Podcasts about New York Philharmonic

In this episode, we're joined by Gaelen McCormick, President of the International Society of Bassists, to discuss her groundbreaking book Teaching Violin, Viola, Cello, and Double Bass: Historical and Modern Pedagogical Practices, co-authored with Dijana Ihas and Miranda Wilson. Gaelen shares insights on the historical development of bass pedagogy and how teaching methods have evolved over centuries. We explore the fascinating evolution of bass pedagogy from 1800 to the present day, with special focus on how George Vance and Hal Robinson's Double Bass Project revolutionized bass education. We also discuss the valuable transferable skills that musicians develop through bass playing and apply to other professional contexts, along with examining the significant leap forward in teaching methodologies that has occurred since 2000.   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Thank you to our sponsors! Upton Bass - From Grammy Award winners and Philharmonic players like Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today!   Carnegie Mellon University Double Bass Studio is a valued part of an innovative fine arts community in a top research university. Students receive weekly private lessons and solo classes with Micah Howard, and Peter Guild teaches weekly Orchestral Literature and Repertoire. They encourage students to seek lessons and guidance from local bassists. Members of the Symphony, the Opera, and the Ballet provide annual classes and individual attention. Visit Micah's website to sign up for a free online trial lesson here. theme music by Eric Hochberg

Benjamin Hochman is a dual threat artist. He's a pianist and a conductor. As a pianist he debuted at 24 as a soloist with the Israel Philharmonic at Carnegie Hall conducted by Pinchas Zukerman. He's performed with the New York Philharmonic, Chicago and Pittsburgh Symphonies, and Prague Philharmonia among others. As a conductor he has led the orchestras of Szeged in Hungary, the English Chamber Orchestra, Santa Fe Pro Musica, and the Orlando, and Bridgeport Orchestras.My featured song is “Out Of Tahini”, from the album Play by my band Project Grand Slam. Spotify link.------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH BENJAMIN:www.benjaminhochman.com—----------------------------------------ROBERT'S NEWEST SINGLE:“SUNDAY SLIDE” is Robert's newest single. It's been called “A fun, upbeat, you-gotta-move song”. Featuring 3 World Class guest artists: Laurence Juber on guitar (Wings with Paul McCartney), Paul Hanson on bassoon (Bela Fleck), and Eamon McLoughlin on violin (Grand Ole Opry band).CLICK HERE FOR ALL LINKSCLICK HERE FOR THE OFFICIAL VIDEO—-------------------------------------------ROBERT'S NEWEST ALBUM:“WHAT'S UP!” is Robert's new compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

In today's episode, Trevor Jones and Jason explore the joys and terrors of subbing in the high-stakes world of musical theater. Read the transcription of this interview with other helpful links and resources. Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

In this episode, my wife, Courtney, and I share our exciting experiences from the recent Biarritz International Bass Academy in the beautiful coastal town of Biarritz, France. We discuss the unique atmosphere of this bass event and explore why gatherings like this are invaluable for musicians at all levels. Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Thank you to our sponsors! Upton Bass - From Grammy Award winners and Philharmonic players like Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today!   Carnegie Mellon University Double Bass Studio is a valued part of an innovative fine arts community in a top research university. Students receive weekly private lessons and solo classes with Micah Howard, and Peter Guild teaches weekly Orchestral Literature and Repertoire. They encourage students to seek lessons and guidance from local bassists. Members of the Symphony, the Opera, and the Ballet provide annual classes and individual attention. Visit Micah's website to sign up for a free online trial lesson here.   theme music by Eric Hochberg

