Podcasts about Marin Alsop

In 2018, Austrian trumpeter Selina Ott made history by becoming the first woman to win first prize in the 70-year history of the prestigious ARD International Music Competition in Munich. That landmark achievement launched a remarkable career that has taken her to concert halls around the world, performing both as a soloist and with major orchestras. Her debut album, Trumpet Concertos, was honored with the Opus Klassik Award in 2021, and she has since released two more acclaimed solo recordings. Though still early in her musical journey, Selina has already established herself as one of the leading voices of her generation.In this conversation, I had the great pleasure of speaking with Selina about some of the defining moments in her life and career so far. In part one, we begin with her recent experience performing Wynton Marsalis's Trumpet Concerto with the ORF Vienna Radio Symphony Orchestra under the baton of Marin Alsop. She shares what it was like to collaborate with Marsalis himself and how that experience left a lasting impact. We then reflect on her preparation for, and participation in, the ARD Munich competition—what it took to succeed, and how her life changed overnight following her win. From there, we rewind even further to talk about her early beginnings on the trumpet as a young girl, and the important influence of legendary trumpeter Håkan Hardenberger.[Subscriber Content] In part two, we shift our focus to the balance between orchestral and solo playing, and what it really means to be a well-rounded soloist in today's musical world. We also touch on Selina's relationship with social media and why she chooses to keep a relatively low profile online. One of the more unique aspects of her life outside of music is her passion for horses—she owns several—and we explore how that love for animals complements her musical life. Selina also gives us insight into how she chooses her concert repertoire, both for solo recitals and orchestral performances. And finally, I ask her what advice she would give to a 10-year-old girl dreaming of becoming a musician one day.DoricoProfessional music notation and composition software from Steinberg. Download a free 30-trial today!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

The Horn Signal is proudly brought to you by Bob Reeves Brass. Join hosts John Snell and Preston Shepard as they interview horn players around the world.  Today's episode features Robert Watt, former Assistant Principal Horn of the Los Angeles Philharmonic.   Robert Lee Watt was born in Neptune, New Jersey the 4th child of seven. His father, Edward Watt Jr. played trumpet professionally in a Jazz ensemble, “The New Jersey Squires of Rhythm.” When Robert was eight years old he got curious about his father's trumpet, kept high on a shelf. Too short to reach it, Robert conscripted his little brother Tony to help. But with Tony on his shoulders he lost his balance, causing both of them to fall to the floor, trumpet in hand.  Robert then attempted to fix the dents in the instrument by using a hammer. The badly damaged trumpet was the way Robert's father discovered his interest in horns. After a serious reproach, Robert's father tried to teach him trumpet. However, it wasn't until years later that Robert discovered the instrument he really wanted to play.    While helping his father clean out a room in the basement Robert discovered some old 78 recordings. The curious Robert gave the old recordings a spin. It was the “William Tell Overture” on hearing the French horns on that recording he asked his father what instrument came in after the trumpet. His father informed him that it was a “French horn” “A middle instrument that never gets to play the melody like the trumpet…why, do you like that horn?” His father asked. Robert replied, “It gives me chills when I hear it, I love it. That's what I want to play.” His father informed the young Robert that it really wasn't the instrument for him. Explaining that it was an instrument for thin-lipped white boys. “Your lips are too thick to play that small, thin, mouthpiece. You'd be better suited for the trumpet like you father.”  Upon reaching high school Robert seriously pursued the French horn. Approaching the band director of his high school in Asbury Park, Robert was again told that his lips were too thick to play the French horn. After being persistent, the band director gave Robert an old French horn that barely worked.  Nevertheless, Robert advanced quickly and was soon winning auditions for honor bands and orchestras throughout the state of New Jersey, bringing great honor to his high school. After high school Robert was accepted to the New England Conservatory of Music in Boston where he majored in music and studied French horn with Harry Shapiro of the Boston Symphony. Mr. Shapiro took great interest in Robert pushing him hard. At the end of his first year Mr. Watt was asked to perform the Strauss Horn Concerto No. 1, with the Boston Pops Orchestra under Arthur Fiedler. The following summer he received a fellowship to the Berkshire Music Festival at Tanglewood. Returning to the Conservatory for his third year Mr. Watt was informed by the president's office that the Conservatory had financial problems and that all scholarships would be canceled for the coming year. At the end of his junior year at the Conservatory Mr. Watt was informed by his French horn teacher that it was time for him to audition for a position in a major symphony orchestra. On the advice of his teacher, Mr. Watt chose Los Angeles and Chicago. When Mr. Watt returned from his audition journey, he had made the finals at both auditions. Two months later The Los Angeles Philharmonic offered him the position of Assistant First Horn. Making him the first African American French horn player hired by a major symphony orchestra in the United States. Mr. Watt joined the ranks of only a handful of African Americans playing in symphony orchestras in these United States. According to the American Symphony Orchestra League, that represented less than 2% of the total, out of twenty-six top orchestras. Mr. Watt held his position until 2007, a career spanning 37 years.  Mr. Watt performed several times as soloist with the Los Angeles Philharmonic under Zubin Mehta and several orchestras in the Los Angeles area as well as the Oakland Symphony performing the Richard Strauss Second Horn Concerto While a member of the Los Angeles Philharmonic Mr. Watt has performed with principal and guest conductors that included: Leonard Bernstein, Eugene Ormandy, Eric Leinsdrof, Carla Maria Giulini, Pierre Boulez, Zubin Mehta, Henry Lewis, James De Priest, Michael Tilson Thomas, Herbert Blumstedt, Andre Previn, Marin Alsop, Esa-Pekka Salonen and Christoph Von Dohnányi. Included among the many world renown artists he has performed with were:     Yo-Yo Ma, Luciano Pavarotti, Placido Domingo, Jose Carreras, Wynton Marsalias, Henry Mancini, Gladys Night, Isaac Hayes, Quincy Jones, Stevie Wonder, Ray Charles, Barry White, Rihanna, Paula Abdul, Herbie Hancock, Lalo Schifrin, The Carpenters, Benny Carter, Quincy Jones, Bon Jovi, Elton John and film composer, John Williams. He has played on film scores of: Spiderman II, Rush Hour, Mission Impossible, Spike Lee's “Miracle at St. Anna, Golf and many others.  Mr. Watt has played the music for the Twentieth Century Fox cartoons, The Simpsons, American Dad, Family Guy and King of the Hill for the past three years. He played on the five hour TV special “The Jacksons, an American Family” under Harold Wheeler, and played for several years for the TV program “Startrek Voyager.” In the late 80's Mr. Watt helped organize an African American Brass Quintet, “The New Brass Ensemble” which performed throughout the United States and abroad.  Mr. Watt has done public speaking lecturing on music and African history in the Los Angeles area. He was hired as guest professor at Los Angele City College teaching the course, “Music of Black Americans”. Recently Mr. Watt executive produced a short film in memory of his friend Miles Davis. The film is based on the musical composition “Missing Miles” by Todd Cochran, commissioned by Mr. Watt, for French horn and piano. The short film was chosen by the Pan African Film Festival and the Garden State Film Festival.  Mr. Watt is a licensed airplane pilot with an instrument rating. He is a saber fencer and he speaks German and Italian.

