Podcasts about National Conservatory

The first violinist of the Takács Quartet weaves scholarship on Edward Elgar, Antonin Dvořák, Bela Bartók and Benjamin Britten with a deeply personal evocation of belonging, national identity and the private life of a string quartet. Edward Dusinberre's Distant Melodies: Music in Search of Home (Faber, The University of Chicago Press 2022) alternates traditional musicology with personal reminiscence, situating details of Dusinberre's English upbringing and current life in Colorado, alongside Dvořák's tenure as director of the National Conservatory of Music of America and Bartók's bleak final years of illness and longing as a Hungarian refugee. He gives behind-the-scenes access to quartet life, an esoteric and often guarded profession. Dusinberre explains the rehearsal process, reveals the complexity of auditioning new members and evokes the struggles performing musicians faced during the Covid-19 pandemic. The evolution of sound and style is an important topic for a quartet formed almost 50 years ago in 1970's Budapest. Now based in Boulder, Colorado, with cellist András Fejér the only remaining founding member, Dusinberre considers the subject of music and nationalism as it relates to the shifting identity of the Takács and their repertoire. This exploration of change and exchange speaks to our fluctuating relationships with self-identity and difficulties in defining home. Joseph Edwards is a writer and violinist based in London. His current research looks at the importance of sound in chronic illness experience. Contact him via email at joseph8edwards@gmail.com or through Twitter @joseph8edwards. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The first violinist of the Takács Quartet weaves scholarship on Edward Elgar, Antonin Dvořák, Bela Bartók and Benjamin Britten with a deeply personal evocation of belonging, national identity and the private life of a string quartet. Edward Dusinberre's Distant Melodies: Music in Search of Home (Faber, The University of Chicago Press 2022) alternates traditional musicology with personal reminiscence, situating details of Dusinberre's English upbringing and current life in Colorado, alongside Dvořák's tenure as director of the National Conservatory of Music of America and Bartók's bleak final years of illness and longing as a Hungarian refugee. He gives behind-the-scenes access to quartet life, an esoteric and often guarded profession. Dusinberre explains the rehearsal process, reveals the complexity of auditioning new members and evokes the struggles performing musicians faced during the Covid-19 pandemic. The evolution of sound and style is an important topic for a quartet formed almost 50 years ago in 1970's Budapest. Now based in Boulder, Colorado, with cellist András Fejér the only remaining founding member, Dusinberre considers the subject of music and nationalism as it relates to the shifting identity of the Takács and their repertoire. This exploration of change and exchange speaks to our fluctuating relationships with self-identity and difficulties in defining home. Joseph Edwards is a writer and violinist based in London. His current research looks at the importance of sound in chronic illness experience. Contact him via email at joseph8edwards@gmail.com or through Twitter @joseph8edwards. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The first violinist of the Takács Quartet weaves scholarship on Edward Elgar, Antonin Dvořák, Bela Bartók and Benjamin Britten with a deeply personal evocation of belonging, national identity and the private life of a string quartet. Edward Dusinberre's Distant Melodies: Music in Search of Home (Faber, The University of Chicago Press 2022) alternates traditional musicology with personal reminiscence, situating details of Dusinberre's English upbringing and current life in Colorado, alongside Dvořák's tenure as director of the National Conservatory of Music of America and Bartók's bleak final years of illness and longing as a Hungarian refugee. He gives behind-the-scenes access to quartet life, an esoteric and often guarded profession. Dusinberre explains the rehearsal process, reveals the complexity of auditioning new members and evokes the struggles performing musicians faced during the Covid-19 pandemic. The evolution of sound and style is an important topic for a quartet formed almost 50 years ago in 1970's Budapest. Now based in Boulder, Colorado, with cellist András Fejér the only remaining founding member, Dusinberre considers the subject of music and nationalism as it relates to the shifting identity of the Takács and their repertoire. This exploration of change and exchange speaks to our fluctuating relationships with self-identity and difficulties in defining home. Joseph Edwards is a writer and violinist based in London. His current research looks at the importance of sound in chronic illness experience. Contact him via email at joseph8edwards@gmail.com or through Twitter @joseph8edwards. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

As Bright As A Pearl by Andrea Janes, Read by Tatiana Grey When you sit in Mora's chair at the salon on the Coney Island Boardwalk, her fingers will find your roots and your secrets. As for what she does with them... Andrea Janes tells ghost stories for a living. She is the co-author of A Haunted History of Invisible Women and the owner and founder of Boroughs of the Dead, a boutique tour company dedicated to dark and unusual walking tours of New York City. She is currently at work on a Middle Grade historical fantasy novel set in New Amsterdam. Her personal obsessions include weird history, slapstick comediennes, witches, ghosts, all things nautical, and beer. She lives in Brooklyn where she can usually be found by the ocean or near a cemetery. Tatiana Grey is a critically acclaimed actress of stage, screen, and of course...the audio booth. She's been nominated for dozens of fancy awards but hasn't won a single damned thing. See more at www.tatianagrey.com Our Talons Can Crush Galaxies by Brooke Bolander, Read by Nhea Durousseau The best revenge is hot beyond measure and crosses dimensions. Brooke Bolander is the Locus and Nebula Award-winning author of “The Only Harmless Great Thing.” Her fiction has been shortlisted for the Nebula, Hugo, Locus, Theodore Sturgeon and Shirley Jackson Awards, among others. She attended the University of Leicester 2004-2007 studying History and Archaeology and is an alum of the 2011 Clarion Writers' Workshop at UCSD. She currently lives in New York City. Nhea Durousseau is a current student at the National Conservatory of Dramatic Arts in DC with a rich background in voice work. Her experience includes ADR/dubbing for both live-action and animation, indie games, and audio drama productions. An avid fiction podcast fan, you can ask her for an audio drama recommendation and receive at least six. You can find her at nheavox.com or on Twitter @nheavox."

Javier website: https://www.javierrosarioguitar.com/ Javier YouTube: https://www.youtube.com/@javierrosarioguitar   Guitar virtuoso, composer, bandleader, educator and recording artist, Javier Rosario attended the world-renowned Berklee College of Music with a full scholarship. In 2010, Javier earned his Master's Degree at the Longy School of Music of Bard College where he was awarded a Presidential Scholarship. Javier has performed with: Joe Lovano, John Lockwood, Matt Savage, Zachary King, Scott Kiefner, Aaron Holthus, and Avery Logan just to name a few.  He is a guitar Adjunct Professor at Bunker Hill Community College and member at Community Music Center of Boston, Passim School of Music, Amigos School and Morse School in Massachusetts. Javier received the Community Music Center of Boston Marilla MacDill Award for Teaching Excellence and Community Service. He has been a Visiting Professor at the National Conservatory of Music since 2009 and a Visiting Artist and Music Thesis Judge for the international music program at Universidad Pedro Henriquez Ureña.  Javier's new album “Yes!” Is out now wherever you listen to music. Links are in the show notes if you are listening to the podcast and in the video description if you are on YouTube.

Carla López-Speziale is a mezzosoprano with experience in opera, oratorio, as well as symphonic and chamber repertoire. Some of her most notable roles include Carmen in Bizet's Carmen, Dalila (Saint-Saëns' Samson and Delilah), Azucena (Verdi's Il trovatore), the Old Lady (Bernstein's Candide) and Bloody Mary (Rodgers & Hammerstein's South Pacific), among many others. Her symphonic performances include Mahler's Second, Third and Eighth symphonies, Brahms's Alto Rhapsody, Bach's Mass in B Minor, St. John and St. Matthew Passions and Wagner's Wesendonck Lieder to name a few.She has been a winner of competitions such as the Vincenzo Bellini in Italy, the Metropolitan Opera National Council Auditions in New York, and the Carlo Morelli competition in her native Mexico, among others. Ms. López-Speziale holds a Bachelor of Music Degree from the National Conservatory in Mexico and as a Fulbright fellow, received Master and Doctor Musical Arts Degrees from the Manhattan School of Music. Find more of her work at www.carlalopezspeziale.com

In this episode, Esther Abrami welcomes Victoria Dauberville, a French professional ballet dancer and content creator who trained in classical dance at the National School of the Paris Opera and the National Conservatory of Music and Dance in Paris. Esther Abrami discusses with her the difficulties that ballet dancers face when it comes to self-image, how to be confident in a competitive artistic field, and how to stop identifying oneself with others. This episode is in French. Hosted on Acast. See acast.com/privacy for more information.

Guitar virtuoso, composer, bandleader, educator and recording artist, Javier Rosario  @javierrosariomusic4813  attended the world-renowned Berklee College of Music with full scholarship. In 2010, Javier earned his Master's Degree at the Longy School of Music of Bard College where he was awarded a Presidential Scholarship. Album: https://open.spotify.com/artist/5V32J6Ahes764F0YKYw8v1?si=IHibTG8VTLmMeC5MoCt3Kg Website/interviews/reviews/quotes: https://www.javierrosarioguitar.com/ YouTube: https://www.youtube.com/channel/UC2HzpJIQ4qqWbVLC7dBGKgw IG: https://www.instagram.com/javierrosariomusic/     Javier has performed with: Joe Lovano, John Lockwood, Matt Savage, Zachary King, Scott Kiefner, Aaron Holthus, and Avery Logan just to name a few.  He is a guitar Adjunct Professor at Bunker Hill Community College. He is a faculty member at Community Music Center of Boston, Passim School of Music, Amigos School and Morse School in Massachusetts. Javier received the Community Music Center of Boston Marilla MacDill Award for Teaching Excellence and Community Service. Javier has been a Visiting Professor at the National Conservatory of Music since 2009 and a Visiting Artist and Music Thesis Judge for the international music program at Universidad Pedro Henriquez Ureña. Javier is a Community Engagement Programs Teaching Artist at Community Music Center of Boston and the Hurley School in Bostons South End. Javier was granted the Community Music Center of Boston Professional Development Grant for Creative Youth Development in alignment with Cultural Inclusion and Social Emotional Development. ​ Javier released his debut album Javier Rosario Trio, Vol. I: A Celebration of Life which has been critically acclaimed and received international radio play. #javierrosario #Acelebtrationoflife #yes

For this season's 11th episode, TPP had the privilege of interviewing Mr. Pablo Estigarribia, 2022 Latin Grammy Winner & Tango pianist/arranger/composer! During the interview session, we discussed Pablo's Latin Grammy Award-Winning album, “Horacio Salgán Piano Transcriptions,” his path to becoming a tango pianist, his performance at one of the most famous Jazz venues in the world, Blue Note Jazz Club in NYC, his passion for composing, arranging and teaching, and more. He also explained the distinctive characteristics of Argentine tango music and shared the secrets to playing tango piano music stylistically. [About Mr. Pablo Estigarribia] Mr. Estigarribia began training as a classical pianist, studied at the National Conservatory in Buenos Aires, performed on prominent concert stages in Argentina, and collaborated with the Congress Chamber Orchestra, the National Radio Orchestra, and the Chaco Symphony, among many others. Seeking to broaden his musical horizons beyond the classical realm, Mr. Estigarribia took a brief detour through jazz, where he discovered tango in 2005. He rapidly established his reputation as a nuanced and masterful tango performer and recording artist worldwide. His album Tangos Para Piano (EPSA) won the prestigious 2015 Gardel Prize for Best Tango Album by a New Artist. Soon after, he had the opportunity to perform in one of the most iconic jazz venues, Blue Note Jazz Club in NYC. Mr. Estigarribia is also a dedicated educator. For multiple years, he has received the Argentine Tango Society's Medal of Honor for his educational initiatives at the Stowe Tango Music Festival. He aims to share the beauty of tango's rich lineage and reopen the passage of tango repertoire with new generations of musicians through his compositions, teaching, and performances. 

Episode 61: State of the Marketwith industry powerhouses Lisa Lippman & Louise Phillips ForbesLisa Lippman, last years #1 agent at Brown Harris Stevens, now with 35 listings Louise Phillips Forbes, top team leader at Brown Harris Stevens, now with 23 listingsWith so many conflicting headlines and opinions out there...What are they telling their clients?What's really happening?What do they expect?These two are going to help us sift through the noise and perhaps give us some predictions. Please join us, this will be good!4pm Thursday. Use the Meeting ID: http://zoom.us/j/92135931351Or, binge watch all 60 shows on Youtube. Subscribe now: http://bit.ly/399yevLLisa Lippman was on Episode 12, one of our most watched shows, where she first let us in on her secret to success in the 5th minute https://youtu.be/p1tZu1I4jZM?t=302​​​​​Louise Phillips Forbes said in Episode #2 “Lord knows I've been planting a lot of seeds and…it looks like it could be an 8-deal week”  (You had 40 listings worth $126 million)The advice you gave us is more true today:  https://youtu.be/mpTepeu9IDw?t=159Thursday at 4pm, Use the Meeting ID: http://zoom.us/j/92135931351Or, binge watch the whole season on Youtube. Subscribe now: http://bit.ly/399yevL John Engel - John Engel can be found at http://www.JohnEngel.com. He is a consistently top-producing agent in Fairfield County, Connecticut. John recently won the Realtor of the YearAward in New Canaan where he is has been Chairman of the Town Council and is currently a member of the Planning & Zoning Commission. John also brings an insight into internet-based marketing that is unsurpassed. Before going into real estate he was the founder of two successful internet businesses, Paper.com and e-Media for which he won the prestigious Entrepreneur of the Year Award. Roberto Cabrera - Roberto can be found at http://www.RobertoCabrera.com. With 20 years of experience, I have been recognized throughout the industry for achieving outstanding results: Ranked nationally by REAL Trends as one of "America's Best Real Estate Agents” for avg. sales price of $4.350M. Sold a single family Townhouse faster than any other on the Upper West Side over $10M.  I also studied at The National Conservatory of Dramatic Arts and I'm a former actor who once moonlighted as a stand-up comedian. 

Portuguese dance teacher Pedro joins Mark to discuss nature, Chinese culture, chi kung, dancing in Arrabiba, retreat centres, nomadic community, urban reality, Holy Spirit, joy and pain, and lots on Portugal as a special place. A wonderful rich flow. Find Pedro here : https://www.facebook.com/profile.php?id=100040336065486 https://www.facebook.com/lojadopaz/ Instagram - @pedropaz_moveintouch You may like these Embodiment Podcasts:  https://podcasts.apple.com/gb/podcast/the-embodiment-podcast/id1284562064?i=1000577779625 https://podcasts.apple.com/gb/podcast/the-embodiment-podcast/id1284562064?i=1000497388929 Pedro's Bio I have grown up in China and have danced since I was a kid. At 14 years old I choreographed my first “full evening" performance for 30 dancers - it was called "Dancing the Dream". Graduated by the National Conservatory of Portugal, where I gained my classical technique background, I danced in companies before deciding to found my own - I thought "Everyone else is doing it, so why can't I?". As Artistic Director of Amalgama Dance Company for 7 years, I started to introduce the somatic approach in my creative processes. Being a researcher of Movement and Contact Improvisation, I kept on directing projects, retreats and gatherings (including Arrábida Dance Labs) adding today more than twenty years of professional experience as a dancer, teacher and choreographer. Focused on the theme “Self Awareness for the Cohesion of the Collective Energy Field”, I believe that dance is a liberating tool for embodied interactions.  

