Podcasts about mannes college

In the words of The New Yorker, Charles Neidich “is an artist  of  uncommon merit -- a master of his instrument and, beyond that, an  interpreter  who keeps listeners hanging on each phrase.”        Charles is the artistic  director of the Wa Concert Series at  the Tenri Cultural Institute in New  York, which he founded with his wife, clarinetist Ayako Oshima, in September 2017. This concert series is inspired by the  Japanese concept “wa”—  meaning circle, but also harmony and completeness; each  performance is  thus paired with visual arts and offers a variety of culinary delicacies prepared by Ayako Oshima. In recent seasons, Charles has added conducting to his musical accomplishments. He has led the Cobb Symphony Orchestra and Georgia Symphony in performances of the Franck Symphony in D Minor and Mozart's Clarinet Concerto (also playing the solo clarinet part). Charles commands a repertoire of over 200 solo works, including pieces commissioned or inspired by him, as well as his own transcriptions of vocal and instrumental works. With a growing discography to his credit, he can be heard on the Chandos, Sony Classical, Sony Vivarte, Deutsche Grammophon, Musicmasters, Pantheon, and Bridge labels. His recorded repertoire ranges from familiar works by Mozart, Beethoven, Weber, and Brahms, to lesser-known compositions by Danzi, Reicha, Rossini, and Hummel, as well as music by Elliott Carter, Gyorgy Kurtag, and other contemporary masters. Although Charles became quite active in music at an early age, he opted against attending a music conservatory in favor of academic studies at Yale University, where he graduated with a Bachelor of Arts, cum laude, in Anthropology. In 1975 he became the first American to receive a Fulbright grant for study in the former Soviet Union, and he attended the Moscow Conservatory for three years where his teachers were Boris Dikov and Kirill Vinogradov. Charles Neidich has achieved recognition as a teacher in addition to his activities as a performer, and currently is a member of the artist faculties of The Juilliard School, the Manhattan School of Music, the Mannes College of Music. During the 1994-95 academic year he was a Visiting Professor at the Sibelius Academy in Finland where he taught, performed and conducted. Mr. Neidich is a long-time member of the renowned chamber ensemble Orpheus.

In this episode of One Symphony, conductor Devin Patrick Hughes interviews internationally renowned pianist Quynh Nguyen (pronounced Quin Nwen), exploring her remarkable journey in music. Born in post-war Vietnam, Nguyen's path has been shaped by her family legacy, global influences, and dedication to her craft. From her early beginnings at the Hanoi Conservatory to her studies in Moscow, Paris, and the United States, Nguyen's story exemplifies perseverance and the power of music to transcend boundaries. The interview examines Nguyen's direct connections with French composer Olivier Messiaen and studying with his wife Yvonne Loriod, her respect for Germaine Tailleferre's resilience, and her collaboration with Paul Chihara on his Concerto Fantasy for Piano and Orchestra. Nguyen also explores music's capability to promote peace between nations in her touching final remarks.   Quynh Nguyen has performed throughout the United States, Europe, and Vietnam, in venues including Carnegie Hall, Lincoln Center, Smithsonian's Freer Gallery, Berlin Konzerthause, and the Opera House in Hanoi, Vietnam. Broadcast appearances include Voice of America, WQXR, WGBH, NHK Television in Japan, Vietnamese national television, and “Grand Piano,” on cable TV channels across the United States. Her discography includes recordings on Arabesque, Naxos's American Classics Series, and Music and Arts labels.   Dr. Nguyen is a graduate of The Juilliard School and Mannes College of Music and received her Doctor of Musical Arts degree from the Graduate Center of City University of New York. She is the recipient of several highly prestigious scholarships and awards, including the United States Presidential Academic Fitness Award, the American Prize, and the Fulbright Fellowship to France.   Thank you for joining us on One Symphony. Thanks to Quynh Nguyen for sharing her music and spirit. You can find more info at https://www.quynhpiano.com   All music selections feature Quynh Nguyen on Piano. The following albums were featured on One Symphony today: “Fleurs de France: No. 2, Coquelicot de Guyenne” and “Berceuse” composed by Germaine Tailleferre from the album The Flower of France available from Naxos.  From Vingt regards sur l'Enfant-Jesus I. No. 15. Le baiser de l'enfant-Jesus ("The kiss of the infant Jesus") composed by Olivier Messiaen from the album Quynh Nguyen: Live in Concert - New York available from Arabesque Records. Concerto Fantasy, composed by Paul Chihara and featuring Nguyen with the London Symphony Orchestra “Drinking Songs for Kittens,” “Like Rising Must,”  and “Kleine Toccata…” from the Twice Seven Haiku.  4 Reveries on Beethoven (2021 Version): No. 2, Pastorale.  All these selections are available on the album Chihara: Concerto-Fantasy for Piano and Orchestra, Bagetelles, Reveries & Ami on the Naxos label.   You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!   https://www.quynhpiano.com https://www.priceattractions.com/devin-patrick-hughes-conductor  

Head to SESAME to save 10% off the most amazing telehealth program ever with my code WITHAY for same day appts (almost always) for everything from Pediatrics, mental health, dermatology, weight loss and illness!! Especially and even if you have health insurance, Medicaid or Medicare!...Meredyth Approved!   Weaving together soaring, angelic vocals and the celestial sound of crystal singing bowls, Ashana is one of the premiere healing music artists of our time. In fact, Ashana's original sound pioneered an entirely new genre of healing music with crystal singing bowls. This exquisitely crafted, luminous sonic tapestry soothes and opens the heart, enfolding the listener in a transcendent experience of the Divine and a direct experience of the Soul. This stunningly beautiful alchemy has been hailed by listeners all over the world as “breathtaking” and “a Gift from Heaven.” Evolving from deep self-exploration, her style is truly eclectic. From her haunting rendition of the Lord's Prayer in the original Aramaic, to a Sufi chant, Latin verse, Gaelic song and Sanskrit mantra and improvised ambient sound, Ashana blends Western and ethnic instruments with the unique drone of the crystal singing bowls to create the ultimate transcendent music for healing, relaxation and meditation. With producer, Thomas Barquee (Snatam Kaur, Seal), Ashana has received wide-spread, international acclaim for her CD recordings All Is Forgiven, Jewels of Silence, Beloved, The Infinite Heart and The Illuminated Path. Her CD, River of Light was selected for the first round of Grammy Nominated albums in the 2014 World Music category. At work in the studio for the last few years, Ashana and Thomas are preparing to release several groundbreaking projects in the near future. An international artist and student of yoga and mantra for most of her life, Ashana has led two worldwide online group yoga meditation experiences, touching the lives of over 20,000 people in more than 50 countries across the globe. Ashana is passionate about nurturing the creative process to bring through just the right words, sound, melody, feeling and expression. Her musical calling came at an early age as a young girl growing up in the Bronx, in New York City. She began singing in churches and as time went on, synagogues, temples, sweat lodges and gurdwaras. Classically trained, she spent many years exploring a wide variety of musical genres including jazz, pop, gospel, musical theater and children's music. From ancient to contemporary she immersed herself, graduating with a degree in vocal studies from the prestigious Mannes College of Music in New York City. Contact Facebook 35K | Youtube 19.9K | Spotify 193K SHOP MUSIC CRYSTAL BOWLS ONLINE COURSES Here's the link to the Free Gift: https://soundofashana.lpages.co/podcast-glhgift Get full show notes, resources, and links on my website! Are you ready to go deeper? I am giving you the keys to the castle. If you enjoyed this podcast and want to hear more, make sure to subscribe so you'll never miss an episode! You can connect with me on Facebook, Instagram, TikTok or Youtube.  

Though Debra Kaye bills herself as a contemporary composer, it's surprising to listen to one of her new works and hear 13 minutes of jazz played by a quartet featuring a saxophone. If classical music can swing, this is the thing. "I like having at least a couple of items on the plate," says Kaye, who lives in Beacon and describes herself as a "hybrid" composer. "I'm a classical piano major who studied jazz, so I'm open to different influences and appreciate improvisation." Her most recent album, Time Is the Sea We Swim In, released in March on Navona Records, is a compendium of compositions (including that jazz track), most recorded in 2022. If saxophones and drum kits are rare in classical music, the shakuhachi is almost non-existent. Kaye's piece, "Three Zen Poems," combines the Japanese wind instrument with cello and viola. The new collection follows another release from 2023, Ikarus Among the Stars, which includes the title work and 10 others. "I experienced some creative moments during COVID and this is the result," she says. Kaye splits her time between Manhattan, where she attended and taught at Mannes College of Music, and Beacon, where she bought a house 10 years ago before the city "popped." Some of her contributions to the fertile local classical music scene include hosting an annual Composers Collaborative at the Howland Cultural Center (coming June 23) and premiering the composition "Time is the Sea We Swim In" for violin, cello and piano during a Howland Chamber Music Circle performance in 2020. Many of Kaye's pieces are programmatic and attempt to convey their titles' themes. One is called "Ukraine 2022," another, "Dialogue with a Ghost." In 2018, she commemorated the 25th anniversary of the Chamber Music Circle with "String Quartet No. 2 - The Howland." A recording of the premiere, performed by the Voxare Quartet, is included on the new album. According to the liner notes, the challenging modern work reflects "the founding, growth and the ongoing spirit that sustains it and which remains an enduring legacy." It begins with bows skittering across the strings, then segues into clashes of intensity and silence. In the second movement, titled "The beauty of the dream upon reflection," she quotes Tchaikovsky's first string quartet, completed in 1873, a year after the Howland building's completion. "The first violin takes up the melody and yields to a duet with the cello, symbolizing the founders' shared vision," she writes. A video, shot from the balcony during the recording, shows the players lean into the work as they balance melody and dissonance. On viola, Erik Peterson swayed in his seat, cellist Wendy Law bopped along with a plucked melodic part in the third movement and the performers smiled after nailing the hot-potato handoff between instruments leading to the final violin note. Kaye's movement for jazz quartet, "Colossus 1067," commissioned by a New Mexico artist, Gus Foster, is named for a massive wooden roller coaster and the three rotational degrees of a panoramic camera he used to film one of the last rides before its dismantling in 2014. In her notes, Kaye writes about blending "pattern and serendipity. Each instrument has its role, but changes it up from time to time. Piano, bass and drums portray the clatter of the coaster and the machinery of its gears." Though tenor sax takes center stage, the piano dissolves into classical-esque glissandos as the rhythm section lopes along with a thrill ride's twists and turns. The herky-jerky score reflects physical chaos as individual instruments fade in and out. "I'm not the most envelope-pushing hybrid composer out there," says Kaye. "But I seek an individual expression that is authentic, meaningful and visceral. I want to have flow, in whatever way that means." Debra Kaye's albums can be streamed or purchased from major services or through debrakayecomposer.com.

In episode 91, hear how former opera singer Suzanne Vinnik designs bold, inclusive fashions that make women “feel seen” and encourage them to take up space for who they are. Knowing first hand what it is like to be exploited working in the arts, Suzanne runs her business differently. Her secret to success both on and off the stage is prioritizing community and personal relationships and paying everyone she works with living wages. Suzanne Vinnik, a distinguished figure in both classical music and the fashion world, boasts a richly diverse career path. Originally traveling the world as an opera singer, Suzanne performed at renowned venues such as Carnegie Hall, Lincoln Center, and notable opera houses across Europe, Russia, Norway and the United States. As a leading soprano, some of her favorite operas included "Manon Lescaut," Nedda in "Pagliacci," Mimi and Musetta"La bohème," and Violetta "La traviata," captivating audiences with her emotive performances. Parallel to her operatic endeavors, Suzanne embarked on entrepreneurial ventures, founding Shoperatic, a pioneering social media network and marketplace tailored for women in classical music. This platform served as a hub for artists to connect, collaborate, and showcase their talents, solidifying Suzanne's reputation as an innovator within the industry. Users could buy, rent, sell and promote their outside skills. Driven by her passion for fashion and a commitment to inclusivity, Suzanne transitioned seamlessly into the realm of design, launching "byVINNIK," a luxury womenswear brand celebrated for its size-inclusive ethos and ethically manufactured garments. Based in the heart of Los Angeles, Suzanne's designs have graced the frames of Classical Music luminaries, Broadway stars, and prominent figures in television and film. The impact of Suzanne's creations extends beyond the realm of entertainment, with her designs featured prominently on platforms like Disney+, Netflix, and HBOMax's acclaimed series "The White Lotus," on Jennifer Coolidge earning recognition with an Emmy nomination for Outstanding Contemporary Costumes. Her work frequently adorns red carpets, editorial spreads, and stages worldwide, embodying a fusion of sophistication, elegance, and inclusivity. Suzanne holds a Bachelor of Music in Vocal Performance from Texas Christian University, supplemented by studies at prestigious institutions such as Mannes College of Music and Otis College of Design. She further honed her craft at the Opera Studio of Accademia Nazionale di Santa Cecilia in Rome, mentored by the late Renata Scotto, and as an Administration Fellow at The Dallas Opera's Hart Institute for Women Conductors. Beyond her artistic pursuits, Suzanne is a passionate advocate for entrepreneurship, ethical manufacturing practices, and classical music education. Her expertise as a textile connoisseur, style forecaster, and classical music aficionado has positioned her as a sought-after keynote speaker at conferences, and universities, and as an expert for popular TV Shows like Today Show and Access Hollywood. Through her inspiring journey from opera singer to fashion designer, Suzanne empowers women of all backgrounds to embrace their confidence and individuality, embodying the transformative power of artistic expression. In this episode, you'll learn: Why Suzanne left a worldwide career in opera to start a fashion brand The transformative power of owning your boldness and dressing accordingly How Suzanne created a loyal community before she even started her brand How the personal relationships she's built with her clients influences her design decisions Why ethical production and paying fair wages are so important to Suzanne The people on Suzanne's team and what they each do in the business How By Vinnik's production model has changed and why How Suzanne prioritizes her day to not burn out even though she's “bad at boundaries” What Suzanne has learned the hard way about the fashion industry Why Suzanne designs a lot of outerwear for her collection People and resources mentioned in this episode: By Vinnik website By Vinnik Instagram Do you want fashion business tips and resources like this sent straight to your inbox? Sign up for the How Fitting newsletter to receive new podcast episodes plus daily content on creating fashion that fits your customer, lifestyle, and values.

"God gives us something better than answers, God gives us people." - Erin Sanzero, our guest today, on the path of falling upward during the first half of life.  In this episode, we're joined by Erin Sanzero as we continue our chapter-by-chapter exploration of Falling Upward with Chapter 3: "The First Half of Life." Erin, alongside CAC staff Mike and Paul, explore the complexities of the first half of life and the wisdom unveiled during the transition to the second half of life. Together, they reflect on how to embrace the "messy middle", found in-between the first and second half of life, how to forgive the past and engage in spiritual practices along the path of spiritual transformation. Before we dive in to the interview, Mike and Paul catch up with Richard at his hermitage to hear his reflections on the third chapter a decade after he originally wrote it. Erin Sanzero (she/her) is a "geriatric millennial." She's been a brick-and-mortar business owner, digital entrepreneur, musician, teacher, musical director, opera singer, banjo player, and weightlifter. A passionate believer in the arts, Erin holds a bachelor's in music from Manhattan School of Music and master's in music from Mannes College of Music in New York. Currently pursuing her master's of divinity from Duke University School and seeking ordination in the Presbyterian Church (USA), she is the Director of Sunday Express at Fairfax Presbyterian Church in Fairfax, Virginia. Erin is a 2023 alumna of the Center for Action and Contemplation's Living School. Resources: A PDF of the transcript for this episode is available here. Grab a copy of the newly revised version of Falling Upward, with a new foreword by Brené Brown here. To read Erin's Oneing Article "Midlife Musings", check it out on our website.