[@3 min] Alright, this week...we go Inside the Huddle with Nathan Granner! The American tenor is set to star in a revised version of Paul Moravec and Mark Campbell's "The Shining" at Portland Opera, but we had to ask him about the opera "Balls." [@33 min] And then…In Home Team, Lyric Opera of Chicago announces their next season, which includes performances by former creative consultant Renee Fleming and…the Smashing Pumpkins?….but, sadly, not on the same concert. [@46 min] Plus, in the ‘Two Minute Drill'…In 2025, conductor Marin Alsop says she is not looking forward to the 30's, and by that, she means the return of the 1930s. GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 bsky @operaboxscore

Marin Alsop is a world-renowned conductor and the first woman to lead major orchestras internationally. The subject of the Emmy-nominated documentary "The Conductor” and formerly Music Director of the Baltimore Symphony Orchestra, she's Chief Conductor of the ORF Vienna Radio Symphony Orchestra and the Ravinia Festival, and Principal Guest Conductor of the Philharmonia Orchestra and the Philadelphia Orchestra. She has recorded 200+ titles and is the only conductor to receive a MacArthur Fellowship.In this episode, we explore:How giving people max autonomy drives performance How to balance elite talent with team cohesionTheories on talent selection to build top teamsThe "no shortcuts" practice philosophy This episode is great for anyone building teams. It offers powerful insights on creating excellence at scale, balancing autonomy with accountability, and fostering self-motivation. Enjoy this episode? Rate it and leave a review. It really helps others find the podcast.Learn more about Kristen and Irrational Labs ⁠here⁠.

Alex Cousins joined Rockabilly Greg “In the Flamingo Lounge” on February 17, 2025. Alex is a 21st-century musician and performing artist, excelling as a virtuoso cellist. Despite a late start at 14, he soloed with the Buffalo Philharmonic Orchestra just three years later, winning the 2014 Young Musicians Scholarship. A 2020 Peabody Conservatory graduate with a Masters in Music, Cello Performance, Alex blends classical training with pioneering work on the electric cello. After graduating from the Peabody Conservatory, Alex returned to Buffalo where he immersed himself in amplified music, electronics, songwriting, and the electric cello, playing in various local bands from 2022-2024, spanning genres including alternative rock, folk, blues, and pop/indie rock. A seasoned session musician and educator, Cousins mentors young musicians and has recorded with artists including Robby Takac from the Goo Goo Dolls. He regularly performs in Buffalo Public Schools, demonstrating the versatility of acoustic and electric cellos. His collaborations include JoAnn Falletta, Marin Alsop, Leon Fleischer, The Eagles, and he has performed at venues including Kleinhans Music Hall, KeyBank Center Arena, SXSW Festival, and the Music is Art Festival. In 2025, Alex launched "Strings Unbound: An Evening with Alex Cousins," showcasing the electric cello as lead instrument. His seven-piece band will perform reimagined popular music covers from the past 50 years, debuting at The Caz in Buffalo on April 17, 2025.

American conductor Marin Alsop was the first woman to lead major orchestras in the UK, South America and in the United States, becoming principal conductor of the Baltimore Symphony Orchestra in 2007. Nominated for Grammy Awards five times, in 2013 she became the first ever woman to lead the Last Night Of The Proms, and is now regarded as one of the greatest conductors in the world. She talks to John Wilson about her professional musician parents who nurtured her love of music and supported her career choice from the age of 9 when she first revealed she wanted to be a conductor. Marin also talks about Leonard Bernstein, the great American composer and conductor, who inspired her ambitions and later became a mentor to her. She also chooses Carl Jung's work The Archetypes and the Collective Unconscious, and explains how his theories have helped her in leading orchestras around the world.Producer: Edwina PitmanMusic and archive used: Serenade in C major for String Orchestra, Op. 48; Valse, Pyotr Ilyich Tchaikovsky, New York City Ballet Orchestra, 1986 Irish Spring commercial: "Clean as a Whistle" 1980 Leonard Bernstein, Young People's Concerts: "What is Classical Music?", CBS Television, 24 January 1959 Omnibus: Leonard Bernstein's West Side Story, BBC2, 10 May 1985 Archive of Leonard Bernstein and Marin Alsop at the Schleswig-Holstein Musik Festival, 1987 Leonard Bernstein, Young People's Concerts: "What Does Music Mean?", CBS Television, 18 January 1958 Archive of OrchKids concert, Baltimore Symphony Orchestra Woman's Hour, BBC Radio 4, 26 July, 2005 Rhapsody in Blue, George Gershwin, Jean-Yves Thibaudet, Baltimore Symphony Orchestra, Marin Alsop Last Night of the Proms, BBC1, 7 September 2013 Symphony No. 2 in C Minor, "Resurrection", Gustav Mahler, Polish National Radio Symphony Orchestra, Marin Alsop

Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Katherine Needleman is a wonderful oboe player, who has been the principal oboist of the Baltimore Symphony since 2003. She's also active as a solist and chamber musician, and is on faculty at the Curtis Institute of Music. She is a champion of music of our time and you'll find her recordings and many projects on her website. To many listeners in the Classical Music world, she's probably better known for her Substack articles and posts on social media that address misogyny, sexual misconduct and assault, and the lack of diversity and equity in the Classical music world. In this conversation you'll hear about some of her activism and advocacy work , and different aspects of Katherine's life as a musician, including her work as a composer and educator, and mentors including Jennifer Higdon. Please note the timestamps to navigate the episode. I regret that I didn't get into improvisation with her, because she's also an excellent improvisor and has put out an album of improvised chamber music “The Marmalade Balloon”. Perhaps we can get into this next time she comes on the podcast! You can watch this on YouTube or listen to the podcast, and I've also linked the transcript to my website: https://www.leahroseman.com/episodes/katherine-needleman Katherine Needleman website “Land Where My Fathers Died” Aria for oboe and piano by Jennifer Higdon (sheet music available on the composer's website) It's a joy to bring these inspiring episodes to you every week, and I do all the many jobs of research, production and publicity. Please look at the links for different ways to support this independent podcast. Original Merch for sale Can you buy this independent podcaster a coffee? In January 2025 I'll be releasing Season 5 of this series. I've linked some other episodes that may interest you: Anna Petersen, Gail Archer, Omo Bello, Karen Donnelly, Renee Yoxon and Jessica Cottis, among many others! Newsletter sign-up Linktree for social media ⁠ Timestamps (00:00) Intro (03:20) Katherine is also a composer and improvisor, her feminist posts (05:54) fund for new music, Fatima Landa (12:40) parenting, performance anxiety, oboe reeds (18:46)activism, starting to write about lack of diversity, etc (21:44) Katherine's experience at Curtis as a student, her approach as a teacher (26:02) Katherine the composer (27:00) excerpt from “Land Where My Fathers Died” (link in description to complete performance) (32:26)challenges of performing as an introvert (34:13)other episodes you'll like, different ways to support this series (34:53)solo broadcast concerts, importance of exercise (37:22) auditions (43:02) reactions to her posts (44:39)orchestra musicians as soloists with their orchestras, Kevin Puts oboe concerto (47:06) Marin Alsop, lack of gender diversity in the conducting world (51:21) Queen of Filth digest (55:52) the mandatory dress story and gendered dress codes (59:22) Jennifer Higdon (01:01:24) excerpt from Aria for oboe and piano by Jennifer Higdon with Jennifer Lim on piano (link in description to complete performance) (01:04:37) what Katherine has changed her mind about, presentation and tone, need to prioritize (01:07:50) orchestra playing, chamber music, music education (01:11:50) Katherine's determination to continue Substack and activism, and need to compartimentalize for mental health

Founder and board member of Meadow Reproductive Health in Northern Virginia, Liddy Manson, joins the Madam Policy podcast to discuss how she went from being an accomplished strategic growth advisor and entrepreneur in the data technology space to a dedicated advocate for women's reproductive health in her local community. Liddy joins hosts Dee Martin and Carolyn Spector to talk about the actions she took following the Dobbs decision, the unique challenges she faced opening up a reproductive health clinic, and how others can get involved in the healthcare policy space. Want to also hear about Liddy's experience serving on the Board of the Baltimore Symphony Orchestra alongside Marin Alsop? Then tune in!