Synopsis Most classical music lovers know and love Dvorak's “New World” Symphony, Opus 95, and his “American” String Quartet, Opus 96, but fewer know the work he wrote next: his String QUINTET, Opus 97. We think that's a shame, since all three rank among the finest things the Czech composer ever wrote. Dvorak's Quintet is also nicknamed the “American” – and for good reason: It was completed in 1893 on today's date in Spillville, Iowa, during the composer's summer vacation in that small, rural community of Czech immigrants, where he and family could escape the noise and bustle of New York City and his duties there at the National Conservatory. Dvorak had been brought to America to teach Americans how to write American music, but, like any good teacher, Dvorak was as eager to LEARN as to teach. In New York, Henry T. Burleigh, a talented African-American Conservatory student taught Dvorak spirituals, and in Spillville, Dvorak eagerly attended performances of Native American music and dance by a group of touring Iroquois Indians. Traces of those influences can be heard in Dvorak's “American” works. In his Quintet, for example, unison melodic lines and striking rhythms seem to echo the Iroquois chants and drums Dvorak heard during his summer vacation in Spillville. Music Played in Today's Program Antonin Dvorak (1841-1904) – II. Allegro vivo, fr String Quintet in E-Flat Major, Op. 97 (Vlach Quartet Prague with Ladislav Kyselak, viola) Naxos 8.553376 On This Day Births 1779 - Baltimore lawyer Francis Scott Key, who in 1814 wrote the words of "The Star-Spangled Banner," setting his text to the tune of a popular British drinking song of the day, "To Anacreon in Heaven," written by John Stafford Smith; The text and the tune became the official national anthem by and Act of Congress in 1931; 1858 - Austrian composer Hans Rott, in Vienna; 1913 - American composer Jerome Moross, in Brooklyn; 1930 - British pop song and musical composer Lionel Bart, of "Oliver!" fame, in London; Deaths 1973 - Gian-Francesco Maliperio, Italian composer and first editor of collected works of Monteverdi and Vivaldi, age 91, in Treviso; Premieres 1740 - Thomas Arne: masque, “Alfred” (containing “Rule, Brittania”), in Clivedon (Gregorian date: August 12); 1921 - Hindemith: String Quartet No. 3, Op. 16, by the Amar Quartet (which included the composer on viola) in Donaueschingen, Germany; 1968 - Webern: "Rondo" for string quartet, written in 1906, at the Congregation of the Arts at Dartmouth College in Hanover, New Hampshire; 1993 - Ellen Taaffe Zwilich: Concerto for Horn and String Orchestra, at the Bravo! Music Festival in Vail, Colo., by soloist David Jolley with the Rochester Philharmonic, Lawrence Leighton Smith conducting; Others 1892 - John Philip Sousa , age 37, quits the U.S. Marine Corps Band to form his own 100-piece marching band; 1893 - In Spillville Iowa, Antonin Dvorák finishes his String Quintet in Eb, Op. 97 ("The American") during his summer vacation at the Czech settlement. Links and Resources On Dvorak

In this episode, Danielle Cristal speaks with Rita Bearden, a dance educator for the Department of Education. Together, they discuss how she transitioned from a performer to a teacher, and touch on issues that have permeated the worlds of education and dance, such as body image and the pandemic. Rita Bearden began dancing in Portugal, her home country, and trained in ballet, modern and jazz with teachers from the National Conservatory. She moved to NYC for Graduate School, majoring in ABT Ballet pedagogy at NYU Steinhardt. After graduating, Rita worked as faculty and a teaching artist with American Ballet Theatre, Dance Theatre of Harlem and Harlem School For the Arts, among others. In 2021, Rita received her teaching certification and integrated the public school system in NYC. For a full transcript of this episode, please email career.communications@nyu.edu.

This week my guest is singer, and songwriter, Alexandra Cabanilla now known as CABA.She tells us of her journey and how music has taken her all over the world.https://cabamusica.com/Singer, songwriter, actress, producer, and vocal coach. She has become one of the most talented exponents of Ecuadorian vocal music, being part of important jazz and contemporary music projects in Ecuador. She opened for renowned musicians such as Jorge Drexler and Marco Antonio Solis.In the academic field, she was a student of the FOSJE (Youth Orchestra Foundation of Ecuador), and a student of the National Conservatory. She has a degree in Contemporary Music from the Universidad San Francisco de Quito joint with Berklee College of Music. Certified teacher in "Music Together" early musical stimulation.Winner of the "Emisarios Del Jazz 2008" contest organized by the Embassy of the United States, performing at the Kennedy Center in Washington DC followed by a national tour in Ecuador with this format.She ventured into the world of musicals with leading roles: Old-fashioned lover ,   Enriqueta and the ever-late story, Enredos entre dos y Les Miserables as Fantine, Yerma in Canto Yermo , an adaptation of the original script by García Lorca, Chicago as Velma Kelly.General producer of the Opera Madame Butterfly 2018 and Producer of Chicago el musical 2019.In 2012, she was invited to perform the soundtrack of the renowned Mexican documentary ABC Nunca Más by famous director Pedro Ultreras.This is how he brings original compositions of Ecuadorian music to movie theaters in Mexican and North American lands with great reception.In 2014, she became the first Ecuadorian to be hired as a solo singer by the prestigious Cirque du Soleil , in the OVO show.2015 tour in Japan. Obtaining a Pedro Pablo Traversari award for personalities from the world of the arts 2015.After his two record productions (Pasional and Sweet Christmas), he is now working on his third record album, hoping to be on digital platforms.This podcast is sponsored byMichigan ArtShareColdPlunge RecordsTo become a sponsor for this podcast, go to the Patreon link below.https://www.patreon.com/TiaTime1Produced by Green Bow Music https://www.canr.msu.edu/michigan_artshare/https://www.coldplungerecords.com/

Lynn Adib performed three musical pieces: Youmma, Taht El Ward & Autruche followed by a discussion.Born and raised in Damascus, Syria. Lynn Adib is a singer, composer who has been exploring Arabic music and improvisation through Jazz music that she discovered around the age if 19 after spending years in the Choir if Joy in and learning classical flute at the National Conservatory, both in her hometown. After moving to Paris in 2009 and since the release of her Debut Album « Youmma » in 2018, Lynn has been collaborating with artists from all around the world giving birth to several projects such as « Bedouin Burger », « Yalla Queen », and preparing to release a duo album with French musician Marc Buronfosse. Lynn has a degree in Jazz studies from Paris conservatory and Pharmacy degree with masters in medical biology, she lives in Paris, France.Created & Hosted by Mikey Muhanna, afikra Edited by: Ramzi RammanTheme music by: Tarek Yamani https://www.instagram.com/tarek_yamani/About Quartertones:QuarterTones is a music show. It is an opportunity to listen to music, across genres, from musicians of and from the Arab world. This series is similar to NPR's All Songs Considered that is focused on the Arab world. afikra will be inviting musicians of all genres, as well as music historians, to help better understand the music that they perform or study. In this series, the guests will be invited to talk about their work and play their music, whether live or recorded, in three segments. The series will host current musicians who play contemporary and modern, including alternative scene or hip-hop, electronic, classical music, among other genres. The musicians will also be from different geographies.Join the live audience: https://www.afikra.com/rsvp   FollowYoutube - Instagram (@afikra_) - Facebook - Twitter Support www.afikra.com/supportAbout afikra:‎afikra is a movement to convert passive interest in the Arab world to active intellectual curiosity. We aim to collectively reframe the dominant narrative of the region by exploring the histories and cultures of the region- past, present, and future - through conversations driven by curiosity. Read more about us on  afikra.com

Donald Macleod explores Dvořák's American years and uncovers what he achieved during his time there. Antonín Dvořák became the first Czech composer to achieve global fame. His gift for transforming the folk styles of his native Bohemia into richly Romantic classical music won him admirers far beyond his homeland. Consequently, Dvořák was approached to leave Europe and serve as director of the newly established National Conservatory of Music in America. His sponsors hoped he would help foster a new and distinctive American musical style, less reliant upon Germanic traditions. During his time in America, from 1892 – 1895, Dvořák composed many of his most celebrated works, including his 9th symphony and his cello concerto. Before leaving, he'd started work on his Cello Concerto, inspired by his yearning for the Bohemian countryside. Back at home, Dvořák also completed his String Quartet No 13 which some have seen to be his final work to have musical associations with America. Dvořák's had set out to encourage American musicians to look to their own traditions rather than simply following behind Europe. He may not have been entirely successful but he did encourage others in that aim, such as Harry T. Burleigh. Burleigh said of Dvořák that he'd assisted in changing attitudes of African American's towards their own folk tradition, and most importantly, that Dvořák "was a man of the people". Music Featured: Symphony No 9 in E minor, Op 95 “From the New World” (excerpt) Piano Trio No 4 in E minor, Op 90 “Dumky” (Lento maestoso) Carnival Overture, Op 92 Requiem, Op 89 (Introitus) Symphony No 4 in D minor, Op 13 (excerpt) Silent Woods, Op 68 No 5 Symphony No 8 in G, Op 88 (excerpt) Requiem, Op 89 (Confutatis Maledictis) Symphony No 6 in D, Op 60 (Scherzo: Furiant) Symphony No 8 in G, Op 88 (Allegretto grazioso – Molto vivace) Te Deum, Op 102 Southland Sketches (excerpt) - Harry T. Burleigh Symphony No 9 in E minor, Op 95 “From the New World” (excerpt) Sonatina for violin and piano, Op 100 (Larghetto) Swing Low, Sweet Chariot – Arr. Harry T. Burleigh Go Down Moses – Arr. Harry T. Burleigh Symphony No 9 in E minor, Op 95 “From the New World” (Largo) String Quintet, Op 97 “American” (excerpt) Symphony No 9 in E minor, Op 95 “From the New World” (Allegro con fuoco) Humoresques, Op 101 No.7 (excerpt) Suite in A, Op 98B (Allegro) String Quartet No 12 in F, Op 96 “The American” (Vivace) Humoresques, Op 101 (excerpt) Biblical Songs, Op 99 (excerpt) Among the Fuchsias, from Five Songs of Laurence Hope - Harry T. Burleigh Worth While, from Five Songs of Laurence Hope - Harry T. Burleigh Cello Concerto in B minor, Op 104 (excerpt) Lullaby, B194 - Dvořák Arr. J. Suk String Quartet No 14, Op 105 (Molto vivace) Cello Concerto in B minor, Op 104 (Adagio ma non troppo) String Quartet No 13 in G, Op 106 (excerpt) Cello Concerto in B minor, Op 104 (Finale) Presented by Donald Macleod Produced by Luke Whitlock For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Dvořák and America https://www.bbc.co.uk/programmes/m00182rp And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Ana Lara was born in Mexico City and studied at the National Conservatory of Music with Mario Lavista and Daniel Catán and later with Federico Ibarra... She continued her studies at the Warsaw Academy of Music. She also studied ethnomusicology at the University of Maryland, graduating with a Master of Arts degree.After completing her studies, Lara worked as a composer and music producer. In 1989 she began producing a Mexico City University Radio contemporary music program, and in 2000 she was nominated as Best Classical Album Producer at the Latin Grammy Awards. She founded and served as artistic director of Mexico's International Festival Música y Escena, and served as artistic director of the Puebla Instrumenta Verano 2004 summer courses. She also teaches music and seminars on Latin American and twentieth-century music.Purchase the music (without talk) at:Ana Lara (classicalsavings.com)Your purchase helps to support our show! Classical Music Discoveries is sponsored by La Musica International Chamber Music Festival and Uber. @CMDHedgecock#ClassicalMusicDiscoveries #KeepClassicalMusicAlive#LaMusicaFestival #CMDGrandOperaCompanyofVenice #CMDParisPhilharmonicinOrléans#CMDGermanOperaCompanyofBerlin#CMDGrandOperaCompanyofBarcelonaSpain#ClassicalMusicLivesOn#Uber Please consider supporting our show, thank you!http://www.classicalsavings.com/donate.html staff@classicalmusicdiscoveries.com This album is broadcasted with the permission of Katy Solomon from Morahana Arts and Media.

Synopsis On today's date in 1895, the New York Choral Society gave the premiere of a choral work by Antonin Dvorak entitled “The American Flag.” Mrs. Jeannette Thurber, who brought Dvorak to New York City to teach at her National Conservatory, had asked him to set a patriotic poem of that name. The idea was the new work would be performed to coincide with Dvorak's arrival in the fall of 1892, and the big celebrations planned that year for the 400th anniversary of Columbus's discovery of the New World. Unfortunately, Dvorak didn't get the text in time, and so another choral work, his recently completed “Te Deum” was performed during the big Columbus Quadricentennial. “The American Flag” was put on a back burner, as it were, and wasn't performed until AFTER Dvorak returned to Prague. Dvorak never heard the work performed at all, in fact. The blustery, outright chauvinistic tone of its pro-New World, anti-Old World text would hardly endear it to European audiences of his day. In fact, this work hasn't proven to be a big hit with AMERICAN audiences, either. “The American Flag” remains one of Dvorak's least-performed pieces. Michael Tilson Thomas conducted a recording of it timed for release in 1976 during the American Bicentennial. Ironically for so “American” a work, that recording was made in Berlin with a German orchestra and chorus! Music Played in Today's Program Antonin Dvořák (1841 - 1904) — The American Flag , Op. 102 (soloists; choirs; Berlin Radio Symphony; Michael Tilson Thomas, cond.) CBS/Sony 60297

Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Mariana is an NYC-based freelance percussionist who began her music studies at the National Conservatory of Mexico in Mexico City. She received her Bachelors of Music in Percussion at Rutgers University.Mariana Ramirez broke historic ground in 2018, becoming the first female Mexican percussionist to perform on a Broadway show while subbing on Once On This Island. It led to sub on two more Broadway shows:  Head Over Heels and Ain't Too Proud, The Life and Times of the Temptations. Currently, she is one of just two female Mexican drummer/percussionists performing on Broadway. Off-Broadway shows include subbing Merrily We Roll Along and Fiddler on the Roof in Yiddish, among many others.With that solid foundation, Mariana went on tour with the drums/percussion chair of Once on This Island Broadway National Tour.​In addition to Broadway, she has performed in Europe, Asia, and Mexico, playing with Mexican Traditional Music bands, Symphonic Ensembles, Chamber Orchestras, and Pop Bands. ​​Mariana has also performed on TV shows, including the Steven Colbert Late Night Show, and TV series such as Mozart in the Jungle NBC Universal Upfronts at Radio City Music Hall.​Mariana also founded Percussion Quartet Excelsis, praised as “one of the most innovative and exciting percussion ensembles to emerge in the golden age of chamber music that we are presently in” by Jonathan Hass head of the New York University Percussion Department.   Excelsis has performed twice at NPR Radio in From the Top show, the Percussive Arts Society New York Weekend Of Percussion in 2014 and 2015, Brooklyn Bound with So Percussion, Zeltsman's Marimba Festival, Tippet Rise Music Festival in Montana, and most recently presented a Master Class at Salem University in Massachusetts. Sabian Cymbals endorse Excelsis. ​As a symphonic percussionist, Mariana has performed with orchestras in Mexico and the United States, including the National Symphony of Mexico, Orquesta de Minería, Dartmouth Symphony, South Florida Symphony, the first all-Women Orchestra of Mexico, New England Ensemble, Fairfield Orchestra, and most recently with The Dessoff Choir, premiering works for Choir and Orchestra at Alice Tully Hall. For more: https://www.marianapercussion.comBroadway Drumming 101 is your one-stop shop for everything you'll need to know about playing drums for broadway musicals. When you subscribe to The Broadway 101 Newsletter, you'll learn about what it takes to be a successful pit musician with content delivered directly to your email inbox two to three times a week.As a paying subscriber, you will receive behind-the-scenes access to the life of a musician who makes a living on Broadway. For $5 a month, or $50 a year, you'll have a backstage pass to the world of a broadway drummer playing on a hit show. You'll also be able to read every post (not just the occasional free ones), you'll get access to all newsletter issues in the archives, and have the ability to participate in subscriber-only comments and events.The Broadway Drumming 101 Podcast is on Apple Podcasts, Spotify, or wherever you get your podcasts.The podcast features conversations with my colleagues who currently hold drums chairs, showcases talks with broadway drumming legends and highlights up-and-coming drummers breaking into the scene.There is a lot to learn. Subscribe now, so you don't miss out on the latest posts and podcasts!Clayton Craddock hosts the Broadway Drumming 101 Podcast and Newsletter. He has held the drum chair in several hit broadway and off-broadway musicals, including Tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day At Emerson's Bar and Grill and Ain't Too Proud.The Broadway Drumming 101 Instagram page: InstagramThe Broadway Drumming 101 YouTube page: YouTubeFor more about Clayton, click HEREThank you for reading Broadway Drumming 101. This post is public, so feel free to share it.​ Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

