Podcasts about ny phil

On the 12th April of this year, Vulture magazine published an article entitled “A Hidden Sexual Assault Scandal at the New York Philharmonic.”It details an alleged sexual misconduct case from 2010, and the various related ongoings since then.I am delighted to welcome the author of this landmark piece, Sammy Sussman, on to Inline G to talk about it, the various reactions and the potential implications for the classical music world.Please also be aware that this episode contains descriptions of abuse, which some may find triggering.This was a landmark episode, and I am thrilled that guests of this calibre feel comfortable to tell their story on Inline G.SlánChapters:00:00 - An Exceptional Episode02:53 - Sammy Sussman on Inline G05:23 - The Vulture Article and A Timeline of Events15:13 - The NY Phil's Immediate Reaction and the Tenure System21:58 - MeToo and 2018 Developments28:23 - Gender Disparity in the Case31:14 - 2020 - Current Day Developments36:48 - Reactions, Statements and Further Questions50:39 - Classical Music's Culture of Abuse56:13 - Why Sammy, Various Cultures and Further Thoughts1:09:52 - Thank YouIf you'd like to support the podcast, you can sign up for just 5 quid a month to be a Patron at;patreon.com/TheInlineGFlutePodcastInline G will ALWAYS be free of charge, but signing up helps let this podcast reach new heights, if you can afford it. You'll also get to ask questions to upcoming guests as well as get early access to some episodes.Or if you'd rather not spend money, subscribing to my YouTube channel and following me on Facebook, Instagram and TikTok is a HUGE way to support the podcast. It'll cost you nothing, and it really makes a difference to the algorithm gods. So please interact however you can; like, comment, or subscribe, and help keep this podcast lit x Hosted on Acast. See acast.com/privacy for more information.

[@ 5 min] Harry Bicket, music director of Santa Fe Opera, takes a ‘Free Throw' on being pigeonholed as an Early Music specialist. This summer, Maestro Bicket conducts "Don Giovanni"; we ask him to weigh in on his favorite act of a Mozart opera… [@ 19 min] In 'Chalk Talk'... It's all very well for us to bust a bracket finding the Best School of Music voice program. But what are those departments actually teaching, and how does that relate to what a modern freelance performer actually needs to know…? [@ 39 min] It's a bonus ‘Free Throw' from tenor Jonathan Tetelman, making a double debut at the Met, starting this Saturday in "La Rondine"… [@ 49 min] In the ‘Two Minute Drill'… major awards, a scandal (or not) at the NY Phil, budget cuts in Paris, and all hail the Tempo Police... GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

After almost three years of pop-up outdoor performances and playing in venues around the city, the NY Phil came home to a newly renovated David Geffen Hall in October of 2022. Part of Lincoln Center, the hall originally opened in 1962 to acclaim and controversy on the former site of the San Juan Hill Neighborhood. In this first season back, the NY Phil and Lincoln Center paid tribute to a lost community with a new commission by Etienne Charles.Learn more about David Geffen Hall at Lincoln Center, home of the New York Philharmonic. On August 23, 2023, this episode was updated to include additional details about the Afro-Caribbean population of San Juan Hill and the workers contracted to rebuild David Geffen Hall.The NYPhil Story: Made in New York production team includes Lauren Purcell-Joiner, Helena de Groot, Sapir Rosenblatt, Laura Boyman, Elizabeth Nonemaker, Eileen Delahunty, Christine Herskovits, Natalia Ramirez, and Ed Yim. Our engineering team includes: George Wellington and Ed Haber. Production assistance from: Ben James, and Jac Phillimore and Mary Mathis. Additional audio provided by NYC Municipal Archives. Special thanks to Monica Parks, Adam Crane, Gabe Smith, and the New York Public Radio Archives.A transcript of this episode is available on our website: nyphilstory.com

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

The New York Philharmonic has been performing for over 180 years and is America's oldest operating orchestra. A new podcast from WQXR, The NY Phil Story: Made in New York, launched last week. The podcast dives into the history of the orchestra and the people who have played in it. Host Jamie Bernstein joins us to discuss the history of the NY Phil and take your calls.

