Podcasts about New Jersey Symphony Orchestra

Simon Woods brings more than 30 years of experience working with orchestras to his leadership role as president and CEO of the League of American Orchestras.Simon is known throughout the world of classical music as a highly trusted mentor and advisor to orchestra management professionals.His leadership includes regular columns in professional periodicals about the future of orchestras, as well as lectures and speaking engagements at conferences and orchestra boardrooms around the country.  I was fortunate enough recently to host a panel discussion with him on the subject of the presentation of classical music.Prior to joining the League in 2020, Woods served as CEO of the Los Angeles Philharmonic; he was interim executive director of the Grand Teton Music Festival, president and CEO of the Seattle Symphony, chief executive of the Royal Scottish National Orchestra, as well as serving the New Jersey Symphony Orchestra and The Philadelphia Orchestra. Born in London, England, Woods earned a degree in music from Cambridge University and a diploma in conducting from the Guildhall School of Music and Drama in London. He currently serves on the boards of Astral Artists and the Performing Arts Alliance.

John Daniel's ears must have been ringing throughout the month of September as several guests, including Del Lyren, Bobby Medina, Vinnie Ciesielski and others mentioned him on the podcast in this last month.So I decided it was time to reach out and see if we could schedule a podcast!John was game, and we ended up having a terrific discussion on Gestalt theory as it pertains to trumpet (a first on the podcast), the unique qualities of the cornet vs. the trumpet, recollections of the early days of the amazing Brass Band of Battle Creek and much more.Enjoy the interview, and be sure to check out John's book Special Studies for Trumpet!What you'll hear in this episode:-John's beginning struggles on trumpet as a kid...03:00-What is "gestalt" theory as it pertains to trumpet?...05:45-About John's upcoming album featuring Bb and soprano cornet...08:30-Unique characteristics of playing Bb vs. soprano cornet vs. trumpet...12:00-Memories playing alongside the great Peter Roberts!...15:40-There's no "right way" to play and teach a brass instrument...20:00-A rare discussion on pedagogy here on the podcast lol...25:00-Memories of the early days of the Brass Band of Battle Creek...33:20-Cultural differences in cornet v. trumpet and how the BBBC has helped popularize the genre...38:45-Moving on from a top-flight academia gig and preparing for the new album release!...41:10-A profoundly different experience playing trumpet v. cornet...49:00-Plus whatever your discerning ears deem worthy of your time and interest...Resources mentioned:John's website and "Special Studies for Trumpet" bookTrumpet Dynamics Facebook groupAbout the Guest:John Daniel is the Professor of Trumpet at Lawrence University. He received the Specialist in Music degree from the University of Michigan, Master of Arts in Music from the University of Iowa, and Bachelor of Music from Ball State University. His primary teachers were David Greenhoe, Richard Giangiulio, and Armando Ghitalla. Mr. Daniel previously held tenured positions at Penn State University and Abilene Christian University. While attending the University of Michigan on full scholarship, he won the graduate concerto award and was principal trumpet of orchestras in Ann Arbor and Saginaw, Michigan.Mr. Daniel served as principal trumpet with the San Angelo Symphony Orchestra and Abilene Philharmonic Orchestra for nine years and has performed with the San Antonio Symphony, Pennsylvania Ballet Orchestra, Palm Beach Opera, New Jersey Symphony Orchestra, and Music at Penn's Woods Orchestra, as well as on Broadway for revivals of Annie Get Your Gun and Gypsy. He has played recitals in Carnegie Hall, the Kennedy Center, throughout South Korea, the Eastman School of music, the Julliard School, and throughout the United States.As a jazz musician he has appeared with Lionel Hampton, Bill Watrous, Wycliff Gordon, Marvin Stamm, Vinnie DiMartino, Phil Woods, Ernie Watts, the Nelson Riddle Orchestra and many others. Mr. Daniel released A Calling in 2004, a jazz CD featuring his compositions and is featured on a 2006 Mark Masters release, Karel Husa Trumpet Concertos. The Husa CD was on the entry list to be nominated for a Grammy Award in the category “Best solo with orchestra” and “Best classical recording”. He has been a member of North America's finest brass band, the Brass Band of Battle Creek, since 1993. He plays Schilke trumpets, flugelhorn and cornets exclusively.Thank you for joining us on "Trumpet Dynamics" – telling

