Podcasts about Musical America

Countertenor Anthony Roth Costanzo began performing professionally at the age of 11 and has since appeared in opera, concert, recital, film, and on Broadway. He has performed in the world's great opera houses and symphony halls.In June 2024, he began his tenure as the general director and president of Opera Philadelphia.His most recent album, Anthony Roth Costanzo & Justin Vivian Bond: Only an Octave Apart was released in January 2022. His first solo album, ARC was released in September 2018 and nominated for the 2019 GRAMMY Award for Best Classical Solo Vocal Album. He also stars on the Metropolitan Opera's recording and DVD of Akhnaten which won the 2022 GRAMMY award for best opera recording.Anthony was the recipient of the 2020 Beverly Sills Award from the Metropolitan Opera, a winner of the 2020 Opera News Award, and the 2019 Musical America vocalist of the year.He graduated Magna Cum Laude and Phi Beta Kappa from Princeton University where he was awarded the Lewis Sudler Prize for extraordinary achievement in the arts, and where he has returned to teach.

In this conversation, we dive into the extraordinary creative partnership between two of the most celebrated figures in contemporary opera—librettist Gene Scheer and composer Jake Heggie. Together, Gene and Jake have brought to life some of the most powerful operatic works of our time, including Moby-Dick, Three Decembers, and It's a Wonderful Life. Their collaboration is not only rooted in artistic brilliance but also in a deep, long-standing friendship.Individually, their accomplishments are equally impressive. Gene Scheer has worked with a range of renowned composers, including Jennifer Higdon on Cold Mountain and Tobias Picker on An American Tragedy. He's also an accomplished composer in his own right—his song American Anthem was featured in Ken Burns' Emmy Award-winning documentary on World War II.Jake Heggie's groundbreaking first opera, Dead Man Walking, with a libretto by Terrence McNally, launched him into the spotlight. Since then, his work in art song and opera has made a lasting impact, earning him the title of Musical America's 2025 Composer of the Year. So who better to explore the dynamic between a librettist and a composer? In this two-part conversation, we unpack what makes a successful collaboration and how words and music come together to create something truly unforgettable.Part One's conversation took place during a particularly exciting time—Moby-Dick was being performed at the Metropolitan Opera. Throughout our discussion, the opera serves as a touchstone for understanding the creative process. We begin with a fundamental question: how do they do it? Specifically, how do hard work and patience shape their creative journey?We get into the nuts and bolts of collaboration—how they challenge and inspire each other to reach new heights. Gene shares insights into the stages of researching and writing a libretto, including the story of how saving $100 unexpectedly launched his career. And in his own words, Gene describes his role simply and powerfully: “My job is to write a libretto that inspires music.”[Subscriber Content]: In Part Two, we step back and learn more about Gene's early experiences—his time studying and singing in Vienna (including the month he saw 27 operas!). Jake opens up about the legendary Stephen Sondheim, a mentor and inspiration, and how Sweeney Todd changed his life. In fact, Jake dedicated Moby-Dick to Sondheim.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!

Today I present the African American soprano Ellabelle Davis (1907-1960) who during the late 1940s and early 1950s was greatly celebrated as a concert singer and who appeared around the world, the “Toast of Three Continents” as an early Musical America ad featuring the soprano proclaimed. She even appeared on the operatic stage, primarily as Aida, though her artistry was best suited to the concert platform. Additionally and unusually for the time, she made a number of recordings, including two 10-inch LPs for London-Decca records in 1950. During my research into Ellabelle Davis, I discovered that she had made a second series of recordings, a group of 78s for the Philips record company. I had assumed that, because of their format, these were earlier recordings, but upon further research, I found that these were recorded in 1952 with the Danish pianist Kjell Olsson (1917-1997) at the time of her final tour of Denmark. And to my surprise and delight, these included not only two sides of French art song, but also a disc of spirituals which she did not record elsewhere, and even the Brahms Zigeunerlieder, long a staple of her concert programs. In her day she was frequently written up in the New York Times and appeared repeatedly in high-profile concert appearances in the city, and even moreso, around the world. Yet her career was slowed by illness, and she died prematurely at the age of 53 of cancer, after attempting a career comeback the previous year. I present a number of her extant studio recordings and attempt to place her career within the context of larger social issues in the United States (and around the world) at that time, including considering why artists like Dorothy Maynor, Marian Anderson, and Davis herself, heavily promoted by the mainstream and celebrated for their modesty and dignity (always coded language!), were a more palatable counterpart for white audiences to more progressively-minded artists like Paul Robeson Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

Kathleen van Bergen is in her 14th season as CEO and president of Artis—Naples.  In that time, she has been recognized throughout Southwest Florida and the greater arts community as an example of leadership geared toward prudent growth and relationship building. Named one of Musical America's “Top 30 Professionals of the Year” in 2019, she is described as “a woman with a mission, a vision and a board to support both.” In 2022, she was named among Gulfshore Life magazine's “Forces of Philanthropy,” a select few leaders of Southwest Florida who “propel the philanthropic community into the future through mentorship, collaboration and camaraderie.”From the beginning of her tenure, she has made balanced budgets and operational surpluses a priority: The balance sheet has more than doubled over the last decade, and, as of 2021, the organization is debt free.  On her watch, its endowment has surpassed $150 million. Kathleen's vision for multidisciplinary thematic planning has allowed Artis—Naples to leverage its unique resources in order to enhance patron experiences with the visual and performing arts.The diversity of artistic excellence and world-class programming is one reason The Wall Street Journal said Artis—Naples has ushered in “an impressive new phase” for classical music in Southwest Florida.In 2022, Kathleen was a recipient of the Eastman School of Music's Centennial Award, given in honor of its 100th year to 100 individuals who exemplify the school's mission and legacy through their artistry, scholarship, leadership, community engagement and philanthropy

Music director of the National Symphony Orchestra, Gianandrea Noseda is also one of the world's most sought-after conductors, recognized equally for his artistry in  the concert hall and the opera house.Gianandrea's award-winning recordings are distributed by LSO Live, for whom he also records as principal guest conductor of the London Symphony Orchestra.  His discography spans over 80 recordings.He became general music director of the Zurich Opera House in September 2021 and he reached an important milestone in May 2024, conducting two highly praised complete Ring Cycles.In the summer of 2024, he led an international festival tour with European Union Youth Orchestra which took them to the Edinburgh Festival and the Lucerne Festival. In 2019, he was appointed the founding music director of the Tsinandali Festival and Pan-Caucasian Youth Orchestra in the village of Tsinandali, Georgia.A native of Milan, Gianandrea is Commendatore al Merito della Repubblica Italiana, marking his contribution to the artistic life of Italy. He has been honored as Musical America's Conductor of the Year (2015) and International Opera Awards Conductor of the Year (2016). In 2023, he received the Puccini Award, joining the likes of Maria Callas, Birgit Nilsson, and Luciano Pavarotti.

Performance psychologist Noa Kageyama (NY License #19280) is on the faculty of The Juilliard School and the Cleveland Institute of Music. A conservatory-trained violinist with degrees from Oberlin and Juilliard before completing a Ph.D. in counseling psychology at Indiana University, Noa now specializes in working with performing artists, teaching them how to utilize sport psychology principles and more consistently perform up to their full abilities under pressure.He has conducted workshops for institutions ranging from Northwestern University, New England Conservatory, Peabody, Eastman, Curtis, McGill University, and the U.S. Armed Forces School of Music, to programs such as the Starling-Delay Symposium, The Perlman Music Program, and the National Orchestral Institute, and for organizations like the Music Teachers' National Association, the National Association of Teachers of Singing, the Sphinx Organization, the Performing Arts Medicine Association, and the Association for Applied Sport Psychology.Noa's work has been featured in The Wall Street Journal, NBC News, CNN, Slate, TED-Ed, Musical America, Strings Magazine, Strad, and Lifehacker. He has taught over 8000 musicians, educators, and learners through his online courses, and authors The Bulletproof Musician - a performance psychology blog and podcast which reaches over 45,000 subscribers every week.www.bulletproofmusician.com

Breaking the Silence with host Dr. Gregory Williams With Guest, Award-winning writer, author of Water Music a Cape Cod Story, Marcia Peck This week's Special Guest will be Marcia Peck. "Marica is the author of Water Music: A Cape Cod Story." She is an award-winning writer and has received many awards. Her articles have appeared in Musical America, Strad Magazine, Strings Magazine, and Senza Sordino. Her work has been supported by The Minnesota State Arts Board, The Loft Literary Center, Ragdale Foundation and Hambidge Center. Guest, Marcia Peck's book, Water Music, The bridge at Sagamore was closed when we got there that summer of 1956. We had to cross the canal at Buzzards Bay over the only other roadway that tethered Cape Cod to the mainland. Thus twelve-year-old Lily Grainger, while safe from ‘communists and the Pope', finds her family suddenly adrift. That was the summer the Andrea Doria sank, pilot whales stranded, and Lily's father built a house he couldn't afford. Target practice on a nearby decommissioned Liberty Ship echoed not only the rancor in her parents' marriage, a rancor stoked by Lily's competitive uncle, but also Lily's troubles with her sister, her cousins, and especially with her mother. In her increasingly desperate efforts to salvage her parents' marriage, Lily discovers betrayals beyond her understanding as well as the small ways in which people try to rescue each other. She draws on her music lessons and her love of Cape Cod—from Sagamore and Monomoy to Nauset Spit and Wellfleet Dunes, seeking safe passage from the limited world of her salt marsh to the larger, open ocean.

In this episode, we're thrilled to welcome back Grammy and Juno Award-winning soprano and conductor Barbara Hannigan! Recently named Musical America's 2025 Artist of the Year, Barbara reflects on her illustrious career, her commitment to contemporary music, and what this prestigious honor means to her. Join us as Barbara shares her insights on the thrilling […]

When we think about consuming art, whether reading a book, visiting a museum, or maybe watching an outdoor performance act, we rarely consider the administrative efforts that go into making art possible. Creative administration is an evolving field that considers the innovation and organizational management necessary to create and present art. Artists find themselves having to balance their own vision, with the practicalities of physical production, collaboration, and so many other factors. Artists on Creative Administration: A Workbook from the National Center for Choreography, is a collection curated by Tonya Lockyer, containing firsthand accounts of creative administration in action. Lockyer is focused on telling stories that can help others progress, making a point to state, “This book is for anyone looking for paths forward; for anyone who believes we are in an exceptional moment of change—change is happening and needs to happen.” Please join us at Town Hall for an expansive conversation on the arts, leadership, and the craft of creative administration. Tonya Lockyer is an award-winning movement artist, choreographer, writer, and cultural curator. Lockyer was the executive and artistic director of Velocity Dance Center in Seattle from 2011 to 2018. Currently, she is also an adjunct professor in Arts Leadership at Seattle University. Her new anthology, Artists on Creative Administration, features the voices of thirty artists and arts workers, sharing their experiences as they navigate issues of equity, design, leadership, collaboration, family, ethics, and care. Jackson Cooper is the Executive Director of the American Genre Film Archive, the world's largest nonprofit archive and distributor dedicated to preserving, collecting, and presenting the greatest genre films of all time. In 2023, he was named one of the Top 30 Arts Professionals by Musical America magazine and was appointed by Governor jay Inslee to the Washington State Arts Commission in 2024. He serves on the faculties of both Seattle University and UNC-Greensboro where he teaches Fundraising and philanthropy. His first book entitled A Kids Book About Kindness was published in 2023 and his forthcoming book on Sustainable Fundraising will be published by Columbia Business School Publishing in 2026. He holds an MFA in Arts Leadership at Seattle University and a BA in Theatre/Business from UNCG which honored him with the university's Young Alumni Award this past October 2024. Buy the Book Artists on Creative Administration: A Workbook from the National Center for Choreography Elliott Bay Book Company

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

This week I'm highlighting an episode from the archive, with the engaging and talented Leslie DeShazor  who is a multi-style violist,  violinist and composer based in Detroit. She teaches students both through the Sphinx Organization and the Detroit Symphony as well as privately. She was named one of thirty Professional Movers and Shakers in the Performing Arts by Musical America in 2019 and in 2022 she released her jazz and R&B album “Journey With Me” which features herself as soloist, bandleader, and composer, and "Simply Complicated" from that album is part of this podcast episode. This conversation was full of stories and insights from Leslie's life. She shared valuable perspectives that educators, parents and anyone who mentors children and young adults will find inspiring and thought-provoking. We talked a lot about why kids quit playing music, why so many young adults today have trouble figuring out the direction of their life, and how the educational system can take away people's innate creativity and confidence. Link to video and transcript on my website: https://www.leahroseman.com/episodes/leslie-deshazor Link to Leslie DeShazor's website: https://lesliedeshazor.com/ Can you buy this independent podcaster a cup of coffee through Paypal? https://ko-fi.com/leahroseman Thanks! Catalog of Episodes: https://www.leahroseman.com/about Newsletter sign-up: https://mailchi.mp/ebed4a237788/podcast-newsletter Follow me on social media: https://linktr.ee/leahroseman Timestamps: (00:00) Cold open quote plus Intro (02:00) album Journey With Me, accepting help (06:16) differences playing acoustic and electric instruments (07:30) intro to tune “Simply Complicated” (13:25) Leslie's childhood musical pranks, growing up in Inkster and Canton (16:10) the importance of Detroit in many different musical genres (18:36) the influence and importantce of church music (22:47) Interlochen, perspectives on exposing kids to a competitive atmosphere (32:43) Leslie's approach to coaching student ensembles (36:14) Leslie's history going to Orchestra Hall, continuity and history of Detroit (40:52) parenting, guiding children in music (42:37) University of Michigan and Wayne State college experiences, James Dapogny, how to guide students, the importance of helping music students with options (51:00) dealing with injury (53:06) different cultures through dance, learning Spanish, teaching with Sphinx (56:14) Sphinx organization (01:03:10) Musique Noire, Eunoia Society, JoVia Armstrong (01:04:45) problem with labels in music, colonial attitudes (01:10:44) teaching music using different strategies (01:16:35) challenges in guiding students (01:19:53) students who are over-scheduled, the benefits of allowing time for creativity and play (01:25:42) Cole Randolph taking time off and motivation (01:26:42) dealing with stress through exercise, jumping rope, keeping balance (01:30:00) freelance life stress (01:31:18) teaching body percussion, benefits of community music making, learning from other educators (01:35:35) Leslie's advice about bravery --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

SynopsisOn today's date in 1918, the Metropolitan Opera in New York offered the world premiere performance of not one, not two, but three new operas by Giacomo Puccini.The three one-act operas are collectively billed as Il Trittico, or The Triptych. In order of their presentation at the Met, the triptych consisted of Il Tabarro (The Cloak), a rather sordid tale of passion and murder, followed by a sentimental tear-jerker titled Suor Angelica (Sister Angelica, after its Romantic heroine), and, for a comic finale, Gianni Schicchi, titled after the resourceful hero of its comic plot.Musical America reported a warm welcome for the three new Puccini operas, but did find Il Tabarro “in the main, black and brutal.” In that journal's opinion, the hit of the evening was the comic opera, Gianni Schicci. In particular, one brief soprano aria from that opera so pleased the first-night audience that it had to be encored.Over time, this little aria, “O Mio Babbino Caro,” has become one of Puccini's greatest hits and has even cropped up in the soundtracks of movies such as A Room With a View and G.I. Jane.Music Played in Today's ProgramGiacomo Puccini (1858-1924) Gianni Schicchi; Angela Gheorghiu, soprano; London Symphony; Antonio Pappano, cond. EMI 56587

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.