Asians and Asian Americans are numerous within the classical music industry, but their identities are often politicized and racialized in this Eurocentric musical genre. For the third episode of Obbligato on APEX Express, Isabel Li discusses this intersection with Mari Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music (2007) and Dearest Lenny: Letters from Japan and the Making of the World Maestro (2019). Tonight's episode features music by Chinese American composer Zhou Tian. To learn more about Mari and her work, please visit her website: https://www.mariyoshihara.com/index.html  Musicians from a Different Shore: https://tupress.temple.edu/books/musicians-from-a-different-shore-2 Dearest Lenny: https://global.oup.com/academic/product/dearest-lenny-9780190465780?cc=jp&lang=en&  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.    00:00:53 Isabel Li  Good evening. You're listening to KPFA 94.1 FM. My name is Isabel Li and I'm delighted to be hosting a new edition of Obbligato on Apex Express, which is a semimonthly segment specifically about AAPI identities in classical music. Tonight's guest is someone I have been incredibly excited to speak to because her writings have actually very much informed my studies and research. In fact, her books are exactly about the subject matter of Obbligato. I am honored to be speaking to Mario Yoshihara, Professor of American Studies at the University of Hawaiʻi at Mānoa and Professor at the Center for Global Education at the University of Tokyo, Japan; author of many books, including Musicians from a Different Shore: Asians and Asian Americans in Classical Music, published in 2007, and Dearest Lenny: Letters from Japan and the Making of the World Maestro, which was published in 2019. Welcome to Obbligato on Apex Express. Mari, how are you doing?  00:01:55 Mari Yoshihara  I'm doing fine. Thank you for having me.  00:01:58 Isabel Li  Of course, my first question for you is how do you identify and what communities are you a part of?  00:02:06 Mari Yoshihara  Oh well, that's actually a little bit complicated I am. I am a Japanese woman who have spent a little bit over well, maybe not more than a little more than half of my life in the United States. Born in New York but raised in Tokyo, educated mostly in Japan, but also earned my graduate degrees in the United States and most of my academic career has been in Hawaii, so I've been in American academia for almost 30 years now, but I also have a dual appointment with the University of Tokyo in Japan. So I split my time between Japan and Hawaii now.  00:02:54 Isabel Li  Can you tell us a little bit about your work and your books? I had a chance to read Musicians from a Different Shore, but how would you summarize your research to someone who might not have read your book?  00:03:04 Mari Yoshihara  So I am a scholar of American studies, which is an interdisciplinary field that has anything to do with America broadly defined. And within that, my area of expertise is about, well, I would say I'm a scholar of US cultural history. US Asian relations, mostly US, East Asian relations, especially in the cultural dimension, cultural studies, gender studies, Asian American studies, etc. And so I have written a number of books, both in English and Japanese, but the one that you're referring to, Musicians from a Different Shore, is a book that I did research for more than 20 years ago and was published in 2007. It's a study of Asians and Asian Americans and classical music. So it was partly historical in that I examined the ways. which Western music, so-called western classical music, was introduced to East Asia and how also East Asians became have become so successful and prominent in this field that is generally considered a white European elite art form, so it was partly historical, but then the rest of the book was based on my ethnographic field work and interviews among Asians and Asian Americans in classical music looking at how well who these people are in the first place and then also how musicians, Asian and Asian musicians themselves, understand the relationship between their racial and cultural identity on the one hand, and their practice of Western classical music on the other, so that was my study.   And then I also wrote another book called Dearest Lenny. It's about—the subtitle is Letters from Japan and the Making of the World Maestro. It's about Leonard Bernstein's relationship with two very special individuals in Japan. And through that story, I interweave an account of various things. For one thing, how Leonard Bernstein became a world maestro and also the relationship between politics and arts, gender, sexuality, art and commerce, etcetera, etcetera. So that was my most recent book published in English and then, I'm sure we'll talk more about this, but I'm currently doing a follow up research on the on Musicians from a Different Shore, taking into account all the changes that have been taking place in the classical music industry in the United States in the past, I would say five years or so especially so that's my that's the abbreviated version of my research.  00:05:55 Isabel Li  That's really cool, and I also want to ask you about these changes, if you can talk a little bit about the classical music world. I feel like classical music is one of those genres that seems to be unchanging on the outside. But as a scholar of classical music, what types of changes have you observed that has influenced how AAPI identities play into this world?  00:06:18 Mari Yoshihara  Yeah, I think especially in the last, I would say, yeah, 5 to 10 years, especially in the last five years, classical music industry in the United, I mean I say specifically in the United States because I don't see the similar kind of changes taking place in Japan where I'm currently located. And I also don't really know the situation in Europe. But the field of classical music in the US is changing. I think most significantly because of movements like the Black Lives Matter movement and also with the onset of COVID and the rise of anti Asian hate, there's been a lot more heightened awareness about how issues of race and also class shapes classical music. So there's a lot more vibrant conversations and debates about these topics in the industry and also in terms of AAPI community, are the biggest changes, the biggest change I'm seeing is that Asian and Asian American musicians themselves are being a lot more vocal and active in issues of race and racism in the field and there I've encountered many Asian and Asian American musicians who have, for instance, you know organized events or organizations, or taken up various forms of advocacy and activism on these issues. So compared to, say, 20 years ago, 20, 25 years ago, when I was doing the original research, I see a lot more kind of, you know, explicit awareness and awareness and articulation of these issues by Asian and Asian American musicians themselves.  00:08:12 Isabel Li  That's really interesting. Just because classical music is also one of those genres, that doesn't seem like a genre that most people explicitly associate with politics or activism. What are some examples of these, like activist movements that you've observed within the Asian American community in classical music?  00:08:32 Mari Yoshihara  So for instance, some Asian and Asian American musicians are are becoming a lot more vocal about the actual like racism or sexism that they have themselves experienced, or that they witness in the industry, like in in schools, conservatories, orchestras, opera companies, etc. Either through the media or you know their own writing, and also like speaking up within the organizations that they work in. So that's one. There are other kinds of advocacy and activism in that they demand more diverse repertoire, and I think the repertoire is in terms of the industry industry changes. That's the area that's changing the most, the the kind of repertoire that many orchestras for instance perform have become a lot more– I mean overall it's still very white, European centered– but in terms of the actual numbers of pieces that are performed, works by living, composers and composers of color, women composers, etcetera. That is significantly increased in the last 10 years and that is, you know significantly to do with the advocacy and activism on the part of, you know, artists of color.  So yeah, so things like that and then, you know, many Asian, Asian American artists are doing their own programming, for instance, like event organizing programming. So yeah, those are the areas that I see changes. I see things happening that I didn't see 25 years ago.  00:10:20 Isabel Li  Definitely. I remember reading your book, and your book has been published since 2007, so a lot of changes have happened since then. But in general, when you did your research at first, what how would you summarize the dynamic of Asian identities, Asian American identities in this very Eurocentric field, it's a juxtaposition of two different cultures and identities that a lot of people also observe in orchestras. There's a large population of Asian and Asian American musicians, conductors just in general. It's a very large population, but yet this identity is still not quite represented in media. It's not quite seen, so talk to us a bit about this juxtaposition and how you observe these dynamics in your research.  00:11:10 Mari Yoshihara  Yeah. So. The thing is, Asians and Asian Americans are indeed numerically overrepresented in classical music, in the sense that compared to the general public, the the the proportion of Asians and Asian Americans in the overall US population, the number of Asian and Asian Americans in classical music indexed by things like the student body at major conservatories or membership roster of US orchestras, etcetera, Asians and Asian Americans percentage is higher than the general population, right. So in terms of the numbers, Asians and Asian Americans are, quote unquote overrepresented. But those numbers are not reflected in the actual like voice, power and influence that they have in the industry.   So that was my finding back 2025 years ago and I think that's still true today. Also, the thing about Asian, Asian American musicians is that it's a racialized category. They are seeing and treated as Asian. It's this racial category. But their identities and experiences as Asians is not at all uniform, right?   Some of these Asian musicians are Asian Americans, like multi generational Asian Americans whose parents or grandparents or great grandparents etcetera have come to the United States and they themselves are U.S. citizens. So that's one group.   Many Asian musicians working in the United States are people who were born and raised in Asia, places like China or South Korea, Japan, etcetera, and came to the United States as international students to study music, often at the college level, college conservatory level, so obviously these people have very different sense of identity and experience as Asians compared to say, you know 3rd, 4th generation Chinese Americans or 1.5 Korean Americans.   There are other people who live in the United States because they were very talented, very young musicians, and the whole whole family immigrated to the United States specifically for their music education. So Midori, the famous violinist, Midori is a case, example of this, but there are also a number of other, especially among Koreans and Chinese. There are families, the whole family immigrated to the United States when the child was a very promising musician at age 7 or something. So that's one group. They too have a different sense of identity and experience of Asians than the two former groups that I that I talked about.   There are other people who also came to the United States because not because of the music education, but because of their parents' profession, for instance. And they have transnational kind of family ties and you know, they move, they go back and forth between US and Asia, for instance. And then there are also mixed roots families where one parent is Asian and the other is non Asian.   And then there are also Asians who were born and raised in Europe for other parts of the globe and then came to the United States, for either personal or professional reasons.   So in other words, they're all Asians in terms of their racial identity. But what that means is really quite diverse and their experience as Asian and Asian American musicians is also quite diverse. So it's not as if you know, just because they're Asian, they share some kind of experience and identities around which they coalesce. So that's, you know, that was true 20, 25 years ago. And I think that's still true today.  More and more Asian musicians are coming to the United States to study, study or work in classical music, but especially because of this, like new influence, this Asian category is becoming even more diverse. However, because of the COVID, you know the rise of Anti Asian hate during the COVID pandemic, I think that heightened the awareness of, you know, these different kinds of Asians, the heightened awareness that they are Asians. First and foremost, you know, in, in that in the sense of being racialized in the United States. So I have talked with a number of musicians, Asians and Asian American musicians, who did not really, hadn't thought about their Asianness before. It wasn't at the forefront of their identity before, but during this rise of anti Asian hate it they became they basically became more politicized. You know, they had quite a politicized language and awareness to think about race and racism especially against Asians and Asian Americans.  00:16:31 Isabel Li  Yeah, that's a great point. It is a such a diverse group and there are so many different identities, even within just the Asian American framework AAPI, as a label is very, very diverse. And that applies to classical music as well. But I think there's also this social perception of Asian and Asian Americans as a group that also relates to the model minority stereotype that's historically been present and, for example, a lot of people might think of, like a young Asian or Asian American musician as being like a prodigy because they are technically skilled at their instrument, where like these social perceptions that exist both in media and in the culture around us, why do you think that is?  00:17:15 Mari Yoshihara  Well, that as you said, there is a model minority myth and there is a stereotype of Asians and Asian Americans as being very studious and diligent, but also quiet, right? I mean, they just quietly follow, like, obedient, obediently follow the instructions and that translates in the field of music as the stereotype that Asian musicians are technically very proficient but artistically non expressive. I mean, that's a very common stereotype that yeah, you know, practically any Asian, Asian Americans in classical music have been subjected to, you know, quite regularly and frequently. And I think that, yeah, that just comes with the overall kind of racial stereotype of Asians and Asians and Asian Americans in American society at large. And also the fact that, you know, classical music, especially in terms of instrumental performance, it is an area that is, it's something that is, indeed, technically very demanding, right? You need many, many years of disciplined training and a lot of practice. And there is a myth of merit– well, no, not entirely a myth– but there is this this very, you know, dearly held faith in meritocracy in classical music. The idea that if you have the chops you will be rewarded, you will be recognized and you know, no matter what kind of great artistic idea you might have, if you can't play the notes, you can't play the notes. That kind of ethos of meritocracy is particularly strong in classical music because of the technical demands of the genre, and that and that kind of, you know, goes hand in hand with the model minority methods for Asian Americans.  00:19:20 Isabel Li  Definitely. That's really interesting and another part of your book that was quite fascinating to me when I first read it was chapter 3. You talked about the intersection of gender as well as, you know, racial identity in classical music. The chapter is called Playing Gender and you talk about, I think at large don't necessarily associate classical music with a discipline that provides a stable job. It is an art form and there is kind of an uphill battle for artists in a sense like a starving artist myth there. We're not even a myth. Like if there's a starving artist image, whereas the image of a very successful classical musician there's this duality that you also mentioned in one of your other chapters about class. So what really interested me in for this chapter was that there was this intersection of power in classical music of who would go down the path that might not be traditionally as successful. How do you think gender dynamics play into this and how do you think they might have shifted within the last two decades or so?  00:20:20 Mari Yoshihara  Huh. I'm not sure if it has shifted all that much in the last two decades, but as you said, because music I mean, not just classical music, but music. Like, you know, arts in general is a field that is very like economically insecure in terms of career, right?   But at the same time. Classical music is associated with kind of, you know, bourgeois identity and just kind of overall cultivation and so, many Asian, Asian American parents are very eager to send their kids to, say, piano lessons, violin lessons, cello lessons, etcetera. To, you know, give them a well-rounded education and also because it is considered useful tool, you know, when you're going to college and stuff like, you know being, you know, being able to show that you're very talented violinist, for instance, is believed to help your college application.  So there's this, you know, both stereotype and reality that like, you know, places like Julliard Pre-College, very competitive, you know, school, like music education program for kids is filled with Asian, Asian American, you know, students and their parents who are waiting, waiting for them to come out of school.   