After more than two decades as one of New York City's busiest freelance oboists, James Roe decided to pivot his career. He packed up his oboe case, reed knife, and metronome to take on leadership positions at two of the ensembles he had regularly performed with. First he spent two years as president and CEO of the New Jersey Symphony Orchestra, before moving into his current role as president and executive director of the Orchestra of St. Luke's, where he's been since 2015. How did 25 years of performing in symphony orchestras prepare him to lead one himself? For Roe, his seat in the oboe section gave him a strategic vantage point — one that allowed him to see thousands of concerts play out on the faces of audience members in real time. "You could see when something was hitting, that look in someone's eye that meant the music was meaningful to them," Roe says on the latest episode of the Classical Post podcast. "I've taken that into my leadership role because it shows that, as musicians and musical organizations, our mission is not fulfilled on stage — that's only the beginning. The mission is fulfilled in the hearts, minds, ears, and spirits of people in the audience." At the helm of the Orchestra of St. Luke's, Roe oversees more than 70 concerts per season in 20 venues across New York City, as well as a host of education and community programs that help make classical music more accessible for every New Yorker. And through it all, Roe's guiding principle is to ensure "the audience is the focus of everything we do." In this episode, we talk more about the Orchestra of St. Luke's current season — including the Carnegie Hall premiere of Florence Price's Piano Quintet with Marc-André Hamelin and the third year of the ensemble's DeGaetano Composition Institute, where three emerging composers work with composer-mentor Anna Clyne on new pieces to be premiered by OSL. Plus, Roe shares how reading during his daily commute supports his well-being, the inspiration he gets from the "wonderful crackle of anticipation" before a concert begins, and his favorite Manhattan restaurant when he's craving Basque cuisine. — Classical Post® is a leading podcast based in New York. Our content uncovers the creativity behind exceptional music through dynamic deep-dive interviews with prominent artists in the world today. We are powered by Gold Sound Media® — a creative studio providing omnichannel marketing and public relations services for the classical music industry.

Host Warren K. Racusin, partner and Chair of Lowenstein's Trusts & Estates practice, talks about how to incorporate charitable giving into your estate plan. Partner Lesley P. Adamo, Vice Chair of the firm's Tax group, describes different vehicles such as private foundations and donor-advised funds; and Gabriel van Aalst, President and CEO of the New Jersey Symphony Orchestra, describes how charitable gifts can enhance a donors' legacy and positively impact the entire community. Speakers: Warren K. Racusin, Partner and Chair, Trusts & Estates Lesley P. Adamo, Partner, Vice Chair, Tax Group Gabriel van Aalst, President and CEO, New Jersey Symphony Orchestra

Welcome to The Art of Listening, a Podcast about classical music, conducting, composition, the business of music, and how to listen to it all. Each week, conductor, composer, and violinist Gabriel Gordon and a host of featured guests discuss the Art of Listening. In this episode of “The Art of Listening” Gabriel Gordon and Jeff Bradbury If you would like to be a part of future podcasts and share with our audience, https://gabrielgordon.net/podform (please contact the podcast). We would love to have you join the show. Join the Art of Listening Newsletter!By joining the Art of Listening Newsletter you will receive: ·      Bi-monthly updates from Gabriel Gordon about what is new on the Art of Listening YouTube Channel ·      Special “Behind the Scenes” access to recording sessions, rehearsals, and more! ·      Be the first to access new content produced by Gabriel Gordon each month. How Should a Conductor Work with a Soloist?·      Why is it important to work with soloists? (Both) ·      How to choose a soloist for your ensemble? (Gabe) ·      What happens when an ensemble calls a soloists and offers a performance? o  What to say? o  What to ask? o  Money conversations o  Rehearsal Schedules o  Meeting with Conductor o  What happens if you have never played the piece you are being asked to play o  Do you follow a soloist or does a soloist follow you? o  Balance issues o  How many times do you rehearse with a soloist? ·      How to market yourself as a soloist or conductor o  The importance of a § Website § Social Media § Video Channel § Networking ·      Advice for anyone looking to build their brands as a musician or conductor in 2022 and beyond     About our Guest: Brett DeubnerAmerican violist Brett Deubner has established himself as one of the foremost violists of his generation. As a sought after soloist who has performed with orchestras on five continents, Deubner has redefined the role of “solo artist” and given the viola a new standing in the world of classical music through his virtuosity, commitment to championing new music and dedication to fostering the next generation's young artists. As a concerto soloist, Deubner's debut with the Grammy award-winning New Jersey Symphony Orchestra premiering Lalo Schifrin's Triple Concerto resulted in numerous subsequent engagements throughout the U.S. and abroad. Deubner went on to perform worldwide as one of this century's most important viola soloists appearing with more than 80 orchestras in 11 countries to unanimous approval for “the warmth and sparkling” quality of his playing. (Doblinger Press, Vienna) To date Deubner has received over 50 viola concertos composed and dedicated to him and he has made 20 CDs on various labels such as Naxos, Centaur, Innova and Albany to critical acclaim and glowing reviews. In 2017 Deubner received the United States Congressional Certificate of Recognition for his commitment to music and education. In 2019 Deubner received a Latin Grammy nomination for “Best Classical CD Recording” for his recording of Houston Dunleavy's Concerto “A Kiss Before the World's End” with the Orquesta de Heredia of Costa Rica. He is a recipient of the 2022 Global Music Awards Silver Medal for his recording “Transfiguration” an album of works by Stanley Grill for two, three and four violas of which he recorded all the parts. In 2022-2023 Brett Deubner will perform 10 viola concertos with orchestras in North and South America as well as Europe. In addition to recording with Brett's piano partner Allison Brewster Franzetti in a highly acclaimed debut album “Mother Earth,”...

