Podcasts about milwaukee symphony

The Cello Sherpa Podcast Host, Joel Dallow, interviews cellist Steven Doane, Professor of Cello at the Eastman School of Music. They talk about his experience as Principal Cellist of both the Milwaukee Symphony, and the Rochester Philharmonic, through his  appointment to the Eastman School of Music. Steven shares his teaching philosophy, offers music school audition advice, and much more.  For more information on Steven, visit: https://www.esm.rochester.edu/directory/doane-steven/For more information on our sponsor: www.CLEAResources.com If you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Instagram and Threads @theCelloSherpa

SynopsisIn the early 1990s, flutist Susan Morris de Jong and guitarist Jeffrey Van commissioned Puerto Rican composer Roberto Sierra to write three sets of chamber works that have become classics for their combination of instruments. Sierra titled these Crónicas del Descubrimiento, or Chronicles of Discovery, and said they were his vision of the bewilderment the native Indians of Puerto Rico must have felt during first interactions with the Spanish conquistadores, and vice-versa.Each of the three sets contains two contrasting pieces in which flute and guitar seem to observe, excite and provoke each other, with the first slow atmospheric piece followed by a more rhythmic second one. On today's date in 1994 in Minneapolis, De Jong and Van presented the third and final set of Sierra's Chronicles of Discovery, containing two pieces: the first titled Song, and the second, more ominously, Battle.Sierra left his native Puerto Rico to study composition with György Ligeti in Hamburg in the late 1970s, served as the composer-in-residence of the Milwaukee Symphony in the 1980s and was elected to the American Academy of Arts and Letters in 2021.Music Played in Today's ProgramRoberto Sierra (b. 1953) – Battalia, from Tercera Crónica del Descubrimiento (Marcelo Barbozab, flute; Fabio Zanona, guitar) Somm CD-0669

Tim Corpus is an internationally performed composer, sound designer, and arts manager who calls Chicago home. Highlights include performances at Carnegie Hall, the Kennedy Center, and features on CNN Money, BBC Radio3, and 98.7 WFMT among others. His album, “MMXX”, was shortlisted for the 2022 Grammy awards and hailed as “a striking disc” by critic Robert Hugill.  Also a composer for film and games, his music has received awards from festivals around the country. Beyond his own compositions, Tim is an active orchestrator and arranger having worked with Andrea Bocelli, Placido Domingo, Lyric Opera of Chicago, Detroit Symphony Orchestra, Milwaukee Symphony, Third Coast Percussion, and others. His diverse career in the arts has also included leading arts organizations as an Executive Director and board member, and teaching at Loyola University Chicago and Chicago City Colleges.  I loved talking portfolio careers with Tim - he's right down in the weeds of how you build a thriving life as a creator, a performer, an arts manager - how you take care of yourself both inside and out, and how you get things done when there are a million things pulling at you. I know you will love this conversation!  Find Tim at his website or on instagram @timcorpus!   Grab my UNRELEASED Happiest Musician chapter, Managing the Money!   Of course, you might want to read the rest of the book, too...   Thanks for joining me on Crushing Classical!  Theme music and audio editing by DreamVance. You can join my email list HERE, so you never miss an episode! Or you could hop on a short call with me to brainstorm your next plan.  I'm your host, Jennet Ingle. I love you all. Stay safe out there!

SynopsisUtah came to the stage of Avery Fisher Hall in New York City, musically speaking, on this date in 1989, when the Orchestra of St. Luke's premiered Utah Symphony, by American composer John Duffy. His Symphony No. 1 was commissioned by Gibbs Smith, the president of the Utah chapter of the Sierra Club to draw attention to the endangered and pristine wilderness lands of that state.Duffy knew this region firsthand. “I began sketching the symphony while hiking through southeastern Utah in the spring of 1988,” he said. “The landscape astounded me: Dramatic contrasts of light and shadow ... violent changes in weather ... expansive vistas. Here in the ancient Indian ruins, canyons, cathedral-like Mesas and fantastical slabs of rock is a spiritual presence and aesthetic wonder of pure, majestic, humbling wilderness.”Duffy is perhaps best known for writing the score to the 9-hour PBS documentary series Heritage: Civilization and the Jews. He was born in the Bronx and studied with Aaron Copland and Henry Cowell.In addition to composing over 300 works, in 1974, Duffy founded Meet the Composer, an organization dedicated to the creation, performance and recording of music by American composers.Music Played in Today's ProgramJohn Duffy (1926-2015) Symphony No. 1 (Utah); Milwaukee Symphony; Zdenek Macal, cond. Koss 1022

SynopsisOn today's date in 1984, the Milwaukee Symphony and conductor Lukas Foss premiered a new work for narrator and orchestra by American composer John Corigliano. The new piece was titled Creations,” and was based on the creation story in the Biblical book of Genesis.Creations began as a 1971 commission for a television pilot. The original idea was to have a variety of major composers illustrate in music selected chapters from the Bible, with the text narrated by Sir Laurence Olivier. The TV project fell through, and Corigliano thought this music for the pilot episode, Genesis, would remain unheard. But then, in 1984, Lukas Foss commissioned a revised version for a concert with the Milwaukee Symphony.“Creations challenged me to write specifically for a recorded medium,” wrote Corigliano. “It also offered a chance to build music more abstractly than I'd done before… often out of pure sonority, rather than harmony and line. Much of my later work uses techniques I developed for the first time while scoring Creations… I envisioned the music as growing from abstract sounds into actual themes.”Music Played in Today's ProgramJohn Corigliano (b. 1938) Creations Sir Ian McKellen, narrator; I Fiamminghi; Rudolf Werthen, cond. Telarc 80421

SynopsisThe Milwaukee Symphony was one of the first American orchestras to offer recordings of their live performances as digital downloads – and along with Beethoven, Brahms and Bruckner, occasionally offered more contemporary fare, as well.For example, on today's date in 2005, Andreas Delfs led the Milwaukee Symphony in the world premiere performance of an orchestral work they had commissioned from Puerto Rican composer Roberto Sierra, and they offered it as a download.  Sierra's Sinfonia No. 3, subtitled La Salsa, turned to the dance music of Cuba, the Dominican Republic and Sierra's native Puerto Rico for its basic materials, referencing riffs and rhythmic patterns familiar to salsa dancers for the work's outer movements, with a slow second movement in habañera form.“Puerto Rican music,” says Sierra, “especially salsa and folkloric music, has been in my compositional DNA. The vitality of the rhythms and the unique way in which melodic structure merge with the rhythms has inspired me to the present day. I always remember with nostalgia my childhood experiences in the Puerto Rican countryside, and these feelings of longing are also present in my work.”Music Played in Today's ProgramRoberto Sierra (b. 1953) – Sinfonia No. 3 (La Salsa) (Milwaukee Symphony Orchestra; Andreas Delfs, cond.) MSO Classics MSO11 (digital download)