So there's that. But how gender plays into this is that while both men and women are do study music at a young age. When it comes to, you know, choosing say, college, like what they would, what they would pursue at the college level, far fewer male students tend to choose music as their college major or go to conservatory and pursue it as a as a career. But I think it's both their own choice. And also especially for Asian and Asian Americans, like parental pressure to not pursue music professionally because of, you know, financial insecurity.   So there's that, and also how that plays into the actual experiences of Asian, Asian Americans musicians who do study music is that I have heard from a number of female Asian musicians that either their peers or especially their teachers are doubtful that they are actually serious about music. There is a stereotype that, you know, say for instance, Japanese or Korean female students at Juilliard School, Manhattan School or whatever, they are there because they, you know, they want to study music and then find a good husband and marry, you know, a lawyer or doctor or engineer or something. [laughs] And and not that that doesn't happen. But that's a stereotype of, you know, that's a racialized and gender stereotype that comes from these, you know, gender and class and racialized dynamics.  00:23:35 Isabel Li  And just for clarification, is the classical music world at large still a male dominated field?  00:23:41 Mari Yoshihara  Yes. Oh yes. Definitely. I mean, it depends on the segment of you know, I mean classical music is itself quite diverse. So if you look at, for instance, the string section, especially the violin section of the New York Philharmonic for instance, you will find that like, I think the majority of those violin players are Asian women, perhaps. But if you look at say for instance, the Faculty of Conservatories or music directors and major orchestras and said, I mean still very male dominated.  00:24:23 Isabel Li  Yeah. Yeah, definitely. I like how your book also has so many different layers for each chapter. So Chapter 3 was about the gender intersection with this, with this identity, and Chapter 4, was it Chapter 4, I believe it was about class, Class Notes, and you've already mentioned a little bit about how class plays into the perception of music, how class influences gender even. But there's a statement in there that you said that, “it's misleading to characterize Asian musicians as just coming from the upper middle class.” And it makes sense that people would think of musicians coming from this economic bracket, because classical music is an in and of itself a very kind of expensive undertaking. You need so many lessons, so many instruments. But tell us why this statement would be misleading.  00:25:15 Mari Yoshihara  Because I mean, first of all, most of the overwhelmed, I would say overwhelming majority of the Asian, Asian American musicians that I interviewed come from middle class backgrounds, many of them from so-called like professional executive class backgrounds in, meaning that their parents hold these professional executive positions, right. And that's why they were able to afford advanced musical studies from a fairly young age. They need, you know, sustained and disciplined and often costly, you know, lessons, you know, competitions, etcetera, auditions, travel, etcetera. So that's for sure, yeah.   At the same time, there are also Asian musicians who come from less privileged backgrounds, you know, immigrant families who have, because quite a few. I mean overall Asian American population, many immigrants experience downward social mobility upon immigrating to the United States because of, you know, oftentimes linguistic barriers or you know, or plain old racism. And so you're not Asian families that immigrate to the United States, like, for instance, if the parents have professional positions back in South Korea, oftentimes they become, you know, for instance, you know, small business owners and they experience downward social mobility. I mean, that's a very common scenario. Yeah, so now all Asian, Asian American musicians grow up in a privileged environment.  00:27:06 Isabel Li  Definitely a great point. Now before we move on to some discussions about Mari's research. First of all, thank you for tuning in to Obbligato on APEX Express, we'll be taking a short music break and as mentioned earlier, a great way to increase diversity within classical music is to uplift works by living composers. If you're listening to my first.  00:27:26 Isabel Li  Episode 2 months ago, you'll know that I featured music by Chinese American composer Zhou Tian. I'm happy to say that coming up next is one of Zhou's compositions inspired by a trip to Italy. This is a piece called Hidden Grace performed by the Formosa Trio.  27:45 – COMP MUSIC – Hidden Grace  00:35:34 Isabel Li  That was a piece called Hidden Grace, composed by Zhou Tian for a fascinating instrumentation of flute, Viola and heart coming up for our second piece. In this interview, break another movement by Zhou Tian, the third movement of his double concerto for violin and Viola, called Rendezvous.  35:58 – COMP MUSIC – Double Concerto for Violin and Viola, III. Rendezvous  00:41:09 Isabel Li  Noah Bendix-Balgley on violin, Shanshan Yao on viola, and the Hangzhou Philharmonic, playing the third and final movement of Zhou Tian's Double Concerto for violin and viola. So back to the conversation with Professor Mari Yoshihara.  00:41:25 Isabel Li  As you also mentioned before, you're working on an updated version of Musicians from a Different Shore. Can you talk–I don't know how much you can talk about your, like upcoming projects, but are you using similar research methods to what you've done before using ethnographic field work? You've mentioned the new changing dynamics of classical music in the United States with new waves of activism and awareness. What are some new topics of your chapters that you might focus on? So for your 2007 publication, you talked about your gender and class and how these intersect with identity. Are there any new things that you're drawing upon here?  00:42:02 Mari Yoshihara  Yeah. So I'm using basically the same research method. I'm interviewing actually some of the same people that appeared in Musicians from a Different Shore. Some people kept in touch with over the years, I've gone back to them and interviewed them to see the trajectories of their careers since the first time I interviewed them. But then I've also interviewed a bunch of other, you know, new musicians that I'm speaking with for the first time. So it's essentially an interview and ethnographic fieldwork-based research.  I told you earlier about I think one of the biggest changes is, as I said before, the activism and advocacy on the part of Asian, Asian American musicians themselves. So I have one chapter about that. Like, what? How? What kinds of advocacy and activism they're engaged in.   Another big change that I'm seeing is that compared to 20 years ago, there are a lot more Asian musicians in the field of opera.  00:43:01 Isabel Li  Ohh yeah.  00:43:02 Mari Yoshihara  Uh. Both as singers. Yeah, many of them singers, but also in other, you know, like for instance opera, you know, pianist for opera or be opera directors, et cetera. There are many more Asians in this particular field than what I saw 20 years ago. And I talked about this a little bit in my first book, but opera is a very particular kind of field within classical music.   How race plays into opera is very different from other areas of classical music because it's a theatrical art form. It's visually oriented, you know art form. And because singers have to be cast in order to, you know, sing on stage. So the racial politics in opera, you know, unfolds very differently from, say, for pianists or cellists or conductors or or composers.   So I now have a whole chapter about opera, especially Madame Butterfly, that this very fraught work, you know, opera that many Asian and Asian Americans have love hate relationships. A lot of pigeon-holing that happens in that through that opera. But also, production of new opera by Asian and Asian American artists, composers, directors, singers, etcetera. So I have a whole chapter about that.   And then I also will have another chapter about, you know, what it means to, you know, sit at the table, basically. Like stand on the podium and sit at the table, stand on the podium. Not only, I mean I will, I will have a whole discussion about Asian and Asian Americans conductors, but not only in that literal sense of, you know, standing at the podium, but like being at the table like in other words, not only, Asian and Asian American musicians playing music that are given to them and they are assigned to them that they're hired to play, but also having a real voice in the organizational and institutional dimensions of classical music industry. So the kinds of people, Asians, who are in these positions more executive positions with decision making power what their experiences are like. I'm going to have a chapter about that.   So those are some of my ideas. I'm still in the middle of the project, so I can't. I can't see the whole picture, but those are some of my current ideas.  00:45:48 Isabel Li  I see. And do you have an idea of when this book will be published or an updated version?  00:45:54 Mari Yoshihara  Well [laughs], my goal rather ambitious goal is to have it published in 2027, because that would be 20 years since Musicians from a Different Shore, so that would be ideal if I can make that.  00:46:08 Isabel Li  Well, yeah. Nice. That's really exciting, definitely. I will also kind of bridge, I guess my part of the research into this part of the interview, since I'd love to talk to you a little bit more about how classical music in general is portrayed in media.   So as I've introduced myself before, I had a back, I have a background in media studies as well as music history and theory. And what was really interesting to me in my senior thesis while I was doing research for that was I coined this term and it could just be loosely associated with the genre of film. But it's the “classical music film.” So think of any narrative fictional film you can think of with a classical musician in there. So it could be like Amadeus, where I think of like Tár. If you watch Tár like a lot of these depictions are quite understandably white and European, but they my senior thesis I've never really seen any depictions of Asian American or Asian classical musicians? I was wondering if you have ever watched a film like that, or could maybe talk a bit about maybe the lack of representation in media, how media plays into how people perceive classical music as a genre as a whole.  00:47:23 Mari Yoshihara  That is a very interesting question. I think you know, because of the stereotype of Asian and Asian American model minority and model minority stereotype often is associated with, you know, violin or piano-playing Asian American kids, I think. Asian, Asian American characters who are, you know, these kind of musical classical music geniuses appear here and there. But the ones that center on such a character as the main, you know, like the protagonist, come to think of it, I'm not sure if I've seen. I mean, I've seen several Korean dramas, you know, character, but those are Korean dramas, not Asian American, so more American works with Asian classical musicians…  00:48:21 Isabel Li  And I think also classical music as a genre is. It's interesting because classical music is also kind of underrepresented. It's not quite in the mainstream. And then one of my final questions for you is I do also want to take a second to acknowledge that your book was actually one of the only books that I could find about this topic. I think there are not that many other books about Asian and Asian Americans in classical music. I think there are a few other books and a few and definitely some papers that talk about this, but what got you interested in this field? And I don't know if you think there's a scarcity of information, but do you think there's relative scarcity of information about this topic?  00:49:01 Mari Yoshihara  Yeah. So how I got into it is. So I was a pretty serious student of piano when I was a child. That's like, yeah, that really kind of preoccupied my childhood and adolescence. But then I, for various reasons I ended up not going to a music Conservatory and became an academic.   And then once I entered academia and became a scholar of American studies, all I was studying was like race, gender, class. I mean, that's what  we do in American studies. And my first book, which was originally my doctoral dissertation, was a cultural history of orientalism and white women. So that was a study of the intersections of race and gender and to some extent class in American history.   So once I finished that book, I was thinking about what projects to work on next. And I happened to turn on the TV, and it just so happens that the Vienna Phil New Year's concert, conducted by Seiji Ozawa was playing on the TV and that was sort of my “aha” moment because I had always known or, you know, kind of generally aware that Asians and Asian Americans are, if not necessarily overrepresented, but, you know, they're quite numerous, you know. They're present. Their numerical presence is quite notable in classical music that is often associated with white, you know, European culture, elite culture.  So I was kind of curious about that phenomenon, but I hadn't really thought too much about it until I watched Seiji Ozawa were conducting the Vienna Phil. And that's when I thought, well, maybe I can kind of combine my classical music background and my academic training in studies of race, gender, class into this project. So that's when I decided to work on. You know, this topic of Asians and Asian Americans, classical music.  I think the reason that there hadn't been at least a book-length study on the topic until my book is that for one thing, classical music is considered to be kind of a very abstract absolute form of music. This ethos that it is kind of transcends– that it is a universal, transcendental kind of genre, that is sort of above things like politics or race or gender. Like it shouldn't matter that these, you know, individual identity, racialized gender identity shouldn't matter vis-à-vis the universalism of classical music. I mean that kind of ethos is very strong in this particular genre of music. I think that has a lot to do with it.   And also the study of classical music until rather recently, like musicological study of classical music, really tended to be focused on the study of composers and their works, right? It was the textual that, like it, was an analysis of Beethoven Symphony or, you know, Bach Fugues, etcetera. Yeah. It was really focused on the study of the score, the study of the composer's ideas, as reflected in the score, I mean that was the centerpiece of musicological approach to classical music.  And so sort of more sociological anthropological study of the musical practice is a relatively new approach in in the field of musicology. I'm not a musicologist. So that's not how I'm trained. But I think the academic approach to classical music was not very, kind of, open to the kinds of topics that I raised in Musicians from a Different Shore.  00:53:12 Isabel Li  Definitely. I see. And my very final fun question for you is can you name three of your favorite classical music pieces for any recommendations you have for the audience who might be listening, who might be wondering what they will listen to next?  00:53:27 Mari Yoshihara  Well, OK well. Pieces well, because I wrote a book about Leonard Bernstein. I mean, I ended up– I wrote a book about Leonard Bernstein. Not necessarily because I was an avid fan of Bernstein. It just kind of happened this this project. But nonetheless of while I was doing research and writing the book I did listen to a lot of Bernstein. I and I have come to really love Bernstein music and so. And you know, of course, everybody knows West Side Story, but he actually wrote many other pieces that may not be as well known.   Well among the pieces that I like, I like…which one should I choose? I will choose. Ohh well, I'll choose a piece that I learned myself as a pianist.  I learned the piece called “Touches” that he wrote. It was a commission piece for the Van Cliburn International Piano Competition, and it's kind of yeah, it's a chorale and variation. So that's very interesting and very interesting and very Bernstein-esque so well.   I'll OK, as an American study scholar. I'll, I'll stick with American pieces. I like someone Barber a lot. I like Barber “Excursions,” which I also learned to play.  00:55:04 Isabel Li  Yeah.  00:55:09 Isabel Li  Tough question.  00:55:11 Mari Yoshihara  Umm, Mason Bates piece that I also learned, “White Lies For Lomax.” This one was also, I believe…was it commissioned by the Cliburn? But no, maybe it wasn't. Yeah, I think it was commissioned. But anyway, I played it at the Van Cliburn International– the amateur competition of the Cliburn competition.  I did all these. So like Bernstein, Bates, Amy Beach piece I also played. Yeah, I'll stop there. I I wish you had prepped me for that then [laughs]–  00:55:42 Isabel Li  Oh my gosh. Great responses.  00:55:46 Mari Yoshihara  Hard to think on the spot.  00:55:47 Isabel Li  Yeah, I totally get that. Whenever people ask me for my favorite composer, I never have an answer. No, so I totally get it.   Well, thank you so much for your time, Mari. And thank you for your wonderful insights. I'll put the link to your books so that people can learn about your works on APEX Express on kpfa.org. So thank you so much for your time, Mari.  00:56:07 Mari Yoshihara  Thank you.  00:56:09 Isabel Li  As mentioned, please check our website kpfa.org to find out more about Mari Yoshihara, her scholarship, and links to two of her books. 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.  00:56:31 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 – 09.04.2025 – Obbligato with Mari Yoshihara appeared first on KPFA.