In this podcast, Raymond Bisha talks with American composer Margaret Brouwer about the inspiration and compositional approach behind the orchestral pieces on the programme of her new album. Spanning a period of twenty-four years, the works are brilliantly performed by Marin Alsop and the ORF Vienna Radio Symphony Orchestra, vividly capturing the music's wide range of expression, from sparkling sonorities to virtuosic challenges and beautiful evocations of nature.

durée : 02:03:52 - Musique matin du mercredi 05 juin 2024 - par : Gabrielle Oliveira-Guyon - Musicienne passionnée, Marin Alsop vient de faire des débuts très remarquées au MET de New York, dans un opéra de John Adams, son compositeur fétiche auquel elle consacre son nouvel album. La cheffe américaine pose ses valises à Paris, pour un concert avec l'Orchestre philharmonique de Radio France. - réalisé par : Yassine Bouzar

No son muchas las mujeres que han alcanzado la dirección de las grandes orquestas del mundo y hoy te ofrecemos una selección de 6 nombres provenientes de diferentes países. Lorena Jiménez, nuestra musicóloga y periodista musical invitada, las conoce a todas y nos cuenta sus principales puntos fuertes y hasta dónde han llegado en sus fulgurantes carreras. Disfruta de piezas compuestas por Haydn, Bartok, Lehar y otros, dirigidas por Susanna Mälkki, Joana Mallwitz, Emmanuelle Haïm, Barbara Hannigan, Marin Alsop y Simone Young. Son primeras batutas y reconocidas pioneras musicales, las grandes protagonistas de la nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.

The opera "El Niño" is making its Met premiere with a powerhouse team behind it, including composer John Adams and conductor Marin Alsop. It also marks the Met debut of acclaimed director Lileana Blain-Cruz, who is currently resident director at Lincoln Center Theater. She joins us to discuss the production along with soprano Julia Bullock, who performs as one of the Mary's.

Marin Alsop discusses her latest release – an album of orchestral works by John Adams – with Raymond Bisha, exploring just what it is about Adams' music that makes him the leading nominee for  the title of America's greatest living composer, not least for scores that inhabit 'the groove' with conspicuous relish.

SynopsisFor most of the 20th century, women's history was almost totally ignored in American schools. To address this situation, an education task force in Sonoma County, California, initiated a women's history celebration in March 1978. What began as an annual Women's History Week grew over the years into a national celebration, and in 1987, Congress declared the whole of March to be Women's History Month.Appropriately enough, 1987 also saw the premiere performance of Joan Tower's Fanfare for the Uncommon Woman — music written for the same instrumentation as Aaron Copland's famous Fanfare for the Common Man.Originally, Tower chose to let the title of her Fanfare for the Uncommon Woman serve as a generic, built-in dedication to all the unsung heroes of women's struggles past and present. But eventually, Tower added a specific dedication to conductor Marin Alsop, a champion of new music.“I don't think you can play a piece of music and say whether it's written by a man or a woman,” Tower says. “I think music is genderless.”But festivals and celebrations of women in music remain important, in Tower's view, in helping to get the word out about their accomplishments.Music Played in Today's ProgramJoan Tower (b. 1938): ‘Fanfare for the Uncommon Woman'; Colorado Symphony; Marin Alsop, cond. Koch International 7469

In der Sonntagsmatinee sendet Ö1 die Aufzeichnung einer Aufführung von Gustav Mahlers Vierte durch das RSO Wien unter Marin Alsop, die dann eine Woche lang online abrufbar bleibt. Auf unseren Erkundungen im Kosmos der Mahlerschen Symphonie machen wir daher diesmal bei diesem Werk Halt, das immer wieder als verhältnismäßig leichtgewichtige, ja die „mozartischste“ von Mahlers Kompositionen bezeichnet wird.

SynopsisIn 1985, the musical world was celebrating the 300th anniversary of the birth of Georg Frideric Handel. On today's date that year, Minnesota-based composer Libby Larsen, then in her mid-30s, was celebrating the premiere performance of her Symphony No. 1.Larsen titled her symphony Water Music and says its first movement was a deliberate homage to Handel's famous Water Music. As a resident composer of a state with over 10,000 lakes, Larsen admits her love of sailing also had something to do with the symphony's descriptive title.Since 1985, Larsen has gone on to write a few more symphonies, each with its own particular title. And she frequently gives individual movements of each symphony a descriptive tag. For example, one movement from her Solo Symphony (No. 5), from 1999, is titled “The Cocktail Party Effect.”Rather than the wallop of a stiff drink, Larsen says she means the ability of human hearing to pick out a single voice among the extraneous noise one encounters at a crowded cocktail party. “It's a kind of musical ‘Where's Waldo?'” she says. “In this case, Waldo is a melody, introduced at the beginning … then hidden amid the other music.”Music Played in Today's ProgramLibby Larsen (b. 1950) Symphony: Water Music; Minnesota Orchestra; Neville Marriner, cond. Nonesuch 79147; and Solo Symphony; Colorado Symphony; Marin Alsop, cond. Koch 7520

A new week means new questions! Hope you have fun with these!What name is given to a European plum that has been dried?In Greek Mythology, Pythia was the priestess of Apollo and was known as the what of Delphi?Which Scottish novelist wrote the novels Rob Roy, The Lady of the Lake and Ivanhoe?How many pillars are there in the 'Pillars of Islam'?What part of your body can only be seen when you are sitting?Riccardo Muti, Leopold Anthony Stokowski and Marin Alsop are all famous what?What other team competes against Real Madrid in "The Classic"?Which Taylor Swift song had the longest stay on the Billboard top 10 with a nearly six-month stay?What language does the term eureka come from?MusicHot Swing, Fast Talkin, Bass Walker, Dances and Dames, Ambush by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/Don't forget to follow us on social media:Patreon – patreon.com/quizbang – Please consider supporting us on Patreon. Check out our fun extras for patrons and help us keep this podcast going. We appreciate any level of support!Website – quizbangpod.com Check out our website, it will have all the links for social media that you need and while you're there, why not go to the contact us page and submit a question!Facebook – @quizbangpodcast – we post episode links and silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Instagram – Quiz Quiz Bang Bang (quizquizbangbang), we post silly lego pictures to go with our trivia questions. Enjoy the silly picture and give your best guess, we will respond to your answer the next day to give everyone a chance to guess.Twitter – @quizbangpod We want to start a fun community for our fellow trivia lovers. If you hear/think of a fun or challenging trivia question, post it to our twitter feed and we will repost it so everyone can take a stab it. Come for the trivia – stay for the trivia.Ko-Fi – ko-fi.com/quizbangpod – Keep that sweet caffeine running through our body with a Ko-Fi, power us through a late night of fact checking and editing!