The Left's War Against Beauty and Classical Music (feat. Andrew Balio) In Today's episode of "Moment of Truth," Saurabh and Emma sit down with Andrew Balio, founder of The Future Symphony Institute and Principal Trumpet of the Baltimore Symphony Orchestra, to discuss the left's war against all things good and beautiful in western culture ranging from morals, to religious values, and even classical music.Wisconsin native Andrew Balio was appointed as Principal Trumpet of the Baltimore Symphony Orchestra in 2001 by Yuri Temirkanov. He recently served as principal trumpet of the Oslo Philharmonic concurrently with his BSO duties in 2014/15. In 2019, he was guest principal trumpet of the Chicago Symphony and in 2020, the Hong Kong Philharmonic. Prior to his arrival in Baltimore, he had been principal trumpet of the Israel Philharmonic under Zubin Mehta since 1994 and the Orquesta Sinfonica del Estado de Mexico since 1990, as well as the Boston Philharmonic. His solo debut was at age 15 with the Milwaukee Symphony playing the Haydn Concerto. His teachers included Charles Schlueter, Adolph Herseth, Roger Voisin and Gene Young.In 2014, he launched The Future Symphony Institute, an online think tank to examine the complexities of making symphony orchestras financially viable while preserving their artistic mission. Learn more about Andrew Balio's work:https://music.catholic.edu/faculty-and-research/faculty-profiles/balio-andrew/index.htmlhttps://www.bsomusic.org/musicians/musician/andrew-balio/––––––Follow American Moment across Social Media:Twitter – https://twitter.com/AmMomentOrgFacebook – https://www.facebook.com/AmMomentOrgInstagram – https://www.instagram.com/ammomentorg/YouTube – https://www.youtube.com/channel/UC4qmB5DeiFxt53ZPZiW4TcgRumble – https://rumble.com/c/c-695775Check out AmCanon:https://www.americanmoment.org/amcanon/Subscribe to our Podcast, "Moment of Truth"Apple Podcasts – https://podcasts.apple.com/us/podcast/moment-of-truth/id1555257529Spotify – https://open.spotify.com/show/5ATl0x7nKDX0vVoGrGNhAjiHeart Radio – https://www.iheart.com/podcast/269-moment-of-truth-77884750/ Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Recognized by Opera News as “one of the finest singers of his generation,” American bass-baritone Ryan McKinny has earned his reputation as an artist with something to say. His relentless curiosity informs riveting character portrayals and beautifully crafted performances, reminding audiences of their shared humanity with characters on stage and screen. This season, McKinny brings his agile stage presence and comedic skill to performances of Mozart's Le nozze di Figaro on both U.S. coasts. He first appears as the titular Figaro in a Richard Eyre production at New York City's Metropolitan Opera, with an all-star cast that includes Golda Schultz, Lucy Crowe, Isabel Leonard, and Adam Plachetka. He then makes his Seattle Opera debut reprising the role in a Peter Kazaras production, under the baton of Alevtina Ioffe. In between productions – and coasts – McKinny joins collaborative pianist Kathleen Kelly for a recital at the Lied Center of Kansas, featuring works by Schumann, Debussy, Mahler, and Kurt Weill. In summer 2022, he joins the Boston Symphony at Tanglewood as the title character in Don Giovanni, with Andris Nelsons on the podium. He concludes the season with the Philadelphia Orchestra at Saratoga Performing Arts Center, appearing as soloist in Beethoven's Ninth Symphony with conductor Yannick Nézet-Séguin. Offstage, McKinny continues to adapt the beauty of his art form to the film screen, collaborating on a documentary with Jamie Barton and Stephanie Blythe. Through his work with Helio Arts, he commissions artists to write, direct, and film original stories, leveraging his personal power to help elevate new voices and visions in the classical performing arts world. During the pandemic, he has partnered with artists like J'Nai Bridges, Russell Thomas, John Holiday, and Julia Bullock to create stunning and innovative performances for streaming audiences at Dallas Opera, Houston Grand Opera, Lyric Opera of Chicago, On Site Opera, and the Glimmerglass Festival. McKinny's recent debut as Joseph De Rocher in Jake Heggie and Terrence McNally's Dead Man Walking at Lyric Opera of Chicago was hailed by the Chicago Tribune as an “an indelible performance...an acting tour de force buttressed by a warmly inviting voice.” He has also appeared as the title character in Don Giovanni (Washington National Opera, Lyric Opera of Chicago, Houston Grand Opera), Escamillo in Carmen (Semperoper Dresden, Deutsche Oper Berlin, Staatsoper Hamburg, Houston Grand Opera), and Mozart's Figaro (Washington National Opera, Wolf Trap Opera, Houston Grand Opera). McKinny made a critically acclaimed Bayreuth Festival debut as Amfortas in Parsifal, a role he has performed around the world, including appearances at Argentina's Teatro Cólon, Deutsche Oper am Rhein, and Dutch National Opera. Other Wagnerian roles include Kurwenal in Tristan und Isolde (Deutsche Oper Berlin, Houston Grand Opera, Canadian Opera Company), Biterolf in Tannhäuser and Kothner in Die Meistersinger von Nürnberg, both at the Metropolitan Opera, Wotan in Opéra de Montréal's Das Rheingold, Donner/Gunther in Wagner's Ring cycle (Washington National Opera, Boston Symphony Orchestra, Houston Grand Opera), and the titular Dutchman in Der fliegende Holländer (Staatsoper Hamburg, Milwaukee Symphony, Glimmerglass Festival, Hawaii Opera Theater). McKinny is a frequent guest artist at Los Angeles Opera, where he has sung Count Alamaviva in Le nozze di Figaro, Don Basilio in Il barbiere di Siviglia, and Stanley Kowalski in Previn's A Streetcar Named Desire, opposite Renée Fleming as Blanche DuBois, and at Santa Fe Opera, where he has appeared as Jochanaan in Salome and Oppenheimer in Doctor Atomic. An alumnus of the Houston Grand Opera Studio, Mr. McKinny has made a number of important role debuts on the HGO mainstage, including the iconic title roles of Don Giovanni and Rigoletto. McKinny is a long-time artistic collaborator of composer John Adams and director Peter Sellars, having appeared in Sellars productions of Adams' Girls of the Golden West (San Francisco Opera, Dutch National Opera) and Doctor Atomic (Santa Fe Opera), in addition to Adams' Nixon in China with the Los Angeles Philharmonic. He has also performed under Sellars' direction in Stravinsky's Oedipus Rex (Sydney Festival), Tristan und Isolde (Canadian Opera Company), and Shostakovich's Orango with the London Philharmonia and Los Angeles Philharmonic, the latter comprising Esa-Pekka Salonen's final concerts as music director. Other recent orchestral engagements include Beethoven's Symphony No. 9 and a double bill of Michael Tilson Thomas' Rilke Songs and Mahler's Des Knaben Wunderhorn with San Francisco Symphony, Mahler's Symphony No. 8 and Bernstein's Mass with Gustavo Dudamel and the Los Angeles Philharmonic, Beethoven's Symphony No. 9 with Cleveland Orchestra and National Symphony, Rossini's Stabat Mater at Grant Park Music Festival, Britten's War Requiem with Marin Alsop and Baltimore Symphony Orchestra, and Oedipus Rex with Chicago Symphony. McKinny benefited from early educational opportunities at the Aspen Music Festival, where he sang his first performance of Winterreise accompanied on the piano by Richard Bado, and at the Wolf Trap Opera Company, where he sang Barone di Kelbar in Verdi's Un giorno di regno, Le Gouverneur in Rossini's Le comte Ory and Figaro in Le nozze di Figaro. McKinny made his Carnegie Hall debut in Handel's Messiah with the Musica Sacra Orchestra while still a student at the Juilliard School. The first recipient of Operalia's Birgit Nilsson Prize for singing Wagner, McKinny has also received the prestigious George London-Kirsten Flagstad Award, presented by the George London Foundation to a singer undertaking a significant Wagnerian career. McKinny represented the United States in the 2007 BBC Cardiff Singer of the World Competition, where he was a finalist in the Rosenblatt Recital Song Prize, and he was a Grand Finalist in the 2007 Metropolitan Opera National Council Auditions, captured in the film The Audition.