Ever wondered how to get into tech without going to a bootcamp? In this episode, Aleks shares his journey into the tech world after fifteen years as a freelancer in NYC - and how a cycling accident shifted his mindset toward being open to a double career. Aleks Ozolins is a freelance French horn player in New York City and software support specialist at Knack. As a freelance musician, he’s performed with a wide variety of ensembles - from Broadway shows including Les Miserables, Wicked, and Phantom of the Opera, to the Radio City Christmas Spectacular, Chamber Orchestra of New York, New Jersey Symphony Orchestra, and the Philadelphia Pops. Recording credits include releases on Sony Classical, NAXOS, and the original Broadway cast recording of Dr. Zhivago.Aleks’ passion for technology developed in parallel with his artistic pursuits. His lifelong relationship with computers led him into his own business providing tech support for colleagues in the music industry. After Covid cleared his calendar, he decided to move full-time into the tech space. Aleks now works as the Weekend Success Lead at Knack, a no-code database development platform. On a Thursday-Monday schedule, Aleks works through customer issues during his weekday hours, and monitors company infrastructure and provides emergency support to enterprise customers on weekends.A New Jersey native, Aleks holds a Bachelor’s in Music Education from The College of New Jersey along with a Master of Music in Orchestral Performance and an Artist Diploma from the Manhattan School of Music. Support the show (https://buymeacoff.ee/doublerspodcast)

Simon Woods joined the League of American Orchestras as President and CEO in 2020. Born in London, England, Mr. Woods earned a degree in music from Cambridge University and a diploma in conducting from the Guildhall School of Music and Drama in London. From the late 1980s to the late 1990s, he worked as a record producer at EMI Classics in London, where he initiated and produced recordings at Abbey Road Studios and on location with many of the world’s foremost classical artists and ensembles. From 1997 to 2004, he was Artistic Administrator and later Vice President of Artistic Planning & Operations at The Philadelphia Orchestra. From 2004 to 2005, he was President & CEO of the New Jersey Symphony Orchestra, before moving back to the UK in 2005 to become Chief Executive of the Royal Scottish National Orchestra, one of the United Kingdom’s leading symphony orchestras. Returning to the US in 2011, he became President & CEO of the Seattle Symphony, a post he held for seven years. In November 2017, Woods was appointed CEO of the Los Angeles Philharmonic, a post he held until September 2019. From February to August 2020, Woods was Interim Executive Director of the Grand Teton Music Festival, in Jackson Hole, Wyoming.Woods brings more than 30 years of experience working with orchestras. He is deeply committed to equity, to the role of arts organizations in community, and to nurturing the next generation of arts leaders. He is known throughout the sector as a highly trusted mentor to orchestra management professionals, emerging leaders, and conductors. For two decades he has contributed to the League of American Orchestras’ professional development programs, including acting as Director of the League’s signature immersive training program, Essentials of Orchestra Management. In March 2020 he joined the Board of Directors of National Arts Strategies.The Question of the Week is, "What are the characteristics of a strong organization in classical music?" Simon and I discuss what it was like becoming President and CEO of the League of American Orchestras during a pandemic, his experience running some of the biggest classical music organizations around the world, the difference between the American and British classical music scenes, what he hopes to pass on to the next generation of leaders, and why he hopes we do not go back to normal. You can find out more about the League of American Orchestras on their website, https://americanorchestras.org.

