Podcasts about national music camp

SynopsisSummer music camps offer young talent a chance to rub shoulders with seasoned professional musicians and to perform both old and new musical works. On today's date in 1977, American composer, conductor and educator Howard Hanson led the premiere of his Symphony No. 7 at the National Music Camp in Interlochen, Michigan. Hanson subtitled his Seventh A Sea Symphony, and it includes a choral setting of passages from Walt Whitman's Leaves of Grass. For 40 years, Hanson headed the Eastman School of Music in Rochester, New York. And years later, Eastman professor Augusta Read Thomas follows in Hanson's footsteps as composer-in-residence at various summer music camps. On today's date in 2001, at the annual Aspen Music Festival in Colorado, her piece Murmurs in the Mist of Memory received its world premiere.Speaking of music in general, Thomas says, “Music of all kinds constantly amazes, surprises, propels and seduces me into a wonderful and powerful journey. I am happiest when listening to music and in the process of composing music. I care deeply that music is not anonymous and generic or easily assimilated and just as easily dismissed.”Music Played in Today's ProgramHoward Hanson (1896-1981): Symphony No. 7 (A Sea Symphony); Seattle Symphony and Chorale; Gerard Schwarz, conductor; Delos 3130Augusta Read Thomas (b. 1964): Wind Dances; Louisville Orchestra; Lawrence Leighton Smith, conductor; Albany/Louisville First Edition 010

This is an interview with renowned Jazz drummer Jon Krosnick, who has been a significant figure in the music industry for several decades. Krosnick began playing piano at age 6 and drums at age 9. Most of his formal musical training occurred during ten summers spent at the National Music Camp in Interlochen, Michigan. There, he studied classical percussion and jazz drumming, and he performed with orchestras, concert bands, percussion ensembles, jazz bands, and backup bands for musical theater performances. Recognizing his accomplishments during those years, Jon was awarded the NMC Jazz Scholarship, and he won the High School Division's Concerto Competition. Jon studied classical percussion at Interlochen with many noted instructors, including Niel DePonte (Oregon Symphony) and Scott Stevens (Metropolitan Opera Orchestra).  While studying classical percussion with Fred Hinger (Metropolitan Opera Orchestra) in high school, Jon won the Philadelphia Orchestra's Student Concerto Competition and performed with the orchestra... --- Send in a voice message: https://podcasters.spotify.com/pod/show/backstagejazz/message

In 1947, a 13-year-old boy from New Rochelle, NY came to Interlochen's National Music Camp because he was entranced by a photo of a young female harpist in the camp's brochure. Jerry Bilik didn't find the harpist that summer, but he did find a love of music that transformed his entire life. He originally enrolled in music composition course because the classroom's windows had a clear view of the girls' tennis courts. After hearing a performance of Mozart's Requiem that summer, Bilik fell in love with the power of music and decided to dedicate himself to it. He stopped looking out the windows during composition class and starting learning how to write music. As a college student, Bilik served as the chief composer and arranger for the University of Michigan Marching Band. Throughout his professional career, Bilik has parlayed his composition and arrangement skills into everything from television to figure skating to magic shows. He worked on music production staff for hit TV shows like "Charlie's Angels" and spent decades as a creative director for Disney on Ice. Now 90, Bilik remains an active composer and researcher. This year, he published a book about his former teacher Tibor Serly and Serly's original compositional method called "Modus Lascivus." He's also still creating arrangements for the University of Michigan Marching Band. Bilik recently spoke to Classical IPR about his life in music so far (he still has a lot of things left to do).

