Podcasts about new world symphony

In this special episode, recorded live at New World Symphony's Wellness Week, four leading voices in musician wellness come together to share powerful strategies for navigating the mental, physical, and emotional demands of a music career. You'll learn: ·         How to recover from a tough performance without spiraling into shame or self-doubt ·         The mindset shift that separates your identity from your results ·         Why your body holds the key to emotional regulation and performance ease ·         How to build self-trust by understanding your nervous system ·         Tools to manage your inner critic and perfectionist tendencies ·         Practical ways to bring more awareness and intention into your practice ·         Why real growth requires both mental flexibility and physical freedom ·         How collaborative wellness approaches are changing the future of classical music Featuring insights from: ·         Dr. Noa Kageyama – Performance psychologist, Juilliard faculty, and creator of The Bulletproof Musician - https://bulletproofmusician.com/ ·         Lori Schiff – Master Alexander Technique teacher and long-time Juilliard faculty member - https://www.lorischiff.com/ ·         Dr. Coree Levy – Performance medicine and recovery expert working with elite musicians and athletes - https://www.drcoreelevy.com/ ·         Renée-Paule Gauthier – Violinist, performance coach, and host of the Mind Over Finger Podcast - https://www.mindoverfinger.com/ This conversation is packed with tools and insights you can start using right away to show up with more freedom, confidence, and clarity in your musical life.   If you're ready to step on stage with confidence, perform at your best, and finally feel secure in your playing, let's talk! Book a free discovery call and let's create a plan to get you there. Are you ready to take your playing and career to the next level and create a life that feels purposeful and joyful? Let's connect and explore how personalized coaching can support your journey. Click here to schedule your free consultation, and let's start turning your goals into reality.   Book your FREE Music Mastery Experience Discovery call with Renée HERE Book your free consultation with Renée HERE Download the transcript from this episode HERE   Mind Over Finger Click www.mindoverfinger.com/coaching to book your free consultation with me. Visit MindOverFinger.com for my online courses as well as free resources on peak performance. Grab my free workshops and PDF downloads by going to www.mindoverfinger.com/resources. Connect: https://www.youtube.com/@MindOverFinger https://www.facebook.com/mindoverfinger/ https://www.facebook.com/groups/mindoverfinger https://www.instagram.com/mindoverfinger/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme:  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson.

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

In this episode, Fred Lawrence speaks with Tammy L. Kernodle, University Distinguished Professor in the Department of Music at Miami University, whose work explores African American music, gender, and race in American popular culture. Kernodle shares how her working-class upbringing in Danville, Virginia, and a home filled with music led her to Virginia State University, graduate studies at The Ohio State University, and a career dedicated to expanding the narratives taught in music history. She discusses her mission to change classroom conversations, create scholarships for underrepresented musicians, and broaden what audiences hear in the concert hall. She also reflects on her roles as curator of the New World Symphony's I Dream a World Festival and her work on the Smithsonian's National Museum of African American History and Culture.

SynopsisOn today's date in 1996, Michael Tilson Thomas conducted the San Francisco Symphony in the first performance of Lost and Found, a five-minute toccata for orchestra. Its composer was Steve Mackey, an American whose music Tilson Thomas championed and recorded.Mackey wrote: “On more than one occasion Michael has used the word ‘wacky' to describe my music. Composers usually blanch at such attributions — nobody wants to be captured in a single word — but I can live with ‘wacky'. It is not a common adjective, does not end with ‘ism,' and clearly the rhyme with my last name personalizes it. My music tends to explore fringe modes of consciousness rather than brand name emotion or logical thought.”He also avoids conventional titles. His Concerto for Electric Guitar is titled Tuck and Roll, and among his other works can be found Banana/Dump Truck and Eating Greens.Mackey said, “I think a lot about momentum, inertia, and even gravity, allowing the music to get stuck and tip over, lurch headlong, tumble with limbs akimbo as well as to move fluidly gives it a ‘road runner' cartoon kind of physicality, a fantasy, but not completely unhinged from the physical world.”Music Played in Today's ProgramSteven Mackey (b. 1956): Lost and Found; New World Symphony; Michael Tilson Thomas, conductor; BMG 63826

Samuel Adams (b. 1985) is an American composer. Gramophone Magazine praised Adams as “among the most interesting composers of the millennial generation in his negotiation of the tensions that shape and define his musical narratives: between directness and implication, silence and resonance, emotion and its aftermath.” His work resists the traditional tensions of classical music, blending acoustic and digital sounds in inventive, texturally rich compositions. He has been commissioned by a number of major ensembles, including the San Francisco Symphony, Los Angeles Philharmonic, New World Symphony, Australian Chamber Orchestra, Chicago Symphony, Cincinnati Symphony, Dallas Symphony, Los Angeles Chamber Orchestra, and The Living Earth Show. On the podcast, Adams talks about growing up in the Bay Area, working with the San Francisco Symphony, and the influence of composer Ingram Marshall on his life and work.Music: Études by Samuel Adams, performed by Conor Hanick; Violin Diptych by Samuel Adams, performed by Karen Gomyo and Conor Hanick (Other Minds Records); Shade Studies by Samuel Adams, performed by Sarah Cahill (Irritable Hedgehog)Follow Samuel Adams on Instagram.samuelcarladams.comFollow us on Instagram and Facebook.otherminds.orgContact us at otherminds@otherminds.org.The Other Minds Podcast is hosted and edited by Joseph Bohigian. Outro music is “Kings: Atahualpa” by Brian Baumbusch (Other Minds Records).

The season opens with Giancarlo Guerrero's debut as music director designate, featuring violinist Vadim Gluzman in Tchaikovsky's Violin Concerto, and Dvořák's beloved New World Symphony.

The Horn Signal is proudly brought to you by Bob Reeves Brass. Join hosts John Snell and Preston Shepard as they interview horn players around the world.  Today's episode features Julie Landsman, former Principal Horn of the Metropolitan Opera and teacher at University of Southern California. About Julie: Principal horn with the Metropolitan Opera Orchestra for 25 years, Julie Landsman is a distinguished performing artist and educator. She received a bachelor of music degree from The Juilliard School in 1975 under the tutelage of James Chambers and Ranier De Intinis, and has served as a member of the Juilliard faculty since 1989. A native of Brooklyn, New York, Landsman achieved her dream of becoming principal of the MET in 1985 and held that position until 2010. She has also shared her talent to many other ensembles within the city as a current member of the Orpheus Chamber Orchestra and having performed and recorded with the New York Philharmonic. Additionally, she has performed with numerous groups outside the city, including her co-principal position with the Houston Symphony, substitute principal position with the St. Paul Chamber Orchestra, and recent performances with The Philadelphia Orchestra as Associate principal horn, and the Los Angeles Chamber Orchestra, principal horn. She has recorded for RCA, Deutsche Gramophone, CRI, Nonesuch and Vanguard labels, and is most famous for her performance of Wagner's “Ring” cycle as solo horn with the MET Opera under the direction of James Levine. Landsman has performed as chamber musician at many festivals and concert series, including the Marlboro Music Festival, Chamber Music Northwest, the Santa Fe Chamber Music Festival, Sarasota Music Festival, La Jolla Summerfest, the Chamber Music Society of Lincoln Center,  Orcas Island Chamber Music  Festival,  and the Metropolitan Museum of Art, where she appeared as a guest artist with the Guarneri Quartet. In the summers she performs and teaches at the Music Academy of the West , the Sarasota Music  Festival, and the Aspen Music Festival. World renowned as a master teacher, Julie Landsman holds faculty positions at The Juilliard School and Bard College Conservatory, and teaches frequently as a guest at the Curtis Institute. She has presented master classes at such distinguished institutions as The Colburn School, Curtis Institute, Eastman School of Music, Mannes College of Music, Manhattan School of Music, USC Thornton School of Music, Cal State Long Beach, Rowan University, University of Oklahoma, and University of Southern Mississippi, to name a few. She is also a visiting master teacher at the New World Symphony in Miami. Her international presence includes master classes in Norway, Sweden, and Israel.  In 2016 Landsman was an honored jury member at the ARD horn competition in Munich, Germany. Her students hold positions in the Metropolitan Opera Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco Opera and Ballet Orchestras, Washington National Opera Orchestra, Dallas Symphony, St. Louis Symphony, New Jersey Symphony, Colorado Symphony, and the American Brass Quintet. She recently received the “Pioneer Award” from the International Women's Brass Conference and was a featured artist at the International Horn Society Conference in 2012 and 2015. Her recent series of Carmine Caruso lessons on YouTube have led to further fame and renown among today's generation of horn players. Landsman currently resides in Santa Barbara, California.