Newark Symphony Hall remains one of the most iconic performance venues in Newark, as well as in New Jersey. Constructed in 1925 at a cost of $2M, the space has been the home of the New Jersey Symphony Orchestra, the New Jersey State Opera, McDonald’s Gospelfest, the New Jersey Ballet, the Geraldine R. Dodge Poetry Festival, and the Newark Boys Choir School. Performers over the years have included Judy Garland, Bob Dylan, Patti Labelle, Richard Pryor, Amalia Rodrigues, Gladys Knight, the Rolling Stones, Parliament Funkadelic, Tony Bennet, and Eric Clapton. It has even been used for state funerals of prominent Newarkers (including Amiri Baraka and Jerry Gant) and weddings that have been featured in the New York Times. However, Symphony Hall is also a reflection of the city itself. The space hit a sustained period of disinvestment and funding shortages over the last few decades (the space was definitely not neglected). Though the space is in dire need of renovation and capital investment, it is still an active performance and community space.Taneshia Nash Laird, CEO and President of the venue since 2018, has undertaken an ambitious campaign to bring renewed attention to Symphony Hall and to restore and update the building. She is unique, as she is the only Black woman leading a performing arts center in the state. She is a self-professed entrepreneur, social change agent, and community developer, with a background in economic development and the arts, having led the Arts Council of Princeton and served as a director of economic development in Trenton. She is also an adjunct professor at Drexel University (in their entertainment and arts management program).Guest:Taneshia Nash Laird—Taneshia Nash Laird is a social change agent and community developer who centers cultural equity in her work. She is the President and CEO of Newark Symphony Hall, a historic performing arts center located within the Lincoln Park neighborhood of Newark, NJ. Since her appointment in November 2018, she has expanded programming to respond to community needs and announced plans to restore the 1925 vintage concert hall in a $40 million renovation and leverage it for neighborhood revitalization in a process she calls Symphony Works.Background & Articles: Newark Symphony Hall’s Official Page: hereNonprofit Finance Fund Interview with Taneshia: hereCBS Piece on NSH: here“The Soul of Newark Symphony Hall”: hereNew York Times Profile of Wedding Held in NSH: hereAmalia Rodrigues’ Performance at Symphony Hall [believed]: here Quote: “Science, knowledge, logic and brilliance might be useful tools but they didn’t build highways or civil service systems. Power built highways and civil service systems. Power was what dreams needed, not power in the hand of the dreamer himself necessarily but power put behind the dreamer’s dream by the man who it to put there, power that he termed “executive support”.”—Robert Caro, The Power Broker

Xian Zhang wurde 1973 in Dandong, im Nordosten Chinas als einzige Tochter zweier Musiker geboren. In einer einer Zeit, in der unter Maos Führung Instrumente verboten waren. Da Xians Eltern dennoch wollten, dass sie ein Instrument lernte und die Schönheit klassischer Musik vorwiegend Europas kennenlernte, baute ihr Vater ihr kurzerhand selbst ein Klavier. Dies sollte der Beginn einer ganz eigenen Erfolgsgeschichte einer Dirigentin werden, die unter widrigsten Umständen zu Weltruhm gelangte. Xian studierte in den USA, wo ihre Karriere mit dem 1. Platz des renommierten Maazel-Vilar Conductor Wettbewerbs im Jahr 2002 ihr fortan international Türen öffnete. Sie leitete Orchester in den USA, Europa und Kanada. Derzeit ist sie leitende Dirigentin des New Jersey Symphony Orchestra. Als erste Frau. Aber nicht nur dort war sie die erste Frau. Was es noch über diese faszinierende Frau mit dem großen Charisma zu sagen gibt und warum sie für viele ein Vorbild ist – das erfahrt ihr in dieser Folge von STARKE FRAUEN.Ihr erreicht Cathrin Jacob und Kim Seidler unter:Instagram und Twitter See acast.com/privacy for privacy and opt-out information.