Born in Ann Arbor, Michigan, Blair’s father, a world renowned classical saxophonist, and Blair’s mother, a viola player and flutist, introduced Blair to music performance at an early age. After a few years of piano and a brief stint on saxophone, Blair began playing drums at the age of 12. He attended the National Music Camp at Interlochen for five summers, learning classical percussion formally and drumset on his own. During high school, he played gigs extensively around Detroit. He also continued classical studies with students from the University of Michigan and performed with the Michigan Youth Orchestra.       *******SUBSCRIBE/RATE/REVIEW!!! www.richredmond.com/listen   The Rich Remond Show is sponsored by: Big Dot Lighting - Commercial LED Lighting Specialists   -and-   Bruce Cline Home Loans & Mortgage Refinance | Movement Mortgage www.musiciansmortgage.com     After high school, Blair attended the University of North Texas, where he earned a Bachelor of Music in Jazz Performance. He studied with Ed Soph for nearly four years, and focused his studies in big band, small group jazz, and fusion music.   After UNT, Blair headed west to Los Angeles, and began playing both jazz and rock gigs. His first work with a major recording artist was with Alanis Morissette, in 2001. He toured with Alanis for 5 years, and recorded three albums with her: “So Called Chaos”, ”Jagged Little Pill Acoustic” and “Flavors of Entanglement”.   In 2006, Blair turned his energies to the L.A. based rock band Pedestrian, while also touring with Damien Rice and working with producer Glen Ballard. His short list of recording credits include Annie Lennox, Idina Menzel, Melissa Etheridge, James Blunt, etc.   Blair’s most recent gig is with Melissa Etheridge, who just released the album “4th Street Feeling” which features Blair. He also does recording for albums, TV, film and engineering in his home studio, touring nationally and internationally and playing locally.     Some Things That Came Up:  -Blair’s studio, The Donkey Den -Using a 2 car garage in LA -Stressing in college -Hand hammered -Getting into songwriting from a melodic standpoint -Sticks and wires -If you had all the money in the world.... -Tribute bands -Meeting Dave Grohl -How would someone getting into the business do it today? -Burning the ships   www.blairsinta.com @blairsinta  @sticksandwires     The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 25 of which have been #1 hits!   Rich can also be seen in several films and TV shows and has also written an Amazon Best-Selling book, "CRASH! Course for Success: 5 Ways to Supercharge Your Personal and Professional Life" currently available at:   https://www.amazon.com/CRASH-Course-Success-Supercharge-Professional/dp/B07YTCG5DS/ref=sr_1_1?keywords=crash+redmond&qid=1576602865&sr=8-1   One Book: Three Ways to consume....Physical (delivered to your front door, Digital (download to your kindle, ipad or e-reader), or Audio (read to you by me on your device...on the go)!   Buy Rich’s exact gear at www.lessonsquad.com/rich-redmond   Follow Rich: @richredmond www.richredmond.com   Jim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.   Follow Jim:   @jimmccarthy www.jimmccarthyvoiceovers.com  

Dave Sporny shares stories about his experiences with music and the trombone. He describes how he did not expect the path that he ended up taking. Professor Dave Sporny is an amazing teacher and trombonist. After obtaining his Bachelors and Masters degrees from the University of Illinois, he became the Low Brass Instructor at the Interlochen Arts Academy in Michigan. There, he founded the Jazz Studies programs at the Academy and at the National Music Camp. Sporny has also appeared in concert halls throughout the world including Carnegie Hall, Lincoln Center, Kennedy Center, Tanglewood and Ravinia. He has also recorded 12 albums and 17 CDs and is the founder of the Amherst Jazz Orchestra.

In our next episode of the AYO podcast we chatted to oboist Miriam Cooney about a memorable performance from National Music Camp earlier this year — Weber’s ‘Der Freischütz’ Overture. The German opera has a dramatic and dense storyline which the orchestra workshopped throughout the week. Listen to Miriam on our latest podcast chatting all about her experiences as an AYO musician, and hear the live AYO concert recording of Weber’s ‘Der Freischütz’ Overture.

On the latest episode of the AYO podcast, violinist Adrian Biemmi chats to us about his favourite memory on an AYO program. Last year at National Music Camp 2019, the Weiss Chamber Orchestra performed Anton Arensky’s Variations on a Theme by Tchaikovsky. The piece evoked an immediate emotional response for Adrian, who had played it for the first time many years beforehand when he had just started out playing violin. Discover more about the piece and Adrian’s AYO experience.

