Louisville Orchestra and Out of Hand Theater that have successfully pivoted to impactful missions. Alan also touches on the challenges and misconceptions faced by arts organizations regarding fundraising and board responsibilities, offering valuable insights into effective nonprofit leadership. Don't miss this thought-provoking conversation aimed at reshaping how nonprofit arts organizations operate and achieve their missions. Episode Highlights The Importance of Impact on Nonprofit Arts Organizations Challenges Facing Arts Organizations Today Successful Examples of Impactful Arts Organizations The Role of Boards in Nonprofit Arts Organizations Reimagining Board Responsibilities and Meetings Meet the Guest A weekly columnist for ArtsJournal.com, Alan Harrison is a writer, father, performer, executive, board member, consultant, recovering artist, and the author of the industry best-sellers “Scene Change: Why Today's Nonprofit Arts Organizations Have to Stop Producing Art and Start Producing Impact” and “Scene Change 2: The Five REAL Responsibilities of Nonprofit Arts Boards.” For 30 years, he led, produced, directed, promoted, raised money for, starred and failed in over 300 theatrical productions on and Off-Broadway and at prestigious (and not so prestigious) nonprofit arts organizations across the country. He's also a two-time “Jeopardy!” champion so, you know, there's that. After a lifetime in the sector, he discovered that the arts may invoke passion (mostly from artists), but nonprofit arts organizations can only be successful when they result in measurably positive change among those that need it most. When a nonprofit's donors are also its recipients, then its mission devolves into meaningless puffery, flapdoodle, and codswallop. Alan is a Fellow with the Royal Society of Arts. Connect with Alan: Website: https://501c3.guru ArtsJournal: https://www.artsjournal.com/scenechange/ LinkedIn: https://www.linkedin.com/in/alanharrisonseattle/ Review for SCENE CHANGE: https://www.kirkusreviews.com/book-reviews/alan-harrison/scene-change/ Review for SCENE CHANGE 2: https://www.kirkusreviews.com/book-reviews/alan-harrison/scene-change-2-the-five-real-responsibilities-of-nonprofit-arts-boards/ Sponsored Resource Join the Inspired Nonprofit Leadership Newsletter for weekly tips and inspiration for leading your nonprofit! Access it here >> Be sure to subscribe to Inspired Nonprofit Leadership so that you don't miss a single episode, and while you're at it, won't you take a moment to write a short review and rate our show? It would be greatly appreciated! Let us know the topics or questions you would like to hear about in a future episode. You can do that and follow us on LinkedIn. Connect with Sarah: On LinkedIn>> On Facebook>> Subscribe on YouTube>>

Linktree: https://linktr.ee/AnalyticIn this segment of "Notorious Mass Effect," Analytic Dreamz explores Jack Harlow's latest single, "Hello Miss Johnson," released on November 21, 2024. This track marks a fresh chapter in Harlow's career, blending his signature smooth flows with a narrative depth that engages listeners in a unique way.Song Details:Theme: The song is a playful and romantic serenade aimed at the mother of Harlow's love interest, with lyrics that express admiration and a desire for connection. The chorus highlights include Jack's request for the mother to pass on his feelings, appreciating her role in his interest's life.Music Video:Concept: Filmed entirely through the lens of CCTV and doorbell cameras, the video captures Jack's attempts to impress and court his love interest amidst the backdrop of suburban life, complete with humorous and chaotic elements.Musical Context:Previous Success: "Hello Miss Johnson" follows "Lovin on Me," a track that not only dominated the Billboard Hot 100 for six weeks but became a viral hit on TikTok. This success built on the foundation laid by his 2023 album "Jackman," which saw considerable chart success.Career Updates:2024 Hiatus: After a period of laying low in Kentucky, focusing on personal happiness and creative rejuvenation, Jack has returned with this new single. His time away was described as one of the happiest years of his life, indicating a refreshed approach to his music.Next Chapter: With "Hello Miss Johnson," Harlow teases the beginning of a new musical era, with hints of an upcoming project that promises to continue his evolution as an artist.Upcoming Performances: To celebrate his return, Jack Harlow is set to perform with the Louisville Orchestra at the Kentucky Center for the Performing Arts and has scheduled shows in Chicago and Detroit, signaling his active re-engagement with live audiences.Public Sentiments:Jack's acknowledgment of his fans' support during his break has resonated well, with the community eagerly anticipating what this new phase of his career will bring. His gratitude and focus on personal growth have endeared him further to his audience.Impact & Legacy:Through "Hello Miss Johnson," Jack Harlow not only showcases his ability to blend storytelling with innovative visuals but also reaffirms his status as a leading figure in modern rap. Analytic Dreamz delves into how this single might set the tone for Harlow's future projects, potentially defining his legacy further in the music industry.Join Analytic Dreamz in this segment for an in-depth look at Jack Harlow's "Hello Miss Johnson," discussing its themes, production, and what it signifies for his career trajectory.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

How Fayette County is prepairing for Election Day, will Americans accept the results of the 2024 election, a jury is again in charge of Brett Hankison's fate, celebrating Access Soup Kitchen, and the Louisville Orchestra teams up with rapper Jack Harlow.

The Louisville Orchestra's Music Without Borders program, led by traveling conductor Kalena Bovell, is coming to Neighborhood House. Get details here from Halena and Jacob Gotlib, the LO's Senior Creators Corps Program Manager...

"Once Was Gleaming" The California-born Tanner Porter is a composer, arranger, performer, vocalist and songwriter. Her voice is otherwordly and wonderful, and set against her complex orchestral arrangements, it evokes everyone from Kate Bush to Tori Amos. Her debut album The Summer Sinks was a stone cold stunner and her new album Once Was Gleaming picks up where Summer left off, offering a stirring and moving song-cycle that's filled with breathtaking musical finesse, and almost cinematic compositional scope. Tanner's orchestral music has been commissioned by the Louisville Orchestra, Albany Symphony Orchestra, the New York Youth Symphony, and Nu Deco Ensemble, among others. She's collaborated on ballets that were premiered by the Boston Ballet and the San Francisco Ballet, had short operas commisioned by Barnard College and Columbia University's New Opera Workshop and she's been busy on Broadway in ILLINOISE, with music by Sufjan Stevens as a vocal/guitar understudy for two roles. Tanner has been a composer-in-residence with the Louisville Orchestra's 2023-2024 Creators Corps, a fellow of the Aspen Music Festival,and her works have been presented at Carnegie Hall, the New World Symphony's New World Center, and the Prototype Festival. She was a 2019 recipient of the American Academy of Arts and Letters Charles Ives Scholarship. Tanner holds degrees in composition from the University of Michigan and the Yale School of Music. Once Was Gleaming is as sweeping as it is dramatic, punctuated by strings and electronica and a voice that soars through it all with inexplicable beauty. It's revelatory work. www.tannerporter.com (http://www.tannerporter.com) www.bombshellradio.com www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com Email: editor@stereoembersmagazine.com (mailto:editor@stereoembersmagazine.com) Twitter: @emberseditor IG: @emberspodcast

SynopsisSummer music camps offer young talent a chance to rub shoulders with seasoned professional musicians and to perform both old and new musical works. On today's date in 1977, American composer, conductor and educator Howard Hanson led the premiere of his Symphony No. 7 at the National Music Camp in Interlochen, Michigan. Hanson subtitled his Seventh A Sea Symphony, and it includes a choral setting of passages from Walt Whitman's Leaves of Grass. For 40 years, Hanson headed the Eastman School of Music in Rochester, New York. And years later, Eastman professor Augusta Read Thomas follows in Hanson's footsteps as composer-in-residence at various summer music camps. On today's date in 2001, at the annual Aspen Music Festival in Colorado, her piece Murmurs in the Mist of Memory received its world premiere.Speaking of music in general, Thomas says, “Music of all kinds constantly amazes, surprises, propels and seduces me into a wonderful and powerful journey. I am happiest when listening to music and in the process of composing music. I care deeply that music is not anonymous and generic or easily assimilated and just as easily dismissed.”Music Played in Today's ProgramHoward Hanson (1896-1981): Symphony No. 7 (A Sea Symphony); Seattle Symphony and Chorale; Gerard Schwarz, conductor; Delos 3130Augusta Read Thomas (b. 1964): Wind Dances; Louisville Orchestra; Lawrence Leighton Smith, conductor; Albany/Louisville First Edition 010

Teddy Abrams, Musical America's 2022 Conductor of the Year, starts his tenth season as music director of the Louisville Orchestra in the fall of 2024.  Teddy has been the galvanizing force behind the orchestra's extraordinary artistic renewal and commitment to innovative community engagement since his appointment in September 2014. Teddy is also a prolific and award-winning composer.  We'll hear an excerpt from his piano concerto written for his regular collaborator Yuja Wang, with whom he and the Louisville Orchestra made their Deutsche Grammophon debuts on the virtuoso pianist's March 2023 release, The American Project. He is now at work on ALI, a new Broadway musical about boxing legend and activist Muhammad Ali, which is scheduled to receive its fall 2024 world premiere in Louisville, the boxer's birthplace, before opening on Broadway in spring 2025. Teddy Abrams remains in high demand as a guest conductor, which is how I met him.