Composer Steven Mackey has come a long way since his teenage years studying physics at the University of California, Davis, and learning blues-rock riffs on his guitar. Today Mackey stands as a celebrated composer and electric guitarist whose work is regularly performed by orchestras around the world — including the Los Angeles Philharmonic, the National Symphony, and the Boston Symphony. He's taught composition at Princeton University for nearly 40 years and has served as a composer in residence at the Curtis Institute of Music, Tanglewood, and the Aspen Music Festival. On his latest album, Beautiful Passing, Mackey brings together two works inspired by personal experiences that deeply informed his views on memory, life, and death: Mnemosyne's Pool, which Musical America called "the first great American symphony of the 21st century"; and Beautiful Passing, a violin concerto Mackey composed after watching his mother pass away from cancer. Despite the presence of death woven throughout both works, Mackey made sure to find moments for levity and humor in his music. "Part of death is a farewell to this joyous life and the energetic people my parents were," Mackey says on the latest episode of the Classical Post podcast. "There's a depth of emotion that music is really uniquely suited for. Where words are a struggle to come by, music bypasses those language centers and gives you a direct emotional response." In this episode, we talk more about the new album, and Mackey shares the profoundly moving story of his mother's death and how it influenced Beautiful Passing's title. Plus, he discusses the parallels he sees between filmmaking, cooking, and composition, and his go-to spot for Italian food on Manhattan's Upper West Side. Listen to Beautiful Passing on Spotify, Apple Music, Idagio, or wherever you stream and download music. — ⁠Classical Post⁠® is a leading podcast based in New York. Our content uncovers the creativity behind exceptional music through dynamic deep-dive interviews with prominent artists in the world today. We are powered by ⁠Gold Sound Media⁠® — a creative studio providing omnichannel marketing and public relations services for the classical music industry.

Today I begin a series of interim episodes which will lead up to the debut of Season Five of the podcast in January 2024. These episodes will be shorter, but will still be chock full of interesting singers and subject matter. Today I present the African American soprano Ellabelle Davis (1907-1960) who during the late 1940s and early 1950s was greatly celebrated as a concert singer and who appeared around the world, the “Toast of Three Continents” as an early Musical America ad featuring the soprano proclaimed. She even appeared on the operatic stage, primarily as Aida, though her artistry was best suited to the concert platform. She even made a number of recordings, including two 10-inch LPs for London-Decca records in 1950. In her day she was frequently written up in the New York Times and appeared repeatedly in high-profile concert appearances in the city, and even moreso, around the world, including the Nordic countries, Vienna, and Mexico in particular. Yet her career was slowed by illness, and in fact she died prematurely at the age of 53 of cancer, after attempting a career comeback the previous year. On the episode today I present a number of her extant studio recordings and attempt to place her career within the context of larger social issues in the United States (and around the world) at that time. An upcoming bonus episode will feature even rarer selections from Davis's recorded legacy. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Charles (Chuck) Dickerson III is the founder, Executive Director and Conductor of the Inner City Youth Orchestra of Los Angeles. He is also the founder, Executive Director and Conductor of both the South Side Chicago Youth Orchestra, and the Youth Orchestra of Tsakane, South Africa.  He also serves as Director Special Ensembles at California State University, Dominguez Hills, as Director of Music at Rolling Hills United Methodist Church, and as the Choir Director at Leo Baeck Temple in Bel Air, California.  He serves on the Board of Directors of the League of American Orchestras.  He was recognized in December 2019 as a Professional of the Year by Musical America.He holds a Master of Music Degree with a focus on conducting from California State University, Los Angeles, and degrees from Howard University (B.S.) and American University (J.D.).  He has studied with esteemed Conductors Gustav Meier, Daniel Lewis, and Kenneth Kiesler. He formerly served as Music Director and Conductor of the Southeast Symphony (2004-2011) and as Director of Music at Holman United Methodist Church.  He has held important public and civic leadership positions in Washington DC and Los Angeles.Chapters is a multi-part series concerning the history and the lessons of civil rights violations or civil liberties injustices carried out against communities or populations—including civil rights violations or civil liberties injustices that are perpetrated on the basis of an individual's race, national origin, immigration status, religion, gender, or sexual orientation.This project was made possible with support from Chapman University and The California Civil Liberties Public Education Program, a state-funded grant project of the California State Library.Guest: Charles Dickerson IIIHosts: Jon-Barrett IngelsProduced by: Past Forward

durée : 00:20:31 - Missy Mazzoli : Dark with Excessive Bright - Peter Herresthal, Arctic Philharmonic - Nommée «compositrice de l'année 2022» par Musical America, Missy Mazzoli habite un monde sonore exquis et mystérieux dans lequel les sensibilités indie-rock rencontrent le minimalisme américain, le modernisme européen et les traditions classiques.

Welcome to PART TWO of Episode One of YEAR SIX of The Academy of Esports podcast! I'm your host, James O'Hagan. Thank you for joining me as I welcome back my friend, Amir Satvat, the global head of startup operations at Amazon Web Services. Before stepping into their current role, Amir experience included chapters as a principal publishing producer and key positions in business development and strategy at Amazon Games. They also served as COO for AWS' Inside Sales and Demand Generation Businesses, while spending over a decade in tech and healthcare sectors, working on strategy, operations, and business development. Amir's academic achievements include an MBA and a Master's in Engineering from the University of Pennsylvania, and an MPA in Public Policy from New York University. Their professional journey is a perfect example of one of Amir's career advice tenets: think laterally within a company to gain skills you need for your dream job. As a dedicated gamer, Amir has played over 2,200 titles, cherishing series like Super Mario, The Legend of Zelda, Monkey Island, and The Witcher. Their love for gaming began with Asteroids on the Atari 2600. Their passion for the industry doesn't end there– Amir runs a thriving LinkedIn community of over 33,000 video game followers (and growing daily!), with many working in games. Amir also loves opera, having created his first at age 14. With that in mind, we invited a surprise guest– Josh Shaw, Founding Artistic Director and CEO of Pacific Opera Project– whose blend of video game characters and operas is selling out stages wherever it goes. Named as one of Musical America's Top 30 Innovators in Classical Music, Josh Shaw is the Founding Artistic Director and CEO of Pacific Opera Project (POP), which has been described as "L.A.'s most exciting new opera company." Over the past twelve seasons, Mr. Shaw has directed over 50 productions at POP, including The Rake's Progress, Ariadne auf Naxos, La Calisto, Tosca: A Moving Production; and La Boheme: AKA “The Hipsters”. A frequent librettist for English updates, his Star Trek-inspired Abduction from the Seraglio and Nintendo-inspired Magic Flute (AKA #SuperFlute) have gained national attention and have been produced at multiple companies, shattering attendance records. Enjoy, consider hitting “Subscribe,” and please make time to play in some way this week! -- Subscribe/Connect to Amir: LinkedIn: https://www.linkedin.com/in/amirsatvat/ YouTube: https://www.youtube.com/c/amirsatvat Amir's Games Jobs Workbook: Google Docs: https://docs.google.com/spreadsheets/d/1ORvB63Kq5pvXb8QDbEzGnJa_lFMiZmK2_vjglKgOKcw/edit?usp=sharing Dropbox: https://www.dropbox.com/s/6icqqopmsp39ool/221119%20-%20Games%20Jobs.xlsx?dl=0 Connect to Pacific Opera Project: https://www.pacificoperaproject.com/ POP Curriculum: https://www.pacificoperaproject.com/education Instagram: https://www.instagram.com/pacoperaproj/  FB: https://www.facebook.com/pacificoperaproject/ & https://www.facebook.com/joshshawtenor Josh Shaw: https://joshshaw.org Watch Part One: https://lnkd.in/gjP-Dr9j Listen to Part One: https://lnkd.in/gzfyD7-n The Academy of Esports podcast is powered by LeagueSpot. https://leaguespot.gg/ -- Esports is organized competitive video games allowing schools to redefine their athletic culture, diversify opportunities for student participation, promote physical and mental health, increase collegiate scholarship pathways, and play games!  We cannot forget the importance of play! James O'Hagan (⁠⁠LinkedIn⁠⁠ // ⁠⁠Twitter⁠⁠) is the Founder and Host of The Academy of Esports podcast. The Academy of Esports (⁠⁠Website⁠⁠ // ⁠⁠Twitter⁠⁠) You may email any questions or topic suggestions to ⁠⁠contact@taoesports.com⁠⁠. -- Music provided Royalty Free "8 Bit Adventure!" Querky Fun Game Music by HeatleyBros ⁠⁠iTunes⁠⁠ ⁠⁠Spotify⁠⁠ ⁠⁠License⁠⁠ ⁠⁠Twitter⁠⁠ ⁠⁠Facebook⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/taoesports/message Support this podcast: https://podcasters.spotify.com/pod/show/taoesports/support

Today on the podcast, I talk with Alecia Lawyer, Founder, Artistic Director, Principal oboist of ROCO. She's got the most exciting ideas about orchestral possibilities in the 21st century, and I wish more people were as innovative as she.    Named by Musical America as one of classical music's Top 30 Influencers for 2015 and a Lorée oboe artist in 2019, Texas native, Alecia Lawyer, is the Founder, Artistic Director, and Principal Oboist of ROCO, a professional music ensemble that flexes from 1 to 40 musicians from around the US and Canada, including guest conductors from around the world. Expanding the repertoire, ROCO has commissioned and world premiered over 100 works from living composers. The group performs dozens of concerts annually in multiple venues throughout Houston, many of which are broadcast nationally and livestreamed to the world. Known as “The Most Fun You Can Have with Serious Music!” ROCO has been called a trailblazer and arts disrupter and is leading the sector in innovation. Calling her business model “Wildcatting in the Arts”, Ms. Lawyer was named a finalist for Texas Musician of the Year (along with Willie Nelson) and was listed as one of Houston's Top 50 Most Influential Women. She is a proud senior fellow of American Leadership Forum, a trustee for Episcopal High School, and a member of the Institute for Composer Diversity. She has received numerous awards, including the Gutsy Gal Award from Houston Woman Magazine and Sigma Alpha Iota Musician of the Year.  She regularly presents her entrepreneurial model and dynamic ideas to conservatories, universities, and music festivals around the US, such as Juilliard, Yale, SMU, Round Top, and the Texas Music Festival, using ROCO as a case study for community-specific orchestra building. Business and social groups in the Greater Houston Area engage her to speak on numerous topics related to the creation, innovation, marketing, and development of the arts. After receiving her Masters from Juilliard and Bachelors from SMU, both in oboe, Alecia's career has ranged from recording for John Cage and soloing with Rostropovich, to a contemporary chamber music recital at Carnegie Hall, live radio broadcasts in New York, and disc jockeying for KRTS-92.1FM, Houston, TX. Enjoying a year residency in France, she recorded with the Sorbonne Orchestra, performed recitals in Paris, and concertized with various orchestras and chamber groups in France and Germany. Alecia and her husband Larry have two fantastic sons, Jacob and Zachary. Alecia is an F. Lorée artist. You can catch up with ROCO at its website, or follow on Facebook, YouTube, and Twitter @rocohouston Alecia's previous SUPER INSPIRING interview is HERE. Roco recently collaborated on a beautiful new children's book: The Nightingale 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!  