On December 7, 1842, a group of musicians gathered in the Apollo Rooms in Lower Manhattan and performed – for the first time – as the Philharmonic Society of New York. The first piece they played? Beethoven's Fifth Symphony. In this episode, we try to listen to that most famous of famous symphonies as our 1842 audience would have: as if for the very first time. And, host Jamie Bernstein follows the twists and turns on the journey an early musician, Solidor Milon, took to get to that stage. Even today, the path that NY Phil musicians take to Lincoln Center is a breathtaking one, as we hear in the story of concertmaster Frank Huang.A transcript of this episode is available on our website: nyphilstory.com

For more than 180 years, the New York Philharmonic has been making history in one of the world's cultural capitals. The NY Phil Story: Made in New York is a podcast about the people, the music, and the city behind America's oldest orchestra. Host Jamie Bernstein takes you backstage and into the archives to hear the untold stories of the Philharmonic — right from the very beginning. Each episode, we'll go behind the scenes of an iconic performance, speak to current Philharmonic musicians about how they carry on the orchestra's legacy, and hear the music that inspired it all. A transcript of this episode is available on our website: nyphilstory.com

You'll want to tune into this episode. Imagine existing in a professional music environment where fear is the dominating factor in everything you do. You miss a note and immediately get the stink eye from the maestro, fearful that one more misstep and you'll be out on the street, without a job and no hope of ever getting one again. The maestro even goes so far as to describe a performance by the great Phil Smith of the NY Phil as "terrible" because Phil (gasp!!!) missed a note during a performance. One would think that a job performing music in such an environment wouldn't be much fun at all. And one would be correct in thinking so. That was the reality that Sławomir Cichor faced on a daily basis. But then he visited a trumpet seminar hosted by Grand Valley State University circa 2012 and for the first time saw trumpeters performing for the pure love of performing. Music without the jackboot on the throat was suddenly enjoyable, and Sławomir has taken that joy he discovered at that seminar to his home country of Poland and shared it with those following in his footsteps. In this episode, you'll discover: -What does the trumpet scene look like in Poland?...02:02 -How Slawomir got started on trumpet...07:20 -Surviving a culture of perpetual fear...15:06 -A trip to the U.S. opens the eyes to new possibilities...23:21 -How Sławomir is opening new doors for younger players in Poland...27:43 -And much more! Credits: Trumpet Dynamics: The Story of the Trumpet, In the Words of Those Who Play It Host: https://jamesnewcombontrumpet.com (James Newcomb) Guest: Slawomir Cichor Opening and closing music: Serenade to a Bus Seat written and performed by Mike Vax Audio editing by: James Newcomb Show notes prepared by: http://podcastartistry.com (podcastartistry.com)

Today in honor of the Martin Luther King Jr. holiday we're launching the Clarinet Corner podcast with a very special episode.  Our host Tim Phillips sat down last year with Anthony McGill, principal clarinetist with the NY Phil, to discuss his projects to increase racial representation including #TakeTwoKnees and his haunting arrangement of "America, The Beautiful."  They also discuss the impact of the pandemic on both of their performing lives, and we sample a recording of recent performance McGill recorded.    BTW, McGill was Tim's first radio guest, so it's only fitting that we feature him on the first podcast.  Remember there's ALWAYS more where that came from!

Watch here   Listen below    ★ Support the show by becoming a patron: https://www.patreon.com/atpercussion ★ Follow us on: Facebook: https://www.facebook.com/atperc Instagram: https://www.instagram.com/atpercussion/ PodBean: https://atpercussion.podbean.com/ Hosts: Karli Vina, Casey Cangelosi, Ben Charles, and Ksenija Komljenović Intro music by Reese Maultsby - reesemaultsby.com   0:00 Intro and hello. Ksenija - History: Magic Melody, Guns n Roses, David Lee Roth injury, world's worst album. 8:04 Welcome, Joe! 8:50 Nine French American Rudimental Solos- Volume 3 13:40 What is distinctive about French rudimental style? 22:30 Advice to young people on publication? 28:18 Notation systems for snare drum? 36:00 Ben: Drumheads spotlight 43:25 Calf heads 46:15 How has COVID effected your work? 48:00 Performance highlights? Met. NY Phil. ? How do you follow Valery Gergiev?! 54:15 Any NY re-opening in sight?