Acting Assistant Principal Viola of the Milwaukee Symphony Alejandro Duque explores his fascination with cinema, particularly art house and foreign films focusing on particular director's works like Ingmar Bergman, Michael Haneke, Pier Paolo Pasolini, and Bong Joon-Ho. He also describes how cinema has also widened his view on all walks of life, including his admiration for RuPaul's Drag Race. Milwaukee Symphony www.mso.org Support this podcast at www.patreon.com/haydnmusicstand and follow us on social media @haydnmusicstand Spotify Playlist: https://open.spotify.com/playlist/1mJVam8s0zJ91JhhC7Dpd0?si=03f919267eaf4a11 --- Support this podcast: https://anchor.fm/haydnmusicstand/support

Section violinist of the Milwaukee Symphony John Bian expresses his joy in creating craft cocktails for friends and guests and how a cocktail can set the mood for a wonderful time. Please drink responsibly and if you are over the age of 21. Milwaukee Symphony www.mso.org Support this podcast at www.patreon.com/haydnmusicstand and follow us on social media @haydnmusicstand Spotify Playlist: https://open.spotify.com/playlist/1mJVam8s0zJ91JhhC7Dpd0?si=03f919267eaf4a11 --- Support this podcast: https://anchor.fm/haydnmusicstand/support

Penderecki in Memoriam Podcast is produced and hosted by Max Horowitz, Crossover Media. Created by Anna Perzanowska and Klaudia Ofwona Draber, and presented by Polish Cultural Institute New York. Penderecki in Memoriam Podcast unveils a multifaceted portrait of Krzysztof Penderecki, with commentary from musicians, colleagues, radio programmers, and writers who lend insight and memories of Poland's greatest modern composer. This podcast is part of Penderecki in Memoriam Worldwide project, honoring the life and legacy of the great composer. Thank you to project partners DUX, NAXOS, Ludwig van Beethoven Association, and Schott EAM for sharing Krzysztof Penderecki's music with the world. GRAMMY-winning conductor JoAnn Falletta serves as Music Director of the Buffalo Philharmonic Orchestra, Music Director Laureate of the Virginia Symphony Orchestra, Principal Guest Conductor of the Brevard Music Center and Artistic Adviser of the Hawaii Symphony Orchestra and the Cleveland Institute of Music Orchestra. Hailed for having ‘Toscanini's tight control over ensemble, Walter's affectionate balancing of inner voices, Stokowski's gutsy showmanship, and a controlled frenzy worthy of Bernstein', she is a leading force for the music of our time. JoAnn with composer Ken Fuchs at the GRAMMY Awards in 2019Her recent and upcoming North American guest conducting includes the National Symphony, Detroit Symphony, Nashville Symphony, Indianapolis Symphony, and Milwaukee Symphony; and further north, the Toronto Symphony and Orchestre metropolitain. Internationally, she has conducted many of the most prominent orchestras in Europe, Asia, and South America. Pending further national and international guidance on the current COVID-19 pandemic, she is looking forward to guest conducting appearances in Canada, Poland, Sweden, and Spain in 2021. The pieces included: Penderecki Adagio: Symphony No 3 - Buffalo Philharmonic Orchestra; Penderecki - Concerto Doppio - Buffalo Philharmonic Orchestra; Penderecki Horn Concerto - Buffalo Philharmonic Orchestra.

Timothy Higgins was appointed to the position of Principal Trombone of the San Francisco Symphony by Michael Tilson Thomas in 2008. He was previously the acting Second Trombonist with the National Symphony Orchestra in Washington, DC.  Mr. Higgins, a Houston native, has a Bachelor’s degree in Music Performance from Northwestern University and has performed with the Chicago Symphony, New York Philharmonic, Milwaukee Symphony, Virginia Symphony, Civic Orchestra of Chicago, Music of the Baroque, Aspen Music Festival, Grand Teton Music Festival, Sun Valley Summer Symphony, Washington National Opera, and Baltimore Symphony.  His principal teachers have been Michael Mulcahy (Chicago Symphony), Michael Warny (Houston Grand Opera), and Royce Landon (Des Moines, Iowa).  He has participated in music festivals with the Roundtop Music Festival, the National Repertory Orchestra, and the Tanglewood Music Center. Along with a busy orchestra career, Timothy Higgins is a sought after arranger of music.  He was the sole arranger of the National Brass Ensemble’s Gabrieli recording. Additionally, he has arranged music for CT3 Trombone Quartet, National Brass Quintet, Bay Brass, and the San Francisco Conservatory of Music Brass Ensemble.  Timothy Higgins has also composed works for brass instruments in solo and chamber settings. His arrangements and compositions have been performed by the Washington Symphonic Brass, the Bay Brass, the San Francisco Symphony brass section, the Chicago Symphony brass section, the Los Angeles Philharmonic brass section, and numerous university brass ensembles. His arrangements and original compositions are available through his publishing company, 415Music. As a teacher, Timothy been a faculty member of the Pokorny Seminar since 2012, and is currently on faculty at the San Francisco Conservatory of Music and Northwestern University. He has also led masterclasses in Japan, China, Canada and the United States, including classes at the Royal Conservatory in Toronto, the New World Symphony, Vanderbilt University, the Manhattan School of Music, and the Juilliard School of Music. In 2005, Timothy won the Robert Marsteller Solo trombone competition, as well as the ITA Trombone Quartet competition with CT3.  While attending the Tanglewood Music Center, Mr. Higgins was awarded the Grace B. Upton Award for Outstanding Fellow. In 2013, Timothy released his solo CD, Stage Left. Learn more about Timothy Higgins at www.415music.com. The show notes for this episode are at www.bobreeves.com/blog/timothy-higgins-trombone-interview/. This podcast is sponsored by The Brass Ark (www.brassark.com) and Bob Reeves Brass (www.bobreeves.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.

Ashley Brown (IG:@ashleybrown9) TW:@ashleybrown9)(FB: @AshleyBrownonline)(ashleybrownonline.com) originated the title role in “Mary Poppins” on Broadway for which she received Outer Critics, Drama League and Drama Desk nominations for Best Actress.  Ms. Brown also starred as Mary Poppins in the national tour of Mary Poppins where she garnered a 2010 Garland award for “Best Performance in a Musical”. Ms. Brown’s other Broadway credits include Belle in "The Beauty and The Beast", and she has starred in the national tour of Disney's "On The Record". Ashley recently returned to the Lyric Opera of Chicago to star in the role of Laurey in “Oklahoma”.   She previously played Magnolia opposite Nathan Gunn in Francesca Zembello’s “Showboat” at the Lyric Opera of Chicago.   Ashley has performed with virtually all of the top orchestras in North America including the Boston Pops, the New York Philharmonic, The Hollywood Bowl Orchestra at Disney Hall, The Pittsburgh Symphony, the New York Pops at Carnegie Hall (three times), Fort Worth Symphony, the Cincinnati Pops, Philadelphia Orchestra (two times), the Milwaukee Symphony, the Indianapolis Symphony (three times), Seattle Symphony, the Houston Symphony, Vancouver Symphony, and the Philly Pops. She has also performed with the BBC orchestra opposite Josh Groban.   Ashley made her solo concert debut at The Kennedy Center as part of Barbara Cook’s Spotlight Series, and has appeared in New York City at prestigious venues including Feinstein’s at the Regency and Birdland.  Other projects include a star turn at the La Jolla Playhouse in a production of “Limelight”,  “Sound of Music” at the St. Louis MUNY which garnered her a Kevin Kline award, and her own PBS special called “Ashley Brown: Call Me Irresponsible” which received a PBS Telly Award. Ms. Brown’s long awaited album of Broadway and American Songbook standards is available on Ghostlight/Sony. Ashley is a graduate of the Cincinnati Conservatory of Music.