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Dr. Brittany Lasch, trombone soloist and professor at Indiana University.   About Brittany: A winner of the S&R Foundation Washington Award and Astral Artists National Auditions, trombonist Brittany Lasch brings authenticity and unshakeable commitment to all aspects of her music-making. Increasingly in demand as a soloist with orchestras and brass bands alike, Brittany balances an intensive performance career with her role as a sought-after educator and newly appointed Assistant Professor of Trombone at the renowned Jacobs School of Music at Indiana University. As a serial collaborator and commissioner of composers, Brittany is a musical explorer creating new repertoire for her instrument from some of today's most compelling voices, and true ambassador in expanding recognition for the trombone as a powerful solo voice for today. Brittany has appeared as a soloist with ensembles ranging from the U.S. Army Band “Pershing's Own”, Rodney Marsalis Philadelphia Big Brass, and for concerto performances with the Queens Symphony, National Repertory Orchestra, Bucks County Symphony, Bowling Green Philharmonia, Manhattan School of Music Philharmonia, and others across the country. With playing described as “masterful” (Syracuse Post-Standard), American Record Guide recently hailed Brittany as an "excellent soloist" across a diverse range of repertoire.  Brittany has been a featured guest artist at numerous festivals, including the International Trombone Festival, the International Women's Brass Conference, and the American Trombone Workshop. She was a winner of the National Collegiate Solo Competition hosted by the U.S. Army Band, the Eisenberg-Fried Brass Concerto Competition at the Manhattan School of Music, the Zulalian Foundation Award in Boston. Her trombone quartet Boston Based won the 2017 International Trombone Association's Quartet Competition. In 2018, Brittany was awarded 2nd place in The American Prize Solo Instrumentalist competition. A prizewinner in numerous other competitions, she received the coveted John Clark Award upon graduation from the Manhattan School of Music for outstanding accomplishment in brass performance. For six seasons, Brittany was the Principal Trombone of the Detroit Opera Orchestra at the Detroit Opera House. She has performed with orchestras nationwide, including the San Francisco Symphony, Los Angeles Philharmonic, Indianapolis Symphony, St. Louis Symphony, Detroit Symphony, Nashville Symphony, The Florida Orchestra, Toledo Symphony Orchestra, ProMusica Chamber Orchestra, Rhode Island Philharmonic, the Oregon Bach Festival Orchestra, the Vermont Symphony, Albany Symphony, Syracuse Symphony, and the New World Symphony in Miami Beach. She participated in the Verbier Festival Orchestra for two summers, and has also appeared at the Spoleto USA Festival, the Pacific Music Festival in Sapporo, Japan, the Castleton Festival, and the Aspen Music Festival. An active presence in the global trombone community, Brittany's performances for the current and past seasons include Argentina's Trombonanza, Portugal's Gravíssimo Festival, as well as appearances in Japan and Korea. As an advocate for new music, Brittany has commissioned and performed several new pieces for the trombone, including acclaimed composer Reena Esmail's major Sonata for Trombone and Piano, which she commissioned for her Astral Artists recital in Philadelphia. Brittany gave the premiere of the orchestrated version of Martin Kennedy's Theme and Variations for Trombone and Orchestra with the BGSU Philharmonia under the direction of Dr. Emily Brown. She also recorded the work with the BGSU Philharmonia, which was recently released on the Albany Records label. Other recent projects include collaborations with composers Inez McComas, Adam Har-zvi, and David Miller. Her debut solo album Dark Horse features works by Samuel Adler, Tony Plog, Reena Esmail, Shawn Davern, and the album's pianist, Thomas Weaver. A native of Park Ridge, Illinois, Brittany earned her Doctor of Musical Arts degree from Boston University, where she received the Brass Department Award. She also holds a Master of Music degree from Yale School of Music. With a deep commitment to education, she has previously served as faculty at the College of Musical Arts at Bowling Green State University and the Boston University Tanglewood Institute. She has also been a featured teacher and performer at summer festivals, including the Sewanee Music Festival and the DC Trombone Workshop. Recent residencies include those at the University of Central Arkansas, James Madison University (Tromblow'in), University of Iowa, Oklahoma State University, Stetson University, the University of Florida, and as the guest artist at the 2023 Frühling Posaunen hosted at Ithaca College. She has presented masterclasses at universities across the country and internationally. Brittany Lasch is an Edwards Trombone Performing Artist. She also proudly uses and endorses ChopSaver Lip Care. Outside of music, Brittany has recently completed her eleventh full marathon and loves spending time with her cats, Clove and Poppyseed.

(S4 EP23) Moody Blues - “Days of Future Past” (Derem Records)Released November 17, 1967. Recorded May 9-Nov 3, 1967 Days of Future Passed (1967) by The Moody Blues is a landmark concept album that fused rock with orchestral music, marking a pivotal moment in the evolution of progressive rock. Initially commissioned by Decca Records to showcase stereo sound with a rock adaptation of Dvořák's New World Symphony, the band instead created an original work that follows a symbolic day from dawn to night. Featuring the London Festival Orchestra and pioneering use of the Mellotron by Mike Pinder, the album blends lush orchestration with introspective songwriting. Highlights include Justin Hayward's “Nights in White Satin” and “Tuesday Afternoon,” both emotionally resonant and enduringly popular. The album's innovative structure, poetic lyrics, and seamless integration of classical elements redefined the LP as an artistic format. Days of Future Passed remains a foundational piece in the history of progressive music, influencing bands like Genesis and Yes, while solidifying The Moody Blues' legacy as sonic visionaries.Signature Songs: "Dawn: Dawn is A Feeling", "The Afternoon: Forever Afternoon" "The Night: Nights In White Satin" Full Album: YouTube, Spotify Playlist: YouTube, Spotify

How do local theater companies shape the communities they call home? What role does art play in building connections, sparking creativity, and enriching our lives? In this Cut to the Chase: Podcast, we're joined by Stephanie Demos, President and Co-Founder of Zoetic Stage, Miami's not-for-profit, professional theater company. We invited Stephanie to showcase the beauty of Miami's theater scene and share how fostering local arts can transform neighborhoods, inspire individuals, and create lasting cultural impact. Besides her significant role in the Miami theater scene, Stephanie is also an accomplished civil litigator! But even more fascinating—her theater company's productions have roots in original talents like her husband, Christopher Demos Brown, whose play 'American Son' debuted on Broadway, featuring Kerry Washington (and now streams on Netflix)! Join us as Stephanie shares insights on founding a theater company, supporting local talent, and the unique challenges and triumphs of keeping the arts alive in Miami. What to expect in this episode: Supporting Local Theater Talent: Learn about Zoetic Stage's mission to nurture and showcase Miami's local theater talent. Reimagining Classics: 'Fiddler on the Roof' at Zoetic Stage – Explore the creative process behind Zoetic Stage's fresh take on classic plays like Fiddler on the Roof, opening in March 2025. The Impact of Professional Theater on Miami's Arts Scene: How Zoetic Stage and other professional theaters contribute to Miami's cultural landscape. Upcoming Productions at Zoetic Stage: Get a sneak peak into Zoetic Stage's exciting new productions and their approach to fresh, compelling storytelling. Key Actionable Takeaways: Diversify Team Interests to Enrich Workplace Culture: Foster a more dynamic and inclusive workplace by encouraging diverse interests and passions among your team. Support Local Arts to Strengthen Community Ties: Build deeper connections with your community by supporting local arts and cultural initiatives. Collaborate with Creative Sectors to Expand Networks: Explore opportunities for collaboration with the creative industry to broaden your influence and network. Leverage Personal Passions to Boost Innovation: Tap into employees' personal passions to drive innovation and enhance your company's approachability.   Stay tuned for more updates, and don't miss our next deep dive on Cut to The Chase: Podcast with Gregg Goldfarb! Subscribe, rate, review, and share this episode of the Cut to the Chase: Podcast to stay ahead in your legal practice!   Resources: Get tickets to Fiddler on the Roof & The Comeuppance (hurry, tickets are going fast!): https://www.zoeticstage.org/tickets.php Learn more about Zoetic Stage: https://www.zoeticstage.org Follow Zoetic Stage on Instagram: https://www.instagram.com/zoeticstagemia New World Symphony: https://www.nws.edu New World School for the Arts: https://nwsa.mdc.edu Stephanie's firm - Beasley, Demo, & Brown LLC: https://www.beasleydemos.com/stephanie-demos   This episode was produced and brought to you by Reignite Media.