Synopsis In the spring of 1775, shots were fired at Lexington and Concord, Massachusetts, and the sparks of the American Revolution burst into flames at the Battle of Bunker Hill. Far away in Salzburg, Austria, a 19-year-old composer named Wolfgang Mozart was spending most of that year composing five violin concertos. The fifth, in A major, was completed on this day in 1775. At the time, Mozart was concertmaster of the orchestra in the court of the Archbishop of Salzburg. Archbishops don't have their own orchestras now, but they did then—at least in Europe, if not in the American colonies. A century and a half later, America was celebrating its sesquicentennial, and the magazine Musical America offered a prize of $3,000 for the best symphonic work on an American theme. The prize was awarded unanimously to Ernest Bloch, a Swiss-born composer who had arrived in this country only a decade before. But already, sailing into the harbor of New York, he had conceived of a large patriotic composition. Several years later, it took shape in three movements as America—An Epic Rhapsody for Orchestra. It premiered in New York on today's date in 1928, with simultaneous performances the next day in Boston, Philadelphia, Chicago, Cincinnati, San Francisco and Los Angeles. Fifteen other orchestras programmed it within a year. Curiously, although Bloch remains a highly respected composer, his America Rhapsody from 1928 is seldom performed today. Music Played in Today's Program Wolfgang Amadeus Mozart (1756-1791) Violin Concerto No. 5 Jean-Jacques Kantorow, violin; Netherlands Chamber Orchestra; Leopold Hager, conductor. Denon 7504 Ernest Bloch (1880-1959) America: An Epic Rhapsody Seattle Symphony; Gerard Schwarz, conductor. Delos 3135

Leslie DeShazor is a multi-style violist,  violinist and composer based in Detroit. She teaches students both through the Sphinx Organization and the Detroit Symphony as well as privately. She was named one of thirty Professional Movers and Shakers in the Performing Arts by Musical America in 2019 and in 2022 she released her jazz and R&B album “Journey With Me” which features herself as soloist, bandleader, and composer. Towards the beginning of this episode you'll hear her composition “Simply Complicated” from “Journey With Me”. This conversation was full of stories and insights from Leslie's life. She shared valuable perspectives that educators, parents and anyone who mentors children and young adults will find inspiring and thought-provoking. We talked a lot about why kids quit playing music, why so many young adults today have trouble figuring out the direction of their life, and how the educational system can take away people's innate creativity and confidence. Leslie is such an articulate and engaging speaker; I'm sure listeners everywhere will enjoy this episode! The musicians on Simply Complicated are: Nate Winn -  drums, Brendon Davis  - piano Brandon Rose -  bass Photo: Bruce Turner Please support this series! https://ko-fi.com/leahroseman Video and Transcript: https://www.leahroseman.com/episodes/leslie-deshazor https://lesliedeshazor.com/ Timestamps: (00:00) Cold open quote plus Intro (02:00) album Journey With Me, accepting help (06:16) differences playing acoustic and electric instruments (07:30) intro to tune “Simply Complicated” (13:25) Leslie's childhood musical pranks, growing up in Inkster and Canton (16:10) the importance of Detroit in many different musical genres (18:36) the influence and importantce of church music (22:47) Interlochen, perspectives on exposing kids to a competitive atmosphere (32:43) Leslie's approach to coaching student ensembles (36:14) Leslie's history going to Orchestra Hall, continuity and history of Detroit (40:52) parenting, guiding children in music (42:37) University of Michigan and Wayne State college experiences, James Dapogny, how to guide students, the importance of helping music students with options (51:00) dealing with injury (53:06) different cultures through dance, learning Spanish, teaching with Sphinx (56:14) Sphinx organization (01:03:10) Musique Noire, Eunoia Society, JoVia Armstrong (01:04:45) problem with labels in music, colonial attitudes (01:10:44) teaching music using different strategies (01:16:35) challenges in guiding students (01:19:53) students who are over-scheduled, the benefits of allowing time for creativity and play (01:25:42) Cole Randolph taking time off and motivation (01:26:42) dealing with stress through exercise, jumping rope, keeping balance (01:30:00) freelance life stress (01:31:18) teaching body percussion, benefits of community music making, learning from other educators (01:35:35) Leslie's advice about bravery --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

Joshua and Angela sit down with Musical America's Composer of the Year, Jessie Montgomery. Violinist, educator, and one of the 21st-century's premier composers, Montgomery sheds light on her musical upbringing and her social awakening as a composer of color in a field that is still all too reticent to uplift and highlight the contributions in classical music from the African diaspora. Featured Music:"Starburst" by Jessie Montgomery, feat. Minnesota Orchestra"Smoke" from Break Away by Jessie Montgomery, feat. PUBLIQuartet"Banner" by Jessie Montgomery, feat. Catalyst QuartetSupport the show

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

Synopsis 1991 was a big year for American composer John Corigliano. The Metropolitan Opera premiered his opera “The Ghosts of Versailles” and the 53-year old composer won two Grammys and the Grawemeyer Award for his Symphony No. 1. Corigliano was increasingly recognized as one of the leading American composers of his generation, and was deluged with commissions for new works. But about 10 years before all that, guitarist Sharon Isbin had asked Corigliano to write a concerto for her, and kept on asking him. On today's date in 1993, her persistence paid off when, with the St. Paul Chamber Orchestra and conductor Hugh Wolff, she gave the premiere performance of Corigliano's “Troubadours — Variations for Guitar and Orchestra.” This piece was inspired by the courtly love tradition of the medieval troubadours, whose songs combined sophisticated word play with simple but elegantly communicative melodies. “For composers the idea of true simplicity — in contrast to chic simple-mindedness — is mistrusted and scorned,” wrote Corigliano. “But the guitar has a natural innocence about it… So the idea of a guitar concerto was, for me, like a nostalgic return to all the feelings I had when I started composing — before the commissions and deadlines and reviews. A time when discovery and optimistic enthusiasm ruled my senses… Troubadours is a lyrical concerto.” Music Played in Today's Program John Corigliano (b. 1938) Troubadours Sharon Isbin, guitar; Saint Paul Chamber Orchestra; Hugh Wolff, cond. Virgin 55083 On This Day Births 1870 - French composer and organist Louis Vierne, in Poitiers; 1930 - Japanese composer Toru Takemitsu, in Tokyo; 1953 - English composer Robert Saxon, in London; Deaths 1834 - French composer François Boieldieu, age 58, in Jarcy; Premieres 1903 - Nielsen: "Helios" Overture, in Copenhagen; 1943 - Stravinsky: "Ode" (in memory of Natalie Koussevitzky), by the Boston Symphony conducted by Serge Koussevitzky; 1960 - Prokofiev: opera "The Story of a Real Man" (posthumously) at the Bolshoi in Moscow; A semi-public performance of this opera was given in Leningrad on Dec. 3, 1948, but the opera was rejected by Soviet authorities for subsequent performances during the composer's lifetime; 1966 - Stravinsky: "Requiem Canticles," in Princeton, with Robert Craft conducting; 1992 - Ligeti: Violin Concerto, in Cologne, by the Ensemble Moderne conducted by Peter Eötvös, and Saschko Gawriloff the soloist; 1993 - Corigliano: "Troubadours (Variations for Guitar and Orchestra)," at the Ordway Music Theater in St. Paul, with the St. Paul Chamber Orchestra conducted by Hugh Wolff, and guitar soloist Sharon Isbin; 1999 - Kernis: "Garden of Light" and Torke: "Four Seasons" (both commissioned by the Disney Company at the urging of its Chief Executive, Michael Eisner), for the Millennium season of the New York Philharmonic, with Kurt Masur conducting the orchestra, vocal soloists, and choirs in both pieces; Others 1739 - Handel completes in London his Concerto Grosso in a, Op. 6, no. 4 (Gregorian date: Oct. 19); 1898 - The first issue of the magazine "Musical America" is published. Links and Resources On John Corigliano On Sharon Isbin

This season we are kicking off our first interview episode with Noa Kageyama! Noa shared with us his journey into performance psychology for musicians, how performance psychology can benefit musicians, and what it looks like to work with him.  Noa Kageyama bio: Performance psychologist Noa Kageyama is on the faculty of The Juilliard School and is a performance coach for the New World Symphony in Miami, FL. A conservatory-trained violinist with degrees from Oberlin and Juilliard before pursuing a Ph.D. in psychology at Indiana University, Noa now specializes in working with performing artists, teaching them how to utilize sport psychology principles and more consistently perform up to their full abilities under pressure. He has conducted workshops at institutions ranging from Northwestern University, New England Conservatory, Peabody, Eastman, Curtis, McGill University, and the U.S. Armed Forces School of Music, to programs such as the Starling-Delay Symposium, The Perlman Music Program, and the National Orchestral Institute, and for organizations like the Music Teachers' National Association and the National Association of Teachers of Singing.  Noa's work has been featured in The Wall Street Journal, NBC News, Musical America, Strings Magazine, Strad, and Lifehacker. He maintains a private coaching practice and online mental skills courses, and authors a performance psychology blog and podcast called The Bulletproof Musician. The Bulletproof Musician  Show Notes: Oberlin Conservatory of Music Juilliard  New World Symphony  Don Greene Deliberate Practice Model Make It Stick by Peter C. Brown  The Inner Game of Tennis by W. Timothy Gallwey  Performance Success by Don Greene 10 Minute Toughness by Jason Selk 

Listen to Lecolion's album “Legacy: Music for Bassoon by African-American Composers.”After over 20 years as a performing bassoonist, 15 years as a music professor, and ten years as an arts administrator, Lecolion Washington has established himself as a leader for the next generation of arts entrepreneurs; and he has been a staunch advocate for the relevance of music as an agent for social change. Lecolion is the Executive Director of Community Music Center of Boston. Before moving to Boston, Lecolion was the Co-Founder/Executive Director of the PRIZM Ensemble in Memphis from 2009-2017, and he was the founder of the PRIZM International Chamber Music Festival. In 2015, he was named one of the Memphis Business Journal's Top 40 Under 40. He was selected as a 2019 Musical America's Top Professional of the Year, honoring Innovators, Independent Thinkers, and Entrepreneurs celebrated as a 2020 Boston HUBWeek “Change Maker,” and he is the 2020 Chamber Music America Conference Planning Committee Chair. He was selected as one of Musical America's 2019 Professionals of the Year, honoring Innovators, Independent Thinkers, and Entrepreneurs celebrated as a 2020 Boston HUBWeek “Change Maker,” and was a 2020 Chamber Music America Conference Planning Committee Chair. Lecolion was a recipient of the Sphinx's Organization's MPower Artist Grant to support a mentorship initiative for young artists and entrepreneurs in 2020-21. Lecolion has performed solo recitals and master classes at colleges and universities worldwide as a bassoonist. He has been a featured solo and chamber musician throughout the U.S., Brazil, South Africa, Canada, and Switzerland. As an orchestral musician, Lecolion has performed as guest principal and/or co-principal bassoon with orchestras such as the Orpheus Chamber Orchestra and the Sphinx Symphony Orchestra. He served on the faculty of the Stellenbosch International Chamber Music Festival in South Africa from 2006-2013. His CD entitled “Legacy: Music for Bassoon by African-American Composers” was released on the Albany Records label.Support the show

Synopsis In 1917, on the day the United States declared war in Germany, the American song-writer and former vaudeville showman George M. Cohan composed a song titled “Over There,” based on the first three notes of a military bugle-call. On today's date the following year, the great Italian tenor Enrico Caruso performed Cohan's song for an audience of 10,000 at an open-air concert in Ocean Grove, N.J. Musical America reported (quote): “It was a great opportunity for the rocking-chair brigade, which had never in its whole life witnessed such an outpouring of humans. And the automobiles! The Ocean Grove police department had BOTH its hands busy directing the traffic, extricating Fords from Rolls-Royces and preventing them from parking on the pathways.” Caruso's 1918 rendition of “Over There,” despite his heavily Italian-accented English, was the smash hit. “The audience got up on its 20,000 feet and yelled with delight,” reported Musical America, which also noted that Cohan had completed a brand new patriotic song addressed to the troops overseas, ending with the lines, “When you come back, and you will come back, There's a whole world waiting for you.” In 1936, President Franklin Delano Roosevelt presented Cohan with the Congressional Gold Medal for his contributions to World War I morale, in particular for his songs "You're a Grand Old Flag” and "Over There." Music Played in Today's Program George M. Cohan (1878-1942) (arr. Bennett) – Over There (Cincinnati Pops; Erich Kunzel, cond.) Telarc 80175 George M. Cohan (1878-1942) – Over There (Enrico Caruso, tenor) (recorded July 11, 1918) RCA/BMG 60495

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

Grammy-winning guitarist (and Musical America's 2020 Instrumentalist of the Year) Sharon Isbin joins us to preview her new album Souvenirs of Spain and Italy. A collaboration with the Pacifica Quartet, the disc uncovers delightful surprises and recasts old favorites in a new light.