Conductor Devin Patrick Hughes is joined by the remarkable violin virtuoso Rachel Barton Pine on One Symphony. Dive into Rachel's intriguing blend of genres from her early beginnings with the violin and her Chicago Symphony debut, to her exploration of heavy metal and traditional fiddling styles. Rachel shares how experience with modern composers enhances her interpretation of historical pieces, and dishes about her exhilarating experience with premiering Earl Maneein's Dependent Arising. The talk also includes a deep dive into her latest album featuring Shostakovich's first violin concerto and the origin of her iconic Del Gesù violin. The interview concludes with her love for Chicago. Violinist Rachel Barton Pine performs with the world's leading orchestras, including the Chicago Symphony, Vienna Symphony, Philadelphia Orchestra, Royal Philharmonic, and Camerata Salzburg. She has appeared on The Today Show, CBS Sunday Morning, CNN, PBS NewsHour, A Prairie Home Companion, and NPR's Tiny Desk. During the pandemic, she performed the entire solo violin part of 24 different violin concertos for her live, weekly series “24 in 24: Concertos from the Inside.” Her RBP Foundation assists young artists through its Instrument Loan Program and Grants for Education and Career, and runs the groundbreaking Music by Black Composers project which was launched in 2001.
She holds prizes from several of the world's leading competitions, including a gold medal at the 1992 Bach International Violin Competition in Leipzig, Germany.
 Thank you for joining us on One Symphony. Thanks to Rachel Barton Pine for sharing her talents and stories. You can find her music where ever you listen. Music selections performed by Rachel come from the Album Dependent Arising including Shostakovich's Violin Concerto no. 1 and Earl Maneein's Dependent Arising, Concerto for Violin and Orchestra with the Royal Scottish National Orchestra conducted by Tito Munoz.  Malek Jandali's Violin Concerto was performed by Rachel along with the ORF Vienna Radio Symphony Orchestra and Marin Alsop conducting.  Thanks to Cedille Records for making this episode possible. 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! 00:00 Introduction and Early Musical Journey 00:17 Discovering Heavy Metal and Merging Genres 00:41 Exploring Musical Tastes and Influences 01:29 The Impact of a Chicago Bulls Playoff Game 02:55 Bridging Classical and Rock Genres 04:20 Exploring Different Fiddle Styles 05:03 Incorporating Metal into Classical Music 05:44 The Influence of Shostakovich and Metal Music 08:47 The Role of Music in Social Justice 11:04 The Connection Between Music and History 11:52 The Universality of Classical Music 12:22 Collaboration with Malik Jandali 34:07 The Role of Workshopping in Music 36:05 The Influence of Chicago on Musical Career   Rachel Barton: Blending Genres and Bridging Worlds Through Music   It's not every day that you encounter a musician who, at a young age, found a passion for both classical and heavy metal music. Rachel Barton's story is a testament to the power of music to transcend boundaries and genres.   A Musical Prodigy Meets Heavy Metal   Rachel started her journey with the violin at three and a half years old, debuting with the Chicago Symphony at age 10. Around this time, she discovered heavy metal music, which marked her first encounter with the music of Shostakovich. Rachel reflects on her early years, "I enjoyed a variety of music beyond classical. My parents played blues at home, and I was really drawn to heavy metal, especially thrash."   A Turning Point: Performing at a Chicago Bulls Game   A pivotal moment came when Rachel played the national anthem at a Chicago Bulls playoff game. Her unique rendition caught the public's attention, leading to a realization. "People started approaching me, amazed by the violin's versatility. It was then I realized my mission: to bring listeners to classical music using rock genres."   Cross-Genre Exploration: From Heavy Metal to Classical   Rachel's journey took an interesting turn as she started exploring heavy metal and other genres on her violin. "I didn't consider myself a crossover artist," she clarifies, "I'm all about performing classical music, but I use my interests in rock to bring new listeners to classical."   Intersecting with Bands and Musicians   Rachel discovered that many of her favorite bands listened to classical music. "It was enlightening to tell someone, 'Hey, your favorite band likes these composers.' It's a powerful message." This intersection led her to create arrangements of rock songs for chamber and orchestral performances, a unique approach to bridging musical worlds.   Educational Outreach: A Lifelong Passion   A crucial part of Rachel's journey has been her commitment to educational outreach. "I've always believed in going into schools and teaching children about music," she says. Rachel's efforts go beyond young audiences, as she strives to introduce classical music to adults who might not usually engage with the genre.   Shostakovich and Heavy Metal: An Unexpected Connection   Discussing her unique connection with Shostakovich, Rachel shares, "Heavy metal fans adore Shostakovich for his intensity and darkness. I love pairing his works with contemporary pieces to show the depth and range of classical music."   Working with Contemporary Composers   Rachel's work with living composers has given her a deeper understanding of interpretation. "Working with contemporary composers helps me interpret the works of classical composers more effectively. It's a fascinating process to bring their intentions to life."   The Vibrancy of Chicago's Music Scene   Reflecting on her roots, Rachel speaks passionately about Chicago's diverse music scene. "Chicago has everything - from blues to industrial, house to classical. The city's music scene is incredibly supportive and vibrant, making it an ideal place for musicians."   Conclusion: A Musician Without Boundaries   Rachel Barton's career defies conventional boundaries, proving that music can be a powerful tool for connection and understanding. Her journey from a classical violin prodigy to an artist who bridges genres is a remarkable story of passion, innovation, and dedication to music's universal appeal.   Below are some highlights from our interview.    Rachel, it's great to have you on One Symphony today. Can you share your history with cross-genres?   I started playing the violin at three and a half, debuted with the Chicago Symphony at 10, and around that time, I discovered heavy metal. My journey into combining genres began at a Chicago Bulls game where I played the national anthem. People were amazed by the violin's versatility, which inspired me to bring classical music to new audiences through rock genres.   How did this realization affect your approach to music?   I realized most people's exposure to classical was limited. So, I began reaching out through rock radio stations, playing rock music on my violin, then transitioning to classical pieces. I discovered that many of my favorite bands listened to classical music, which helped me bridge these genres.   What about your work with contemporary composers?   Rachel Barton: Working with contemporary composers deepens my understanding of music interpretation. It helps me interpret classical works more effectively and brings a fresh perspective to music creation.   How do you view classical music's relevance today?   Rachel Barton: Classical music is intense, exciting, and universal. It transcends boundaries and is meaningful to people of all races and ethnicities. It's a way to understand each other even if we don't speak the same language.   Tell us about your collaboration with Malik Jandali and working with Marin Alsop.   I participated in recording a violin concerto by Malik Jandali, blending Middle Eastern and Western styles. Working with Marin Alsop was enlightening. The concerto has Middle Eastern elements, like the oud, but it remains a Western orchestra piece.   How has your approach to playing changed over the years?   I've learned to balance the composer's intentions and my interpretation. Working with living composers has made me a more effective interpreter of classical music.   Can you talk about your latest project, "Dependent Arising," and pairing it with Shostakovich's work?   This album includes a piece by Earl Maneein, inspired by Buddhism and the acceptance of death. We paired it with Shostakovich's work because of his popularity among metal fans and the emotional depth in his music.   What are your thoughts on workshopping in classical music?   Workshopping is essential, even for experienced musicians. It's a process of growing with a piece, trying new things, and evolving one's approach.   Lastly, what is your favorite Chicago staple, aside from the symphony?   For me, it's Chicago blues. My parents loved blues, and it has a special place in my heart. Chicago's music scene is incredibly diverse and supportive, making it a fantastic place for musicians.   Thank you, Rachel, for joining us today.   Thank you, Devin. I'm grateful for the opportunities I've had, especially with Cedille Records, which has allowed me to explore various musical projects.   https://rachelbartonpine.com https://www.soundespressivocompetition.com/services/devin-patrick-hughes https://www.castlerockco.com/devin-patrick-hughes-music-director-conductor/      

SynopsisWhat's your favorite season? And how would you describe it in words? And if you're a composer, how would you describe it in music?The most famous musical depiction is The Four Seasons, a set four violin concertos by Italian Baroque composer Antonio Vivaldi, but other composers have evoked the mood and sounds of the seasons. On today's date in 2009, American composer Philip Glass tossed his hat into the ring with the Toronto Symphony premiere of a new work, The American Four Seasons.Glass' seasonal tone painting, like Vivaldi, is a set of four concertos, written for violinist Robert McDuffie, who also performed the premiere. But when McDuffie finally saw the finished score, he felt Glass's view of some of the seasons did not quite match his own, so they came up with an unusual solution: In the published score, Glass did not provide titles for any of the four concertos, letting each listener (or performer) decide for him- or herself which concerto matched which season.So, in this case of this Four Seasons, it's all up to you.Music Played in Today's ProgramPhilip Glass (b. 1938) The American Four Seasons (Violin Concerto No. 2); Robert McDuffie, vn; London Philharmonic; Marin Alsop, cond. Orange Mountain CD 0072