TBJ142: Chris Martin, Principal Trumpet with the New York Philharmonic on auditions, fundamentals, and 340 mouthpieces. Really. Master trumpeter Chris Martin joins Andrew & Lance to explain how he landed two of the best gigs in the world. LINKS Chris' page NY Phil bio page Juilliard page Yamaha Artist page TBJ63 with Mike Martin Full show notes at pedalnotemedia.com (including Lance's show notes/Easter eggs). Want to help the show? Here are some ways: Unlock bonus episodes galore by becoming a Patreon patron. Subscribe to our brand new YouTube channel! Help others find the show by leaving a rating and review on iTunes or Apple Podcasts. Show us some love on Instagram, Facebook, and Twitter. Show some love to our sponsors: The brass program at The Mary Pappert School of Music at Duquesne University and Parker Mouthpieces (including the Andrew Hitz and Lance LaDuke models.) Buy Pray for Jens and The Brass Junkies merch at The Brass Junkies online store! Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm.

World-renowned violinist, former concertmaster of the New York Philharmonic and the Los Angeles Philharmonic, discusses his career as studio musician in film recordings in L.A. and his collaborations with John Williams Hosted by Maurizio Caschetto L.A. Studio Legends is a new series of podcast talks on The Legacy of John Williams dedicated to legendary orchestra musicians from the Los Angeles area who performed in hundreds of film soundtrack recordings, including many by composer John Williams. These artists are not only responsible for playing in some of the most iconic movie scores in the history of cinema: they're some of the truly finest and talented orchestra players of the 20th and 21st century. The first guest of this new series is certainly a musician who can be defined in a class of himself, who also enjoyed a global recognition throughout his distinguished career: world-renowned violinist Glenn Dicterow. Glenn Dicterow has established himself as one of the most prominent American concert artist of his generation and lived through a varied and storied career through more than four decades. He has been the concertmaster of the New York Philharmonic for 34 years (from 1980 to 2014) and served as that orchestra leader under esteeemed music directors Zubin Mehta, Lorin Maazel, Kurt Masur and Alan Gilbert. Before landing the position in New York, Dicterow was member of the Los Angeles Philharmonic Orchestra, starting in 1971 as associate concertmaster, and then becoming concertmaster there before turning 25. During those years, he also worked extensively as a studio musician for film and television soundtracks recorded in Los Angeles (along with many other L.A. Phil members, including his father Harold Dicterow), playing in literally hundreds of scores, including many by John Williams. Among the works he did for him, Dicterow played in the violin section for The Poseidon Adventure, The Towering Inferno, Close Encounters of the Third Kind, Jaws 2 and 1941. After becoming concertmaster of the NY Phil, Dicterow continued to work as featured soloist for film soundtracks including Altered States by John Corigliano, The Untouchables by Ennio Morricone and Interview with the Vampire by Elliot Goldenthal. In this wide-ranging conversation, Glenn talks about his long and distinguished career both as concertmaster of one of the world's leading ensembles and his life as a studio musician, where you can face unexpected challenges. Dicterow offers his own views on how the style of playing in Hollywood orchestras evolved through the years, and how it ties with its European roots. Dicterow talks extensively about his friendship and collaboration with John Williams throughout the years, but also spends time talking about his experiences with the legendary Leonard Bernstein. For more information and the full list of musical excerpts featured in the episode, visit thelegacyofjohnwilliams.com

The following is a conversation between Deborah Borda, President and CEO of the New York Philharmonic, and Denver Frederick, the host of the Business of Giving. In this interview, Deborah Borda, President and CEO of the New York Philharmonic, shares the following: • Tough decisions that the NY Philharmonic had had to make • Keeping donors engaged • The future of touring

앞으로 JJ 팝콘토크에서는 종종 뉴욕의 아트와 문화 행사, 전시, 공연 등에 대한 소식도 간단히 전해드릴 계획입니다. 첫번째로 뉴욕 필하모닉 오케스트라의 드보르작 교향곡 제9번 '신세계로 부터'의 공연 소식과 이번 시즌에서 주목할 만한 프로그램, 티켓가격 안내를 해드립니다. 레코딩 기기의 문제로 소리가 작은 점 사과드립니다. 의견 혹은 응원 메시지는 jjpopcorntalk@gmail.com으로 보내주세요. Music from www.bensonsound.com