Hello Everyone and welcome back to The Business Lieder Podcast. I'm breaking my Corona slump and releasing two brand new episodes with the amazing Aubrey Foard of the Baltimore Symphony and Seth Horner of the North Carolina Symphony. This is a great time for a tuba twofer because Aubrey and Seth, along with a few other tuba geniuses are hosting a very exciting bootcamp for tuba and euphonium players next week! The camp is called Back to School Tune-Up With The Pros and the faculty is amazing. These virtuosos come from some of the top orchestras in the country and can be heard in movies like the live-action Lion King, IT 2, and Batman vs. Superman. This bootcamp is a week-long with lessons, masterclasses, evening Q&A sessions and panel discussions all for $260. The website is www.tubabootcamp.com or find them on Instagram @backtoschooltuneup, and I highly encourage you to attend if you are able. All that being said, I am very excited to introduce today's guest, Seth Horner. I've known Seth for a few years now and he is one of the smartest and kindest musicians you'll ever come across. I think you will really love hearing his story and approach to life and the instrument. I've attached his bio below for your reading pleasure:A native of Eugene, Oregon, Seth Horner joined the North Carolina Symphony as Principal Tuba in 2017. Horner was the acting principal tuba of the Baltimore Symphony Orchestra for three seasons and held faculty appointments teaching tuba and euphonium at Towson University and the Peabody Institute of the Johns Hopkins University. At the age of 19, Seth served a one-year position as principal tuba of the Colorado Symphony Orchestra under Marin Alsop, and has held positions as the principal tuba of the West Virginia Symphony and the Oregon Ballet Theatre Orchestra. Horner attended the Peabody Institute, and was an honors graduate of the University of Oregon and valedictorian of his class at the Curtis Institute of Music.Horner performed frequently with the Baltimore Symphony Orchestra (BSO) prior to assuming a full-time position in 2014 including the BSO's west coast tour and its 2010 and 2014 Carnegie Hall appearances with Marin Alsop. He can be heard on the BSO's two most recent albums featuring the symphonies of Leonard Bernstein conducted by Marin Alsop. Horner has also performed with the Philadelphia Orchestra, National Symphony Orchestra, Kennedy Center Opera House Orchestra, New Jersey Symphony Orchestra, Louisville Orchestra, Oregon Symphony, and New World Symphony among others. He has made chamber music appearances with the Washington Symphonic Brass, the Bay Street Brassworks, and the Clipper City Brass. Horner was a featured soloist with the Capital Wind Symphony in Vienna, VA, and received honorable mention at the 2010 International Tuba and Euphonium Conference.Seth Horner has served as a faculty member for Carnegie Hall's National Youth Orchestra of the United States of America as well as Carnegie's NYO2. In the summer, he has been on the faculty of Wyoming Seminary's Performing Arts Institute in Kingston, PA, as instructor of tuba and euphonium as well as performing with the Oregon Bach Festival and Britt Festival orchestras. Horner has been a visiting instructor at the University of Oregon and Ithaca College.

Conductor Composer Stephen P Brown jabbers with Paul Hostetter, the Ethel Foley Distinguished Chair in Orchestral Activities for the Schwob School of Music at Columbus State University. He has conducted the New York City Opera, the Opera Theatre of Pittsburgh, the New Jersey Symphony Orchestra, the Orlando Philharmonic, the American Composers Orchestra, Philharmonia Virtuosi, the Naples Philharmonic, the Syracuse Symphony, the San Francisco Contemporary Music Players, and the Delaware Symphony Orchestra among many others. His 53 commercially released recordings have received honors including a Grammy Award, a Downbeat Critics Award, five stars for performance in the BBC Music Magazine, and two NY Times Top Five annual listings.

While we're all staying at home to do our part to stop the coronavirus, everyone's developing different media diets, and that includes the art we're choosing to enrich our days in isolation. For this podcast, we're focusing on some of the new music that's being made available online. We got on the phone with the folks behind the online content programming for four New Jersey arts organizations – New Jersey Performing Arts Center's Dave Rodriguez, New Jersey Symphony Orchestra's Patrick Chamberlain, The Folk Project's Mark Schaffer, and Rowan University's Debbie Shapiro, who is currently running the Live to your Couch series, which features Rowan's College of Performing Arts faculty.