Musical America's 2018 "Instrumentalist of the Year," Augustin Hadelich is easily one of the premier violinists of our time. In this conversation with WGTE's Brad Cresswell, Hadelich previews his new album Bohemian Tales (Warner Classics), which includes the rousing concerto by Dvorák (a work he performed with the Toledo Symphony in 2017). Also on the disc: works for piano (Charles Owen) and violin from two other Czech masters, Leos Janácek and Josef Suk. Augustin Hadelich's YouTube channel: https://www.youtube.com/c/AugustinHadelichViolin Photo Credit: Augustin Hadelich by Paul Glickman

In conversation with Peter Dobrin, classical music critic and culture writer, The Philadelphia Inquirer One of classical music's most celebrated pianists, Jeremy Denk has performed with ensembles such as the National Symphony Orchestra, the New York Philharmonic, and the Los Angeles Philharmonic, and he has frequently appeared at Carnegie Hall. His recordings have been number one on Billboard's Classical Chart and have been selected in best-of-the-year lists for several media outlets, including The Washington Post, BBC, The New Yorker, and NPR. A member of the Academy of Arts and Sciences, Denk is the recipient of a MacArthur Fellowship, Musical America's Instrumentalist of the Year Award, and the Avery Fisher Prize. His writing on music has been published in The New York Times Book Review, The Guardian, and The New Republic, among other periodicals. In Every Good Boy Does Fine, Denk explores the composers, teachers, and professional struggles that have most influenced not only his career, but also his larger concept of what music means to us.  (recorded 3/28/2022)

Have you ever wondered,

John Zion has served as the Managing Director of MKI Artists since taking ownership of the firm in 2015. He oversees strategic planning and operations, and directs the careers of a prestigious roster of international artists. He serves on the board of Chamber Music America and has presented on arts-related issues at the Manhattan School of Music, the University at Buffalo, APAP|NYC, Chamber Music America's National Conference, and the Avaloch Farm Music Institute. In 2012, he was named one of the “Rising Stars in the Performing Arts” by Musical America. John studied at Lawrence University and the Hartt School of Music; before coming to MKI Artists, he performed regularly as a violinist with orchestras throughout New England, taught public-school music, and toured Vietnam with his string quartet. In his free time, John enjoys cooking, reading, and traveling. mkiartists.com  Our Concerts: ourconcerts.live https://www.instagram.com/ourconcerts.live/ Editing software: https://basecamp.com/ Find your host, Grace Lamb, on social media: Instagram: https://www.instagram.com/gracesviolin/ Youtube: https://www.youtube.com/c/gracesviolin Website: https://gracecolbylamb.com/ If you have any questions or topics you would like covered on the show please contact me at b4thestage@gmail.com https://www.facebook.com/b4thestage/ https://www.instagram.com/b4thestage/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/b4thestage/message

Synopsis When TIME magazine chose Albert Einstein as their Millennium “Person of the Century” in 1999, their profile catalogued his achievements in physics and philosophy but made no mention of Einstein's interest in music – or music's interest in him.  That's where we come in. In addition to being a brilliant thinker, Einstein was a talented amateur violinist.  On this day in 1934, he even performed the second violin part of Bach's Double Concerto at a private recital in New York to raise money for scientists who had suffered at the hands of Hitler. So, was Einstein any good?  After that concert, the “Musical America” critic wrote, “The press had been asked not to criticize Professor Einstein's playing. Unofficially, however, they confessed to being impressed. He played, according to their report, as all great artists play, with ‘technique,' ‘expression' and a complete absorption in his music.” And Einstein himself has inspired more than a few musical works. The 1976 opera “Einstein on the Beach” by Philip Glass, for example, features a solo violinist dressed as Einstein who wanders in and out of scenes. Music from Glass's opera was quoted as an in-joke during a TV commercial showing Einstein trying to choose between Coke and Pepsi. Music Played in Today's Program Philip Glass (b. 1937) — Cadenza, from Einstein on the Beach (Philip Glass Ensemble; Michael Riesman, cond.) Nonesuch 79323

Synopsis On this day in 1947, Pierre Monteux led the San Francisco Symphony in the premiere performance of the Second Symphony by American composer Roger Sessions. Prior to this work, Sessions had written in a more broadly accessible style, but this new symphony proved more dissonant and challenging. At the time, Sessions cautiously stated: “Tonality is complex and even problematical nowadays.” For their part, the San Francisco audiences found the new work both complex AND problematical. There was hardly any applause. Musical America's critic wrote that Sessions (quote): “seemed to express the epitome of all that is worst in the life and thinking of today.” Ouch!  Today, the Sessions Second doesn't sound ALL that challenging, but performances of this or any of his symphonies remain rare events. While Sessions' symphony was being panned in San Francisco, a new stage work by the expatriate German composer Kurt Weill opened to rave reviews in New York. Kurt Weill's “Street Scene” opened on Broadway on this same date in 1947. “[It's] the best contemporary musical production to grace any American stage,” enthused the “Musical America” critics. “We cannot imagine that an audience from any walk of life would not enjoy it. It has everything.” Music Played in Today's Program Roger Sessions (1896-1985) — Symphony No. 2 (San Francisco Symphony; Herbert Blomstedt, cond.) London 443 376 Kurt Weill (1900-1950) — Act 1 Intro, from Street Scene (Scottish Opera Orchestra; John Mauceri, cond.) London 433 371

Joe chats with performance psychologist Noa Kageyama about his musical journey starting with training with Dr. Shinichi Suzuki as a young musician to learning how to practice as a teenager and getting his undergraduate degree from Juilliard. He shares what studying with an olympic sports psychologist taught him about navigating performance anxiety and the insight that prompted him to learn the secrets of peak performance while getting his Doctorate in Psychology. Ultimately, whether standing on a stage at Lincoln Center, or in a classroom in front of the next generation of world class musicians, Noa shares insights about effective practice, the building blocks of confidence and so much more to inspire us on our journey as lifelong learners. Who is Noa? Performance psychologist Noa Kageyama is on the faculty of The Juilliard School and is a performance coach for the New World Symphony in Miami, FL. A conservatory-trained violinist with degrees from Oberlin and Juilliard before pursuing a Ph.D. in psychology at Indiana University, Noa now specializes in working with performing artists, teaching them how to utilize sport psychology principles and more consistently perform up to their full abilities under pressure. He has conducted workshops at institutions ranging from Northwestern University, New England Conservatory, Peabody, Eastman, Curtis, McGill University, and the U.S. Armed Forces School of Music, to programs such as the Starling-Delay Symposium, The Perlman Music Program, and the National Orchestral Institute, and for organizations like the Music Teachers' National Association and the National Association of Teachers of Singing. Noa's work has been featured in The Wall Street Journal, NBC News, Musical America, Strings Magazine, Strad, and Lifehacker. He maintains a private coaching practice and online mental skills courses, and authors a performance psychology blog and podcast called The Bulletproof Musician. website: bulletproofmusician.com facebook: facebook.com/bulletproofmusician instagram: @bulletproofmusician Upcoming projects: I've begun offering live classes for music professionals and educators as well as for amateurs and lifelong learners. More info at: bulletproofmusician.com/courses Noa's (current) favorite quote: E.E. Cummings — 'It takes courage to grow up and become who you really are.' Notes: Anders Ericsson on Larry King: on the science of expertise https://www.youtube.com/watch?v=7gn3f8sEb8Y Dr. Suzuki https://suzukiassociation.org/about/suzuki-method/shinichi-suzuki/ Julliard https://www.juilliard.edu/ Sports Psychology https://www.verywellmind.com/what-is-sports-psychology-2794906 Daily Writing Practice (don't break the chain/atomic habits) https://jamesclear.com/stop-procrastinating-seinfeld-strategy Sports Psychology for Dummies https://www.goodreads.com/book/show/8318638-sports-psychology-for-dummies Grit-Angela Duckworth https://www.ted.com/talks/angela_lee_duckworth_grit_the_power_of_passion_and_perseverance?language=en

Synopsis On today's date in 1959, the Swiss-born American composer Ernest Bloch died in Portland, Oregon, just short of his 79th birthday. Bloch came to America in 1916, when he was 36 years old. His music made an immediate impression, and an all-Bloch orchestral concert in New York presented the premiere of his most famous work, a rhapsody for cello and orchestra entitled “Schelomo,” after the Hebrew name for King Solomon. The success of that concert led to a contract with the publisher G. Schirmer, who published Bloch's compositions with what was to become a trademark logo – the six-pointed Star of David with the initials E.B. in the center, an imprimatur that firmly established for Bloch a Jewish identity in the public mind.In 1924, Bloch became a naturalized American citizen, and in 1928, he composed an orchestral piece entitled “America,” selected as the winner of a Musical America competition for the best symphonic work glorifying American ideals. In the 1930s, Bloch returned to Switzerland for a time, but, with the rise of anti-Semitism in Germany and Italy, returned to America and settled in Agate Beach, Oregon where he continued to compose, and a new Oregon coast hobby: collecting and polishing agates. Music Played in Today's Program Ernest Bloch (1880 – 1959): America (Seattle Symphony; Gerard Schwarz, cond.) Delos 3135

Synopsis On today's date in 1959, the Swiss-born American composer Ernest Bloch died in Portland, Oregon, just short of his 79th birthday. Bloch came to America in 1916, when he was 36 years old. His music made an immediate impression, and an all-Bloch orchestral concert in New York presented the premiere of his most famous work, a rhapsody for cello and orchestra entitled “Schelomo,” after the Hebrew name for King Solomon. The success of that concert led to a contract with the publisher G. Schirmer, who published Bloch's compositions with what was to become a trademark logo – the six-pointed Star of David with the initials E.B. in the center, an imprimatur that firmly established for Bloch a Jewish identity in the public mind.In 1924, Bloch became a naturalized American citizen, and in 1928, he composed an orchestral piece entitled “America,” selected as the winner of a Musical America competition for the best symphonic work glorifying American ideals. In the 1930s, Bloch returned to Switzerland for a time, but, with the rise of anti-Semitism in Germany and Italy, returned to America and settled in Agate Beach, Oregon where he continued to compose, and a new Oregon coast hobby: collecting and polishing agates. Music Played in Today's Program Ernest Bloch (1880 – 1959): America (Seattle Symphony; Gerard Schwarz, cond.) Delos 3135

Zig At The Gig with Bob Lord Bob Lord is a producer, composer, and bassist based in Portsmouth NH USA. In 2015 Bob was named one of Musical America's “30 Professionals of the Year: Key Influencers,” and as CEO of PARMA Recordings his work has been nominated for three GRAMMY Awards in 2019 and 2020. PLAYLAND ARCADE, Lord's debut solo album out on April 27, 2021, is a convergence point of the disparate elements from what clearly is a remarkably diverse career. Hard-charging prog-rock blowouts, atmospheric orchestral potboilers, gauzy jazz improvisations, retro instrumental pop, straight up foley – this is a producer's album through and through, and it reflects Lord's own artistic experiences in a kaleidoscopic fashion. The musicianship is as accomplished as it is audacious. Highlighted by Lord's molten, overdriven 8-string bass, the album features drummer Jamie Perkins (from the Billboard chart-topping group The Pretty Reckless) and keyboardist Duncan Watt (composer for “League of Legends”) with cameos by Ed Jurdi (Band of Heathens, Trigger Hippy), Andy Happel (Thanks To Gravity), and the Moravian Philharmonic Orchestra, with percussion recorded in Havana, Cuba. Lord's resume is a particularly unusual one bolstered by some truly singular credits: with Pete Townshend of The Who, Bob co-produced the double album METHOD MUSIC by Lawrence Ball, released in 2012 on Navona Records and hailed by Pitchfork for its “wondrous, rippling, and startlingly tactile music.” He is also the music producer of WILD SYMPHONY, an orchestral suite composed by the #1 NY Times bestselling author Dan Brown (“The Da Vinci Code”) which accompanies the illustrated children's book of the same title released in 2020. The book is published in more than 40 countries worldwide. In 1996 Bob co-founded the award-winning group Dreadnaught, described by Relix Magazine as “the country's best 'pure' prog-rock combo.” The band has performed with artists such as John Entwistle (The Who), Tony Levin (Peter Gabriel, King Crimson), and NRBQ, and their 25th anniversary album NORTHERN BURNER is set to drop in Summer 2021. Bob's Info https://www.boblordmusic.com/news https://twitter.com/boblordmusic https://www.instagram.com/boblordmusic/ https://boblordmusic.bandcamp.com/

Named as one of Musical America’s Top 30 Innovators in Classical Music, Josh Shaw is the Artistic Director and CEO of Pacific Opera Project (POP), which has been described as "L.A.'s most exciting new opera company." Over the past nine seasons, Mr. Shaw has directed over 35 productions at POP, including The Rake’s Progress, Ariadne auf Naxos, La Calisto, Tosca: A Moving Production; and La Boheme: AKA “The Hipsters”.  Mr. Shaw’s reimagining of Die Entführung aus dem Serail as an episode of Star Trek has gained national attention and has been produced by eight companies selling out houses with record-breaking numbers.  Josh and I talk about innovation in opera, running an opera company during a pandemic, what he looks for in singers during auditions, and much more. Please welcome Josh Shaw.

MVW joins The Super Facts Show to discuss working with Lex Luger, what it takes to be a composer, his favorite place to hear his music performed, how classical and rap work together, his eclectic musical palette, and a lot more. Watch the episode here Stream "Survey Says" here Follow MVW on IG New York-based composer Michael Vincent Waller - under a new moniker MVW - recently released “Survey Says,” the lead single from his Classic$ EP. Singer/rapper Shanique Marie of Jamaican collective Equiknoxx celebrates unity and self-love on the vocals while co-producer Lex Luger flips Michael Vincent Waller's original composition “Love 1” - from his album Moments - into a hypnotic and mesmerizing sample. As a composer, Michael Vincent Waller has released three full-length albums. Pitchfork raves that “every note and gesture on Moments seems to be deeply felt and philosophically weighed before a hand touches a piano key or lifts a mallet.” Michael has collaborated with musicians and producers across genres such as Jlin, R. Andrew Lee, Stephane Ginsburg, and William Winant. Additionally, he's performed at Carnegie Hall, Roulette, Palais de Tokyo Museum and was named “New Artist Of The Month” by Musical America.

On today’s date in 1935, the Kolisch Quartet gave the premiere performance of Bela Bartok’s String Quartet No. 5 in the auditorium of the Library of Congress in Washington, D.C. That performance was part of a chamber music festival sponsored by Elizabeth Sprague Coolidge, one of the 20th century’s great musical patrons. In 1925, she created a Foundation to enable the Library of Congress to present concerts and commission new works in the nation’s capital Among the major American works commissioned by the Coolidge Foundation were Aaron Copland’s “Appalachian Spring” and George Crumb’s “Ancient Voices of Children.” Coolidge herself was an accomplished musician and amateur composer. One of her chief advisors was the Dutch cellist and conductor Hans Kindler, who once contacted Sibelius with a Coolidge commission for a new cello concerto, which, sadly, never materialized. It was Kindler who suggested commissioning a string quartet from Bartok, this time with success. After its premiere, the critic for The Musical Courier wrote: “Mr. Bartok’s [new quartet] is impressionistic and well-wrought.” The critic for Musical America was less impressed: “It honestly treats folk melody with a healthy vigor . . . [but] there is … no subtle play of light and shade.”