Marin Alsop is one of the most famous conductors in the world. Ten years ago, she became the first woman to conduct the Last Night of the Proms at the Royal Albert Hall. Now she is giving the European premiere of Too Hot To Handel: The Gospel Messiah!, a reimagining of Handel's Messiah Marin tells Hayley Hassell why she wanted to rework the piece, and looks back over her illustrious career as a conductor. The actor Diana Quick joins Hayley to discuss her role as Mrs Wentworth in a new series The Famous Five – and describe how the classic adventures have been brought to life with a new, fresh, modern reimagining of Enid Blyton's iconic stories.The Centre for Women's Justice is campaigning to prevent unjust criminalisation of victims and survivors of domestic abuse. Hayley is joined by director of the CWJ, Harriet Wistrich, and former director of Southall Black Sisters, Pragna Patel.What can we tell about medieval women's lives from studying their skeletons? Dr Sarah Inskip from Leicester University has been part of a team excavating Cambridge graveyards for a new research project called After the Plague. She has found evidence that some medieval women did very strenuous work that changed the shape of their upper bodies; others were trading and travelling across Europe, and many would have existed in chronic pain.Producer: Hannah Sander Presenter: Hayley Hassell

You Belong To Me - Marin Alsop - The Quare Fellow

SynopsisOn today's date in 2005, the Philadelphia Orchestra gave the premiere performance of a new Percussion Concerto by American composer Jenifer Higdon. The soloist was Colin Currie, a Scottish virtuoso for whom the work was tailor made.In program notes for her work, Higdon wrote, “When writing a concerto, I think of two things: the particular soloist for whom I am writing and the nature of the solo instrument. In the case of percussion, this means a large battery of instruments, from vibraphone and marimba (the favorite instrument of soloist Colin Currie), to nonpitched smaller instruments like brake drums, wood blocks or Peking Opera gongs.“Not only does a percussionist have to perfect playing all these instruments, he must make decisions regarding the use of sticks and mallets ... not to mention the choreography. ... Where most performers do not have to concern themselves with movement across the stage during a performance, a percussion soloist must have every move memorized.”Higdon's new concerto proved popular with both audiences and the critics, and in 2010 the work won that year's Grammy for best classical contemporary composition.Music Played in Today's ProgramJennifer Higdon (b. 1962) Percussion Concerto; Colin Currie, percussion; London Philharmonic; Marin Alsop, cond. LPO CD 0035

Lee Mills is internationally recognized as a passionate, multifaceted and energetic conductor. In naming Mills as the ‘New Artist of the Month' for March 2022, Musical America praised his ‘omnivorous musical temperament eager to try out highly contrasting musical styles and approaches.'As you'll hear, Lee left his mark wit the Seattle Symphony during the COVID pandemic, stepping in at crucial times. The League of American Orchestras selected Lee Mills for the 2018 Bruno Walter National Conductors Preview where he conducted the Nashville Symphony Orchestra. In 2017 he was selected as a semi-finalist in both the Sir Georg Solti International Conducting Competition and the Opera Royal de Wallonie-Liege International Opera Conducting Competition. In addition, he conducted alongside David Robertson in the highly acclaimed U.S. Premiere of John Cage's Thirty Pieces for Five Orchestras with the Saint Louis Symphony.    At the invitation of the Baltimore Symphony Orchestra Music Director Marin Alsop, he received the prestigious BSO-Peabody Institute Conducting Fellowship in 2011. Under the tutelage of Gustav Meier and Marin Alsop, Mills received his Graduate Performance Diploma and Artist's Diploma in Orchestral Conducting at the Peabody Institute. He was a conducting fellow at the American Academy of Conducting at Aspen during the summers of 2012 and 2013, working closely with Larry Rachleff, Robert Spano and Hugh Wolff. Lee Mills graduated cum laude from Whitman College, where he studied with Robert Bode.

Udo talks to Julia Tai, the Music Director of the Missoula Symphony Orchestra & Chorale. Maestro Tai is also the Music Director of Philharmonia Northwest, and the Co-Artistic Director of the Seattle Modern Orchestra. Her career has led to acclaimed performances and rehearsals with the American Youth Symphony, Bakersfield Symphony Orchestra, Bohuslav Martinu Philharmonic (Czech Republic), Boise Philharmonic, Brandenburger Symphoniker (Germany), Estonian National Youth Symphony (Estonia), to name but a few. Born in Taipei, Taiwan, Julia Tai began her violin studies at age four and piano at eight. She received her Bachelor and Master of Music degrees from the University of Southern California Thornton School of Music, where she was awarded “Outstanding Graduate.” She holds a Doctor of Musical Arts degree in orchestral conducting from the University of Washington. She has studied conducting with some of the finest conductors in the world, including Peter Erös and Jorge Mester, and has participated in masterclasses with Marin Alsop, JoAnn Falletta, Neeme Järvi, Daniel Lewis, Gustav Meier, Otto-Werner Müller, Jorma Panula, and Larry Rachleff. She is recognized as a prominent innovator of the contemporary music world and has established a reputation for her creative programming, community engagement, and innovative education programs. While Julia Tai is becoming one of today's most dynamic and engaging conductors on the international stage, she is also the first female conductor in the history of the Missoula Symphony. Words cannot describe Maestro Tai, one needs to see her conducting live, on stage, feeling the music!

SynopsisIn the 19th century, anybody who had the means would flee the stifling heat of the cities and head for someplace green and shady and cool: a country house, a spa perhaps, or maybe just a modest cabin by a lake.In the 19th century, it was Brahms who set the fashion for composers to spend their summer months in the countryside working on their music. His Violin Concerto and Second Symphony were the products of leisurely weeks spent in the lake district of Austria's Carinthian Alps.For the American composer Edward Collins, who lived from 1886-1951, the city to be escaped was Chicago, and his country refuge was Cedar Lake, Wisconsin. In 1931, Collins composed a Concert Piece for Piano and Orchestra. Like much of Collins' music, it was premiered by the Chicago Symphony under conductor Frederick Stock, who encouraged young American talent, especially from a local boy like Collins, a native of Joliet, Illinois.These days the music of Edward Collins has all but disappeared from American concert halls, but conductor Marin Alsop and the Concordia Orchestra recorded a sampling of his major orchestral works for a compact disc series funded by the late composer's family.Music Played in Today's ProgramEdward J. Collins (1889 – 1951) Concert Piece in A minor Leslie Stifelman, piano; Concordia Orchestra; Marin Alsop, conductor. Albany 267

At the Mzanzi National Philharmonic concert next Saturday at which the main work will be Mahler's Fifth Symphony conducted by Marin Alsop, the first half will feature dramatic soprano arias sung by Masabane Cecilia Rangwanashe who is based in Europe and who has been dazzling audiences with her radiant voice. She has just sung the Four Last Songs of Richard Strauss at a Proms concert in London and works regularly with Antonio Pappano at the Royal Opera House. Masabane has given solo recitals at the Wigmore hall and has appeared in Washington, Hamburg, Dresden, Atlanta and Chicago. I managed to get her on a zoom connection for this week's People of Note.