Ga Ga Ti Ga, Ga Ga Ga Ti Ga... John talked about the Samba sing-a-long, studying in India, and Brazil, recording vibes and various percussion instruments, the importance of cultural context in music, and bringing your A-game to every studio session! Get access to FREE mixing mini-course: https://MixMasterBundle.com My guest today is John Arrucci, an acclaimed master artist in Classical, Jazz, North Indian, Afro-Cuban, Afro-Brazilian and other indigenous traditions and someone I first met when he moved to Nashville to build his studio. Having composed, performed, and instructed for over 40 years, John has studied on three continents and received numerous honors.  His work as drummer and percussionist is featured on scores for feature films, television, commercial spots and recordings including on Sony, Polygram, Mercury, Chesky, Koch Jazz, Chiaroscuro, Rykodisc and other labels. He has performed and/or recorded with Michael Brecker, John Patittucci, Mariah Carey, David Byrne, Philip Glass Ensemble, and for Dalai Lama, Bishop Desmond Tutu and many other dignitaries and has performed at notable venues such as Carnegie Hall, David Geffen Hall, Jazz at Lincoln Center, Town Hall, Merkin Hall and United Nations. His percussion can be found on programs including Patriot, Late Show with Stephen Colbert, Oprah Winfrey and Rosie O'Donnell.  As a composer, John has received numerous commissions, grants and awards from members of The New York Philharmonic, The Manhattan Marimba Quartet, The Mannes College of Music and many others. His acclaimed 2011 release “Metaphors” features 9 of his compositions and performances on Drum Set, Vibes, Marimba and Percussion. John taught for over 20 years at Princeton University, the City University of New York, and many other prominent institutions including an Eastman School of Music where he graduated with distinction. The Smithsonian Institution awarded him a Post-Doctoral level research fellowship to study Tabla in Benares, India with Pandit Sharda Sahai. He has also studied music in Brazil, and Shekere and Agbe with the renowned Chief James Hawthorne Bey, and Conga and Afro-Cuban drumming with Frank Malabe and Tabla with Robert Becker. He has basically done a tremendous amount of music and finally landed in Nashville, Tennessee making himself available for in-studio and remote recording, live performances, touring, commissions and Master Classes, one of which I recently took to learn Samba drumming which was amazing! THANKS TO OUR SPONSORS! http://UltimateMixingMasterclass.com https://gracedesign.com/ https://www.native-instruments.com use code ROCK10 to get 10% off! https://lewitt.link/rockstars https://iZotope.com use code ROCK10 to get 10% off! https://www.adam-audio.com https://RecordingStudioRockstars.com/Academy  https://www.thetoyboxstudio.com/ Listen to this guest's discography on Spotify: https://open.spotify.com/playlist/79yhhF3Yr5dp4a9iMhkqBn?si=6869fa6d30e44433 If you love the podcast, then please leave a review: https://RSRockstars.com/Review CLICK HERE FOR COMPLETE SHOW NOTES AT: https://RSRockstars.com/442

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview John Sebastian Vera and Nick Schwartz, trombonists and podcast hosts of The Trombone Retreat.  After you listen to this episode, head on over to The Trombone Retreat feed for the second half of this episode.  You can come see us at Booth #271 at the TMEA Convention, February 8th thru 10th, 2024 in San Antonio Texas.   About John Sebastian Vera John Sebastian Vera, a native of Texas, became the principal trombonist of the Pittsburgh Opera in 2010 and also joined the River City Brass as principal Trombone in 2015. He is also professor of trombone at Duquesne University and faculty member at the Cleveland Institute of Music where he teaches a course on Music Entrepreneurship and Digital Media as well as coach chamber music. In addition to the Pittsburgh Opera, Mr. Vera has played with the symphonies of Dallas, Detroit, Pittsburgh, Cleveland, the St. Paul Chamber Orchestra, Buffalo, Kennedy Center Opera House, Malaysian Philharmonic, New York City Ballet, Vermont, Harrisburg, Charleston, American Ballet Theatre, and Orquesta Sinaloa de las Artes in Mexico amongst others.  He began his studies with Jon Bohls in Texas and continued his education at Southern Methodist University where he studied with John Kitzman of the Dallas Symphony. He then spent a year studying with Ed Zadrozny as a graduate assistant at the University of Akron, and finished his graduate work in New York City at the Mannes College of Music studying with David Finlayson and James Markey of the New York Philharmonic.     In 2011, he spent the summer in Haiti volunteer teaching and performing in the Orchestre Philharmonique Sainte Trinite as well as the Ecole de Musique Dessaix Baptiste which became one of the more profound experiences of his life.   A dedicated chamber musician, he also was a founding member of the critically acclaimed Guidonian Hand Trombone Quartet in which he played from 2008-2014. With the quartet, John performed over 100 concerts and gave master classes all over the country. Heralded by the New York Times for their "expertly played performances" they have been recipients of numerous national grants which have enabled them to commission countless composers to create new and innovative works for four trombones.  In 2014 was the premiere of River of Fundament, a movie by film artist Matthew Barney, in which John recorded for and acted in along with the quartet.  Mr. Vera can also be heard on the HBO documentary The Words that Built America as well as on euphonium in the PBS documentary Abraham and Mary Lincoln, A House Divided as well as many commercial and video game soundtracks as well as James Markey's solo release, “On Base”. John is an Artist for Edwards Instruments and resides in Pittsburgh.  His favorite musicians include Sigur Ros, Radiohead, the Books, and Efterklang. When he can get away from the trombone he most enjoys basketball, traveling and reading about psychology and social science.  Check out his podcast he hosts with Nick Schwartz called the Trombone Retreat available everywhere you download your podcasts. Follow him on Instagram @js.vera.   About Nicholas Schwartz Nicholas Schwartz has a diverse career performing across North America, Europe, and Asia. After studying at The Juilliard School with then New York Philharmonic bass trombonist Don Harwood, he moved to San Francisco where he began freelancing throughout the Bay Area.  Since 2010, he has been the principal bass trombonist of the New York City Ballet Orchestra. He has also performed with the Pittsburgh Symphony, the New York Philharmonic, The Metropolitan Opera, The Philadelphia Orchestra, San Francisco Symphony, San Francisco Ballet, Orpheus Chamber Orchestra, St. Lukes Chamber Orchestra, the New York City Opera,  Atlanta Symphony, Minnesota Orchestra, The Malaysia Philharmonic, Mostly Mozart Festival, and Classical Tahoe.  Follow him on instagram @basstrombone444   About Third Coast Retreat The Third Coast Trombone Retreat is an 7-day trombone immersion welcoming talented college, high school, and amateur trombonists from across the country to the beautiful shores of Lake Michigan.   The Retreat takes place in the charming small town of Montague, MI. Truly an escape from the distractions of everyday life, the festival is nestled in a dense forest along the coast where happening across roaming deer is a common occurrence. The Retreat utilizes facilities all over the town from churches to coffee houses to historic barns to the beach.  We will perform not only for ourselves, but for the community. A fulfilling life of being a musician does not simply begin and end with winning an orchestral or teaching position. Mastering the instrument is only the first step.  Being an artist in the 21st century requires discovering one's unique voice and finding new ways to present the art-form to communicate and contribute to society.   Core to the retreat will be guest artist and faculty recitals, topical master classes including personal finance, performance anxiety and wellness as well as private lessons, orchestral section seminar, ensemble coachings, a trombone choir, a mock orchestral audition, and much more. In addition to the performance elements, the curriculum is expanded to include a talks about career-building, faculty bonfire Q&A, discussions on the mental approach to auditions and performances, wellness, meditation, and more.    

According to Britannica, a musical composition is the art of conceiving and creating music. I love to sing, and I very much enjoy listening to music. That part I get, but to compose music, to pick out the notes, the instruments… I'm completely at a loss. Fortunately, we have three women composers with us today who will explain what it means to be a female composer in today's music world.For this BCR program, we spoke with Svjetlana Bukvich, best known for her blending of classical music, media and electronic music. Sarajevo-born and NYC-based -- Svjetlana is widely regarded as an innovative, dynamic, multimedia American composers. Her music has been heard at The Kennedy Center, the Tribeca Film Festival, Brooklyn's Bargemusic, Rose Studio at Lincoln Center – and many other venues.Beth Anderson Harold is a composer of new romantic music, text-sound works, and music theatre events. Her early work was considered post-Cagian and non-academic. Beth studied with John Cage, Terry Riley, Robert Ashley and Larry Austin at Mills College and U.C. Davis. You can catch her beautiful compositions at New World Records and many other places on the web.Gramophone described Debra Kaye as “an eclectic unfolding of creativity.” Debra has won 6 Global Music Awards and received grants from Mannes College, Meet the Composer, and Edward T. Cone Foundation; and commissions from the Howland Chamber Music Circle and Portland Youth Philharmonic; Ms Kay's works have premiered at Carnegie Hall's Weill Recital Hall, in collaboration with the Lincoln Trio and Daedalus Quartet. Rebecca McKean Hosted on Acast. See acast.com/privacy for more information.

Welcome back to Part 2 of The Piano Pod's Season 4 Episode 1 with Dr. Michael Kaykov, a celebrated American pianist, recording maestro, and educator. If you missed our intriguing chat in Part 1, where we delved into the mysteries of Scriabin's Synesthesia and the life of an independent artist post-prestigious training, catch up on your go-to podcast platform or tap HERE.

Here is the trailer for The Piano Pod's upcoming episode with Concert Pianist, Recording Artist, and Educator, Dr. Michael Kaykov. The entire episode will be available on Sept 5, 2023, at 8:00pm ET as a video format on YouTube.The audio episode will be divided into two segments, with Part 1 launching simultaneously on your preferred podcast platform during the video premiere. Our conversation began with his extensive research on Alexander Scriabin, delving into his admiration for Franz Liszt. We also discussed practical topics like self-funding and career management for independent artists, leading to deeper philosophical discussions about classical music's role in society, innovative ways to connect with audiences, and more.

Synopsis It was on today's date in 2003 that a new violin concerto by composer Shulamit Ran premiered at Carnegie Hall – but it would be just as appropriate for us to run this episode of Composer's Datebook on Mother's Day – as Ran herself explains:“Thoughts of my mother, Berta Ran, whose strength of spirit has been a profoundly significant guiding light throughout my life, have embedded themselves in various parts of this work. At the closing of the concerto, echoes of a familiar melody, one my mother sang to me in childhood with words of her own creation, appear, gently fading away.”Shulamit Ran born in Tel Aviv in 1949 and moved to New York City at age 14 on a scholarship to Mannes College of Music. From 1973 to 2015, she taught at the University of Chicago, and served as composer-in-residence with the Chicago Symphony. In 1991 she won the Pulitzer Prize for Music. Commenting on winning the prestigious award, Ran admitted to being a little surprised:  “I feel I've always been out of step,” she said. “At times … I was not considered avant-garde enough. Now, considering the current trend of accessibility, some think I'm too forbidding.” Music Played in Today's Program Shulamit Ran (b. 1949) Violin Concerto Ittai Shapira, vln; BBC Concert Orchestra; Charles Hazlewood, conductor. Albany TROY-970

The Angelic Sound of Healing, Relaxation and Spiritual Awakening with Ashana. This episode is being brought to you by Forecast Salon located in Homewood Alabama. Forecast is a hair salon on a mission to shape a movement in the beauty industry focusing on education, fashion, and creativity. Forecast strives to train stylists with the latest in education to provide their guests with the latest trends. Follow them on Instagram @forecastsalon or find them online at https://www.forecastsalon.com/ As this podcast goes to air we just moved through a powerful full moon in Virgo.  The last full moon of Winter. A time of deep cleansing and preparation for the season ahead.  We have very powerful transits with Saturn in Pisces, Mercury in Pisces, Neptune in Pisces, and soon Jupiter in Pisces. This energy will bring personal opportunities to reorganize and restructure many parts of your lives. Saturn rules structure and order. It also rules karma. So all the more reason to clean up the old energy so that you can break free to choose what you want to do with your time, energy, and resources. Your choices create a ripple effect all around. There is so much direct motion, allowing you to propel yourself forward and direct on your path. Are you ready for Spring? It is a time to shed layers of old, conditioned patterns that tell you you are not good enough, perfect enough, or worthy enough... These are energy drains. This time period right now offers you chance to free yourself from the weight of perfectionism and transform every mistake into a powerful lesson poised to help you evolve. Old habits, saying yes to everything, and people pleasing are also forms of energy drains. It's a way that you self-sabotage, and allow fear to come in, even when you really want to make changes.  We all do it. We create these energy drains. We give our power away and then we wonder what happened! Does this sound like you? If so,  you are just the person for my next Masterclass where I will be talking about these energy drains ... the saboteur, the people pleaser, the martyr, attracting narcissistic people into your life.. and what you can do to stop the drains and Monetize your Energy for your dreams to come forward. Learning tools and techniques on how to hold energetic boundaries will shift your energy. You will begin to notice how you can stand up for yourself, say no and feel good about it, and pull your energy into yourself instead of giving, giving, giving it all out. This Masterclass will be an intimate group of people: sensitive, empathic, intuitives willing to open up and make some shifts. Click on this link to get the Masterclass information and sign up. Shout out to Mercedes Lokich for reaching out about her experience with listening to last week's episode with Sterling Moon.  Thank you Mercedes and glad you loved the episode.   I would love to hear from you about the comments!   My guest today, Ashana, is passionate about nurturing the creative process to bring through just the right words, sound, melody, feeling and expression. Her musical calling came at an early age as a young girl growing up in the Bronx, in New York City. She began singing in churches and as time went on, synagogues, temples, sweat lodges and at sacred sites. Classically trained, she spent many years exploring a wide variety of musical genres including jazz, pop, gospel, musical theater and children's music. From ancient to contemporary she immersed herself in early music, graduating with a degree in vocal studies from the prestigious Mannes College of Music in New York City. She discovered yoga, chanting and mantra in the early 1980's, and has been a devoted student of Sanskrit mantra and meditation practices. For over twenty years, she has been on a deeply personal journey, studying and exploring sound healing and the voice. During this period she began working with quartz crystal singing bowls, instruments that are often used in contemplative practices to support healing, balance and well-being. Bringing these extraordinary sounds into music and the lives of others was, Ashana reflects, “my destiny.”  Performer, recording artist, sound healer and teacher, Ashana tours the world with her concerts, workshops, retreats and crystalline sound healing. She makes her home near Sedona, AZ with her husband, Native Hawaiian Healer, James Kawainui, and her magnificent family of crystal singing bowls. Her book, Crystal Singing Bowls - The Angelic Sound of Healing, Relaxation, and Spiritual Awakening is now available on Amazon and is the subject of our show today. Find more information on Ashana: Facebook. Instagram. Website. YouTube. Music. I am actually a little star stuck, to be quite honest. I have been listening to Ashana's music for years! In this interview we talk about sound, music, all things  crystal bowls, how to choose them, playing them, the healing they create, the benefits, chakras, and the amazing power of intention that you can create through crystal sound healing. We mention ... Dr. John Beaulieu - website - Tuning forks and sound healer Hildegard of Bingen - herbalist, musician, composer As Ashana says in her book… "Imagine… picking up a shimmering bowl of light, infused with precious gemstones, minerals, and metals. You gently draw the mallet around the rim, and your body is filled with an exquisite vibration of crystalline sound. Every cell in your body begins to sing. Your mind becomes quiet and still. Your heart begins to open. You remember who you truly are. " If you play the bowls, want to play the bowls, or just curious about sound and healing, be sure to get Ashana's book and definitely download her music.  So.. so healing. We are in a time of transition.  Finding ways to help your Spirit along this human path, is vital. Join me in my next Masterclass.  And if you are ready for some guidance on how to create a healing practice for you, schedule a complimentary call with me. Thanks again for listening. To your Spirit, Terri PS.. Link to the Masterclass PSS .. Link to Reiki 2 Certification Class.