Ashley Brown (IG:@ashleybrown9) TW:@ashleybrown9)(FB: @AshleyBrownonline)(ashleybrownonline.com) originated the title role in “Mary Poppins” on Broadway for which she received Outer Critics, Drama League and Drama Desk nominations for Best Actress.  Ms. Brown also starred as Mary Poppins in the national tour of Mary Poppins where she garnered a 2010 Garland award for “Best Performance in a Musical”. Ms. Brown’s other Broadway credits include Belle in "The Beauty and The Beast", and she has starred in the national tour of Disney's "On The Record". Ashley recently returned to the Lyric Opera of Chicago to star in the role of Laurey in “Oklahoma”.   She previously played Magnolia opposite Nathan Gunn in Francesca Zembello’s “Showboat” at the Lyric Opera of Chicago.   Ashley has performed with virtually all of the top orchestras in North America including the Boston Pops, the New York Philharmonic, The Hollywood Bowl Orchestra at Disney Hall, The Pittsburgh Symphony, the New York Pops at Carnegie Hall (three times), Fort Worth Symphony, the Cincinnati Pops, Philadelphia Orchestra (two times), the Milwaukee Symphony, the Indianapolis Symphony (three times), Seattle Symphony, the Houston Symphony, Vancouver Symphony, and the Philly Pops. She has also performed with the BBC orchestra opposite Josh Groban.   Ashley made her solo concert debut at The Kennedy Center as part of Barbara Cook’s Spotlight Series, and has appeared in New York City at prestigious venues including Feinstein’s at the Regency and Birdland.  Other projects include a star turn at the La Jolla Playhouse in a production of “Limelight”,  “Sound of Music” at the St. Louis MUNY which garnered her a Kevin Kline award, and her own PBS special called “Ashley Brown: Call Me Irresponsible” which received a PBS Telly Award. Ms. Brown’s long awaited album of Broadway and American Songbook standards is available on Ghostlight/Sony. Ashley is a graduate of the Cincinnati Conservatory of Music.

My guest this week is composer, Dr. Matt Browne. Dr. Browne’s music has been described as “witty” and “beautifully crafted and considered.” Among many honors, Dr. Browne is the recipient of the 2017 ASCAP Foundation Rudolf Nissim Prize and has received residencies at the Milwaukee Symphony Orchestra’s first annual Composer’s Institute, Mizzou International Composer’s Festival, and the Minnesota Orchestra Composer’s Institute. Since then, Dr. Browne has collaborated with prestigious ensembles such as Minnesota Orchestra, Milwaukee Symphony, New York Virtuoso Singers, PUBLIQuartet, and Villiers Quartet. The question of the week is,"How can we get audiences excited about new music?" Dr. Browne and I discuss why people have an aversion to new music, the problematic way new music is presented to audiences, how his childhood affects his compositions today, the compositional process and premiere of his First Symphony, and the collaborative dynamic between composer and performer. You can find out more about Dr. Browne at his website, mattbrownecomposer.com, and follow him on Instagram @mattbrownecomposer.

On today’s date in 1984, the Milwaukee Symphony and conductor Lukas Foss premiered a new work for narrator and orchestra by American composer John Corigliano. The new piece was entitled “Creations,” and was based on the creation story in the Biblical book of Genesis. “Creations” began as a 1971 commission for a television pilot. The original idea was to have a variety of major composers illustrate in music selected chapters from the Bible, with the text narrated by Sir Laurence Olivier. The TV project fell through, and Corigliano thought this music for the pilot episode, “Genesis,” would remain unheard. But then, in 1984, Lukas Foss commissioned a revised version for a concert with the Milwaukee Symphony. “Creations challenged me to write specifically for a recorded medium,” wrote Corigliano. “It also offered a chance to build music more abstractly than I’d done before… often out of pure sonority, rather than harmony and line. Much of my later work uses techniques I developed for the first time while scoring Creations… I envisioned the music as growing from abstract sounds into actual themes.”

On today’s date in 1984, the Milwaukee Symphony and conductor Lukas Foss premiered a new work for narrator and orchestra by American composer John Corigliano. The new piece was entitled “Creations,” and was based on the creation story in the Biblical book of Genesis. “Creations” began as a 1971 commission for a television pilot. The original idea was to have a variety of major composers illustrate in music selected chapters from the Bible, with the text narrated by Sir Laurence Olivier. The TV project fell through, and Corigliano thought this music for the pilot episode, “Genesis,” would remain unheard. But then, in 1984, Lukas Foss commissioned a revised version for a concert with the Milwaukee Symphony. “Creations challenged me to write specifically for a recorded medium,” wrote Corigliano. “It also offered a chance to build music more abstractly than I’d done before… often out of pure sonority, rather than harmony and line. Much of my later work uses techniques I developed for the first time while scoring Creations… I envisioned the music as growing from abstract sounds into actual themes.”

www.jasonhaaheim.comJason Haaheim (pronounced HAW-heim) was appointed a Principal Timpanist of the Metropolitan Opera Orchestra in 2013. In addition to performances at New York's Lincoln Center and Carnegie Hall, Mr. Haaheim can be seen and heard performing with the MET Orchestra on television, international radio, and Live in HD movie theater broadcasts. Mr. Haaheim is on faculty at the NYU Steinhardt School of Music and the Bard Conservatory of Music. A sought-after clinician, Mr. Haaheim gives masterclasses both nationally and internationally, and is the founder of the Northland Timpani Summit, the Deliberate Practice Bootcamp, and the Artful Timpani Auditioning seminar. He is also a frequent coach for The Orchestra Now (TON), the Carnegie Hall National Youth Orchestra (NYO), and the New York Youth Symphony (NYYS).Mr. Haaheim’s guest principal timpanist engagements have included the All Star Orchestra, the Seoul Philharmonic, the Mostly Mozart Festival Orchestra, and the Milwaukee Symphony. He is the principal timpanist of the Lakes Area Music Festival, and has also been a resident artist of the Twickenham Festival. Prior to the Met, Mr. Haaheim was principal timpanist of the Southwest Michigan Symphony and the Civic Orchestra of Chicago, and he performed regularly as timpanist with the Madison Symphony, Illinois Symphony, Peoria Symphony, Fort Wayne Philharmonic, and the Illinois Philharmonic.Mr. Haaheim began studying piano in 4th grade, adding percussion studies in 5th grade. He holds a bachelor of arts degree with a double major in honors-music-performance and physics from Gustavus Adolphus College (St. Peter, MN); he also holds a master’s degree in electrical engineering from UC-Santa Barbara. Influential teachers have included John Tafoya (Indiana University, National Symphony), Dean Borghesani (Milwaukee Symphony), Jonathan Haas (Aspen Music Festival, NYU), and Robert Adney (Gustavus Adolphus College, MacPhail Music School). While auditioning and freelancing, Mr. Haaheim worked as a Senior Research and Development Engineer at NanoInk, a Chicago-area tech company. In this capacity, he gave invited talks on nanotechnology, authored multiple peer-reviewed publications, and was granted numerous patents. In 2017, this dual-career path was highlighted in an interview with Melissa Block on NPR’s Weekend Edition.Active in many musical areas, Mr. Haaheim has also performed extensively as a chamber musician and jazz drummer. He collaborated with Yo-Yo Ma in a Civic Orchestra / Silk Road Ensemble performance, and recorded the premiere of Augusta Read Thomas’s “Terpsichore’s Dream” with members of the Chicago Symphony. Mr. Haaheim has performed with Chicago’s ensemble dal niente, and premiered Ryosuke Yagi’s “Mirrors…for timpani” with the UCSB Ensemble of Contemporary Music. Other projects have included drumming for the jazz-fusion quartet “The J3 Intent” and the alt-country band “The Lost Cartographers.” At Gustavus, Mr. Haaheim was selected for the honors recital and won first place in the orchestra’s concerto competition. Extra-musical interests include backpacking and hiking, rock climbing, and both downhill and cross-country skiing.Support the show (https://thatsnotspit.com/support/)