Alison Fierst is the newly appointed Associate Principal Flute of the New York Philharmonic. Before landing her dream job, Alison completed her Bachelor degree at Carnegie Mellon University with Alberto Almarza and she went on to start a degree at Manhattan School of Music in the orchestral performance program. Alison ultimately gave up her spot as a student of Robert Langevin’s at MSM to become his colleague in the Phil. We chatted about her past audition failures, her NY Phil audition experience, and the Haynes Amadeus alto flute that helped her to land the job.

At Bellwether, we prefer to learn from the best.  And when it comes to mindfulness, focus and performing under pressure, you find the best on one of the most intimidating stages in the world: the New York Philharmonic. Richard Deane, Principal French Horn for the NY Phil, executes with graceful detail in front of one of the most fastidious and discriminating audiences that exist (classical music fans). And he does so with one of the most challenging instruments you can play. Getting to his seat is an arduous journey. Some would argue that staying in that seat is even more challenging.  It takes focus. It takes meditation and mindfulness. It takes humility and grace and all of those other really nice words we wish people used about us.  Richard shares his story - of what got him to where he is, and how he remains focused while playing exquisite music on a grand scale. Most importantly, and this was the question I could hardly wait to ask, is how to get your focus back after making a mistake. The metaphors are solid and the advice is tangible. I loved learning from Richard, and I know you will, too.  You can learn more about Richard on his website: www.richarddeane.com You can learn more about the New York Philharmonic here: www.nyphil.org

At Bellwether, we prefer to learn from the best.  And when it comes to mindfulness, focus and performing under pressure, you find the best on one of the most intimidating stages in the world: the New York Philharmonic. Richard Deane, Principal French Horn for the NY Phil, executes with graceful detail in front of one of the most fastidious and discriminating audiences that exist (classical music fans). And he does so with one of the most challenging instruments you can play. Getting to his seat is an arduous journey. Some would argue that staying in that seat is even more challenging.  It takes focus. It takes meditation and mindfulness. It takes humility and grace and all of those other really nice words we wish people used about us.  Richard shares his story - of what got him to where he is, and how he remains focused while playing exquisite music on a grand scale. Most importantly, and this was the question I could hardly wait to ask, is how to get your focus back after making a mistake. The metaphors are solid and the advice is tangible. I loved learning from Richard, and I know you will, too.  You can learn more about Richard on his website: www.richarddeane.com You can learn more about the New York Philharmonic here: www.nyphil.org

TBJ120: Colin WIlliams (Brass Junkies Rewind) Hey all! This is our first Brass Junkies Rewind. We're hoping to occasionally highlight a particularly good early episode that many people might have missed. This was back from Episode 26, way before I got more "creative" with the show notes. Simpler times. ***We just launched a brand new Brass Junkies newsletter! It will change your life. Like, it's life-changing! Subscribe today to stay in the loop on all things Brass Junkies!*** Colin Williams, newly tenured Associate Principal Trombone with the New York Philharmonic joins Andrew & Lance in a very frank and honest discussion about recovering from chop injury. Colin also sets Andrew's heart aflame, describing his experience playing w/Trey Anastasio from Phish, talks about what it is like working w/Joe Alessi (spoiler alert, it's pretty good), and his thoughts on what makes for effective orchestral management.  Oh, and he hates wearing tails. Like a lot. Links: Colin's Page at NY Phil  Want to help the show? Here are some ways: Unlock bonus episodes galore by becoming a Patreon patron. Help others find the show by leaving a rating and review on iTunes or Apple Podcasts. Show us some love on Instagram, Facebook, and Twitter. Show some love to our sponsors: The brass program at The Mary Pappert School of Music at Duquesne University and Parker Mouthpieces (including the Andrew Hitz and Lance LaDuke models.) Buy Pray for Jens and The Brass Junkies march at The Brass Junkies online store! Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm. NOTE: The original interview was produced by Austin Boyer and Buddy Deshler.