Syrian American composer Malek Jandali and Maestro Marin Alsop detail their new release of Jandali's concertos for violin and clarinet. Plus, comedian Hank Denson takes the small stage in our series, “Speaking of Comedy,” and we learn about the new Executive Director of SCAD FASH Museum of Fashion and Film.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Conductor and Naxos artist Marin Alsop discusses Robert Schumann's four symphonies in the wake of her recordings of the works as reorchestrated by Mahler (8.574429 and 8.574430). Following observations about instrumental developments of the time, Mahler's myriad tweaks to the score, and the somewhat bipolar flavour of the music (with counterpoint always at hand as a periodic stabiliser), she moves on to a detailed appreciation of each symphony, demonstrating Schumann's distinctive contribution to the development of the genre “with one foot in the past, and one in the future.”

Scottish composer Helen Grime is this week's guest on Composing Myself, talking to Wise Music Group CEO Dave Holley and Creative Director Gill Graham about her life in and out of music. Melodic motifs on the conversational score today include her formative years studying the oboe, why a first rehearsal is more nerve-wracking than a premiere, experiences at Tanglewood - the summer home of the Boston Symphony Orchestra, why passing knowledge forward through teaching and learning is so important, and the nature of inspiration - “sometimes I seek it, and sometimes I really need it”. As ever, a joyful and enlightening hour.https://helengrime.com/The music of Helen Grime has been performed by leading orchestras around the world, among them the London Symphony Orchestra, Hallé Orchestra, Boston Symphony Orchestra, Orchestre de Paris, Royal Concertgebouw Orchestra, Deutsches Symphonie-Orchester Berlin and Swedish Radio Symphony Orchestra. Conductors who have championed her music include Sir Simon Rattle, Sir Mark Elder, Pierre Boulez, Kent Nagano, Oliver Knussen, George Benjamin, Daniel Harding, Marin Alsop and Thomas Dausgaard. Her music frequently draws inspiration from related artforms such as painting (Two Eardley Pictures, Three Whistler Miniatures), sculpture (Woven Space) and literature (A Cold Spring, Near Midnight, Limina) and has won praise in equal measure for the craftsmanship of its construction and the urgency of its telling.Born in 1981, Grime attended St Mary's Music School in Edinburgh and, following studies at the Royal College of Music in London, was awarded a Leonard Bernstein Fellowship to attend Tanglewood Music Center in 2008. Between 2011 and 2015 she was Associate Composer to the Hallé Orchestra in Manchester and in 2016 was appointed Composer in Residence at Wigmore Hall in London. She was Lecturer in Composition at Royal Holloway, University of London, between 2010 and 2017 and is currently Professor of Composition at the Royal Academy of Music in London. She was appointed MBE in the 2020 New Year Honours List for services to music. Hosted on Acast. See acast.com/privacy for more information.

Synopsis On today's date in 2002, Mariss Jansons led the Pittsburg Symphony in the premiere performance of the Second Symphony written by a then 32-year-old American composer named Michael Hersch. Hardly a child prodigy, Michael Hersch was introduced to classical music at age 18 by his brother Jamie, who showed him a videotape of Georg Solti conducting Beethoven's Fifth. That experience shook him. "It scrambled everything.” Hersch recalled. “That's when I knew that I was to be a composer... My whole life started over at that moment." Hersch certainly made up for lost time, exhibiting an uncanny ability to master both the piano and the intricacies of contemporary compositional techniques in less than a decade. His first success as a composer came when his Elegy for Strings won a major prize and was conducted by Marin Alsop at Lincoln Center in New York in 1997. Since then, his works have been commissioned and performed by many other leading orchestras and performers. Hersch's Symphony No. 2 has no stated program, but it was composed shortly after the events of September 11, 2001, and knowing that, it's hard to disassociate the score's violent opening and subsequent elegiac mood from that tragic moment in American history. Music Played in Today's Program Michael Hersch (b. 1971) Symphony No. 2 Bournemouth Symphony; Marin Alsop, conductor. Naxos 8.559281

durée : 01:27:32 - Marin Alsop, cheffe d'orchestre (3/3) - par : François-Xavier Szymczak - Disciple de Leonard Bernstein, Marin Alsop dirige dans le monde entier depuis plus de trente ans. Du Colorado à Baltimore, de São Paulo à Bournemouth, elle est aujourd'hui directrice musicale du Festival Ravinia et de l'Orchestre Symphonique de la radio de Vienne.

durée : 01:28:06 - Marin Alsop, cheffe d'orchestre (2/3) - par : François-Xavier Szymczak - Disciple de Leonard Bernstein, Marin Alsop dirige dans le monde entier depuis plus de trente ans. Du Colorado à Baltimore, de São Paulo à Bournemouth, elle est aujourd'hui directrice musicale du Festival Ravinia et de l'Orchestre Symphonique de la radio de Vienne.

durée : 01:28:01 - Marin Alsop, cheffe d'orchestre (1/3) - par : François-Xavier Szymczak - Disciple de Leonard Bernstein, Marin Alsop dirige dans le monde entier depuis plus de trente ans. Du Colorado à Baltimore, de São Paulo à Bournemouth, elle est aujourd'hui directrice musicale du Festival Ravinia et de l'Orchestre Symphonique de la radio de Vienne.

The only conductor to receive a MacArthur "Genius Grant" Fellowship, trailblazer Marin Alsop is the first woman to lead a major orchestra in the United States, in South America, in Austria, and in Britain. In addition to her accomplishments, she is vigilant about keeping the doors open for other women. Marin and David discuss the importance of partnership between musicians and a conductor, challenge of criticism, trouble of artistic perfection, and how she views the audience as an active participant in the concert experience. She reflects on her early musical idols, the Beatles and her longtime mentor and teacher Leonard Bernstein, and two of her landmark initiatives, the Taki Alsop Conducting Fellowship whose mission is to mentor, support, and promote women conductors as they advance in their professional careers, and OrchKids, which provides Baltimore City youth with equitable access to community-based, high-quality music instruction and programming that teaches musical and social skills transferable to all areas of their lives.Check out Marin Alsop on Instagram, Twitter, Facebook, YouTube, Apple Music, Spotify, or the web.You can learn more about OrchKids here and the Taki Alsop Conducting Fellowship here.Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram and the web.The Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This interview has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

We're back with more inspiring conversations featuring singer-songwriter Rufus Wainwright, folk artist Rhiannon Giddens, trumpeter Ibrahim Maalouf, conductor Marin Alsop, violinist James Ehnes, and many more!Follow Speaking Soundly on Instagram.Follow David on Instagram.You can find out more about Artful Narratives Media on Instagram or the web.The Speaking Soundly theme song is composed by Joseph Saba/Stewart Winter and used by permission of Videohelper.Speaking Soundly was co-created by David Krauss and Jessica Handelman. This trailer has been edited and condensed to fit the time format.Episode copyright © 2023 Artful Narratives Media. Hosted on Acast. See acast.com/privacy for more information.

Women conductors are in the limelight this week with a film called “Tar”, which opens in cinemas today, starring Cate Blanchett depicting the life of Lydia Tár - a fictional world-renowned composer-conductor of the Berlin Philharmonic. The American conductor Marin Alsop famously observed that women are more likely to lead a G7 country or become four-star generals in the US Army than they are to be the principal conductor of a big orchestra. Anita Rani speaks to one our listener Emma Warren who got in touch with us as she is the only woman on her choral conducting course at The Royal Academy and Joséphine Korda who has just been announced by Opera North as their latest Female Conductor Trainee. Yesterday we talked about Andrew Tate and other social media influencers who are spreading misogynistic messages online. Several listeners got in touch to tell us about how their children have come across this kind of material and with concerns about how best to talk about it with them. Anita is joined by Dr Emily Setty, Senior Lecturer at the University of Surrey who does research in schools with young people about sex and relationships and Michael Conroy founder of Men at Work, an organisation that trains professionals how to have constructive dialogue with boys. Jenny Beavan has spent over 40 years dressing the greats of Hollywood for film and screen. She is an 11 time Oscar nominated (and 3 time Oscar winning) costume designer, whose work you will be familiar with from films such as Sense and Sensibility, The King's Speech, and Mad Max: Fury Road. She has just been longlisted for the BAFTA Award for Best Costume Design for her work on Mrs Harris Goes to Paris. The film tells the story of Ada Harris, played by Lesley Manville, a cleaning lady who – unsurprisingly – travels to Paris, after she sees a Dior dress belonging to one of her clients and is determined to own one of her own. Jenny joins Anita to tell us about the process of recreating old Dior designs and the transformative power of that perfect dress! More than 25 years ago, the World Health Organisation made a commitment to eradicate Female Genital Mutilation across the world. Despite this, around eight thousand women and girls each day go through FGM. To understand why this is still happening, Anita Rani will hear from WHO researcher Dr Christina Pallitto and charity CEO Nkatha Mugao, who helps women and girls in Kenya who have been cut, and is working to stop FGM.