On today’s date in 1946, composer Lou Harrison conducted the premiere performance of an orchestral work written some 45 years earlier. It was the Third Symphony of Charles Ives, composed between 1901 and 1904. Early in 1911, Ives had sent the score for his symphony for consideration to the major New York orchestras of his day, Walter Damrosch’s New York Symphony and Gustav Mahler’s New York Philharmonic. Damrosch never responded, but it seems Mahler took notice. In 1911, the gravely ill Mahler took Ives’ score with him when he returned to Vienna for treatment, apparently with the intention of performing it. Sadly, Mahler died before that could happen, and Ives’ Third would have to wait another 35 years for its premiere. Lou Harrison’s 1946 performance was given by the Little Symphony of New York at Carnegie Hall’s smaller chamber music room. The critic for Musical America wrote: “Ives’ Third is an American masterpiece . . . as unmistakably a part of our land as Huckleberry Finn or Moby Dick.” Ives’s Symphony won the 1946 Pulitzer Prize for Music. When notified of the award, the crusty Mr. Ives, then elderly, ill, and living in retirement, responded: “Prizes are for boys—I’m grown up.”

“We are so lucky in music that we can look back to someone like Beethoven or Monteverdi or Josquin des Prez and understand through their music many different qualities of how people imagined themselves to be, how they imagined life to be. Despite the fact that we’re having this lovely conversation, the acronym of my life has become AFWAP— 'as few words as possible.' That is my new ideal that I hope to realize a bit more fully until…I’m outta here." Michael Tilson Thomas (MTT) is here, one of the most celebrated American musicians of the past half century. In this wide-ranging look into the thinking of this fascinating figure, MTT and Daniel discuss everything from the very fundamentals of music -- "sad" chords and "happy" chords, how harmony is like flavor such as when one adds one drop of sesame oil to a soup -- to MTT's work with such legendary figures as Jascha Heifetz, Sarah Vaughan, Peggy Lee, and Gregor Piatigorsky. Far from being a standard interview, here MTT and Daniel take a deep dive into Mozart, the ever-elusive Wunderkind that can be so difficult for players to grasp. MTT also expresses his love for working with young, promising musicians, and how after all these years in music, patterns, in all sorts of ways, become more evident. As he says at the end, "music keeps your spirit alive in a very wonderful way." With MTT seated at his keyboard, we are treated to unexpected musical examples as he illustrates the power of a turn of phrase. Support Talking Beats with Daniel Lelchuk on Patreon. You will contribute to continued presentation of substantive interviews with the world's most compelling people. We believe that providing a platform for individual expression, free thought, and a diverse array of views is more important now than ever. Conductor, composer, and educator Michael Tilson Thomas is Music Director Laureate of the San Francisco Symphony, Co-Founder and Artistic Director of the New World Symphony, and Conductor Laureate of the London Symphony Orchestra. In June 2020, he completed a remarkable 25-year tenure as Music Director of the San Francisco Symphony, becoming the Orchestra’s first Music Director Laureate.His television credits include the New York Philharmonic Young People’s Concerts and Keeping Score on PBS-TV, which he and the San Francisco Symphony launched in 2004. His compositions include From the Diary of Anne Frank and Meditations on Rilke, both recorded with the SF Symphony and released on SFS Media in June 2020; Shówa/Shoáh; settings of poems by Emily Dickinson and Walt Whitman; Island Music; Notturno; and Four Preludes on Playthings of the Wind. Tilson Thomas is a 2019 recipient of the Kennedy Center Honors, was Musical America’s Musician and Conductor of the Year, and was inducted into the Gramophone Hall of Fame. He has been elected to the American Academy of Arts and Sciences, the American Academy of Arts and Letters, was inducted in the California Hall of Fame, and was awarded the National Medal of Arts by President Obama. Tilson Thomas was named an Officier in the French Ordre des Arts et des Lettres in June 2020, recognizing his continued contributions to global culture and the vast impact of his 25 years as Music Director of the San Francisco Symphony. For more information, visit michaeltilsonthomas.com.

This month we chatted with the incredible Joseph Conyers. This episode left us so inspired and empowered, and we hope listening will do that same for you. We talked about everything from the fantastic non-profit Project 440, the limitless possibilities and impact that music can have on us and our communities, bodybuilding, veganism, and how to discover and use our individual gifts for good. Bio: Joseph H. Conyers was appointed assistant principal bassist of The Philadelphia Orchestra in 2010. Joseph has performed with numerous orchestras as soloist across the USA and is an artist of the Chamber Music Society of Lincoln Center. Awards include the Sphinx Organization's Medal of Excellence (2019) – the organization's most prestigious recognition; the C. Hartman Kuhn award (2018) - the highest honor bestowed upon a musician of the Philadelphia Orchestra; and Musical America's 30 Top Professionals – Innovators, Independent Thinkers, and Entrepreneurs (2018). In 2015, Joseph was the inaugural recipient of the 2015 Young Alumni Award from his alma mater, the Curtis Institute of Music. Joseph is the executive director of Project 440 (project440.org) – an organization that helps young people use their interest in music to forge new pathways for themselves and ignite change in their communities. Additionally, he is the music director of Philadelphia's All City Orchestra which showcases the top high school musicians of the School District of Philadelphia. He was named the Artistic Advisor & Artist-in-Residence for the Boston University Tanglewood Institute in 2020. Joseph serves on the double bass faculty of both The Juilliard School and Temple University's Boyer College of Music. Show Notes: Organizations: Project 440 Generation Music  People: Joseph Conyers Joshua Bell Books: Nonprofit Kit For Dummies The complete poems of Emily Dickinson  Good to great- Jim Collins

Will the non-profit and social impact sectors ever be diverse? How do you recruit diverse volunteers? How do you retain diverse staff? In this episode of Movement Maker: The Podcast, Terri Broussard Williams sits down with thought leaders from the social impact sector to dig into diversity, equity, and inclusive trends. They break down why you should do this work and how you can make it happen to better your community. About The Host: Terri Broussard Williams believes that leaders turn moments into movements. She also believes that anyone can be a great leader. Terri explains that movements can be as big as passing a law, building a church, or starting a nonprofit. They can also be as small as giving to someone in need, showing kindness, or helping students at a school get gym equipment. This podcast is here to help you with the HOW and WHY people build movements. Terri breaks it down each time using the #FirestarterFormula which is: find your cause, build a community to help, communicate your vision, and work to see change. In each episode of this podcast, we’ll take a look at one of the four pillars of the #MovementMakerTribe including philanthropy, policy change, movement-building, and the movement from within. This edition of Movement Maker: The Podcast is a special fireside chat with firestarters, where Terri introduces you to the changemakers in “Find Your Fire.”  “Find Your Fire,” is Terri’s first book. It is a #1 Amazon New Release and Best Seller. Cosmopolitan Magazine list it as the #6 non-fiction book of 2020. Get your own copy of “Find Your Fire” here! Episode Notes: Moderator/Host: Terri Broussard Williams, Founder, Movement Maker Tribe + Social Impact Strategist, Lobbyist Very important guests: Annie Burridge was named General Director & CEO of Austin Opera in October 2016 following a nine-year tenure at Opera Philadelphia, where she most recently served as Managing Director. Since joining Austin Opera she led the development of a new strategic plan; launched a new artistic initiative – Opera ATX – bringing groundbreaking artists to unexpected and unique venues throughout Austin; secured three national innovation grants totaling $600,000; established numerous community partnerships including the first formalized partnership with the Butler School of Music; and increased the company’s endowment funds by 100%. At Opera Philadelphia Annie was responsible for the implementation of the company’s business plan and leadership of the development, marketing, and communications departments. She led the company’s rebranding campaign and the most comprehensive consumer study ever conducted in the opera field, resulting in the company’s new programming model and the creation of the O17 festival. During her tenure as Opera Philadelphia’s chief development officer, contributed income increased 183%.  Annie holds a Graduate Certificate in Nonprofit Administration from the University of Pennsylvania; a M.M. in Voice Performance and a M.M. in Opera Studies from the New England Conservatory; and graduated the valedictorian of the College of Arts and Architecture at Penn State University, where she earned a B.M. in Voice Performance with a Minor in Business Administration. Annie is Vice-Chair of the OPERA America Board of Trustees and an alumnus of Wharton’s Women’s Executive Leadership program and OPERA America’s Leadership Intensive program. In 2017 she was selected as an Emerging Nonprofit Leadership Fellow at the Aspen Institute and was named a “2017 Mover and Shaper” by Musical America. In 2018 she won the Penn State University College of Arts and Architecture Alumni Award. Kendall Joyner is the Vice President of Professional Development at the Association of Fundraising Professionals, the professional association of more than 30,000 individuals and organizations that generate philanthropic support for a wide variety of charitable institutions.  As Vice President, Kendall oversees the education offerings including webinars, courses, e-courses and conferences and is responsible for crafting the organization’s education strategy. Kendall has more than 20 years of experience working in charitable sector organizations on a local and national level in the areas of grantmaking, youth development, systems building, ethics and accountability, governance, capacity building and leadership development.  Prior to joining the Association of Fundraising Professionals, Kendall served in senior positions at Independent Sector, HandsOn Greater DC Cares, Great Start DC and the DC Children and Youth Investment Trust Corporation.  He has also served on the Boards of Directors of several nonprofit organizations including the Black Philanthropic Alliance, the Columbia Heights Youth Club, the Arts and Technology Academy Public Charter School, Damien Ministries, Inc. and the Young Nonprofit Professionals Network National.  Kendall has a Bachelor of Arts degree in Government from Harvard University and a Graduate Certificate in Leadership Development from Johns Hopkins University.  Kendall resides in Washington, DC. Cherian Koshy, Certified Fundraising Executive (CFRE) & AFP Master Trainer is an internationally recognized expert in philanthropy and the nonprofit sector. He works with hundreds of nonprofits each year to help them solve their most intractable problems. His industry-leading thought leadership has been featured in Advancing Philanthropy, The Chronicle of Philanthropy, the Institute of Fundraising (UK), and dozens of blogs, webinars, and podcasts. With 20+ years of experience, he is one of the most sought-after trainers and speakers in the nonprofit sector. As a coach and consultant, he helps struggling nonprofit leaders find strategies that give them back time and develop sustainable revenue. Shelley Danner is a senior leader with business and consulting experience infused with a passion for impact. In 2012, she pivoted her career into the social sector with a focus on talent and leadership. Shelley is co-founder and Program Director of nonprofit Challenge Detroit and on faculty as an adjunct professor in the Integrated Design MFA at the College for Creative Studies in Detroit. She also sits on the advisory board for the University of Detroit Mercy Masters of Community Development Program and the founding advisory committee of the Detroit Women's Leadership Network. Shelley is a 2019 DYP Vanguard Awardee and was recognized by Crain's Detroit Business as one of the 2018 Notable Women in Nonprofits. Shelley holds a Bachelor of Science degree in business from Miami University in Ohio and a graduate certificate in leadership coaching from Georgetown University. Shelley also has expertise in design thinking and strategic planning and has co-created and led over 150 community project collaborations in partnership with nonprofits across Detroit's neighborhoods. Born and raised in Michigan, she loves the arts, outdoor adventures, cities, traveling, and asking questions. Get your own copy of “Find Your Fire” here! After you listen, be sure to check out: Want your copy of “Find Your Fire” signed by the author? Click Here. The #MovementMakerTribe Facebook insider group, join us for all things #MovementMaker inspired. Follow the #MovementMakerTribe on Instagram. Get your #MovementMaker swag here! Sign up for some “Friday Fuel” - a newsletter providing weekly love letters meant to inspire the change-maker in all of us. Book Terri to speak. Shoot an email to Annie, Cherian, Kendall, or Shelley Subscribe to Movement Maker: The Podcast wherever you listen to podcasts. If you enjoyed the show, please leave us a rating or review!

Dig into a conversation between Gabriel Cabezas,  Gabriella Smith, and Nadia Sirota for their new collaboration: Lost CoastAnd, register here for a free online event:Music preview, video premiere by Darian Donovan Thomas and q&aIn partnership with Bedroom CommunityWith support from Anne Carayon and Dan PennieTuesday, February 2 at 7:30pm CST Composer Gabriella Smith, whose music has been described as “high-voltage and wildly imaginative” (Philadelphia Inquirer) and “the coolest, most exciting, most inventive new voice I've heard in ages” (Musical America) comes together with Sphinx Medal of Excellence recipient cellist Gabriel Cabezas on Lost Coast, a forthcoming album that addresses both the natural beauty of the planet and humanity's hand at destroying it. Recorded in Iceland's famed Greenhouse Studios during the extremities of the country's far-northern daylight cycle, Lost Coast sees Cabezas's virtuosic cello playing layered acoustically with Smith's arresting vocals to create an addictive and unexpected palette, deployed with Smith's trademark compositional ingenuity.