First, some exciting news: we've got Stand Partners for Life T-shirts! Check them out here, and show your Stand Partner love! For this episode, Akiko and I just had a one-word outline: Mahler! And it turns out we had plenty to say about his symphonies. What's it like to learn them, refine them, rehearse them, take them on tour? What do committees look for when you play Mahler? Hear about the time Akiko was mortified to play Mahler 9 with David Hyde Pierce (Frasier's Niles Crane) in the front row! Or the time Nathan got a death stare from Daniel Barenboim during... well, also during Mahler 9! And as to Nathan's comment that Gustav Mahler was perhaps the New York Philharmonic's first music director? He was actually its ninth! Nathan was under the misapprehension that the NY Phil began around the same time as so many other American orchestras, in the early part of the 20th century... in fact, New York got its start in 1848, whereas Mahler wasn't born until 1860! Mahler spent the last two years of his life, 1909-1911, at the helm of the Philharmonic.

First, some exciting news: we've got Stand Partners for Life T-shirts! Check them out here, and show your Stand Partner love! For this episode, Akiko and I just had a one-word outline: Mahler! And it turns out we had plenty to say about his symphonies. What's it like to learn them, refine them, rehearse them, take them on tour? What do committees look for when you play Mahler? Hear about the time Akiko was mortified to play Mahler 9 with David Hyde Pierce (Frasier's Niles Crane) in the front row! Or the time Nathan got a death stare from Daniel Barenboim during... well, also during Mahler 9! And as to Nathan's comment that Gustav Mahler was perhaps the New York Philharmonic's first music director? He was actually its ninth! Nathan was under the misapprehension that the NY Phil began around the same time as so many other American orchestras, in the early part of the 20th century... in fact, New York got its start in 1848, whereas Mahler wasn't born until 1860! Mahler spent the last two years of his life, 1909-1911, at the helm of the Philharmonic.