Amanda Lee Falkenberg with Marin Alsop/The London Symphony Orchestra & The London Voices — The Moons Symphony (Signum) Jump to giveaway form New Classical Tracks - Amanda Lee Falkenberg by Amanda Lee Falkenberg is an Australian-born composer and pianist who lives in Dubai. Five years ago she took a leap of faith that led to the creation of a choral symphony that merges science and art. After a random email to a NASA scientist, which opened an entire universe of possibilities, she started work on her latest album, The Moon Symphony, featuring Marin Alsop conducting the London Symphony Orchestra, and the London Voices. Can you talk about the article that started this project? “I instantly went, ‘Oh my goodness! These moons are not weird. They're absolutely wonderful and I need to change their course.' I felt like after reading the article I just wanted to break them free and give them a voice. Knowing the power of music and being a film composer let me understand the persuasive and powerful qualities that music has more than any other art form. It can really manipulate the emotional landscape. It was so clear to me that that's what I wanted to do with these moons.” Why is it important for you to merge science and art? “I just couldn't ignore it. I felt like science was tapping me on the shoulder saying, ‘Hey, can we be part of this moon adventure with you?' At that point, I wasn't planning on having a choir, but I thought if I did get the choir involved it would give more relevance and outreach and could really house the science better.” Which of these moons or movements presented the greatest challenge for you? “Titan. I had a field day choosing the science of that moon because of all the recent discoveries, and because of the legendary Cassini–Huygens space-research mission by NASA. One of the challenging moments was when I had been composing nonstop for seven days, and I remember just listening back to what I had come up with. I don't like it at all. I scrapped everything. I just literally deleted it. “The moon Miranda of Uranus was a challenge for different reasons. I felt the most emotionally affected by her meaning. I just got so involved in her world. I remember feeling like I was living in a nightmare. I just wanted to beam myself out of it because it just was so dark, scary and violent. “That's when I found the story of the seventh moon. I thought, ‘Oh, my goodness! This is what's missing from my symphony. The seventh story. Why don't we position Earth's moon, our moon, in this storytelling?' It's something to remind us that we actually do have a home in the solar system and it was the moon Miranda's story that brought me to that inspiration.” Watch now To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. More on Amanda Lee Falkenberg The Planetary Society Amanda Lee Falkenberg Giveaway Time For Three New Classical Tracks Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Amanda Lee Falkenberg with Marin Alsop/The London Symphony Orchestra & The London Voices — The Moons Symphony (Presto music) Amanda Lee Falkenberg with Marin Alsop/The London Symphony Orchestra & The London Voices — The Moons Symphony (Amazon) Amanda Lee Falkenberg (official site)

American conductor Nicholas Hersh joins Karen this week on And Other Duties. Nick had a remarkable tenure as Assistant then promoted to Associate Conductor of the Baltimore Symphony Orchestra with Marin Alsop for over 7 years. Join us as we explore his journey pre, during and post Baltimore as an assistant, associate, and now freelance conductor, and how doing laundry is one of the ‘and other duties'.

Internationally renowned conductor Marin Alsop sits down with Emma Searle to discuss the joys and challenges of leading an orchestra and how, despite rejections and being told, “Girls can't do that,” she persisted to become the first woman to lead major orchestras in Europe, South America and the US.See omnystudio.com/listener for privacy information.

A recording of the Australian composer Amanda Lee Falkenberg's The Moons Symphony has just been released in Dolby Atmos sound by Signum. Featuring London Voices and the London Symphony Orchestra, the work is conducted by Marin Alsop. For this podcast, Gramophone's James Jolly spoke with Amanda in Dubai and Marin in Vienna about the project, its ambitious programme and the challenges of recording such a large-scale work in the middle of the pandemic. Gramophone Podcasts are made in association with Wigmore Hall, sponsors of the 2022 Chamber Award. 

Juliano Dutra Aniceto is one of the most significant upcoming conductors of his generation, having worked in the symphonic and in the operatic fields. Currently, Juliano is developing his doctorate studies at The Peabody Institute of the Johns Hopkins University, under the mentorship of Maestro Marin Alsop, where he served as her graduate assistant. Juliano has appeared as guest conductor and music director in operatic productions in the United States and in South America, having conducted the Baltimore Symphony Orchestra, the Peabody Symphony Orchestra, the São Paulo State Youth Orchestra, São Pedro Opera House, the East Carolina University Symphony Orchestra, ECU Opera Theatre, the São Paulo University Symphony Orchestra, among others. Juliano is recognized by his versatility among genres, with 12 operatic and 3 music theater productions in his repertoire, including titles as Humperdinck's Hänsel und Gretel (North Carolina, 2019), Mozart's Die Zauberflöte (Brazil, 2017), Rossini's L'italiana in Algeri, Cimarosa's Il Matrimonio Segreto, Janáček's Katja Kabanová and Věc Makropulos, among others. In 2022, Juliano served as music director and conductor in the recording of the opera Lily, by Garth Baxter. At Peabody, Juliano is the recipient of the “Artistic Excellence Scholarship.” Juliano also serves as the Executive Assistant for the Taki Alsop Conducting Fellowship and as Hugh Hawkins Fellow researcher at The Johns Hopkins University (2021). Juliano has participated in masterclasses with Marin Alsop (his mentor), Kurt Masur, Claudio Cruz, Johannes Schlaefli, Isaac Karabtchevsky, Ernani Aguiar, Martin Schmidt, and Osvaldo Ferreira. Juliano Aniceto was born in São Paulo – Brazil, started his music education in a social program and, from an early age, his talent was recognized: reviews of his concerts, as a flute soloist, classified him as “A soloist with great future” (Invitation to the Classics, Clovis Marques). In 2022, Juliano joins the Hopkins Symphony Orchestra in the position of Assistant Conductor.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★