In this special episode, Jason Heath shares three personal memories of the legendary double bassist Gary Karr, who passed away this summer. Gary Karr was widely regarded as the world's leading solo bassist who elevated the double bass as a solo instrument during his illustrious career.   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us all things double bass double bass merch double bass sheet music   Thank you to our sponsors! Upton Bass - From Grammy Award winners and Philharmonic players like Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today!   Carnegie Mellon University Double Bass Studio is a valued part of an innovative fine arts community in a top research university. Students receive weekly private lessons and solo classes with Micah Howard, and Peter Guild teaches weekly Orchestral Literature and Repertoire. They encourage students to seek lessons and guidance from local bassists. Members of the Symphony, the Opera, and the Ballet provide annual classes and individual attention. Visit Micah's website to sign up for a free online trial lesson here. theme music by Eric Hochberg

Music has the power to uniteMark Savage speaks to Venezuelan conductor Gustavo Dudamel about his life and career. Born in the city of Barquisimeto, he's famous for conducting orchestras all over the world, as well as film credits that include conducting the opening and end titles for Star Wars: the Force Awakens.With a unique ability to communicate joy and his passion for music to mass audiences, Dudamel has become a rare pop culture icon from the world of classical music - affording him mainstream appeal. He's currently in London, performing concerts alongside the band Coldplay.In this interview, he talks about El Sistema - Venezuela's unique programme which has helped train thousands of musicians, the highlights of his time as musical director of the LA Philharmonic, and taking over the helm of the New York Philharmonic.Thank you to the Culture team for their help in making this programme. The Interview brings you conversations with people shaping our world, from all over the world. The best interviews from the BBC. You can listen on the BBC World Service, Mondays and Wednesdays at 0700 GMT. Or you can listen to The Interview as a podcast, out twice a week on BBC Sounds or wherever you get your podcasts.Presenter: Mark Savage Producers: Bob Howard and Roxanne Panthaki Editor: Nick HollandGet in touch with us on email TheInterview@bbc.co.uk and use the hashtag #TheInterviewBBC on social media.(Image: Conductor Gustavo Dudamel performs onstage during weekend 2, day 2 of the Coachella Valley Music and Arts Festival Photo by Scott Dudelson/Getty Images for Coachella)

During the 2024-25 season, Alisa Weilerstein premiered three new cello concertos – Richard Blackford's The Recovery of Paradise (which she has recorded for Pentatone with the Czech Philharmonic conducted by Tomáš Netopil), Gabriela Ortiz's Dzonot (recorded for Platoon with the Los Angeles Philharmonic and Gustavo Dudamel) and Thomas Larcher's Returning into Darkness (premiered with the New York Philharmonic). James Jolly caught up with Alisa to talk about the two new recordings and also hear about her Fragments project that she's bringing to London as part of a South Bank Centre residency later this year. The Gramophone Podcast will now be included in The British Library Sound Archive, catalogued and preserved for future generations as part of the nation's audio and cultural heritage.

In this episode, we're joined by UK-based double bassist Olie Brice, a prominent voice in the world of free jazz and improvised music. Olie shares his musical journey, practice approaches, and experiences as a touring bassist working with renowned artists like Evan Parker and Tony Malaby. This episode offers valuable insights for bassists interested in improvised music, as well as listeners curious about the creative process behind free jazz and the practical aspects of life as a touring musician. Links and Resources: Olie Brice's Official Website Olie's New Album on Bandcamp Olie Brice on YouTube Follow Olie on Instagram (@oliebricebass)   Subscribe to the podcast to get these interviews delivered to you automatically! Connect with us all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

Gustavo Dudamel is a Venezuelan conductor, violinist and composer. He is known for bringing humour and joy to the podium. He is currently director of the Los Angeles Philharmonic and the Simon Bolivar Symphony Orchestra and in 2026 will take up the post of music director of the New York Philharmonic, following in the footsteps of Gustav Mahler and Leonard Bernstein. Gustavo was born in Barquisimeto, Venezuela in 1981, the son of a trombonist who played in a salsa band, and his mother who was a singing teacher. Growing up in a musical household, young Gustavo used to gather his toys together and put them on the floor in the shape of an orchestra, put a record on and conduct.His parents enrolled five year old Gustavo in the El Sistema music programme and he learned the violin. After showing a flair for conducting he eventually became the conductor of the Venezuelan National Youth Orchestra. After winning the Gustav Mahler Conducting Competition in Germany in 2004, his talent was spotted on a global stage. He was appointed the director of the Los Angeles Philharmonic in 2008. Presenter Lauren Laverne Producer Sarah Taylor