In this episode, I chat with with Anthony McGill, principal clarinetist with the NY Philharmonic.  We have a great conversation about attention and presence, in both practice and performance. Among other things, we discuss his journey to the NY Phil, the importance of absolutely loving music in choosing it as a career, how to nurture focus and make practice more efficient, and how to work towards having more flow in performance. Anthony elaborates on: His musical path, from the Southside of Chicago to the NY Phil The various institutions he attended – the Merit School, the Interlochen Academy, and the Curtis Institute How important the community that surrounds us is as we develop as musicians/artists/people How to nurture focus: The importance of how loving what you do is in fostering focus The quote that really articulated that concept for him How focus starts from figuring out if you truly love what you do Cultivating quality presence, awareness, and curiosity in the practice room are the keys to solid focus How to make practice efficient How he primes and prepares for a practice session How wanting to practice, having a plan, being aware, and being methodical are at the core of a good practice session How he “tricks” himself to practice (which is similar to the trick I talk about in this blog entry: https://www.mindoverfinger.com/blog/commit-to-ten) How listening to music is important Focus in performance: How to work towards flow and overcome mistakes How important it is to develop our public speaking and self-marketing skills Why we should develop an interest in a hobby outside of music   MORE ABOUT ANTHONY: Website: http://www.anthonymcgill.com/ Find some YouTube videos about Anthony HERE Instagram: https://www.instagram.com/mcgillclarinet/ Facebook: https://www.facebook.com/Mcgillab/   Biography Clarinetist Anthony McGill is one of classical music's most recognizable and brilliantly multifaceted figures. He serves as the principal clarinet of the New York Philharmonic — that orchestra's first African-American principal player — and maintains a dynamic international solo and chamber music career. Hailed for his “trademark brilliance, penetrating sound and rich character” (The New York Times), as well as for his “exquisite combination of technical refinement and expressive radiance” (The Baltimore Sun), McGill also serves as an ardent advocate for helping music education reach underserved communities and for addressing issues of diversity, equity, and inclusion in classical music. McGill was honored to take part in the inauguration of President Barack Obama, premiering a piece written for the occasion by John Williams and performing alongside violinist Itzhak Perlman, cellist Yo-Yo Ma, and pianist Gabriela Montero.   McGill's 2018-19 season includes performances of concertos by Bolcom, Copland, Mozart, and Strauss with the New York Philharmonic, Los Angeles Chamber Orchestra, Tallahassee Symphony, Vermont Symphony, and Austin Symphonic Band. He will also collaborate together with soprano Miah Persson in a performance of Schubert's “The Shepherd on the Rock” together with Iván Fischer and the New York Philharmonic. Additional performances include a collaboration with the Dover Quartet for the Philadelphia Chamber Music Society and a recital with soprano Julia Bullock for the Metropolitan Museum of Art, along with collaborations with the Brentano Quartet for Princeton University and a tour of Asia with the Chamber Music Society of Lincoln Center.   McGill appears regularly as a soloist with top orchestras around North America including the New York Philharmonic, Metropolitan Opera, Baltimore Symphony, San Diego Symphony, and Kansas City Symphony. As a chamber musician, McGill is a favorite collaborator of the Brentano, Daedalus, Guarneri, JACK, Miró, Pacifica, Shanghai, Takacs, and Tokyo Quartets, as well as Emanuel Ax, Inon Barnatan, Gloria Chien, Yefim Bronfman, Gil Shaham, Midori, Mitsuko Uchida, and Lang Lang. He has led tours with Musicians from Marlboro and regularly performs for the Chamber Music Society of Lincoln Center and the Philadelphia Chamber Music Society. Festival appearances include Tanglewood, Marlboro, Mainly Mozart, Music@Menlo, and the Santa Fe, Seattle, and Skaneateles Chamber Music Festivals.   In January 2015, McGill recorded the Nielsen Clarinet Concerto together with Alan Gilbert and the New York Philharmonic, which was released on DaCapo Records. He also recorded an album together with his brother Demarre McGill, principal flute of the Seattle Symphony, and pianist Michael McHale; and one featuring the Mozart and Brahms Clarinet Quintet with the Pacifica Quartet that were both released by Cedille Records.   A dedicated champion of new music, in 2014, McGill premiered a new piece written for him by Richard Danielpour entitled “From the Mountaintop” that was commissioned by the New Jersey Symphony, Kansas City Symphony, and Orchestra 2001. McGill served as the 2015-16 Artist-in-Residence for WQXR and has appeared on Performance Today, MPR's St. Paul Sunday Morning, and Mr. Roger's Neighborhood. In 2013, McGill appeared on the NBC Nightly News and on MSNBC, in stories highlighting the McGill brothers' inspirational story.   A graduate of the Curtis Institute of Music, McGill previously served as the principal clarinet of the Metropolitan Opera and associate principal clarinet of the Cincinnati Symphony Orchestra. In-demand as a teacher, he serves on the faculty of the Juilliard School, the Curtis Institute of Music, Bard College's Conservatory of Music, and the Manhattan School of Music. He also serves as the Artistic Advisor for the Music Advancement Program at the Juilliard School, on the Board of Directors for both the League of American Orchestra and the Harmony Program, and the advisory council for the InterSchool Orchestras of New York.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a huge thank you to my producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/   Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/

This week on the show we've got Marcus Schenck, General Director of the Promenade Opera Project. We talk about POP, the start of the NY Phil's season, some music is played, and of course the takes are hot. We want to hear from you! Send your listener mail to youngmusicianspodcast@gmail.com! Couple links to drop here: Promenade Opera Project website -https://www.promenadeoperaproject.com/ NYT article - https://tinyurl.com/y7btuwty Link to the music we talked about - https://www.youtube.com/watch?v=aLjbhNKDnUk Catch us next week!