Episode 5:   On this week's episode, Sam is joined by Assistant Principal/2nd/Eflat clarinetist of the Milwaukee Symphony, Benjamin Adler. Ben is the artistic director of a new online clarinet festival called Clarinet Maestro. They discuss all of the wonderful opportunities that Ben is planning for this endeavor, as well as go in depth about clarinet mouthpieces, how Ben grew up in a clarinet family, and the great American sport of baseball. For more information about Clarinet Maestro, please visit their website at: www.clarinetmaestrofestival.org  

“Our job is to inspire students to love music as much as we love it.” - Robert Baca Professor of Music and Director of Jazz Studies at The University of Wisconsin Eau Claire Welcome back to The Band Director's Lounge! Today I am talking with Robert “Bob” Baca. Bob teaches at the University of Wisconsin Eau Claire and is an active teacher and performer throughout the United States. His performance background includes countless performances in both classical and commercial areas including the Milwaukee Symphony, Minnesota Orchestra as well as a past member of the popular radio ensemble for Garrison Keillor's “A Prairie Home Companion.” He has toured with Frank Sinatra, Buddy Rich, Tony Bennett, Mel Torme, Blood Sweat and Tears and numerous others as well as performing over one hundred Broadway shows and hundreds of recording sessions in Minneapolis, Indianapolis and Chicago.   As a soloist, Robert has performed in China, London, Costa Rica and Europe as well as the United States. Robert Baca is Professor of Trumpet and Director of Jazz Studies at the all undergraduate University of Wisconsin-Eau Claire.  Most recently, he conducted the National High School Honors Jazz Ensemble for the National Association for Music Education (NAfME) at their national convention in Nashville, Tennessee. Other highlights include serving as a faculty member of Conn-Selmer Institute, conducting numerous all state ensembles and presenting at educational conventions. He received the first, “Career Excellence in Teaching Award” presented by the University of Wisconsin-Eau Claire and was runner up for the "Teacher Of The Year", UW-System Award.  Mr. Baca is a past executive board member for the International Association for Jazz Education (IAJE) as the United States Representative.  Mr. Baca loves to help students of any age reach their whole potential. He has been happily married to his wife Jodie for over 30 years and has two children, Alec and Nicole and a dog named Chewy. Episode Overview Background (01:57) A supportive spouse, “You really need to do this” (20:57) Inspiring students to love music as much as we love it and removing limitations (26:00) Eau Claire Jazz Festival, Being a “Kingmaker” not a “King” and Student Leadership (45:40) Being an active performer and educator (70:35) A career-ending diagnosis (87:14) How to bring out a guest artist to your school? (101:20) Books that have impacted teaching and musicianship (110:00) Advice for young directors (116:35)  What makes a great band program? (120:50) And that wraps up today's episode. If you enjoyed this episode or any other episode, consider leaving a review on any of the platforms that you listen to the show on. Itunes, Google Play, Stitcher, Spotify, or Facebook. Your reviews, with or without written feedback, help get the word out about the show. At the end of the day I am doing this podcast to not only improve my own knowledge and skill set but hopefully provide this as a resource to the greater music education community. If you are able to help promote this program I would greatly appreciate it! If you like what you heard today consider purchasing one of the books mentioned in the podcast or heading over to TheBandDirectorsLounge.com and donating through our paypal account. Any donation large or small will help cover the operating costs of the program.  Thanks again for tuning in, I will see you back here next time in The Band Director's Lounge. Other Resources Robert Baca (Guest) Logan Burnside (Show Host) http://thebanddirectorslounge.com (Podcast Website) The Band Director's Lounge on Facebook (FB Website) Nominate a band director for the podcast Support The Band Director's Lounge Donate to support the podcast. Books mentioned in this episode: The Success Journey, John C. Maxwell The Inner Game of Tennis, Tim Gallway Psycho-cybernetics, Maxwell Maltz The Seven Habits of Highly Effective People, Stephen R. Covey The Bible As a Man Thinketh, James Allen Zen and the Art of Archery, Eugen Herrigel

Currently in his third season as Music Director of the New Bedford Symphony, he leads the orchestra with star soloists such as Yefim Bronfman, Joyce Yang, and Vadim Gluzman, and in a wide range of repertoire emphasizing women composers. As the Resident Conductor of the Milwaukee Symphony, Dinur conducts more than 50 concerts per season. Highlights of recent and upcoming guest conducting engagements include subscription debuts with the Houston Symphony and Fort Worth Symphony, a return to the San Diego Symphony, and his debut at the Peninsula Music Festival. Music by www.bensound.com

From the archives comes an interview with American baritone Nathan Gunn, who has sung on most of the major opera stages of the world, including the Metropolitan Opera and the Lyric Opera of Chicago. (He starred in the Met's first HD simulcast - of Mozart's The Magic Flute.) The occasion of this interview was his appearance with the Milwaukee Symphony of Britten's War Requiem.

In this episode, we discuss many important topics, including curiosity and exploration in practicing, the importance of maintaining a strong technical regimen, strategies to learn and handle a lot of repertoire in the context of an orchestra job, and tactics to foster focus in the practice room.  Robert also elaborates on: How his career evolved into what it is today The different elements he got from his various teachers The importance of being eager to acquire more knowledge How books inspired his practice The importance of varying what we practice, and intentionally keeping practicing feeling rewarding Curiosity and thorough thinking as a strategy to foster focus in the practice room Using a script in practice Robert is an incredible musician, with great wisdom and I know you'll find much inspiration in what he's sharing with us today!     Robert Hanford is concertmaster of the Lyric Opera of Chicago. During the summer, he is a concertmaster and instructor at the Aspen Music Festival. Previously, Mr. Hanford was the Associate Principal Second Violinist of the Minnesota Orchestra, a member of the Milwaukee Symphony Orchestra and a member of Chicago's Grant Park Symphony. He has appeared as soloist on many occasions with the Minnesota Orchestra, the Milwaukee Symphony and other Midwestern orchestras, including the Chicago Philharmonic. He has performed with numerous chamber ensembles, most recently as a member of the Rembrandt Chamber Players. For many summers, he was concertmaster and violin instructor at the Birch Creek Music Festival in Wisconsin and performed and taught at the MidAmerica Chamber Music Festival, the Milwaukee Chamber Music Festival and the Roycroft Chamber Music Festival. In addition to his professional career as a violinist, Robert has studied and performed on the theremin, one of the first electronic instruments. Robert is also an amateur artist blacksmith, having attended courses of study in Wyoming and Illinois. Other interests include table tennis, juggling, unicycling, and high-voltage electronics. Mr. Hanford lives in Evanston, Illinois, with his wife Sheila, also a violinist. They have three sons.     Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And join the Mind Over Finger Book Club in the Tribe!  We meet HERE!   Don't forget to 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 AT www.mindoverfinger.com!!!!     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!   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/    