Gabe Lefkowitz, Concert Master of the Louisville Orchestra, discusses the In Harmony tour, the return of Play America on July 5th, and the future plans for the orchestra...

Ben admitted to feeling distracted because his wife Elizabeth is leaving to go on tour with the Louisville Orchestra and it's having him feel some sort of way!

Gabriel Lefkowitz, the Concertmaster of the Louisville Orchestra, discusses the upcoming season, the orchestra's recent Grammy award, and Usher's performance during the SUper Bowl Halftime Show...

Joe Piano is a folk trio from Louisville, Kentucky, anchored by the musical prowess of songwriter, producer, and multi-instrumentalist Jesse Weber-Owens. Joining Jesse are fellow multi-instrumentalist Jean Christopher-Gorce and Louisville Orchestra violist Jon "Jonny" Mueller. Jesse's musical journey began at the age of nine when he discovered his perfect pitch and keen ear while learning the guitar. Since then, his appetite for musical exploration has known no bounds, leading him to master a diverse array of instruments, including the cello, banjo, mandolin, and piano. Joe Piano initially served as Jesse's solo project and a means of navigating life with hallucinatory schizophrenia. Despite grappling with schizophrenia and other mental health challenges, Jesse's passion for music remains undiminished, serving as both a driving force and a wellspring of creativity. With a staggering collection of unreleased tracks numbering in the hundreds and a catalog of over a thousand songs, Jesse often finds himself hallucinating melodies before transcribing them to paper. Transitioning towards a more collaborative, band-oriented approach to his music, Jesse has retired his solo identity as Joe Piano while retaining the name for the trio. At the core of Jesse's music lies a palpable sincerity, with his lyrics and melodies offering a window into his world. He generously invites listeners to explore his reality in their own personal way, guided by an unwavering authenticity emanating from the depths of his being. --- Support this podcast: https://podcasters.spotify.com/pod/show/tophillrecording/support

SynopsisIn 1953, the Louisville Orchestra was awarded a Rockefeller Foundation grant of $500,000 to commission, premiere and record 20th-century music to be issued on its own label, Louisville First Edition Records. By 1997, it had released nearly 150 discs, containing more than 450 compositions by living composers.On today's date in 1980, one of the Louisville commissions premiered and recorded by the orchestra was Tournaments by the then-41-year-old American composer John Corigliano.“As the title implies,” Corigliano writes, “Tournaments is a ‘contest piece,' a sort of mini-Concerto for Orchestra in which first-desk players and entire sections vie with each other in displaying their virtuosity.”The Louisville Orchestra received many awards for its ambitious commissioning project, while Corigliano went on to win Grammys and an Oscar, not to mention the Grawemeyer and Pulitzer prizes.Corigliano also is proud of his teaching positions at the Juilliard School and Lehman College in New York. “I think it's good for a composer to teach,” he says, “because you always have new students, and you have to begin at the beginning and make things clear.”Music Played in Today's ProgramJohn Corigliano (b. 1938) Tournaments Overture; Louisville Orchestra; Sidney Harth, cond. Louisville First Edition LOU-771

Gabe Lefkowitz, the Concert Master/Resident Conductor of the Louisville Orchestra, discusses all of the way the orchestra is trying to reach people acorss the Commonwealth and their upcoming presentation on A Christmas Carol in partnership with Stage One...

SynopsisBy the time of his death in 1998, pop singer Frank Sinatra was such a domineering figure in his field that he was known as “The Chairman of the Board.” By the time of his death in 1992, the same nickname might have applied to the American composer William Schuman, who was, at various times, director of publications for G. Schirmer, president of the Juilliard School, president of Lincoln Center, and on the board of many other important American musical institutions. William Schuman even looked the part of a distinguished, well-dressed CEO. Oddly enough, he came rather late to classical music.Schuman was born on today's date in 1910, and, as a teenager in New York City, was more interested in baseball than music, even though his dance band was the rage of Washington High School. It was with some reluctance that 19-year old Billy Schuman was dragged to a New York Philharmonic concert conducted by Arturo Toscanini. The program included a symphony by someone named Robert Schumann, and Billy was pretty impressed. A few years later, in 1933, when he heard the First Symphony of the contemporary American composer Roy Harris, Schuman was hooked, and soon was writing concert music himself. By 1941, when his Third Symphony premiered, Schuman was recognized as a major talent, and in 1943 he was awarded the first Pulitzer Prize for Music.Music Played in Today's ProgramWilliam Schuman (1910-1992) Symphony No. 3 New York Philharmonic; Leonard Bernstein, conductor. Sony Classical 63163Robert Schumann (1810 – 1856) Symphony No. 1 (Spring) Berlin Philharmonic; James Levine, conductor. DG 435 856Roy Harris (1899-1979) Symphony No. 1 Louisville Orchestra; Jorge Mester, conductor. Albany/Louisville First Edition 012

SynopsisOn today's date in 1829, German composer Felix Mendelssohn was in London, participating in a gala concert to raise funds for the victims of a flood in Silesia. “Everyone who has attracted the slightest attention during the season will take part,” wrote Mendelssohn. “Many offers of good performers have had to be declined, as otherwise the concert will last till the next day!”Mendelssohn performed his Double Concerto in E Major for two pianos and orchestra, joined by his friend and fellow-composer/pianist Ignaz Moscheles. Mendessohn and Moscheles jointly prepared a special cadenza, and jokingly bet each other how long the audience would applaud it—Mendessohn predicting 10 minutes, and Mosceheles, more modestly, suggesting 5.In the Baroque age, Double Concertos were very popular, but by Mendelssohn's day they had become less common. In our time, Concertos for Two Pianos are even rarer. One of the most successful American Double Concertos was written between 1952 and 1953 by the American composer Quincy Porter. Also known as the “Concerto Concertante,” commissioned by the Louisville Orchestra. It proved to be one of the most popular of Porter's works, and even won the Pulitzer Prize for Music in 1954.Music Played in Today's ProgramFelix Mendelssohn (1809 - 1847) Double Concerto Güher and Süher Pekinel, pianos; Philharmonia Orchestra; Sir Neville Marriner, conductor. Chandos 9711Quincy Porter (1897 - 1966) Concerto for Two Pianos Joshua Pierce and Dorothy Jonas, duo pianists; Moravian Philharmonic; David Amos, conductor. Helcion 1044

This week on the NKY Spotlight Podcast, presented by CVG, we are joined by Nancy Brunson of Louisville Orchestra. She highlights their In Harmony tour performance on July 11 at MegaCorp Pavilion. On NKY Work, Rob Hudson of Frost Brown Todd shares how the Supreme Court's recent decisions on Affirmative Action and Religious Accommodations will impact employers.  Thank you to our sponsors Cincinnati/Northern Kentucky International Airport, CKREU Consulting, and HORAN.

Synopsis These days composer John J. Becker is almost totally forgotten, but back in the 1930s his name was linked with Charles Ives, Carl Ruggles, Henry Cowell, and Wallingford Riegger as one of the so-called "American Five" composers of what was dubbed "ultra-modern" music. From 1928 to 1935, Becker taught at the College of St. Thomas in Saint Paul, Minnesota, and briefly assembled a "Saint Paul Chamber Orchestra" to give Midwest premieres of works by Ives and other ultra-modernists. From 1935 to 1941, Becker was the Minnesota State director of the Federal Music Project, one of President Roosevelt's initiatives to provide work for American musicians during the Depression years. On today's date in 1937, at the old St. Paul Auditorium, Becker conducted the Federal Music Project's Twin Cities Orchestra in a program that included the premiere performance of his own Symphony No. 3, subtitled "Symphonia Brevis." This "ultra-modern" symphony was met with an "ultra-conservative" review in The Saint Paul Pioneer Press, whose critic wrote: "It consists of spasmodic little excursions… percussive barrages… ideas that seem to run out before the score comes to a close, with the consequent suggestion of that spurious vitality exhibited by decapitated fowls." Decades later, three years before his death in 1961, Becker, along with a few other surviving members of the "American Five," was invited to take a bow from the stage of Carnegie Hall at one of Leonard Bernstein's New York Philharmonic concerts which featured his "Sinfonia Brevis." Music Played in Today's Program John J. Becker (1886 - 1961) Sinfonia Brevis (Symphony No. 3) Louisville Orchestra; Jorge Mester, conductor. Albany TROY-027