The line-up for the 2018 TCU International Double Bass Festival (March 3-4, 2018)  is like a who's who in the double bass world! Founded and organized by Artistic Director and TCU Professor of Double Bass Yuan Lu, this fifth bi-annual festival is the largest such event for double bassists in North America. Learn more about this event on their website, and be sure to like TCU on Facebook to follow along with their live coverage! Featuring recitals, lectures, masterclasses, and clinics by the following renowned double bass artists and teachers (past podcast guests are linked to below): Gary Karr, World-Renowned Double Bass Virtuoso George Amorim, UT-Rio Grande Valley Jeff Bradetich, North Texas Michael Cameron, U. Illinois/Urbana-Champ. Timothy Cobb, Juilliard, NY Phil. Igor Eliseev, Stavanger Sym. Norway/Russia Paul Ellison, Rice University Blaise Ferrandino, TCU, composer & bassist William Gowen, Dallas Opera Orchestra Kyp Green, TCU, Jazz Shaoshi Jiang, Sichuan Conservatory Michael Klinghoffer, Jerusalem, Israel Yuan Xiong Lu, TCU Bing Luo, Shanghai Conservatory Szymon Marciniak, Polish Virtuoso/Germany Leigh Mesh, Metropolitan Opera Orchestra Mark Morton, Texas Tech University David Murray, Butler University David Neubert, Austin Symphony Sandor Ostlund, Baylor University Brian Perry, Dallas Symphony, SMU Tim Pitts, Rice University Frank Proto, Bassist & Composer Nicholas Scales, West Texas A&M University John Schimek, Oklahoma City University Dan Styffe, Oslo Philharmonic, Norway Jack Unzicker, UT Arlington Jessica Valls, Southwestern University Shun Hua Zhu, Shanghai Symphony Orchestra

When two people who really love something talk about what they love, the exuberance is contagious.  Alec Baldwin, a New York Philharmonic board-member since 2011, and Alan Gilbert, the outgoing Music Director, both really love the Phil.  When Gilbert took over in 2009, he was just 42, one of the youngest orchestra-directors in the country.  He wanted to inject enough new programming to keep the institution vital, even as the most dedicated orchestra-concertgoers nationwide average 60 years old and prefer the old standbys:  29% of ticket-buyers say that more contemporary music could keep them away from the box office.  But Gilbert found the perfect balance, and Baldwin invited him on to Here's the Thing to say thanks.  Gilbert, the child of two Philharmonic musicians, tells Alec about what it was like to grow up to lead it -- and about the ups and downs of his eight-year tenure.  Plus, the two men discuss which pieces overwhelm them with emotion, and the art of directing an orchestra: why are conductors even necessary, and what makes for a great one? 

TBJ69: Bass Trombonist Brian Hecht on Playing with the Atlanta Symphony, his Audition Preparation Strategy and Subbing with Almost Every Major American Orchestra by the Age of 32 Brian Hecht is the bass trombonist for the Atlanta Symphony and is a former member of the US Navy Band in Washington DC. He grew up in Dallas and spent some time in the Navy Band in Washington, DC before hitting the orchestral audition circuit, which led to him subbing with both the NY Phil and Philly Orchestra. He shares his audition preparation strategy, explains what he learned from legendary clarinetist Riccardo Morales and the importance of noise-canceling headphones. We also get into the topic of nerves, visualization and the value of a shower and a sandwich. And no Brass Junkies episode would be complete without a deep dive into Phish frontman and one of Andrew’s boyfriends, Trey Anastasio. We also spent an inordinate amount of time saying the phrase “poop truck.” Sorry.   LINKS: Personal site Atlanta Symphony bio Kennesaw State bio Want to help the show? Take a minute to leave us a rating and a review on iTunes. The Brass Area of the Mary Pappert School of Music at Duquesne University in Pittsburgh PA is our new partner (and Lance has been teaching euphonium there since 2000). If you are interested in learning more about the program, visit the site HERE! Check out Parker Mouthpieces fine offerings (including the Andrew Hitz and Lance LaDuke models) by clicking PARKER! You can help offset the costs of producing the show by making a small donation at https://www.patreon.com/thebrassjunkies. Your support is greatly appreciated! Last but not least, we are now on Instagram! Follow us at instagram.com/pray4jens/ TODAY! Expertly produced by Joey Santillo with love, care, and enthusiasm.