Brass Junkies Extra: Tubist Aubrey Foard of the Baltimore Symphony Orchestra on the state of the lockout In this special episode of The Brass Junkies, Aubrey Foard catches us up on where things stand with the BSO lockout. From his bio: Aubrey Foard is the principal tubist of the Baltimore Symphony Orchestra, a position he has held since 2018. He also serves as Lecturer of Tuba and Euphonium at the University of California, Los Angeles (UCLA) and as Artist Faculty at the Brevard Music Center. Mr. Foard was most recently principal tubist of the Charlotte Symphony, where he had performed since 2012. He has previously held principal tuba positions in the Santa Barbara, West Virginia, Canton, Youngstown, and Albany Symphonies as well as with the Britt Festival Orchestra. He has performed as a guest musician with several other orchestras, including the Los Angeles Philharmonic, The Cleveland Orchestra, the North Carolina Symphony, the Louisville Orchestra, Arizona MusicFest, and as Acting Principal Tubist with the San Diego Symphony. Aubrey gives us an inside look at how the lockout has impacted the musicians over these last few months.  We discuss: Expiration of their contract Summer bargaining sessions His first act as a member of the BSO Management's offers vs. the players' Cancellation of the summer season and the start of the lockout Lack of progress in negotiations Aubrey taking 47 auditions before landing the BSO gig Taiwan Tubamania Finding Baltimore Symphony recordings in Taipei Individual overscale negotiations Leaving the Charlotte Symphony The impact of previous management decisions on today's situation The difference between a 40-week and a 52-week orchestra Playing with the San Diego Symphony in the summers How uncertainty of the future of the orchestra has impacted him personally Having to hit the road to make it work The impact on his family 15-20 other cities have already reached out to have Baltimore Symphony players sub with their orchestras ICSOM Call to action has provided over $250,000 so far "The BSO without the O is just BS" Lessons from the experience (stay united and get involved) Throwing a mega-brass concert to support the musicians Collecting data for the creation of a fact sheet and data project Michael Kaiser, make great art and market it brilliantly Places and people who are doing it right in the industry Aubrey Bergauer of the California Symphony Deborah Borda of the New York Philharmonic Mark Niehaus of the Milwaukee Symphony  Phil Munds and Andy Balio on The Brass Junkies Future Symphony Institute Here's a link to a recent article from Baltimore Sun outlining the state of things: "BSO and musicians in marathon contract negotiations as deadline looms" Here's a link to the musicians' Facebook page: BSO Musicians Facebook page And their website: BSO Musicians Website The players' GoFundMe page: https://www.gofundme.com/f/keep-the-o-in-bso

Mark Maliniak joined the Atlanta Symphony Orchestra as Fourth/Utility Trumpet in September 2018. Mr. Maliniak has toured both nationally and internationally with The Cleveland Orchestra, The Philadelphia Orchestra, San Francisco Symphony, Indianapolis Symphony, and Buffalo Philharmonic. He has appeared regularly as guest principal trumpet with the Detroit Symphony, Jacksonville Symphony, Malaysian Philharmonic, and Tucson Symphony, where he was also a featured soloist. Mr. Maliniak has also performed with the Kansas City Symphony, New World Symphony, Pittsburgh Symphony, Rochester Philharmonic, and Utah Symphony and has recorded with the Buffalo Philharmonic, Detroit Symphony and Utah Symphony.A native of Cleveland, Ohio, Mr. Maliniak received a Bachelor of Music degree from the Baldwin-Wallace University Conservatory of Music as a student of Jack Sutte and a Master of Music degree from the Cleveland Institute of Music as a student of Michael Sachs. He has had additional studies with Jack Brndiar, Michael Miller, and Lyle Steelman. Mr. Maliniak has attended the Music Academy of the West, Pacific Music Festival, Verbier Festival and Tanglewood Music Center, where he was the recipient of the Roger Voisin Trumpet Award. Mark Maliniak is a Conn-Selmer Performing Artist.Jaclyn Rainey was appointed Associate Principal horn of the Los Angeles Philharmonic in 2018. Prior to her appointment Ms. Rainey served as Third horn with the Atlanta Symphony for four seasons, Acting Principal horn with the Naples Philharmonic as well as Associate Principal horn with the Louisiana Philharmonic. Rainey, a Louisville, KY native, has performed with the Boston Symphony Orchestra, Buffalo Philharmonic, Cincinnati Symphony, Kansas City Symphony, Louisville Orchestra, Milwaukee Symphony, San Antonio Symphony, Sarasota Orchestra and spent two summers as a fellow at the Tanglewood Music Center. Rainey was a winner of the MTNA Senior Brass Solo Competition. During the summer of 2015 Ms. Rainey joined the Boston Symphony Orchestra in Carnegie Hall and on their European Tour. Ms. Rainey has also served on the faculties of Georgia State University and Emory University.She received her undergraduate degree in horn performance from the Eastman School of Music, followed by a masters degree at the New England Conservatory of Music. She has studied with W. Peter Kurau, Richard Sebring and James Sommerville.Support the show (https://thatsnotspit.com/support/)

This week on the podcast I have Matt Hughes, an artist in collaboration with Ethereal Visions Publishing LLC providing a take on Mozart's famous Requiem in a visual form. This is the first visual artist I have on the podcast that combines art with music. They're in need of your help with their Kickstarter Campaign and they need an additional boost for the remaining days! Please considering contributing to this important cause. Here is the link to donate, click here! . Also in the ETV News, a cellist gets his strings taken away from airport security, the Milwaukee Symphony announces its new conductor, and Fanny Mendelssohn gets the recognition she deserves in a recent BBC article. Click here for the article. 

In this episode, I speak with Jason Haaheim, principal timpanist with NY's Metropolitan Opera since 2013.   We discuss his fascinating journey, going from working full-time as an engineer to holding one of the most coveted position in the world.  He applied the principles of deliberate practice in his life in a way that will amaze and inspire you!  Jason's experience and insight on deliberate practice and music-making are eye opening!   We elaborate on: His unorthodox path – securing a position at the MET How he was exposed to deliberate practice What is “talent?” (Pssst!  It's not what you think!) How his playing soared once he figured out what type of practice works for him How deliberate practice is, in essence, applying the scientific method to instrumental learning How refining the technique in a scientific, methodical way, leads us to musicality and expression Why feedback is so crucial in learning and growing as an artist Why essential to be process-focused and how it impacts the end result Why it's up to you and the decision you make over the years Why it pays to be a tenacious loser What the things you can control are How the process never ends (and that's a good thing!) Why we should keep asking questions and how they make us better How his process continues in his career How results are a by-product of the process His audition preparation process – how he organized it and what it involved (have specific goals, a solid plan, record yourself, play mock auditions, get lots of feedback, etc.) How he uses Anders Ericsson's Mental Representation concept How recording ourselves transforms how we pay attention to our playing in real time How he prepares for the opera repertoire     ALL ABOUT JASON: Website: https://jasonhaaheim.com/ Instagram: https://www.instagram.com/jasonhaaheim/ Metropolitan Opera: https://www.metopera.org/ Artful Timpani Auditioning Seminar: https://steinhardt.nyu.edu/music/summer/percussionworkshops/artful_timpani_auditioning Talent is Overrated: What Really Separates World-Class Performers from Everybody Else by Geoff Colvin Peak: Secrets from the New Science of Expertise by Anders Ericsson     Jason Haaheim (pronounced HAW-heim) was appointed a Principal Timpanist of the Metropolitan Opera Orchestra in 2013. In addition to performances at New York's Lincoln Center and Carnegie Hall, Mr. Haaheim can be seen and heard performing with the MET Orchestra on television, international radio, and Live in HD movie theater broadcasts. Mr. Haaheim is on faculty at the NYU Steinhardt School of Music and the Bard Conservatory of Music. A sought-after clinician, Mr. Haaheim gives masterclasses both nationally and internationally, and is the founder of the Northland Timpani Summit. He is also a frequent coach for The Orchestra Now (TON), the Carnegie Hall National Youth Orchestra (NYO), and the New York Youth Symphony (NYYS). Mr. Haaheim's guest principal timpanist engagements have included the Seoul Philharmonic, the Mostly Mozart Festival Orchestra, and the Milwaukee Symphony. He has also been principal timpanist of the Lakes Area Music Festival, and a resident artist of the Twickenham Festival. Prior to the Met, Mr. Haaheim was principal timpanist of the Southwest Michigan Symphony and the Civic Orchestra of Chicago, and he performed regularly as timpanist with the Madison Symphony, Illinois Symphony, Peoria Symphony, and the Illinois Philharmonic. Mr. Haaheim has also been invited to perform as guest principal timpanist with the Chicago Symphony, the Detroit Symphony, the International Contemporary Ensemble (ICE), the Glimmerglass Festival, the Auckland Philharmonia, the Fort Wayne Philharmonic, and the Hong Kong Philharmonic. Mr. Haaheim began studying piano in 4th grade, adding percussion studies in 5th grade. He holds a bachelor of arts degree with a double major in honors-music-performance and physics from Gustavus Adolphus College (St. Peter, MN); he also holds a master's degree in electrical engineering from UC-Santa Barbara. Influential teachers have included John Tafoya (Indiana University, National Symphony), Dean Borghesani (Milwaukee Symphony), Jonathan Haas (Aspen Music Festival, NYU), and Robert Adney (Gustavus Adolphus College, MacPhail Music School). While auditioning and freelancing, Mr. Haaheim worked as “Senior Research and Development Engineer” at NanoInk, a Chicago-area tech company. In this capacity, he gave invited talks on nanotechnology, authored multiple peer-reviewed publications, and was granted numerous patents. In 2017, this dual-career path was highlighted in an interview with Melissa Block on NPR's Weekend Edition. Active in all musical areas, Mr. Haaheim has also performed extensively as a chamber musician and jazz drummer. He collaborated with Yo-Yo Ma in a Civic Orchestra / Silk Road Ensemble performance, and recorded the premiere of Augusta Read Thomas's “Terpsichore's Dream” with members of the Chicago Symphony. Mr. Haaheim has performed with Chicago's ensemble dal niente, and premiered Ryosuke Yagi's “Mirrors…for timpani” with the UCSB Ensemble of Contemporary Music. Other projects have included drumming for the jazz-fusion quartet “The J3 Intent” and the alt-country band “The Lost Cartographers.” At Gustavus, Mr. Haaheim was selected for the honors recital and won first place in the orchestra's concerto competition. Extra-musical interests include backpacking and hiking, rock climbing, and both downhill and cross-country skiing.     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.facebook.com/groups/mindoverfingertribe   (As an Amazon Associate I earn from qualifying purchases, which helps cover some of the costs associated with the production of the podcast.  Thank you for your support.)