Phil Snedecor is the author of Making Rain and Other Adventures on the Trumpet, a highly personable and oftentimes entertaining glimpse into the career of a musician who's "done it right". Of course, there have been some pitfalls and mistakes along the way, and Phil doesn't pull any punches about those. But at the end of the day, the short book delivers a ton of value and sage advice for anyone who is looking to "make rain", be it as a musician or in any field.I've featured Phil several times on my Trumpet Dynamics podcast, and now I'm thrilled to be able to share this brand new interview with you!In this interview with Phil Snedecor, you'll discover:-What is a "rainmaker" pertaining to musicians?...03:35-How Phil cut his teeth as a rainmaker by founding the Washington Symphonic Brass...06:10-You won't have a great connection with your audience unless you have a connection among the personnel...11:00-Phil explains the mantra, "The only gig you own, is the gig you own"...16:20-"Mental choreography" and tips on succeeding in high-stress performance situations...21:10-Finish what you start, even when everyone around you thinks you're nuts to do so!...25:30-And much more!Resources mentioned:Hart School Trumpet StudioPhil's websiteWashington Symphonic BrassAll-American Moving CompanyMaking RainHard copyApple BooksAbout the guest:Phil Snedecor attended the Eastman School of Music in Rochester, New York, where he received the prestigious Performers Certificate and was a member of the premiere brass quintet, the Canterbury Brass. While earning his degrees in trumpet performance and literature, he also studied arranging and composition with Professor Rayburn Wright, formerly arranger for Radio City Music Hall. Mr. Snedecor is a former member of the Baltimore Symphony Orchestra and has held one-year positions with the National Symphony, the Kennedy Center Opera House Orchestra and the Baltimore Opera. Mr. Snedecor has performed and toured throughout the United States, Europe and Asia, and has appeared as guest principal trumpet with the St. Petersburg (Russia) “Tschaikowski” Orchestra, joining them on their 2012 US Tour. Recently Mr. Snedecor has been in demand as a guest principal with the Pittsburgh Ballet Orchestra and the Louisville Orchestra, and as guest trumpeter for the Boston Pops and Boston Symphony, both at Symphony Hall in Boston and at Tanglewood in Lenox, MA.As a show player, he has performed in the touring productions of Guys & Dolls, Phantom of the Opera, Beauty and the Beast, Peter Pan, Evita and West Side Story. He has recorded under the RCA, CBS, Gothic, Koss, and Summit labels. Phil's solo CDs, The Lyrical Trumpet I and II are also available on the Summit Label.In 1993 Mr. Snedecor and National Symphony Principal Trombonist Milton Stevens co- founded The Washington Symphonic Brass, a 17-piece professional brass ensemble. They perform regularly for the Washington National Cathedral, St. Matthew's Cathedral, the Basilica at the Shrine of the...

In this episode, Rosy chats with Nicholas Finch, Artistic Director of Derby City Chamber Music Festival and Principal Cellist of the Louisville Orchestra. Derby City Music Festival 2023 will take place on May 23rd, 25th and 30th at Second Presbyterian Church in Louisville, KY. To reserve tickets or find out more about the festival, visit https://derbycitychamberfest.org/ To learn more about Nicholas Finch, visit http://nicholasfinch.com/

The Louisville Orchestra has scored a big get in landing world-renowned cellist Yo-Yo Ma for a musical experience like no other inside the world's longest-known cave system: Mammoth Cave National Park. Renee Shaw talks with some young Kentucky artists selected for this musical adventure.

A difficult week comes to an end for the people of Louisville and the rest of Kentucky, a new poll shows where the GOP gubernatorial candidates stand as the primary nears, the Louisville Orchestra is expanding and you could be a part it, and a new non-profit that's helping cancer patients receive care.

Synopsis Two interesting symphonies had their premieres on today's date just eight years apart. Oddly enough, they were composed nearly ninety years apart. The first was the Symphony in C by George Bizet, written in 1855 when the composer was only 17. It was mislaid in his papers, ignored by Bizet himself as a naive youthful exercise, and not revived until 1935. It was performed for the first time on the 26th of February that year in Basel, Switzerland under the baton of Felix Weingartner, who found a copy of the score that had been kept in the Paris Conservatory. The other work that premiered today was the Fifth Symphony of the American composer Roy Harris. It was written in 1942, during the Second World War, and was reportedly inspired by reports of heroic resistance by the Soviet Union to the Nazi invasion. Harris dedicated this symphony to the Red Army in honor of its 25th anniversary. The first performance—given by Koussevitzky and the Boston Symphony on February 26th, 1943—was broadcast via short wave to the Soviet Union. Ironically, despite Harris's unquestionable credentials as a loyal American and enthusiastic patriot, his pro-Soviet Symphony No. 5 was to become something of an embarrassment when our one-time Soviet allies became Public Enemy No. 1 during the long Cold War period that followed the end of the Second World War. Music Played in Today's Program Georges Bizet (1823 - 1892) Symphony No. 1 in C ORTF Orchestra; Jean Martinon, conductor. DG 437 371 Roy Harris (1899 - 1979) Symphony No. 5 Louisville Orchestra; Robert Whitney, conductor. Albany 012

Lawmakers hear spending pitch to shore up Kentucky's juvenile justice facilities, a Republican lawmaker is trying again to add a constitutional amendment regarding abortion, EKU is launching a new program for manufacturing engineering, two education-related bills pass the full Senate, a new push to restore voting rights to certain felons, the Louisville Orchestra is hitting the road, and advice from some longtime lovers on what it takes to have a lasting relationship.

Synopsis In 1933, Aaron Copland introduced Roy Harris to Serge Koussevitzky, the famous conductor of the Boston Symphony in those days. Now, Koussevitzky was one of the great patrons of American music and was always looking for new American music and new American composers. Roy Harris had been described to him as an "American Mussorgsky," which probably intrigued the Russian-born conductor. When Koussevitzky learned that Harris had been born in a log cabin in Lincoln County, Oklahoma, on Abraham Lincoln's birthday, no less – well, perhaps he hoped the 41-year old Harris might produce music equally all-American in origin. "Write me a big symphony from the West," asked Koussevitzky, and Harris responded with a three-movement orchestral work titled: "Symphony, 1933," which had its premiere performance on today's date in 1934 with the Boston Symphony under Koussevitzky's direction. Koussevitzky loved it. "I think that nobody has captured in music the essence of American life -- its vitality, its greatness, its strength -- so well as Roy Harris," enthused the famous conductor, who recorded the piece at Carnegie Hall in New York just one week after its premiere. And it was Koussevitzky's Boston Symphony that would subsequently premiere Harris's Second, Third, Fifth and Sixth Symphonies as well. Music Played in Today's Program Roy Harris (1898 – 1979) Symphony 1933 (No. 1) Louisville Orchestra; Jorge Mester, conductor Albany 012 On This Day Births 1924 - American composer Warren Benson, in Detroit, Michigan; Deaths 1795 - German composer Johann Christioph Friedrich Bach, age 62, in Bückeburg 1993 - American composer and teacher Kenneth Gaburo, age 66, in Iowa City; Premieres 1732 - Handel: opera "Ezio" (Julian date: Jan.15); 1790 - Mozart: opera, "Così fan tutte," in Vienna at the Burgtheater; 1873 - Tchaikovsky: Symphony No. 2, in Moscow (Gregorian date: Feb. 7); 1882 - Borodin: String Quartet No. 2 in D, in St. Petersburg (Gregorian date: Feb. 7); 1905 - Schoenberg: symphonic poem "Pelleas und Melisande," in Vienna, with the composer conducting; 1908 - Rachmaninoff: Symphony No. 2 in St. Petersburg (Gregorian date: Feb. 8); 1911 - Richard Strauss: opera, “Der Rosenkavalier,” in Dresden at the Hofoper, conducted by Ernst von Schuch, with vocal soloists Margarethe Siems (Marschallin), Eva von der Osten (Octavian), Minnie Nast (Sophie), Karl Perron (Baron Ochs), and Karl Scheidemantel (Faninal); 1920 - Prokofiev: "Overture on Hebrew Themes," in New York by the Zimro Ensemble, with the composer at the piano; 1922 - Vaughan Williams: Symphony No. 3 "Pastoral," by the Royal Philharmonic, London, Sir Adrian Boult conducting; 1934 - Roy Harris: Symphony No. 1, by the Boston Symphony, Serge Koussevitzky conducting; 1952 - Ernst von Dohnányi: Violin Concerto No. 2, in San Antonio, Texas; 1957 - Bernstein: "Candide" Overture (concert version), by New York Philharmonic conducted by the composer; The musical "Candide" had opened at the Martin Beck Theater in New York City on December 1, 1956; 1957 - Poulenc: opera, "Les dialogues des carmélites" (The Dialogues of the Carmelites) in Milan at the Teatro alla Scala, Nino Sanzogno conducting; 1962 - Diamond: Symphony No. 7, by the Philadelphia Orchestra, Eugene Ormandy conducting; 1966 - Dominick Argento: Variations for Orchestra and Soprano (The Masque of Night"), at the St. Paul Campus Student Center of the University of Minnesota, by the Minneapolis Civic Orchestra, Thomas Nee conducting, with soprano Carolyn Bailey; A second performance took place on Jan. 27th at Coffmann Memorial Union on the Minneapolis campus of the University of Minnesota; 1967 - Frank Martin: Cello Concerto, in Basel, Switzerland; 1994 - Elisabetta Brusa: “La Triade” for large orchestra, by the Tirana (Albania) Radio and Television Orchestra, Gilberto Serembe conducting; 1994 - Christopher Rouse: Cello Concerto, by the Los Angeles Philharmonic conducted by David Zinman, with Yo-Yo Ma the soloist; 1995 - Joan Tower: "Duets for Orchestra," by the Los Angeles Chamber Orchestra, Christoph Perick conducting. Links and Resources On Roy Harris