In this episode, we welcome back David Cutler to discuss his new book, "The Savvy Musician 2.0: Amplifying Impact, Income, & Inspiration" (Oxford University Press, July 2025). David shares insights from this comprehensive resource on music careers and entrepreneurship, featuring over 150 case studies of diverse performers, creators, educators, and institutions. Episode Highlights: Evolution from the original "The Savvy Musician" to the new 2.0 version Key strategies for musicians looking to amplify their impact in today's music landscape How artists can diversify income streams in the changing music economy Notable case studies from the book's 150+ featured artists and organizations Practical advice for standing out in a competitive field Innovative approaches to music entrepreneurship The importance of legacy-building for modern musicians About David Cutler David Cutler serves as Distinguished Professor of Music Entrepreneurship and Innovation at the University of South Carolina. As a multi-genre pianist and composer, he brings practical experience to his work as a speaker, consultant, and what he calls an "Innovation GAME Master." His groundbreaking first book, "The Savvy Musician," helped shape a generation of artists in their approach to careers in music. Resources Mentioned: The Savvy Musician 2.0: Amplifying Impact, Income, & Inspiration (Amazon) CBC 145: David Cutler and The Savvy Musician (Previous interview) Subscribe to the podcast to get these interviews delivered to you automatically! Connect with us: all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

[@ 3 min] Alright, this week…Grammy-winning tenor Nicholas Phan takes a Free Throw on finally winning that Grammy on his fifth nomination, for his performance in OBS Hall of Famer Kaija Saariaho's 'Adriana Mater.' [@ 15 min] ...which gets us thinking about Grammy winning opera recordings. In Chalk Talk, we take a look at the history of the only Grammys category that matters, Best Opera Recordings. Which winners have stood the test of time and which recordings are the equivalent of Oscar winners like Crash or Green Book? [@ 44 min] Plus, in the ‘Two Minute Drill'…Renee Fleming calls out conservatories for predatory pricing, and the PR disaster surrounding the New York Philharmonic sex abuse scandal continues. GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 operaboxscore.bsky.social

This episode features a conversation with Renée-Paule Gauthier, host of the "Mind Over Finger" podcast and a successful violinist who recently won a position in the Lyric Opera of Chicago. We reminisce about past interactions and discuss the power of podcasting and coaching in providing continuous learning and personal growth. Renée shares her journey of integrating disciplined scheduling into her life, balancing her career as a musician while delving into coaching. The discussion explores the importance of adaptability, leveraging strengths, embracing an abundance mindset, and finding personalized approaches to practicing and audition preparation. Renée emphasizes the value of self-exploration and trusting the process rather than constantly seeking external validation and information. Enjoy, and learn more about Renée's podcast and coaching program here!   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us all things double bass double bass merch double bass sheet music   Thank you to our sponsors! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg  

Receiving B.S. and M.S. degrees from The Julliard School of Music, David Taylor started his playing career as a member of Leopold Stowkowski's American Symphony Orchestra, and with appearances with the New York Philharmonic under Pierre Boulez. Simultaneously, he was a member of the Thad Jones Mel Lewis jazz band, and recorded with groups ranging from Duke Ellington to The Rolling Stones. He has also recorded numerous solo CDs on the following labels: Koch, New World, ENJA, DMP, Tzadik, CIMP, PAU, and TLB. Mr. Taylor performs recitals and concerti around the world: from Lincoln Center in NY to the Musikverein in Vienna and Suntory Hall in Japan. In addition to his own compositions, he has been involved in well over a hundred commissioning projects for solo bass trombone collaborating with composers including Alan Hovhaness, Charles Wuorinen, George Perle, Frederic Rzewski, Lucia Dlugoszchewski, Eric Ewazen, Dave Liebman, and Daniel Schnyder. He has appeared and recorded chamber music with Yo Yo Ma, Itzhak Perlman, and Wynton Marsalis and performs with the Lincoln Center Chamber Music Society, the Mostly Mozart Festival Orchestra, Orpheus, and the St. Luke's Chamber Orchestra. Throughout his career, Taylor has appeared and recorded with major jazz and popular artists including Barbara Streisand, Miles Davis, Quincy Jones, Frank Sinatra, and Aretha Franklin. Mr. Taylor has won the National Academy of Recording Arts and Sciences Most Valuable Player Award for five consecutive years, and has been awarded the NARAS Most Valuable Player Virtuoso Award, an honor accorded no other bass trombonist. He has also won The International Trombone Association's Award “in recognition of his distinguished career and in acknowledgement of his impact on the world of trombone performance. He has been a member of the bands of Gil Evans, Thad Jones-Mel Lewis, Jaco Pastorius, Charles Mingus, JJ Johnson, Joe Henderson, George Russell, Michele Camilo, Bob Mintzer, Dave Matthews, Dave Grusin, Randy Brecker, and the Words Within Music Trio (Daniel Schnyder, David Taylor, Kenny Drew Jr., The Art of the Duo (with D Schnyder) and B3+. He has performed on numerous GRAMMY Award winning recordings. David Taylor is also on the faculties of the Manhattan School of Music, Mannes College, and NYU. He plays Edwards bass trombones and Griego/Taylor mouthpieces exclusively. https://www.davetaylor.net/

Katherine Needleman joined the Baltimore Symphony Orchestra as principal oboist in 2003, the same year she won first prize at the International Double Reed Society's Gillet-Fox Competition.  As soloist, she has appeared with the Philadelphia Orchestra, the Saint Paul Chamber Orchestra, the Albany Symphony, the Richmond Symphony, the Concerto Soloists Chamber Orchestra, the Haddonfield Symphony, the Baltimore Chamber Orchestra, and the Orquesta Sinfónica Nacional de Colombia, in addition to her frequent appearances with the Baltimore Symphony. She has performed as guest principal oboist with the New York Philharmonic, the Saint Paul Chamber Orchestra, and the symphony orchestras of Atlanta, Boston, Chicago, New Zealand, and San Diego.You likely know her from her work exposing the patriarchy that has long gone unnoticed in classical music, and from her substack newsletter at https://substack.com/@katherineneedlemanoboist.Make sure you SUBSCRIBE to Crushing Classical, and maybe even leave a nice review! Thanks for joining me on Crushing Classical! Theme music by DreamVance.I help people to lean into their creative careers and start or grow their income streams. You can read more or hop onto a discovery call from my website.  https://jennetingle.com/work-with-meI'm your host, Jennet Ingle. I love you all. Stay safe out there!Join me for my FREE three day workshop, What Got You Here Won't Get You There, and find the breakthrough you need to create the career you want. Register at https://jennetingle.kit.com/what-got-you-here to get your invitation or your replay!

In this episode, we speak with acclaimed double bassist James VanDemark about his remarkable musical journey to Ukraine, where he recently premiered two new works with the Lviv National Philharmonic Orchestra under conductor Theodore Kuchar. We discuss the commissioning and premiering of two new concerti by Ukrainian composers Maksim Kolomiiets and Mykhailo Shved as part of Lviv's 44th Virtuosos International Festival. We explore the dramatic story behind creating these works during wartime, James' personal connection to Ukraine dating back to his teenage years in Ontario, and much more. Enjoy, and be sure to learn more about these commissions in this article from The Strad and musical examples as well.   Subscribe to the podcast to get these interviews delivered to you automatically! Connect with us all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

Today's episode features UK-based bassist Phil Donnelly. Phil is an active performer on London's West End and recently released a video for D'Addario about how to record a double bass on any budget. We dig into the benefits of having your own studio space, how Phil has navigated London's theater world, his relationship to practicing, avoiding burnout, and much more. Enjoy, and be sure to give Phil a follow on Instagram! Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

Steve Beck is a virtuoso classical pianist known for his brilliant technique and wide-ranging repertoire. He has performed with the New York Philharmonic and the National Symphony among others. He's a regular at the Mostly Mozart Festival and at Bargemusic, where each Christmas Eve he performs Bach's Goldberg Variations. And he also performs all 32 Beethoven piano sonatas in a single day. My featured song is “African Nights (for Chick)”. ------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!Click here for All Episodes Click here for Guest List Click here for Guest Groupings Click here for Guest TestimonialsClick here to Subscribe Click here to receive our Email UpdatesClick here to Rate and Review the podcast—----------------------------------------CONNECT WITH STEVE:www.stevenbeck.me____________________ROBERT'S NEWEST ALBUM:“WHAT'S UP!” is Robert's new compilation album. Featuring 10 of his recent singles including all the ones listed below. Instrumentals and vocals. Jazz, Rock, Pop and Fusion. “My best work so far. (Robert)”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------ROBERT'S RECENT SINGLES:“THE CUT OF THE KNIFE” is Robert's latest single. An homage to jazz legend Dave Brubeck and his hit “Take Five”. It features Guest Artist Kerry Marx, Musical Director of The Grand Ole Opry band, on guitar solo. Called “Elegant”, “Beautiful” and “A Wonder”! CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—----------------------------“DAY AT THE RACES” captures the thrills, chills and pageantry of horse racing's Triple Crown. Called “Fun, Upbeat, Exciting!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS___________________“MOON SHOT” reflects my Jazz Rock Fusion roots. The track features Special Guest Mark Lettieri, 5x Grammy winning guitarist who plays with Snarky Puppy and The Fearless Flyers. The track has been called “Firey, Passionate and Smokin!”CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS____________________“ROUGH RIDER” has got a Cool, ‘60s, “Spaghetti Western”, Guitar-driven, Tremolo sounding, Ventures/Link Wray kind of vibe!CLICK HERE FOR THE OFFICIAL VIDEOCLICK HERE FOR ALL LINKS—--------------------------------“LOVELY GIRLIE” is a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com 