In the book Typewriting Behavior, August Dvorak discusses what he calls intelligent behavior, referring to the adoption of new technologies and techniques in place of previous de facto traditions—a call for adapting to the ever-changing circumstances of our New World. Check out this episode to learn more, and hear a story about we can learn from keyboards, steamships, and the Pot Roast Principle. Enjoy! #positivity, #mindset, #purpose, #relationships, #change, #typewriting, #steamships, #potroast  This Volume 7 Issue 11 positivity essay originally appeared on the Hashtag Positivity website on November 25, 2024. Retrieved from https://www.hashtagpositivity.com/blog/keyboards-steamships-the-pot-roast-principle  ABOUT THE HOST Jonas Cain, M.Ed. is a storyteller, magician, musician, and facilitator of fascination. Through his company, Hashtag Positivity, he assists individuals, teams, and communities in “Being Well By Living Well” to experience abiding joy. Connect with Jonas today to discuss your challenges, goals, and obstacles: jonas@hashtagpositivity.com Connect with Jonas today to discuss your challenges, goals, and obstacles: jonas@hashtagpositivity.com WEBSITE www.hashtagpositivity.com   MUSIC “Dolphin-esque” by Doomed “Song of Sadhana” by Jesse Gallagher “New World Symphony” by Antonín Dvořák (Performed by The Hallé Orchestra, conducted by Hamilton Harty, 1923) “New World Symphony” by Antonín Dvořák (Performed by Berliner Philharmoniker, conducted by Herbert von Karajan, 1966) “Lightning Bugs” by Geographer

In this episode of One Symphony with conductor Devin Patrick Hughes, Devin has an inspiring conversation with bass virtuoso and composer Kebra Seyoun Charles. From their early exposure to African drumming and gospel music to becoming a celebrated classical musician, Charles shares their unique journey and vision for the future of classical music through their "Counter Classical" style. Charles's work embodies a fresh perspective on classical music's future, one that honors tradition while embracing innovation and inclusivity. Their approach shows that classical music's evolution doesn't require abandoning its foundations, but rather expanding its boundaries to embrace diverse influences and experiences. As they put it, "Classical music is so beautiful and so ephemeral and it can't be contained." Charles explores growing up in a musical household and how that led to their disvoery of the film composer, Erich Woflgang Korngold. They also discuss the autobiographical ballet project, Enby, that's based on their experience as a nonbinary person developing in the world.  Kebra-Seyoun Charles is able to give prominence to the dance qualities in all forms of music. Kebra-Seyoun has performed alongside esteemed improvisers and composers such as Jon Batiste, at Carnegie Hall, and Tyshawn Sorey, at the New England Conservatory. Kebra-Seyoun was also featured in “Slugs' Saloon” at the Institute of Contemporary Art in Boston, an interactive installation created by famed jazz musician and composer Jason Moran. Kebra-Seyoun Charles is also a passionate chamber musician. Playing with groups like East Coast Chamber Orchestra, A Far Cry, Palaver Strings, and the Sphinx Virtuosi afford Kebra the opportunity to showcase virtuosity while still playing within an ensemble. A prime example of this is their tenure on the 2019 Emmy award-winning Broadway production “Hadestown”. Thank you for joining us on One Symphony. Thanks to Kebra-Seyoun Charles for sharing their amazing spirit and music-making. You can find  more info at https://www.kscharles.com. Recordings from the episode include:  Koussevitsky: Concerto for Double Bass, First Movement. Featuring Kebra-Seyoun Charles on Double Bass. Performed with the Boston Philharmonic Youth Orchestra, Benjamin Zander conducting. Dating in NY. Composed by Kebra-Seyoun Charles. Featuring Charles on bass and musicians from the Juilliard School.  The third movement from Andres Martin's Bass Concerto. Performed by Charles with the New World Symphony under the direction of Chad Goodman. First movement from Erich Korngold's Piano Quintet, op. 15. Performed by the ARC Ensemble from the Royal Conservatory, Toronto.  Erich Korngold's Cello Concerto in One Movement. Featuring Victor Julien-Laferrière on cello performing with the Frankfurt Radio Symphony. Conducted by Marie Jacquot. “Another Breakup Song.” Composed by Kebra-seyoun Charles. Featuring Charles on bass. Kayla Williams on viola, Joseph Brent on mandolin, Sommer Alteir on violin, and Kabir Adiya-Kumar on percussion.  “Galaxy,” composed by Xavier Foley. Featuring Kebra-seyoun Charles and Xavier Foley on bass accompanied by the Sphinx Virtuosi.  Holdberg Suite. Composed by Edvard Grieg. Performed by the Palaver Strings featuring Kebra-Seyoun Charles on bass.  You can always find more info at OneSymphony.org or DevinPatrickHughes.com including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music.   

Thank you for enjoying Dvorak Autumn with us! That's right, it's coming to a close this week with the final movement of The New World Symphony. Be sure to like, and share with a friend! Music: https://imslp.org/wiki/Symphony_No.9,_Op.95_(Dvo%C5%99%C3%A1k,_Anton%C3%ADn) https://imslp.org/wiki/IMSLP:Creative_Commons_licenses  

It's round three with Dvorak, of course with the 3rd movement of the New World Symphony. As always, like and share with a friend! Music: https://imslp.org/wiki/Symphony_No.9,_Op.95_(Dvo%C5%99%C3%A1k,_Anton%C3%ADn) https://imslp.org/wiki/IMSLP:Creative_Commons_licenses

Dvorak Autumn continues with the New World Symphony, mvt 2! We hope you are enjoying this work as much as we are, and be sure to stick around for movements 3 and 4 upcoming as well. Be sure to like and share with a friend! Music: https://imslp.org/wiki/Symphony_No.9,_Op.95_(Dvo%C5%99%C3%A1k,_Anton%C3%ADn) https://imslp.org/wiki/IMSLP:Creative_Commons_licenses

On today's episode we have an inspiring conversation with Author, Musician, and Coach for High-Performing Creatives Kate Kayaian. In this special dual episode, recorded in collaboration with Kate's podcast "Tales from the Lane," we dive deep into themes of self-doubt, imposter syndrome, and the ever-evolving nature of personal and professional growth. Kate shares her journey from a busy freelance cellist in Boston to making the brave decision to pivot her career towards coaching and entrepreneurship. We discuss the importance of setting aside personal time, even amidst the hustle, and how creative problem-solving can be boosted by shifting from a "no because" to a "yes if" mindset. We'll also touch on the challenges and emotions surrounding career pivots, the value of self-care, and the necessity of adaptability in the arts. You will hear about how the pandemic forced diversification but also the change in our artistic social circles. Ultimately this episode is about shifting your mindset, aligning with your personal goals, and blooming where you are planted. Let's dive in.  A graduate of the prestigious New England Conservatory of Music, and a New World Symphony fellow,  Kate has performed in the world's top concert halls, including Carnegie Hall, the Musikverein, Concertgebouw, and London's Barbican and Royal Albert Halls. She has performed extensively as a soloist, chamber musician, and conductor, and was a member of the Grammy-award-winning group Boston Modern Orchestra Project for 20 years. She has worked with contemporary artists Jay-Z, Beyoncé, Alicia Keys, John Mayer, Josh Groban, and Peter Gabriel and can be heard on over 75 recordings, including her award-winning 2016 release, The French Cello.   Having pivoted into the online coaching space in 2019, she now helps other creatives expand their artistic vision and roles through her 9-month coaching program, The Creatives Leadership Academy as well as in 1:1 client work. She is the writer and host of the Podcast, Tales from The Lane, and was a contributing author to the 2023 best-selling book Business on Purpose. While she still occasionally performs as a cellist, she has taken up her baton again as Music Director of the Bermuda Philharmonic. She has been working this year to complete the manuscript for her first full-length book, Beyond Potential–due out in March of 2025. She lives with her husband Paul and their menagerie of cats, dogs, lizards, and tree frogs on the beautiful island of Bermuda.  Podcast Instagram  Podcast Patreon Podcast Merch  Podcast Youtube Channel   Kate Kayaian Website Instagram  Ayana Major Bey  Website  Instagram  Show Sponsors:  WeAudition: Get 25% off your membership when you use the code PIVOT, join at https://www.weaudition.com/ Host & Exec. Producer: Ayana Major Bey  Editor: Kieran Niemand  Theme Song: Lyrics co-written by Ayana Major Bey and Melissa Victor, with performance by Ayana Major Bey   Part of the Atabey & Co Network  Learn more about your ad choices. Visit megaphone.fm/adchoices

Moira Smiley refers to herself as a song collector; she's also a singer, multi-instrumentalist (banjo, accordion, piano, and hand & body percussion), and songwriter. Smiley has sung in arenas, cathedrals, kitchens, back porches, sound stages, and on glaciers with the likes of Ladysmith Black Mambazo, Tune-Yards, Tim O'Brien, Eric Whitacre, Los Angeles Master Chorale, New World Symphony and Solas. But she's spent a good portion of her career collecting, arranging and performing traditional songs from Appalachia, The Balkans, The Republic of Georgia, Wales, and more. Her latest album is called The Rhizome Project, and features a string quartet along with many guests. Moira Smiley and a string quartet perform in-studio. Set list: 1. Go Dig My Grave 2. Mourning Dove 3.Now Is The Cool Of The Day The Rhizome Project by Moira Smiley