Heralded as "[one] of the most powerful voices of our time" by the Los Angeles Times, bass-baritone Davóne Tines has come to international attention as a path-breaking artist whose work not only encompasses a diverse repertoire but also explores the social issues of today. As a Black, gay, classically trained performer at the intersection of many histories, cultures, and aesthetics, Tines is engaged in work that blends opera, art song, contemporary classical music, spirituals, gospel, and songs of protest, as a means to tell a deeply personal story of perseverance that connects to all of humanity. Davóne Tines is Musical America's 2022 Vocalist of the Year. During the 2022-23 season, he continues his role as the Philharmonia Baroque Orchestra & Chorale's first-ever Creative Partner and, beginning in January 2023, he will serve as Brooklyn Academy of Music's first Artist in Residence in more than a decade. In addition to strategic planning, programming, and working within the community, this season Tines curates the “Artist as Human” program, exploring how each artist's subjectivity—be it their race, gender, sexuality, etc.—informs performance, and how these perspectives develop throughout their repertoire. In the fall of 2022, Tines makes a number of important debuts at prominent New York institutions, including the Park Avenue Armory, New York Philharmonic, BAM, and Carnegie Hall, continuing to establish a strong presence in the city's classical scene. He opens his season with the New York premiere of Tyshawn Sorey's Monochromatic Light (Afterlife) at the Park Avenue Armory, also doubling as Tines' Armory debut. Inspired by one of Sorey's most important influences, Morton Feldman and his work Rothko Chapel, Monochromatic Light (Afterlife) takes after Feldman's focus on expansive textures and enveloping sounds, aiming to create an all-immersive experience. Tine's solo part was written specifically for him by Sorey, marking a third collaboration between the pair; Sorey previously created arrangements for Tines' Recital No. 1: MASS and Concerto No. 2: ANTHEM. Peter Sellars directs, with whom Davóne collaborated in John Adam's opera Girls of the Golden West and Kaija Saariaho's Only the Sound Remains. Tines' engagements continue with Everything Rises, an original, evening length staged musical work he created with violinist Jennifer Koh, premiering in New York as part of the Brooklyn Academy of Music's Next Wave Festival. Everything Rises tells the story of Tines' and Koh's artistic journeys and family histories through music, projections, and recorded interviews. As a platform, it also centers the need for artists of color to be seen and heard. Everything Rises premiered in Santa Barbara and Los Angeles in April 2022, with the LA Times commenting, “Koh and Tines' stories have made them what they are, but their art needs to be—and is—great enough to tell us who they are.” This season also has Tines making his New York Philharmonic debut performing in Beethoven's Symphony No. 9, led by Jaap van Zweden. Tines returns to the New York Philharmonic in the spring to sing the Vox Christi in Bach's St. Matthew Passion, also under van Zweden. Tines is a musician who takes full agency of his work, devising performances from conception to performance. His Recital No. 1: MASS program reflects this ethos, combining traditional music with pieces by J.S. Bach, Margaret Bonds, Moses Hogan, Julius Eastman, Caroline Shaw, Tyshawn Sorey, and Tines. This season, he makes his Carnegie Hall recital debut performing MASS at Weill Hall, and later brings the program to the McCarter Theatre in Princeton, Baltimore's Shriver Hall, for the Philadelphia Chamber Music Society, and as part of Boston's Celebrity Series. Concerto No. 1: SERMON is a similar artistic endeavor, combining pieces including John Adams' El Niño; Vigil, written by Tines and Igée Dieudonné with orchestration by Matthew Aucoin; “You Want the Truth, but You Don't Want to Know,” from Anthony Davis' X: The Life and Times of Malcolm X; and poems from Langston Hughes, James Baldwin, and Maya Angelou into a concert performance. In May 2021, Tines performed Concerto No. 1: SERMON with Yannick Nézet-Séguin and the Philadelphia Orchestra, and with the BBC Symphony Orchestra. He recently premiered Concerto No. 2: ANTHEM—created by Tines with music by Michael Schachter, Caroline Shaw, Tyshawn Sorey, and text by Mahogany L. Browne—with the Los Angeles Philharmonic at the Hollywood Bowl. Also this season, Tines performs in El Niño with the Cleveland Orchestra, conducted by composer John Adams; a concert performance of Adams' Girls of the Golden West with the Los Angeles Philharmonic also led by Adams; and a chamber music recital with the New World Symphony.Going beyond the concert hall, Davóne Tines also creates short music films that use powerful visuals to accentuate the social and poetic dimensions of the music. In September 2020, Lincoln Center presented his music film VIGIL, which pays tribute to Breonna Taylor, the EMT and aspiring nurse who was shot and killed by police in her Louisville home, and whose tragic death has fueled an international outcry. Created in collaboration with Igée Dieudonné, and Conor Hanick, the work was subsequently arranged for orchestra by Matthew Aucoin and premiered in a live-stream by Tines and the Louisville Orchestra, conducted by Teddy Abrams. Aucoin's orchestration is also currently part of Tines' Concerto No. 1: SERMON. He also co-created Strange Fruit with Jennifer Koh, a film juxtaposing violence against Asian Americans with Ken Ueno's arrangement of “Strange Fruit” — which the duo perform in Everything Rises — directed by dramaturg Kee-Yoon Nahm. The work premiered virtually as part of Carnegie Hall's “Voices of Hope Series.” Additional music films include FREUDE, an acapella “mashup” of Beethoven with African-American hymns that was shot, produced, and edited by Davóne Tines at his hometown church in Warrenton, Virginia and presented virtually by the Philharmonia Baroque Orchestra & Chorale; EASTMAN, a micro-biographical film highlighting the life and work of composer Julius Eastman; and NATIVE SON, in which Tines sings the Black national anthem, “Lift Ev'ry Voice and Sing,” and pays homage to the '60s Civil Rights-era motto “I am a man.” The latter film was created for the fourth annual Native Son Awards, which celebrate Black, gay excellence. Further online highlights include appearances as part of Boston Lyric Opera's new miniseries, desert in, marking his company debut; LA Opera at Home's Living Room Recitals; and the 2020 NEA Human and Civil Rights Awards.Notable performances on the opera stage the world premiere performances of Kaija Saariaho's Only the Sound Remains directed by Peter Sellars at Dutch National Opera, Finnish National Opera, Opéra national de Paris, and Teatro Real (Madrid); the world and European premieres of John Adams and Peter Sellars' Girls of the Golden West at San Francisco Opera and Dutch National Opera, respectively; the title role in a new production of Anthony Davis' X: The Life and Times of Malcolm X with the Detroit Opera (where he was Artist in Residence during the 2021-22 season) and the Boston Modern Opera Project with Odyssey Opera in Boston where it was recorded for future release; the world premiere of Terence Blanchard and Kasi Lemmons' Fire Shut Up In My Bones at Opera Theatre of Saint Louis; the world premiere of Matthew Aucoin's Crossing, directed by Diane Paulus at the Brooklyn Academy of Music; a new production of Stravinsky's Oedipus Rex at Lisbon's Teatro Nacional de São Carlos led by Leo Hussain; and Handel's rarely staged Aci, Galatea, e Polifemo at National Sawdust, presented in a new production by Christopher Alden. As a member of the American Modern Opera Company (AMOC), Tines served as a co-music director of the 2022 Ojai Music Festival, and has performed in Hans Werner Henze's El Cimarrón, John Adams' Nativity Reconsidered, and Were You There in collaboration with composers Matthew Aucoin and Michael Schachter.Davóne Tines is co-creator and co-librettist of The Black Clown, a music theater experience inspired by Langston Hughes' poem of the same name. The work, which was created in collaboration with director Zack Winokur and composer Michael Schachter, expresses a Black man's resilience against America's legacy of oppression—fusing vaudeville, opera, jazz, and spirituals to bring Hughes' verse to life onstage. The world premiere was given by the American Repertory Theater in 2018, and The Black Clown was presented by Lincoln Center in summer 2019.Concert appearances have included John Adams' El Niño with the Rundfunk-Sinfonieorchester Berlin under Vladimir Jurowski, Schumann's Das Paradies und die Peri with Louis Langrée and the Cincinnati Symphony, Kaija Saariaho's True Fire with the Orchestre national de France conducted by Olari Elts, Beethoven's Ninth Symphony with Michael Tilson Thomas leading the San Francisco Symphony, Stravinsky's Oedipus Rex with Esa-Pekka Salonen and the Royal Swedish Orchestra, and a program spotlighting music of resistance by George Crumb, Julius Eastman, Dmitri Shostakovich, and Caroline Shaw with conductor Christian Reif and members of the San Francisco Symphony at SoundBox. He also sang works by Caroline Shaw and Kaija Saariaho alongside the Calder Quartet and International Contemporary Ensemble at the Ojai Music Festival. In May 2021, Tines sang in Tulsa Opera's concert Greenwood Overcomes, which honored the resilience of Black Tulsans and Black America one hundred years after the Tulsa Race Massacre. That event featured Tines premiering “There are Many Trails of Tears,” an aria from Anthony Davis' opera-in-progress Fire Across the Tracks: Tulsa 1921.Davóne Tines is a winner of the 2020 Sphinx Medal of Excellence, recognizing extraordinary classical musicians of color who, early in their career, demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities. In 2019 he was named as one of Time Magazine's Next Generation Leaders. He is also the recipient of the 2018 Emerging Artists Award given by Lincoln Center for the Performing Arts and is a graduate of The Juilliard School and Harvard University, where he teaches a semester-length course “How to be a Tool: Storytelling Across Disciplines” in collaboration with director Zack Winokur.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