Kimberly Belflower is a playwright and educator originally from a small town in Appalachian Georgia. This is her Broadway debut, and she's probably crying about it right now. Plays include JOHN PROCTOR IS THE VILLAIN (2024 Huntington Theatre, 2022 Studio Theatre, 2019 Kilroys List, published by Broadway Licensing, Farm Theatre College Collaboration Project); LOST GIRL (2018 Milwaukee Repertory Theatre, Kennedy Center Darrell Ayers National Playwriting Award, published by Concord Theatricals); and SAINT PIGTAIL (commissioned and developed by Studio Theatre, 2023 O'Neill Finalist). Kimberly has worked with South Coast Rep, Manhattan Theatre Club, Alliance Theatre, Ojai Playwrights Conference, among others. She was also a narrative lead at Meow Wolf, where she wrote a short film with original music by Beach House. Kimberly proudly holds an MFA from the University of Texas at Austin and teaches playwriting at Emory University in Atlanta. Gabriel Eber - Broadway: Matilda The Musical (Tony Winner, Featured Actor), Pass Over, Casa Valentina, Brief Encounter, Time And The Conways, Therese Raquin, Red. Off-Broadway: 4000 Miles (OBIE Winner), Preludes, Gently Down The Stream, Sally & Tom, Peer Gynt, Prometheus Bound. Film/TV: News Of The World, “Dickinson,” I Am A Seagull, “Mr. Mercedes,” Ricki And The Flash, The Immortal Life Of Henrietta Lacks, and the upcoming Dope Thief. As a singer, he's performed at Carnegie Hall, Royal Albert Hall and with the New York Philharmonic. Fina Strazza - Broadway: Matilda in Matilda the Musical. Off-Broadway: Animal, A Loss of Roses, Member of the Wedding. TV: “Paper Girls” (series lead), “Law and Order: SVU” (recurring), “Madam Secretary,” “FBI: Most Wanted” “Last Week Tonight.” A student at NYU's Tisch, her eight films include Above the Shadows, A Christmas Melody (recording “Oh, Santa!” with director Mariah Carey), and Netflix's upcoming “Fear Street: Prom Queen.” Learn more about your ad choices. Visit podcastchoices.com/adchoices

Synopsis“Time is a funny thing,” as one of the more philosophically-inclined Viennese characters so wisely observed in Richard Strauss' opera Der Rosenkavalier.Der Rosenkavalier had its premiere in 1911, and coincidentally, on today's date that year, Viennese composer Anton von Webern completed one of the shortest orchestral works ever written — the fourth of his Five Pieces for Orchestra, which lasts about 20 seconds time. It's so short, it takes longer to describe the music than to actually hear it!Webern was attempting to render down the extravagant style of late-Romantic composers like Strauss and Mahler into its quintessence — a haiku-like concentration of gesture and color, the musical equivalent of a Japanese painting of just a few deft brush strokes across a blank canvas, with more implied than actually shown.In the same spirit, but at the opposite end of the time spectrum, is the work of American composer Morton Feldman, who holds the record for composing some of the longest pieces ever written. Feldman was friends with, and inspired by, painters of the so-called New York School, including Mark Rothko and Philip Guston. A 1984 work by Feldman is titled For Philip Guston, and, in complete performance, it's a piece that runs about four hours.Music Played in Today's ProgramRichard Strauss (1864-1949): Der Rosenkavalier: Suite; New York Philharmonic; Lorin Maazel, conductor; DG 7890Anton Webern (1883-1945): No. 4, from Five Pieces for Orchestra; Ensemble InterContemporain; Pierre Boulez, conductor; DG 437786Morton Feldman (1926-1987): For Philip Guston; The California EAR Unit; Bridge 9078

Dan Peck is a tuba player, improviser, and composer. He performs with ensembles such as ICE (not that ICE) Wet Ink, and has appeared with the New York Philharmonic, Metropolitan Opera, and NYC Ballet. He has toured internationally with his doom jazz trio The Gate and collaborated with artists such as Ingrid Laubrock and Anthony Braxton. Dan teaches at New Jersey City University and runs Tubapede Records, which focuses on experimental media from the NY area and beyond.

Today's episode features acclaimed bassist Brandon Lopez discussing his unique approach to the double bass, his collaborative experiences, and his journey developing a distinctive musical voice. From performing with the New York Philharmonic to playing in DIY Brooklyn basements, Lopez has worked alongside luminaries across jazz, classical, poetry, and experimental music. We explore the physical and intellectual aspects of bass performance, how he collaborates with other artists, life on the road, and much more. Enjoy, and be sure to follow Brandon on Instagram and check out his 2023 solo record and Revision with Fred Moten.   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

Lorraine Campet is recognized as one of the most talented double bassists of her generation. A passionate musician who embraces her profession fully, she thrives equally in chamber music, orchestral performance, and sharing her passion for the violin and double bass. She recently released her debut album Ames soeurs, which has garnered critical acclaim. We explore Lorraine's musical background, her process for selecting pieces for this album, her experiences playing both violin and bass, and much more. Listen to Ames soeurs on your favorite streaming service, and follow Lorraine on her website, Instagram, and YouTube!   Subscribe to the podcast to get these interviews delivered to you automatically! Connect with us all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview Amanda Stewart, of the St. Louis Symphony Orchestra. About Amanda: Amanda Stewart is currently the Associate Principal Trombonist of the St. Louis Symphony Orchestra, a position she began in the Fall of 2014. Born in Oakland, Maryland, she began playing the trombone at the age of six. Her studies started with Harold Hudnall and continued with Dr. H. Keith Jackson, current Dean of the College of Creative Arts of West Virginia University. She received her bachelor of music degree from The Juilliard School, studying with Joseph Alessi. As an orchestral musician, Ms. Stewart has played with numerous orchestras. She was Principal trombonist of the San Antonio Symphony for eight seasons, Assistant Principal trombonist of the Lyric Opera of San Antonio for four seasons, and Associate Principal trombonist of the New York Philharmonic for two seasons. Ms. Stewart has also been a regular substitute and extra player with the Boston Symphony and has toured with them internationally. She has also performed with the Baltimore, Cincinnati, Cleveland, Dallas, Houston, Kansas City, National, North Carolina, Philadelphia, Pittsburgh, and Toronto Symphonies. Ms. Stewart has also spent several summers performing in the Colorado Music Festival Orchestra. In other performing capacities, Ms. Stewart is a current member of the trombone ensemble, STL Trombones. She has also performed as a member of the Burning River Brass and the San Antonio Brass. During her tenure as a member, Ms. Stewart performed twice as a soloist with the San Antonio Symphony. She has also appeared as a guest artist at the International Trombone Festival and the International Women's Brass Conference. As an educator, Ms. Stewart currently teaches at Washington University in St. Louis, and has taught privately at several other universities, namely Our Lady of the Lake University, St. Mary's University, Rutgers University, Trinity University, and McKendree University. For part of the 2025 Spring Semester, she served as an adjunct Assistant Professor of Music at Indiana University's Jacobs School of Music. Also, Ms. Stewart has also given masterclasses at many national universities and conservatories, including the New England Conservatory, Rice University, and The Juilliard School. Ms. Stewart is an Edwards artist, performing on Edwards trombones and Griego Mouthpieces.

Kurt Weill (born March 2, 1900) and Vernon Duke (born Vladimir Dukelsky, October 10, 1903) were both European born composers who composed “serious” concert music before emigrating to the United States and becoming two of the greatest exponents of American popular song. Kurt Weill felt strongly that music should have a political point of view, his "Three Penny Opera" and "Mahagony", both composed in Germany before he emigrated to the United States are biting social commentaries on the drawbacks of capitalism run amuck.   Vernon Duke wrote concert music throughout his career under his birth name. His music was commissioned by Diaghalev for his ballet company that also commissioned Stravinvisky's groundbreaking work, as well as Koussevitsky for the New York Philharmonic. He had a close personal relationship with Russian composer Prokofiev. His Broadway career was no less stellar, over the course of 30 odd years they produced a number of songs that have become standards in the great American songbook.

In this mini episode, we explore tonal comparisons of mutes crafted from various woods with Sienna George. Be sure to follow Sienna on Instagram and check out her past podcast appearance from 2022. Subscribe to the podcast to get these interviews delivered to you automatically! Connect with us all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

Acclaimed double bassist and composer Xavier Foley recently made his recital debut at Davies Symphony Hall in San Francisco. During his visit, he generously made time to chat for the podcast and brought his bass along to perform. In this episode, we explore Xavier's background, compositional process, and much more. Watch the video version on YouTube, and discover his exceptional playing, sheet music, bows, and other offerings on his website, Instagram, and YouTube Channel!   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

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.