This is an original composition from Sophie Van Dijk, a participant from the composition program at National Music Camp. The common human experience of hopelessness and despair is reflected in i don’t want it anymore. The work is my contribution to the conversation around mental health and deals with confronting personal battles that we would rather keep hidden. Maintaining a façade is exhausting and isolating. I believe that true human connection occurs when we are vulnerable, and as such I’ve chosen to reveal elements of my experience through this work. 'i don’t want it anymore' explores colour and motion through morphing melodic material and the use of diverse groupings of instrumental timbres. It is characterised by a sense of uncertainty; the persistent stillness threatens to break at any moment. When it does, serenity returns with greater stability, before fading to a conclusive silence. This piece emerged from darkness; fatigue, anxiety, illness. It is a direct reflection on personal trials and triumphs in recent months. The title i don’t want it anymore expresses a visceral ache for respite. The piece is imbued with a sense of melancholy that resolves to peace, conveying my personal hope for healing. © Sophie Van Dijk 2020 Sophie Van Dijk is a composer and violinist passionate about writing music to explore elements of faith, society and humanity. She aims to share these things with others, with the ultimate goal of bringing joy and fostering dialogue and community. Sophie is currently completing her honours year of a Bachelor of Music (Composition) at the Sydney Conservatorium of Music. Notable commissions include: the Brett Whiteley Gallery, Light Qualities as part of VIVID 2019, Radford College Foundation Day Concert, and Trinity Grammar School where she was the 2019 Composer-in-Residence. Sophie was selected to participate in the 2017 Coro Innominata Women Composers Development Program, the composers stream of both the 2019 Gondwana National Choral School and 2020 AYO National Music Camp.

We caught up with internationally celebrated conductor Tzelaw Chan to hear his perspective on the Australian music scene, and working with AYO musicians at National Music Camp.

We welcome award-winning music educator, Sharon Fitzsimmins to the Band Room Podcast! Join Dylan as he and Sharon discuss her formative years, rebuilding a band program, her involvement in the OMEA, what adjudicators are looking for, involvement with Music Fest Canada and many words of wisdom for music educators. Help Support the Band Room Podcast by Becoming a Patron Through Patreonhttps://www.patreon.com/bandroompodBRP Storehttp://www.bandroompod.com/storeMusic used in this episodeSecond Suite for Military Band, Op.28 No.2, Fantasia on the "Dargason" by Gustav Holst Performing Ensemble: The Air Combat Command (ACC) Heritage of America BandAbout SharonSharon Fitzsimmins, Mus. Bac., B.Ed, is a respected educator, international adjudicator, clinician and conductor. She is past president of The Ontario Music Educators’ Association (OMEA) and was co-editor of The Recorder for 8 years, examiner for The Royal Conservatory of Music and a conductor at the National Music Camp of Canada . She has received numerous teaching, professional development and leadership awards including Teacher of the Year. In November 2006, Sharon received the highest award from the OMEA, an Honorary Life Membership. In Feb. 2019 Sharon also received an Honorary Life Membership from the Ontario Band Association (OBA).Sharon is currently the Chair of the Concert Band Division for MusicFest Canada. Sharon is proud to have taught for thirty years at Barrie North Collegiate where she conducted award winning bands and choirs. She has written three teacher resources and a collection of stories called It Made Me Laugh, It Made Me cry. Stories From the Music Room. Episode LinksSharon Fitzsimminshttps://musicfest.ca/about/directors/sharon-fitzsimmins/OMEAhttps://www.omea.on.ca/ Music Fest Canadahttps://musicfest.ca/Support the show (https://www.patreon.com/bandroompod)

In conversation with Anna Goldsworthy. Many aspiring musicians make more than music. Anna Goldsworthy, one of the artists-in-residence at National Music Camp in 2019, manages many simultaneous careers – as author, journalist and musician. In this podcast, Madi Chwasta and Stella Joseph-Jarecki, of the NMC Words About Music team, talked to Anna about the “portfolio career” life and what advice she has for people aspiring to take on a range of creative challenges. Written and produced by Madi Chwasta and Stella Jospeh-Jarecki Edited by: Madi Chwasta With thanks to Jim Atkins, Jakub Gaudasinksi and Phillip Sametz The Saint-Saëns Septet was performed by tutors and artists-in-residence at National Music Camp: Anna Goldsworthy, piano; Dave Elton, trumpet; Helen Ayres and Lachlan Bramble, violins; Stephen King, viola; Tim Nankervis, cello and Phoebe Russell, double bass.