John Rommel is Professor of Trumpet at the Jacobs School of Music at Indiana University. Early in his playing career he was a member of the Nashville Symphony and principal trumpet of the Louisville Orchestra, and recently he has performed with both the Cleveland Orchestra and the Cincinnati Symphony. He is also known as one of the premier teachers in the U.S., and it was a pleasure to speak with him in depth about his philosophy on teaching.We begin our conversation with my asking John to talk about how both students and also his teaching have changed over the 30 years he has been at the Jacobs School of Music. Drawing on a wide variety of influences, from his lessons with Bill Adam to an interview with Hall of Fame football player Walter Peyton to John Wooden and his Pyramid of Success, John discusses the problems facing music students in universities today, and how a student can strive to move forward in spite of difficulties and struggles.

Teddy Abrams, the Music Director of the Louisville Orchestra who was recently named "Conductor of the Year for 2022" by Musical America, discussed the health of the Louisville Orchestra and his new idea called "LO Creators Corps" that will bring three musical composers to Louisville to write music for our city...

Synopsis It was on this day in 1913 that the French Academy of Fine Arts – for the first time in its history – presented its highest award, the Prix de Rome, to a woman. The honor was awarded to Lili Boulanger, who was just 19 years old at the time. She was born in Paris in 1893, the younger sister of Nadia Boulanger, who would become the most famous teacher of composition in the 20th century, numbering an amazing array of famous American composers among her students, ranging from Aaron Copland to Philip Glass. Nadia's sister Lili, however, suffered from poor health. Her tragically short career was interrupted by World War I, when she volunteered to nurse wounded soldiers. She died before the great conflict was over, on March 15th, 1918, at the age of 24. Nearer to our own time, another woman, Ellen Taaffe Zwilich, made history when she became the first woman composer to be awarded the Pulitzer Prize in Music. That was in 1983, and the piece was her Symphony No. 1. Born in Miami, Florida, in 1939, Zwilich studied composition with Elliott Carter and Roger Sessions at Juilliard, and accomplished another “first” by becoming the first woman to earn the Doctor of Musical Arts degree in composition at the famous school. Her Third Symphony was commissioned in 1992 to celebrate the 150th anniversary of the New York Philharmonic. Music Played in Today's Program Lili Boulanger (1893-1918) – Hymne au Soleil (New London Chamber Choir; James Wood, cond.) Hyperion 66726 Ellen Taaffe Zwilich (b. 1939) – Symphony No. 3 (Louisville Orchestra; James Sedares, cond.) Koch International 7278

Sometimes, being a woman means having to handle a lot of things on your plate.  For conductor Sarah Ioannides, these responsibilities prove that she can conquer so many mountains while being able to express herself in music and art.  In this week's episode of The Conductor's Podcast, Sarah talks about the art of being ready, the essence of leadership, and the wonders of being a mom. Currently Music Director of Symphony Tacoma, Ioannides has also led orchestras extensively in the United States including the Buffalo Philharmonic, Charleston Symphony, Hawai'i Symphony, Louisville Orchestra, North Carolina Symphony, Rochester Philharmonic, Toledo Symphony and the Cincinnati Symphony, where she was the first woman appointed to a full-time conducting position. Passionate about education, Ioannides continues to coach orchestras at high-level conservatories such as Yale University and the Curtis Institute. She is Founding Artistic Director of Cascade Masterclass for conductors and composers.Born in Australia, of Greek and Scottish descent, she was raised in England, studied at Oxford University and The Juilliard School, earning Master's degrees at both. Ioannides came to the USA as a Fulbright Scholar and graduated from The Curtis Institute of Music, a protégé of the late Otto-Werner Mueller. Married to Scott Hartman, renowned trombonist, they have three children, including twins, Elsa and Karl, and Audrey. An avid long-distance runner, she was first overall woman in the 30k The Defiance in 2021.

The young dynamic cellist Anita Graef joins us virtually from her home in Chicago for conversation about her career and music by J.S. Bach and Giuseppe dall'Abaco. Described as "a world class musician" who plays with "high energy and polish", cellist Anita Graef has earned recognition for her music making as a soloist, chamber musician, and orchestral performer. Recent appearances include Carnegie Hall's Weill Recital Hall, the Dame Myra Hess Memorial Concert series, and "Concerts from the Library of Congress." She has also performed in recital as a guest of various radio programs, including "Young Artists Showcase" on WQXR, NPR, WFMT, and others. She performs frequently with the Cincinnati Symphony Orchestra, originally as a CCM-CSO Fellow, as well as the Louisville Orchestra, Dayton Philharmonic among others. https://www.anitagraef.com/

Conductor, pianist, clarinetist, composer, and Music Director of the Louisville Orchestra Teddy Abrams tells us all about his album All In from the Louisville Orchestra, which features his music as well as his clarinet stylings (and a few other treats to boot!).

Synopsis It was on today's date in 1913 that Igor Stravinsky's ballet “The Rite of Spring” premiered at the Théâtre des Champs-Élysées in Paris, provoking catcalls and fisticuffs from some in the audience. Most scholars suggest it was the ungainly, deliberately primitive choreography of Vaslav Nijinsky, more than Stravinsky's score, that provoked the most negative response. Pierre Monteux's concert performance—without the dancing—at the Casino de Paris the following Spring marked the start of the score's success as pure music. On that occasion, Stravinsky was carried in triumph from the hall on the shoulders of his admirers. Shortly before his death in 1929, Sergei Diaghilev, who had commissioned Stravinsky's score, was enthusiastically quoting a review in the London Times that suggested (perhaps ironically) that the “Rite of Spring” would be for the 20th century what Beethoven's Ninth Symphony was for the 19th. Well, that has rather turned out to be the case, in fact, and by 2013, a piece of orchestral music that in 1913 was considered almost unplayable is routinely programmed as a classic orchestral showpiece. One New York Times critic even wrote “… now everybody knows “The Rite.” [It's] an audition piece that every music student practices, so that now any conservatory orchestra can give a fleet and spiffy performance of what used to stump their elders, and professional orchestras can play it in their sleep, and often do…” Music Played in Today's Program Igor Stravinsky — The Rite of Spring (Cleveland Orchestra; Pierre Boulez, cond.) DG 435 769 On This Day Births 1860 - Spanish composer Isaac Albéniz, in Camprodón; 1873 - Estonian composer Rudolf Tobias, in Kaina on Haiiumaa Island; 1897 - Austrian composer Eric Wolfgang Korngold, in Brno; 1922 - Greek composer Iannis Xenakis, in Braila, Roumania; 1948 - English composer Michael Berkley, in London; He is the son of English composer, Sir Lennox Berkeley (1903-89); Deaths 1910 - Russian composer Mily Balakirev, age 73, in St. Petersburg (Julian date: May 16); 1911 - British lyricist Sir William S. Gilbert (of "Gilbert & Sullivan" fame), age 74, from a heart attack after rescuing a drowning woman, at Harrow Weald, England; 1935 - Czech composer Josef Suk, age 61, in Benesov; 1951 - Czech composer Josef Bohuslav Foerster, age 91, in Vestec, near Stará Boleslav; Premieres 1901 - Paderewski: "Manru," in Dresden; Also staged at the Metropolitan Opera in 1902; 1905 - Scriabin: Symphony No. 3 ("'Divine Poem"), in Paris, Arthur Nikisch conducting; 1913 - Stravinsky: "Le Sacre du printemps" (The Rite of Spring), in Paris, by Diaghilev's Ballet Russe, Pierre Monteux conducting; 1954 - Cowell: Symphony No. 11 ("Seven Rituals"), by the Louisville Orchestra, Robert S. Whitney conducting; 1970 - Rautavaara: Piano Concerto, in Helsinki, with composer as soloist, and the Finnish Radio Symphony, Paavo Berglund conducting; Others 1873 - American premiere of Brahms's Serenade No. 1 in D, at Steinway Hall, by the New York Symphony, Theodore Thomas conducting; 1963 - The New York Philharmonic "Promenade" concert series is inaugurated. Links and Resources On Igor Stravinsky More on "The Rite of Spring" Video of recreated original 1913 choreography for "The Rite of Spring"