Back again, as promised with one of our friends of the show: Dvorak. We're looking at his New World Symphony (finally), and we'll be making a whole 4 part series about it. Be sure to subscribe, and like and share with a friend! Music: https://imslp.org/wiki/Symphony_No.9,_Op.95_(Dvo%C5%99%C3%A1k,_Anton%C3%ADn) https://imslp.org/wiki/IMSLP:Creative_Commons_licenses

In December of 1884, Dvorak wrote to a friend about the composition of a new symphony: "I am now busy with this symphony for London, and wherever I go I can think of nothing else. God grant that this Czech music will move the world!!" He was in the midst of working on what would become his 7th symphony, and even though it is nowhere near as popular as his 9th symphony(The New World Symphony) or even the sunny 8th symphony, it is often thought of as Dvorak's greatest symphony, and for the record, I agree. This symphony is Dvorak at his most serious, most passionate, and most intense. Throughout the symphony, a kind of darkness pervades the work that is very unusual for Dvorak, though it also is full of so many of the things that make Dvorak's music so beloved today: gorgeous melodies as far as the eye can see, glorious orchestral writing, and more. But what it lacks, unlike the 8th symphony for example, is the kind of simplicity and naivete that marks much of Dvorak's music, and this lack of “innocence” has led scholars, musicians, and audience members to try to find an extra musical “meaning” for this music. Is the music an expression of Czech nationalism? Is it an expression of grief after the loss of his mother and eldest daughter? Was Dvorak trying to impress Brahms with his seriousness? What could have caused Dvorak to suddenly embrace such darkness in his music? Well, as we'll find out, it could be a combination of all of those reasons, but also it could be none of them at all. In the end, what is most important is the remarkable music that Dvorak wrote for this 7th symphony, and so today on the show we'll go through the symphony, trying to illuminate just what makes this, perhaps, Dvorak's greatest symphony. Join us!

"Once Was Gleaming" The California-born Tanner Porter is a composer, arranger, performer, vocalist and songwriter. Her voice is otherwordly and wonderful, and set against her complex orchestral arrangements, it evokes everyone from Kate Bush to Tori Amos. Her debut album The Summer Sinks was a stone cold stunner and her new album Once Was Gleaming picks up where Summer left off, offering a stirring and moving song-cycle that's filled with breathtaking musical finesse, and almost cinematic compositional scope. Tanner's orchestral music has been commissioned by the Louisville Orchestra, Albany Symphony Orchestra, the New York Youth Symphony, and Nu Deco Ensemble, among others. She's collaborated on ballets that were premiered by the Boston Ballet and the San Francisco Ballet, had short operas commisioned by Barnard College and Columbia University's New Opera Workshop and she's been busy on Broadway in ILLINOISE, with music by Sufjan Stevens as a vocal/guitar understudy for two roles. Tanner has been a composer-in-residence with the Louisville Orchestra's 2023-2024 Creators Corps, a fellow of the Aspen Music Festival,and her works have been presented at Carnegie Hall, the New World Symphony's New World Center, and the Prototype Festival. She was a 2019 recipient of the American Academy of Arts and Letters Charles Ives Scholarship. Tanner holds degrees in composition from the University of Michigan and the Yale School of Music. Once Was Gleaming is as sweeping as it is dramatic, punctuated by strings and electronica and a voice that soars through it all with inexplicable beauty. It's revelatory work. www.tannerporter.com (http://www.tannerporter.com) www.bombshellradio.com www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.alexgreenbooks.com Email: editor@stereoembersmagazine.com (mailto:editor@stereoembersmagazine.com) Twitter: @emberseditor IG: @emberspodcast

The 2023/24 season marked Chad Goodman's inaugural year as music director of the Elgin Symphony Orchestra—only the fifth leader in the orchestra's prestigious seven-decade history. Chad also serves as artistic director of IlluminArts, Miami's art song and chamber music concert series.  He curates site-specific classical music programs in collaboration with the leading museums, art galleries, and historic venues of Miami. From 2019 to 2023, he was the Conducting Fellow of the New World Symphony, where he was the assistant conductor to Michael Tilson Thomas. In addition to leading the orchestra in more than fifty performances, Chad created the educational program “SPARK: How Composers Find Inspiration,” which blended engaging audience participation with captivating light design and videography.He has served as an assistant conductor to the San Francisco Symphony, working alongside Michael Tilson Thomas, Esa-Pekka Salonen, Manfred Honeck, Daniel Harding, Elim Chan, Simone Young, and James Gaffigan, among others.As you will hear, Chad also leads workshops that teach young musicians the business skills needed to navigate successfully the music world. Forbes praised his bold strides both on and off stage and hailed him as “An entrepreneur bringing innovation to classical music.” Last year, he published the book, You Earned a Music Degree. Now What?

On today's show, we explore a new childcare facility that is up and running on the Walmart Home Office campus. Also, the new national tour of "Hamilton" will launch from Fayetteville. Plus, one musician goes from Springdale to the New World Symphony

Warning! If you are a Millennial or younger, you may be shocked at just how weird Boomers can be. Laura and Jean recommend that you DO NOT listen to this episode while driving or operating heavy equipment.  On with our “exciting” lives. Jean was summoned for jury duty, but did not have to serve. So with that new-found free time, she reorganized her Death Notebook.Jean also voluntarily shared that she has a special talent involving Dvorak's New World Symphony and her electric toothbrush.Not to be outdone, Laura shared the perils of driving too slowly, a revealing calamity that her OH experienced, and the Gaga Game. And of course, there's even more, so we encourage you to please listen to this “exciting” podcast episode.We would love to hear from you on Instagram, X, and Facebook: @OK_BoomerPod. Find out more at OKBoomerPod.com or any podcast app and YouTube. Check out SpeakUpTalkRadio.com- the perfect site for authors and podcasters!

For over a decade, the French-Brazilian music producer, pianist, and live act Ella Romand has been lighting up the electronic music scene, combining the ethnic rhythms of her home country Brazil with Deep and Melodic House in a unique way. Ella has been consistently delivering outstanding sets wherever she performs, whether at intimate clubs like Do Not Sit On The Furniture or at major festivals such as Ultra, Electric Zoo, III Points, SXM Festival, or Cityfox Live. In addition, Ella has graced the stages of top clubs across the world including Superior Ingredients (NY), Vagalume (Tulum), The Great Northern (San Francisco), Gardens of Babylon (GE) and Brooklyn Mirage (NY). Her passion for music started early on as she is a classically trained pianist. She went further with her career and moved to the U.S. to pursue a degree in Music, specializing in Music Technology at Florida International University. Her background as a pianist led her to perform live during her DJ sets, taking the crowd on a melodic journey with her keys and synths, first with her electronic trio Dsided in 2015, and later on her solo career. One of Ella's highlights as a producer was when she co-produced, composed, and performed with the acclaimed New World Symphony, working with over 80 musicians for a one-of-a-kind encounter of Classical and Electronic music. Ella's international performances have reached countries like Mexico, Australia, France, Jamaica, Germany, and Costa Rica to name a few. She is now based in Miami, where her moody melodies blended with ethnic sounds have allowed her to play alongside DJs like Bob Moses, Sébastien Léger, Lee Burridge, Marsh, Bedouin, Rodriguez Jr, Eli & Fur, Nick Warren, Damian Lazarus, Who Made Who and many more in her 12+ years of career. Her newest endeavor is her radio show called Ellaments, featuring new and upcoming artists and labels of Deep, Melodic & Afro House, reaching more than 300K plays in the last three years. Some of her most recent releases were signed with Go Deeva, Manual Music, Minds Alike, and others. 2024 will be a promising year as Ella is working on several upcoming releases with artists such as Aaron Pfeiffer (Defected, Cross Town Rebels, and has recently reached over 2 million plays with the track Rabbit Hole) DaBotero (10 million views this year alone with the track Cama y Mesa); Lesys Flores (former The Voice participant) and Arymé (Deep Root Tribe), as well as remixes for Paige and Mai Lawson. Enjoy this Deep Afro Melodic Journey with ELLA ROMAND including La Santa & G.Zamora Mi Tierra's Remix on Redolent! 01. Manu Dibango, Nhii, Harji - Bessoka 02. Liva K My - Lover 03. Ella Romand feat Emi Garth - Insatiable 04. Rockin Moroccin - Always On Time 05. Adriatique, Eynka, Alex Wann - Beyond Us (Extended Hatshepsut Version, Alex Wann Remix) 06. Ella Romand ft. Aaron Pfeiffer - Unforgettable 07. FNX Omar, Enzo Siffredi - Kiswahili Feat. BAQABO (Enzo Siffredi's Mix) 08. Sinego, Angélica García - El Ritmo (La Noche) (Xinobi Remix) 09. Oliver Heldens, Ian Asher, Sérgio Mendes - Mas Que Nada 10. Local Singles - Hotsteppa 11. Vooz Brothers - Oh Sheep [Redolent] 12. Fiin, Pezlo MD, Vikina - Mi Tierra (La Santa, G.Zamora Remix( [Redolent] 13. Joyia, Pablo Fierro - Our Love This show is syndicated & distributed exclusively by Syndicast. If you are a radio station interested in airing the show or would like to distribute your podcast / radio show please register here: https://syndicast.co.uk/distribution/registration

Jader Bignamini has conducted the Detroit Symphony Orchestra (DSO) since their 2020-2021 season. He and DSO musicians are at Interlochen this weekend for two concerts, including a side-by-side concert with the World Youth Symphony Orchestra. Saturday's program opens with "Don Juan" by Richard Strauss and includes Ludwig van Beeethoven's "Eroica" Symphony. Sunday's program features Dvorak's "New World" Symphony and the overture to "Nabucco" by Giuseppe Verdi.