Double bassist and educator Kate Jones has just published her first book. Titled "Scotland Through the (St)Ages," this resource explores the concept of deep review through a familiar and simple tune—presenting 84 variations on the classic melody "Scotland's Burning." We explore the inspiration behind this book, the creative process of putting it together, and how teachers, students, and professionals can incorporate it into their musical practice. Enjoy! Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

A proposal for UI monopoles in Fairfield is rejected after more than a year of protests. Dozens of No Kings Day rallies are planned for our region tomorrow. Plus allegations of sexual harassment at the New York Philharmonic have shaken our region's classical music community.

Katie Thiroux recently released "Always but Never Alone," her first solo album featuring voice and bass. This intimate recording explores a wide array of genres through creative and diverse arrangements. We delve into the story behind the album, motherhood, and much more in this episode. Enjoy, and be sure to check out "Always but Never Alone" on Spotify, Apple Music, or wherever you listen to music! Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

SynopsisClaudette Sorel was a pianist, educator and passionate advocate for equal rights for women in music, especially composers and performers. In 1996, she founded the Sorel Organization to expand opportunities and stretch the boundaries for promising emerging female musicians through a variety of collaborations and scholarships, and to acknowledge notable masters in the field.On today's date in 2022, for example, Cuban-born American composer Tania J. León was awarded the Organization's Sorel Legacy Medallion for her life and work in music.While still in her 20s, León became a founding member and the first musical director of the Dance Theater of Harlem, establishing its music department, school, and orchestra. She has composed a number of both large scale and chamber works that have been performed here and abroad. In February 2020, the New York Philharmonic premiered her orchestral piece Stride and in 2021 that work was awarded the Pulitzer Prize for Music.León said, “Stride was inspired by women's rights pioneer Susan B. Anthony. She kept pushing and pushing and moving forward, walking with firm steps until she got [it] done. That is what Stride means. Something that is moving forward.”Music Played in Today's ProgramTania León (b. 1943): Batá; Louisville Orchestra; Lawrence Leighton Smith, conductor; Soundmark CD 48027

Jacob Warren and Grant Flick have been performing as the duo project Warren & Flick for the past 10 years. Warren & Flick have just released their third duo album, Cormorant. While the physical album is available now, they're rolling out the digital release from June through December. In today's episode, we explore the duo's story and listen to excerpts from each track on the album. Don't miss their video for Bässen, the album's opening track. You can follow Warren & Flick on YouTube, Instagram, and Facebook!   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

Today, the Spotlight shines on clarinetist and composer Kinan Azmeh.Earlier this year, Kinan released Live in Berlin, his fourteenth album with his CityBand quartet. The album captures music he wrote during Syria's 2011 uprising—pieces that carry the weight of watching your homeland torn apart from thousands of miles away. Born in Damascus and now based in Brooklyn, Kinan has spent decades crossing the world with his clarinet, performing with Yo-Yo Ma's Silk Road Ensemble, the New York Philharmonic, and countless others.What makes this release particularly powerful is its timing. As Syrians celebrate newfound freedom after years of struggle, Kinan's music—born from grief and anger—now carries notes of hope. We spoke about these deeply personal compositions and how his twenty-year collaboration with CityBand has evolved into music that encompasses classical, jazz, and Arabic influences.A technical note: Kinan joined me from Beirut, Lebanon, and although I couldn't tell while we were recording, I later discovered that our internet connection was not always stable. There are some dropouts and garbles in this episode that we have done our best to clean up; however, even with those, we thought this conversation was worth sharing with you. I know you will agree.(The musical excerpts heard in the interview are from the album Live in Berlin by Kinan Azmeh and CityBand)–Dig Deeper• Artist and Album:Visit Kinan Azmeh at kinanazmeh.com and follow him on Instagram, Facebook, and YouTubePurchase Kinan Azmeh and CityBand's Live in Berlin from Qobuz and listen on your streaming platform of choiceKinan Azmeh: Berlin and Beyond• Dig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our new online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today, the Spotlight shines on clarinetist and composer Kinan Azmeh.Earlier this year, Kinan released Live in Berlin, his fourteenth album with his CityBand quartet. The album captures music he wrote during Syria's 2011 uprising—pieces that carry the weight of watching your homeland torn apart from thousands of miles away. Born in Damascus and now based in Brooklyn, Kinan has spent decades crossing the world with his clarinet, performing with Yo-Yo Ma's Silk Road Ensemble, the New York Philharmonic, and countless others.What makes this release particularly powerful is its timing. As Syrians celebrate newfound freedom after years of struggle, Kinan's music—born from grief and anger—now carries notes of hope. We spoke about these deeply personal compositions and how his twenty-year collaboration with CityBand has evolved into music that encompasses classical, jazz, and Arabic influences.A technical note: Kinan joined me from Beirut, Lebanon, and although I couldn't tell while we were recording, I later discovered that our internet connection was not always stable. There are some dropouts and garbles in this episode that we have done our best to clean up; however, even with those, we thought this conversation was worth sharing with you. I know you will agree.(The musical excerpts heard in the interview are from the album Live in Berlin by Kinan Azmeh and CityBand)–Dig Deeper• Artist and Album:Visit Kinan Azmeh at kinanazmeh.com and follow him on Instagram, Facebook, and YouTubePurchase Kinan Azmeh and CityBand's Live in Berlin from Qobuz and listen on your streaming platform of choiceKinan Azmeh: Berlin and Beyond• Dig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our new online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Kostas Patsiotis has an upcoming solo bass album "Childhood Heroes" and recently released "This Moment," his first instrumental single from it. We talk about his use of looping, various technical setups to perform live, his desire to incorporate more Mediterranean sounds, and much more. Be sure to follow along with Kostas on his website, YouTube, Facebook, and Instagram, and check out his past podcast appearance here.   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

Chris Minh Doky is a world-renowned bassist, bandleader, and composer celebrated for his melodic solos and deeply funky bass lines. His rich sound, innovative approach, and pioneering work with the electric upright bass have earned him global recognition. He is also a course creator for Discover Double Bass and has performed with iconic artists and bands including the Michael Brecker Quartet, Brecker Brothers, Toots Thielemans, David Sanborn, Biréli Lagrène, Keith Carlock, Dennis Chambers, Michel Camilo, and the Mike Stern Band. We dig into Chris's jazz and funk influences, how he discovered double bass, touring life, the Yamaha silent bass, and much more. Enjoy, and be sure to follow along with Chris on his website, Instagram, and Spotify!   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

Michael Geib is a professor at the University of Central Oklahoma and an active double bass performer. His latest album, Don't Panic, features six original compositions written during the early days of the 2020 pandemic. In our conversation, we explore Michael's university roles, his approach to student recruitment in the social media age, his work with ATSA and ISB, his position as a Grammy voting member, and much more. Listen to Michael's latest album here, check out his previous podcast appearance, and follow his engaging writing by subscribing to his Substack!   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us all things double bass double bass merch double bass sheet music Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

Mark Bernat is a double bassist currently living in Austin, Texas. His groundbreaking recording and edition of the Six Bach Cello Suites were driving forces that led to their wider adoption in the double bass world. Mark studied at Juilliard and is a former member of the Israel Philharmonic, the Jerusalem Symphony, and the Seattle Symphony. He has taught at the Oberlin Conservatory, the University of Texas at Austin, and Emory University. In Austin, he formed the all-volunteer Red River Ensemble, which aims to bring music into high-stress hospital environments.   We dig into Mark's background, how his approach to practicing Bach has changed over the years, the remarkable accomplishments of his daughter Nina, and much more. Enjoy, and be sure to check out Mark's latest recording of all six Bach Cello Suites on YouTube, Spotify, and Apple Music!   Image credit: Photon Corral Photography   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

Synopsis: What happens when a former journalist becomes one of biotech's boldest investors? Meet Stephanie Sirota, Chief Business Officer and Partner at RTW Investments, who helped grow the firm from $27 million in assets to a global biotech force. In this engaging conversation with host Rahul Chaturvedi, Stephanie shares her unconventional path into the industry, and how a mission-driven, science-led investment strategy has guided RTW's approach across public markets, private deals, and company creation. Stephanie reflects on the evolution of biotech financing, why GLP-1 drugs are just getting started, and how RTW is preparing for changes in U.S. healthcare policy. She also unpacks how the firm sources opportunities, evaluates risk, and sticks to long-term conviction even in volatile markets. For Stephanie, great biotech investing starts with deep research, strong science, and a relentless focus on patient outcomes. Whether you're an investor, operator, or simply curious about the future of medicine, this conversation is packed with insights on building bold bets—and the staying power behind them. Biography: Stephanie leads a team at RTW overseeing business development, strategic partnerships, communications, and investor relations. Her background in investment banking and expertise in financial markets has helped position the firm as both a partner to life sciences companies and a steward of investors' capital. Stephanie also manages RTW's relationships with key partners including banks, academic institutions, corporations, investors, and NGOs. She has led the firm's entry into the UK and European markets and serves as a director of the RTW Biotech Opportunities Ltd, a publicly traded investment fund listed on the London Stock Exchange. Prior to joining RTW, she served as director at Valhalla Capital Advisors, a macro and commodity investment manager. Stephanie also worked in the New York and London offices of Lehman Brothers, where she advised on various Merger & Acquisitions, IPOs, and capital market financing transactions with a focus on cross-border transactions for the firm's global corporate clients. Stephanie graduated with honors from Columbia University and also received a Master's Degree from the Columbia Graduate School of Journalism. She serves as president of the RTW Foundation; and co-chair of Council of the New York Philharmonic.