Herbert Smith has had a remarkable career spanning a variety of musical genres.  Originally from Chicago, Herbert spent many years in Southern California prior to his move to São Paulo, Brazil eight years ago. We dig into similarities and differences between the musical scenes of Brazil and the United States, Brazilian musical traditions, language and how it affects the music of a specific culture, Herbert’s interesting life path, business skills, and much more! About Herbert: Herbert D. Smith currently lives in São Paulo, Brazil.  He has had a diverse international performance career for over 20 years, performing with tenor saxophone greats like Eddie Harris, Teddy Edwards, and Buddy Collette, pianists Art Hillery, Harold Land Jr., Ted Jackson, John Wood and George Cables, jazz vocalist Elaine Miles, guitarists Steve Cotter and John Chiodini, Mexican vocal stylist Sandra Valdivia, Capitol Records blues singer Betty Hall Jones, Basie trombonist Jimmie Cheatham, Dr. Ronald V. Myers, great jazz drummers Clayton Cameron of the Tony Bennett and Sammy Davis Jr. bands, the legendary Billy Higgins and Sherman Ferguson. As an orchestra section bassist, he has performed under Maestros Dr. Herbert Blomstedt and Dr. Jon Robertson in the Blomstedt Summer Orchestra, Riverside, California.   Smith also performed with the New American Orchestra in Hollywood under Music Director and Conductor Dr. Luther Henderson, and was Principal Bassist of the Riverside Civic Light Opera Orchestra.  Prior to coming to Brazil, Smith performed World Music for 3 years as house bassist at the Orange County California nightly "hotspot" “ The Caspian “ in Irvine, California. Smith was born and raised in Chicago, Illinois.  He started his music education at the famed Chicago Music College (CMC) of Roosevelt University. CMC former students consisted of Robert Lamm of the rock group "Chicago" and Jazz Saxophonist Steve Coleman of the Thad Jones Mel Lewis Orchestra. Through the advice and recommendation of the late Chicago Symphony Bassist Warren Benfield, Smith traveled to Madison Wisconsin to study with Jazz Bassist Richard Davis at the University of Wisconsin in Madison, then on to Milwaukee with Laura Synder currently with the Milwaukee Symphony. Smith received a scholarship to study in the Jazz Program at Livingston College of Rutgers University in Livingston, New Jersey under the direction of Bassist Larry Ridley.  As a young bassist in his 20's, Smith became the founder of the Los Angeles Bass Violin Choir, a group of prominent Los Angeles area bassists performing special arrangements by Smith and New York bassist Bill Lee. Bill Lee, father of director Spike Lee, and founder of the New York Bass Violin Choir, premiered many unique compositions and arrangements in his son's earlier films. Regular players consisted of Frederick Tinsley, the late Andy Simpkins, Herbie Lewis and George "Red" Callendar, John Heard, and classical double bass extraordinaire Bertram Turetsky. Additional players to perform with the bass choir were bassists Roberto Miranda, James Leary and Alan Jackson. Drummers Sherman Ferguson and Bill Douglass, and Pianist Cecil Lytle also performed with the choir.  Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: Kolstein Music The Samuel Kolstein Violin Shop was founded by Samuel Kolstein in 1943 as a Violin and Bow making establishment in Brooklyn, New York. Now on Long Island, over 60 years later, Kolstein’s has built a proud reputation for quality, craftsmanship and expertise in both the manufacture and repair of a whole range of stringed instruments, and has expanded to a staff of twelve experts in restoration, marketing and production. Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. D'Addario Strings This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut.   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. 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 Subscribe to the podcast to get these interviews delivered to you automatically!

Just the fourth person to hold the position as conductor of the Eastman Wind Ensemble, Mark Scatterday joins the show to discuss that ensemble and his career, and to share advice about conducting and teaching. Topics: Mark's early years growing up as a musician and his path to becoming a music educator and conductor.  The importance of being prepared and how, as a high school band director in Ohio, a chance meeting with Donald Hunsberger changed his life and his career. A lengthy discussion of the program at Eastman including the challenge of programming up to 85 pieces of music every year. Practical tips for score study. Links: Mark Scatterday Eastman School of Music Husa: Music for Prague 1968 Biography: Mark Davis Scatterday is professor of conducting and chair of the Conducting and Ensembles Department at the University of Rochester’s Eastman School of Music. As only the fourth conductor of the Eastman Wind Ensemble, Scatterday joined a prestigious line of conductors – Donald Hunsberger, Clyde Roller, and Frederick Fennell – in the past 65 years of the famed ensemble. Since his appointment, he has led the EWE on tour to Japan, Taiwan, and China and conducted the EWE in highly acclaimed performances at Carnegie Hall, Canadian National Musicfest, and the Midwest Clinic. He has recorded five new CDs with the EWE, Eastman Virtuosi, and  Eastman Music Nova and led the Eastman Harmonie on a highly acclaimed tour of Germany, Austria, and the Czech Republic. Having received a doctor of musical arts in conducting at the Eastman School of Music, Scatterday has directed wind ensembles and orchestras throughout North America, Europe and Asia. Previous to his appointment at Eastman, he was professor and chair of the Department of Music at Cornell University. Scatterday maintains an active guest conducting schedule as well as researching and writing articles involving score analysis, performance practices, and conducting.  Scatterday has conducted the premiere recording of Roberto Sierra’s Cancionero Sefardi with members of the Milwaukee Symphony (2001), Judith Weir’s Consolations of Scholarship with Ensemble X (2005), Danzante with James Thompson and the EWE (2006), Barcelonazo with Musica Nova (nominated for a 2008 Latin Grammy), and Manhattan Music with the EWE and the Canadian Brass (2008, nominated for a 2009 JUNO). In 2012, he recorded with the EWE and the Eastman Virtuosi featuring Stravinsky’s music and celebrating the EWE’s 60th year (2013, AVIE, London) and most recently released a new live recording of Roberto Sierra’s music with the EWE (Summit, 2017).  