In Fairfield County, Connecticut the builders are betting big on LUXURY condos. The biggest and best of them are Selling For Record Prices, Topping out at $2500 per square foot.  Who is Buying, Why and Will The Party Continue?The Mill Westport, by Coastal Construction, are 30 luxury residences starting at $1,655,000.Bankside House, along the Saugatuck River in Westport, is being built by David WaldmanFor the first time Ultra-Luxury  condominiums are selling across Fairfield County for more than $1000 per square foot. They range from townhouse to apartment designs and they're going up in Greenwich, Westport, New Canaan, Darien and Rowayton. Let's ask the experts who are building, listing and selling the ultra-luxury product:Rita Kirby and Bonnie Sztam from WPSIR will discuss their $3+ million sales on Forest St. and at The Gramercy in New Canaan.Bettina Hegel from Brown Harris Stevens willl talk about $3 million+ sales at The Vue in New Canaan. Kim Harizman from Compass is representing David Waldman's modern waterfront bet on the Saugatuck River in Westport, Bankside HouseJoe Feinleib from Coastal Construction will be on hand to speak about the luxury condos he's building at The Mill Westport.Paul Stone & Arnold Karp can explain why they chose certain amenities at The Vue in New Canaan (but did not build a pool)Who is the buyer? What is the profile of the high-end condo buyer in Fairfield County? What are the features, location, amenities that these buyers require? Is this a long-term trend or response to Covid?What have been the development challenges? Are some towns more difficult?Rita Kirby pf WPSIRBonnie Sztam of WPSIRKim Harizman of CompassArnold Karp of The VueDavid Waldman of Bankside HouseBettina Hegel of Brown Harris StevensRita Kirby pf WPSIRJoe Feinlieb of The Mill WestportMeeting ID: http://zoom.us/j/92135931351 Subscribe now: http://bit.ly/399yevLThursday, January 27 from 4:00-5:00pmRoberto Cabrera - With 20 years of experience, I have been recognized throughout the industry for achieving outstanding results: Ranked nationally by REAL Trends as one of "America's Best Real Estate Agents” for avg. sales price of $4.350M. Sold a single family Townhouse faster than any other on the Upper West Side over $10M. I live with my wife and daughter on the Upper West Side, the neighborhood I have called home for the past 23 years. I was originally born in Richmond, Virginia and grew up in Maryland, just one mile south of the Mason Dixon line. After graduating with a degree in Mathematical Economics from Hampden-Sydney College, the 10th oldest school in the country, I spent 5 years in Washington, DC working as a financial consultant. I also studied at The National Conservatory of Dramatic Arts and I'm a former actor who once moonlighted as a stand-up comedian. John Engel - John Engel is a consistently top-producing agent in Fairfield County, Connecticut. John recently won the 2019 Realtor of the Year Award in New Canaan. Before going into real estate he was the founder of two successful internet businesses, Paper.com and e-Media for which he won the prestigious Entrepreneur of the Year Award. John grew up in New Canaan before attending Davidson College. After graduating, he served as an officer in the U.S. Army and spent some time leading a military intelligence platoon on the front lines of the first Gulf War. He currently lives in New Canaan with his wife Melissa and four children. In addition to hosting this podcast on the market each week, John Engel produces an easy-to-understand and in-depth monthly market analysis called the Market Report for the 16 towns of lower Fairfield County. You can find it at www.

Episode #37 featuring Scott Hobbs, Tony Fox II and Greg HeymUse the Meeting ID: http://zoom.us/j/92135931351  Or, binge watch all 37 shows on Youtube.  Subscribe now: http://bit.ly/399yevLWe are at a critical juncture in the history of New York, the moment after which New York will remake itself once again. In the final days of the pandemic big bets are being made on the future of office space, retail, work from home and the importance of commuting. Roberto Cabrera - With 20 years of experience, I have been recognized throughout the industry for achieving outstanding results: Ranked nationally by REAL Trends as one of "America's Best Real Estate Agents” for avg. sales price of $4.350M. Sold a single family Townhouse faster than any other on the Upper West Side over $10M. I live with my wife and daughter on the Upper West Side, the neighborhood I have called home for the past 23 years. I was originally born in Richmond, Virginia and grew up in Maryland, just one mile south of the Mason Dixon line. After graduating with a degree in Mathematical Economics from Hampden-Sydney College, the 10th oldest school in the country, I spent 5 years in Washington, DC working as a financial consultant. I also studied at The National Conservatory of Dramatic Arts and I'm a former actor who once moonlighted as a stand-up comedian. Many years ago, I authored APPLE PIE - The Real Ingredients for Buying and Selling Your Slice. John Engel - John Engel is a consistently top-producing agent in Fairfield County, Connecticut. John recently won the 2019 Realtor of the Year Award in New Canaan where he is currently the Chairman of the Town Council. John also brings an insight into internet-based marketing that is unsurpassed. Before going into real estate he was the founder of two successful internet businesses, Paper.com and e-Media for which he won the prestigious Entrepreneur of the Year Award. John spent his earliest years in Stuyvesant Town (before it was cool) and finished his growing up in New Canaan before attending Davidson College in North Carolina. After graduating, he served as an officer in the U.S. Army and spent some time leading a military intelligence platoon on the front lines of the first Gulf War. He currently lives in New Canaan with his wife Melissa and four children. In addition to hosting this podcast on the market each week, John Engel produces an easy-to-understand and in-depth monthly market analysis called the Market Report for the 16 towns of lower Fairfield County. You can find it here.

Dr. Michael Šust escaped communist Czechoslovakia for freedom in the United States over 30 years ago. He now serves as a pastor spreading messages of hope and freedom. Pastor Michael is the founder and director of Vertical Fellowship officially launched as an independent Christian organization in 2020. He studied voice, piano and composition at the National Conservatory of Music in the Czech Republic and earned his doctorate in musical arts from Boston University. He also attended Covenant Seminary in St. Louis to supplement his theological education. Michael spent 17 years serving the Lord as a worship pastor and 14 years as a lead pastor in Bible-teaching churches in four U.S. states. They have two wonderful daughters and four grandchildren. Together with their daughter, Christy, they travel and perform as The Šust Family Singers. Connect with Michael: Documentary: https://www.youtube.com/watch?v=8YiGSPwMnag Website: https://www.wegovertical.org/ ---- Young Americans Against Socialism is a nonpartisan 501c3 nonprofit dedicated to educating America's youth on history, economics, policy, and culture. Visit our website for more information: FightSocialism.org   Help us continue our mission by supporting us financially: FightSocialism.org   Follow us on social media! Instagram: https://www.instagram.com/yaas_america/ Twitter: https://twitter.com/yaas_america Facebook: https://www.facebook.com/YoungAmericansAgainstSocialism/

Synopsis We'd like to start the new year with some upbeat music to honor the American composer and bandleader Edwin Franko Goldman, who was born in Louisville, Kentucky, on today's date in 1878. At the tender age of 14, Goldman attended the National Conservatory of Music in New York City, where he studied composition with Antonin Dvorak. At 15, Goldman became a professional trumpet player with the Metropolitan Opera orchestra. In 1911, he founded the New York Military Band, later known simply as the Goldman Band. They performed hundreds of public concerts around the city, including on the Mall in Central Park.  In the 1930s, radio broadcasts made the Goldman Band famous nationwide. Their catchy signature tune, entitled “On the Mall,” was composed by Goldman himself, and invited the audiences to sing – or even whistle – along. Goldman composed about 150 band works of his own, and commissioned many more, including classics by composers such as Virgil Thomson, Walter Piston, and Howard Hanson. The Goldman Band, led by Goldman or his son Richard, also premiered new works by leading European composers. Goldman founded the American Bandmasters Association in 1929 and served as its Second Honorary Life President after John Philip Sousa. Music Played in Today's Program Edwin Franko Goldman (1878 - 1956) — On the Mall (Eastman Wind Ensemble; Frederick Fennell, cond.) Mercury 434 334

We are excited to share with you our weekly wide-ranging zoom conversation with real estate experts from around our area. We were joined by Scott Hobbs of Hobbs Inc this week, and the conversation is always hosted by John Engel in Connecticut and Roberto Cabrera in New York.

Antonín Dvořák wrote his Symphony no. 9 in E minor, Op. 95 From the New World in 1893, while he acted as director of the National Conservatory of Music of America. The piece is popularly known as the New World Symphony, and it is usually referred to as Dvořák's ninth symphony, though in older literature it can be found listed as his fifth symphony (it is very rarely referred to by its Burghauser catalogue number, B. 178). This is by far his most popular work, and one of the most popular romantic pieces ever. Dvořák claimed he was inspired by the peculiarities of the Native American music, and drew attention to its similarities with the African and Scottish music. The sound of the symphony is predominantly pentatonic, so musicologists tend to agree that Dvorak was referring to this characteristic. The theme of the second movement was adapted into a spiritual called Goin' home by Dvořák's pupil William Arms Fisher, who wrote the lyrics in 1922. The popularity of this version has caused the erroneous impression that Goin' Home was the original version. However, it is possible that Dvořák drew inspiration from existing spiritual melodies. The symphony also draws heavily from European tradition: the opening of the third movement bears a strong resemblance to the opening of the third movement of Beethoven's 9th Symphony.

Antonín Dvořák wrote his Symphony no. 9 in E minor, Op. 95 From the New World in 1893, while he acted as director of the National Conservatory of Music of America. The piece is popularly known as the New World Symphony, and it is usually referred to as Dvořák's ninth symphony, though in older literature it can be found listed as his fifth symphony (it is very rarely referred to by its Burghauser catalogue number, B. 178). This is by far his most popular work, and one of the most popular romantic pieces ever. Dvořák claimed he was inspired by the peculiarities of the Native American music, and drew attention to its similarities with the African and Scottish music. The sound of the symphony is predominantly pentatonic, so musicologists tend to agree that Dvorak was referring to this characteristic. The theme of the second movement was adapted into a spiritual called Goin' home by Dvořák's pupil William Arms Fisher, who wrote the lyrics in 1922. The popularity of this version has caused the erroneous impression that Goin' Home was the original version. However, it is possible that Dvořák drew inspiration from existing spiritual melodies. The symphony also draws heavily from European tradition: the opening of the third movement bears a strong resemblance to the opening of the third movement of Beethoven's 9th Symphony.

We speak to Marcelino about how he used the pandemic to reconnect with what is important to him, his early years in Portugal, how it feels to dance alongside Natalia Osipova after so many years learning from and idolizing Russian Ballerinas and the track that he thinks is 'a banger'.....it's from an Ashton ballet!Portuguese dancer Marcelino Sambé is a Principal of The Royal Ballet. He trained at The Royal Ballet Upper School and graduated into the Company during the 2012/13 Season, promoted to First Artist in 2014, Soloist in 2015, First Soloist in 2017 and Principal in 2019.Sambé was born in Lisbon and studied at the National Conservatory of Lisbon before joining The Royal Ballet Upper School. Performances at the School included in John Neumeier's Yonderingand Alastair Marriott's Simple Symphonyat the School's annual matinee, and a summer gala in Venice in 2012. His repertory with the Company includes Franz (Coppélia), Colas (La Fille mal gardée), Oberon (The Dream), Hans-Peter/Nutcracker (The Nutcracker), Mercutio and Romeo (Romeo and Juliet), Brother Clown (The Winter's Tale), Beggar Chief and Lescaut (Manon), Lead Hungarian Officer and Bratfisch (Mayerling), Bronze Idol (La Bayadère), Basilio (Don Quixote), Officer (Anastasia), Bluebird and Florestan (The Sleeping Beauty), pas de trois (Swan Lake), lead couple pas de six (Giselle), Footman/Frog (Alice's Adventures in Wonderland), Gypsy Boy (The Two Pigeons), Blue Boy (Les Patineurs) and in The Vertiginous Thrill of Exactitude, Tarantella, Jewels, The Human Seasons, Obsidian Tear, Aeternum, Requiem, La Valse, Aeternum, Within the Golden Hour, Multiverse, Elite Syncopations, Tchaikovsky pas de deux, Tarantella, Symphony in C, The Human Seasons, Infra, Concerto and Medusa. He has created roles in Crystal Pite's Flight Pattern, Kim Brandstrup's Ceremony of Innocence, Marriott's Connectome, Hofesh Shechter's Untouchable and Wayne McGregor's Woolf Works.Sambé is a keen choreographer and was selected as one of the UK's emerging choreographers by Youth Dance England in 2012. His M' cã cré sabi won second prize at the 2011 Ursula Morton Choreographic Awards and was performed in the School's annual matinee that year. Works include Preparations for the Last TV Fake and The Chosen Victim for The Royal Ballet's Draft Works. Sambé's dance awards include a silver medal at the Moscow International Ballet Competition in 2008, first prize at the Youth American Grand Prix in 2009, a gold medal and special award at the USA International Ballet Competition in 2010 and the Critics' Cirle National Dance Awards for Outstanding Male Classical Performance (2017) and Best Male Dancer (2019).

