Podcast appearances and mentions of matthew halls

“One of the things we know about the brain is that information that is acquired through problem solving is more likely to be retained. I might start rehearsal by saying 'take out the piece in D major,' 'let's start in the climactic moment of the Brahms,' 'take out the piece where fire is used as a metaphor for passion.' You start with a problem, so you're already engaging neurons. This works at any age."Sharon J. Paul holds the Robert M. Trotter Chair of Music at the University of Oregon, where she currently serves as Department Head of Music Performance and Director of Choral Activities. Her teaching includes graduate courses in choral conducting, repertoire, and pedagogy, along with conducting the internationally award-winning Chamber Choir.In March 2020, Oxford University Press published Dr. Paul's book, Art & Science in the Choral Rehearsal, which features many of the creative and evidence-based teaching strategies she has cultivated over her career.The University of Oregon Chamber Choir has placed first or second in four international choral competitions, most recently winning first prize in the Chamber Choir category at the Grand Prix of Nations Competition in Gothenburg, Sweden in August 2019. The Chamber Choir became a resident ensemble of the Oregon Bach Festival in 2014, performing each summer under conductors such as Helmuth Rilling, Matthew Halls, John Nelson, Jane Glover, and Joann Falletta.University of Oregon choirs under Dr. Paul's direction have performed at the National Association for Music Education's state and divisional conferences, and at ACDA Northwestern Division conferences.Dr. Paul has presented interest sessions at regional, state, division, national, and international conferences. She appears frequently as adjudicator, clinician, teacher, and honor choir director throughout the United States and abroad. In 2019, she received Oregon ACDA's Podium Award for “outstanding contributions to the choral arts,” and in the fall of 2014 she received the University of Oregon's Fund for Faculty Excellence Award.Dr. Paul completed her DMA in Choral Conducting at Stanford University, her MFA in Conducting from UCLA, and her BA in Music from Pomona College.To get in touch with Sharon, you can email her at sjpaul@uoregon.edu or find her on Facebook (@sharon.paul.50).Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace HudsonPodMatchPodMatch Automatically Matches Ideal Podcast Guests and Hosts For Interviews

Eesti Riiklikku Sümfooniaorkestrit juhatab briti dirigent Matthew Halls.

ERSO tänaõhtune kontsert on kõneka pealkirjaga sarjas "Puhas kuld".

Dr. Sharon J. Paul is a performer and educator who holds the Robert M. Trotter Chair of Music at the University of Oregon, where she currently serves as Interim Department Head of Music Performance and Director of Choral Activities. Her teaching includes graduate courses in choral conducting, repertoire, and pedagogy, along with conducting the internationally award-winning Chamber Choir, which has placed first or second in four international choral competitions, most recently winning first prize in the Chamber Choir category at the Grand Prix of Nations Competition in Gothenburg, Sweden in August 2019. The Chamber Choir became a resident ensemble of the Oregon Bach Festival in 2014, performing each summer under conductors such as Helmuth Rilling, Matthew Halls, John Nelson, Jane Glover, and Joann Falletta.In March 2020, Oxford University Press published Dr. Paul’s book, Art & Science in the Choral Rehearsal, which features many of the creative and evidence-based teaching strategies she has cultivated over her career. Dr. Paul has also presented interest sessions at regional, state, division, national, and international conferences, appearing frequently as adjudicator, clinician, teacher, and honor choir director throughout the United States and abroad, with recent appearances nationally in Minnesota, California, Colorado, Pennsylvania, Nevada, Utah, Washington, and internationally in Singapore, Estonia, Sweden, and England. In 2019, she received Oregon ACDA’s Podium Award for “outstanding contributions to the choral arts,” and in the fall of 2014 she received the University of Oregon’s Fund for Faculty Excellence Award.The Question of the Week is, “What are elements of effective teaching in classical music?” Dr. Paul and I discuss what the core elements of her teaching style is, teachers in her life that she found effective (and others she didn’t), her incredible book Art and Science in the Choral Rehearsal, what science has taught us about how the brain learns, and the toxic relationships that can develop between teachers and their students.