On today’s date in 1918, the Metropolitan Opera in New York offered the world premiere performance of not one, not two, but three brand-new operas by Giacomo Puccini. The three one-act operas are collectively billed as “Il Trittico” or “The Triptych.” In order of their presentation at the Met, the triptych consisted of “Il Tabarro” (or “The Cloak”), a rather sordid tale of passion and murder, followed by a sentimental tear-jerker titled “Suor Angelica” (or “Sister Angelica,” after its Romantic heroine), and, for a comic finale, “Gianni Schicchi,” titled after the resourceful hero of its comic plot. Musical America reported a warm welcome for the three new Puccini operas, but did find “Il Tabarro” “in the main, black and brutal.” In that journal’s opinion, the hit of the evening was the comic opera, “Gianni Schicci.” In particular, one brief soprano aria from that opera so pleased the first night audience that it had to be encored. Over time, this little aria, “O mio babbino caro,” has become one of Puccini’s “Greatest Hits,” and has even cropped up in the soundtracks of a movies like “A Room With a View” and “G.I. Jane.”

On today’s date in 1918, the Metropolitan Opera in New York offered the world premiere performance of not one, not two, but three brand-new operas by Giacomo Puccini. The three one-act operas are collectively billed as “Il Trittico” or “The Triptych.” In order of their presentation at the Met, the triptych consisted of “Il Tabarro” (or “The Cloak”), a rather sordid tale of passion and murder, followed by a sentimental tear-jerker titled “Suor Angelica” (or “Sister Angelica,” after its Romantic heroine), and, for a comic finale, “Gianni Schicchi,” titled after the resourceful hero of its comic plot. Musical America reported a warm welcome for the three new Puccini operas, but did find “Il Tabarro” “in the main, black and brutal.” In that journal’s opinion, the hit of the evening was the comic opera, “Gianni Schicci.” In particular, one brief soprano aria from that opera so pleased the first night audience that it had to be encored. Over time, this little aria, “O mio babbino caro,” has become one of Puccini’s “Greatest Hits,” and has even cropped up in the soundtracks of a movies like “A Room With a View” and “G.I. Jane.”

After a life changing performance experience watching the Dallas Street Choir sing at national ACDA conference a couple years ago, I have the honor of interviewing Dr. Jonathan Palant, the conductor. Listen to hear his perspective on inequality in music and making a community space for singing. Jonathan Palant is Associate Professor and Director of Choral Activities at the University of Texas at Dallas and is founder and conductor of both Credo, a 140-member community choir, and the Dallas Street Choir, a musical outlet for those experiencing homelessness and disadvantage. In addition, Dr. Palant is Director of Music at Kessler Park United Methodist Church and is employed by the Dallas Independent School District to mentor middle and high school vocal music teachers. In June 2016, Dr. Palant made his Carnegie Hall conducting debut performing with renowned artists Frederica von Stade, Harolyn Blackwell, Jake Heggie, and Broadway composer Stephen Schwartz.From 2007-2011, he served as Artistic Director of Dallas’ Turtle Creek Chorale. Prior to that, Palant held collegiate teaching positions at Western Kentucky University and Madonna University, Livonia, Michigan. He taught secondary choral music at University School, an all-boys independent school in Cleveland, Ohio, and San Pasqual High School in Escondido, California.Dr. Palant currently serves as president of the National Alliance for Music In Vulnerable Communities, Community Choir Repertoire and Standards Chair for the Southwest American Choral Directors Association (SWACDA), and sits on the board of directors of the Intercollegiate Men’s Choruses. He has also served on the state board of the Michigan chapter of the American Choral Directors Association and Youth First Texas where he was founder and conductor of Dallas PUMP!, a choir serving at-risk youth. In late 2017, the Dallas Morning News named Palant one of nine “Texan of the Year” finalists, and in 2016, Musical America named him one of their “Innovators of the Year” for establishing the Dallas Street Choir. Both Palant’s book, Brothers, Sing On! Conducting the Tenor-Bass Choir, and his Brothers, Sing On! Choral Series are published by the Hal Leonard Corporation.Dr. Palant holds degrees from Michigan State University, Temple University and the University of Michigan.Find more about Dr. Palant and the Dallas Street choir here: jonathanpalant.com DallasStreetChoir.orgCredoChoir.orgOr connect with them on Facebook: https://www.facebook.com/dallasstreetchoirChoir Baton Host: Beth Philemon | Choir Baton Podcast Producer: Maggie HemedingerFor more information on Choir Baton please visit choirbaton.com and to follow us on Instagram @choirbaton @bethphilemon Music by: Scott HolmesTo join the Choir Baton Teaching Membership waiting list or for more information, go here.To receive the weekly Choir Baton Weekly Letter, sign-up here.

Afa Dworkin is passionate about promoting diversity in classical music and does so as President and Artistic Director of The Sphinx Organization. It supports a national roster of distinguished musicians of color and reaches more than 2 million people worldwide. Its network has grown to more than 60 symphony orchestras. An accomplished violinist, Afa is a recipient of Kennedy Center's Human Spirit Award and was named one of Musical America's Top 30 Influencers. We're excited for you to meet and get to know this talented, committed musical mover and shaker!

Jennifer Williams interviews countertenor, curator and interdisciplinarian Anthony Roth Costanzo. In addition to appearing with many of the world’s leading houses, including the Metropolitan Opera, Lyric Opera of Chicago, Los Angeles Opera, and Houston Grand Opera, he is also a producer and curator, creating shows for National Sawdust, Opera Philadelphia, Princeton University, and WQXR. His debut album, ARC, on Decca Gold was nominated for a 2019 GRAMMY Award, and he is Musical America’s 2019 vocalist of the year. We discuss a unique dimension of his experience starring in Philip Glass’s Akhnaten; his curatorial vision behind his operatic installation, Glass Handel; and his next ambitious venture. Interview only. Full episode available on Anchor. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Named one of the top 30 musicians worldwide by Musical America, conductor Diane Wittry joins us on this episode to discuss David Diamond, Gian Carlo Menotti, and Lowell Lieberman.Support this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

On this episode of the Jason Cavness Experience I talk to Quinton Morris – Violinist, Educator, Entrepreneur and Founder of Key to Change cavnessHR website: https://www.cavnessHR.com Jason's email: jasoncavness@cavnessHR.com @cavnessHR  across social media @jasoncavnessHR across social media We talk about the following Key to Change Attending a HBCU Why is it important to expose young people to the arts Why is it important for him to give back. Quinton's Bio Dr. Quinton Morris enjoys a multifaceted career as concert violinist, educator, entrepreneur and filmmaker. He is the founder of Key to Change, a nonprofit with the mission of inspiring underserved youth and students of color through world-class music instruction and supporting their development as self-aware leaders. Key to Change operates two violin and viola studios in South King County, Washington which serve middle and high school students who may not otherwise have access to classical music instruction. Key to Change was born out of Dr. Morris's BREAKTHROUGH World Tour, which paired recitals and concerto performances with lectures, master classes and educational outreach in over 25 cities across five continents. The tour also featured Dr. Morris's short film The BREAKTHROUGH, which premiered at the Seattle Art Museum and the Louvre Museum in Paris, among other distinguished venues worldwide. He directed and starred in the film, which tells a modernized story of the Chevalier de Saint-Georges: a violinist of African origin who, against all odds, rose to become one of the most prolific and forgotten figures of the 18th century. Dr. Morris received top prizes at the European Independent Film Awards and New York Film Awards; and was recognized as one of Musical America's Top 30 Movers & Shapers and the Puget Sound Business Journal's 40 Under 40. He is also the recipient of the Governor's Arts Award and the Seattle Mayor's Arts Award. Additional career highlights include concerto appearances with the Seattle Symphony, three consecutive years of sold-out recitals at Carnegie Hall, eleven years as Artistic Director of The Young Eight String Octet and a TEDxSeattle talk on “The Age of the Artist Entrepreneur.” He has also presented master classes, clinics and workshops around the world at the University of Paris - Dauphine School of Business, American String Teachers Association National Conference (USA), Monash University (Australia), Dong-eui University (Korea), National Taiwan Normal University (Taiwan), Tumaini University Makumira (Tanzania), among many others. Dr. Morris is a Renton native and began his studies at Xavier University of Louisiana, where he studied pre-law and music. He earned his Doctor of Musical Arts degree from the University of Texas at Austin. He also holds a Bachelor of Music degree from The North Carolina School of the Arts and Master of Music degree from the Boston Conservatory. He joined the Seattle University faculty in 2007 and is the Director of Chamber and Instrumental Music and an Associate Professor of Violin and Chamber Music. He is the first tenured music professor at Seattle University in over 35 years and the second living African-American violinist in United States history to receive such a distinction. He is currently pursuing a professional certificate in business through an online program at Harvard Business School. Quinton's Social Media Quinton's LinkedIn: https://www.linkedin.com/in/quinton-morris-8b8a21a/ Quinton's FB: https://www.facebook.com/qimorris Quinton's Twitter: https://twitter.com/QuintonIMorris Quinton's Instagram: https://www.instagram.com/keytochange/?hl=en Quinton's Advice I would just say to your listeners and followers that we're in a great moment in our country and in the world, to create something that could be a value to lots of different people. I would say that I would encourage people not to give up, keep going and to persevere through these hard times. They are definitely challenging and, and tough. But this is something that we all can overcome and we can all be better for it. See acast.com/privacy for privacy and opt-out information.

John Pickford Richards of the JACK Quartet joins us to discuss the evolution of the ensemble from a fledgling student group to an international powerhouse for contemporary music; navigating personnel changes; strategies for working with both new and familiar collaborators; recording over forty-one albums; managing JACK Studio for commissions, workshops, and recording projects; and approaches toward improving inclusivity with careful programming and personnel. Hailed by The New York Times as “our leading new-music foursome”, the JACK Quartet is one of the most acclaimed, renowned, and respected groups performing today. JACK has maintained an unwavering commitment to their mission of performing and commissioning new works, giving voice to underheard composers, and cultivating an ever-greater sense of openness toward contemporary classical music. Over the past season, they have been selected as Musical America's 2018 “Ensemble of the Year”, named to WQXR's “19 for 19 Artists to Watch”, and awarded an Avery Fisher Career Grant. Resources discussed in today's episode: - JACK Studio The transcript for this episode can be found at here. For more information about the JACK Quartet, please visit them at their website, Facebook, Twitter, Instagram, YouTube, Spotify, iTunes, Google Play, Soundcloud, and Vimeo.

Bob Lord is a producer, composer, bassist, and CEO based in Portsmouth NH. In 2015 Bob was named one of Musical America’s “30 Professionals of the Year: Key Influencers," and as CEO of PARMA Recordings his work was nominated in two categories for the 2020 GRAMMY Awards. With Pete Townshend of The Who, Bob co-produced the double album METHOD MUSIC by Lawrence Ball, released in 2012 on Navona Records and hailed by Pitchfork for its “wondrous, rippling, and startlingly tactile music.” Lord is the music producer of WILD SYMPHONY, a symphonic suite composed by the #1 NY Times bestselling author Dan Brown ("The Da Vinci Code") which accompanies the illustrated children's book of the same title. In 1996 Bob co-founded the award-winning group Dreadnaught, described by Relix Magazine as “the country's best 'pure' prog-rock combo." His first full-length album as a solo artist, entitled PLAYLAND ARCADE, will be released in 2020.

Ep. 120: Bob Lord, CEO of PARMA Recordings Let's Talk Off The Podium with Tigran Arakelyan. In this episode Bob Lord talks about building the PARMA Recordings, job of a CEO, journey as a bassist and his new single. He also discusses the future of his company, memorable collaborations, and much more. Bob Lord is a producer, composer, bassist and CEO of PARMA Recordings, the New Hampshire-based audio production house and parent company of the Navona, Ravello, Big Round, MMC, Capstone, and Ansonica Records label imprints. He was named one of Musical America’s “30 Professionals of the Year: Key Influencers” in 2015. In 2020, PARMA's work was nominated for the 62nd annual GRAMMY Awards in two categories, with entries in classical ("Best Choral Performance" for the Navona Records release THE ARC IN THE SKY by The Crossing) and gospel ("Best Gospel Album" for SOMETHING'S HAPPENING! by CeCe Winans). Formed in 2008 to present contemporary classical, jazz, and experimental music, PARMA features work by artists such as GRAMMY Award winner Richard Stoltzman, Pulitzer Prize winners Yehudi Wyner and Lewis Spratlan, and Emmy Award winner Bruce Babcock among others. PARMA’s music can be heard in products and projects from ABC, CBS, Microsoft, C-SPAN, HBO, Nintendo, Showtime, PBS, and more. With Pete Townshend of The Who Bob co-produced the double album METHOD MUSIC by Lawrence Ball, released in 2012 on Navona Records and hailed by Pitchfork for its “wondrous, rippling, and startlingly tactile music.” In 1996 he co-founded the award-winning recording and touring experimental rock trio Dreadnaught (described by Relix Magazine as “the country's best 'pure' prog-rock combo") and since 2005 has been the Music Director for the New Hampshire Public Radio series Writers on a New England Stage at The Music Hall in Portsmouth NH, where the band has shared the stage with Dan Brown, John Updike, Salman Rushdie, Stephen King, Supreme Court Justice Sonia Sotomayor, and many more. In 2004 and 2018 Dreadnaught won "Best Rock Band" at the Spotlight Music Awards in Portsmouth NH. As of this writing Lord more than 600 recording and production credits on his resume, including the 2016 release ABRAZO: THE HAVANA SESSIONS, one of the very first projects recorded and produced by an American music company in Cuba since the loosening of diplomatic relations. With PARMA, Lord regularly produces recording sessions and events in countries across the globe, including the United States, Czech Republic, Croatia, Greece, Russia, Cuba, Slovakia, Romania, Serbia, China, Poland, and more. Lord composed the theme song for NHPR’s morning show “The Exchange” in 2005, and the music is still featured on the program to this day. He is President of the Zagreb Festival Orchestra in Zagreb HR, a member of the Board of Trustees of The Music Hall in Portsmouth NH, and on the Advisory Board of the Portsmouth Symphony Orchestra, also in Portsmouth NH. For more information about Bob Lord and PARMA RECORDINGS please visit these websites: https://www.boblordmusic.com/news and https://www.parmarecordings.com/ © Let's Talk Off The Podium, 2020