Synopsis Today is the birthday of a 20th century composer who was born in Spain, came of age in Cuba, and, in his later years, was a resident of the United States.  His name was Julián Orbón, who was born in Avilés, Spain, on today's date in 1925 and died in Miami Beach in 1991. Orbón began composing at an early age, came to Cuba with his family when he was 10, and by his twenties was active as a music critic, essayist and pianist at concerts of contemporary Cuban music. He was a member of Grupo de Renovación Musical, or “The Group for Musical Renewal.” In 1946 he studied with Copland at Tanglewood and returned home to serve as director of the Orbón Conservatory in Havana, a music school founded by his father. After the Cuban revolution, Orbón taught first at the National Conservatory in Mexico City, and then, after settling in the United States in 1964, at a number of American schools, including Washington University, Barnard College, and the Hispanic Institute at Columbia. By then, Orbón was also a successful and award-winning composer of works often infused with the rhythms and colors of Cuban music and traditions. Music Played in Today's Program Julián Orbón (1925 - 1991) – Concerto Grosso (Latinoamericano Quartet; Simon Bolivar Symphony; Eduardo Mata, cond.) Dorian 90178

In this episode of the Unstoppable podcast, we're talking to Jerome de Tychey. He is the founder of Cometh, a new blockchain-based game. He's also the global head of client success at Ledger, president at Ethereum France, associate professor at the National Conservatory of Arts in France, and a former blockchain tech lead at ConsenSys.Jerome talks about how his background in economics led him into crypto and explains how Cometh started and what inspired the idea.We talk about how the game works, how new players can get started, and some of its coolest features. Jerome explains who is currently using the platform and how the user base has changed as NFTs have exploded in popularity.We talk about some exciting upcoming partnerships and future plans, and where the blockchain gaming space will be in 10 years.--You can follow Matthew on Twitter and LinkedIn, Diana on Twitter and LinkedIn, and learn more about Unstoppable Domains and our work here.You can follow our guest, Jerome de Tychey, on Twitter and check out Cometh here.--Don't forget to rate, download, and subscribe to the podcast so you won't miss an episode and we can keep producing awesome content for you.

Synopsis In 1891, the Czech composer Antonin Dvorak was earning about $3000 a year teaching at the National Conservatory of Prague. Mrs. Jeannette Thurber, the wealthy founder of a National Conservatory of New York offered Dvorak FIVE TIMES his Prague salary to come to America, where his teaching load would be significantly less. Even so, Dvorak was reluctant to leave his native land, but his wife suggested the family should vote on Mrs. Thurber's offer. Dvorak's son, Otakar recalled the vote “for” America wasn't unanimous but did prevail, so papa signed the contract – then let it sit on his desk until Mom took matters in her own hand – literally – and posted it back to America. Dvorak followed in due course. On today's date in 1893, Dvorak wrapped up his first academic year in America by signing a receipt for his May salary before setting off with the family for a summer vacation in the Czech-speaking settlement of Spillville, Iowa.  No doubt he would be astonished to learn that in our time a dealer in celebrity signatures put that receipt up for sale. The salary stub was for $937.50. The asking price for the yellowed slip of paper bearing Dvorak's signature?  $2750! Music Played in Today's Program Antonin Dvořák (1841 - 1904) String Quintet in E, Op. 97 Vlach Quartet Naxos 8.553376

Episode #26  Roberto Cabrera & John Engel: This week you are our guests. Roberto and John want to talk with all of you about current market conditions. Roberto just released his Market Report for New York City, found here, and we know all of you have opinions and questions for each other about a market in both NYC and in the suburbs that none of us has seen before. Please join the conversation.John Engel's latest property video has 24,000 views in its first week on YouTube...click here.Roberto Cabrera's latest market report is now available as a short video...click here. Today at 4,Use the Meeting ID: http://zoom.us/j/92135931351  Or, binge watch on Youtube.  Subscribe now: http://bit.ly/399yevLregister here Thursday, May 6 from 4:00-5:00pm Roberto Cabrera - With 20 years of experience, I have been recognized throughout the industry for achieving outstanding results: Ranked nationally by REAL Trends as one of "America's Best Real Estate Agents” for avg. sales price of $4.350M. Sold a single family Townhouse faster than any other on the Upper West Side over $10M. I live with my wife and daughter on the Upper West Side, the neighborhood I have called home for the past 23 years. I was originally born in Richmond, Virginia and grew up in Maryland, just one mile south of the Mason Dixon line. After graduating with a degree in Mathematical Economics from Hampden-Sydney College, the 10th oldest school in the country, I spent 5 years in Washington, DC working as a financial consultant. I also studied at The National Conservatory of Dramatic Arts and I'm a former actor who once moonlighted as a stand-up comedian. Many years ago, I authored APPLE PIE - The Real Ingredients for Buying and Selling Your Slice. John Engel - John Engel is a consistently top-producing agent in Fairfield County, Connecticut. John recently won the 2019 Realtor of the Year Award in New Canaan where he is currently the Chairman of the Town Council. John also brings an insight into internet-based marketing that is unsurpassed. Before going into real estate he was the founder of two successful internet businesses, Paper.com and e-Media for which he won the prestigious Entrepreneur of the Year Award. John spent his earliest years in Stuyvesant Town (before it was cool) and finished his growing up in New Canaan before attending Davidson College in North Carolina. After graduating, he served as an officer in the U.S. Army and spent some time leading a military intelligence platoon on the front lines of the first Gulf War. He currently lives in New Canaan with his wife Melissa and four children. In addition to hosting this podcast on the market each week, John Engel produces an easy-to-understand and in-depth monthly market analysis called the Market Report for the 16 towns of lower Fairfield County. You can find it here.

The Best Music Podcast #13 | Jason Camelio — Trombone, Guitar, Composition | Taking Berklee Global, The Importance of Collaboration! #JasonCamelio #Berkleeglobal #Berkleeespanol Website: www.jasoncamelio.com @jasoncamelio for FB, IG and Twitter @berkleeglobal for FB, IG and Twitter for Berklee Global Initiatives: linktr.ee/berkleeglobal @berkleeespanol for FB, IG and Twitter for Berklee Espanol and Berklee Latino Get a consultation for your near-real-time setup: info@jasoncamelio.com Jamulus software: https://jamulus.io/ Loopback.com: https://rogueamoeba.com/loopback/ DÚBH as co-writer/co-producer with Damien Bracken, guitarist and vocalist Releasing a vEP (video EP) Videos are available at www.dubhmusic.com Jason Camelio is a composer, arranger, songwriter, trombonist, guitarist, producer, and global educational programs and partnerships developer. He leads his jazz octet Bending Dogma; co-founded the Big Bang Evolutionary Big Band (BBEBB), a jazz composers' workshop big band; and is the co-leader, guitarist, and songwriter in the rock group DÚBH, The BBEBB, the Fenway Brass Art Orchestra (for which he also was the co-director).  Phil Wilson's Rainbow Band, Greg Hopkin's Concert Jazz Orchestra, and the Big Band of the National Conservatory of Music - Dominican Republic have performed his original compositions and arrangements. Jason has performed with artists and groups such as Kimo William's Kimotion, Creative Ensemble Collective (featuring Donny McCaslin and Jeff Taylor), Phil Wilson, Oscar Stagnaro, Jazz Composers Alliance Orchestra (JCA), Fernando Huergo Big Band, Jim Odgren, Jim Kelly, Ryles Jazz Orchestra, Big and Phat Jazz Orchestra, Boston Horns Big Band, Picante Salsa, Impacto Latino, Puerto Rico Latin Sound and many more. Recordings Jason co-produced, written, and/or performed on include Phil Wilson's From the Vault, Vol. 1 with Alex Leiva; and the full-length album "This is DÚBH". Recording performances include Dweezil Zappa's “Via Zammata', "Danilo Perez's "The Panama Suite”; Stephen Webber's “Stylus Symphony;” Mike MacAllister's "Finder's Keepers;” Christine Fawson's "Happy Talk,” featuring Phil Wilson; Chris Opperman's "Chamber Music From Hell with Kurt Morgan and Fernando Huergo's Big Band "The Possibility of Change". As the assistant vice president for global initiatives at Berklee, Jason works with a range of creative and passionate people from educational, business, and government entities; developing opportunities for skilled, talented, and motivated performing artists to reach their career goals. Facebook: https://www.facebook.com/thebestmusicpodcast Blog: https://bestmusiccoach.blogspot.com Twitter: https://www.twitter.com/thebestmusicpod Instagram: https://www.instagram.com/thebestmusicpodcast/ 0:00 Intro 3:33 Warm-up questions 4:36 CMFH: Playing trombone with algorithms 11:02 Playing with robot precision 14:24 DÚBH 21:00 Being a decent human 24:33 It takes a village to raise a track 27:00 You can benefit by being many things 28:28 Berklee Global Initiatives Team 34:45 Dan's first college experience at a Berklee Global Partner 41:10 Why we need tough music teachers 44:43 Finding success outside of the USA 48:45 Tips on finding your audience 53:11 Using diversity for success 59:44 The search for near-real-time virtual jams 1:10:00 Jamulus and Loopback 1:19:46 How to use Jamulus outside of the 500-mile radius 1:29:03 Lifestyle: Jetlag 1:32:19 Lifestyle: Airplane food vs. squirrel food 1:35:47 Lifestyle: How do people in your life support you? 1:41:27 Lifestyle: How do you define yourself? 1:45:52 Practice: On the road 1:48:14 Practice: Invent your own exercises 1:48:54 Practice: Maximum effective duration + segmentation 1:55:26 Performance anxiety 2:00:43 Don't overthink your music #musicians #songwriter #songwriters #composers #musicmajor #musicmajors #musiceducator #musiceducators #musiceducation #podcast #thebestmusicpodcast #clips #musicpodcast #singer #guitarist #guitarplayer #trombonist #trumpet #violin #viola #cello #bass #brass #trombone #mandolin #banjo #drums #percussion #timpani #marimba #oboe #sax #saxophone #clarinet #basoon #alto #soprano #tenor #piano #keyboard Logo, Intro Video, and Branding: Arron Leishman Audio and Video: Zach Ramey zacherylramey@gmail.com Dan's Thumbnail Photo: John Mollura Photography

In London on today’s date in 1896, the Czech composer Antonín Dvořák conducted the first performance of his Cello Concerto in b minor. Two years earlier, while teaching at the National Conservatory in New York, Dvořák attended the Brooklyn premiere of a Cello Concerto by the American cellist and composer, Victor Herbert. Herbert had been the principal cellist for the premiere performance of Dvořák’s “New World” Symphony at Carnegie Hall. Herbert was a superb player and the soloist in the premiere of his own concerto. After the concert, Dvořák rushed backstage, embraced Herbert, and told him his concerto was “splendid—simply splendid.” Inspired by Herbert’s example, Dvořák began a Cello Concerto of his own, completing it in just three months. It was the last work he completed during his three-year stay in America, but on the final page of his manuscript score, he wrote: “I finished the Concerto in New York, but when I returned to Bohemia I changed the end completely the way it stands here now.” The concerto was written for and dedicated to Dvořák’s countryman, the Czech cellist Hanuš Wihan, but due to a scheduling conflict, a British soloist named Leo Stern played its world premiere in London.

In London on today’s date in 1896, the Czech composer Antonín Dvořák conducted the first performance of his Cello Concerto in b minor. Two years earlier, while teaching at the National Conservatory in New York, Dvořák attended the Brooklyn premiere of a Cello Concerto by the American cellist and composer, Victor Herbert. Herbert had been the principal cellist for the premiere performance of Dvořák’s “New World” Symphony at Carnegie Hall. Herbert was a superb player and the soloist in the premiere of his own concerto. After the concert, Dvořák rushed backstage, embraced Herbert, and told him his concerto was “splendid—simply splendid.” Inspired by Herbert’s example, Dvořák began a Cello Concerto of his own, completing it in just three months. It was the last work he completed during his three-year stay in America, but on the final page of his manuscript score, he wrote: “I finished the Concerto in New York, but when I returned to Bohemia I changed the end completely the way it stands here now.” The concerto was written for and dedicated to Dvořák’s countryman, the Czech cellist Hanuš Wihan, but due to a scheduling conflict, a British soloist named Leo Stern played its world premiere in London.

Actor and newly named Director of Education at the National Conservatory of Dramatic Arts Natalie Cutcher taught us a lot about the Italian theater acting genre of "Commedia dell'Arte" - the highly physical and improvisational style of acting with roots in the 1500's. Also hear her entertaining story about her first foray into acting during her elementary school days, what is happening at the Conservatory, and her role in the sci-fi podcast entitled EOS10.