Synopsis “In an ideal musical world,” says composer Joan Tower, “a composer should have a friendly, creative, and ongoing working relationship with performers for whom she writes.” For Tower, who has emerged as one of the most successful American composers of her generation, a friendly, creative, and ongoing relationship with chamber ensembles, symphony orchestras, and soloists has resulted in a number of musical works. Tower's Violin Concerto, for example, was written for the American violin virtuoso Elmar Oliveira, who gave its premiere performance on today's date in 1992, at a Utah Symphony concert. Tower wrote the piece with Oliveria in mind: “A lot of violinists are speed freaks,” she wrote, “but Elmar can play both virtuosically and with an innate singing ability.” The more lyrical and emotional heart of the work was written as memorial to Olivera's older brother, also a violinist, who died of cancer during work on the new concerto. That's not to say Tower didn't supply some flashy, pyrotechnical passages for her star soloist, however. As Oliviera put it: “It's the kind of flashiness an audience can relate to. Joan doesn't need avant-garde gimmicks, because now she's completely comfortable speaking her own language, one that is expressive and natural to her.” Or, as Tower herself put it: “Sometimes it's a struggle to find out what you're good at. It took me a number of years to decide how I wanted to write with my own voice.” Music Played in Today's Program Joan Tower (b. 1938) — Violin Concerto (Elmar Oliveira, violin; Louisville Orchestra; Joseph Silverstein, cond.) D'Note 1016

Synopsis The German composer Richard Wagner tried to limit performances of his final opera, “Parsifal,” to his own theater in Bayreuth, hoping it would provide a source of income for his family after his death. “Parsifal” premiered at Bayreuth in 1882, and after Wagner died the following year, his widow forbade rental of the music for performances elsewhere. Naturally, Wagner enthusiasts all over the world were eager to hear the new work. One of them was a German-born American named Walter Damrosch, who, at the tender age of 23, headed both the New York Symphony and Oratorio Society, and was a conductor at the Metropolitan Opera. While visiting London in 1885, Damrosch had bought a miniature score of “Parsifal.” The purchase gave him no right to perform the work, but he discovered the monetary fine for doing so was so small that he hired copyists to prepare orchestral parts for a concert performance in America at the old Metropolitan Opera House on today's date in 1886. Unfortunately for Damrosch, Anton Seidl, a close friend of Wagner's widow was hired as the new music director of the Met. Seidl apparently took offense at Damrosch's audacity, and so limited Damrosch to only non-Wagnerian repertory! Music Played in Today's Program Richard Wagner (1813–1883) — Parsifal (excerpt) (SW German Radio Symphony; Erich Leinsdorf, cond.) Hannsler 93.040 On This Day Births 1891 - Spanish composer Federico Moreno Torroba, in Madrid; Deaths 1768 - Italian composer Nicola Porpora, age 81, in Naples; 1824 - Italian composer and violin virtuoso Giovanni Battista Viotti, age 68, in London; 1932 - British-born German composer and pianist Eugène d'Albert, age 67, in Riga; Premieres 1793 - Haydn: Symphony No. 101 ("The Clock"), conducted by the composer, at the Hanover-Square Concert Rooms in London; 1842 - Mendelssohn: Symphony No. 3 ("Scottish"), by the Leipzig Gewandhaus Orchestra, with the composer conducting; 1853 - revised version of R. Schumann: Symphony No. 4, with the Düsseldorf Municipal Orchestra, conducted by the composer; An earlier version of this symphony premiered in Leipzig in 1841 as Schumann's Symphony "No. 2," but the composer withdrew the score and composed and premiered a new Symphony No. 2 and Symphony No. 3 before revising and reintroducing this symphony as "No. 4"; 1870 - Brahms: "Alto Rhapsody," by the singer Pauline Viardot-Garcia, in Jena, Germany; 1875 - Bizet: opera "Carmen," in Paris at the Opéra-Comique; 1893 - George Templeton Strong, Jr.: Symphony No. 2 ("Sintram"), at a public afternoon rehearsal by the New York Philharmonic at Carnegie Hall, with Anton Seidl conducting; The "official" premiere concert took place the following evening; 1899 - R. Strauss: tone-poem "Ein Heldenleben" (A Hero's Life), in Frankfurt, with Strauss conducting; 1918 - Bartók: String Quartet No. 2, Op. 17, in Budapest, by the Waldbauer Quartet; 1944 - Barber: Symphony No, 2, by the Boston Symphony, Serge Koussevitzky conducting; 1951 - Otto Luening: "Kentucky Concerto" by the Louisville Orchestra, with the composer conducting; 1959 - Cowell: Symphony No. 13 ("Madras") in Madras, India; 1963 - Menotti: television opera "Labyrinth," broadcast over the NBC network; Others 1886 - American premiere (in a concert version) of Wagner's "Parsifal" at the Old Metropolitan Opera House, by the New York Symphony and Oratorio Society conducted by the 24-year old Walter Damrosch; The soloists included soprano Marianne Brandt, who had alternated the role of Kundry with soprano Amalie Materna in the premiere staged performances of the opera in Bayreuth in July of 1882; The first fully staged presentation of "Parsifal" in the U.S. did not occur at the Met until Dec. 24, 1903; 1922 - U.S. premiere of concert version of Stravinsky's ballet score, "The Rite of Spring," in Philadelphia, with Leopold Stokowski conducting. Links and Resources On Wagner's "Parsifal" On Walter Damrosch

Synopsis Like Rodney Dangerfield, the viola is often an instrument that “gets no respect“ – so no viola jokes, today, folks. Quite the opposite, in fact. For its 150th Anniversary celebration, the New York Philharmonic commissioned a number of new orchestral works. One of them premiered at New York's Avery Fisher Hall on today's date in 1993:  the Third Symphony of the American composer Ellen Taaffe Zwilich. It's no exaggeration to suggest that Zwilich knows the symphony orchestra from inside out: for seven years she was a violinist in the American Symphony Orchestra, a New York-based ensemble conducted by Leopold Stokowski when Zwilich was a player. For her Third Symphony, Zwilich confessed she had an often-neglected section of the orchestra in mind: “I had noticed over the years the rising quality of viola playing,” she said in an interview, “and I thought that the Philharmonic's section was absolutely amazing. So when I had this commission .... I really wanted to put the spotlight on the viola section and give THEM a great deal to do, not only in terms of virtuosity, but of importance and centrality to the piece. This symphony really grew out of my love for this section of the orchestra.” Music Played in Today's Program Ellen Taaffe Zwilich (b. 1939) — Symphony No. 3 (Louisville Orchestra; James Sedares, cond.) Koch 7278

Before You Go co-host Nicole Franklin has the honor of inviting her longtime friend  Juanita Smith who shares memories of her composer husband Hale Smith with Bryant Monteilh and the audience. It's a walk through musical history as Hale Smith's work in the genres of classical, jazz and spirituals brought him, Juanita and their family from Cleveland, Ohio to New York City. Upon arriving in NYC, Juanita quickly found work at the United Nations and Hale was surrounded by a nucleus of talent which included Kathleen Battle, Randy Weston, Melba Liston, Dizzy Gillespie, Ron Carter, Ahmad Jamal and more.  Juanita is now the publisher of her late husband's spiritual arrangements and because of her impeccable memory, her stories are filled with evidentiary facts and fascinating encounters. This episode originally aired on KBLA Talk 1580 in Los Angeles.The music of Hale Smith heard in this episode may be found here: 1) This Little Light Of Mine"https://www.youtube.com/watch?v=cUd7RMPQAxUProvided to YouTube by NAXOS of America This Little Light of Mine (arr. H. Smith) · Icy Rene Simpson I, too ℗ 2012 Longhorn Music Released on: 2012-08-07 Artist: Icy Rene Simpson Artist: Artina McCain Composer: Hale Smith Composer: Traditional  2) "Contours" Hale Smithhttps://www.youtube.com/watch?v=8t1YYuz7DV4&t=83s Hale Smith (1925-2009): Contours, for Orchestra (1960) --- The Louisville Orchestra diretta da Robert Whitney  3) Bess, You is My Womanhttps://www.youtube.com/watch?v=Panv8OJjgHk "Bess, You Is My Woman" From the Opera, "Porgy and Bess" Music by George Gershwin Lyrics by Du Bose Heyward and Ira Gershwin Featuring Todd Duncan and Anne Brown Accompanied by the Decca Symphony Orchestra Directed by Alexander Smallens Recorded May 15, 1940 Decca 29069A 4) I Love Musichttps://www.youtube.com/watch?v=fW8NQgqYoVQ Provided to YouTube by Universal Music Group I Love Music · Ahmad Jamal Trio The Awakening ℗ 1970 The Verve Music Group, a Division of UMG Recordings, Inc. Released on: 1997-01-01 Producer: Ed Michel Composer: Emil Boyd Composer: Hale Smith   5) I Want to Die Easyhttps://www.youtube.com/watch?v=94EwXQTKrlY Anthony Anderson- Baritone Michael Crabill- Piano 6) I Love Musichttps://www.youtube.com/watch?v=MFk5lKLHMw8From Hale Smith's tribute concert. T.K. Blue, Saxophone & Flute Carlton Holmes, Piano Corcoran Holt, Bass Alvin Atkinson, Drums Benny Powell, Trombone  