David Biedenbender is an Assistant Professor of Composition at Michigan State and a member of the Blue Dot Collective. He joins the show to talk about his music and share his thoughts about composing for band. Topics: David’s background growing up in Michigan and learning music by watching his mother play organ, and how a high school band director gave him his first big break that led to him studying music. Studying at Central Michigan University and how he didn’t write a single band piece while studying with David Gillingham The story of how he wrote Melodius Thunk and bringing in popular elements such as jazz and rock and roll into the concert band medium. Influences on his compositional style, a conversation about development in band music, and why he self-publishes his music and distributes it through Murphy Music Press. Links: David Biedenbender Murphy Music Press Biedenbender: Melodious Thunk Beidenbender: Cyclotron Abide With Me Biography: David Biedenbender (b. 1984, Waukesha, Wisconsin) is a composer, conductor, performer, educator, and interdisciplinary collaborator. David’s music has been described as “simply beautiful” [twincities.com], “striking” and “brilliantly crafted” [Times Argus] and is noted for its “rhythmic intensity” [NewMusicBox] and “stirring harmonies” [Boston Classical Review]. “Modern, venturesome, and inexorable…The excitement, intensity, and freshness that characterizes Biedenbender’s music hung in the [air] long after the last note was played” [Examiner.com]. He has written music for the concert stage as well as for dance and multimedia collaborations, and his work is often influenced by his diverse musical experiences in rock and jazz bands as an electric bassist, in wind, jazz, and New Orleans-style brass bands as a euphonium, bass trombone, and tuba player, and by his study of Indian Carnatic music. His present creative interests include working with everyone from classically trained musicians to improvisers, acoustic chamber music to large ensembles, and interactive electronic interfaces to live brain data. David has had the privilege of collaborating with many renowned performers and ensembles, including Alarm Will Sound, the PRISM Saxophone Quartet, the Stenhammar String Quartet (Sweden), the New Jersey Symphony Orchestra, the Aspen Contemporary Ensemble, the United States Navy Band, the Philharmonie Baden-Baden (Germany), VocalEssence, the Eastman Wind Ensemble, the Music from Copland House Ensemble, Detroit Symphony Orchestra bass trombonist Randall Hawes and pianist Kathryn Goodson, the Juventas New Music Ensemble, the Washington Kantorei, the Atlantic Chamber Ensemble, the Boston New Music Initiative, Ann Arbor Dance Works, Composer’s Inc. (San Francisco), and the Grand Valley State New Music Ensemble. dsc_3680Recent recognition for his work includes two ASCAP Morton Gould Young Composer Awards (2011, 2012) and the 2012 Suzanne and Lee Ettelson Composers Award. His music has been heard in many diverse venues, including Carnegie Hall, Gaudeamus Muziekweek/TivoliVredenberg (Netherlands), Symphony Space (New YorkCity), the Smithsonian Museum, the German Embassy (Washington, DC), the Antonín Dvořák Museum (Prague), the Old First Church (San Francisco), Harris Hall (Aspen Music Festival), the Interlochen Center for the Arts, Hill Auditorium (Ann Arbor, MI), the University of Michigan Museum of Art, as well as at numerous universities and conservatories, and it has been broadcast on NPR stations around the country, including on WNYC’s Soundcheck with John Schaefer and on Center Stage from Wolf Trap. David’s music can also be heard on many commercially available recordings, including recent albums by the U.S. Navy Band, Akropolis Reed Quintet, H2 Saxophone Quartet, Khemia Ensemble, PUBLIQuartet, and the North Texas Wind Symphony. Recent and upcoming commissions and projects include works for yMusic, the New York Virtuoso Singers, the Cabrillo Festival of Contemporary Music, San Francisco Symphony principal trombonist Tim Higgins, the Albany (NY) Symphony Orchestra, the Edge Ensemble, the Donald Sinta Saxophone Quartet, the Akropolis Reed Quintet, Kevin Sedatole and the Michigan State University Wind Symphony, and pianist Jeannette Fang. In addition to composing, David is a dedicated teacher. He is Assistant Professor of Composition in the College of Music at Michigan State University, and he previously taught composition and theory at Boise State University, Eastern Michigan University, Oakland University, Madonna University, the Music in the Mountains Conservatory, and the Interlochen Arts Camp. He has also taught an interdisciplinary course in creativity and collaboration in the Living Arts program at the University of Michigan. His composition students have achieved regional and national recognition for their creative work, including numerous awards and acceptance into renowned summer music festivals and undergraduate and graduate composition programs. He received the Doctor of Musical Arts and Master of Music degrees in composition from the University of Michigan, Ann Arbor and the Bachelor of Music degree in composition and theory from Central Michigan University. He has also studied at the Swedish Collegium for Advanced Study in Uppsala, Sweden with Anders Hillborg and Steven Stucky, the Aspen Music Festival and School with Syd Hodkinson, and in Mysore, India where he studied South Indian Carnatic music. His primary musical mentors include Stephen Rush, Evan Chambers, Kristin Kuster, Michael Daugherty, Bright Sheng, Erik Santos, Christopher Lees, David R. Gillingham, José Luis-Maurtúa, John Williamson, and Mark Cox.