A precocious young composer, the teacher of Charles Ives, and a NON-nationalistic Scottish work undeniably influenced by Tchaikovsky (even though it may have been intended to do the exact opposite), are all headline descriptions of the topic for this episode of the American Muse podcast: Horatio Parker and his work _A Northern Ballad_. ###Background####Bio- Youngest of the “Boston 6”, Horatio Parker was born 1863 in Auburndale, MA, a rural area at the time, now subsumed by the Boston city limits. He studied with George Whitefield Chadwick at the New England Conservatory of Music (NEC) and eventually, like most serious musicians at the time, went to Europe and studied with Josef Rheinberger at the Royal Music School in Munich. A similar comment by both these teachers points to a characteristic that Parker carried throughout his compositional career. Chadwick, speaking of the young Parked, roughly aged 17-19, says:> He was far from docile. In fact, he was impatient of the restrictions of musical form and rather rebellious of the discipline of counterpoint and fugues. His lessons usually ended with his swallowing his medicine, but with many a wry grimace.- This quote probably says as much about the youthfulness of Parker as it does the fastidious Chadwick and his own workmanship-like character. Yet, while later studying with Rheinberger, also a former teacher of Chadwick, an observation by the Boston music critic William Apthorp would confirm Parker's temptation to go against the grain:> It is said of H. W. Parker that when he was a student in Munich under Rheinberger he was repeatedly introducing some new wrinkle, some unheard of effect... Certain of these musical inventions were distasteful to the master... and others were railed at playfully but secretly endorsed and even imitated by Rheinberger himself.- Upon returning to the United States, Parker moved to New York and bounced around several church positions. This is where Parker found the strongest market for his compositions, as any choral, organ, or piano work he wrote was quickly performed and highly praised. At the end of his time in New York, Parker spent one, lone year teaching at the famous National Conservatory of Music in America. Famous mostly because this is the school at which Antonín Dvořák taught during his highly publicized visit to the “New World”. And, that lone year, 1892-1893, overlapped with Dvořák's first year.- Eventually, Parker returned to Boston, having a substantial reputation as a composer, mostly of choral works. In an ironic twist, relating to the observations of Parker as a young man, musicologist and biographer William Kearns found in Parker's diaries that one of the reasons he left his church position was “problems of discipline among the boys in the Holy Trinity Choir... he complained that they are a ‘burden' to the choirmaster and expressed the hope that the adult mixed choir at his new appointment would leave him more time for the important work of composition.” I am sure Chadwick had a laugh about that!- Parker's stay in Boston only lasted one year, as he then took a teaching position at Yale. There, Parker developed a long legacy of composition students, punctuated by Roger Sessions and the inimitable Charles Ives. Parker developed _The History of Music_ course, served as editor of _Music and Drama_, served as dean of the School of Music, conducted and developed the New Haven Symphony Orchestra as both a professional ensemble and lab orchestra for Yale music students, all while continuing to compose. It was from this position that the rest of his life would be based. Also, this move towards academia would nudge Parker to analyze his own thinking about music, it's place in society, and cause him to make definitive statements on the subject. Near the end of his life, Parker wrote in the _Yale Review_:> In truth there are two very different kinds of taste. May I call them high and low to save space?... I think an enormous part of our national common progress is made by breaking down barriers between such types. Training the lowly to enjoy exalted music is known to be meritorious. I never heard anyone commend the reverse process of training the fastidious to recognize vulgar excellence.- The man comes full circle! A somewhat rogue youth, tamed by well-disciplined teachers, now embracing the diversity of musical options. And as can be seen, these phases manifest in his composition as well###Analysis of piece- And the main event: Parker's tone poem _A Northern Ballad_- Written over the 1898-99 winter, the symphonic poem was premiered by the New Haven Symphony, conducted by the composer himself.- Overall, Parker's pure orchestral output is limited, though what he did produce was compelling. _A Northern Ballad_ being one of his most mature works elicited quite a review from a New York newspaper in 1901: “The impression left by the whole is that if Mr. Parker would give up writing church music he has the stuff in him to turn out most effective secular material. His music is virile and full bodied, and its eclecticism is not greater than that of most music now being written.”- Now, the first question I had about the title of this piece was “what North is Parker referring to?” Apparently, it is nothing to do with America at all, but that of Scotland, a nod to his own Anglo-Saxon roots. There are some noticeable Scottish folk-like resemblances, and while one performance review describes the piece as quote “Celtic rather than distinctively Norse,” another notes its use of “Scotch melodies and instrumental coloring.” Rather than a nationalistic nod, it is possible this is a reaction to Dvorak's controversial statements about American music during his tenure as Director of the National Conservatory of Music in New York, where, as I mentioned earlier, Parker and Dvorak overlapped for one year. In his biography on Parker, William Kearns suggests that “Both its title and content suggest another step in Parker's move away from German influences”. Ok, maybe the title. But, content? Uh... as you will hear, and I will point out specifically, there are quite a few elements that bear a striking resemblance to Tchaikovsky's iconic _Romeo and Juliet_ overture. Yes, I know, Tchaikovsky is of course Russian, not German. However, Tchaikovsky's style is a composite of MANY different influences from all over Europe, not the least of which is German, Italian, and French, all in addition to Russian. So, I have to say I disagree with Mr. Kearns, but let's listen and see what you think.####Excerpts- The recording of Parker's _A Northern Ballad_ you will hear is performed by the Albany Symphony Orchestra under the direction of Julius Hegyi, recorded on the New World Records label in 1986.- Tchaikovsky's _Romeo and Juliet_ Overture recording is a video recording of the Orchestra della Radio della Svizzera italiana conducted by Leopold Stokowski.- Parker begins with an open sounding woodwind chorale, not displaying either urgency or haste, merely a state of ancient being.- This is unmistakably similar to Tchaikovsky's opening bars of the Romeo and Juliet Overture.- As Parker opens up the dynamic range of the opening section, he adds the strings and sweetness of melodic inflection- Again, this compares closely to the Tchaikovsky, in a similar moment of the introduction just as the sound increases from the opening darkness.- As Parker concludes the introduction, he moves immediately into a quick section introduced by a pithy riff in the strings that will become a main motive of the rest of the work. This quickly builds to a driving rhythmic undercurrent in the horns and violas, covered by another motivic remnant of the opening, played in canon between the violins and cellos. This finally arrives at the climax with a brass canon on the same rhythmic theme, and flows back down just as smoothly as it ascended.- Another very close resemblance to Tchaikovsky, the quicker section jumps out with a tight rhythmic motive, quickly builds tension with a canonic theme, and surges to the first climax.- Back to the Parker. As he closes out this opening portion of the Allegro, Parker he briefly introduces a light motive (light as in airy, free; not as in Wagner's “leitmotif”) in the flute and clarinet that while fleeting serves to break up some of the tension created so far. It is also quite probably a stylistic element Tchaikovsky would never have used in quite the same way. Parker then uses this lower moment to fake a recap, only to roar into a developmental section, alternating strings and winds with brass and percussion. At the very height of tension, Parker mixes declamatory chords and a decidedly off putting rhythmic configuration with an emerging melody in the horns, once again originating from the slow introduction of the piece itself.- As Parker finally comes down off the high of the development, he gives us a very partial recap of the slow introduction with some modifications. Then we get a brilliant and very creative surprise. We do get a restatement of the main Allegro section, but it has now taken on the more anxious rhythmic motive underneath a sped up recap of the INTRODUCTION melodic material in the brass! Generally speaking, an overture type piece will not always recap a slow introduction section. But in this case Parker has merged the two parts together to dramatic effect!- When the piece builds to a final moment of climactic tension, Parker utilizes another recognizable element, not EXCLUSIVE to Tchaikovsky, but certainly recognizable in many of his ballets, and, once again, his _Rome and Juliet_ Overture. As the melodic line in the strings develops and rises, the woodwinds and eventually horns alone begin a quick triplet pulse, giving a sense of nervous energy which drives to the overflowing moment at the top of the phrase.- And here is a corresponding moment in the Tchaikovsky, that heart breaking melody, a mix of love, lust, and impending death... that iconic moment when you say to yourself “oh THAT'S the piece!”- At long last Parker gives us a coda. Here he sets the complete work at peace, expanding the long melodic lines that have come before, filling out the orchestration, and arpeggiating chords in the harp, all lightening the air as if floating to it's final rest at the concluding bars.###Closing- Ok, to be completely honest, despite my many comparisons to Tchaikovsky's _Romeo and Juliet_ overture, I am NOT equating the two pieces in quality. I do believe the Tchaikovsky has more depth and ability to transport the listener to a superior experience. That is NOT to detract anything from _A Northern Ballad_ and Parker's individual way of accomplishing this same task. My purpose is to both compare and differentiate the two composers, their styles, and above all show how Parker's music is of high value to anyone willing to give it their time and ears. If you are one of those people I trust you will come to a similar conclusion, and live a better life for the experience.Music:“A Northern Ballad” by Horatio Parker from the album Parker: A Northern Ballad/Chadwick: Symphony No. 2. New World Records #80339.(p) & © 1986 Anthology of Recorded Music, Inc.Used by permission.https://www.newworldrecords.org/products/parker-a-northern-ballad-chadwick-symphony-no-2Overture to 'Romeo and Juliet'By: Pyotr TchaikovskyPerformed by: Orchestra della Radio della Svizzera italiana; Leopold Stokowski, conductorSupport this podcast at — https://redcircle.com/american-muse-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

a cura di Massimiliano SamsaAntonín Dvořák (1841 - 1902) - Sinfonia n. 9 in mi minore "Dal Nuovo Mondo"1.Adagio - Allegro molto2.Largo3.Scherzo. Molto vivace4.Allegro con fuocoPrima esecuzione: New York, Carnegie Hall, 16 Dicembre 1893*********Bedřich Smetana (1824 - 1884) - La MoldavaAllegro comodo non agitato (Le sorgenti della Moldava, Caccia nel bosco). Lo stesso tempo ma moderato (Nozze di contadini). Lo stesso tema (Chiaro di luna e Ridda delle ninfe). Tempo I (Le rapide di san Giovanni, La Moldava nel suo corso largo, Motivo del "Vyšehrad") (mi minore)Prima esecuzione: Praga, Sala Žofín, 4 aprile 1875Slovak Philharmonik OrchestraKurt Redel, direttoreL'ultima e più famosa sinfonia di Dvoràk fu composta fra il 19 dicembre 1892 e il 24 maggio 1893, a New York, e quivi presentata il 16 dicembre 1893 sotto la direzione di Anton Seidl. Il compositore si trovava negli Stati Uniti dal settembre del 1892, avendo accettato l'incarico di direttore del National Conservatory di New York che gli era stato offerto nel corso del precedente soggiorno americano (1890). Fin dal suo arrivo nel Nuovo Mondo, Dvoràk si interessò molto ai canti negro-americani e alle tradizioni popolari dei pellerossa: ascoltò con attenzione musiche e cerimonie, trascrisse melodie, fu attratto dalle potenzialità delle scale pentatoniche. La Sinfonia in mi minore, nata in quel periodo, fu largamente ispirata da quelle musiche come lo stesso Dvoràk dichiarò pubblicamente numerose volte. C'è però da dire che le assunzioni nella sinfonia di motivi presi dal canto popolare americano non sono mai dirette, ma fortemente mediate e filtrate attraverso la sensibilità europea. Non si trova cioè alcuna citazione precisa di melodie attinte dal patrimonio popolare indiano. La stessa celebre melodia del corno inglese che si ascolta nel Largo e che viene considerata una ninna-nanna o un canto funebre pellerossa, è originale di Dvoràk e, per certi aspetti, potrebbe anche avere origini boeme. La forma della sinfonia è ciclica, ricorrendo il primo tema iniziale dall'Allegro molto più volte nel corso dell'intera sinfonia. All'elegiaco Largo, in semplice forma strofica, fa contrasto il vivace Scherzo, più ampio del normale perché dotato di un doppio Trio centrale. Di esaltante imponenza è l'Allegro con fuoco finale, che contiene il tema più memorabile della sinfonia, lungamente sviluppato insieme agli spunti dei temi principali apparsi durante l'intera composizione.Testo tratto da: https://www.flaminioonline.it/Guide/Dvorak/Dvorak-Sinfonia9.html**********Il 20 novembre 1874 Smetana cominciò a lavorare alla Moldava - il più popolare dei suoi Poemi Sinfonici, dedicato al fiume che attraversa tutta la Boemia e si getta nell'Elba - e la completò in appena tre settimane. Erano passati soltanto pochi giorni da quando all'improvviso aveva perso l'udito quasi completamente, a causa di un sibilo incessante, che lo tormentò per il resto della sua vita e lo condusse infine alla follia: tuttavia continuò a comporre finché gli fu possibile, con una forza morale che lo avvicina a Beethoven.Testo tratto da: https://www.flaminioonline.it/Guide/Smetana/Smetana-Moldava1122.html

Today, Jeffrey Meldon & Chris Qualmann are joined first by Florida Gators Soccer head coach, Becky Burleigh. Becky has been the head soccer ⚽ coach since 1994 and coached many amazing #soccer players, including Abby Wambach, Heather Mitts, Danielle Fotopoulos, and Deanne Rose. On the second portion of the program, they are joined by #entertainer, #musician, #DJ, and host of Morning Coffee with ELIO, Elio Piedra! Elio was born in #Cuba and began his musical career at the age of ten at the Arts Conservatory Raul Sanchez. At fifteen, he gained entry into the National Conservatory of Music Carlos Hidalgo where he continued to hone his craft, even touring Cuba with the symphony orchestra. You can find out more about Elio Piedra and book him on his website: www.ElioPiedra.com

Disruption, Dislocation & DetailsThis week's show is built around what you need to do and who you need to get help from when things go wrong before, during and after you buy or rent a home."I want to buy that house but should I be concerned it is in a flood zone?""The co-op apartment above me had a major plumbing issue and now my apartment and fine art has been ruined by water damage - now what?""I don't want to live here anymore. Can I break my lease and leave?"  Two experts that know about disturbance:John Allen is going to talk with us about some areas of insurance that affect our buyers and what we can do to point them in the direction about protecting their most important purchase. Chubb Insurance is a firm that has built a reputation for going all the way for their clients. What does all the way mean? I found on the Chubb website that they "will pay to have your home repaired or rebuilt to its original condition - even if the cost exceeds your policy limit". It makes me wonder how can they afford to do that? We are going to ask John some key questions about what do we need to know about insurance for ourselves and our clients especially these days.Our second guest, Phil Horigan, is the founder of LeaseBreak.com, the source of short-term furnished rentals in New York City. Before Leasebreak hit the scene in 2013, furnished short term rentals were also very difficult to find because there was no one place people could go to see the thousands of available furnished short term rentals at any given time. You had to look on multiple websites in order to find temporary housing, or ask every landlord if they would allow furnished short term rentals (95% said no). Leasebreak's job is to provide one marketplace for all of these furnished short term rentals along with rooms for rent, leasebreaks, and sublets. Not only does Phil help you find a place, he helps you break your lease so you can go get a better place with your favorite realtor.About Boroughs & Burbs:We are excited to share with you our weekly wide-ranging zoom conversation with real estate experts from around our area. We will be joined by various guests each week, hosted by John Engel in Connecticut and Roberto Cabrera in New York. Roberto Cabrera - With 20 years of experience, I have been recognized throughout the industry for achieving outstanding results: Ranked nationally by REAL Trends as one of "America's Best Real Estate Agents” for avg. sales price of $4.350M. Sold a single family Townhouse faster than any other on the Upper West Side over $10M. I live with my wife and daughter on the Upper West Side, the neighborhood I have called home for the past 23 years. I was originally born in Richmond, Virginia and grew up in Maryland, just one mile south of the Mason Dixon line. After graduating with a degree in Mathematical Economics from Hampden-Sydney College,  I spent 5 years in Washington, DC working as a financial consultant. I also studied at The National Conservatory of Dramatic Arts and I'm a former actor who once moonlighted as a stand-up comedian. John Engel - John Engel is a consistently top-producing agent in Fairfield County, Connecticut. John recently won the 2019 Realtor of the Year Award in New Canaan where he is currently the Chairman of the Town Council. Before going into real estate he was the founder of two successful internet businesses, Paper.com and e-Media for which he won the prestigious Entrepreneur of the Year Award. John spent his earliest years in Stuyvesant Town (before it was cool) and finished his growing up in New Canaan before attending Davidson College in North Carolina. After graduating, he served as an officer in the U.S. Army and led a military intelligence platoon on the front lines of the first Gulf War. He lives in New Canaan with his wife Melissa and four children. 

Find out more on our website: https://bit.ly/3JufV4G Speakers: Dr Dionysios Demetis is a Senior Lecturer at the Business School of the University of Hull in the United Kingdom and an active research member of the Centre for Systems Studies. He holds a PhD in Anti-Money Laundering and Information Systems from the London School of Economics, a Masters from the LSE in Information Systems. He has a background in Physics from the University of Crete as well as a Degree in Music (Piano) from the National Conservatory of Athens. At the LSE, he taught on Information Systems Management, Information Systems Security and Research Methods. He has contributed on 3 major EU-funded AML research projects, two of which are on the intersection between Information Systems and Anti-Money Laundering (projects Spotlight and GATE), and another one on Information Society (FIDIS). His research on AML and Risk has been featured in the select bibliography of the United Nations, while his work on ‘Data Growth and the Consequences to Anti-Money Laundering' has won the Emerald Highly Commended Award from the Journal of Money Laundering Control. He has co-authored a large number of research deliverables on Anti-Money Laundering for the European Commission and the Future of Identity for the Information Society (FIDIS), a large scale 6-year EU-funded project with 25 academic/industry participants across the EU (including Microsoft and IBM), for which he was a Convener of its Steering Group. Additionally, he is the author of two books: Science's First Mistake (on Methodology, Systems Theory, and the creation of Epistemological Paradoxes alongside Prof Ian Angell), published worldwide by Bloomsbury Academic, and ‘Technology and Anti-Money Laundering: A Systems Theory and Risk-Based Approach', a monograph published worldwide by Edward Elgar. His book on AML entitled ‘Technology and Anti-Money Laundering' is the first book to provide a coherent theoretical structure for Anti-Money Laundering research and practice based on Systems Theory, and the first book to provide an Information Systems perspective on Anti-Money Laundering. Ian Angell is a forecaster of the socio-political and business consequences of Information and Communication Technologies, with over four decades of research experience into the impact of computerization on society. He is an Emeritus Professor of Information Systems in the Department of Management at the London School of Economics. Angell is well known for his pragmatic, down-to-earth and outspoken views on electronic commerce. However, his reputation is based on his radical no-nonsense support of Capitalism in the Information Age, which he portrays in his books The New Barbarian Manifesto, and Flight of the Golden Geese. Angell features routinely in the press and media worldwide (noteworthy are his views on “off-planet banking,” and the future of money), and he is a stalwart of the international lecture circuit - he has stepped in at short notice to cover for the absences of both President Mikhail Gorbachev (for Stern Stewart in Chartes) and Senator Edward Kennedy (for Zefer at Harvard). Angell has acted as a consultant on managing the complexity of information systems to a large number of companies, and to governments and the EU. He was a personal advisor to the Cabinet of Federico Mayor when the latter was Director General of UNESCO, and he has consulted for the Russian Ministry of Science, and the Malaysian National IT Council.