Musical America's 2018 "Instrumentalist of the Year," Augustin Hadelich is easily one of the premier violinists of our time. In this conversation with WGTE's Brad Cresswell, Hadelich previews his new album Bohemian Tales (Warner Classics), which includes the rousing concerto by Dvorák (a work he performed with the Toledo Symphony in 2017). Also on the disc: works for piano (Charles Owen) and violin from two other Czech masters, Leos Janácek and Josef Suk.Augustin Hadelich's YouTube channel: https://www.youtube.com/c/AugustinHadelichViolin Photo Credit: Augustin Hadelich by Paul Glickman

Musical America's 2018 "Instrumentalist of the Year," Augustin Hadelich is easily one of the premier violinists of our time. In this conversation with WGTE's Brad Cresswell, Hadelich previews his new album Bohemian Tales (Warner Classics), which includes the rousing concerto by Dvorák (a work he performed with the Toledo Symphony in 2017). Also on the disc: works for piano (Charles Owen) and violin from two other Czech masters, Leos Janácek and Josef Suk. Augustin Hadelich's YouTube channel: https://www.youtube.com/c/AugustinHadelichViolin Photo Credit: Augustin Hadelich by Paul Glickman

In the context of our search for a replacement minister, Jennie tackles the issue of women in leadership roles - hitherto the domain of men. The example she focusses on in her talk today is the career of Marin Alsop, music director of the Baltimore Symphony Orchestra whose career saw her become a pioneer in what was then - a non-traditional area and rose to be one of the leading figures in classical music around the world. As a young girl, Marin Alsop decided that she wanted to be a conductor. On being told women were not meant to be orchestral conductors, Marin was even more determined to become one. She became a protégé of Leonard Bernstein and went on to become the Music Director of the Baltimore Symphony Orchestra in 2005, the first female conductor to head a major American orchestra. In 2009 she was named Musical America’s Conductor of the Year. She is just coming to the end of her 14 years as Musical Director. Jennie raises the following issues: How do we feel about women in leadership positions - at work and in the pulpit? Do we judge them differently from men? What obligations do we have to speak if people criticise their fashion sense? How do we handle a mildly worded "it's just not my cup of tea!" Listen on!

Today's podcast is with Wu Man, recognized as the world’s premier pipa virtuoso and leading ambassador of Chinese music, Wu Man has carved out a career as a soloist, educator, and composer giving her lute-like instrument—which has a history of over 2,000 years in China—a new role in both traditional and contemporary music. Through numerous concert tours she has premiered hundreds of new works for the pipa, while spearheading multimedia projects to both preserve and create awareness of China’s ancient musical traditions. Her adventurous spirit and virtuosity have led to collaborations across artistic disciplines, allowing her to reach wider audiences as she works to cross cultural and musical borders. Her efforts were recognized when she was named Musical America’s 2013 “Instrumentalist of the Year,” marking the first time this prestigious award has been bestowed on a player of a non-Western instrument. Having been brought up in the Pudong School of pipa playing, one of the most prestigious classical styles of Imperial China, Ms. Wu is now recognized as an outstanding exponent of the traditional repertoire as well as a leading interpreter of contemporary pipa music by today’s most prominent composers such as Tan Dun, Philip Glass, the late Lou Harrison, Terry Riley, Bright Sheng, Chen Yi, and many others. She was the recipient of The Bunting Fellowship at Harvard University in 1998, and was the first Chinese traditional musician to receive The United States Artist Fellowship in 2008. She is also the first artist from China to perform at the White House. In 2015, she was appointed Visiting Professor of three major Chinese conservatories: her alma mater the Central Conservatory of Music in Beijing, Xi’an Conservatory of Music, and Zhejiang Conservatory in her hometown; she has also served as Artistic Director of the Xi’an Silk Road Music Festival at the Xi'an Conservatory. Live playback of Wu Man's Chinese lecture. Suxuan (bitter bitter heart) for one hour. Livestream playback (in Chinese) https://www.facebook.com/643359479/posts/10157364900964480/?sfnsn=mo Wu Man's getting ready for tomorrow's (Apr. 3) Silkroad Home Sessions with Wu Man (Facebook). The concert starts at 12pm PT/3pm ET.

Ambrose J. Small was a wealthy theater manager who disappeared without a trace on the evening of December 2, 1919 near one of his theaters in Toronto, Ontario. There was no shortage of theories and possibilities as to what happened. Was it the long-suffering wife? The obsessive, clingy mistress? The secretary who had robbed him? Or someone else? Part of the Straight Up Strange Network: https://www.straightupstrange.com/ My Patreon: http://www.patreon.com/forgdark/ Opening music from https://filmmusic.io. "Dark Child" by Kevin MacLeod (https://incompetech.com). License: CC BY (http://creativecommons.org/licenses/by/4.0/)Closing music by Soma. SOURCES Lethbridge Herald, January 14, 1925. “$65,000 was set aside to trace Ambrose Small.” Montreal Gazette, November 13, 1922. “Allege effort to blackmail in Small case.” Regina Leader-Post, June 5, 1922. “Ambrose Small case confession called forgery.” Winnipeg Tribune, November 25, 1936. “Ambrose Small not man found by detectives.” Montreal Gazette, August 16, 1921. “Arrested when he bared his head.” Boston Post, December 5, 1920. “Bares torture in kidnapping of Canadian.” Santa Ana Register, August 15, 1921. “Believe Small is alive.” Ottawa Citizen, November 25, 1920. “Doughty and detective are on their way.” Montreal Gazette, November 25, 1920. “Doughty says absconded when panic stricken.” Vancouver Sun, December 31, 1920. “Doughty sent up for trial, theft charge.” Ottawa Citizen, December 31, 1920. “Ex-janitor and wife to testify against Doughty.” Montreal Gazette, November 26, 1920. “Excavation of dump for Small body planned.” Winnipeg Tribune, November 14, 1928. “Former Small maid gone from asylum.” Ottawa Journal, December 19, 1924. “Hoping arrest of Doughty to solve mystery.” Ottawa Citizen, November 25, 1920. “Hotelman would see detective.” Montreal Gazette, June 26, 1922. “Is Small in bay?” Saskatoon Daily Star, April 5, 1922. “Lost millionaire dead to world but legally alive to law.” Spokane Spokesman-Review, April 22, 1923. “Man exploited as lost millionaire unknown cripple.” Des Moines Tribune, August 16, 1921. “Mystery gives way to strange acts of sleuth.” Salt Lake Tribune, November 4, 1928. “New Langsner move in Small case expected.” Winnipeg Tribune, November 16, 1928. “New Orleans opera house, scene of glorious triumphs, now a mass of ruins.” Musical America, December 13, 1919. “Not Small, declare Sackett and Hogarth.” Des Moines Tribune, August 16, 1921. “Nothing overlooked by police searching for Ambrose Small.” Vancouver Province, December 3, 1920. “Only vague chance.” Montreal Gazette, November 26, 1920. “Paris knows nothing of Ambrose J. Small.” Ottawa Journal, August 13, 1920. “Permission for probate given.” Winnipeg Tribune, June 5, 1923. “Prof. Langsner to attempt to solve disappearance of five-year-old Julia Johnson.” Winnipeg Tribune, November 1, 1928. “Prof. X's mind slowly clearing.” Camden (NJ) Courier-Post, January 12, 1920. “Reward of $50,000 starts new international search for Small.” Buffalo Times, May 28, 1923. “Reward offer of $50,000 to expire Sept. 1.” Des Moines Register, August 15, 1921. “Search for Small's body in Montreal.” Ottawa Citizen, January 19, 1921. “Small's body is found in dead house.” Regina Leader-Post, August 13, 1920. “Small fake is exposed – newspaper hoax bared by Register.” Des Moines Register, August 16, 1921. “Small named defendant in $52,500 suit.” Windsor Star, May 5, 1922. “Small thought buried near ravine.” Windsor Star, March 9, 1922. “Small will not genuine, according to an aunt.” Winnipeg Tribune, March 22, 1924. “Suspected of being Ambrose Small, he resents detention.” Vancouver Sun, December 3, 1920. “Think Ambrose Small may be alive and in hiding near Kemptville, Ontario.” Calgary Herald, February 5, 1921. “This clue doubted.” Windsor Star, June 24, 1922. “Thought he was Small.” Montreal Gazette, February 21, 1921. “Thought man in Des Moines may be lost magnate.” Freeport (IL) Journal-Standard, August 15, 1921. “Toronto detective, returning with Doughty, declares only part of Small story is known.” Ottawa Citizen, November 25, 1920. “Toronto studies Langsner claim in Small case.” Winnipeg Tribune, October 6, 1928. “Trace missing millionaire.” Nebraska State Journal, August 15, 1921. “Vienna's Sherlock Holmes unknown to police world.” Winnipeg Tribune, September 13, 1928. “Visit to bank vault.” Montreal Gazette, November 26, 1920. “Witness avers Doughty of kidnapping.” Montreal Gazette, March 23, 1921. “Witness says signature on will forgery.” Ottawa Journal, November 19, 1936. “Woman friend of Small in Toronto.” Montreal Gazette, May 25, 1922. Allen, Robert Thomas. “What really happened to Ambrose Small?” Maclean's Magazine, January 15, 1951. Daubs, Katie. “Toronto's scoundrel of the century.” Toronto Star, September 7, 2019. https://www.pressreader.com/canada/toronto-star/20190907/282321091692393 Dominion Law Reports, vol. 64 (C.E.T. Fitzgerald, C.B. Labatt, Russel S. Smart, and A.P. Grigg, editors). Toronto: Canada Law Book, 1922. O'Leary, Dillon. “Small: foul play or did he run out?” Ottawa Journal, November 23, 1974. St. John, Jordan. Lost Breweries of Toronto. Charleston, SC: The History Press, 2014. https://www.grandtheatre.com/mysterious-disappearance-ambrose-j-small http://www.hogtownempire.com/ https://www.tapatalk.com/groups/porchlightcanada/1919-small-ambrose-12-2-1919-t1102.html http://theothersidetv.ca/extra-research-season-4-episode-10/ http://strangeco.blogspot.com/2016/04/collecting-ambrose-small.html https://calebandlindapirtle.com/inside-mind-murderer/

Grammy-winning guitarist (and Musical America's 2020 Instrumentalist of the Year) Sharon Isbin joins us to preview her new album Souvenirs of Spain and Italy. A collaboration with the Pacifica Quartet, the disc uncovers delightful surprises and recasts old favorites in a new light.

Grammy-winning guitarist (and Musical America's 2020 Instrumentalist of the Year) Sharon Isbin joins us to preview her new album Souvenirs of Spain and Italy. A collaboration with the Pacifica Quartet, the disc uncovers delightful surprises and recasts old favorites in a new light.

Hello Randomers and Randomites. This week we're... somewhere I think. But we're joined by a new friend of the Carnival, Kyle Vock from the band The Mighty High and Dry. We talk many things music and upright bass, and get a bit of an insight into where this rather eclectic band came from and what they're all about. Stay tuned after the podcast for one of their songs. From The Mighty High and Dry album "American Record" we're proud to present "Musical America." Find them, listen to them and show them some love and support and we'll catch you next time! The Mighty High and Dry This episode was sponsored by Opsitnick & Associates. Lawyers for you, the people, from the Supreme Court to Alaska and everywhere in between. Celebrating 40 years of helping thousands of people with their legal needs. Visit them on Facebook or their website Facebook Twitter Instagram Check out our blog for new info and goings on Available wherever you get your favorite podcasts! Just search "Carnival of Randomness"

Powerhouse vocalists Lawrence Brownlee and Eric Owens joined by Grant Wood Fellow Brandon Alexander Williams for our final Creative Matters collaboration of the 2018-2019 season. Hancher is always excited to partner with the Creative Matters team on this series that seeks to demonstrate that creativity is not only at the core of all research and discovery, but also central to our human experience. Listen in to hear Brownlee and Owens discuss their journeys into the field of opera, the artists whose work inspires them most, the necessity of infusing artistry with authenticity, the insights they share with students in masterclasses, the reason they will always consider themselves students, and more. Named 2017 “Male Singer of the Year” by both the International Opera Awards and Bachtrack, Lawrence Brownlee has been hailed by the Associated Press as one of “the world’s leading bel canto tenors.” Brownlee also serves as Artistic Advisor at Opera Philadelphia, helping the company to expand their repertoire, diversity efforts and community initiatives. Bass-baritone Eric Owens has a unique reputation as an esteemed interpreter of classic works and a champion of new music. He has been recognized with multiple honors, including the Musical America’s 2017 “Vocalist of the Year” award. Brandon Alexander Williams is a poet, MC, and DJ. He is currently a visiting instructor in the UI School of Music where he teaches courses in Hip-Hop.

MacArthur Fellow and Musical America’s 2018 Educator of the Year, Francisco J. Núñez, is a composer, conductor, visionary, leading figure in music education, and the artistic director/founder of the Young People’s Chorus of New York City (YPC), renowned worldwide for its diversity and artistic excellence. Francisco's talk explores his visionary work with YPC, offering a bold new model for music-making that can inspire ensembles all over the country and throughout the world. He will be joined by several members of his ensemble.