As the Milwaukee Symphony Orchestra prepares to take over the former Grand Theater, Nate and Bobby discuss it's history and it's future.

As the Milwaukee Symphony Orchestra prepares to take over the former Grand Theater, Nate and Bobby discuss it's history and it's future.

Jon McCullough-Benner serves as principal bass of the Milwaukee Symphony, assistant principal bass of the Grant Park Symphony, and is on faculty at Roosevelt University.  Jon joins the Milwaukee Symphony after serving as principal bass with the Oregon Symphony. We dig into: studying with Owen Lee, Albert Laszlo, and Bruce Bransby the dangers of getting too tied up in rhythm and pitch fundamentals Jon's "early bird gets the worm" philosophy why practicing at quarter note = 60 works so well ...and much more! Follow along with all of our audition-related content at contrabassconversations.com/auditioning Links to check out: double bass study at Roosevelt University see Jon teach and perform at the Chicago Bass Festival in 2017 Thanks to our sponsors! This episode is brought to you by D’Addario Strings! Check out their Kaplan strings, which have versatility and control throughout the dynamic spectrum, rich tonal color palette, superb bow response, and beautiful balance. Enter our latest string giveaway for Kaplan strings at contrabassconversations.com/strings! Thank you also to the Bass Violin Shop, which  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! This episode is also brought to you by Rosin Saver, a revolutionary storage device that keeps bass rosin feeling as fresh as the day it was made. Rosin Saver is used by members of the New York Philharmonic, the MET orchestra, the Los Angles Philharmonic, the Cleveland Orchestra, the Seattle Symphony, and many others. Use the promo code 'HEATH' at checkout for 10% off any and all orders from rosinsaver.com. Subscribe to the podcast to get these interviews delivered to you automatically!

Dynamis CEO Andy Nunemaker stops by the show today. Andy holds an MBA from Harvard Business School and is the former CEO of GE Australia, New Zealand & Southeast Asia. He was the CEO of EMS Systems before a successful exit, and most recently founded Dynamis in 2014. He is very active in the community, helping out on the entrepreneurial scene and as well as serving as the Chairman of the Milwaukee Symphony.

Today’s episode features double bassist Jerry Fuller.  I’ve known Jerry for well over a decade at this point and have found him to be such an interesting person.  Jerry is best known in the music world for his work in period performance—in fact, he won an award for historically informed performance from the International Society of Bassists in 2015, and he is also a former ISB board member.   We cover Jerry’s early years in music, attending Northwestern in bass studio of rock stars including Hal Robinson, Curtis Burriss, and Rufus Reid, and his time spent performing in the bass section of the Lyric Opera of Chicago and in Switzerland.  While he was in Lyric, Jerry attended business school at the University of Chicago and has worked for most of his professional life in the world of business while simultaneously keeping up an active musical life, and we talk about his what prompted this decision to attend business school and what his experiences in that world have been like. We get into details about how period performance differs from modern technique, how players can explore the world of period playing, and the role of the bass player in the continuo.  We also have a great discussion on creativity in music and answer listener questions from Gaelen McCormick and Dan Carson. Jerry has gotten into traditional jazz recently, and we’ll open up the episode with an excerpt featuring Jerry performing C'est si Bon, and we’ll close with a duet by Bernhard Romberg with Richard Hirschl on cello.   Links to check out: Jordi Savall Juilliard Baroque Program Angela Duckworth - Grit ArsAntiguaPresents.com earlybass.com Interview Highlights Early Years and Career grew up in Wisconsin - inspiring encounter with Roger Ruggeri of the Milwaukee Symphony accepted into Northwestern University bass studio with Warren Benfield joined Lyric junior year of college, promoted to assistant principal enrolled in business school at University of Chicago while still playing in Lyric went to work for American Hospital Supply Corporation and found an amazingly creative group of people there joined orchestra in Switzerland Early Music physical and mental differences in early and modern playing what instrument really “drives the bus” in continuo playing outlets for learning more about early music performance switching between early and modern setups Careers and Creative Outlets personality and temperament play a huge role into us figuring out what we should do in the world career-wise temperament over skill level creativity in music and life

Legendary Band Leader for Johnny Carson was the great Doc Severinsen!! As a band geek..had the chance to talk about his days on the Tonight Show and you seeing him soon with the Milwaukee Symphony!! LISTEN NOW!!

We are featuring Andrew Raciti on this week’s show.  Andy is the acting principal bass of the Milwaukee Symphony Orchestra. He is also the head of the double bass studio of the Bienen School of Music at Northwestern University. Before joining the Milwaukee Symphony in 2006, Mr Raciti was associate principal bass of the Sydney Symphony Orchestra in Australia. He has also performed with the Detroit Symphony, the Minnesota Orchestra, the Saint Paul Chamber Orchestra, and the Melbourne Symphony Orchestra.   We talk about Andy’s experiences growing up in Milwaukee, studying at UW-Madison, studying with Paul at Rice, the Sydney Symphony, the Northwestern University bass studio, how Andy approaches lessons, the Laborie endpin, his Tester bass, and several other topics.  We also feature excerpts from Zivojin Glisic’s Concerto for Double Bass and String Orchestra with Andy and the University of Wisconsin-Madison Chamber Orchestra. Enjoy!   About Andrew:   Andrew Raciti is the acting principal bass of the Milwaukee Symphony Orchestra. He is also the head of the double bass studio of the Bienen School of Music at Northwestern University. Before joining the Milwaukee Symphony in 2006, Mr Raciti was associate principal bass of the Sydney Symphony Orchestra in Australia. He has also performed with the Detroit Symphony, the Minnesota Orchestra, the Saint Paul Chamber Orchestra, and the Melbourne Symphony Orchestra.   In the summers he has been the principal bass of the Chautauqua Symphony Orchestra and performs orchestral and chamber music at the Grand Teton Music Festival. He is also a regular professor of the Filharmonica Joven de Colombia in South America. In 2011 he performed the United States premiere of the Concerto for Double Bass and String Orchestra by Macedonian composer Zivoin Glisic. A recognized authority in bass pedagogy and performance, Mr Raciti has published articles in the quarterly for the International Society of Bassists. He is currently involved with the  BATUTA foundation of Colombia, South America, where he is developing the bass portion of a comprehensive string pedagogy that will be used throughout its 17,000 member nationwide network.   Visit Andrew Raciti's Double Bass Studio Facebook Page

Diane Wittry is a frequent guest conductor of professional orchestras across the United States and in Europe. She has guest conducted include the Los Angeles Philharmonic, the Milwaukee Symphony, The San Diego Symphony, the Houston Symphony. Diane Wittry is the Music Director and Conductor of the Allentown Symphony Orchestra, PA. As a teacher, Diane Wittry, is a frequent guest lecturer at Juilliard and the Curtis Institute of Music, as well as other Universities and Colleges. Diane Wittry's first book, "Beyond the Baton - What Every Conductor Needs to Know" (Oxford University Press 2007) has become a standard required text for the orchestral conducting programs nationally. Diane just published a followup work, Baton Basics: Communicating Music Through Gestures (Oxford University Press 2014). Both are available through all online retailers. Learn more about Diane here: http://www.dianewittry.com