Date: Sunday, May 12, 2024 Title: God's New World Symphony–Opening Movement Scripture: Revelation 21:1-8 Series: The Revelation of Jesus Christ By: Sinclair Ferguson

Conversation with Rob Knopper, percussionist with the Metropolitan Opera Orchestra and audition expert, creator of Audition Hacker. You'll hear about how he painstakingly developed his process (through trials and errors, and lots of reflection), his method to prepare for an audition, and the specifics of how to record yourself for maximum results.   Book your FREE Music Mastery Experience Discovery call with Renée HERE Book your free consultation with Renée HERE Download the transcript from this episode HERE     MORE ABOUT ROB KNOPPER Website: www.robknopper.com   YouTube channel: https://www.youtube.com/@robknopperstudio   Facebook: https://www.facebook.com/robknopperpercussion/ Instagram: https://www.instagram.com/robknopper/ LinkedIn: https://www.linkedin.com/in/rob-knopper-98998aa7/ Spotify: https://open.spotify.com/artist/7ipoC3frMoO4AtG2KvP8Zv   Mind Over Finger Click www.mindoverfinger.com/coaching to book your free consultation with me. Visit MindOverFinger.com for my online courses as well as free resources on peak performance. Grab my free workshops and PDF downloads by going to www.mindoverfinger.com/resources. Connect: https://www.youtube.com/@MindOverFinger https://www.facebook.com/mindoverfinger/ https://www.facebook.com/groups/mindoverfinger https://www.instagram.com/mindoverfinger/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme:  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson.

Today is a very special episode for me because we have with us, the inimitable Dr. Renee-Paule Gauthier, Violinist, Performance & Life Coach for Musicians, Host of the Mind Over Finger Podcast She is a passionate performer, teacher, and high-performance coach whose career has taken her across the United States and Canada as a soloist, recitalist, chamber musician, orchestral leader, and clinician.  Dr. Gauthier performs with some of Chicago's finest ensembles, including the Chicago Symphony and the Chicago Lyric Opera orchestras, Music of the Baroque, and the Chicago Philharmonic. She blogs about creating a meaningful practice at her website, Mind Over Finger, and hosts the Mind Over Finger podcast.  One of the most popular classical music shows, The Mind Over Finger Podcast offers discussions on mindful music-making, efficient practice, and building a purposeful career with the performers, pedagogues, and innovators who are shaping the classical music world today.  Dr. Gauthier presents masterclasses and clinics on the topics of mindful practice, audition preparation, and anxiety management to audiences across the world.   An accomplished concert artist, Renée-Paule Gauthier was mentioned as “one of the best violinists of her generation" in the book Violin Virtuosos, from Paganini to the 21st Century.  Dr. Gauthier has won awards in several competitions, including the exclusive three-year loan of the Taft Stradivari violin through the 2009 edition of the Canada Council for the Arts' Musical Instrument Bank Competition.  She made her Kennedy Center solo debut in April 2014.  She was Concertmaster of the New World Symphony, in the first violin section of the National Arts Centre Orchestra in Canada, Assistant Concertmaster of the Calgary Philharmonic, and is the Founder and former Artistic Director of the Rendez-vous Musical de Laterrière, a chamber music festival in the province of Québec.  Download your free Quarterly Retreat Planning Guide.  Book a free 30-minute discovery call with Kate.   If you enjoyed today's episode, please don't forget to subscribe, rate, review, and share it with your friends!  Want more Tales From The Lane content? Check out the TFTL Blog, with 6+ years of past articles and interviews!  Let's hang out! IG: https://www.instagram.com/kkayaian FB: https://www.facebook.com/groups/Talesfromthelane Twitter: https://twitter.com/kkayaianwright Website: KateKayaian.com  

When the symphony of life hits a dissonant chord, how does a musician find harmony again? This is just one of the soul-stirring questions Russell Rybicki answers as he joins us for a rich tapestry of tales on personal transformation, mental health, and the art of self-discovery in the demanding world of classical music. From playing horn and arranging to finding silence in meditation, Russell unveils the intricate journey of an artist seeking balance amid professional peaks, personal trials, and the quest for inner peace.SPECIAL EVENT: On April 21st, Sound Mind will be hosting its very first in-person panel event at the New World Center in Miami Beach, FL titled “between the notes: exploring identities as artists”. Join us to explore the multifaceted career path as musicians and the diverse identities that shape the art and artists within it. Register now at this link.Russell Rybicki is currently acting third/assistant horn in the San Antonio Philharmonic and is the hornist and arranger for the Monarch Chamber Players. He's previously held positions with the San Antonio Symphony, the Vancouver Symphony, and the New World Symphony. Russell is also a certified Holistic Life Coach passionate about deep personal work involved in self-acceptance and self-compassion through a holistic process.

Karen Birch Blundell is a New York City based performer and teaching artist. She is English horn of the Northeastern Pennsylvania Philharmonic and the Associate Principal Oboe/English horn of the Eastern Music Festival. She performs with ensembles throughout the Northeast including; the American Symphony Orchestra, Albany Symphony, Hartford Symphony, New Jersey Festival Orchestra, Norwalk Symphony and Springfield Symphony Orchestra.​Prior to her time in NY, Karen was Second Oboe/English horn with the Sarasota Orchestra. While in Florida, she regularly performed with neighboring orchestras including the Florida Orchestra and the Naples Philharmonic. She has been a guest musician with The Houston Symphony, The Houston Ballet Orchestra and the Cincinnati Symphony Orchestra. Beyond the Classical realm, Karen has toured the US with the New Sousa Band and performed with mega stars including Bernadette Peters, Idina Menzel, Mannheim Steamroller and The Who.Karen holds a Bachelor of Music from Oberlin Conservatory where she studied with James Caldwell. She completed her Master of Music at the Hartt School of Music with Humbert Lucarelli. She also studied with Robert Atherholt, Alex Klein and John Mack. She also held a fellowship at the New World Symphony under the direction of Michael Tilson Thomas. To learn more about Karen, and follow her journey, visit the link https://www.karenbirchblundell.com/ Visit the Self-Care Institute at https://www.selfcareinstitute.com/ Support the showVisit www.creativepeacemeal.com to leave a review, fan voicemail, and more!Insta @creative_peacemeal_podcastFB @creativepeacemealpodBonfire https://www.bonfire.com/store/creative-peacemeal/Redbubble CPPodcast.redbubble.comCreative Peacemeal READING list here Donate to AhHa!Broadway here! Donate Dachshund Rescue of Houston here Interested in the Self-Care Institute with Dr. Ami Kunimura? Click here Interested in Corrie Legge's content planner? Click here to order! Looking for custom orthotics? Foot and Shoe Solutions is your answer. Click here for more.

Harvey Brownstone conducts an in-depth Interview with Leonard Bernstein's daughter, Jamie Bernstein About Harvey's guests: Today's guest, Jamie Bernstein, is an author, narrator, director, broadcaster and filmmaker who also happens to be the daughter of one of the greatest legendary composers and conductors the world has ever known, Leonard Bernstein.   He's been immortalized by the genius of his many iconic compositions.  His Broadway shows: “On the Town”, “Wonderful Town”, “Candide” and “West Side Story”; the film score to the movie, “On the Waterfront”; and his magnificent, timeless operas, symphonies, ballets and theatre pieces including “Trouble in Tahiti” and the sequel, “A Quiet Place”, “Prelude, Fugue and Riffs”, Symphony Number 1: Jeremiah; “Mass: A Theatre Piece for Singers, Players and Dancers”, Symphony Number 3: Kaddish, Dybbuk, Songfest, Divertimento, and Arias and Barcarolles.  And his renowned, groundbreaking Young People's Concerts turned all of us into music lovers.   Our guest writes and narrates educational concerts all around the world, not only about her father in “The Bernstein Beat”, but also about Mozart, Aaron Copland, Stravinsky, and other great composers.   She's produced and hosted the New York Philharmonic's live national radio broadcasts, as well as many summer broadcasts from Tanglewood, and educational concerts for the New World Symphony in Miami.   She also narrated the highly acclaimed podcast “The NY Phil Story: Made in New York.”   And she co-directed the multi-award winning documentary film entitled, “Crescendo: the Power of Music”, which celebrates the amazing social transformation that happens when children from disadvantaged urban communities, participate in youth orchestra programs.   Our guest has dedicated her career to perpetuating and honoring her father's legacy.  In addition to presenting the “Bernstein Beat” concerts, she created and edits a newsletter called “Prelude, Fugue & Riffs,” to keep the international community of Leonard Bernstein fans connected.    In 2018 our guest released her highly compelling, fascinating and poignant book entitled, “Famous Father Girl: A Memoir of Growing Up Bernstein”.    And she and her 2 siblings Alexander and Nina, provided much input into the making of the brand new film about their father called, “Maestro”, starring Bradley Cooper, which is now showing on Netflix. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Jamie Bernstein, go to:http://jamiebernstein.net/https://www.facebook.com/jamie.bernstein.16/https://twitter.com/Jthesavage https://www.instagram.com/jamie_bernstein_music/  #JamieBernstein   #LeonardBernstein   #Maestro   #harveybrownstoneinterviews 