This week, we are joined by guest host Gabriel Lefkowitz, concertmaster of the Louisville Orchestra. We start out with a rousing round of Listening Limbo and then we move on to our three topics:BOSTON LYRIC OPERA'S “BUTTERFLY PROCESS”https://blo.org/butterfly-process/ https://operawire.com/boston-lyric-opera-announces-the-butterfly-process/https://operawire.com/boston-lyric-opera-postpones-madama-butterfly-production/ MUSIC FROM THE EPHRATA CLOISTERThe albumNPR storyWILLIAM HENRY FRY'S “A DAY IN THE COUNTRY” SYMPHONYDoug Shadle's Orchestrating the NationCLASSICAL MIXTAPEThe full playlistDougJulia Perry, “Stabat Mater”WillSondheim, A Little Night Music: “A Weekend in the Country”GabeLutoslawski, Little Suite for Orchestra TiffanyMargaret Bonds, Montgomery VariationsTHINK YOU CAN STUMP US? GO AHEAD AND TRY!Google Form for “Name that Tune: Stump the Hosts Edition” You can reach us at classicalgabfest@gmail.com and on social media:FacebookTwitterInstagram

Teddy Abrams, the Music Director of the Louisville Orchestra, talked about the orchestra's efforts to continue performing during the pandemic, the piano concerto he wrote over the past year, and the personal connection with artists and music...

Jim James is an American musician and songwriter who came to prominence as the lead singer for My Morning Jacket. Branching off into a solo career, James has found success displaying a kaleidoscopic approach to his disparate material, revealing few limitations.To listen to the full episode, including the featured music, visit... signlradio.com"Roots to Grooves" is a production of SIGNL.https://www.signlradio.comhttps://www.instagram.com/signlradiohttps://www.twitter.com/signlradiohttps://www.facebook.com/signlradiohttps://www.mixcloud.com/signlhttps://open.spotify.com/user/96mhz6qfjoztxbl2dpm0uj903?si=aAZpsoEnRAKdx85kr1QWhg

Teddy Abrams first dreamed of leading an orchestra when he was just nine years old. Barely two decades later, this musical phenom now leads both the Louisville Orchestra and Oregon's Britt Festival. But Abrams isn't just another orchestra conductor; he's reinventing what an orchestra and its music can mean for a city and its people. He now dreams about far more than just waving a baton, and he's just as comfortable hanging out with hip hop stars, bluegrass musicians, gospel choirs, and social-justice activists as he is on the podium. Join us for this week's conversation as we sit down with the conductor extraordinaire to discuss how he's using the universal language of music to break down walls and heal a city, offering a path forward not just for his community, but for humanity. Download the executive summary for this episode at shawnnason.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode I'll be talking to one of the greatest living orchestral violinists my colleague Nathan Cole, who is an author, a podcaster, a trailblazer in the online teaching space, and happens to be the First Associate Concertmaster of the Los Angeles Philharmonic. He's kind of a busy guy. We're going to cover how technology has impacted our perception of perfectionism, going into debt to get a music degree, how being an orchestral musician is a lot like being a professional basketball player, and how many hours it actually takes to record 60 seconds of music. Nathan is even going to hook you up with his favorite barbeque resource, so you are going to want to listen all the way to the end of this one. About Nathan First Associate Concertmaster NATHAN COLE, who joined the LA Phil in 2011, has appeared as guest concertmaster with the orchestras of Pittsburgh, Minnesota, Houston, Ottawa, Seattle, and Oregon. He was previously a member of the Chicago Symphony and Principal Second Violin of the Saint Paul Chamber Orchestra. A native of Lexington, Kentucky, he made his debut with the Louisville Orchestra at the age of ten while studying with Donna Wiehe. After eight years working with Daniel Mason, Cole enrolled at the Curtis Institute of Music. In addition to his studies there with Pamela Frank, Felix Galimir, Ida Kavafian, and Jaime Laredo, Cole formed the Grancino String Quartet, debuting in New York's Weill Hall. Several summers at Marlboro enriched his love of chamber music. Nathan's articles and videos on practicing, performing, teaching, and auditioning have helped thousands of violinists worldwide. Visit natesviolin.com for the complete collection. In addition to his online teaching, Nathan is currently on faculty at the Colburn School for the Performing Arts, with classes at the Colburn Conservatory and USC. His articles and photographs have also appeared in Strings, Symphony, and Chamber Music magazines. Links Website: https://www.natesviolin.com/ Facebook: Nates Violin Instagram: @natesviolin   Honesty Pill Links Free Resource Library Facebook Group Mailing List