Two tremendous Australian trumpet players took part in National Music Camp 2019 – David Elton, principal trumpet in the London Symphony Orchestra, was Artist-in-Residence, and Brent Grapes, his counterpart in the West Australian Symphony Orchestra, was trumpet tutor. Words About Music participant (and occasional trumpeter) Christopher Healey, grasped this rare opportunity and talked to these outstanding musicians about their work, their technique, their practice routine…and of course mouthpieces. Written, produced and edited by Christopher Healey With thanks to David Elton and Brent Grapes for their time, and Phillip Sametz, Jakub Gudasinski and the 2019 AYO Words About Music team for their assistance. David Elton and Brent Grapes recorded Lassus’ Fulgebunt justi sicut lilium especially for this podcast. The excerpt from Saint-Saëns’ Septet was performed by tutors and Artists-in-Residence at AYO National Music Camp: Anna Goldsworthy, piano; David Elton, trumpet; Helen Ayres and Lachlan Bramble, violins; Stephen King, viola; Tim Nankervis, cello and Phoebe Russell, double bass.

Elaine Chia is CEO of City Recital Hall,  one of Sydney’s leading arts, entertainment and festival venues. Her career spans music, theatre and visual arts, and she is a passionate advocate for the arts. Elaine’s formal introduction into arts management began with the Australian Youth Orchestra. Her role on her first symphony orchestra tour was to source and coordinate host families for 110 young musicians in 10 cities across Australia. In 1996, she managed the National Music Camp with 240 music students and 100 staff and volunteers. Her role as coordinator, wrangler, persuader and responsible big sister was thus cemented. Elaine’s journey next took her to Belvoir St Theatre as business manager, then to Sydney Conservatorium of Music as marketing and development manager. Elaine moved to Melbourne in 2004 where she took on the role of acting CEO of the AMEB, and later, business and finance manager at Heide Museum of Modern Art. She returned to the Sydney Conservatorium in 2007, to the newly created role of international development manager. She established new off-shore programs and tours in Asia, Europe and the United States. In 2010 Elaine joined the Australia Council for the Arts, where she oversaw the Australian representation at three Venice Biennales, and the redevelopment of the new Australian Pavilion, which opened in 2015 on time and on budget. Both projects were delivered as public-private partnerships. She joined City Recital Hall in 2016 as the first CEO of the not-for-profit company established to manage and curate an annual program at the 1238-seat venue. In 2.5 years, the number of concert and events presented by the company has quadrupled. Elaine is the chair of Contemporary Asian Australian Performance, a resident company at Carriageworks which is dedicated to making exceptional contemporary Asian Australian work for all audiences. She also actively supports the arts as a donor, because she can, and therefore, simply, she should. When Elaine is not living and breathing the arts, she loves to run, mainly to balance out her love of gelato. https://www.cityrecitalhall.com/ https://newstories.net.au/elaine-chia/

Although he hails from WA, Michael came to National Music Camp this year from Boston, where he is currently studying at the New England Conservatory. One of the attractive aspects of camp, for Michael, was the opportunity to reconnect with the Australian music scene. Michael created his Chamber Symphony under the mentorship of composer Gerard Brophy, and found that his guidance helped him to shape the work from its conceptual stages to a final product. The piece focuses greatly upon the idea of virtuosity, and Michael has written passages that aptly display the skill of his performers. The work also challenges the recognized concepts of melody and harmony, and blurs the lines between the horizontal and vertical nature of the two. Fast-talking and straight to the point; hear as Michael captures the essence of his Chamber Symphony in this AYO podcast.