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Megumi Kanda, Principal Trombone of the Milwaukee Symphony Orchestra.  About Megumi Kanda Megumi Kanda, Principal Trombone of the Milwaukee Symphony Orchestra since 2002, is an internationally acclaimed performer, teacher, and author.    Megumi has performed as a soloist across the United States, Europe, and Asia, including with the Milwaukee Symphony Orchestra, Pershing's Own Army Band, the US Army Field Band, and the Prague Chamber Orchestra. She has been a featured guest artist at many trombone workshops and festivals, including the International Trombone Festival and the American Trombone Workshop. Megumi has appeared as guest faculty at numerous music institutions, including the New World Symphony, National Youth Orchestra of the USA, and Interlochen Arts Academy, and has given master classes and recitals across the US, Europe, and Asia. In April 2006, Megumi was recognized by the Arion Foundation in Tokyo, Japan as one of the most influential Japanese classical artists. She has also received a Certificate of Commendation from the Consul General of Japan at Chicago in recognition for distinguished service contributing to the friendship between the United States and Japan. Megumi was named a 2017 Woman of Influence in the category of education by the Milwaukee Business Journal. In 2020, she was named the recipient of the International Trombone Association Award, which recognizes the highest level of creative and artistic output. Megumi's first book, The One Hundred, a collection of orchestral trombone excerpts with accompanying commentary, was published in August 2015 and is a resource widely used by aspiring young trombonists around the world. Her second book, Trombone Unlimited, a comprehensive method book, was published in 2020. As a JVC/Victor Entertainment artist, Megumi recorded three solo albums: Amazing Grace, Gloria, and Mona Lisa. She also can be heard on Magnifique Live, a live recording of Megumi and other JVC artists in the August 2005 performance at Takemitsu Hall in Tokyo's Opera City. Megumi is proud to be a Greenhoe performing artist. Podcast Credits Theme Music: The Trombone Choir Arrangements of Jay Friedman, Vol. 1 Audio Engineer – Preston Shepard  Cover Art – Frank Gladstone Podcast Hosts - Noah Gladstone & John Snell

Bill Williams is a musician who has had a stellar career as a symphony musician, chamber musician, and soloist. But in addition to his performing, he is also a consultant with a wide range of clients, including elite performers and institutions, focusing on the tools needed to perform well consistently. On his website The Path to Optimal Performance, Bill deals with subjects such as stress and performance, practice, centering, and mental rehearsal. A great deal of our conversation revolves around the concept of how to deal with the vitally important mental aspects of performance.

SynopsisParents are not supposed to have favorite children. By analogy, maybe composers aren't supposed to love some of their pieces more than others — but they often do.In the case of Czech composer Antonín Dvořák, his little Sonatina for violin and piano was one of his proudest creations. He wrote it for two of his older children, 15-year-old Otilie and 10-year-old Antonin Junior.The Sonatina was composed in 1893 while Dvořák and his family were living in America. In the fall of that year, Dvořák had paid a visit to the Czech community in St. Paul, Minnesota, and while there had visited Minnehaha Falls, a local tourist attraction. After viewing the picturesque little waterfall, Dvořák jotted down a musical idea, a bit of rippling water music that found its way into the Sonatina's slow movement.The Sonatina was finished in New York City on today's date in 1893 — less than two weeks before the premiere of Dvořák's New World Symphony at Carnegie Hall. Despite the tremendous success of that symphony, Dvořák liked to say his proudest premiere was when his children played the Sonatina for him in the family parlor.Music Played in Today's ProgramAntonin Dvořák (1841 – 1904) Sonatina in G; Ivan Zenaty, violin; Antonin Kubalek, piano; Dorian 90171

In this episode of the Immersive Audio Podcast, Monica Bolles is joined by musicians and audio engineers John Henry Dale and Merijn Royaards from Miami, US. John Henry Dale is an immersive media artist, musician and entrepreneur focused on live spatial audio and video performance, based between Miami and New York. He holds an MSc in Digital Composition and Performance from the University of Edinburgh and composes, performs, and produces music across a range of genres from electronica, jazz, funk, Latin, global bass and ambient, to avant-garde and serialist composition projects. He has also worked extensively in the confluence of IT, Web, AV, Live Streaming, and Immersive Media technology at The Regional Arts and Culture Council, New World Symphony, Hive Streaming and Linkedin.  Most recently in July of 2023, he worked with Merijn Royaards and the Sonic Sphere project to help create custom spatial audio mixes in SPAT, Reaper and Ableton Live of selected works for the Sonic Sphere residency at the Shed and also created a personalised spatial audio mix and listening session for Mike Bloomberg and Marina Abramovic. John Henry performed his live music for his “In Viridi Lux” spatial audio performance project inside the Sonic Sphere as part of a 2023 Miami Individual Artist grant funded by the National Endowment for The Arts and the Miami-Dade Cultural Affairs Department. Merijn Royaards is a sound architect, researcher, and performer guided by convoluted movements through music, art, and spatial studies. The interaction between space and sound in cities with a history/present of conflict has been a recurring theme in his multimedia works to date. His 2020 awarded doctoral thesis explores the state-altering effects of sound, space, and movement from the Russian avant-garde to today's clubs and raves. He is one part of a critical essay film practice with artist-researcher Henrietta Williams and teaches sound design for film and installation art at the Bartlett School of Architecture. JH and Merijn talk about the evolution of Sonic Sphere as a concept, playback system and performance space. They talk about the practical aspects of crafting and experiencing different spatial audio content within the spherical structures. This episode was produced by Oliver Kadel and Emma Rees and included music by Rhythm Scott. For extended show notes and more information on this episode go to immersiveaudiopodcast.com/episode-89-john-henry-dale-merijn-royaards-sonic-sphere/ If you enjoy the podcast and would like to show your support, please consider becoming a Patreon. Not only are you supporting us, but you will also get special access to bonus content and much more. Find out more on our official Patreon page - www.patreon.com/immersiveaudiopodcast We thank you kindly in advance! We want to hear from you! We value our community and would appreciate it if you would take our very quick survey and help us make the Immersive Audio Podcast even better: surveymonkey.co.uk/r/3Y9B2MJ Thank you! You can follow the podcast on Twitter @IAudioPodcast for regular updates and content or get in touch via podcast@1618digital.com immersiveaudiopodcast.com

I had the great joy to do my first ever live edition of Sticky Notes last month with the Aalborg Symphony in Denmark. For this concert, I chose a piece that is extremely close to my heart, Dvorak's New World Symphony. The story of the New World Symphony is a fascinating one. The symphony was the result of an extraordinary series of events, with Dvorak coming to America in 1892, meeting the great singer Harry Burleigh, and falling in love with a totally new, to him, genre of music: Black American and Native American folk music. Listening to Burleigh and other voices around America, Dvorak had discovered a new “American” sound for his music, and even though he would end up staying in the US for just three years, in that time he composed two of his most popular pieces, the American String Quartet, and the New World Symphony But of course, the New World Symphony isn't really an American piece. It is a piece written in America by a Czech composer, which means it embodies traits from both sides of the Atlantic.  Moments of Black American influence elide into Czech Slavonic Dances and back again with incredible ease.  All along the way, Dvorak infuses his highly traditional symphonic style with this "American" sound, a sound that enraptured the public from the very first time they heard it, and remains both incredibly popular and incredibly moving, today. Join myself and the Aalborg Symphony for this exploration of the symphony, followed by a complete performance. I'm extremely grateful to the Danish Radio for allowing me to use this performance for the show. 