Aaron Tindall is a tuba celebrity and has enjoyed a beautiful career that he has worked his tail off for. This is one of the most personal interviews I've had in that we talk about failure, being in HUNDREDS of thousand of dollars of debt (and how that tested his marriage) and the incredible ride music has taken him on. This guy is a treasure, and I hope you enjoy hearing from him.To find Aaron:Instagram: @tindalltubaFacebook: @frosttubasWebsite: tubatindall.comOfficial Bio:With his orchestral playing praised as "a rock-solid foundation" and his solo playing described as being "remarkable for both its solid power and its delicacy", Aaron Tindall is the principal tubist of the Sarasota Orchestra and the associate professor of tuba and euphonium at the Frost School of Music - University of Miami. In the summers he teaches at the Eastern Music Festival in Greensboro, NC, where he also serves as Principal Tuba with the EMF Festival Orchestra under the direction of Gerard Schwarz.Aaron has served as the acting principal tubist of the Iceland Symphony Orchestra, held the principal tuba position with the Aspen Festival Orchestra where he was an orchestral fellow, and has collaborated as guest tubist with orchestras such as the Teatro alla Scala Opera and Ballet Orchestra - Milan Italy, Melbourne Symphony Orchestra - Australia, National Symphony Orchestra-Kennedy Center, Baltimore Symphony Orchestra, Cincinnati Symphony Orchestra, Colorado Symphony Orchestra, Naples Philharmonic, New Jersey Symphony Orchestra, New World Symphony, and the Rochester Philharmonic Orchestra. He is a frequent soloist, guest artist/clinician, and orchestral tubist throughout the United States, Europe, and Asia. He has been featured at all of the International Tuba and Euphonium Conferences since 2006, performed in England with the National Champion Grimethorpe Colliery Brass Band, and his solo playing has been heard on NPR's "Performance Today" radio show. Tindall has been a prizewinner of many competitions (solo & chamber) across the world. He has also been a two-time finalist in the prestigious Concert Artist Guild Competition, and released three highly acclaimed solo recordings; Transformations (Winner of the International Tuba Euphonium Association's Roger Bobo Excellence in Recording Award, and winner of two 2017 Global Music Awards), This is My House...(Awarded two 2015 Global Music Awards), and Songs of Ascent.Aaron is an International Yamaha Performing Artist, and a Denis Wick - London artist and design specialist, having recently designed their complete Ultra Range AT signature series tuba mouthpieces.

All Access had the opportunity to speak with New Jersey Symphony Orchestra's principal horn player, Chris Komer. Komer chats about how much John Williams' music has inspired him, the work he has done with NJSO, and how the musicians play an iconic movie score so perfectly over the film! See Chris Komer and the New Jersey Symphony Orchestra perform the works of John Williams from Star Wars: Return of the Jedi on Feb 9. For more information about this show, check out our event page: https://www.stnj.org/event/return-jedi-njso

From April 25-28, NJSO presents Xian Conducts Mozart, with classical music super-star Simone Dinnerstein performing Mozart's Piano Concerto No. 23. Hear from Dinnerstein on her take on the timeless genius of Mozart's music.

Don’t miss Star Wars: A New Hope in concert, with the New Jersey Symphony Orchestra performing John Williams’ Oscar®-winning score live to the complete film on November 25. Conductor Constantine Kitsopolous joins us to discuss what it's like playing a score live to a film and especially with such a great movie!

Patricia Ward Kelly, wife and biographer of the late Gene Kelly, joins us to discuss the upcoming performance of An American in Paris Live with the NJSO. She recounts how she volunteered herself to the New Jersey Symphony Orchestra when she found out this event was happening in order to share her wealth of knowledge about the film and about Gene Kelly. Watch this 1951 classic film, starring Gene Kelly as a former American GI who falls for Parisian Leslie Caron, on the big screen while the NJSO plays the score live.