Ivan Hampden Jr. , Founder and President/CEO of Hamptown Music Institute, was born and raised in New York City, and grew up in Harlem's musically diverse neighborhoods to the rhythms of R&B, Salsa, Caribbean, Jazz, Blues, Pop, Funk and whatever else trickled in. This saturation of music inspired Hampden to start playing the drums at the age of eight, with the local Catholic school marching band. By age 13, he was playing in local clubs in and around New York City, with Blues musicians who helped instill in him a sense of timing and groove. The musical diversity of his early youth set the foundation for Hampden's future work with percussion and keyboards. Hampden started his formal training in 1973, studying at the Jazz Mobile with Charlie Percep, and at Mannes College of Music with Norman Grossman. He went on to attend Bronx Community College in 1977, where he received private lessons at the Metropolitan Opera with Richard Horowitz. During his first semester at Bronx Community College, a friend told him about the Dance Theatre of Harlem. Hampden had to be involved and joined the orchestra—a position he still holds today. While at the Dance Theatre of Harlem, Hampden was also a drum and percussion instructor at the Harlem School of the Arts, and at Seton Hall University in the Black Music Department. But his talent reached far beyond Harlem. Hampden has touched and enhanced the New York theater community as well, performing for various shows on Broadway, The Alvin Ailey Dance Theater, and many more.. Not only an accomplished drummer and percussionist, Hampden is also a producer and songwriter who collaborates with such artists as Luther Vandross, Nick Ashford, Chaka Khan, Eartha Kitt, and many others. Along with being Luther Vandross' drummer and co-writing partner for 17 years (which earned him recognition four(4)times from the Grammy Awards as a Musician, Arranger and Programmer on a number of Vandross's platinum recordings) until the time of the consummate musician's death , Hampden currently records and tours with other notable artists such as Stephanie Mills, Ashford & Simpson, Roberta Flack, Phil Perry, Vanessa Williams and Jennifer Lopez. In 2001, Hampden relocated to the south, where he continues to write and produce in between touring around the country and world. In fall 2007, Hampden signed on as an adjunct professor at North Carolina Central University in Durham, North Carolina, teaching recording production I and II, and audio postproduction. In the Fall of 2010, Ivan also accepted an offer to teach Drums and Percussion at Johnston Community College. After 10 years of teaching as a music educator in North Carolina, He is now Founder and CEO of The Hamptown Music Institute in Clayton, North Carolina, where his mission is to “Develop the next generation of music industry professionals and Artists.” While continuing to be in demand as a music Producer, Ivan is also working with new local talent around the country. Live Performance credits: Bonnie Raitt, Al Jarreau, Dionne Warwick, Maceo Parker, El Debarge, Kenny Lattimore, Aretha Franklin, Stevie Wonder, Michael MacDonald, India.Arie and Joe—the list goes on and on. New and accomplished talent alike seems to gravitate toward Hampden. Recording Credits: Hampden's recording resume includes such artists as Diana Ross, Akiko Yano, Ann Nesby, Doc Powell, Jocelyn Brown, Mavis Staples, The Temptations, Nestor Torres, Marcus Miller, Cathy Dennis, Howard Hewett, Luther Vandross, Beyonce Knowles, Ashford & Simpson, Sy Coleman, Tramaine Hawkins and Roberta Flack, just to name a few.Listen and subscribe to the BAAS Entertainment Podcast on Spotify, Amazon Music, Apple Podcasts, Google Podcasts, Deezer, iHeartRadio, Pandora, Podchaser, Pocket Casts and TuneIn. “Hey, Alexa. Play the BAAS Entertainment Podcast.”

Dorothy Lawson is a Canadian-born cellist. She completed degrees at the University of Toronto, the Vienna Academy and earned MM and DMA degrees from The Juilliard School. Dorothy is an Artistic Director who composed, performed and recorded, nationally and internationally, for 25 years. She is a founding member of ETHEL, the widely acclaimed, GRAMMY®-winning New Music string quartet. Her achievements include, touring and recording with Kurt Elling, performing with Ron Carter as a regular member of his Nonet for 20 years, building three multimedia shows for the Brooklyn Academy of Music, a ten-year, ongoing residency at the Metropolitan Museum of Art, and an ongoing artist residency at Denison University, in Ohio. She teaches in the Preparatory Division of Mannes College at the New School in New York City.

Today on the show I got to sit down with my college euphonium teacher, Professor Michael Salzman. As a recently retired music coordinator of the Syosset School District, Professor Salzman was responsible for overseeing and coordinating the work of other music teachers. He shed some light on how to facilitate your staff in order to support and nurture vs. correct and reprimand. We also discussed the nuances of going from a colleague to a boss. We then spoke about some of the challenges he's faced working with college music education and performance majors. Salzman values the importance of being a great performer because whether it's on stage as a tuba player or in front of a classroom with students, "you'll be performing everyday"! This can be tricky because often times there is so much turmoil in college students life such as homesickness, depression or anxiety. Professor Salzman went on to talk about the influence of his past teachers and credits them with shaping his own career and teaching style. He made some great analogies! So much so that I had to ask him if making great analogies was something he picked up from his past teachers.   Michael Salzman has served on the music faculty of Hofstra University since 1993. At Hofstra he teaches tuba and euphonium, directs the Brass Ensemble and Tuba/Euphonium Ensemble, and teaches in the Music Education Program. For 33 years he has taught music at every grade level from Pre-K through college and has recently retired as the Coordinator of Performing Arts for Syosset Schools. Passionate about the benefits of music education in the lives of children, Salzman has been active in professional associations throughout his career. He is a Past President of NYSSMA, the New York State School Music Association, having served as President of this association of more than 5000 members in 2018-2019. The theme of his presidency was “Making the Magic of Music Education Accessible to All” and during his term he advocated throughout the state of New York for the right of every child to have access to a high quality Music Education. Salzman earned Music Performance degrees at Indiana University and the Mannes College of Music.  His principal teachers were Harvey Phillips, Sam Pilafian, Warren Deck and Bill Barber.  He is well known and regarded in the New York City area as a tuba player. He is a former Principal Tuba player of the Long Island Philharmonic and a founding member of the Cosmopolitan Brass Quintet.  He is the Regional Coordinator of the TubaChristmas concerts held every year at Rockefeller Center. His first solo album, Salztuba was released in 2020 to critical acclaim.  For more information, visit www.salztuba.com.   - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Don't forget to subscribe to the show! If you'd be so kind as to leave a rating and review, that would help tremendously!   - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Book Kevin to speak at your school or event!   Learn more about Kevin's speaking programs here! Download the 3 part video series to learn all about Kevin's decision making framework for students.   Follow Kevin on social! Facebook Instagram Linked In Tiktok Twitter

Not only is Chuck Kentis a great keyboardist, songwriter, composer and producer — he has also successfully raised artistic geniuses in his children. He comes back to join the show and share what it's like being a parent helping develop traits to fuel a kid's interests, encouraging creativity and discipline, and adapting lessons from his open-minded parents that allowed him to follow a passion that many deemed an unprofitable hobby.  Join me in this episode of Someone Gets Me — A Gifted Father Raising Gifted Sons With Chuck Kentis. ▶️ Key point covered in this episode:  ✔️ Chuck is fortunate to have a long and successful career that he truly loved and never considered work. Since joining his first high school band at age 15 and reaching the major success he is today, he shares, "It's such a blessing if you can actually do something that you want to do."  ✔️ Chuck shares how his parents were judged by their brothers and sisters for allowing him to play bars and clubs. "My parents had to defy that and say, 'No, this is what we want for him.' It was so encouraging for me, and they never said: 'you can't do this' or 'you've got to get a real job' or something like that. I always felt encouraged, and that's what I give my own children." ✔️ Despite being on the road on tours for long periods, Chuck was able to help kids Avery and Noah follow their creative pursuits with the support of his wife. There's no guarantee for many parents as their children have a career in acting, theater, arts, and stuff like that. Chuck shares, "but if the child doesn't have the opportunity to do that, they'll look back and say, "What if, what if, what if?"  ✔️ Take away the fear of "what if you can't?" and see where it goes. Chuck advises parents to understand what their children's interests are and study how they can be of support to them.  ✔️ Safety (for your kids) means they can screw up, and they will still be loved. A safe container for your children allows them to make mistakes and learn from their failures. This is the best way to make space for kids to be themselves.    Chuck Kentis was born in Passaic, NJ, in 1956. At five years old, he played the piano and then percussion and trombone in grade school. He started on the flute and music composition through high school. He took classes at Jersey City State College then Mannes College of Music for theory and composition in his senior year.  Chuck started the first high school rock band as a freshman, then at age 15, began playing bars and clubs in rock bands throughout NJ, NY, CONN, RI, and MASS. He wound up in a glam-rock band in the early 70s, sharing stages with New York Dolls and Twisted Sister (the original singer and drummer). Playing the New York rock circuit in the late 70s, he got hooked up with a good group of musicians. He began to pick up national and international tours with artists such as Nona Hendryx, Julian Lennon, Power Station, John Waite, Richard Marx, Paul Young, ABC, Micheal Bolton, and Rod Stewart, with whom he has worked with for thirty years. Chuck composed for many music production companies such as Killer Tracks, Mega Trax, and Extreme Music. His music can also be heard in many commercials for the TV advertising company Face The Music. In addition, he scored promos for Showtime. Chuck has also been composing video game music for Disney, producing records and scoring films with partner David Palmer for the past several years.  Follow Chuck on his website: https://www.chuckkentis.com/. ———————————————————————————————— How to Connect with Dianne A. Allen You have a vision inside to create something bigger than you. What you need is a community and a mentor. The Someone Gets Me Experience could be that perfect solution to bringing your heart's desire into reality. You will grow, transform and connect. https://msdianneallen.com/someone-gets-me-experience/ Join our Facebook Group Someone Gets Me: https://www.facebook.com/groups/someonegetsme. Follow Dianne's Facebook Page: Dianne A. Allen: https://www.facebook.com/msdianneallen. Email contact: dianne@visionsapplied.com Dianne's Mentoring Services: https://msdianneallen.com Website: https://www.visionsapplied.com Be sure to take a second and subscribe to the show and share it with anyone you think will benefit. Until next time, remember the world needs your unique gift, let your light shine.

RAMI BAR-NIV is one of Israel's most acclaimed and sought after pianists. He travels extensively and has become an international citizen, concertizing all over the world. Born in Tel-Aviv, he graduated with honors from the Ron Conservatory and the Rubin Academy of Music, and was the recipient of many prizes and scholarships. He won the America-Israel Cultural Foundation Competition and was awarded a scholarship to further his studies in the United States. After graduating from Mannes College of Music in New York, where he studied with the renowned Mme. Nadia Reisenberg, he won numerous competitions and embarked on a highly successful concert career. He performs regularly in North, Central and South America, Europe, Africa, Asia, Australia, New Zealand and of course Israel, where he received the "Best Performer Award" from the Israeli government. He appears on TV and radio, in chamber ensembles, solo recitals, and as soloist with orchestras. He is always received with great enthusiasm. Often sent abroad by the Foreign Ministry to represent Israel in concerts, he has become an ambassador of goodwill for Israel. Rami Bar-Niv made history by being the first, and so far the only, Israeli artist to perform in Egypt following the Begin/Sadat Peace Treaty. Rami's recordings for CBS and other labels in Israel and abroad have met with praise and popularity. His recordings and videos have been very successful on the Internet and he has often been at the top of the charts. His compositions are published, recorded and performed all over the world. Rami Bar-Niv offers music of great variety and contrast in style, and is an extremely versatile performer. Rami's master classes, workshops, and private teaching are loved worldwide and he is constantly invited to teach in five continents while on concert tours. http://www.youtube.com/user/barniv http://www.ybarniv.com/rami http://en.wikipedia.org/wiki/Rami_Bar-Niv  THE NEW YORK TIMES wrote of Rami: "Effective and Flamboyant" THE BOSTON GLOBE wrote of Rami: "An original major talent"http://www.ybarniv.com/ramihttp://www.youtube.com/user/barniv   http://en.wikipedia.org/wiki/Rami_Bar-Nivhttp://rami.ybarniv.com/?page_id=198  http://rami.ybarniv.com/?page_id=71  http://rami.ybarniv.com/?page_id=1275Top 5 Songs of Encouragement1) Dvorak Symphony No. 9  in E minor Op. 95 "New World"https://www.youtube.com/watch?v=_9RT2nHD6CQ&t=2372s2) Dvorak Concerto in B minor Op. 104https://www.youtube.com/watch?v=nJSlmoXpzfM&t=1810s3) Tchaikovsky, Symphony Nos. 4, 5, 6https://www.youtube.com/watch?v=urj66hSbIiA&t=22s4) Grieg Piano Concerto in A minor, Op. 16, Arthur Rubinsteinhttps://www.youtube.com/watch?v=I1Yoyz6_Los&t=109s5) Mendelssohn: Violin Concerto in E minor, Op. 64:1, Jascha Heifetzhttps://www.youtube.com/watch?v=N0tqdhbnpn8Keep this podcast Ad Free by going to https://www.buymeacoffee.com/Encouragement today to make a one-time donation or become a monthly member.Support the show

  American session keyboardist, songwriter, composer and producer Chuck Kentis shares his colorful career and the wisdom he has earned from a life celebrating and making music.    Join me in this episode of Someone Gets Me — The Diverse Life of a Musician with Chuck Kentis: ▶️https://youtu.be/bwPrmphF1Jo.   Key points covered in this episode:    ✔️Chuck Kentis started playing the piano at age five and has since achieved diversity in his musical genius, growing and evolving by saying yes to different opportunities throughout his lifetime. He finds his inspiration from observing things and people around him and expressing himself in what he knows and loves best — music.   ✔️As an introvert, Chuck shares that he gains confidence from portraying a character while performing on the stage. He tells how it is essential to find people who support you and your craft and bravely stand for the ideas you want to share with the world throughout a musical career.   ✔️Chuck remembers December 31, 1994, as one of his unforgettable performances with British rock and pop icon Rod Stewart. The Guinness Book of World Records recognized it as the largest free concert with 3.5 Million people in the audience!   ✔️Being in the music business for over 40 years, Chuck has been a session keyboardist for numerous artists, a touring musician, a composer for many music production companies and recently, making video game music for Disney, producing records and scoring films and more.   ✔️ In a profession that always requires creating your best, it can become personal for an artist when people reject their work. "You feel like they're rejecting you, especially when they ask for 10-15 changes. You've got to have tough skin in this business."   Chuck Kentis was born in Passaic, NJ, in 1956. At five years old, he played the piano and then percussion and trombone in grade school. He started on the flute and music composition through high school. He took classes at Jersey City State College then Mannes College of Music for theory and composition in his senior year.    Chuck started the first high school rock band as a freshman, then at age 15, began playing bars and clubs in rock bands throughout NJ, NY, CONN, RI, and MASS.   He wound up in a glam-rock band in the early 70s, sharing stages with New York Dolls and Twisted Sister (the original singer and drummer). Playing the New York rock circuit in the late 70s, he got hooked up with a good group of musicians. He began to pick up national and international tours with artists such as Nona Hendryx, Julian Lennon, Power Station, John Waite, Richard Marx, Paul Young, ABC, Micheal Bolton, and Rod Stewart, with whom he has worked with for thirty years.   Chuck composed for many music production companies such as Killer Tracks, Mega Trax, and Extreme Music. His music can also be heard in many commercials for the TV advertising company Face The Music. In addition, he scored promos for Showtime. Chuck has also been composing video game music for Disney, producing records and scoring films with partner David Palmer for the past several years.    Follow Chuck on his website: https://www.chuckkentis.com/. __________________________________________________________________________________   How to Connect with Dianne A. Allen You have a vision inside to create something bigger than you. What you need is a community and a mentor. The Someone Gets Me Experience could be that perfect solution to bringing your heart's desire into reality. You will grow, transform and connect. https://msdianneallen.com/someone-gets-me-experience/ Join our Facebook Group Someone Gets Me: https://www.facebook.com/groups/someonegetsme. Follow Dianne's Facebook Page: Dianne A. Allen: https://www.facebook.com/msdianneallen. Email contact: dianne@visionsapplied.com Dianne's Mentoring Services: https://msdianneallen.com Website: https://www.visionsapplied.com Be sure to take a second and subscribe to the show and share it with anyone you think will benefit. Until next time, remember the world needs your unique gift, let your light shine.

Renée Allsbrook is a classically trained pianist, church music director, worship leader, and songwriter. She received her Bachelor's of Music in piano performance from Indiana University-Bloomington, and subsequently went on to study at Mannes College of Music in Manhattan, giving recitals and free-lancing during her nine years in New York. Renée has a poet's pen and a prophet's heart, and tends to write music appropriate for worship, repentance and renewal. Her first album of original songs, “Call it Joy” (under the artist name Novare Music) came out in 2015, and her second album, “Daughters and Sons,” was released earlier this month. As the second-born of Randy and Marcia Hekman's dozen children, Renee has always had a heart for young people, and volunteers as a leader in her local public elementary school's after-school Bible Club. Renée and her artist husband Luke reside in the mountains of western North Carolina. They have one married son (with a grandchild on the way in June) and three younger children, ages 18, 16 and 15. In this podcast, Renée shares how God is powerfully using her music, poetry and words to bless the lives of many people—young and old—who are desperately looking for healing in our hurting world.