It is an honor and a pleasure to welcome Orin O'Brien to the show!  I've been hoping to have Orin as a guest for years, and I want to give a big shout-out to Chris Mathers for connecting the two of us! We chat about numerous shared acquaintances, including Greg Sarchet, Miloslov Gajdos, David Grossman, Ira Gold, Ed Barker, Hal Robinson, Max Dimoff, Michael Hovnanian, Douglas Mapp, and Ron Wasserman. More About Orin New York Philharmonic bassist Orin O’Brien was born in Hollywood to parents in the film industry, George O’Brien and Marguerite Churchill, and received her early musical training in Los Angeles, where she studied with Milton Kestenbaum and Herman Reinshagen. She then studied in New York with Frederick Zimmermann and graduated from The Juilliard School, and is an alumna of the Music Academy of the West, now a partner in the New York Philharmonic Global Academy. She has been a member of the New York Philharmonic since 1966, where she has played with the world’s leading conductors. She has participated in numerous chamber music festivals, including Marlboro, and in first performances of the Gunther Schuller Quartet for Four Double Basses. She co-chaired the double bass department of The Juilliard School for ten years, and currently serves on the faculties of the Manhattan School of Music and Mannes College of Music. Her most recent chamber music performances were the quintets of Schubert and Dvorak with the Guarneri String Quartet. We dig into a wealth of topics, including: how Orin came to study with Fred Zimmerman how to play specific excerpts the switch from gut strings to steel strings and the premiere of the Gunther Schuller Quartet (these two events are interlocking) how Orin felt about being the first woman in the NY Phil (the answer will surprise you!) how to really be a good principal player what trips people up in auditions New York in the 50s Herman Reinshagen and the bass lineage of the 20th century the great premieres throughout her career how special Riccardo Muti is as a conductor, and what makes him special - one of the living greats what was special about the musicianship of Carlos Kleiber how a great conductor can use imagery to inspire the orchestra Links to Check Out: Double Bass Notebook - amazing book by Orin O'Brien Orin's New York Philharmonic page the Manhattan School of Music double bass program Orin O'Brien Tribute from ISB 2013 (arranged and conducted by Inez Wyrick and narrated by Kristin Korb) Felix Weingartner - On the performance of Beethoven’s Symphonies (PDF) Women in Orchestras panel discussion with Orin - Brooklyn Museum the Miloslav Gajdos video Orin references Corresponding with Carlos: A Biography of Carlos Kleiber Contrabass Conversations is sponsored by: The Upton Bass String Instrument Company.  Upton's Mittenwald model is a sister to their popular Brescian model.  The contrabasses from the Mittenwald school are characterized by a high-shouldered gamba pattern with outside linings on deep ribs, resulting in a fine orchestral double bass. Our version incorporates all the ergonomic improvements and geometries found in other Upton models, with great flexibility in sizing afforded by the stout German pattern. The gamba pattern, especially when combined with a flat back, allows us to build this instrument in the 5/8ths sizing of the Kloz copy, all the way up to a large 7/8ths pattern built to lift a string section or push a big band. Bass Violin Shop -  Offers the Southeast's largest inventory of laminate, hybrid and carved double basses. Whether you are in search of the best entry-level laminate, or a fine pedigree instrument, there is always a unique selection ready for you to try. Trade-ins and consignments welcome! Subscribe to the podcast to get these interviews delivered to you automatically!

March 27, 2017 In December of 2016 while at a rehearsal with The Philadelphia Boys Choir and Chorale for their holiday concert series, from my seat at the drumset, I was blown away by the beautiful trombone sound coming from three rows behind me in the orchestra. During the break, I told the conductor that the trombone player he hired really sounded great; he said, 'no wonder, he's the principal trombonist with the Philadelphia Orchestra!'. Ha!  During that concert series Nitzan and I had a great time chatting backstage about jazz, composing, the music biz, the internet, etc... which naturally led to him being my next guest on Backstage at The Enharmonic.  In this episode Nitzan discusses the importance of his family in his career trajectory, what drew him to the trombone, putting your ego aside, winning his job in the NY Phil, memorable performances, and much more! Nitzan Haroz, a native of Israel, rejoined The Philadelphia Orchestra as principal trombone in 2014 after holding the same position with the Los Angeles Philharmonic since 2012. Previously he was principal trombone of The Philadelphia Orchestra starting in 1995 after serving as assistant principal trombone of the New York Philharmonic and principal trombone of the Israel Symphony and Opera Orchestra. He was also first trombone of the Israel Defense Forces Orchestra and performed with the Jerusalem Symphony.