Margarethe Maierhofer-Lischka, born 1984 in Regensburg, is a double bassist, improviser, researcher, and sound artist. As an active ensemble musician, she collaborates with artists across disciplines to create performances, radio art, and sound installations. She is a member of several initiatives focusing on contemporary music, improvisation, and interdisciplinary art. Her work has been recognized with scholarships from the Austrian Federal Government, the DOMS Foundation Basel, and the Karlheinz Stockhausen Foundation. In 2018, she received the Theodor Körner Award for arts and science. We explore her journey with podcasting, ensemble management, pedagogical innovations for the double bass, and much more. Enjoy, and check out the following links to learn more about Maggie and her fascinating work: Maggie's website the podcast she does with her ensemble Schallfeld Ensemble website Maggie's website outlining resources about contemporary playing techniques her artsy non-bass projects the list of solo double bass recordings we talked about   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Thank you to our sponsor!   Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

Joshua Conyers is an Assistant Professor of Voice at the Eastman School of Music at the University of Rochester, and a Grammy-nominated Baritone who is known for his captivating performances and recognized as one of the leading dramatic voices of today. He has performed with The Metropolitan Opera, Seattle Opera, Washington National Opera, Lyric Opera of Chicago, English National Opera, New York Philharmonic, National Symphony Orchestra, Carnegie Hall, and many others. His recordings include the Grammy-nominated “X: The Life and Times of Malcolm X” his debut solo album is “A Miracle in Legacy.” He says it tells his story of his “being born into the crucible of poverty, haunted by the specter of addiction and abuse.” He says “yet, amid the shadows, I found my guiding light in the melodies of classical music.” SONG 1: “I’ll Make Love to You” by Boyz II Men from their Album II released in 1994. https://youtu.be/USR_0iImpcM?si=VDXE1s_O2toNwRkJ SONG 2: “Nessun Dorma” by Giacomo Puccini from the opera Turandot...performed here by Franco Corelli from the 1958 film of Turandot.https://youtu.be/fWokel5YxM8?si=_D9UEH6jKbz1Bo2G SONG 3: “Cleanin’ Out My Closet” by Eminem off his 2002 album The Eminem Show. https://youtu.be/4t2ETI2Lrjg?si=pgmx0aGLs4Tag6HASee omnystudio.com/listener for privacy information.

Daniela Candillari grew up in Serbia and Slovenia.  She holds a Doctorate in Musicology from the Universität für Musik in Vienna, a Master of Music in Jazz Studies from the Indiana University Jacobs School of Music, and a Master of Music and Bachelor's degree in Piano Performance from the Universität für Musik in Graz. She is also a Fulbright Scholarship recipient.Daniela is in her fourth season as principal conductor at Opera Theatre of Saint Louis. In celebration of its 50th anniversary season, she is conducting the company's 44th world premiere, This House, with music by Ricky Ian Gordon and libretto by Pulitzer Prize-winner Lynn Nottage and her daughter, Ruby Aiyo Gerber.Daniela made her New York Philharmonic debut in its inaugural season in the new David Geffen Hall, conducting cellist Yo-Yo Ma in Elgar's Cello Concerto.  And she made her “Carnegie Hall Presents” debut leading the American Composers Orchestra in a program of premieres.  Other engagements include debuts with the Metropolitan Opera and Deutsche Oper Berlin, and productions with Lyric Opera of Chicago, Minnesota Opera, Detroit Opera, Orchestre Métropolitan Montreal, and Classical Tahoe Festival.Finally, Daniela has been commissioned by established artists including instrumentalists from the Boston, Cleveland, Detroit, and Pittsburgh Symphonies, as well as the three resident orchestras of Lincoln Center: the Metropolitan Opera Orchestra, the New York Philharmonic, and the New York City Ballet. She is deeply involved with Music Academy of the West's programming for young artists and she recently participated in master classes and discussions at DePaul University, Chicago Humanities Festival, and Valissima Institute.It's a pleasure to have her with me on this episode.

Nina Bernat is a double bass performer and educator based in New York City. In 2023, Nina was honored as a recipient of the Avery Fisher Career Grant and winner of the CAG Elmaleh Competition. Her recent first-prize awards include the Barbash J.S. Bach String Competition, the Minnesota Orchestra Young Artist Competition, the Juilliard Double Bass Competition, and the 2019 International Society of Bassists Solo Competition. In this episode, recorded live in San Francisco in 2025, Nina shares her background and discusses the program she performed at the 2025 San Francisco Winter Bass Bash. Enjoy! Recital program: Nina Bernat, double bass Keisuke Nakagoshi, piano Bach Suite No. 5 in C Minor, BV 1011 Prelude, Allemande, Courante Pantomime by Sofia Gubaidulina Prayer by Enrst Bloch Sonata for Violin by Aaron Copland photo credit: Titilayo Ayangade Subscribe to the podcast to get these interviews delivered to you automatically! Connect with us: all things double bass double bass merch double bass sheet music Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

Today's episode features a conversation with Gary Upton, the founder of Upton Bass. Since founding the company in 1999, Gary has built it into one of the most established and trusted names in the world of double bass. Besides exploring the backstory of Upton Bass, we delve into their latest innovations, including amplifiers, strings, BuildBass.com and rosin. Enjoy!   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

Today's episode offers a behind-the-scenes look at the 2025 International Society of Bassists Convention, taking place June 2-7 at Florida State University in Tallahassee, Florida. FSU bass faculty members and convention hosts Rodney Jordan and George Speed join Jason to discuss organizing this event, share upcoming highlights, and preview what attendees can expect during the week. Enjoy!   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

Melody Ruiz is writing a book about Thelma Terry, a double bassist and bandleader in 1920s Chicago. She documents her research process on Instagram and is crowdfunding the project through gofundme and Etsy. We discuss how Melody discovered Thelma's story, the challenges and rewards of researching someone from a century ago, and the fascinating discoveries she's made along the way. We'll reconnect with Melody as her book nears publication. Meanwhile, follow her journey on Instagram!   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

Christopher Dammann is a Chicago-based composer and bassist whose sextet recently released its debut album. Our conversation explores Christopher's journey from self-taught musician to Northwestern University bass student, examining how iconic Chicago venues like Velvet Lounge and Constellation shaped his artistry, his practice methodology, and much more. Enjoy, and don't miss this excellent debut album from Christopher's sextet!   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music Thank you to our sponsor! Upton Bass - From Grammy Award winners and Philharmonic players like ME Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! theme music by Eric Hochberg

Stephen Mangan is an award winning actor who is also a presenter and writer. His prolific career includes comedic roles in TV hits Green Wing; Episodes and Adrian Mole. He also plays the much loved Nathan in BBC drama The Split and has appeared in many award winning theatre productions in the UK and on Broadway.Born in London to Irish immigrant parents, Stephen studied Law at Cambridge University. His passion though was for acting and after taking time out to care for his mother, he spent three years at RADA before pursuing a successful career on stage, screen and film. Stephen lives in London with his wife and three sons.DISC ONE: King of the Road - Roger Miller DISC TWO: I Recall A Gypsy Woman - Don Williams DISC THREE: Beautiful Boy (Darling Boy) - John Lennon DISC FOUR: Who Knows Where the Time Goes - Fairport Convention DISC FIVE: Stayin Alive - Bee Gees DISC SIX: Ravel: Piano Concerto in G Major, M. 83: II. Adagio assai. Composed by Maurice Ravel and performed by Martha Argerich (piano) and Berliner Philharmoniker, conducted by Claudio Abbado DISC SEVEN: Rhapsody in Blue. Composed by George Gershwin and performed by New York Philharmonic, conducted by Zubin Mehta DISC EIGHT: (Your Love Keeps Lifting Me) Higher And Higher - Jackie Wilson BOOK CHOICE: Collected Works of Seamus Heaney LUXURY ITEM: A piano CASTAWAY'S FAVOURITE: Stayin Alive - Bee Gees Presenter: Lauren Laverne Producer: Sarah Taylor

When was just 26 years old, Gustavo Dudamel arrived from Venezuela to become conductor and music director of the Los Angeles Philharmonic. He immediately became one of the world's most beloved figures in classical music. He's collaborated with pop stars (including Billie Eilish, Nas and Christina Aguilera). He's played the Super Bowl half-time show. He even the model for the main character in the hit tv series "Mozart in the Jungle". Sixteen years later, after making an enormous mark on the LA Phil and the city of LA, Gustavo Dudamel is preparing to move east, as music director and artistic director of the New York Philharmonic. He talks here about coming up as a musician and a budding conductor in "El Sistema", Venezuela's classical music training ground for children of all backgrounds. He describes conducting his toy figurines while listening to the world's greatest orchestras, before he even understood what conductors actually do. And he shares his love of music - all music - and his work to erase boundaries between audiences.