Renée Allsbrook is a classically trained pianist, church music director, worship leader, and songwriter. She received her Bachelor's of Music in piano performance from Indiana University-Bloomington, and subsequently went on to study at Mannes College of Music in Manhattan, giving recitals and free-lancing during her nine years in New York. Renée has a poet's pen and a prophet's heart, and tends to write music appropriate for worship, repentance and renewal. Her first album of original songs, “Call it Joy” (under the artist name Novare Music) came out in 2015, and her second album, “Daughters and Sons,” was released earlier this month. As the second-born of Randy and Marcia Hekman's dozen children, Renee has always had a heart for young people, and volunteers as a leader in her local public elementary school's after-school Bible Club. Renée and her artist husband Luke reside in the mountains of western North Carolina. They have one married son (with a grandchild on the way in June) and three younger children, ages 18, 16 and 15. In this podcast, Renée shares how God is powerfully using her music, poetry and words to bless the lives of many people—young and old—who are desperately looking for healing in our hurting world.

Earl Maneein is a violinist and composer who loves nothing more than to lend his considerable chops as a classically trained musician to the sounds and venues of heavy metal and hardcore punk. None other than Robert Trujillo, bassist for Metallica, has called him “a kick-ass artist who pushes the creative boundaries.”  Earl received a Bachelor of Music from Queens College and a Master of Music from the Mannes College of Music, where he studied with Daniel Phillips of the Orion String Quartet. He is the founder of and main composer for the string quartet SEVEN)SUNS, which plays both extant and new metal and hardcore work, and he is also a member of the Vitamin String Quartet, whose recent music was featured in the Netflix show “Bridgerton.”  As a composer Earl has received commissions from a broad array of individuals and institutions, from internationally renowned violinist Rachel Barton Pine and pioneering hardcore band The Dillinger Escape to Plan to Dance Theater of Harlem and The Phoenix Symphony, helmed by past “Art Restart” guest Tito Muñoz.  In this interview with Pier Carlo Talenti, Earl describes how, knowing that he was never going to want to play in a traditional orchestra, he nevertheless challenged himself to get a classical-violin education so that he could craft his singular artistic identity with absolute confidence.http://www.earlmaneeinmusic.com/

Why is it important to find new ways to create and where do we find inspiration to try new things? This is one of the many topics I covered with this week's guest, Composer Eimi TanakaWe also discuss Eimi's jazz background and its influence on her work, her process for developing themes, and the contrast between composing for television and creating a concert work.Full Transcript.Topics Covered:Where Composing StartsComposing with a Performer in MindDeveloping Themes for a PieceExploring New Techniques and Finding InspirationEimi's Jazz Background and InfluenceBalancing Traditions of Classical Music with Something NewThe Difference in Composing for Film and TelevisionHow Long it Takes to Compose a PieceWorking on Multiple Projects at OnceWorking with Handwritten NotesTeaching Piano and CompositionConnecting with MusicStaying Inspired and Seeing the Big PictureLinks:Eimi Tanaka's Website: www.tanakastudiosnyc.comClip of Shifting Pieces by Eimi TanakaPerformed by: Mavis Pan, pianoRecorded at the National Opera Center's Scorca Hall, NYC, on Oct 31, 2021.Cause of Craft: causeofcraft.comJon's Website: jontilton.comSupport the show: shop.jontilton.comFollow Jon on Instagram @jontilton and follow the show @causeofcraft.More about Eimi:Eimi Tanaka is a freelance composer, pianist, and teacher based in New York City. She started classical studies on the piano at age 8, and then during high school attended at the Mannes College of Music preparatory division with a scholarship. There she studied with pianist Deborah Jamini, as well as classical theory, composition, and chamber music with other world-renowned faculty in New York City. During her senior year of high school, she discovered jazz and began studying improvisation. She attended the Berklee College of Music in Boston for a bachelors degree in piano and music business, and received her masters in jazz studies and composition at New York University with the Steinhardt Graduate Scholarship. In Boston and New York, she has studied with world-renowned faculty such as Joanne Brackeen, Frank Carlberg, Jean-Michel Pilc, Gil Goldstein, Ralph Alessi, Wayne Krantz, and George Garzone, among many others. She has performed in many venues in the Boston and New York City areas, as well as in Florence and Sienna, Italy, through NYU's jazz studies program and Florence's jazz festival.Before attending NYU's master's program, Eimi has worked in various branches of the music industry, including concert production, record labels, and publicity, and worked in well-known companies such as Universal Music Group and Warner Music Group.As a composer, she has created original music for her own jazz trio, scores for short films which have played in festivals in New York and abroad, production music for television shows which are currently in syndication on CBS and the CW networks, and also classical compositions which have been performed by various groups in NYC.

https://www.catapultopera.org/visionNeal Goren was the founder and artistic director of Gotham Chamber Opera, which popularized and legitimized the formerly ignored genre of chamber opera. Goren's newest opera venture is Catapult Opera, a new company dedicated to communicating the power of opera through unique internet-based media and world-class live performance. As a recital accompanist, Goren has concertized extensively with Leontyne Price, among others. He is an associate professor at Mannes College, The New School for Music, and a frequent judge of national and international vocal competitions. His writings on opera and the arts have appeared in numerous books and periodicals. Beyond the Aria:  Artistic Self-Empowerment for the Classical Singer: Why You Want It, Why You Have Been Denied It, and How to Achieve.   (Rowman & Littlefield Publishing Group, Incorporated, 2020).  Beyond the Aria provides singers with the tools to develop an inquisitive and analytical mindset about the artistic details found in scores. Neal Goren takes readers through a careful reading of clues provided by the librettist and composer, informed by performance practice, and empowers singers to make their own valid artistic choices.  Sample analyses of six standard arias and songs are provided as a guide of characterization.   https://beyondthearia.com     

Welcome to our newest show at Impact Radio USA, "INTERVIEWS and MORE", the show that features past interviews from our guests on "Dr. Paul's Family Talk" radio show. In addition to continuing to promote our guests, this show also gives our listeners another opportunity to hear the great information that our guests have provided. As for the "More", we will cover everything from food, to cars, to Bible verses, to music, and so much "MORE"! On today's segment, we will talk to Brian Horner and Jennifer McGill: BRIAN HORNER BRIAN HORNER, a musician, artist manager, entrepreneur, and podcast host, joined us to discuss his career, how to be successful in music, and his latest venture, "Craft brewed Music". From his BIO: "Driven to live his passion, Brian Horner has designed a multifaceted career as an artist manager, saxophonist, educator, author, and entrepreneur. Brian is the owner of Sound Artist Support, is CEO/CCO of Craft Brewed Music®, “the small batch streaming app,” hosts The Craft Brewed Music Podcast, and has authored a series of books for Kendall Hunt Publishing, Living The Dream…The Morning After Music School, Living The Dream…The Morning After Drama School (with David Alford), and Living The Dream…The Morning After Art School (with John Watson).  He presents music business and entrepreneurship lectures and saxophone clinics at colleges and conservatories around the country. Horner has appeared at Carnegie Hall's Weill Recital Hall, Steinway Hall, and New York City's Mannes College of Music, as well as at the Glimmerglass Opera's Young Artist recital series in Cooperstown, NY, and has performed with the Nashville Symphony, the Nashville Chamber Orchestra, and the Gateway Chamber Orchestra. He has premiered more than a dozen new works for saxophone, and his recordings with pianist Elizabeth Avery include Saxophone Music of M. Zachary Johnson--Live At Steinway Hall, and Serenade – Music for Saxophone & Piano, and garnered a cover feature in Saxophone Journal. " https://www.craftbrewedmusic.com JENNIFER McGILL JENNIFER McGILL, a Disney child star, motivational speaker, recording artist, songwriter, worship leader, writer, vocal producer and performance coach from Nashville, Tennessee, will join us to discuss her career and future plans, including her new business venture with her husband, "Milestone Melodies". From Her BIO: "With over 30 years of showbiz under her belt, she now tells the stories of her rollercoaster ups and downs like never before, as a Speaker, Worship Leader, Songwriter, Coach, and Inspirational Pop Recording Artist. What started as almost a clean sweep of nearly 50 pageant victories from age seven in a small Texas town quickly evolved into seven seasons in Orlando on the Disney Channel’s wildly popular The All-New Mickey Mouse Club in the late ‘80s well into the ‘90s, which Jennifer describes as a sort of “‘Saturday Night Live’ for kids” featuring interviews, skits, variety show-styled razzle dazzle, and of course, loads of singing. A quick internet search shows her performing alongside a slew of internationally renowned stars, and throughout a real time conversation, she just as casually mentions how Michael Jackson used to visit the set as a major fan of their show or the time when Celine Dion helped calm her nerves prior to an inauguration performance for President Bill Clinton at the Kennedy Center." www.jennifermcgill.com https://www.milestonemelodies.com Enjoy!

A native of Brooklyn, NY, Deryck Clarke (French horn) comes from a family of immigrants from Guyana, South America. He is a graduate of the High School of Performing Arts in New York City and the Curtis Institute of Music. He holds a BM from the North Carolina School of the Arts and a MM from the Mason Gross School of the Arts at Rutgers University. His professional engagements include Soulful Symphony, the Martina Arroyo Foundation’s Prelude to Performance orchestra, Early Music New York, the Paula Kimper Ensemble, the Ray Chew Orchestra, Imani Winds, Oregon Symphony, Winston-Salem Symphony, Seoul Philharmonic, and Broadway productions of The Lion King, Beauty and the Beast, Aida, and the US Tour of Oklahoma! Throughout his career Deryck has performed with renowned artists including Leonard Bernstein, Isaac Stern, Donnie McClurkin, Ashford and Simpson, Sir Andrew Davis, Aaron Copland, Paquito D’Rivera, and James DePriest. While in college, Mr. Clarke discovered his passion for teaching at the NY State Music Camp/Hartwick College Music Festival. He was faculty member at the Apple Hill Chamber Music Festival, the Juilliard School's Music Advancement Program and the Mannes College preparatory division. Mr. Clarke also served as Interim Music Director of the Harlem School of the Arts. As a NJ state certified music educator, Deryck received awards and recognition for his service as instrumental and vocal music teacher at the Mount Vernon Elementary School in Newark, NJ. He later served as Program Director of William Paterson University’s Music After School program in Paterson, NJ and Start the Music camp, and an artist-in-residence at the Cicely Tyson School of the Arts in East Orange, NJ. Deryck is currently the Educational and Community Outreach director for The Harlem Chamber Players and founder of the Harmony Effect, an instrumental music learning program. He serves on the Leadership Council of the Newark Arts Education Roundtable, the Education Committee for the American Federation of Musicians Local 802, and the Education Committee of the New Jersey Symphony Orchestra Board of Directors. See omnystudio.com/listener for privacy information.

Since studying vocal performance at NYU and Mannes College of Music, Greg has toured in several productions with Philip Glass, and performed in pieces created by avant-garde luminaries Meredith Monk and Anthony Braxton.His show, "BABALU-CY! The Art of Desi Arnaz" debuted at Metropolitan Room in 2007, won a Backstage Bistro Award in 2008 and went on to an Off-Broadway run at the Actor’s Temple in New York’s Theater District. A presentation of the show at Hofstra University’s Monroe Center Theater in 2010 brought him to the attention of the team that took over the Xavier Cugat Orchestra after Cugat retired. One thing led to another and Greg went from portraying the great Cuban American bandleader to becoming an actual bandleader himself, adopting his birth father’s family name in the process. And he grew up blocks from Eric Ruben!Support the show (https://www.facebook.com/ReallyLegalPodcast)

BRIAN HORNER, a musician, artist manager, entrepreneur, and podcast host, joined us to discuss his career, how to be successful in music, and his latest venture, "Craft Brewed Music". From his BIO: "Driven to live his passion, Brian Horner has designed a multifaceted career as an artist manager, saxophonist, educator, author, and entrepreneur. Brian is the owner of Sound Artist Support, is CEO/CCO of Craft Brewed Music®, “the small batch streaming app,” hosts The Craft Brewed Music Podcast, and has authored a series of books for Kendall Hunt Publishing, Living The Dream…The Morning After Music School, Living The Dream…The Morning After Drama School (with David Alford), and Living The Dream…The Morning After Art School (with John Watson).  He presents music business and entrepreneurship lectures and saxophone clinics at colleges and conservatories around the country. Horner has appeared at Carnegie Hall's Weill Recital Hall, Steinway Hall, and New York City's Mannes College of Music, as well as at the Glimmerglass Opera's Young Artist recital series in Cooperstown, NY, and has performed with the Nashville Symphony, the Nashville Chamber Orchestra, and the Gateway Chamber Orchestra. He has premiered more than a dozen new works for saxophone, and his recordings with pianist Elizabeth Avery include Saxophone Music of M. Zachary Johnson--Live At Steinway Hall, and Serenade – Music for Saxophone & Piano, and garnered a cover feature in Saxophone Journal. " https://www.craftbrewedmusic.com

BRIAN HORNER, a musician, artist manager, entrepreneur, and podcast host, joined us to discuss his career, how to be successful in music, and his latest venture, "Craft brewed Music". From his BIO: "Driven to live his passion, Brian Horner has designed a multifaceted career as an artist manager, saxophonist, educator, author, and entrepreneur. Brian is the owner of Sound Artist Support, is CEO/CCO of Craft Brewed Music®, “the small batch streaming app,” hosts The Craft Brewed Music Podcast, and has authored a series of books for Kendall Hunt Publishing, Living The Dream…The Morning After Music School, Living The Dream…The Morning After Drama School (with David Alford), and Living The Dream…The Morning After Art School (with John Watson).  He presents music business and entrepreneurship lectures and saxophone clinics at colleges and conservatories around the country. Horner has appeared at Carnegie Hall's Weill Recital Hall, Steinway Hall, and New York City's Mannes College of Music, as well as at the Glimmerglass Opera's Young Artist recital series in Cooperstown, NY, and has performed with the Nashville Symphony, the Nashville Chamber Orchestra, and the Gateway Chamber Orchestra. He has premiered more than a dozen new works for saxophone, and his recordings with pianist Elizabeth Avery include Saxophone Music of M. Zachary Johnson--Live At Steinway Hall, and Serenade – Music for Saxophone & Piano, and garnered a cover feature in Saxophone Journal. " https://www.craftbrewedmusic.com

Francesco Lecce-Chong is the Music Director of the Eugene Symphony in Oregon, and the Santa Rosa Symphony, performing at the Green Music Center in Northern California. The press has described him as a “fast rising talent in the music world” with “the real gift” and recognized his dynamic performances, fresh programming, deep commitment to commissioning and performing new music as well as to community outreach. Mr. Lecce-Chong has appeared with orchestras around the world including the San Francisco Symphony, New York Philharmonic, National Symphony, Atlanta Symphony, Pittsburgh Symphony, Toronto Symphony, St. Louis Symphony, and Hong Kong Philharmonic and collaborated with top soloists including Renée Fleming and Itzhak Perlman. Other recent subscription debuts included the Colorado Symphony, Louisville Orchestra, Louisiana Philharmonic and Xi’An Symphony Orchestra. Mr. Lecce-Chong has also returned to conduct the Civic Orchestra of Chicago, Milwaukee and San Diego Symphony. The 19/20 season also marked his debut with the New York Philharmonic as part of the legendary Young People’s Concert Series.Following the paths of renowned Music Directors of the Eugene and the Santa Rosa aSymphonies including Marin Alsop, Giancarlo Guerrero and Jeffrey Kahane, Mr. Lecce-Chong has made his mark with the two orchestras introducing a series of new music and community initiatives. In 2019, the orchestras announced Mr. Lecce-Chong’s “First Symphony Project” commissioning four major orchestral works by young composers – Matt Brown, Gabriella Smith, Angélica Negrón and Michael Djupstrom – to be performed over several seasons accompanied by multiple composer residencies and community events. In Eugene, he has reinitiated family concerts and presented a number of innovative projects such as an original multimedia performance of Scriabin’s compositions engaging light and color.In the 20/21 season, an unprecedented one for live orchestral music, Mr. Lecce-Chong will conduct virtual concerts with both the Santa Rosa and the Eugene Symphony, specifically created for online audiences. The performances will be streamed worldwide and will take a unique form of a cohesive musical journey complete with interviews with musicians. The programs will include music by living composers Jessie Montgomery, Gabriella Lena Frank and Chen Yi. Santa Rosa Symphony will also celebrate Beethoven’s 250th with performances of his first three symphonies.During his successful tenures as Associate Conductor with the Milwaukee Symphony under Edo de Waart and the Pittsburgh Symphony under Manfred Honeck, Mr. Lecce-Chong also dedicated his time to opera, building his credentials as staff conductor with the Santa Fe Opera and conducted Madama Butterfly at the Florentine Opera with the Milwaukee Symphony. Mr. Lecce-Chong is the recipient of several distinctions, including the prestigious Solti Foundation Award. Trained also as a pianist and composer, he completed his studies at the Curtis Institute of Music with Otto-Werner Mueller after attending the Mannes College of Music and Accademia Musicale Chigiana in Italy. He has had the privilege of being mentored and supported by celebrated conductors including Bernard Haitink, David Zinman, Edo de Waart, Manfred Honeck, Donald Runnicles and Michael Tilson Thomas.You can find out more about Francesco on his website, lecce-chong.com, or on Instagram @leccechong.