Everyone is familiar with MIT and the university's reputation as a serious force in the world of science, tech, and research, but how many are aware of MIT's legacy in the arts? Did you know that MIT's founder had envisioned incorporating the arts from the very beginning?In this episode we speak with Leila Kinney and Evan Ziporyn of MIT's Center for Art, Science, and Technology (CAST) about MIT's culture of creativity and exploration, the institution's mission to humanize science and tech, and the exciting projects that have emerged from CAST, like Tomás Saraceno's Arachnid Orchestra.-About Leila Kinney-Leila W. Kinney is the Executive Director of Arts Initiatives and of the MIT Center for Art, Science & Technology (CAST), working with Associate Provost Philip S. Khoury, the School of Architecture and Planning (SA+P), the School of Humanities, Arts, and Social Sciences (SHASS), the Creative Arts Council, the Council for the Arts at MIT, the MIT List Visual Arts Center, and the MIT Museum, to advance the arts at MIT in the areas of strategic planning, cross-school collaborations, communications and resource development.Kinney is an art historian with experience in both SA+P, where she was on the faculty in the History, Theory and Criticism section of the Department of Architecture (HTC) and SHASS, where she taught in the Program in Women’s Studies and in Comparative Media Studies. She specializes in modern art, with an emphasis on media in transition, arts institutions and artists’ engagement with mass culture. She is a member of the Executive Committee of a2ru (Alliance for the Arts in Research Universities) and of the Advisory Committees of the Catalyst Collaborative at MIT, the MIT List Visual Arts Center and the MIT Museum.-About Evan Ziporyn-Evan Ziporyn makes music at the crossroads between genres and cultures, and between East and West. He studied at the Eastman School of Music, Yale University, and UC Berkeley with Joseph Schwantner, Martin Bresnick, and Gerard Grisey. He first traveled to Bali in 1981, studying with Madé Lebah, Colin McPhee’s 1930s musical informant. He returned on a Fulbright in 1987.Earlier that year, he performed a clarinet solo at the First Bang on a Can Marathon in New York. His involvement with Bang on a Can continued for twenty five years. In 1992, he co-founded the Bang on a Can All-stars (Musical America’s 2005 Ensemble of the Year), with whom he toured the globe and premiered over one hundred commissioned works, collaborating with Nik Bartsch, Iva Bittova, Don Byron, Ornette Coleman, Brian Eno, Philip Glass, Meredith Monk, Thurston Moore, Terry Riley, and Tan Dun. He co-produced their seminal 1996 recording of Brian Eno’s “Music for Airports,” as well as their most recent CD, “Big Beautiful Dark & Scary” (2012).Ziporyn joined the MIT faculty in 1990, founding Gamelan Galak Tika in 1993, and beginning a series of groundbreaking compositions for gamelan & Western instruments. These include three evening-length works, 2001’s “ShadowBang,” 2004’s “Oedipus Rex” (Robert Woodruff, director), and 2009’s “A House in Bali,” an opera which joins Western singers with Balinese traditional performers, and the Bang on a Can All-stars with a full gamelan. It received its world premiere in Bali that summer and its New York premiere at BAM Next Wave in October 2010.As a clarinetist, Ziporyn recorded the definitive version of Steve Reich’s multi-clarinet “New York Counterpoint” in 1996, sharing in that ensemble’s Grammy in 1998. In 2001, his solo clarinet CD, “This is Not A Clarinet,” made Top Ten lists across the country. His compositions have been commissioned by Yo-Yo Ma’s Silk Road, Kronos Quartet, American Composers Orchestra, Maya Beiser, So Percussion, Wu Man, and the Boston Modern Orchestra Project, with whom he recorded his most recent CD, “Big Grenadilla/Mumbai” (2012). His honors include awards from the Massachusetts Cultural Council (2011); The Herb Alpert Foundation (2011); USA Artists Walker Fellowship (2007); MIT’s Gyorgy Kepes Prize (2006); the American Academy of Arts and Letters Goddard Lieberson Fellowship (2004); as well as commissions from Meet the Composer/Commissioning Music USA and the Rockefeller MAP Fund. Recordings of his works have been been released on Cantaloupe, Sony Classical, New Albion, New World, Koch, Naxos, Innova, and CRI.He is Kenan Sahin Distinguished Professor of Music at MIT. He also serves as Head of Music and Theater Arts, and in 2012 was appointed inaugural Director of MIT’s Center for Art Science & Technology. He lives in Lexington, Massachusetts, with Christine Southworth, and has two children, Leonardo (19) and Ava (12).-About MIT CAST-The MIT Center for Art, Science & Technology (CAST) creates new opportunities for art, science and technology to thrive as interrelated, mutually informing modes of exploration, knowledge and discovery. CAST’s multidisciplinary platform presents performing and visual arts programs, supports research projects for artists working with science and engineering labs, and sponsors symposia, classes, workshops, design studios, lectures and publications. The Center is funded in part by a generous grant from the Andrew W. Mellon Foundation.

Pablo Heras-Casado visita Clásica Café en www.clasicafmradio.com, siendo uno de los nombres más reconocidos de la dirección de orquesta en nuestro país, abalado por su extensa biografía que defiende a sus 38 años de edad. Nombrado Director del Año por Musical America en 2014, es titular de la Orchestra of St. Luke’s de Nueva York desde la temporada 2012/2013 y principal director invitado del Teatro Real de Madrid.

Pablo Heras-Casado visita Clásica Café en www.clasicafmradio.com, siendo uno de los nombres más reconocidos de la dirección de orquesta en nuestro país, abalado por su extensa biografía que defiende a sus 38 años de edad. Nombrado Director del Año por Musical America en 2014, es titular de la Orchestra of St. Luke’s de Nueva York desde la temporada 2012/2013 y principal director invitado del Teatro Real de Madrid.

To say that Frank J. Oteri has a multi-faceted career in music is a gross understatement. In addition to his own work as a composer, he has been the Co-Editor for NewMusicBox since it was created in 1999, where he writes and reports on all manner of topics relating to the realm of new music, and he bears the unique title of Composer Advocate at New Music USA. He works tirelessly on behalf of composers in the US and abroad, and has a breadth and depth of knowledge of living composers and their works that is, quite simply, staggering. I've been friends with Frank and his wife Trudy Chan (Ep. 25) for years, and it's always a joy to hang out and chat with either of them. So for this week, Frank and I sat down with a bottle of wine, and talked for over two hours! Rest assured, I've split the conversation into two parts so that the second half will come out next week. In Part 1 of this lengthy conversation, we talk about pushing artistic boundaries, the nature of “originality”, and what it means to be an advocate for new music. Links: Frank J. Oteri Frank's writings at NewMusicBox Andrew Norman: On Being Named Composer of the Year by Musical America

Holy 150th episode, Batman! Because we are so stoked to have reached this milestone, we bring you not one, but two treats: A new Classical Classroom show intro, and the comedic stylings of violinist Jennifer Koh. Jennifer was Musical America’s Instrumentalist of 2016 and recently put out an album of Tchaikovsky’s complete works for violin and orchestra. Some of Tchaikovsky’s pieces are commonly referred to as, “…the most daunting works in the violin repertoire.” Jennifer explains why a composer would write something that musicians consider intimidating to play, and why musicians like her have fun feeling the fear and doing it anyway. Also in this episode, bear witness to astonishingly inept sports talk, and the best story about a violinist playing softball ever. All music in this episode from Jennifer Koh’s CD, Tchaikovsky’s Complete Works for Violin and Orchestra. Audio production by Todd “Birthday Boy” Hulslander with assistance from Mark DiClaudio and parkour by Dacia Clay. Many thanks to our listeners for all the love and listening so far! You guys rawk. This episode brought to you by the following fake organization:

In the sixth episode of Cedille's Classical Chicago Podcast, violinist Jennifer Koh sits down with Steve Robinson to discuss her latest release, Tchaikovsky: Complete Works for Violin and Orchestra. She describes the inspiration behind the album, growing up as the child of Korean immigrants, and reveals why her violin teacher lied to her when she was a young student. Jennifer Koh, Musical America’s 2016 Instrumentalist of the Year, headlines an album of Tchaikovsky’s complete works for violin and orchestra. It’s the “remarkable . . . thoughtful and vibrant” (Strings Magazine) American violinist’s first recording of music by Tchaikovsky, who has figured prominently in her rise to the top ranks of violinists worldwide. Tchaikovsky’s Concerto in D Major is one of the most celebrated and daunting works in the violin repertoire. The subdued Sérénade mélancolique illustrates the composer’s ear for orchestral color. The delicate Valse-Scherzo melds old-fashioned elegance with spirited playfulness. Souvenir d’un lieu cher’s poignant, nostalgic mood gives way to a delightful finale. Koh shared the top prize in the 1994 Tchaikovsky International Competition in Moscow, where she played the Tchaikovsky (and Brahms) concerto and won three special prizes, including for the best performance of Tchaikovsky’s work. The star violinist has a long history with her album collaborators, Denmark’s Odense Symphony Orchestra and its chief conductor, Alexander Vedernikov. In recent years, audiences have heard Koh perform the Tchaikovsky Violin Concerto with the Munich Philharmonic under Lorin Maazel, the Chicago Symphony Orchestra under Carlos Miguel Prieto, Japan’s NHK Symphony under Vedernikov, and the Odense Symphony Orchestra under Christoph Poppen.

Dr. Joseph Flummerfelt, Musical America's 2004 Conductor of the Year, and director emeritus of the world-famous Westminster Choir, joins Ryan in an in-depth interview on what it takes to be present on the podium.

Pianist, writer and certified (MacArthur) genius Jeremy Denk visits The Green Room to talk about his life in words and music. One of America's most thought-provoking, multi-faceted, and compelling artists, pianist Jeremy Denk is the winner of a 2013 MacArthur "Genius" Fellowship, the 2014 Avery Fisher Prize, and Musical America 's 2014 Instrumentalist of the Year award. He has appeared as soloist with the Los Angeles Philharmonic, the Philadelphia Orchestra, and the symphony orchestras of Boston, Chicago, San Francisco, and London, and regularly gives recitals in New York, Washington, Boston, Philadelphia, and throughout the United States.

Dr. Joseph Flummerfelt, Musical America's 2004 Conductor of the Year, and director emeritus of the world-famous Westminster Choir, joins Ryan an in-depth interview on what it takes to be present on the podium. Show notes: www.ryanguth.com/002 Connect with Ryan on Twitter / Facebook / LinkedIn / Website ***** Leave a Rating and Review ***** Never miss and episode! Subscribe on iTunes (iOS)/ Stitcher (Android)  

Last week, Michael Tilson Thomas was conducting the New World Symphony in Miami when he stopped the concert in its tracks. A fidgety child and her mother were in his line of sight, and he reportedly asked them to change seats. Some details remain unclear but the mom and child did more than that – they left the hall. The incident caused quite a sensation on the Internet and raised questions: What is the appropriate age for kids to start attending grown-up concerts? And how do you prepare them for the experience? In this podcast, we get three views, from Orli Shaham, a pianist, mother of twins and artistic director of Baby Got Bach, a concert series intended for kids ages 3 to 6; Sedgwick Clark the editor of Musical America and a steadfast concert-goer around New York; and Susan Fox, a founder and publisher of the online forum Park Slope Parents. In the first part of the segment we ask whether young children should attend concerts: Clark says an affirmative "no." Fox contends that "you need to be willing to jump ship" if your child can no longer sit still through the music. And Shaham notes that concert-going requires careful preparation. Host Naomi Lewin also asks for tips for parents who are considering bringing their children to a concert. Responses include "find an aisle seat near a door," "give them some chewing gum," "start with shorter concerts" and simply, "teach them to sit with boredom." Listen to the full segment above and tell us in the comments box below: how do you prepare kids for a concert? Would you want to sit next to a young child at a concert? Orchestra Minimum Age Requirements | Create Infographics

One of America’s most talented pianists (Musical America’s 2014 Instrumentalist of the Year), and thought-provoking writers on music, Jeremy Denk (2014 Ojai Music Festival Music Director) expounds upon the magic of music making—from learning how to practice and the daily rites of discovery, to the mastery of reasoning with your muscles and the sheer joy of no longer needing to think. Denk illuminates the paradox of seeking perfection while full knowing the possibilities are infinite.*Click here to see photos from the program!

In this special edition of The Diction Police, we discuss studying and working in both the US and Germany with Americans Stephanie Woodling Bucher and Timothy Oliver and Australian James Martin. We talk about how our careers got started and give some tips on how to prepare yourself for the professional world. The resources mentioned in the podcast include: Opera America, whose members have access to a comprehensive list of American opera companies and many international ones, including Young Artist information, chorus auditions, job listings and contact names and addresses throught Opera Source. Musical America, a yearly publication and website, which contains contact information for over 14,000 performing arts organizations in the United States and abroad. Deutsches Bühnenjahrbuch, which is unfortunately still not available online anywhere I can find, but this book contains a comprehensive listing of theaters in the German-speaking countries, plus agencies and all performers working in those theaters (including me!). What the Fach?! The Definitive Guide for Opera Professionals in Germany, Austria and Switzerland by Philip Shepard. This book has interviews with professionals working in Europe, lists of agencies and houses, as well as a plethora of information about setting up audition tours and moving to, working and living in Germany. You can also follow What the Fach on Twitter. NYIOP is the acronym for the New York International Opera Auditions. For a rather substantial fee, singers may have the opportunity to sing for groups of international opera company representatives, after a screening audition. The fee pays for the travel and housing of the panel, which is still considerably less than the costs accrued by an audition tour in Europe. While these auditions may not be for everyone, I do have several friends who have either gotten a fest contract, a guest contract or an invitation to audition in an opera house after having done the NYIOPs, so it has worked for some people. There are also NYIOPs set up in several different cities in Europe as well, including Vienna and Napoli. After this I'll be on break for the summer, so the next episode will be posted on August 20, 2010. In the meantime, please feel free to contact me with questions, comments or suggestions at ellen@ellenrissinger.com Have a great summer!