We are featuring our complete interview with former Indiana University and University of Michigan double bass professor Lawrence Hurst on this week's Contrabass Conversations episode.  This interview was broadcast in the early days of this show in three separate parts, and we are pleased to present the complete and uninterrupted interview on this week's show.  This episode was co-hosted by John Grillo.  Enjoy! About Lawrence Hurst: Lawrence Hurst began his musical studies on the piano accordion at the age of four. At 13, he started studying the double bass through the public school system of his hometown, Norfolk, Virginia. After serving two years with the Seventh Army Symphony, he started his professional career as principal bassist with the Dallas Symphony under Sir Georg Solti. He joined the music faculty at the University of Michigan School of Music in 1964. During his tenure at Michigan, he chaired the String Department and was Associate Dean and Director of the University Division of the National Music Camp at Interlochen, Michigan. In 1986 he joined the faculty of the Jacobs School of Music of Indiana Universtiy and was the chair of the String Department from 1987 until 2012. In 1967, he joined the summer faculty of the famed National Music Camp (now the Interlochen Arts Camp) and has taught there every summer since. His students can be found in orchestras and musical venues all over the world, including the orchestras of Philadelphia, Chicago, San Francisco, Indianapolis, Atlanta, The Metropolitan Opera, St. Louis, and Milwaukee, to name a few. In 2005 he was given the American String Teacher's Association Artist/Teacher of the Year Award, and, in 2006, the International Society of Bassists (of which he is past president) gave him the Distinguished Teaching Award. In JUne, 2013, the ISB also awarded him the Distinguished Achievement Award. He retired from the Jacobs School of Music in June 2012, whereupon his former students initiated an endowment scholarship and medal for double bassists in his name. email: feedback@contrabassconversations.com phone (call-in number--we'll play your message on the show!): 415-952-5643

This interview-only Contrabass Conversations episode features the conclusion of our interview with Indiana University double bass professor Lawrence Hurst, whom we interviewed on episodes 20 and 23 of the podcast. About Lawrence Hurst Lawrence Hurst is the former principal double bass for the Dallas Symphony. He is a former faculty member of Southern Methodist and Eastern Michigan Universities and former faculty member, associate dean, and chair of the string department at University of Michigan School of Music. He was honored with the Alumni Award from the University of Michigan School of Music in 1998. Professor Hurst is former director of the University Division of the National Music Camp and is a summer faculty member of the Interlochen Arts Camp.  He is past chair of the American String Teachers Association National Solo Competition, and past president of the International Society of Bassists.  His former students can be found in many prestigious orchestras, including Chicago, Philadelphia, San Francisco, Indianapolis, and Atlanta.  He has chaired the Indiana University Strings Department for the past 19 years and has been on faculty at Interlochen for the past 40 years.  

Lawrence Hurst is the former principal double bass for the Dallas Symphony. He is a former faculty member of Southern Methodist and Eastern Michigan Universities and former faculty member, associate dean, and chair of the string department at University of Michigan School of Music. He was honored with the Alumni Award from the University of Michigan School of Music in 1998. Professor Hurst is former director of the University Division of the National Music Camp and is a summer faculty member of the Interlochen Arts Camp.  He is past chair of the American String Teachers Association National Solo Competition, and past president of the International Society of Bassists.  His former students can be found in many prestigious orchestras, including Chicago, Philadelphia, San Francisco, Indianapolis, and Atlanta.  He has chaired the Indiana University Strings Department for the past 19 years and has been on faculty at Interlochen for the past 40 years. Music from the Bass Gang website: http://www.thebassgang.org/

Lawrence Hurst is the former principal double bass for the Dallas Symphony. He is a former faculty member of Southern Methodist and Eastern Michigan Universities and former faculty member, associate dean, and chair of the string department at University of Michigan School of Music. He was honored with the Alumni Award from the University of Michigan School of Music in 1998. Professor Hurst is former director of the University Division of the National Music Camp and is a summer faculty member of the Interlochen Arts Camp.  He is past chair of the American String Teachers Association National Solo Competition, and past president of the International Society of Bassists.  His former students can be found in many prestigious orchestras, including Chicago, Philadelphia, San Francisco, Indianapolis, and Atlanta.  He has chaired the Indiana University Strings Department for the past 19 years and has been on faculty at Interlochen for the past 40 years.