Thomas Fiorini is a member of the bass section of the Brussels Philharmonic and is an active performer in many genres.Equally at home on the bass guitar, he has performed with acts such as Rob Thomas, Gap Mangione, Bjork, Dave Samuels, Gregg Allman and top Belgian singers like Sarah Bettens, Stan Van Samang, Natalia, Niels Destadsbader, Belle Perez, Jean Bosco Safari, Boogie Boy, Wim Leys and N8N.   Thomas is an alumnus of The Berklee College of Music and has received his Bachelor’s Degree from Mannes College of Music and Master’s Degree from The Lemmensinstituut.   We talk about all kinds of topics, like playing together as a bass section, Tom’s path through the music world, his decision to move to Europe and what that experience has been like over the years, and much more.   Enjoy, and be sure to check out Thomas on Facebook, YouTube, and his website!   Subscribe to the podcast to get these interviews delivered to you automatically!   Check out our Online Sheet Music Store with 80+ wide-ranging titles for bassists.   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsors!   Dorico - Dorico helps you to write music notation, automatically producing printed results of exceptional quality — and plays it back with breathtaking realism. It is easy enough for anyone to learn, yet has hundreds of advanced notations, features, options and sounds to satisfy even the most demanding professionals.  With its streamlined, natural user interface, students and those with less experience in scoring can compose and arrange straight into Dorico, making learning the language of music notation much faster and more intuitive. Editing and making changes — such as instrument, time signature or key — are straightforward, with the notation instantly and correctly adapting to include them, reinforcing the learning outcome.   Ear Trumpet Labs - They make hand-built mics out of Portland, OR and they have an excellent mic for upright bass called Nadine. The Nadine is a condenser mic with a clear natural sound and incredible feedback rejection. This mic is a completely new design -- the head mounts in between the strings above the tailpiece with a rubber grommet, and the body securely straps to the tailpiece with velcro elastic. A 14-inch Mogami cable connects the two parts making it easy to place on any bass. It’s durable and holds up to the demanding needs of the instrument while offering excellent sound quality. Ear Trumpet Labs is offering a free t-shirt just for Contrabass listeners with the purchase of a mic, just visit EarTrumpetLabs.com/contrabass to claim yours and check out the Nadine!   Practizma - The Practizma practice journal is packed with research based strategies to turn your ho-hum practice into extraordinary practice.  Develop your curiosity, discipline, creativity, daring, tenacity and zen.  Take a journey with four elements each week: goal setting, reflection prompt, action challenge, and journal pages to track your practice.  Curious? Download the introductory chapter of the journal for free - this gives you an idea of what it's all about.   Modacity - Are you a practice-savvy musician? Get Modacity – the music practice app that organizes, focuses, and tracks your progress.  Recorder… metronome… tone generator… timer… note taking… Do away with the random assortment of music practice apps in your arsenal. Modacity™ combines all the tools you need into one easy to use, music practice tool.  Organize, focus, and reflect on your practice – motivating you to increase retention in less time.  Modacity has a special offer for Contrabass Conversations listeners that includes lifetime access to the app.   Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion Krista Kopper, archival and cataloging theme music by Eric Hochberg

Ep. 127: Stephen Williamson, principal clarinetist of the Chicago Symphony. In this podcast we talk about Williamson's journey from the Metropolitan Opera to Chicago Symphony and the New York Philharmonic. He talks about playing jazz piano, starting the saxophone before switching to clarinet, playing principal clarinet as a sophomore at the Eastman School of Music, having four chances to audition for the Chicago Symphony, family, weightlifting and much more! Stephen Williamson is the principal clarinetist of the Chicago Symphony Orchestra, appointed in 2011 by Maestro Riccardo Muti. Mr. Williamson was formerly the principal clarinetist of the New York Philharmonic and Metropolitan Opera Orchestra. In addition, he has been a frequent guest principal clarinetist with the Saito Kinen Festival Orchestra in Japan under Seiji Ozawa. Mr. Williamson is currently on the faculty of DePaul University in Chicago, IL. He has served on the clarinet faculty at Columbia University and the Mannes College of Music in New York City, as well as at the Pacific Music Festival in Sapporo, Japan and the Domaine Forget International Music Festival in Québec. He has recorded for the Sony Classics, Telarc, CRI, BMG, Naxos and Decca labels and can be heard on numerous film soundtracks. For more information about Stephen Williamson please visit: Principal Clarinet https://cso.org/about/performers/chic... © Let's Talk Off The Podium, 2020

Alan Stevens Hewitt | Musician, Composer, Orchestrator, ProducerAlan Stevens Hewitt (aka ASH) is a NYC-based musician, composer, orchestrator, and producer.Originally from Philly, the son of a professional oboist, ASH cut his teenage teeth recording for Ruffhouse/Columbia Records at Studio 4, and in his 20’s as member of alt-folk band The Low Road (Passenger/Caroline Records), touring with Los Lobos, Barenaked Ladies, and label-mates Ben Folds Five.He moved to NYC in the late 90’s to study with Robert Cuckson and Carl Schachter at Mannes College of Music/The New School, where he received his BM in composition.He is the co-creator (along with Steven Cheslik-DeMeyer and Tim Maner) of the rock opera LIZZIE, and is the recipient of three 2014 Portland Area Musical Theatre Awards (PAMTA) for his work on LIZZIE—Outstanding Score, Outstanding Song (“House of Borden”), and Outstanding Orchestrations. ASH also played on and served as recording producer of the LIZZIE studio album (Broadway Records).As a performing musician (Bass, electric, upright, keyboard), credits include Broadway’s FUN HOME (also 1st Natl. Tour), MATILDA, FINDING NEVERLAND, Sting’s THE LAST SHIP, ROCKY, LYSISTRATA JONES, Green Day’s AMERICAN IDIOT, SPRING AWAKENING (also 1st Natl. Tour), Off-Bway’s BROOKLYNITE, CLOSER THAN EVER, RENT, tours in the U.S. and abroad, numerous cabarets, concerts, readings and workshops, and recordings as player, composer, arranger, and producer.His first score for theatre was for a production of Bertolt Brecht’s Baal that the NYTimes thought was awful. He lives in the Hudson Valley and likes to ride his motorcycle and longboard.

New York City-based composer ED WINDELS is a graduate of the Mannes College of Music, earning both Bachelors and Masters degrees in composition in just three years. He enjoys writing new concert music for all genres and mediums, with a particular fondness for art song. Concurrently his admiration for and experience with the musical theater has resulted in an additional career as an orchestrator and arranger.Ed has been the recipient of a fellowship at the Aspen Summer Music Festival and Meet The Composer grants. Recent commissions include a song cycle for Bargemusic’s Here And Now series, a piano solo piece for his alma mater, Peal Off for Chicago’s Gaudete Brass Quintet, a duo for violas for Michael Hall, and a bass oboe sonata for British reed virtuoso Mikey Sluman.Recently completed projects include a setting for tenor and large orchestra of John Hollander’s Summer Day, and an edition of Richard Strauss’s renownedly large-scale opera Elektra for 32 instruments. A version of Gilbert and Sullivan’s H.M.S. Pinafore, re-arranged and re-orchestrated in a 1920’s jazz idiom, premiered in February 2018 by its commissioner, Edmonton Opera in Alberta, Canada.Connect with Ed!https://www.ed-windels.com/https://www.instagram.com/ed.windels/ https://twitter.com/EdWindels,https://www.youtube.com/channel/UCagEIDikcusnO_SO_YR0lsAhttps://soundcloud.com/ed-windelsContact us here!https://linktr.ee/rachelsandlermusicFor podcast inquiries: aspiringartistpodcast@gmail.comFor music & lessons inquiries: rachelsandlermusic@gmail.com

It was on today’s date in 2003 that a new violin concerto by composer Shulamit Ran premiered at Carnegie Hall – but it would be just as appropriate for us to run this episode of COMPOSERS DATEBOOK on Mother’s Day – as Ran herself explains: “Thoughts of my mother, Berta Ran, whose strength of spirit has been a profoundly significant guiding light throughout my life, have embedded themselves in various parts of this work. At the closing of the concerto, echoes of a familiar melody, one my mother sang to me in childhood with words of her own creation, appear, gently fading away.” Shulamit Ran born in Tel Aviv in 1949 and moved to New York City at age 14 on a scholarship to Mannes College of Music. From 1973 to 2015, she taught at the University of Chicago, and served as composer-in-residence with the Chicago Symphony. In 1991 she won the Pulitzer Prize for Music. Commenting on winning the prestigious award, Ran admitted to being a little surprised: “I feel I’ve always been out of step,” she said. “At times ... I was not considered avant- garde enough. Now, considering the current trend of accessibility, some think I’m too forbidding.”

It was on today’s date in 2003 that a new violin concerto by composer Shulamit Ran premiered at Carnegie Hall – but it would be just as appropriate for us to run this episode of COMPOSERS DATEBOOK on Mother’s Day – as Ran herself explains: “Thoughts of my mother, Berta Ran, whose strength of spirit has been a profoundly significant guiding light throughout my life, have embedded themselves in various parts of this work. At the closing of the concerto, echoes of a familiar melody, one my mother sang to me in childhood with words of her own creation, appear, gently fading away.” Shulamit Ran born in Tel Aviv in 1949 and moved to New York City at age 14 on a scholarship to Mannes College of Music. From 1973 to 2015, she taught at the University of Chicago, and served as composer-in-residence with the Chicago Symphony. In 1991 she won the Pulitzer Prize for Music. Commenting on winning the prestigious award, Ran admitted to being a little surprised: “I feel I’ve always been out of step,” she said. “At times ... I was not considered avant- garde enough. Now, considering the current trend of accessibility, some think I’m too forbidding.”

Antonio Fernández Ros (N 1961) es compositor por la Escuela Nacional de Música de la UNAM y el Mannes College of Music de Nueva York, con estudios de posgrado en la Universidad de Nueva York y en París. En 1999 obtuvo un Ariel a la mejor música para película por Bajo California: El límite del tiempo. Tuvo la beca de Jóvenes Creadores del Fonca, el Apoyo a Coinversiones y la beca del Sistema Nacional de Creadores de arte y una beca de la Fundación Rockefeller. Su música ha sido interpretada en importantes festivales de Estados Unidos, México, Francia e Italia.

TBJ138: Julie Landsman on being the first woman in the brass section of The Met, the teaching of Carmine Caruso and JFL. Legendary is a term that gets thrown around a lot. Sometimes, it is deserved. This is one of those times. We're playing around with the show notes organization. Let us know your thoughts! In this fun and lively discussion, we cover: Julie being on our initial “wish list” of guests Working with both Sam and Mark Gould in a quintet Trio with Dave Taylor and Gould Played Principal horn for the Met for 25 years Andrew Balio (née Anil) and the sheep Getting into The Met in 1985 Working with a bunch of dudes First woman in the brass section at The Met Only a few of them welcomed her, most did not Her only defense was to outplay them Leading by example Challenges growing up that helped shape her abilities, drive, and approach Working to be heard and developing her own voice Disaster at the banjo Joe Greco was her band director and led her to the horn Carmine Caruso was brought in to help out her band program which continued to cement her approach and drive Howard Howard from The Met as another major influence Hearing Denis Brain recordings Caruso method, no-nonsense approach Paralysis through analysis The precision timing of movement A platform for your musicality The importance of repetition JFL Warburton Mouthpiece, JFL model is on the way Missing playing with The Met (she left in 2010) Taking a leave of absence when she turned 50 The Rule of 80 The experience of watching students succeed and perform with them Pilkington playing injured  Starting to teach at the University of Houston and Rice when she played with the Houston Symphony Giving and getting with and from teaching Asking for help and giving help when it is needed Deciding at 13 to become Principal at The Met Moving to California to teach at USC Teaching on both coasts for two years before moving to Southern California permanently Take a chance, follow a dream Meeting Jens for the first time LINKS: Julie's website Want to help the show? Here are some ways: Unlock bonus episodes galore by becoming a Patreon patron. Help others find the show by leaving a rating and review on iTunes or Apple Podcasts. Show us some love on Instagram, Facebook, and Twitter. Show some love to our sponsors: The brass program at The Mary Pappert School of Music at Duquesne University and Parker Mouthpieces (including the Andrew Hitz and Lance LaDuke models.) Buy Pray for Jens and The Brass Junkies merch at The Brass Junkies online store! Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm. Julie's bio: Principal horn with the Metropolitan Opera Orchestra for 25 years, Julie Landsman is a distinguished performing artist and educator. She received a bachelor of music degree from The Juilliard School in 1975 under the tutelage of James Chambers and Ranier De Intinis, and has served as a member of the Juilliard faculty since 1989. A native of Brooklyn, New York, Landsman achieved her dream of becoming principal of the MET in 1985 and held that position until 2010. She has also shared her talent to many other ensembles within the city as a current member of the Orpheus Chamber Orchestra and having performed and recorded with the New York Philharmonic. Additionally, she has performed with numerous groups outside the city, including her co-principal position with the Houston Symphony, substitute principal position with the St. Paul Chamber Orchestra, and recent performances with The Philadelphia Orchestra as Associate principal horn, and the Los Angeles Chamber Orchestra, principal horn. She has recorded for RCA, Deutsche Gramophone, CRI, Nonesuch and Vanguard labels, and is most famous for her performance of Wagner’s “Ring” cycle as solo horn with the MET Opera under the direction of James Levine. Landsman has performed as chamber musician at many festivals and concert series, including the Marlboro Music Festival, Chamber Music Northwest, the Santa Fe Chamber Music Festival, Sarasota Music Festival, La Jolla Summerfest, the Chamber Music Society of Lincoln Center,  Orcas Island Chamber Music  Festival,  and the Metropolitan Museum of Art, where she appeared as a guest artist with the Guarneri Quartet. In the summers she performs and teaches at the Music Academy of the West , the Sarasota Music  Festival, and the Aspen Music Festival. World renowned as a master teacher, Julie Landsman holds faculty positions at The Juilliard School and Bard College Conservatory, and teaches frequently as a guest at the Curtis Institute. She has presented master classes at such distinguished institutions as The Colburn School, Curtis Institute, Eastman School of Music, Mannes College of Music, Manhattan School of Music, USC Thornton School of Music, Cal State Long Beach, Rowan University, University of Oklahoma, and University of Southern Mississippi, to name a few. She is also a visiting master teacher at the New World Symphony in Miami. Her international presence includes master classes in Norway, Sweden, and Israel.  In 2016 Landsman was an honored jury member at the ARD horn competition in Munich, Germany. Her students hold positions in the Metropolitan Opera Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco Opera and Ballet Orchestras, Washington National Opera Orchestra, Dallas Symphony, St. Louis Symphony, New Jersey Symphony, Colorado Symphony, and the American Brass Quintet. She recently received the “Pioneer Award” from the International Women’s Brass Conference and was a featured artist at the International Horn Society Conference in 2012 and 2015. Her recent series of Carmine Caruso lessons on YouTube have led to further fame and renown among today’s generation of horn players. Landsman currently resides in Nyack, New York.