It's time for us to begin the second half of season 4 and today for our guest, we have the amazing Myles Blakemore! Myles serves as trombonist in the US Navy Band and is also the Professor of Trombone at Howard University. Prior to those positions he has held a position with New World Symphony, was the inaugural Minnesota Orchestra fellow, and participated in National Repertory Orchestra, Aspen Music Festival and Brevard Music Center. Performing on international stages such as Baltimore Symphony, Dallas Symphony, Malaysian Philharmonic, International Trombone Festival, American Trombone Workshop and many more, he has an incredibly rich story for us today, and its nowhere near the end! We naturally talk about his beginnings as a trombonist, exploring his earliest starts to being a fellow at New World Symphony, and his current life in the US Navy Band. We even discuss his process of making his album that is out now and is entitled "Bach-Ish," we highly recommend checking out after this interview to show your love for this terrific musician! -- Transition Music #1: The Gift of Little G for Trombone and Piano, featuring Myles Blakemore Transition Music #2: Hommage a Bach pour Trombone et Piano, featuring Myles Blakemore Instagram: @8thposition @dbaldwin903 @_mehurst_

We begin Part 2 by talking about his time with the San Francisco Ballet and how conducting ballet is so different from conducting orchestras. From there we move on to the New World Symphony and the studying of scores in preparation for rehearsals and concerts, how much time is involved, and the strategy he has for score analysis.

Chad Goodman is, to quote Christina Wallace from Forbes Magazine, "an entrepreneur bringing innovation to classical music." In his young life, Chad has started his own ensemble, the Elevate Ensemble, worked with the San Francisco Symphony and San Francisco Ballet as a conductor, and is currently a Conducting Fellow of the New World Symphony. So how did he do all of this at such a young age? He gives a lot of clues and practical advice in his book: "You Earned a Music Degree. Now What?" It was a pleasure to speak with him about the many aspects of his career and life.We begin by going back to the start of Chad's career, learning music and also learning the business of music. At a very young age, he founded the Elevate Ensemble. He talks about many of the different aspects of planning concerts, paying musicians, arranging concert venues, and the like. We trace his career to working with the San Francisco Symphony, assisting guest conductors, and how Manfred Honeck was such a profound influence on him.

Stéphane Denève is the artistic director of the New World Symphony. His journey there started with hiding in the back of a chapel. He tells us his story and what we can expect from the orchestra this season.

SynopsisToday's date in 1899 marks the birthday of the famous African-American composer, choir director, and teacher, William L. Dawson, in Anniston, Alabama. After musical studies in Kansas City and Chicago, from 1931 to 1956 Dawson taught at the Tuskegee Institute, where he developed the Institute's Choir into an internationally-renowned ensemble.Dawson's arrangements of African-American spirituals, which he preferred to call folksongs, are justly famous, but in 1934 he produced his masterwork, a Negro Folk Symphony, modeled on Dvorak's New World Symphony, but exhibiting Dawson's own distinctive mastery and development of his themes. His goal, he said, was for audiences to know that it was "unmistakably not the work of a white man.""The themes,” wrote Dawson, “are taken from what are popularly known as Negro Spirituals. In this composition, the composer has employed themes … over which he has brooded since childhood, having learned them at his mother's knee."Dawson's symphony was successfully premiered by Leopold Stokowski and the Philadelphia Orchestra, who took the new work to Carnegie Hall, where its 35-year old composer was repeatedly called to the stage. The symphony was revised in 1952 with added African rhythms inspired by the composer's trip to West Africa.Music Played in Today's ProgramWilliam L. Dawson (1899 – 1990) Negro Folk Symphony Symphony of the Air; Leopold Stokowski, cond DG 477 6502

Find Adam!Instagram: http://www.instagram.com/adamhappyberryAbout Adam Sadberry Named one of The Washington Post's 23 for ‘23, flutist and educator Adam W. Sadberry is paving a distinctive career with his citizenry, creativity, and vibrancy both on and off stage. As a winner of Concert Artists Guild's 2021 Victor Elmaleh Competition, he is making debuts in the 22/23 season with Chamber Music Detroit, Newport Classical, Scottsdale Performing Arts, Macon Concert Series, Strings Music Festival, Pro Musica: San Miguel de Allende, Northeast Kingdom Classical, Glema Mahr Performing Arts Center, Dumbarton Concerts, and more. Adam is tremendously excited to make his Merkin Hall debut in NYC during March 2023 where he will premiere a composition by Dameun Strange that is inspired by Adam's late grandfather and unsung hero of the Civil Rights Movement, L. Alex Wilson. Adam's commitment to citizenry is reflected through his collegiate work. He is on faculty at the University of Minnesota (Twin Cities) for the spring 2023 semester, and he has given residencies at Lawrence University, Northern Michigan University, South Carolina Governor's School for the Arts and Humanities, and Wesleyan College (GA). Adam has had performance engagements at Indiana University (Bloomington), Pepperdine University, and Georgia Southwestern State University, and he has given masterclasses at New York University, Oakland University, University of Memphis, Rhodes College, and the Harmony Project (Los Angeles). Adam's work revolves around identity, his grandfather's legacy, and mindfulness that is informed by Alexander Technique. His most popular lectures are Using Your Identity to Create a Relevant Voice in Music and Musical Journalism: Continuing a Legacy Through the Flute.Along with his solo and educational work, Adam has a strong foundation in orchestral playing. He is the principal flutist of the Cabrillo Festival of Contemporary Music in Santa Cruz, CA, he has played principal flute with the St. Louis and Detroit Symphony Orchestras, and he has previously held positions with orchestras including acting principal flute with Memphis Symphony Orchestra, flute and piccolo with the Des Moines Metro Opera, and orchestra fellow with the Detroit Symphony Orchestra. He has also performed with the Minnesota Orchestra, Seattle Symphony Orchestra, Sphinx Symphony Orchestra, and the New World Symphony. Adam can be heard playing on the soundtrack of Disney's The Lion King (2019) and in the Hollywood Bowl's Juneteenth Celebration (2022) that included artists such as Chaka Khan, Ne-Yo, Billy Porter, Questlove, and Earth, Wind, and Fire.Adam is currently enrolled in the Training Course at the Minnesota Center for The Alexander Technique as a 2023 Judith Leibowitz Scholar, and he holds a Bachelor of Music and Performer's Certificate from the Eastman School of Music. Outside of music, Adam finds joy in rollerskating, listening to podcasts, reading, playing video games, and spending time outdoors. Everyone's Music School Creating positive and lasting change in people's lives with music!Twdcc's Black health Matters Initiative Promotes equity to improve the quality of life for Black residents in Santa Cruz CountyDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

As an advocate of historically marginalized composers, musicologist Douglas Shadle is a leading voice in public discussions about the role of symphony orchestras and orchestral music in American life. His first book, Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise (Oxford, 2016), explores the volatile relationships between composers, performers, critics, and audiences throughout the 19th century and demonstrates why American composers rarely find a home on concert programs today.   Shadle is also a highly-regarded expert on fellow Little Rock native Florence Price, the first African American woman to win international acclaim as a composer. His research on Price has been featured in The New Yorker, New York Times, and NewMusicBox. Shadle's second book recontextualizes Antonín Dvořák's iconic New World Symphony within the complex landscape of American culture at the end of the nineteenth century.   Shadle's publications have won two ASCAP Deems/Taylor Virgil Thomson Awards, the Society for American Music Irving Lowens Article Award, the inaugural American Musicological Society H. Robert Cohen/RIPM Award, and the Vanderbilt Chancellor's Award for Research. Shadle joined the Blair School faculty in 2014 and has served as the chair of the Department of Musicology and Ethnomusicology since 2019.   Thank you for joining us on One Symphony. Thanks to Douglas Shadle for sharing his knowledge and insights, you can find Antonin Dvorak's New World Symphony where you get your books. Works on the show today included Dvorak's American String Quartet performed by the Prague Quartet and his Ninth Symphony with Charles Mackerras and the London Philharmonic, Myun-Wun Chung and the Vienna Philharmonic, and Paavo Jarvi and the Cincinnati Symphony.   You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music! https://www.pricefest.org/about/douglas-shadle https://devinpatrickhughes.com onesymphony.org    

Kenneth Thompkins was appointed Principal Trombone of the Detroit Symphony Orchestra by Neeme Jarvi. Prior to this appointment he held positions in the Buffalo Philharmonic and The Florida Orchestra and New World Symphony Orchestra.  He has also performed with the New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony, and Chicago Symphony Orchestra. Thompkins enjoys working with young musicians and has performed masterclasses and recitals at many universities including the Curtis Institute of Music, University of Michigan, and the Eastman School of Music. In 2017 Thompkins recorded Sonatas, Songs and Spirituals featuring the music of Alec Wilder, William Grant Still and Philip Wharton. Sonatas, Songs and Spirituals was the winner of The American Prize in Instrumental Performance for 2018-2019. He has performed as a soloist with the Detroit Symphony Orchestra, Chineke! Orchestra and New World Symphony.  He also premiered “Troubled Water” trombone concerto by Carlos Simon with the Detroit Symphony Orchestra in 2023.  