SHOW NOTES:  Trumpet Player Elmer Churampi, from Peru talks about how discipline has been key for his success as a musician and how having a positive mindset have help him overcome challenges in his career He began playing the trumpet when he was four years old with his father who is also a trumpet player that plays on street bands. Elmer was invited to be part of the National Youth Orchestra of Peru when he was seven years old and was a soloist three times with the National Symphony of Peru at the ages of 7, 8 and 9 performing Carnaval de Venecia, the Haydn Trumpet Concerto and the Arutunian Trumpet Concerto. When he was 10 years old, he was accepted to the National Conservatory of Music from Peru. Elmer was invited to be part of the professional orchestra of the Conservatory of Peru as a second trumpet when he was 12. At the age of 13, he played concerts with the Orquesta de los Reyes, the Opera Orchestra from Peru. In 2010 he attended the Interlochen Summer Camp with a full scholarship, playing first trumpet in every concert. Elmer was accepted to the Interlochen Arts Academy with a full scholarship and studied for three years with Ken Larson. During that time, Elmer won competitions including Young Artist in 2013, Jack Kent Cooke Award in 2013 and the Interlochen Young Artist Award in 2013. Elmer was also interviewed and featured on the radio program From the Top. He was invited by Mark Gould and Jen Lindemann to perform at the Banff Center of Arts in the brass festival in 2013. During his freshman year, Elmer won the concerto competition at New England Conservatory as well as the MTNA brass competition in Chicago. In 2015 and 2016, Elmer won first place in the National Trumpet Competition in the undergraduate division. He also won the Young Artist brass award in Texas. In 2017, Elmer was the soloist for the Boston Philharmonic in the South America tour, recently Elmer was the winner of the Boston Pops concert Competition. Elmer recently graduated from the New England Conservatory with a bachelors in trumpet performance under the instruction of Ben Wright and Tom Rolfs, Second and Principal Trumpet of the Boston Symphony Orchestra. Elmer has played with the Boston Pops, the Boston Symphony and the Chicago Symphony. Look up more information: Support the show: If you find value in this Podcast, please consider leaving a review on Apple Podcast. It would help me reach more people and I would be forever grateful! You can make a donation to the show via venmo @satsvara or Paypal punsuspensivo@gmail.com It helps me to keep creating content for you. You can also make a donation through anchor here to help me keep creating content for all of you https://anchor.fm/satsvarapodcast/support CONNECT WITH(guest) : * Instagram: @Elmerchurampitrumpet CONNECT WITH ME : * Instagram : @sat.svara * YouTube Channel : http://www.youtube.com/puntosuspensivo * Website: http:/www.satsvara.squarespace.com OTHER: This Podcast was distributed by Anchor: anchor.fm/app Cover art: Natalie Osorio Intro Music: Blossom - SOMM --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/satsvarapodcast/support

One of the most favorite pieces of classical music is Antonín Dvorák's (1841-1904) New World Symphony, loosely based on spirituals and Native American (along with some Czech folk tunes from his native country).  He wrote the piece shortly after arriving in America to serve as director of the National Conservatory of Music of America in New York in 1893.  The symphony was premiered in Carnegie Hall in December of that year.  The favorite movement of the symphony is the Largo slow movement, in no small way due to the words that William Arms Fisher, one of Dvořák’s students, appended to it in 1922.  It is equally famous in its original form and wearing its :”new clothes”.  This shows off many of the beautiful solo colors and soft sounds of the organ. (from 2019)

I’m Stefan Sittig and welcome to AMERICAN THEATRE ARTISTS ONLINE, where we talk with leading contemporary figures in American Theatre. You can’t think of Washington, D.C. theatre, without thinking of Frank Britton, a DC native who has been a part of the local professional theatre scene for nearly two decades. He is a graduate and faculty member of the National Conservatory of Dramatic Arts in Georgetown, and has appeared in productions with many area theatres including Arena Stage, Imagination Stage, Round House Theatre, Washington Stage Guild, Avant Bard Theatre, Rorschach Theatre, 1st Stage, NextStop Theatre Company, Theater Alliance and SCENA Theatre. He has appeared regionally at Cincinnati Playhouse in the Park, Milwaukee Repertory Theater, Firehouse Theatre in Richmond, Baltimore Shakespeare Festival, Virginia Shakespeare Festival, Burning Coal Theatre Co in Raleigh, NC, and off-off-Broadway at La MaMa ETC in New York City. In 2018, he earned the Helen Hayes Award (DC’s equivalent of the Tony) for his performance in JESUS HOPPED THE ‘A’ TRAIN.

Welcome to the Genius Design Transcends Time Podcast: Where Fashion and Health Connect. In today's episode Andrea Alexa Smith and world-renowned French criminologist Alain Bauer talk about fashion and crime and its role in social conditioning and belonging, mapping the supply chain and effective data control for promoting a healthier, safer and more sustainable world. Alain shares his unique insight into the focus of today’s fashion supply chain on protecting trademarks, reducing counterfeit products, preventing child labor, reducing usage of natural resources, reducing waste, preventing chemical pollution and illegal disposal of waste in other countries, and moving towards sustainability for the worker, the community and the environment. Alain says this crisis is the last alarm before the big one and that the big one is coming and face masks are here to stay. Alain says the fashion industry should feature the face mask on the runways this upcoming season and introduce better looking and more functional face-masks as the fashion designers have a huge influence on the public.Bio:Alain Bauer is a world-renowned French criminologist and former Security Advisor to French Prime Minister Michel Rocard and with almost every new administration since 1988. President Nicholas Sarkozy appointed him to reorganize the French system on security and strategy, focusing on the creation of a National Security Council. Alain is widely respected for his work against racism, anti-Semitism and discrimination. Alain is Commander of the Legion of Honour. Alain Bauer is a consultant to the New York Police Department, the Los Angeles Police Department, and the Surete du Quebec in Canada. He is member of the OECD Task Force on Charting Illicit Trade, and is Member of the EUROPOL SOCTA’s Academic Advisory Group.Alain was President of The National Private Security Regulation Council from 2012-2017, President of the Strategic Research High Council to the President and Prime Minister of the French Republic from 2009-2019, President of French National Crime Commission from 2003-2013, Co-president of the mission for the White Book on Public Security from 2010-2011, President of Working Group on Custom Files from 2009-2010, President of the Strategic Security Mission to the President from 2007-2010, President of the Police Files Control Group from 2006-2008, Vice-President of Francopol since 2009, Member of the Honorary Committee of the International League Against Racism and Antisemitism since 2003, Former member of the High Authority against Discrimination from 2005-2007, Former member of the National Commission for Human Rights from 2000-2003 and Former Vice President of the Sorbonne University in Paris from 1981-1988. Alain is Editor of the International Journal on Criminology and Member of The Advisory Board of Prism, Center for Complex Organizations, National Defense University, Washington DC. Alain’s criminological and strategic books range on topics from violence in insecure urban environments, global security, the enigma of Al Qaeda, Criminology in the United States, Criminology in France, global crime, history of medicine in criminal identification, statistics in criminals and victimization, terrorism, counter terrorism, transnational criminology, public security and strategy, video surveillance and protection, football, and violence in society today. Alain is Professor, Chair of Criminology, at the National Conservatory of Arts and Crafts, Chair of the Police Crimes and Sciences at the Security Management MBA, Senior Fellow at the Terrorist Center of John Jay College of Criminal Justice in New York, Senior Fellow at the Law and Political Science University in Beijing, and Associate Professor at Fudan University in Shanghai. http://www.alainbauer.com

Shock World Service 091: World Synth Experiments by Frankie Grimes 9/2/2020 Dublin, Ireland 1. Juan Amenábar - Los Peces (1957 - Chile) The first tape piece from South American composer Juan Amenábar Ruiz. It's an electroacoustic work based on Fibonacci sequence tape manipulations of recorded piano sounds. From Santiago, Chile, he was an engineer and composer and pioneer of electroacoustic music in South America. Studyied composition at the National Conservatory of Music in Santiago, later travelling to Bonn, Germany, where he studied with Stockhausen's teacher Wener Meyer-Eppler. 2. Iannis Xenakis - Concret PH (1958 - Greece) Iannis Xenakis once approached Messiaen in Paris for composition lessons, but Messiaen turned him down, saying “I think one should study harmony and counterpoint. But this was a man so much out of the ordinary that I said… 'No, you are almost 30, you have the good fortune of being Greek, of being an architect and having studied special mathematics. Take advantage of these things. Do them in your music'." Concert PH (paraboloïdes hyperboliques), was written to be heard as audiences entered and excited the Phillips Pavillion at the '58 World Fair in Brussels, Xenakis was also involved in building the structure, and Varese's Poeme electronique was played while people were inside the building. 3. Jorge Antunes - Auto-Retrato Sobre Paisaje Porteno (1969 - Brazil) Known as the originator of electronic music in Brazil, Jorge Antunes studied music and physics in Rio de Janeiro. Os Mutantes were building DIY guitar pedals, but Jorge Antunes was building himself oscillators, filters and modulators. He has been a professor at the University of Brasilia since 1973. 4. Delia Derbyshire - Falling (1964 - USA) Delia Derbyshire was a true electronic music pioneer. Working with the BBC Radiophonic Workshop, she created the famous Doctor Who theme. The Dreams was a collaboration with Barry Bermange, of voice recordings of people describing their dreams, set to an entirely electronic soundtrack by Derbyshire. 5. Otto Sidharta - Lorong (1984 - Indonesia) After post-graduate study in Amsterdam, Otto Sidharta returned to Indonesia to gain his doctoral degree and compose electronic music based around nature and soundscapes. Reissued by Sub Rosa in 2017. 6. Mammane Sani - Tunan (1979 - Niger) Mammane Sani was a pioneer of West African electronic music, and creator of much of the incidental music used for radio in Niger. This, his first and only album, electronic interpretations of traditional Wodaabe and Tuareg music, was recorded in two takes at the National Radio of Niger, and released on a limited casette by the Ministry of Culture . Reissued by Sahel Sounds in 2013. 7. Yishak Banjaw - Libey Ma'aduley (1986 - Ethiopia) Originally from Addis Ababa, Yishak Banjaw created this album at his house in Eritrea, on a Casio PT rented from a friend. He recorded the whole album live, directly to his tape recorder. Reissued by Teranga Beat in 2016 8. Gökçen Kaynatan - Lost Island (1973 - Turkey) A pioneer of electronic music in Turkey. While there was much experimentation in Turkey at the time, Gökçen pioneered the use of electronics. Reissued by Finders Keepers in 2017. 9. The Upsetters - Chim Cherie (1973 - Jamaica) Reggae and Dub had a huge influence on the development of electronic music, and none more that Lee Scratch Perry. It's hard to pick one, but this early dub from Pressure Sounds' 2010 compilation shows just how far ahead they were. 10. Codek - Closer (1981 - France) Originally release on Ivorian Coast label West African Music, this is the a-side from the well known ‘Tam Tam' single, recorded in France by Jean-Marie Salau. Notes end as we have reached max word count

@luijo is a DJ and record curator based in Santo Domingo, Dominican Republic. He has been delivering less commercial forms of house and techno since 2002. Luijo is the emblematical Deep Techno and Dub Techno artist in his country. Currently, he performs worldwide. He was the resident DJ of the now closed club “The Warehouse DR” the largest undeground house and techno venue in the Caribbean and home for more than 2000 dancers each weekend. The conceptual approach of his music concentrates on building atmospheres and creating plenty of space between sounds, constructing a very harmonious balance between sound and silence. He understands music and scenery as a whole. His insightful musical vision can drive from the most penetrating and perceptive deep techno sounds, to the warmest, soul touching house rhythms. The refined mysticism transmitted through his music is inspired from both visual and sensual aspects of nature. For him, music is the perfect linkage between the listener and his environments. He constructs a unique atmosphere that can be the perfect start off, as well as the peak time outbreak, envisioning a flawless combination between a core full of crispy dub sounds and smooth minimal touches around the edges. His powerful delivery of rare and elegant music is his well-known trademark. Luijo passed through various styles of music since an early age, such as Classical, Jazz, Baroque, Rock and Heavy Metal, receiving guitar lessons accordingly. For several years, he studied music composition and gained acceptance to the National Conservatory of Music. Collecting records, crate digging and learning about computer-based music became his prominent hobby. His record collection now holds more than a 3000 vinyl records, from house and techno to classical and piano solo. In the years 2003-2004 he collaborated as a volunteer with 97.5 FM Radio “Sonido Tribal” which earlier evolved as Visionario Radio Show, with guest mixes featuring underground house and techno. Luijo holds a residency at @mixcult, a Saint Petersburg based record label, radio channel and booking agency with a worldwide team of artists like: @mixcult, @andrey-pushkarev, @antonlanski, @lolapalmer, @havantepe, @idealist, @magicb, @kammerton, @humann, Captain Ulitka. It presents carefully selected Deep, Minimal, Dub Techno and House music on vinyl and digital. MixCult also serves as the parent label for @spitzerec, an ambient/drone inclined subdivision with fresh experiments from artists from around the globe. He is also part of Sub.Spiele Records, a label from Cologne, Germany, that combines both aesthetics and deep music. He has collaborated with several groups: Arcticgrooves, a non profit project that remains advertising free, by broadcasting sets online as well as live shows, Robotmusik, an international underground DJ collective and booking agency, Fuzion Mix Radio, Buenos Aires, an Argentinian based underground electronic music radio station, Modulate FM, London, another underground electronic music radio station, Dewtone Recordings, Canada, another deep and dub techno label that features artists from all around the globe, Deep Mix Bucharest in Romania, a radio station that features carefully selected DJ sets around Europe, Deeptakt Records, a German based label with selected dub techno music, Frisky Radio, a groundbreaking electronic music internet radio and DJ mix subscription service with the largest collection of exclusive, human-curated electronic music and Cyclic Records, owned by Mihai Popoviciu in Bucharest, Romania. In 2016 he joins the Northern Lights Tour by Andrey Pushkarev with some of the brightest stars of the electronic music including Dana Ruh, Varhat, Cab Drivers, Nima Gorji, tiNI, Mihai Popoviciu and many more. His touring has included cities like Santo Domingo, Miami, New York, Orlando, San Francisco, Tokyo, Nagoya, Osaka and Kyoto, Trakai, Barcelona and Madrid. Check it out, Stay Rave with #R13.