Together they talk about the two busiest cathedrals in America! Dr. Pascual was appointed Director of Music at St. Patrick's Cathedral in New York City in 2003. She is the first woman to hold this position, one of the most prestigious sacred music appointments in the United States. Jennifer earned a Doctor of Musical Arts Degree in Organ Performance from the Eastman School of Music in Rochester, NY. She holds a Master of Music Degree in Piano Performance from the Mannes College of Music in New York. She received the Bachelor of Music Degrees in Piano and Organ Performance, magna cum laude, and Music Education from Jacksonville University in Florida. https://saintpatrickscathedral.org ChristCathedralMusic.org MUSIC: Let There Be Light Gilbert Martin from the album “Christ Cathedral Dedication”MUSIC: Let Us Go Rejoicing Dr. Peter Latona from the album “Christ Cathedral Dedication”MUSIC: Alleluia Charles Callahan Diocesan Children’s Choir from the album “Christ Cathedral Dedication”MUSIC: Gesu Bambino Pietro Yon St Patrick Cathedral Choir, New YorkMUSIC: Song of Mary Charles Callahan St Patrick Cathedral Choir, New York from a live broadcast of a bishop ordination.MUSIC: Holy God We Praise Thy Name St Patrick Cathedral Choir, New York from a live recent broadcast of a bishop ordination.

Soul Dog: Investigative Journalist’s Poodle JourneyEmmy award-winning investigative journalist Elena Mannes shares her story of the journey on which she embarked with her first dog, a Standard Poodle. http://mannesproductions.com/soul-dog-a-journey-into-the-spiritual-life-of-animals-new-book-by-elena-mannes/ (Soul Dog – A Journey into the Spiritual Life of Animals) chronicles Mannes’ determined quest to harness her inner dog whisperer by learning to decipher the unspoken language present in every animal-human relationship. “I brought Brio home… and it wasn’t really going according to plan. I really just thought I would get trainers and support and it wouldn’t really change my life to have a puppy,” Mannes said with a rueful chuckle. “One time, I had him in Central Park. I had started to have him off leash… he would take off and not come back when I called. I was walking backward, screaming at him to come. All of the sudden, there was no ground under me… I stepped off the edge of the boat pond and fell in…. Brio eventually came back and just stared at me.” Skeptic to believer“I felt sort of desperate. I didn’t talk dog. I heard about animal communicators, but I was a real skeptic. I’m a TV journalist, I don’t like woowoo things. “(Brio) changed me in so many ways as the years went by and the connection became so deep and really life changing for me,” Mannes said. Mannes also addressed her decision to choose a purebred dog. “I respect people who rescue, but in my situation at the time I really didn’t know enough. I had a sense of Standard Poodles that they were so smart. I was scared to death (of adding a dog to my life),” Mannes said, adding that the predictability of a purebred dog helped provide some comfort in this decision.*** Elena Mannes is a multi-award-winning independent documentary director/writer/producer as well as an author. Her first book, http://mannesproductions.com/2011/05/book-the-power-of-music-pioneering-discoveries-in-the-new-science-of-song-by-elena-mannes/ (The Power of Music: Pioneering Discoveries in the New Science of Song), is published by Walker Books/Bloomsbury USA (May 31, 2011). Her work has appeared on both public and commercial television. Her honors include six national Emmys, a George Foster Peabody Award, two Directors Guild of America Awards, and nine Cine Golden Eagles. Mannes developed and created a primetime PBS special, http://mannesproductions.com/blog/2009/06/pbs-the-music-instinct-science-and-song/ (The Music Instinct: Science and Song),a co-production with WNET/Thirteen. Mannes productions include the feature documentary film http://mannesproductions.com/blog/1990/05/pbs-amazing-grace-with-bill-moyers/ (Amazing Grace )with Bill Moyers (PBS) which won the Directors Guild Award as well as an Emmy for directing. For ABC, Mannes has produced a special with Diane Sawyer http://mannesproductions.com/blog/1997/06/abc-series-turning-point/ (The Amazing Animal Mind), exploring the intelligence and emotions of dogs and other animals, as well as other ABC hours including Ground Zero with Peter Jennings which won an Emmy for best Historical Program. Mannes has also produced and directed documentaries for CBS REPORTS and segments for 60 MINUTES and PRIME TIME LIVE (ABC).She worked with George Lucas to develop a television project incorporating documentary and dramatic sequences. Mannes is a member of one of the first families of American music. Her grandparents founded the Mannes College of Music in New York City; and her great uncle, Walter Damrosch conducted the Metropolitan Opera and instigated the building of Carnegie Hall. Pure Dog Talk is sponsored by:   Support this podcast

This week, I have the incredible honor of welcoming renowned pianist Ursula Oppens to the show. A legend among American pianists, Ursula is widely admired for both her original and perceptive readings of new music, and for her knowing interpretations of the standard repertoire. As you'll hear in the episode, she's an incredibly passionate and wise musician!  Her and I covered several topics, from the reality of a career in music today, to how she approaches learning repertoire, and how she's stays focused in the practice room! In this episode, Ursula expands on: Her love of new music and how it developed early on in her life How she approaches bringing new music to life Why she doesn't think musicians should have a niche but should, instead, be interested in learning Her view of the musical landscape of today What improvisation can bring to our playing How she loves practicing (and I love that she said that so much!) How mental and muscle memory develop together Why she thinks it's important to memorize music in order to learn it better Her strategies to find energy, motivation, and focus to practice Why flexibility is a crucial skill to develop How a well-rounded education is also very helpful Her very wise piece of advice for young musicians Ursula is a force of nature and very generous with her insight. I know you'll love this discussion!     The Mind Over Finger Podcast on YouTube: https://www.youtube.com/channel/UCtQSB1IVNJ4a2afT1iUtSfA/videos   Sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY! Click HERE or visit www.mindoverfinger.com!   MORE ABOUT URSULA: Website: https://colbertartists.com/artists/ursula-oppens/ YouTube channel: https://www.youtube.com/channel/UCqj7e-6dIIBw2OkKmHxYItw   Ursula Oppens, a legend among American pianists, is widely admired particularly for her original and perceptive readings of new music, but also for her knowing interpretations of the standard repertoire. No other artist alive today has commissioned and premiered more new works for the piano. A prolific and critically acclaimed recording artist with five Grammy nominations, Ms. Oppens most recently released a new recording of Frederic Rzewski's The People United Will Never Be Defeated, nominated for a Grammy in 2016, and Piano Songs, a collaboration with Meredith Monk. Earlier Grammy nominations were for Winging It: Piano Music of John Corigliano; Oppens Plays Carter; a recording of the complete piano works of Elliott Carter for Cedille Records (also was named a “Best of the Year” selection by The New York Times long-time music critic Allan Kozinn); Piano Music of Our Time featuring compositions by John Adams, Elliott Carter, Julius Hemphill, and Conlon Nancarrow for the Music and Arts label, and her cult classic The People United Will Never Be Defeated by Frederic Rzewski on Vanguard. Ms. Oppens recently added to her extensive discography by releasing a two-piano CD for Cedille Records devoted to Visions de l'Amenof Oliver Messiaen and Debussy's En blanc et noir performed with pianist Jerome Lowenthal. Over the years, Ms. Oppens has premiered works by such leading composers as John Adams, Luciano Berio, William Bolcom, Anthony Braxton, Elliott Carter, John Corigliano, Anthony Davis, John Harbison, Julius Hemphill, Laura Kaminsky, Tania Leon, György Ligeti, Witold Lutoslawski, Harold Meltzer, Meredith Monk, Conlon Nancarrow, Tobias Picker, Bernard Rands, Frederic Rzewski, Allen Shawn, Alvin Singleton, Joan Tower, Lois V Vierk, Amy Williams, Christian Wolff, Amnon Wolman, and Charles Wuorinen. As an orchestral guest soloist, Ms. Oppens has performed with virtually all of the world's major orchestras, including the New York Philharmonic, the Boston Symphony Orchestra, the Los Angeles Philharmonic, the American Composers Orchestra, the Boston Modern Orchestra Project (BMOP), and the orchestras of Chicago, Cleveland, San Francisco, and Milwaukee. Abroad, she has appeared with such ensembles as the Berlin Symphony, Orchestre de la Suisse Romande, the Deutsche Symphonie, the Scottish BBC, and the London Philharmonic Orchestras.  Ms. Oppens is also an avid chamber musician and has performed with the Arditti, Cassatt, JACK, Juilliard, and Pacifica quartets, among other chamber ensembles. Ursula Oppens joined the faculty of the Mannes College of Music in the fall of 2017, and is a Distinguished Professor of Music at Brooklyn College and the CUNY Graduate Center in New York City. From 1994 through the end of the 2007-08 academic year she served as John Evans Distinguished Professor of Music at Northwestern University in Evanston, IL. In addition, Ms. Oppens has served as a juror for many international competitions, such as the Concert Artists Guild, Young Concert Artists, Young Pianists Foundation (Amsterdam), and Cincinnati Piano World Competition.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

From John's Marine Band bio: Trumpeter/cornetist Master Gunnery Sergeant John Abbracciamento joined “The President’s Own” United States Marine Band in November 1992. Master Gunnery Sgt. Abbracciamento began his musical instruction at age 8. After graduating from Valley Stream South High School in 1978, he attended the New England Conservatory of Music in Boston. He completed his bachelor’s degree in music at the University of Michigan in Ann Arbor in 1983 and also earned a master’s degree from Mannes College of Music in New York in 1985. He studied trumpet with Armando Ghitalla of the Boston Symphony Orchestra, and John Ware and Vincent Penzarella of the New York Philharmonic. Prior to joining “The President’s Own,” Master Gunnery Sgt. Abbracciamento was a substitute with the New York Philharmonic and toured Europe with the Orpheus Chamber Orchestra. In this fun and lively discussion, we cover: John retiring from "The President's Own" United States Marine Band after 27 years Be prepared and know that the system is in place to support you The importance of realizing that you are joining a section The diversity of demands in The Marine Band Us math am smart like What John will miss most Why he decided to retire now Change is hard Going back to school to becomes a physical therapist The impact of standing at attention for long periods of time Helping musicians deal with pain John's retirement remarks Hiram Diaz Tom Hooten Studying with Armando Ghitalla Distinctive players and styles What happens at a Marine Band retirement ceremony The Italian Store chicken parmesan on a hard roll Baseball rule changes Freelancing, listening and adapting to a variety of situations Learning to blend Overcoming doubt Rich Kelley Central Park story Putting other players at ease within a section Trial and error and the importance of experience as a teacher Playing the appropriate musical role Mallory Thompson Andrew and the silk shirt LINKS: John's Marine Band bio page Andrew's blog post about John's insights on freelancing Want to help the show? Here are some ways: Help others find the show by leaving a rating and review on iTunes. Show us some love on Instagram, Facebook, and Twitter. Help us pay the bills (and get regular bonus episodes!) by becoming a Patreon patron. Show some love to our sponsors: The brass program at The Mary Pappert School of Music at Duquesne University and Parker Mouthpieces (including the Andrew Hitz and Lance LaDuke models.) Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm.

Experience the 2019 Fischoff National Chamber Music Competition from the perspective of the judges who listened to the participants.  They talk about their experience at Fischoff, give us insight as to what they're looking for in a group when they're judging, and they'll answer the questions that my listeners sent me before I left!   Fischoff National Chamber Music Competition: https://www.fischoff.org/ Instagram: https://www.instagram.com/fischoffchambermusic/ Facebook: https://www.facebook.com/TheFischoff/                 Marc Reese – Trumpet – Winds/Brass Junior Division - https://www.lynn.edu/campus-directory/marc-reese Marc Reese is the Assistant Dean and Brass Department Head for Lynn University's Conservatory of Music and he's well known for his near two-decade tenure in the world-famous Empire Brass Quintet. Toyin Spellman-Diaz – Oboe – Winds/Brass Junior Division - http://www.imaniwinds.com/artist-bios/toyin Toyin Spellman-Diaz has built a reputation as a world-class oboist, both as an orchestral musician, and as a member of the renowned Imani Winds. She is on faculty at Brooklyn College. Jeffrey Zeigler – Cello – Strings/Piano Junior Division - http://www.jzcello.com/ Jeffrey Ziegler was the cellist of the internationally renowned Kronos Quartet for eight seasons and is acclaimed as one the most versatile cellist of our time. He is on the Cello Faculty at Mannes College's New School For Music. Rebecca Fischer – Violin – Strings/Piano Junior Division - http://www.rebeccafischerviolin.com/ Rebecca Fischer was the first-violinist of the Chiara Quartet for eighteen years and is praised for her “beautiful tone and nuanced phrasing.” She is currently teaching violin and chamber music at the Mannes School of Music and at the Greenwood Music Camp, and writes about artistry and creativity for publications such as Strings Magazine and the SHAR Music blog.     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice.   THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a huge thank you to my producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/   Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/    

Laurie Dapice hails from Utica, NY. She had vocal training with tenor Pasquale Caputo, then moved to Manhattan, in 1998. She studied at Mannes College of Music and New School University of Jazz and Contemporary Music, receiving a Bachelor of Fine Arts Degree in Performance and Music, in 2006. During her senior year, she had a weekly show Jazz Fever in Harlem and opened for trombonist Benny Powell. In 2008, she was one of New York’s top 12 Jazz Singers in the Jazzmobile competition and was in the top four. One month later, she headlined at the Zenith Sky Lounge in the Marriott Hotel in Japan. Her first album, Parting the Veil, was recorded at Bennett Studios in Englewood, NJ. She performed at Dream Hotel, Night Hotel, Savoy, Lexington Lounge, Alhambra Ballroom, Sweet Rhythm, Apollo Theater, Minton’s Playhouse, Kitano Hotel, and House of Jazz in Montreal Quebec. In July 2013, she performed with Jazz Forum in the Ella Fitzgerald Celebration at The Hudson River Museum’s amphitheater in Yonker’s where Ella grew up. She performed in Utica, NY, at Munson Williams Proctor Institute’s Annual Art and Music Festival and opened the Spring Jazz Series at Utica Public Library in a sold-out concert. She performed with Billy Harper, Barry Harris, George Mesterhazy, Michael Kanan, Rufus Reid, John DiMartino, Santi Debriano, James Weidman, Paul Lieberman, Elias Bailey, and Benito Gonzalez. Laurie is a 10-time award-winning Jazz Singer, lyricist, and musician, winning awards from ASCAP, Billboard Magazine, ASCAP Plus Awards, and USA songwriting competitions. www.lauriedapice.com www.wijsf.org  

Arts Research Africa — This is a podcast of the 5th dialogue in the Arts Research Africa, Creative Work Supervision series in The Wits School of Arts, University of the Witwatersrand, Johannesburg. Entitled “Can we go beyond the Readymade? - the creation of new artistic works and the art of collaboration (within an academic environment)”, this was a dialogue between ARA Artist in Residence, Dr Kathleen Tagg, and Dr Cameron Harris from the Wits Music Department, held on Wed 12 September 2018. In this podcast Kathleen Tagg and Cameron Harris reflect on the lessons learn from her creative collaboration with a group of 4th year Music Composition students from Wits Music Department which was inspired by the visual art exhibition at the Wits Art Museum, Beyond the Readymade, curated by Dr Alison Kearney. Dr Kathleen Tagg, currently an Arts Research Africa Artist in Residence in the Wits School of Arts, is a 2014-15 Composition Fellow of the Dramatist Guild of America, and is a pianist, composer, producer and music director based in New York City. Over the past decade she has been prolific as a songwriter, but has also written for combinations as diverse as symphony orchestra, choir, string quartet, piano with electronics and six-piece band. Kathleen holds the Helen Cohn Award as outstanding Doctoral graduate of the Manhattan School of Music, where she taught for four years, as well as well as degrees from Mannes College and the University of Cape Town. She is currently on the faculty of SongFest in Los Angeles. Dr Cameron Harris is Senior Lecturer in the Music Department in the Wits School of Arts, were he teaches music theory and electroacoustic composition. He was the chair of NewMusicSA, the South African section of the International Society for Contemporary Music from 2008 until 2012 and has curated a number of festivals for the organization including New Music Indaba festival, and the Unyazi electronic music festival. He is currently on the board of the ‘Bowed Electrons’ music