Episode 42: Musical Fluency-A conversation with Brian McWhorter Brian McWhorter is associate professor of music at the University of Oregon. Previously, he held positions at Manhattan School of Music, Louisiana State University, East Carolina University, and Princeton University. He earned the Bachelor of Music degree from the University of Oregon and the Master of Music degree from The Juilliard School. While living in New York City, McWhorter’s performing career gravitated toward contemporary classical and improvised music. He has worked with many of the United States’ best-known modern music ensembles including Third Angle, Sequitur, Ensemble Sospeso, counter(induction, Ne(x)tworks, Tilt Brass, Elliott Sharp’s Orchestra Carbon, Continuum and Meridian Arts Ensemble. Now, as co-artistic director of Beta Collide, a new music group whose debut album was described as one of the top classical albums of 2010 by the Willamette Week, he is engaged in some of the most diverse projects of his career. Hailed as a “terrific trumpeter” by The New York Times, McWhorter has been a featured soloist at the Festival of New Trumpet (New York City), Church of Beethoven (Albuquerque), Jornados de Creación Musica (Mexico City), and at Bargemusic (Brooklyn). He worked extensively with brass chamber groups including the Oregon Brass Quintet, Extension Ensemble, Manhattan Brass Quintet and the American Brass Quintet. As a member of the brass and percussion sextet Meridian Arts Ensemble from 2001-2010, McWhorter performed, commissioned and recorded some of the most demanding and progressive music ever written for brass. Meridian’s album Timbrando – a collection of Latin American contemporary works – was recently profiled on NPR’s All Things Considered. McWhorter was appointed principal trumpet of the Eugene Symphony by Giancarlo Guerrero for the 2008-2009 season. Additionally, he has performed as principal trumpet with the Portland Opera, Oregon Ballet Theatre Orchestra, Quartz Mountain Music Festival Orchestra, American Sinfonietta and Oregon Bach Festival Orchestra. He has also performed with the Metropolitan Opera Orchestra, the New Jersey Symphony Orchestra and many others.

 McWhorter’s discography spans many genres from contemporary chamber to orchestral, improvised music to pop and rock. He has worked with Dave Douglas, John Zorn, John Cale (The Velvet Underground), Natalie Merchant, Anne Heaton, Nini Camps, Hugh Blumenfeld, and The Sharp Things.

  

Kirby Ward, who will be performing with the New Jersey Symphony Orchestra for the upcoming Dancing & Romancing show, join us to talk about the song and dance inspiration behind the show and what the audience can expect!

We chat with Michael Cavanaugh about playing with the New Jersey Symphony Orchestra about the music he'll be performing and how it feels to be performing the music of these legends.

Listen to our February 4th interview with Broadway star Megan Hilty. Megan joins the New Jersey Symphony Orchestra and Conductor and Broadway Music Director Todd Ellison for a Valentine's Day performance on Sun, February 14. 2016.

It takes a lot of heavy lifting to allow New Jersey Symphony Orchestra's Maestro Jacques Lacombe to raise his baton and unleash the world's most beautiful music.  Host Bart Jackson discusses with NJSO's CEO Mr. James Roe the exacting process of blending business with fine musical art.  If you have ever wondered what's involved in creating a major concert;  how many people perform what tasks; how an orchestra generates revenue streams; and all the challenges demanded to keep this symphonic machine fiscally afloat, this is the show you will not want to miss.  Tune in, take a peak behind the scenes, and learn a few takeaway tips for your own business.   

(Uploaded on Feb 13, 2012) Herbie Hancock and Lang Lang with the New Jersey Symphony Orchestra, redefining American concert music at NJPAC. (August 2009)

New Zealander Gemma New is the Associate Conductor of the New Jersey Symphony Orchestra as well as the founder and director of the Lunar Ensemble.  At 27, she has already garnered international success and accolades in the company of such luminary maestros at Kurt Masur, Gustav Meier and Marin Alsop. Gemma is truly an inspiration for rising talent among female conductors. You can find out more about Gemma and her concert calendar on her website here.  Post your comments on our Facebook Page at Chris Stafford Radio and follow on Twitter @chrisestafford.  This podcast is available for download from the iTunes Podcast store to your Smartphone Podcast App. [Photo: Fred Stucker]

One of Cranford's musical gems is Brennan Sweet. Brennan has been the Associate Concertmaster for the New Jersey Symphony Orchestra since 1994. Listen as we hear a sample of his music and learn about his life as a musician.