Episode 05 Show Notes 0:00 - Intro Thanks for listening!  We’ve enjoyed your feedback and would welcome more! 1:18 - Introducing a New Format Our typical format is to:  Define a musical term Make listening recommendations based on that term Answer a question from a listener Every 5th episode, we’ll take a slightly deeper dive into just one piece of music This could be an album, a musical, the score of a film, etc. Today’s piece is a symphony Our goal is to give you a few things to listen for in each movement of this symphony focusing on principles from our first four episodes: Melody Harmony Rhythm & Meter Timbre 2:37 - Introducing Dvorak’s 9th Symphony: From the New World Written by Antonin Dvorak (1841-1904), a Bohemian (Czech) orchestral composer Premiered by the New York Philharmonic in 1893 Dvorak traveled to America to be the director of the National Conservatory of Music in New York Wrote some of his most famous works while in the states (American String Quartet, his cello concerto, and this symphony) Dvorak opened the conservatory to African American students Dvorak believed that composers interested in capturing the American sound should study the music of Native Americans and African Americans Not very many people agreed with him at the time Dvorak wrote original themes inspired by Native American and African American traditions, not exact replications of themes from these cultures With the exception of Swing Low, Sweet Chariot Garrett compares Dvorak’s goal to the Foo Fighters’ concept behind their album/documentary “Sonic Highways” 7:31 - What is a symphony? A multi-movement work for the symphony orchestra Movements are sort of like small pieces of music that make up a bigger piece of music Garrett asks if movements are like chewing bites of a cake instead of shoving an entire cake into your mouth Amanda responds that it’s more like four cupcakes decorated slightly differently but all part of the same batch or set Garrett compares movements to chapters in a book Amanda compares them to books in a series of books because movements are usually pretty complete unto themselves Symphonies typically have 3 movements (early classical) or 4 movements (standard in the Romantic period), and they have a typical order: Fast Slow Dance Fast A note about when to applaud: If the work has multiple movements, try to follow along with the order of them and wait until the end of the last movement to clap If nothing else, wait until the conductor puts his arms all the way down and keeps them down… that’s usually the big ending! People used to clap whenever they wanted, but now we’re snobs about it 12:08 - Movement I. “Adagio - Allegro molto" Melody: Three important themes: A bold, fanfare-like theme (with a statement and a response) that is often played in the brass A minor melody with a simple accompaniment that is first played in the flute We’re not sure why, but Dvorak pointed to this theme as being influenced by indigenous music traditions. He may have thought the minor mode made it sound indigenous A theme that seems to be a pretty direct quotation and development of “Swing Low, Sweet Chariot” (an important African American spiritual) Rhythm: the 1st and 3rd theme have very similar rhythms… almost identical! Sidenote: Dvorak will introduce great themes during each movement of the piece, but he’ll also bring back previous movements’ themes (especially the opening theme and the Swing Low theme) Perhaps a drinking game could be played???  (Please drink responsibly.) One word description of Movement I: Amanda: Exploration Garrett: Outset 17:49 - Movement II. “Largo” The most famous movement from this piece Melody: Several years after it was written and premiered, a student of Dvorak, William Arms Fisher, added lyrics to the theme from this movement (“Goin’ Home”) Timbre: The Goin’ Home theme was originally written for clarinet! Dvorak changed it to English Horn because he thought it better matched the vocal timbre of Harry T. Burleigh, the student who exposed Dvorak to many African spirituals Amanda also points out that the timpani notes in this movement are another great timbre Harmony: A passage of big, open chords played by the brass section multiple times throughout this movement Michael Beckerman called this the “Once Upon a Time” figure One word description: Garrett: Nostalgia Dvorak was very homesick while in America Amanda: Yearning 24:32 - Movement III. "Scherzo. Molto Vivace" Rhythm & Meter: The meter is very obvious in this movement, and this is the only movement in triple meter (3 beats per measure) Melody: 3 more great melodies introduced in this movement Sidenote: The opening of this scherzo matches the opening of Beethoven’s 9th symphony’s scherzo!  They sound musically very similar. Dvorak did likely did this on purpose as a nod to Beethoven Even Sider Note: Amanda got the movement number wrong in the episode (womp, womp).  Beethoven mixes things up, so his scherzo is Movement II, not Movement III.  Idea still applies though! One word description: Garrett: Chase Amanda: Tension 28:26 - Movement IV. "Allegro con fuoco” Melody: One last big, bold theme Dominates the movement and later signals the end of the piece Melody: Garrett feels that this movement is a battle of all the themes!  See his list of theme battles below! Harmony/Timbre: The last chord of the piece Unique because the entire orchestra hits a chord together, but suddenly everyone cuts out and only the very soft woodwind section sustains Sidenote: The opening of this movement is… Jaws! John Williams borrowed this figure for his shark movie soundtrack On a case by case basis, as long as you properly attribute the material you’ve borrowed, most people in classical music don’t care about this type of borrowing... Just don’t try to pass anything off as your own work if it’s isn’t actually your own work! If Dvorak were alive at the time of Jaws, maybe he’d have wanted a writer’s credit? “You’re only as good as who you steal from.” - A tongue in cheek quote from a professor Garrett and Amanda both know One word descriptions: Garrett: Argument Amanda: Territorial Bonus: Garrett makes a claim for “Three Blind Mice” as another quotation Amanda believes this is purely coincidence 35:40 - How to Enjoy a Symphony (35:53) If you sit down at a concert and see a symphony on the program that comes from 1815 on, get ready for a long ride During the romantic period, symphonies were expanded and got longer and longer Dvorak's 9th symphony is around 42 minutes long! Amanda says that if people will go to a movie theater to watch three hours of Avengers, then they definitely have the capacity to enjoy 40 minutes of great music Garrett says it’s one crime show episode Amanda says it’s three Spongebobs (37:42) Expect thematic development! When you hear a melody, try to hold onto it because it will likely come back again Expect the composer to transform and expand on the themes you hear (38:29) Don’t expect to stay completely engaged and focused for 40 minutes straight Amanda points out that not even the members of the orchestra are fully, completely focused for the entire length of the piece Tuba player is a great example because that person only plays the 2nd movement (and plays less than 20 notes) Dvorak wrote highs and lows, so it’s okay to let your attention ebb and flow a little bit Garrett compares some parts to background info/setting in a novel Amanda compares it to description in a novel It’s all important, but it doesn’t all require the same level of engagement If someone falls asleep, only wake them up if they start snoring Even trained pros want to be whisked away by the music This is musical storytelling!  Let it take you where it wants to go (41:20) Expect repetition Composers have to walk a fine line between variety and repetition Repetition can ground you, but too much can bore you Variety is the spice of life, but too much spice ruins dinner There are two types of repetition: exact and non exact Exact repetition:  “This piece of music worked once… it’ll work again!” Tension and release (repetition can add to either) The composer is saying, “I want you to remember this.” Non-exact repetition: A timbral change: maybe the same melodies and harmonies but played by different instruments or different groups of instrument Accompaniment changes: Rhythms used might change, additional parts might come in If you hear the same melody, something might have changed elsewhere in the orchestra Ask yourself if it's different and try to figure out what changed (44:10) Nothing beats seeing a symphony live Amanda: the best sound system in the world can’t compete with the weakest concert hall Amanda: I can’t appreciate the difference between 20 vs 50 vs 100 in an orchestra on youtube If the music isn’t thrilling you too much at home, it may be that you need to go see it live Think of it as not just the music but the entire experience Experience it in the right context A comparison to movies You wouldn’t judge a movie based off the one time you saw it using a portable DVD player and broken earbuds during a car ride If you’ve heard someone say, “Oh, that’s a movie you have to see in theaters,” that’s how Amanda feels about symphonies Garrett points out that Twister goes from epic to cheesy real fast when you watch it at home instead of in theaters There’s music that’s meant to be in the studio and is hard to replicate live, but the symphony is the opposite. Witness the team effort! If it’s an educational group, remember that they’re still acquiring the skills they need in order to become the pros If you’re under 80, people will be so excited to see you at a symphony concert! (47:33) You can enjoy this! The music still has value It’s up to the musicians and people involved to show you the value Once you see it, there’s nothing stopping you from enjoying this music Don’t worry that other people are understanding the music more than you are You know a lot about the music you love, and you can appreciate cool experiences!  Seek them out! Garrett advises you to ask us about concert etiquette and to seek out casual concerts More and more pro orchestras are putting on less formal concerts 49:04 - Sign Off A reminder that we’ll keep this format reserved for every 5th episode Feel free to recommend a piece you’d like us to dive into Leave us a review if you’d like! Shoot any questions towards our social media or gmail Share the podcast with a friend!  We bet you know someone who loves music and would like to know a little more about it. Help make Garrett famous.   Spotify Playlist Special thanks to OpenMusicRevolution.com for our intro and outro music and to the guys at Better Podcasting for being such great guides to us.  Special thanks to you, our listeners, too! Visit our Website! Follow us on social media! Instagram: @uptoyourearspodcast  Twitter @uptoyourears  Email us! uptoyourearspodcast@gmail.com Additional Resources: James, Jonathan.  “Dvorak Symphony No 9 - From The New World: Inside the Music”. YouTube video, 3:35. Posted October 2016. https://youtu.be/rjeskgwj78s. Roitstein, Andrew, and Nichole Veach. “Antonin Dvorak's New World Symphony: In Search of an American Voice.” Antonin Dvorak's New World Symphony: In Search of an American Voice. New York, NY: New York Philharmonic, 2017. https://nyphil.org/~/media/pdfs/education/1617/curriculum-guide-mshs-final.pdf?la=en Supka, Ondrej. “Symphony No. 9 ‘from the New World.’” Antonin Dvorak. Accessed November 1, 2019. http://www.antonin-dvorak.cz/en/symphony9. Weilerstein, Joshua. “Sticky Notes: The Classical Music Podcast.” Season 4 Premiere - Dvorak Symphony No. 9 "From the New World", Joshua Weilerstein, 30 Aug. 2018, http://stickynotespodcast.libsyn.com/podcast/season-4-premiere-dvorak-symphony-no-9-from-the-new-world

CARL THIEL is an award winning composer and producer who splits time between Los Angeles and Austin, Texas. Born into a European family and raised in Mexico City, he was exposed to a rich and wide variety of cultural experiences and musical styles from a very early age. At age 6, he began taking classical piano lessons under the tutelage of Carlos Alcaráz -from the National Conservatory of Music- and within a couple of years, he was already improvising and composing his own music. Just a few of Carl Thiel's recent projects include: "From Dusk Till Dawn: The Series”, “The Teller and the Truth”, Rooster Teeth's sci-fi comedy "Lazer Team 2", and "Diving Deep: The Life and Times of Mike deGruy". He recently completed the score to "Seis Manos", an exciting new Netflix original Animé series, produced by the same team that brought you "Castlevania".SEIS MANOS is an American adult animated web television series created by Brad Graeber and Álvaro Rodríguez. The story is set in the fictional town of San Simon in 1970 Mexico, where three orphaned martial arts warriors join forces with a DEA agent and Mexican Federale to avenge the death of their beloved mentor. The series debuted on NETFLIX on October 3, 2019.In this episode, Carl Thiel shares what techniques and instruments he used to musically blend Chinese and Mexican cultures together in his original score. He also dives into several key character themes and action sequences and details a number of the unique instruments he employs to help create, what he calls, a "melting pot" of a score. ANNOTATED TRACKS / SEGMENTS02:25 - Seis Manos - Main Titles03:43 - Be a Flower, Be Nothing05:28 - Brister06:40 - Serrano's Demise 11:17 - Chi Sau TrainingSOUNDTRACKThe original score for Seis Manos was released on October 4, 2019, by Milan Records and can be purchased at Amazon.com, iTunes or streamed on Spotify and Apple Music.MORE ABOUT THE COMPOSERSYou can find out more and hear more music by Carl Thiel at his official site, https://carlthiel.com/ and you can follow him on Twitter @cutmastaABOUT THE ANNOTATORProduced by Christopher Coleman (@ccoleman) and you can Find more episodes at THEANNOTATOR.NET or you can subscribe via iTunes, Stitcher Radio or wherever you find quality podcasts.FOLLOW USTwitter @audioannotatorFacebook @TheAnnotatorInstagram @TheAnnotatorEmail theannotatorpodcast@gmail.com

Xemiyulu Tapepechul (she/ella, @XemiNeSiwayul) is a Two-Spirit actor, playwright, author, playwright, and educator. In 2015, she founded Nelwat Ishkamewe, a Two-Spirit (Native American Transgender, Intersex, Asexual, Queer+) collective of artists, healers, educators, and advocates, uplifting Two-Spirit Nation through art & land justice. She trained at the National Conservatory of Dramatic Arts, and has been featured on various DC Theatre productions, including Nelwat Ishkamewe's The Cosmic Twins, Protect & Preserve, and Siwayul (Heart of a Womxn). She is the 2018 Champion of the Ask Rayceen Show Annual Poetry Slam Competition, the 2018 "Hispanic Heritage Legacy Award" from the Latino GLBT History Project, the 2019 "40 Under 40: Queer Women of Washington" by the DC Mayor's Office of LGBTQ Affairs, the DC Mayor's Office of Women's Initiatives, and the Washington Blade, and the 2019 Engendered Spirit Award from the Capitol Pride Alliance. Host: Emily Stamets (@theemilystamets, emilystamets.com) Original music: Jaclyn S. O'Connor Graphics: Tiffany Spence

Throw a stone at the last thirty years of television, and chances are you'll hit a show Kurt Farquhar has written music for. One of the most prominent (and prolific) African-American TV composers of the last three decades, Farquhar's hand has touched everything from The King of Queens to Soul Food, Moesha to Sister, Sister, and more. The seven-time BMI winner has been dubbed "the musical voice of BET," but he's scored dozens of other shows for networks like NBC and CBS. Right now, for instance, he's pulling triple duty on three shows that couldn't be more dissimilar - CBS's sitcom The Neighborhood, American Soul (BET's groovy '70s drama about the origins of Soul Train), and CW's street-level superhero series Black Lightning. Despite that heavy workload, Farquhar's sound - borne of an early music education at the National Conservatory of Music and studying under percussionist Johnny Lane - remains incredibly dynamic and diverse, from the R&B reminiscences of American Soul to the hip-hop-laced superhero spectacle of Black Lightning. Farquhar was kind enough to sit down and talk with me about his history with music, his roots in Chicago, working on the films of acclaimed character actor and director Bill Duke, and putting in thirty years' worth of television composition with no signs of slowing down. (More of a Comment, Really… is a proud member of the Chicago Podcast Coop. Thanks to Overcast for sponsoring this episode!)

Lara and Amr sit down with the talented vocalist and musician, Huda Asfour. Huda is a performer, composer and engineer who has worked, studied, and collaborated with artists in Tunisia, Gaza, Ramallah, Egypt, Lebanon and the United States. Huda’s formal training in music began in Tunis at the age of 13, though her musical origins began much earlier, among a family of musicians. In 1996, she joined the National Conservatory of Music in Gaza and later, in Ramallah she was mentored by Khaled Jubran at the Edward Said Music Conservatory. In 2002, Huda joined Al Urmawi Center for Mashriq Music. As part of her tenure at Al Urnawi, Huda attended multiple workshops for young musicians covering the fundamentals of Irani and Indian music as it relates to Maqam. Huda also trained under the famous Qanoun player Said Rajab in Cairo, Egypt. In 2004, Huda, together with Tamer Abu Ghazaleh, co-founded Jehar band, a musical experiment which molded Arabic folk and the classical Levantine Arabic repertoire from their traditional presentations into reinterpretations that would be relatable to young Palestinians emerging from the siege of the Second Intifada. Her story and work are featured on her website at www.hudaasfour.com. Her latest album Kouni, which can be heard throughout this episode, are available for download at soundcloud.com/asfoura and asfoura.bandcamp.com Happy listening :) -HyphenatedArabs

In 1892, Antonin Dvorak came to America to direct the new National Conservatory of Music in New York City.  For three years he would lead this progressive school and its diverse student body in a quest to find the authentic American sound.  Could they convince America that the source of their national music was right … Continue reading Antonin Dvorak and the New World →

Tom Service examines Dvorak's Symphony No 9, "From the New World", one of the BBC's current "Ten Pieces III". Dvorak told the New York Herald in 1893 that "a serious and original school of composition should be established in the United States of America" which he hoped would have at its foundation black composers, like those he met, taught, and whose music he promoted at the National Conservatory of Music of America. Alongside Dvorak's Symphony "From the New World', Tom explores the lesser known Symphonies of three black composers: William Grant Still, Florence Price and William Dawson and how they realised Dvorak's dream for American music and used the symphony to create new languages and communities of listeners.