This is a podcast of the 5th dialogue in the Arts Research Africa, Creative Work Supervision series in The Wits School of Arts, University of the Witwatersrand, Johannesburg. Entitled “Can we go beyond the Readymade? - the creation of new artistic works and the art of collaboration (within an academic environment)”, this was a dialogue between ARA Artist in Residence, Dr Kathleen Tagg, and Dr Cameron Harris from the Wits Music Department, held on Wed 12 September 2018. In this podcast Kathleen Tagg and Cameron Harris reflect on the lessons learn from her creative collaboration with a group of 4th year Music Composition students from Wits Music Department which was inspired by the visual art exhibition at the Wits Art Museum, Beyond the Readymade, curated by Dr Alison Kearney. Dr Kathleen Tagg, currently an Arts Research Africa Artist in Residence in the Wits School of Arts, is a 2014-15 Composition Fellow of the Dramatist Guild of America, and is a pianist, composer, producer and music director based in New York City. Over the past decade she has been prolific as a songwriter, but has also written for combinations as diverse as symphony orchestra, choir, string quartet, piano with electronics and six-piece band. Kathleen holds the Helen Cohn Award as outstanding Doctoral graduate of the Manhattan School of Music, where she taught for four years, as well as well as degrees from Mannes College and the University of Cape Town. She is currently on the faculty of SongFest in Los Angeles. Dr Cameron Harris is Senior Lecturer in the Music Department in the Wits School of Arts, were he teaches music theory and electroacoustic composition. He was the chair of NewMusicSA, the South African section of the International Society for Contemporary Music from 2008 until 2012 and has curated a number of festivals for the organization including New Music Indaba festival, and the Unyazi electronic music festival. He is currently on the board of the ‘Bowed Electrons' music

December 2016: We close out our 2016 Bone2Pick season with a stimulating sit down featuring one of the great French Horn players of all-time, Mr. Erik Ralske. Currently principal horn of the Metropolitan Opera Orchestra since 2010, Erik previously held positions in the New York Philharmonic, the symphonies of Houston, Vancouver and Florida, as well as cutting his teeth with the Tulsa Philharmonic. Active worldwide as a soloist, chamber musician, guest lecturer and teacher, Erik is on faculty at both the Juilliard School and Mannes College. Grab some eggnog, kick back and enjoy! http://www.hip-bonemusic.com Check out our video lesson series at: http://vimeo.com/hipbonemusic/vod_pages

The discussion begins with Rodney's musical biography starting at the age of 9, this early interest in music then transforms into a life calling by the age of 11. Currently, he is in training as a Jungian analyst, and therefore he speaks eloquently about the integration of music and depth psychology. Rodney's life has provided him the ground to understand how music can give an individual an invitation to consciously and unconsciously explore their creativity, sexuality, and their worldview. Rodney considers his early sexual development through his childhood growing up in West Texas and emphasizes how music provided him a container to hold onto the “life-force” that needed a location for expression. Music eventually could not contain the life-force any longer, and he began searching and expanding his sexuality and his identity. One academic and personal arena of study for Rodney is sexuality, and in particular male sexuality, therefore we consider the modes through which men feel they can and cannot talk about with each other and find means by which to connect. Rodney's interests are each located around the central theme of intimacy and self-expression – including music, relationship, sexuality, tattoos, depth psychology, and the beard. Rodney Waters is the Scholarship Director for Music Doing Good, a nonprofit based in Houston, Texas that transforms children's lives through innovative, music-based programming. As a pianist he has performed extensively in Japan and Europe, and in Houston with the Houston Symphony, River Oaks Chamber Orchestra, Da Camera, Musiqa, and St. Cecilia Chamber Music Society. In April 2016, his recording with Curt Thompson of the complete Sonatas for Violin and Piano by American composer Charles Ives was named one of the top 10 recordings of Ives' music by Gramophone Magazine. Rodney earned his Bachelor and Master of Music degrees in piano performance from the Mannes College of Music in New York, where he studied with Richard Goode. A long-time advocate for the use of art in service of social causes, Rodney has created projects to support local resettlement of refugees through Interfaith Ministries of Greater Houston and HIV prevention programs through AIDS Foundation Houston. In 2016 Rodney composed and recorded music for Jungians Speaking, a DVD series released by Chiron Publications. He is currently in training to be a Jungian Analyst at the International School of Analytical Psychology in Zurich. Theme music provided by: http://www.modernnationsmusic.com Learn more about this project at: http://www.thesacredspeaks.com Instagram: https://www.instagram.com/thesacredspeaks/

TBJ73: Trombonist Weston Sprott on Performing with the Metropolitan Opera, the Diversity Issues Facing the Industry and Running Into One of His Heroes on the Streets of New York Weston Sprott is the Acting Principal Trombone of the Metropolitan Opera and has appeared with major orchestras all over the world. In this episode, we cover: His gig What the best subs have in common Coming up in TX Teaching Best student characteristics- “They do what I tell them to do” The acidic, dry and awesome John Rojak His website and resources Diversity issues in classical music Meeting Wynton Marsalis The McGurk Effect The Sphinx Organization LINKS: Met Orchestra bio page Personal Site Sphinx Music The McGurk Effect video From his website: Weston Sprott enjoys an exciting career that includes orchestral, chamber, and solo performances, as well as numerous educational and outreach efforts. He is currently  Acting Principal Trombone of New York’s Metropolitan Opera Orchestra, of which he has been a member since 2005. He has been recognized as “an excellent trombonist” with a “sense of style and phrasing [that] takes a backseat to no one”.   Sprott performs frequently with the Philadelphia Orchestra, recently held a position with the Zurich Opera/Philharmonia, and has appeared with numerous other major orchestras, including the New York Philharmonic, Atlanta Symphony, and Oslo Philharmonic. He previously held principal positions with the Pennsylvania Ballet Orchestra and the Delaware Symphony Orchestra. His chamber music and festival engagements include the Stellenbosch International Chamber Music Fesitval (SICMF), Classical Tahoe, Festival Napa Valley, Walla Chamber Music Festival, Chineke!, PRIZM Ensemble, and numerous others.   As a soloist, Sprott has been featured regularly throughout the United States, Europe, South Africa, and Asia. He made his Carnegie solo debut performing Lars-Erik Larsson’s Concertino for Trombone in 2007 and was a featured soloist with the Chamber Music Society of Lincoln Center is 2017. Sprott’s debut album, Act I, was released in 2010 and hailed by the American Record Guide as “an outstanding recording” that “feels the emotion of every note and phrase”.   A dedicated and tireless teacher, Sprott maintains teaching studios at several New York area institutions. He currently heads the brass department at Mannes College and holds faculty positions at Bard College, Rutgers University, and Juilliard Pre-College. He also regularly serves on the faculties of SICMF, PRIZM, Curtis Institute of Music’s Summerfest, National Youth Orchestra-USA (NYO-USA) and NYO2. He has previously held faculty positions at Juilliard's Music Advancement Program and Purchase College.    He recently appeared in Ben Niles’ documentary film Some Kind of Spark, which highlights the impact of music education in the lives of students as they attend Juilliard’s Music Advancement Program. Other documentary film credits include A Wayfarer's Journey:Listening to Mahler, and Rittenhouse Square. His thoughts are also quoted in Rhythms of the Game, a book by former New York Yankees star Bernie Williams. He also works regularly with organizations like Play On Philly and Music Kitchen, and has sponsored educational opportunities and solicited instrument donations for disadvantaged students. His philanthropic spirit was recently recognized in an article by the Wall Street Journal, and he was the recipient of the Atlanta Symphony Talent Development Program Aspire Award. Weston is an active speaker and collaborator as an advocate for diversity and inclusion efforts in classical music. Weston Sprott is an artist/clinician for the Antoine Courtois Instrument Company. He performs exclusively on Courtois trombones and plays the Legend AC420BHW "New Yorker Model" trombone. Performances and interviews with Mr. Sprott have been seen and heard on PBS' Great Performances, NPR's Performance Today, MSNBC, and Sirius Satellite Radio.        CHECK OUT THE HOGTOWN BRASS HOLIDAY ALBUM!!!   Buy it HERE   Stream it on Apple Music, Spotify or at the Hogtown Brass website:   Hogtown Brass Holiday Album Want to help the show? Take a minute to leave us a rating and a review on iTunes. The Brass Area of the Mary Pappert School of Music at Duquesne University in Pittsburgh PA is our new partner (and Lance has been teaching euphonium there since 2000). If you are interested in learning more about the program, visit the site HERE! Check out Parker Mouthpieces fine offerings (including the Andrew Hitz and Lance LaDuke models) by clicking PARKER! You can help offset the costs of producing the show by making a small donation at https://www.patreon.com/thebrassjunkies. Your support is greatly appreciated! Last but not least, we are now on Instagram! Follow us at instagram.com/pray4jens/ TODAY! Expertly produced by Will Houchin with love, care, and enthusiasm.

It was great to chat with Miles Brown about what it's like playing with Alarm Will Sound, learning massively complicated music for this group, and how to be versatile in today's music world! Miles ran the after hours sessions for ISB 2017, and he just took a new position at the University of Delaware after overseeing the jazz department at Oakland University in Michigan. More about Miles ​Bassist, composer, performer and teacher Miles Brown comes from a musical family, and began playing the bass at an early age. He attended the Eastman School of Music for his undergraduate degree, earning a Bachelor of Music in Music Education and Jazz and Contemporary Media. In 2003, he received a Master of Music in String Bass Performance from Mannes College of Music, and he earned a Doctorate in Jazz Performance from Eastman in 2012. A versatile musician, Dr. Brown is the bassist for the new music ensemble Alarm Will Sound, and he has had his compositions performed at Carnegie Hall and Lincoln Center. Dr. Brown has performed with Regina Carter, Dave Ballou, John Mosca, Bill Goodwin, Bill Dobbins, Ben Monder, Joe Magnarelli, Walt Weiskopf, Gary Smulyan, Sam Rivers, Steve Wilson and Harold Danko. In 2008, Dr. Brown was the interim Herbert Gussman Director of Jazz Studies at Cornell University. Since 2009, he has served as the jazz program coordinator at Oakland University. In this position, Dr. Brown teaches jazz band, jazz theory, arranging and jazz combos. He also teaches privately as Oakland’s applied string bass teacher. Dr. Brown is excited to join the faculty of the University of Delaware as instructor of double bass and jazz in the fall of 2017. Links to Check Out: Miles' website Miles' University of Delaware faculty page Alarm Will Sound Contrabass Conversations is sponsored by: A440 Violin Shop - An institution in the Roscoe Village neighborhood for over 20 years, A440's commitment to fairness and value means that we have many satisfied customers from the local, national, and international string playing communities. Our clients include major symphony orchestras, professional orchestra and chamber music players, aspiring students, amateur adult players, all kinds of fiddlers, jazz and commercial musicians, university music departments, and public schools. Bass Violin Shop -  Offers the Southeast's largest inventory of laminate, hybrid and carved double basses. Whether you are in search of the best entry-level laminate, or a fine pedigree instrument, there is always a unique selection ready for you to try. Trade-ins and consignments welcome! Subscribe to the podcast to get these interviews delivered to you automatically!  

It is an honor and a pleasure to welcome Orin O'Brien to the show!  I've been hoping to have Orin as a guest for years, and I want to give a big shout-out to Chris Mathers for connecting the two of us! We chat about numerous shared acquaintances, including Greg Sarchet, Miloslov Gajdos, David Grossman, Ira Gold, Ed Barker, Hal Robinson, Max Dimoff, Michael Hovnanian, Douglas Mapp, and Ron Wasserman. More About Orin New York Philharmonic bassist Orin O’Brien was born in Hollywood to parents in the film industry, George O’Brien and Marguerite Churchill, and received her early musical training in Los Angeles, where she studied with Milton Kestenbaum and Herman Reinshagen. She then studied in New York with Frederick Zimmermann and graduated from The Juilliard School, and is an alumna of the Music Academy of the West, now a partner in the New York Philharmonic Global Academy. She has been a member of the New York Philharmonic since 1966, where she has played with the world’s leading conductors. She has participated in numerous chamber music festivals, including Marlboro, and in first performances of the Gunther Schuller Quartet for Four Double Basses. She co-chaired the double bass department of The Juilliard School for ten years, and currently serves on the faculties of the Manhattan School of Music and Mannes College of Music. Her most recent chamber music performances were the quintets of Schubert and Dvorak with the Guarneri String Quartet. We dig into a wealth of topics, including: how Orin came to study with Fred Zimmerman how to play specific excerpts the switch from gut strings to steel strings and the premiere of the Gunther Schuller Quartet (these two events are interlocking) how Orin felt about being the first woman in the NY Phil (the answer will surprise you!) how to really be a good principal player what trips people up in auditions New York in the 50s Herman Reinshagen and the bass lineage of the 20th century the great premieres throughout her career how special Riccardo Muti is as a conductor, and what makes him special - one of the living greats what was special about the musicianship of Carlos Kleiber how a great conductor can use imagery to inspire the orchestra Links to Check Out: Double Bass Notebook - amazing book by Orin O'Brien Orin's New York Philharmonic page the Manhattan School of Music double bass program Orin O'Brien Tribute from ISB 2013 (arranged and conducted by Inez Wyrick and narrated by Kristin Korb) Felix Weingartner - On the performance of Beethoven’s Symphonies (PDF) Women in Orchestras panel discussion with Orin - Brooklyn Museum the Miloslav Gajdos video Orin references Corresponding with Carlos: A Biography of Carlos Kleiber Contrabass Conversations is sponsored by: The Upton Bass String Instrument Company.  Upton's Mittenwald model is a sister to their popular Brescian model.  The contrabasses from the Mittenwald school are characterized by a high-shouldered gamba pattern with outside linings on deep ribs, resulting in a fine orchestral double bass. Our version incorporates all the ergonomic improvements and geometries found in other Upton models, with great flexibility in sizing afforded by the stout German pattern. The gamba pattern, especially when combined with a flat back, allows us to build this instrument in the 5/8ths sizing of the Kloz copy, all the way up to a large 7/8ths pattern built to lift a string section or push a big band. Bass Violin Shop -  Offers the Southeast's largest inventory of laminate, hybrid and carved double basses. Whether you are in search of the best entry-level laminate, or a fine pedigree instrument, there is always a unique selection ready for you to try. Trade-ins and consignments welcome! Subscribe to the podcast to get these interviews delivered to you automatically!

Voice Teacher, Beth Roberts, faculty at the Mannes College of Music, always knew she wanted to be a teacher, she studied music education as well as vocal performance and made an effortless transition from performer to voice teacher. We discussed; her rules for teaching various voice ranges, her path to teaching voice, her performance career, apprentice performance programs, what she looks for in young singers, how to audition, the importance of being a ‘good’ colleague, her work with the Metropolitan Opera Guild, the art of giving of a Master Class, the importance of studying Art Songs, the importance of vocal health and the speaking voice and when to know at what age to start voice lessons.

Music in this podcast: Intro: Excerpt from Katyusha, Homage to D.Shostakivich - From the album Distant Voices by Frederich Chiu Interlude: Excerpt from Reflets dans l'eau (Reflections in the Water) - from the CD Distant Voices by Frederich Chiu Featured Piece: Sayyid Chant & Dance - Andante E Molto Cantabile Ed Espressivo - from the CD Hymns & Dervishes by Frederich Chiu Frederic Chiu's intriguing piano-playing and teaching springs from a diverse set of experiences and interests: his Asian/American/European background, his musical training, and an early and ongoing exploration of artificial intelligence and human psychology, especially the body-mind-heart connection. With over 20 CDs on the market, his repertoire includes the complete work of Prokofiev as well as popular classics of Chopin, Liszt and others, and lesser known masterpieces of Mendelssohn and Rossini, with a special place for the piano transcription. Many have been singled out, such as "Record of the Year" by Stereo Review, "Top 10 recordings" by the New Yorker, with raves from the Wall Street Journal and the New York Times. His most recent recordings demonstrate his wide range: Beethoven/Liszt Symphony V, Carnival of the Animals with David Gonzalez, and Hymns and Dervishes, music by Gurdjieff/de Hartmann. (hymnsanddervishescd.com) A new recording on the Yamaha Entertainment Group label, released in 2015, is a long-awaited recording of the music of Debussy, along with world premieres of work by Chinese composer Gao Ping. This recording breaks new ground, introducing the first Classical recording to the YEG catalogue. The performance will be released in Audio CD, DVD and DisklavierTV formats. Frederic Chiu has toured in Europe and the US with the Orchestre de Bretagne and Stefan Sanderling. He has played with the Hartford Symphony, Dayton Philharmonic, Kansas City Symphony, Indianapolis Symphony, BBC Scottish Symphony, BBC Concert Orchestra, Estonia National Symphony, China National Symphony, the FOSJE Orquesta in Ecuador, among others. In recital he performs in the world's most prestigious halls including the Berlin Philharmonic, Kioi and Suntory Halls in Tokyo, Lincoln Center in New York and Kennedy Center in Washington DC. Mr. Chiu's musical partners include Joshua Bell, Pierre Amoyal, Elmar Oliveira, Gary Hoffman, David Krakauer, Matt Haimovitz and the St. Lawrence, Shanghai and Daedalus string quartets. Frederic Chiu recently premiered Edgar Meyer's Concert Piece with Joshua Bell. He has worked with many composers, including George Crumb, Frederick Rzewsky, Bright Sheng, Gao Ping and David Benoit. He was the recipient of the Avery Fisher Career Grant, the Petscheck Award of the Juilliard School, and was a fellow of the American Pianist Association. He was also the "non-winner" of the 1993 Van Cliburn Competition, where his elimination from the finals caused an uproar in the press. Frederic Chiu is also committed to expanding the place of classical music. He has created unusual collaborations with personalities outside the world of Classical music, such as the Shakespearean actor Brian Bedford and psychologist/writer/clown Howard Buten. He worked with the hip-hop artist Socalled in the Messiaen Remix project. He does extensive work with children through concert/lectures for schools, and has brought classical music to places where it is rarely heard. Currently, he is performing with David Gonzalez in the classics Peter and the Wolf and Carnival of the Animals, transcribed for solo piano and narrator. He is also running a multi-year project called Classical Smackdown, in which audiences vote for their favorite composers (ClassicalSmackdown.com) Deeper Piano Studies, Frederic Chiu's innovative workshop program, brings together pianists from around the world to study aspects of piano playing usually left uncovered. Articles in Piano Today and the New York Times have featured his original approach to learning and performing that draws on ancient traditions of philosophy and meditation combined with the most recent discoveries in psychology and acoustic sciences, using non-traditional techniques such as cooking and learning without using the instrument. Frederic Chiu has been invited to many prestigious music schools and conservatories to present his DPS program, including the Juilliard School, New England Conservatory, Mannes College, The Banff Centre, Cornell University, Indiana University's Jacob Music School, and major conservatories in China: Beijing, Shanghai, Sichuan, Shenyand and Wuhan. He has been guest artist at many state and national Teachers' Conferences. After 12 years spent in France, Frederic Chiu returned to the United States, where any free time he can find is divided between writing, painting and cooking. He also co-directs artistic activities at Beechwood Arts, an arts immersion non-profit in Connecticut.