The worlds of music, art and science can symbiotically exist and share center stage together to offer a sense of awe, wonder and inspiration about moons of the solar system, and ultimately about our home planet. Award winning composer and pianist Amanda Lee Falkenberg has created THE MOONS SYMPHONY- a project 5-years in the making, consulting with planetary scientists from NASA's JPL to ensure the science was anchored in scientific accuracy. Listen to hear not only the most beautiful and incredible music, but to hear directly from Amanda how science influenced each of the moons within the symphony.  THE MOONS SYMPHONY Album is available here: https://lnk.to/TheMoonsSymphony Enjoy learning more about Amanda's journey in creating this masterpiece here: https://www.moons-symphony.com/blog About Amanda Lee Falkenberg: International award-winning composer and pianist Australian born Amanda Lee Falkenberg began her journey into composition through years spent in ballet studios as an accompanist, including the Australian Ballet company in 2000. She wrote over 120 pieces to accompany ballet dancers as they trained, which led to her Moving With Music album series.  In 2003 her first full-length orchestral ballet was commissioned, Edge of the World, and performed by the International Barossa Music Festival Orchestra with the prestigious Leigh Warren and Dancers, which received glowing reviews from the national press.  Inspired by visual imagery, Falkenberg's natural progression led her to write for film and TV, stage plays, documentaries, animation series and feature films, including her cinematic soundtrack to the screen adaption of Wilfred Thesiger's Arabian Sands. In 2017, she conducted the world premiere of her orchestral suite Sea Trilogy with the London Film Music Orchestra at their Gala Concert. Later that year, she completed her Arabian inspired concerto for piano and orchestra, Crossing of the Crescent Moon, after which she began her next large scale project, THE MOONS SYMPHONY.  Described by The Beauty of Space Art Authors Jon Ramer and Ron Miller as "…one of the most extraordinary achievements in space-inspired music, and perhaps the first to be accomplished in direct collaboration with astronomers and scientists", Falkenberg has presented the work and its scientific inspiration to global audiences including the NASA/JPL, Caltech, the Planetary Society of Los Angeles live radio show in Imperial College London 2022, the London Science Museum, COP26 in Glasgow, 2021, the Dubai Expo in 2021, the Euro Planet Science Congress EPSC in Geneva, 2019, and the TEDx Youth Conference, 2018.  Falkenberg has received many nominations and won multiple international contests, including the Great American Song Contest, Marvin Hamlisch emerging film composer contest in New York, the International Composition Competition in Italy, Hollywood Music in Media Awards (HMMA), and the Los Angeles Music Awards.  ​Falkenberg is an artist member of the International Association of Astronomical Artists (IAAA) who organized an elaborate multimedia/visual art project in in coordination with THE MOONS SYMPHONY" More about the MOONS SYMPHONY's PERFORMANCES: 

Michael Repper and the New York Youth Symphony — Works by Florence Price, Jessie Montgomery, Valerie Coleman (Avie) Jump to giveaway form New Classical Tracks - Michael Repper by “Maybe it's because I come from the Marin Alsop school of conducting and how I was taught, but we want to build community,” conductor Michael Repper said. “We want to make the world a better place, and we want to be connecting people.” In 2017, it was Repper's mentor, Alsop, who recommended that he be the next conductor of the New York Youth Symphony. “The age range of the orchestra is between 12 to 22,” he said. “That means each year we have many members of the orchestra who are students at the local conservatories and colleges, including the Juilliard School, Manhattan School of Music and Columbia University. That also means they may not be from New York; they come from all over the world.” Why did you decide to feature works by three Black women composers? “We were scheduled to play the Florence Price Piano Concerto on our concert at Carnegie Hall. It was actually going to be the Carnegie Hall premiere of that work. I still don't think it's been played there. In May 2020, we called [pianist] Michelle Cann, and I said, ‘Hey, would you like to do this?' That was the first thing that went on the album. “Also, we didn't rehearse with her. We were so concerned that if we scheduled a rehearsal in the week before the recording, somebody would get sick. Not only did we not want somebody to get sick, but we didn't want to jeopardize the project. We rehearsed with Cann for only an hour or so before we hit record.” Can you talk about the principal oboist featured in the Piano Concerto? “Her name is Kara Poling. She is one to watch. The middle section is a lyrical duo, and it gives me chills every time. She plays it so well. “In 2020, particularly with the tragic murder of George Floyd, it was a moment to highlight music that dealt with inequities and oppression. I had always loved Price's Ethiopia's Shadow in America. I was amazed that there hadn't been a recording of an American orchestra performing the work. I said that it has to be on the album for sure. “This was the first time I conducted all four of these pieces, and I will continue to program them. I fell in love with the music the same way that everybody else did.” To hear the rest of my conversation, click on the extended interview above, or download the extended podcast on iTunes or wherever you get your podcasts. Watch now More on youth orchestras Youth orchestra strikes back at car ad that pokes fun at young players School Spotlight: Greater Twin Cities Youth Symphonies Giveaway Giveaway You must be 13 or older to submit any information to American Public Media/Minnesota Public Radio. The personally identifying information you provide will not be sold, shared, or used for purposes other than to communicate with you about things like our programs, products and services. See Terms of Use and Privacy. This giveaway is subject to the Official Giveaway Rules. Resources Michael Repper and the New York Youth Symphony — Works by Florence Price, Jessie Montgomery, Valerie Coleman (New York Youth Symphony direct) Michael Repper and the New York Youth Symphony — Works by Florence Price, Jessie Montgomery, Valerie Coleman (Avie store) Michael Repper and the New York Youth Symphony — Works by Florence Price, Jessie Montgomery, Valerie Coleman (Amazon) New York Youth Symphony (official site) Michael Repper (official site)

Synopsis In 1923, the Chicago North Shore Festival sponsored a competition for new orchestral works. Of the 47 scores submitted, five finalists were selected by a distinguished panel of judges that included two leading American composers of that day: George W. Chadwick and Henry Hadley. Two of the five works that made the final cut were by the same composer, a 33-year-old Illinois native named Edward Collins. On today's date in 1923, conductor Frederick Stock and his Chicago Symphony played through the five finalists' scores at a public event at Northwestern University, with Collins in attendance to hear his two contrasting pieces. The first was called “Mardi Gras,” and, as you might expect, it was an upbeat work in a party mood. The second Collins piece was entitled “1914”—a grim orchestral evocation of World War I that Collins later retitled “Tragic Overture.” It was that work that won the competition's $1000 first prize, and so impressed conductor Stock that he performed the piece in New York and Chicago. Although Collins was famous in his day, after his death in 1951, his music was largely forgotten. Perhaps his unabashedly Romantic style seemed dated in the avant-garde 50s and 60s. After more than half a century after his death, a series of new recordings of Collins' orchestral works made by the Concordia Orchestra under Marin Alsop have helped to reintroduce his music to a new generation. Music Played in Today's Program Edward Collins (1889 - 1951) — Mardi Gras and Tragic Overture (Concordia Orchestra; Marin Alsop, cond.) Albany 267

In 2007, Alsop became the first woman to lead a major American orchestra, the Baltimore Symphony. But on the way to great success, she faced plenty of rejection. "Girls can't do that," Alsop recalls her violin teacher told her at age nine, of becoming a conductor. "I'd never heard a phrase like that," Alsop says. "You know, it never occurred to me that there was something that girls couldn't do." Alsop was mentored by Leonard Bernstein, and has conducted major orchestras around the world. Also, John Powers reviews the new HBO Max crime thriller Tokyo Vice. Finally, Vuong is author of the acclaimed novel On Earth We're Briefly Gorgeous. His novel was published in 2019, the same year he won a MacArthur "genius" grant. It was also the same year his mother died. "Ever since I lost her, I've felt that my life has been lived in only two days," Vuong tells Tonya Mosley. "There's the today where she is not here, and then the vast and endless yesterday where she was." Vuong has a new poetry collection called Time Is a Mother, which he describes as "a search for life in the aftershocks of death."

In 2007, Alsop became the first woman to lead a major American orchestra, the Baltimore Symphony. But on the way to great success, she faced plenty of rejection. "Girls can't do that," Alsop recalls her violin teacher telling her at age nine, of becoming a conductor. "I'd never heard a phrase like that," Alsop says. "You know, it never occurred to me that there was something that girls couldn't do." Alsop was mentored by Leonard Bernstein, and has conducted major orchestras around the world.

It's the end of 2019, so we're looking back on some of our favorite guests from the year; José Andrés, Marin Alsop, Steve Earle, Jennifer Weiner, and Anthony Anderson.

Marin Alsop, conductor of the Baltimore Symphony Orchestra, joins us along with panelists Adam Felber, Faith Salie, and Petey DeAbreu.