I denne podcast tager lyd- og billedkunstner Johanne Lykke Poulsen dig med til Athen, hvor hun finder inspiration til sin lydkunst fra sirenernes sang i den græske mytologi. Mellem turister, sælgere, migranter og antikke ruiner leder Johanne Lykke Poulsen efter forbindelsen mellem kunst og natur, sang og hav, og en sprække til den guddommelige skabelse. I Athen opsøger hun den danske filolog Chresteria Neutzsky-Wulff, som fortæller om sirenernes mytologiske væsen samt den græske sangerinde Savina Yannatou og den græske lydkunstner Yorgia Karidi, der begge fortæller om deres arbejde med sang og lyd. Medvirkende: Johanne Lykke Poulsen arbejder med sangstemmen som form og materiale. Med vokale toner skaber hun abstrakte lydlandskaber, der placerer sig i et spændingsfelt mellem lyd og musik. Johanne Lykke Poulsen har dimitteret fra Det Jyske Kunstakademi i Aarhus (2015) og været artist-in-residence ved Residency Unlimited i New York (2014). Hendes seneste solo-udstilling, Tide Room, blev udstillet i Aarhus i samarbejde med Rendezvous Curators maj 2016. En række af Johanne’s nyeste værker indgår i duo-udstillingen, Milk, der åbner den en 26. august 2016 ved Schillerpalais i Berlin. Savina Yannatou er uddannet klassisk sangerinde fra National Conservatory i Athen og Guildhall School of Music and Drama i London. I mere end 30 år, har hun fortolket både græske og mediteranske sange. Hun har samarbejdet med en række musikere og komponister og er blandt andet anerkendt for sit vokal-arbejde i gruppen Primavera en Salonico. Yorgia Karidi er en græsk billed-, lyd- og performancekunstner. I lyd arbejder hun med elektroakustiske collager eller forløb, der blandt andet inkluderer improviserende sang, field recordings og musik. Hun har studeret teater ved The Department of Philosophy of The University of Patras og har en MA i Digital Multimedia fra Athens School of Fine Arts. Chresteria Neutzsky-Wulff er cand.mag. i klassisk filologi fra Aarhus Universitet og fjernunderviser i klassisk græsk ved Københavns Universitet. Hun arbejder desuden med mytologi og myteanalyse, et emne, hun har skrevet flere artikler om. Kernen i Chresterias arbejde med mytologi er antagelsen af, at myter – eller rettere det mytologiske sprog – er en måde at beskrive religiøs teknik og den religiøse oplevelse på. Derfor har myter også deres helt egen logik, som vi også kender i en senere form fra folkeeventyr. Analysemodellen er udviklet af Erwin Neutzsky-Wulff og beskrevet i hans forfatterskab, senest i det faglitterære værk ”Religion”. Podcasten er blevet til i samarbejde med kunsten.nu og med støtte fra Statens Kunstfond, Dansk Komponist Forening og Koda. Tilrettelæggelse: Johanne Lykke Poulsen Redaktion: Anne Neimann Clement

In June 1891, Antonín Dvořák was invited to direct the newly-formed National Conservatory in New York City. Leaving four of their six children behind in Bohemia, Dvořák and his wife made their new home on East 17th Street in cacophonous Manhattan, just a few blocks from the new school. Through his diverse student body and the advent of the polyrhythmic ragtime, Dvořák first encountered African American and Native American music. He was particularly taken with those cultures’ spirituals. He borrowed musical elements from diverse popular sources for many of his compositions, including his Symphony No. 9, From the New World.

Each day during February, we posted a “Classical Music Moment in Black History” on our Facebook page to show the contributions of black artists to classical music throughout history. We’ve collected our twenty-eight February entries in this article. By the way, these entries were originally part of an episode of the Classical Classroom podcast (audio included below).  Composer Chevalier de Saint-Georges.  In the mid-to-late 1700’s, Chevalier de Saint-Georgeswas an Afro-French composer who was also France’s best fencer. After Napoleon re-instituted slavery in France, de Saint-Georges’ works were rarely played, though lots of his work has been recorded since the 1970’s. In 1803, virtuoso violinist George Bridgetower, who had studied under the leader of the Royal Opera, played with Beethoven. Beethoven then dedicated his Violin Sonata No. 9 in A Major to Bridgetower, and they premiered the piece together. Later, the two had a falling out – something to do with a lady – and Beethoven changed the piece’s name. It’s now called the Kreutzer Sonata. Poet Rita Dove wrote a book about Bridgetower and Beethoven’s relationship. Soprano Elizabeth Taylor Greenfield, “The Black Swan”.  In 1853, soprano Elizabeth Taylor Greenfield – people knew her as the “Black Swan” – made her New York debut at the Metropolitan Hall. While she could sing, her skin color would have denied her entrance to the concert. But that didn’t slow Greenfield down: In 1854, this classy lady sang a command performance before Queen Victoria. Composer Scott Joplin.  In 1868, innovative composer and pianist Scott Joplin was born in Texas. Joplin wrote 2 operas, one ragtime ballet, and 44 original ragtime pieces before he died. Composer Harry Thacker Burleigh.  From 1892-95, Antonin Dvorak – not black as you might know, but stick with me – was director of the National Conservatory of Music in New York City. The woman who founded the school, Jeanette Thurber, opened the school to men, women, blacks, and whites – pretty unusual for that time. Dvorak felt that a true American style of music should grow out of African- and Native-American music. Harry Burleigh, one of the earliest African-American composers and one of Dvorak’s pupils, introduced Dvorak to American spirituals. In 1898, Afro-British composer Samuel Coleridge-Taylor wrote the musical Hiawatha’s Wedding Feast. It was wildly successful during his lifetime. Coleridge-Taylor also visited the States and inspired American blacks to become composers. Tenor Roland Hayes.  In 1921 tenor Roland Hayes gave a performance before King George V of England. In 1923, Hayes debuted at Carnegie Hall. He was the first African American man to become famous worldwide as a concert performer, and he became one of the world’s greatest Lieder interpreters. In 1926, Undine Smith Moore graduated cum laude from the Juilliard School. She was the first graduate of Fisk University, a historically black school, to receive a scholarship to Juilliard. According to the Richmond Times-Dispatch, Moore became “…one of this country’s most prominent composers and arrangers of choral works, many based on or inspired by Negro spirituals and folk songs.” Composer William Grant Still.  1931 was the year William Grant Stillbecame the first Black American composer to have a symphonic work performed by a major American orchestra. The Rochester Philharmonic performed his Afro-American Symphony. Stills had another big “first” in 1949 when his opera Troubled Island – based on a libretto by Langston Hughes – was performed by the New York City Opera, becoming the first opera by a black person to be performed by a major company. William Grant Still was also the first black man to conduct a major orchestra (LA Phil) and he won 2 Guggenheim fellowships. In 1933, Caterina Jarboro became the first black woman to appear in a leading role with a major American opera when she again played the title role in Aida with the Chicago Opera.  Composer Florence Price. Also in 1933, the Chicago Symphony Orchestra performed Florence Price’s Symphony in E Minor. She was the first female African-American composer to have a symphonic composition performed by a major American symphony orchestra. Baritone Todd Duncan and Anne Brown. Culver Pictures/file 1935. In 1935, George Gershwin’s Porgy and Bess opened on Broadway, with baritone Todd Duncan as Porgy, and sopranos Anne Brown as Bess and Ruby Elzy as Serena. In 1945, Todd Duncan became the first African American to sing with a major American opera company, when he played the role of Tonio Leoncavallo’s I Pagliacci with the New York City Opera. Contralto Marian Anderson In 1939, both the Daughters of the American Revolution and the District of Columbia’s Board of Education refused to allow contralto Marian Anderson to use Constitution Hall and Central High School auditorium for a recital respectively. So, she gave her concert on the steps of the Lincoln Memorial instead, drawing a crowd of 75,000 – not to mention the millions who listened on the radio. (To read more about the performance, go here.) Lyric Soprano Camilla Williams (l) with Margery Mayer. Courtesy of Fred Fehl/New York City Opera. Also in 1945, lyric soprano Camilla Williams signed a contract with the New York City Opera in 1946, becoming the first African American to do so with a major American opera company. She debuted with the role of the heroine in Madama Butterfly. And in 1947, soprano Helen Phillips was the first African American to sing on the stage of the Metropolitan Opera. In 1951 William Warfield and Muriel Rahn were the first black concert artists on TV – they appeared on The Ed Sullivan Show. Soprano and educator Dorothy Maynor. In 1953, soprano and educator Dorothy Maynor was the first black person to sing at a US presidential inauguration when she performed the national anthem for Dwight Eisenhower. Composer Margaret Bonds. Wikimedia Commons. Margaret Bonds, who frequently collaborated with Langston Hughes, was one of the first black composers and performers in the US to gain recognition. In 1965, when the Freedom March on Montgomery, Alabama took place, she wrote Montgomery Variations for orchestra, dedicating it to Martin Luther King, Jr.. For more information about Ms. Bonds, check out this piece from WBUR 90.9 FM. Conductor Henry Lewis. In 1968 Henry Lewis became the first black conductor and music director of a major American orchestra when he was appointed to the New Jersey Symphony Orchestra. He was also the first African-American to conduct at the Metropolitan Opera. 1972 saw Scott Joplin’s opera Treemonisha finally premiere – 55 years after his death – at the Atlanta Memorial Arts Center. In 1976, Joplin posthumously received a special Pulitzer Prize for his contributions to American music. Trumpeter Wynton Marsalis. Photo by Luigi Beverelli. Courtesy Mr. Marsalis’ website. In 1983 and 1984, trumpeter Wynton Marsalis became the only artist ever to win Grammy Awards for both jazz and classical records. He won the Pulitzer Prize for Music in 1997 for Blood on the Fields, a three-hour oratorio for 3 singers and a 14-member ensemble. The oratorio follows the story of an African couple sold into slavery in the US. In 1987, conductor Paul Freeman became Founding Musical Director of the Chicago Sinfonietta. This orchestra’s mission is “Musical Excellence Through Diversity”. Dr. Freeman served for 24 years. Violinist Aaron Dworkin. Courtesy of the MacArthur Foundation website. Violinist Aaron Dworkin founded the non-profit Sphinx Organization in 1996 to cultivate the development of young black and Latino musicians in the classical music profession. The Sphinx Competition, spotlights young black and Latino string players on a national platform. Composer George Walker received the Pulitzer Prize in 1996 for Lilacs for Voice and Orchestra, a work commissioned by the Boston Symphony Orchestra as part of its tribute to tenor Roland Hayes. This was the first time a living African American won the prize for music. Mezzo-Soprano Denyce Graves. Courtesy of the artist’s website. In 2001 mezzo-soprano Denyce Graves sang “America the Beautiful” and “The Lord’s Prayer” at the National Day of Prayer and Remembrance Service at the Washington National Cathedral following the September 11 attacks. James DePriest conducting the Oregon Sympony. Courtesy of the Sympony’s website. In 2005, James DePriest, one of classical music’s most accomplished conductors who at the time of his death in 2013 was Laureate Music Director of the Oregon Symphony and Director Emeritus of Conducting and Orchestral Studies at the Juilliard School, received the National Medal of Arts. Tim Brooks won a 2007 Grammy award for Best Historical Release with his Lost Sounds: Blacks and the Birth of the Recording Industry, which includes performances by Harry Burleigh, Roland Hayes, and Edward Boatner. Tenor Noah Stewart. Photograph: Mitch Jenkins Mitch Jenkins/PR. In 2012, tenor Noah Stewart became the first black musician to top the UK Classical Album Chart. Of course, we had to leave a GAGILLION people out of our daily Black History Month Facebook posts because (duh) there are just not enough days in the month. Like Jeffrey Mumford, Awadagin Pratt, David Baker, Imani Winds, André Watts, Chelsea Tipton, Thomas Wilkins, Morris Robinson, Lawrence Brownlee, Valerie Coleman, Rachel Jordan, and Tona Brown. And Daniel Bernard Roumain. And Black Violin. And… you get the idea!  But, blacks are still one of classical music’s most under-served communities. As of 2011, according to the League of American Orchestras, only 1.83% of our nation’s orchestras’ makeup was black. Aaron Dworkin has pointed out that African-American composers are often missing in traditional classical music station programming. But people like Dworkin and many others are working to change that!  We hope you’ve enjoyed learning about all of these awesome artists.

Life's Issues with Lloyd Rosen with special guest Phyllis Helene &Laura Reiff Phyllis Helene is a graduate of the National Conservatory of Dramatic Arts, Center for Media Arts, Hollywood Film Institute, American University of  NLP Life Coach Program and American Union of NLP Certified NLP Master Practitioner Program. Phyllis is also the Host of RCR (Raising Consciousness Radio blogtalkradio.com/rcrwithhelene.)  She has written several screenplays and stage plays. She created the  Raising Consciousness Stage Play Collection to address the issues that young adults  face today. The play series consist of two act plays which include: Not By The Wealth, Tested Hearts,  and Judged-By The Company. E-books available at abookisyourbestfriend.org Laura Reiff is dedicated to removing the negative stigma of learning disabilities by planting the seeds of self-esteem through compassionate understanding. It is with this in mind why I created “The Adventures of Naomi Noodles,” the first in a series of children's books designed to walk you through the potentially scary process of learning to deal with a child with learning disabilities, and how this can be overcome WITH your child, with you as an active participant in their growth and success. I'm also an avid fitness and nutrition enthusiast, key elements of which directly affect your child's behavior. http://about-special-education.com/

Anthony is currently the is the Managing Director of Alternative Business Consulting (ABC) Solutions, a firm dedicated to providing entrepreneurs and small business owners with an array of development services in management, marketing, finance and information technology in order to achieve growth and overcome business "growing pains". I am also the Center Director for Texas Business Centers, a virtual executive office and business incubator located in Denton, Texas that provides affordable office solutions and business development services to start-up and small businesses. Letricia Hendrix is a mother, actor, writer, and film and television camera operator living and working in the Washington DC area.  She also has an interest in producing Documentaries and Short Films. Letricia Hendrix is a professional actor and graduate of the National Conservatory of Dramatic Arts in Washington, DC. She has appeared in several productions, such as HBOs The Wire, The Vagina Monologues, and Death and the Kings Horseman at Washington Shakespeare Company. She has done industrials for companies such as A&E Television, Discovery Channel and Discovery Classroom, The History Channel, Booz Allen Hamilton, and the Federal Judicial Center.