1.Stop downplaying the skills you have learned through the arts. Meaning if you're an artist who is looking to pivot or have a parallel career in something artistic or not, stand on the skills you've learned as an artist. Don't negate them!  2. Money is a neutral tool, we are the ones who ascribe an emotion to it and for a lot of artists that emotion is fear, but we can choose to ascribe another emotion to it or no emotion at all.  3. Give yourself permission. Permission to take chances, permission to be good with money, permission to build the life you want as an artist.  These are my key take aways from my conversation with Singer, Financial Educator & Advisor Tiffany Soricelli.  Tiffany Soricelli is an award-winning financial advisor and the owner of Virtuoso Asset Management LLC,  the first Registered Investment Advisory firm in the country dedicated to serving Artists and Supporters of the Arts through financial planning and asset management services. She is also the founder and CEO of Virtuoso Advising for Artists, a company dedicated to coaching and educating artists about the business and financial aspects of building a thriving career in the arts. As a sought-after national speaker, Tiffany currently serves as the business & financial coach to emerging artists at The Metropolitan Opera, Washington National Opera, Houston Grand Opera, Minnesota Opera, and San Francisco Opera. During the summer, she works with artists at Wolf Trap Opera, Glimmerglass Opera, Seagle Music Colony, the Mostly Modern Festival and regularly serves as a speaker for national organizations including Opera America, The Recording Academy, and Chamber Music America. She has led educational seminars for New World Symphony, LA Opera, Opera Philadelphia, Atlanta Opera and several prestigious music conservatories across the country.  Prior to her financial career, Tiffany earned her BM and MM from SUNY Potsdam's Crane school of Music. She lives in upstate New York outside of Saratoga Springs, NY with her husband and two children. Get in touch:  Tiffany Soricelli Website: https://www.virtuosoadvising.com/ Instagram: @virtuosoadvisingforartists Ayana Major Bey  Website: www.ayanabey.com Instagram: @ayanambey, @theartistpivot  Monthly Newsletter: https://www.ayanabey.com/podcast Show Sponsor: Get 10% off your first month with BetterHelp at https://betterhelp.com/artistpivot  ******* Host & Exec. Producer: Ayana Major Bey  Editor: Kieran Niemand  Part of the Boundless Audio Network 

Synopsis At London's St. James's Hall on today's date in 1885, the Czech composer Antonin Dvorak conducted the London Philharmonic Society's orchestra in the premiere of his Seventh Symphony, a work they had commissioned. The Society had also commissioned Beethoven's Ninth Symphony decades earlier, a fact of which Dvorak was quite aware, and just before starting work Dvorak heard and was bowled over by the brand-new Third Symphony by his friend and mentor Johannes Brahms.  In other words… “No pressure!”Dvorak felt he must do his very best, and, judging by the warm reception at its London premiere, the new work was a success, with one reviewer calling it “one of the greatest works of its class produced in the present generation.”But not all reviews were glowing. Another wrote, “the entire work is painted grey on grey: it lacks sweetness of melody and lightness of style.” And Dvorak's German publisher complained that big symphonies were not profitable and advised Dvorak write only shorter piano pieces that had a ready market.But subsequent performances helped establish the new symphony as the masterwork it is, and although not as often-played as his “New World” Symphony, today Dvorak's Seventh ranks among his finest creations. Music Played in Today's Program Antonin Dvorak (1841-1904) Scherzo (3rd mvt), from Symphony No. 7 in d, Op. 70 Berlin Philharmonic; Rafael Kubelik, conductor. DG 463158-2

Do we know when we're living through history? In 1893, New Yorkers gathered outside Carnegie Hall to hear the ground-breaking premiere of composer Antonín Dvořák's Symphony No. 9, better known as the “New World Symphony.” One of the most hotly anticipated premieres in musical history, it was delivered in the midst of a national debate over what a distinctly “American” classical music should sound like — and it was destined to become one of the most beloved works in Western classical repertoire. Over a century later, the NY Phil performed the same work a world away in Pyongyang, North Korea, once again making history, and revisiting those same questions of what it means to perform American music — and how music, regardless of its origin, can serve as a bridge between peoples.The NYPhil Story: Made in New York production team includes Lauren Purcell-Joiner, Helena de Groot, Sapir Rosenblatt, Laura Boyman, Elizabeth Nonemaker, Eileen Delahunty, Christine Herskovits, Natalia Ramirez, and Ed Yim. Our engineering team includes: George Wellington and Ed Haber. Production assistance from: Ben James, and Jac Phillimore and Mary Mathis. Special thanks to Monica Parks, Adam Crane, Gabe Smith, and the New York Public Radio Archives. A transcript of this episode is available on our website: nyphilstory.com

On this episode of The Accutron Show, Bill, David and Scott meet with an eclectic and fascinating personality, Alex Ott. Biochemist, author, molecular biologist, flavor scientist and healer, Alex has traveled the world and has been consulting and inventing for health science and biotech companies in the fields of phytology, biochemistry, and olfactory neuroscience in food & beverage projects, revolutionizing a whole new field in plant science-based product developments. After surviving a harrowing plane crash that killed 101 people, Alex gained a new sense of life and dedicated himself to multiple professions. Tune in to discover the incredible life journey of Alex Ott.Episode Highlights9:00 Preparing drinks in bars made me the "shrink" of Manhattan, trying to help clients with their problems without having anything to do with mixology. I simply applied flavor chemistry and olfactory neuroscience to drinks and added vitamins to it the natural way. That caught on to people.31:00 I was a lucky guy that switched the ticket with another guy to get on an earlier flight. I was living in Thailand working on storyboarding for a movie; I was dating an actress that was working on that movie. We broke up, so I bought a ticket for the following day, and the flight I was on crashed. That experience changed my life again. 35:36 On May 5th I will be part of the "Once Upon a Kitchen" event in Miami with Chef, Massimo Bottura. In the previous edition, I set up a little rain forest on the rooftop of The New World Symphony in Miami where people were picking herbs that went into special drinks I crafted for them and for their mood.  Learn more about the Accutron watch here, and follow @AccutronWatch:InstagramTwitterFacebookSubscribe to this podcast on Apple Podcasts and Spotify to hear new episodes as soon as they're released.Follow our hosts on social media:Bill McCuddy: Facebook  / TwitterDavid Graver: Instagram  / TwitterAlex Ott: Instagram 

Synopsis Composers and publishers don't always see eye to eye. Simrock, the German publisher of Dvorak's music, irritated the patriotic Czech composer by issuing his scores with his first name printed in its Germanic form “Anton” rather than its Czech form “Antonin.” They finally came up with a compromise: Simrock abbreviated Dvorak's first name, printing it as “A-N-T-period” on the music's title page: Germans could read that as “Anton” and Czechs as “Antonin.” Everyone was happy. Simrock would also have liked Dvorak to stick to writing small-scale chamber works — which sold well— rather than large-scale symphonic works — which didn't. “You counsel me that I should write small works,” writes Dvorak in 1891, “but this is very difficult . . . At the moment my head is full of large ideas and I will have to do as dear Lord wishes.” A few years later, Dvorak would make Simrock very happy by sending them some large- and small-scale works that would sell tremendously well, including his New World Symphony and American Quartet . . . plus this music — an American quintet published by Simrock as Dvorak's Op. 97. Dvorak's Quintet was composed in Spillville, Iowa, in the summer of 1893 and was first heard at Carnegie Hall in New York on today's date in 1894. Music Played in Today's Program Antonin Dvořák (1841 - 1904) String Quintet in Eb, Op. 97 Smetana Quartet; Josef Suk, vla Denon 72507

Synopsis On today's date in 1893, Anton Seidl conducted the New York Philharmonic in the first performance of Antonin Dvořák's Symphony No. 9, a work subtitled From the New World. This was an afternoon concert, meant as a public dress rehearsal for the work's "official" premiere the following evening. Among the Dec. 15th audience was Dvořák's eight-year old son, Otakar, who had a special interest in the success of his father's new symphony. In the preceding weeks, Otakar had accompanied his father to a New York café, where Dvořák met Anton Seidl to go over the new score. Young Otakar amused himself at a nearby toyshop, where a seven-foot long model of the ocean liner Majestic was on display, complete with its own miniature steam-chamber and working propellers. It cost a whopping $45—a HUGE amount of money in those days, and the answer from papa was always: NO! Seeing that the boy's heart was set on having the toy, Anton Seidl suggested to Otakar that he wait until after the premiere and then ask his father again. Seidl told Otakar that if all went well at the premiere, Dvořák would be in a generous mood. The premiere was a great success, and, as Otakar recalled: "When Seidl offered to pay half the cost of the Majestic, Father could not say no. So that is how the three of us celebrated the success of the first performance of the New World Symphony." Music Played in Today's Program Antonin Dvořák (1841-1904) Symphony No. 9 (From the New World) New York Philharmonic; Kurt Masur, cond. Teldec 73244