- In this episode of American Muse we will hear the first symphony by Roy Harris, titled for the year it was written 1933. We will discuss the odd man Harris was, his nomadic nature, and an interesting story about he, his wife, and her name... stay tuned for that. (Play opening 10 seconds)###Composer- Roy Harris, or LeRoy as is his full first name, born in Oklahoma, but quickly moved to southern California. Studied with Arthur Farwell at UC Berkeley. Had his first orchestral piece premiered at Eastman by Howard Hanson (that's about the best promotion you could ask for right out of the gate!). Then met a guy named Aaron Copland who suggested he go to Paris and study with another composer named Nadia Boulanger. It's hard to go wrong after starting a career with names like that on your resume. Oh, but let's add one more shall we?? After returning to the US, Harris eventually meets Serge Koussevitzky, another career maker at the time, who then premiered and recorded Harris' _Symphony 1933_ , and THAT became the first commercially recorded American symphony.- Another thing to know about this man is that he could NOT sit still for very long. In chronological order, he taught at Juilliard, Westminster, Cornell, Stanford, Colorado College, University of Utah, Peabody College for Teachers in Nashville, Pennsylvania College for Women, Southern Illinois University, Indiana University, the Inter-American University in Puerto Rico, UCLA, and finally Cal State University, Los Angeles. And that's just the university positions!- Harris had a massive composition portfolio, and while he covered most of the bases—vocal, chamber, ballet, concertos, etc.—his main focus was clearly on the symphonic form. Harris numbered 13 symphonies (although, out of superstition, he numbered the last 14 to avoid the number 13), plus the _Three Symphonic Essays_, _American Portrait_, _Our Heritage_ (which he apparently only finished one movement for), a Symphony for High School Orchestra, _American Symphony_ for jazz band, Choral Symphony for chorus and orchestra, and the _Walt Whitman Symphony_ for solo baritone, chorus and orchestra. Oh! Also a _Symphony for Voices_, an entirely a cappella work. So, I'd say, he was hooked on the symphony.- Now, though there is STILL time left for this to happen to me… I have never had the honor of being properly called a genius (uh, by anyone other than my mother…). Roy Harris, on the other hand, did have this dubious fortune. Paraphrasing a famous quote of Robert Schumann praising the talents of an up and coming Frédéric Chopin, one Arthur Farwell said of Roy Harris, quote “Gentlemen, a genius—but keep your hats on!” Later, the equally great Walter Piston would counter by complimenting Harris for quote “surviving the trying experience of having been hailed as a genius.” It would seem that Roy Harris had a strong effect on critics and contemporaries alike. One possible reason the label of genius did not effect Harris negatively was his ability to stay so presently in the moment, maintaining an intense focus on the matter at hand. Certainly an aspect that reveals itself in his compositions, and a characteristic that makes for long days and short years.- Ok, one strange story I need to tell you is about he and his second wife. In 1936, Harris married Beula Duffey. Duffey was already on her way to a spectacular career as a pianist, having been hailed as a prodigy in Canada, and then as the youngest faculty member at Juilliard. The interesting part is that Harris convinced her to changer her FIRST name to Johana, after the great Johan Sebastian Bach! From what I could find, this was welcomed and uncontentious. It seems to have been a business and career decision as much as anything else. I just can't quite imagine starting that conversation: “Darling, I love you, I love everything about you… it's just, your name… I don't like it, and no one else will either. Instead, let's name you after a VERY dead male composer. What do you say??”- It turns out that at first Harris only numbered the symphonies that used the traditional symphonic orchestra. But, then he wrote the _Abraham Lincoln Symphony_ for piano, percussion, and brass, and numbered it the 10th, so that tradition ended.- Harris' approach to the various aspects of symphonic composition is articulated nicely by a biographer of his, Dan Stehman. He says quote “Formal procedures… he employs in the symphonies are virtually the same as in his miscellaneous orchestral and band works, and his chamber compositions, for that matter. Acquaintance with all of Harris' works in the genre reveals that his most consistent view appears to have been of the symphony as a work of greater seriousness, emotional variety, intensity of expression, and length than was the norm for him. Though… the elements which went into their creation were formed and treated quite similarly to those employed in other works, the materials of the symphonies are sometimes greater in number, richer in complexity, and accorded a more elaborate development. with especially prominent use of the various types of motivic working out… Occasionally ideas recur in a thematic sense within a symphony… thus providing more of a sense of large scale unity than one finds… in the miscellaneous pieces. … [T]he quality of the ideas in the symphonies, particularly the long melodies, is sometimes more distinctive than that found elsewhere in Harris's oevre.- So, Symphony 1933, Symphony No. 1, pieced together from bits he had already composed. Yet it isn't necessary to know that to enjoy the work. The initiation of this piece came about, as I mentioned earlier, via Aaron Copland introducing Harris to Koussevitzky, who was at the time not only the music director of the Boston Symphony Orchestra, he premiered works by so many American composers he was basically a career maker. According to Harris' memory, Koussevitzky said “Copland told me you are the American Mussorgsky. You must write for me a big symphony from the West. I will play.” Excuse my Russian accent, but that's a pretty cool endorsement from someone that, at the time, was likely destined to make your career, right?- Now to the symphony itself. These excerpts were performed by the Louisville Orchestra under the direction of Jorge Mester.- Symphony 1933 is in 3 movements: Allegro, Andante, and Maestoso; nothing special there. What Harris does from the very beginning is establish a rhythmic theme, one that is both inherently contrasting, alternating triplets against 8ths, but is presented as triumphant and at times aggressive. At the very opening the timpani presents the rhythm and the winds furiously wind through the melodic material that will be developed, followed by a brass variation. (Play opening 45 seconds)- The middle section of this movement shows characteristic melodic writing by Harris, using a soaring string line supported by regularly interjected rhythmic motives reminiscent of the opening energy beneath.- In the final section, where the opening material returns, Harris shows his ability to play with layers and space. In this excerpt string and timpani punctuate a heavy rhythmic figure, the woodwinds play a sustained, menacing melodic line in unison, and the brass begin a fugal conversation over the top. The effect is powerful!- In the second movement, Harris' lush melodic writing is fully featured. Another aspect is the harmonic writing, that is in some ways key to the uniquely American sound that is starting develop. Here, Harris uses a tightly dense harmonic accompaniment that moves rhythmically in sync with the moldy, and has many surprising chromatic twists as it moves along.- The last movement, while not overwhelming in energy, is constantly building interest and tension. In fact, Harris does this with a motive based only on 3 notes! Throughout out the movement he morphs those 3 notes in so many fashions you likely would not notice without it being pointed out, and that's the point! - Here is the very opening with the 3 note motive- Another version with a considerable amount of variation and energy this time, and more and more rhythmic complexity as it goes along- In a moment of calmness, Harris varies the motive in a much more horizontal, lyrical fashion.- Finally, Harris falls into repetitive mode to build up some energy.- This piece is easy to listen to and take in. It is not very long, but packs quite a mental punch. Though it was his first symphony, Harris does show compositional growth and maturity here. It is more than worth your time to listen to and enjoy. I can almost guarantee you've rarely heard another piece like it.Music:Symphony No. 1 '1933'By: Roy HarrisPerformed By: The Louisville Orchestra, Jorge MesterSupport this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Hello Everyone and welcome back to The Business Lieder Podcast. I'm breaking my Corona slump and releasing two brand new episodes with the amazing Aubrey Foard of the Baltimore Symphony and Seth Horner of the North Carolina Symphony. This is a great time for a tuba twofer because Aubrey and Seth, along with a few other tuba geniuses are hosting a very exciting bootcamp for tuba and euphonium players next week! The camp is called Back to School Tune-Up With The Pros and the faculty is amazing. These virtuosos come from some of the top orchestras in the country and can be heard in movies like the live-action Lion King, IT 2, and Batman vs. Superman. This bootcamp is a week-long with lessons, masterclasses, evening Q&A sessions and panel discussions all for $260. The website is www.tubabootcamp.com or find them on Instagram @backtoschooltuneup, and I highly encourage you to attend if you are able. All that being said, I am very excited to introduce today's guest, Seth Horner. I've known Seth for a few years now and he is one of the smartest and kindest musicians you'll ever come across. I think you will really love hearing his story and approach to life and the instrument. I've attached his bio below for your reading pleasure:A native of Eugene, Oregon, Seth Horner joined the North Carolina Symphony as Principal Tuba in 2017. Horner was the acting principal tuba of the Baltimore Symphony Orchestra for three seasons and held faculty appointments teaching tuba and euphonium at Towson University and the Peabody Institute of the Johns Hopkins University. At the age of 19, Seth served a one-year position as principal tuba of the Colorado Symphony Orchestra under Marin Alsop, and has held positions as the principal tuba of the West Virginia Symphony and the Oregon Ballet Theatre Orchestra. Horner attended the Peabody Institute, and was an honors graduate of the University of Oregon and valedictorian of his class at the Curtis Institute of Music.Horner performed frequently with the Baltimore Symphony Orchestra (BSO) prior to assuming a full-time position in 2014 including the BSO's west coast tour and its 2010 and 2014 Carnegie Hall appearances with Marin Alsop. He can be heard on the BSO's two most recent albums featuring the symphonies of Leonard Bernstein conducted by Marin Alsop. Horner has also performed with the Philadelphia Orchestra, National Symphony Orchestra, Kennedy Center Opera House Orchestra, New Jersey Symphony Orchestra, Louisville Orchestra, Oregon Symphony, and New World Symphony among others. He has made chamber music appearances with the Washington Symphonic Brass, the Bay Street Brassworks, and the Clipper City Brass. Horner was a featured soloist with the Capital Wind Symphony in Vienna, VA, and received honorable mention at the 2010 International Tuba and Euphonium Conference.Seth Horner has served as a faculty member for Carnegie Hall's National Youth Orchestra of the United States of America as well as Carnegie's NYO2. In the summer, he has been on the faculty of Wyoming Seminary's Performing Arts Institute in Kingston, PA, as instructor of tuba and euphonium as well as performing with the Oregon Bach Festival and Britt Festival orchestras. Horner has been a visiting instructor at the University of Oregon and Ithaca College.

**Jim James** of **My Morning Jacket** is our special guest on Episode One, where he shares an exclusive recording of one of the first songs he composed as a teenager. Throughout the epic one hour interview, Jim and Dana also discuss solo projects, lyrics, and their mutual love of crème brûlée. Also featured in the episode is the **Music Director** for **Lousiville Orchestra**, **Teddy Abrams**, who joins Jim to discuss their collaboration on the album, **The Order of Nature**.Featuring fresh original music by:[The Cinelli Brothers](http://www.cinellibrothers.com/) - 'Your Lies'[Seasonal Beast](https://seasonalbeast.bandcamp.com/) - 'Dry Bones'[Them Fangs](https://www.themfangs.com/) - 'Life Do Change'[Listen on our YouTube Channel too!](https://www.youtube.com/watch?v=B8oILtkr26A)**Episode One Resources**Cheers, thanks for listening! If you enjoyed this episode of SuperUnknown, please subscribe, share, and leave a review! Need more? Explore these show notes featuring some of the topics discussed during Dana's interview with Jim James:Hear the first song Jim James remembers listening to at three years old - [‘Leader of the Band' by Dan Fogelberg](https://www.youtube.com/watch?v=qsocZrEcp0Y) {4:18}Hear the first song he learned to play as a teenager - [‘Losing My Religion' by R.E.M.](https://www.youtube.com/watch?v=xwtdhWltSIg) {4:42}[Listen to Rodan](https://www.youtube.com/watch?v=Q_NKtGTstVw), a band from Jim's hometown of Louisville that he recalls was "one of the biggest influences on me." {6:08}[Watch Jim sing 'Rainbow Connection' with Kermit the Frog](https://www.youtube.com/watch?v=vdjvDS0MhDE) at the Newport Folk Festival (Skip to 1:50 on video for Jim's appearance) {7:39}"Tree Of One Kind" is the name of the demo that Jim James shared on the show. It's one of the first recordings he ever did, and you can hear it exclusively in this episode! {11:34}Check out the website for the record label that he started in 2008, which now only 'exists metaphysically in space', [Removador](https://removador.com/) {20:03}Visit the Creme Bru-Log, [Jim's own personal crème brûlée review site](http://www.cremebrulog.com/), which is 'an online resource for critiques and tastings of crème brûlée from around the world'. {28:00}Learn more about [Teddy Abrams](https://www.teddyabrams.com/), Music Director and Conductor of the Louisville Orchestra, who created the arrangements on Jim's latest solo album, The Order of Nature {35:18}Did you like the new song 'Back To The End Of The World' from The Order of Nature, that was played during this episode? [Watch Jim, Teddy, and the Louisville Orchestra perform it live on Jimmy Fallon](https://www.youtube.com/watch?v=GFYutf2VSqI) {43:47}About Jim James:He fronts the Grammy-nominated band My Morning Jacket, he has an impressive solo career, and he has the best name ever. Jim James recently released an orchestral solo album, entitled The Order of Nature. ``````**Connect with SuperUnknown:**[Instagram](https://www.instagram.com/superunknown_podcast/)[Facebook](https://www.facebook.com/superunknownteevee)[Twitter](https://twitter.com/superunknown_tv)[YouTube](https://www.youtube.com/channel/UCFVFR6vQClS63Ikq66r0q-w)