Acclaimed for her ‘sterling tone’ in the New York Times, Kris Kwapis appears regularly as soloist and principal trumpet with period-instrument ensembles across North America, including Portland Baroque Orchestra, Early Music Vancouver, Pacific MusicWorks, Bach Collegium San Diego, Staunton Music Festival, Indianapolis Baroque Orchestra, Chicago’s Haymarket Opera Company, Tafelmusik, Bach Society of Minnesota, Oregon Bach Festival, Callipygian Players, Bourbon Baroque, and Lyra Baroque, making music with directors such as Andrew Parrott, Monica Huggett, Alexander Weimann, Barthold Kuijken, Matthew Halls, Jacques Ogg, and Masaaki Suzuki. Her playing is heard on Kleos, Naxos, ReZound, Lyrichord, Musica Omnia and Dorian labels, including the 2013 GRAMMY nominated recording of Handel’s Israel in Egypt, and broadcast on CBC, WNYC, WQED (Pittsburgh), Portland All-Classical (KQAC), Sunday Baroque and Wisconsin Public Radio. A student of Armando Ghitalla on modern trumpet, with a BM and MM in trumpet performance from the University of Michigan, Dr. Kwapis holds a DMA in historical performance from Long Island’s Stony Brook University. She often lectures on historical brass performance practice with appearances at the Metropolitan Museum of Art, University of Wyoming, University of Minnesota-Duluth, University of Louisville, Madison Early Music Festival, Pacific Lutheran University, Seattle Recorder Society, and Rutgers University, in addition to writing program notes and delivering pre-concert lectures. On modern trumpet, Kris was adjunct professor of trumpet at Hofstra University in Hempstead, NY from 2000-2010 and taught as a sabbatical replacement at Pacific Lutheran University in Tacoma, WA for the fall semester of 2019. Dr. Kwapis enjoys sharing her passion with the next generation of performers as a faculty member at Indiana University’s Jacobs School of Music Historical Performance Institute (baroque trumpet and cornetto) since 2010 in addition to teaching at her home in Seattle and online. When not making music, Kris explores the visual art medium of encaustic painting, cooking and gardening.

Een prachtig moment. De vrouwen die in alle vroegte aankomen bij het graf, dat leeg blijkt te zijn. Stilte en intimiteit. Een fluit omrankt deze wonderschone aria. Johann Sebastian Bach Cantate BWV.249, “Oster Oratorium”; aria “Seele, deine Spezereien” Caroline Sampson, sopraan Retrospect Ensemble olv Matthew Halls Linn Records 373 10’49’’

Toen ik dit voor het eerst hoorde… Concert BWV.1052... Er gaat een kracht en inventiviteit van uit, heerlijk. Maar is het nu een Concert voor klavecimbel, of viool, orgel of… Johann Sebastian Bach, Concert voor klavecimbel en strijkorkest nr.1, BWV.1052, I. Allegro, Matthew Halls (klavecimbel), Retrospect Ensemble Johann Sebastian Bach, Cantate, BWV.146 ‘Wir müssen durch viel Trübsal’; I. Sinfonia, Ton Koopman (orgel), Amsterdam Baroque Orchestra Johann Sebastian Bach, Concert voor klavecimbel en strijkorkest nr.1, BWV.1052, I. Allegro, Kato Debretzeni (viool), The English Baroque Soloists olv John Eliot Gardiner Johann Sebastian Bach, Concert voor orgel en strijkorkest (naar BWV.146, 188 & 1052), I. Allegro, Bart Jacobs (orgel), Les Muffatti

Last year’s departure of the Oregon Bach Festival’s artistic director Matthew Halls left fractures in the classical music community in Eugene and big questions about how the festival should move forward. Just days before this year’s three-week-long festival, the University of Oregon’s dean of the music and dance department, which runs OBF, announced the departure of the festival’s controversial executive director, Janelle McCoy. As Eugene Weekly’s arts editor Bob Keefer tells us, this year’s programs are markedly different from past years, and many are hoping the once-world-renowned festival can regain its former glory.

Im MDR KLASSIK-Gespräch erzählt der Dirigent Matthew Halls, wie für ihn bereits als Jugendlicher die Musik im Vordergrund stand — und warum es ihm ausgerechnet das Cembalo so angetan hat.

In this audio interview, we catch up with EW Arts Editor Bob Keefer about the story he broke on the firing of Matthew Halls, the Oregon Bach Festival’s Artistic Director. Halls was fired near the end of August 2017, years before his contract was supposed to expire in 2020. Keefer talks about the events that may of led to Halls’ firing and the secrecy OBF and the University of Oregon have kept. He also talks about where OBF is going from here. Read Keefer’s full story online at EugeneWeekly.com.

Lucie Skeaping presents the first of two programmes this weekend, looking at the "Golden Age" of Polish music. The programme includes sacred works and lute miniatures by composers including Bartłomej Pękiel, Franciszek Lilius, Mikołaj Zieleński & Wojciech Długoraj as well as music by some of the Italian masters brought to Poland in the 17th Century by King Sigismund Augustus II. In tomorrow's programme, there are highlights from a concert given at the 2011 Lufthansa Festival by Retrospect and Matthew Halls, with contributions from Polish expert Adrian Thomas.