The guitar professors from Mannes College of Music and Princeton University come to Brooklyn on a rainy day, drink old milk with watered down coffee, and give an interview to a broke 38 year old with gout. Let’s go Mets though.

When Sharleen Joynt, a coloratura soprano from Canada, was selected to be a contestant on ABC's reality dating show “The Bachelor," she knew it had the potential to be more bizarre than many opera plots. One of the show’s pivotal scenes, after all, has her stepping out of a limousine, dressed to the nines, to meet someone who ostensibly could propose to her within a few weeks. But, as she discusses on this edition of Conducting Business, there was a “fear of missing out” when the opportunity arose. "You know it's once-in-a-lifetime even if it's not highbrow once-in-a-lifetime." Joynt was among 27 women selected to move into a mansion and gear up to attract Juan Pablo Galavis, the titular bachelor of the show. She stayed through seven episodes before deciding he wasn't for her and – uncharacteristically for a contestant – left of her own accord. Besides being surreal – with cameras trailing her at every waking moment – the experience pointed to larger questions of how pop culture visibility can impact a career that's usually considered highbrow. And it illustrates the difficulties a young singer faces in balancing an all-consuming profession with extracurricular interests and a personal life. Anne Midgette, classical music critic of the Washington Post, is among many observers who suggested that Joynt didn't fit the typical profile of the show's characters. “She seems to have made a splash on ‘The Bachelor’ by being kind of genuine and maintaining her dignity,” said Midgette, who recently wrote about Joynt. “She certainly didn’t hurt her career with the way she behaved on the show. She appears to have been completely dignified throughout.” "Taking a larger view of it, there are worse things in the world than getting a little mainstream exposure for the opera world,” Midgette added. But Midgette also thinks the singer may be viewed suspiciously by some casting directors and agents. Despite the fact that Joynt is currently an understudy at the Metropolitan Opera, and studied at the Mannes College of Music, Midgette notes that she was turned down for an audition at one “B-level American house” on the grounds that she was too “junior league.” Says Joynt, "I think that the opera world is very wary of me at the moment. It's not easy. Everything I've done so far in my life has been for [my opera career].” Joynt describes how she has sought to keep her opera career separate from the show, which was largely necessary during the filming itself. "When you're in 'The Bachelor' mansion, you're drinking a lot and staying up late a lot," she said. A few times she practiced in a bathroom with the door locked and the blinds shut. "Basically, I tried to keep it private, but it's really hard." The producers, however, wanted her to spotlight her singing. “I was like, 'I don't want to sing in interviews.' I was like, 'I'm not singing when I get out of the limo,'" said Joynt. (She did eventually sing a few bars in one scene, as Juan Pablo "wasn't taking no for an answer.") Would she do it again? "I would be lying if I said I didn't have moments where I said, 'maybe this was a huge mistake.' But it was a fun experience. I'm a 29-year-old girl. And honestly, the people I met were the best part – the girls in the house, the producers – many of whom I consider friends now. I only have good things to say about it overall." Listen to the full segment above and please share your reactions in the comments box below. (Photo: ABC)

In the current violinist-eat-violinist atmosphere for graduates of conservatories and university music schools, some institutions of higher musical learning are trying to bring academic training closer to the realities of the job market. "Curricula that might have been relevant in 1890 or 1990 might not be as relevant today,” Richard Kessler, dean of the Mannes College, The New School for Music, explains in this Conducting Business podcast. Mannes, one of New York’s three big conservatories, is in the process of revamping its entire curriculum, adding required courses in music entrepreneurship along with studies in technology, composition and improvisation. It is aligning itself more closely with its parent institution, the New School, while scaling back traditional music theory and history coursework. The idea: to broaden the range of skills music students have to compete in the real world. “If you’re really committed to learning, you can assess these programs, no matter how traditional, no matter how long-standing and in some cases no matter how revered,” Kessler added. New for-profit models are also being explored. The University of Miami’s Frost School of Music and Universal Music Classics, the world’s largest recording label, last month announced a partnership designed to “grow the next generation” of classical music artists and audiences. A new curriculum requires all of the school’s undergraduates, regardless of major, to take classes in music business, technology and entrepreneurship. Elizabeth Sobol, the president and CEO of Universal Classics, said that the venture "addresses a bigger problem we’re having right now: we’re not training the next generation of industry impresarios and industry business leaders." Conservatories, she said, are also not reflecting a growing desire for nontraditional concert experiences in spaces like bars, clubs and parks. Performance opportunities for classically-trained musicians have long been limited in a pop culture world. A 2010 study by Indiana University underscored that point, finding that 49 percent of recent music conservatory alumni are doing work “somewhat” or “closely” related to their training, while just 19 percent spend “a majority of their work time as musicians.” But curricular reform can be difficult for tradition-bound conservatories, where elite private teachers have considerable clout and a business course may seem like a distraction. What's more, young artists may not have an aptitude for formulating marketing plans or booking tour dates. David Cutler, author of The Savvy Musician, and director of music entrepreneurship at the University of South Carolina, argues that there are ways to fold entrepreneurial training into an existing school curriculum. “An example of this might be the traditional degree recital,” he explained. Most undergraduate performance majors are required to do a recital as a requirement for their degrees. "If it’s important for us to attract new audiences, maybe we can use this as a playground for doing actually that. So perhaps part of the recital requirement might be: you need to get 200 people there to get an A, or 150 people there to get a B." Students might also be graded on how they can rethink the presentation to include multimedia or other visual elements. Cutler added, “There’s some good news here in that more schools are changing their model to include more 21st century skills.” Listen to the full segment above and tell us what you think in the comments box below: How should conservatories better prepare students for the realities of the job market?

VIDEO: Imani Winds perform 'Red Clay Mississippi Delta' Imani Winds was a novelty when it first arrived on the scene in 1997, a wind quintet that veered away from the customary European classical fare to focus on compositions drawing from African and Latin American styles and idioms. Composers like Astor Piazzolla, Paquito D’Rivera and Wayne Shorter were the group's mainstays. So were arrangements of spirituals or songs by jazz singer Josephine Baker. Critics and audiences praised the quintet's freshness and accessibility. But its members started to feel pigeonholed. "At the beginning of our career, we used to do a lot of children's concerts,” Toyin Spellman-Diaz, the quintet’s oboist, told WQXR's Jeff Spurgeon. “That was kind of our vehicle into the large concert stage. People would hire us to do a bunch of residency activities in their town and we would do a main stage concert.” By playing for kids the quintet learned how to ratchet up their on-stage energy, a skill that also served increasingly distracted adults. “But making that into a more sophisticated thing, and learning how to be sophisticated artists, that’s our next evolution,” said Spellman-Diaz. “Our manager has this phrase: 'we’re trying to go from being successful to being significant.'" By any measure, the Imani Winds has been a success. The group has taken an outlier format in chamber music – lacking the deep repertoire of a string quartet – and has commissioned dozens of works. It has released eight recordings, the latest being an arrangement of Stravinsky’s The Rite of Spring for EMI. Along with touring, the group is a staple on Public Radio stations across the U.S. In an effort to build a sharper identity in New York, the quintet has launched the Imani Winds Chamber Music Festival, which begins its fourth installment this Thursday. The four-day event features performances at Juilliard, Christ & St. Stephen’s Church and Bryant Park, plus a daylong symposium at Mannes College of Music, and an emerging composers workshop. The Imani will perform with violinist Lara St. John and host guest ensembles like the Zodiac Trio and Project Trio. “The festival came about as a macrocosm of what we do on the road, which is to perform an evening concert and go and give a master class at the local conservatory or school of music,” said Mariam Adam, the group’s clarinetist. “That recipe became necessary for us to expand on.” Adam notes that the quintet's recent tours abroad have been a wakeup call. The exposure to other styles "has been wonderful to regain a concept of what the wind quintet is and what it can be,” she said. As the Imani Winds members seek to deepen their profile, the members face the immediate reality of family life. Flutist Valerie Coleman is currently away on maternity leave (Sato Moughalian is filling in) and bassoonist Monica Ellis is expecting a baby shortly. The group plans to use substitutes, said Spellman-Diaz, noting that both children are due two days apart from each other. "It’s a testament to women living together in harmony in that we are very much joined together in a way that we don’t understand at this point," she joked. Video: Amy Pearl; Audio: George Wellington; Text & Production: Brian Wise

A founding member of ETHEL, Dorothy Lawson (Artistic Director, Cello) has performed with the Orpheus Chamber Orchestra, the White Oak Dance Project, Philharmonia Virtuosi, the American Symphony Orchestra, the Toronto Symphony Orchestra and numerous new music ensembles. Canadian-born, she completed degrees at the University of Toronto, the Vienna Academy and The Juilliard School. She teaches in the Preparatory Division of Mannes College at the New School in New York City. Joe Cerqua is in charge of the "Artist in Residence" program at Columbia College in Chicago. You get one guess who will be the "Artist In Residence" in April.

I fjärde programmet möter vi två två pionjärer inom den nutida konstmusiken, två tonsättare med judiska anor från Ryssland: Faye-Ellen Silverman, infödd Manhattanbo, och Shulamit Ran, som pendlar mellan Israel och USA. De båda tonsättarna studerade faktiskt under en period samtidigt på Mannes College of Music på Manhattan. Faye-Ellen Silvermans morfar kom från Ryssland till New York vid 1900-talets början. Strax efter ryska revolutionen anlände hennes far till Manhattan. Faye-Ellen började på Dalcroze School of Music i New York när hon var 4 år. Mamman skrev ner orden till Faye-Ellens egna kompositioner när hon var alltför liten för att stava men redan kunde skriva noter. När hon var 13 år var hon en av fem vinnare i en kompositörstävling där den berömda brittiska dirigenten Leopold Stokowski satt i juryn. Det ledde till konsert i Carnegie Hall och uppmärksamhet i radio, TV och tidningar. Det var då Faye-Ellen bestämde sig för att kalla sig tonsättare. -Jag var kanske dum, men innan hade jag haft skyddslappar och trott att alla komponerade musik, skrattar Faye-Ellen Silverman. 1962 hindrades hon från studier i musik vid Columbiauniversitetet. Orsak: hon var kvinna. Faye-Ellen Silverman tog sin master i musikkomposition på Harvarduniversitetet. På kompositionsavdelningen skrev en av de anställda offentligt att ”Det finns ett och annat som kvinnor inte bör göra, nämligen skyffla kol och komponera musik”. Senare fick hon tillträde till Columbia för sin doktorsgrad i musikalisk komposition. 1982 representerade Faye-Ellen Silvermans stycke Oboe-sthenics USA vid Rostrum, vilken är den globala tävlingen för tonsättare. I den välrenommerade musikhistorien ”Schirmer history of music”, som gavs ut 1982, skrev Faye-Ellen Silverman kapitlet om 1900-talets musik och förhindrade att alla kvinnor uteslöts ur manuset till boken. På hennes CD Manhattan Stories finns stycket Protected Sleep, som är en fantasi över melodin i den sefardiska vaggsången Durme Durme. Stycket Left Behind komponerade Faye-Ellen Silverman till hornspelaren Ann Ellsworth, vars make inkallats till Irak. På CD’n Transatlantic Tales samarbetar Faye-Ellen Silverman med den danska gitarrkvartetten Corona och dess ledare Volkmar Zimmerman. Fay-Ellen Silvermans hemsida: http://www.fayeellensilverman.com/ Tonsättaren Shulamit Ran växte upp i Tel Aviv och började tidigt spela piano och skriva musik. När hon var sju år blev några av hennes sånger antagna till ett barnprogram i Israelisk radio. -Det var en underbar känsla och det var då jag bestämde mig för att bli tonsättare, berättar Shulamit Ran. Som 14-åring flyttade hon till New York för att studera musik på Mannes College of Music. Detta var avgörande för hennes fortsatta möjligheter att komponera och få sina stycken framförda. 1990 valde dirigenten Daniel Barenboim Shulamit Ran till Composer-In-Residence hos Chicagosymfonikerna. Där arbetade hon under sju säsonger. Shulamit Ran är professor vid University of Chicago och hedersdoktor vid fem andra institutioner. Hon är invald både i American Academy of Arts and Letters och American Academy of Arts and Sciences. Som andra kvinna någonsin fick hon 1991 Pulitzerpriset för sin Symfoni som skandalöst nog aldrig spelats in. Prisjuryn skrev så här: ” Shulamit Rans musikalisk fantasi och konstnärliga uppfinningsrikedom har en överlägsen kvalitet”. Om hennes musik har det också skrivits att den är tonsatt med ”samma känsla för mänskligheten som Mozarts mest djupsinniga operarior och Mahlers sökande symfonier”. Flera av Shulamit Rans stycken har kryddats av mellanösterns speciella tonskalor. Även Shulamit Rans enda opera Between Two Worlds The Dybbuk, från 1997, drabbades av ödet att inte bli inspelad. - Men om jag skulle tänka på detta hela tiden så skulle jag bli väldigt olycklig. Så jag gör det alla tonsättare måste göra, tänka framåt och fortsätta komponera! Men jag hoppas förstås att min Symfoni kommer att spelas igen någon gång i framtiden, säger Shulamit Ran. När hon komponerade de fyra första tonerna i sin Violinkonsert från 2003 tänkte hon på sin mor, som ”hade ett stort djup och en stor känslighet – och dessutom visdom och intuition”. Varje kväll sjöng modern Brahms Vaggsång Guten Abend, guten nacht vid sängkanten. Därför avslutas Violinkonserten med att fiolen spelar denna melodi högt upp i registret. Shulamit Rans hemsida: http://www.presser.com/Composers/info.cfm?Name=SHULAMITRAN

We’re featuring practice tapes from the hugely influential double bass performer and pedagogue Frederick Zimmermann on this week’s Contrabass Conversations episode. Co-host John Grillo unearthed and transferred these tapes of Zimmermann practicing, and he and I briefly chat about how these tapes helped to shape John’s concept of sound on the double bass. Enjoy! About Frederick Zimmermann: Frederick Zimmermann was an American double bassist and teacher. He played in the New York Philharmonic from 1930-1966 serving as assistant-principal and principal and taught at the Juilliard School, Mannes College of Music, Columbia University, Manhattan School of Music, and New York University. He is considered by many to be the most influential American double bass teacher of the 20th century.