Podcasts about Oboe

Last time we spoke about the battle of Malacca strait. In the intense Battle of the Malacca Strait, Japanese forces undertook a desperate evacuation amidst relentless attacks by the Allies. After suffering heavy casualties from previous confrontations, the Japanese regrouped and attempted to maintain their defensive positions. However, under the pressure of determined Allied assaults and strategic maneuvers, they faced increasingly fierce resistance. As the Allies advanced, they successfully overwhelmed Japanese defenses, leading to significant losses for the opposing forces. The battle transformed into a pivotal moment in the Pacific War as Japanese resistance crumbled, ultimately shifting the tide toward Allied victory. This clash not only showcased the harsh realities of war but also underscored the relentless determination of both sides as they fought for dominance in the region, marking a crucial step towards the conclusion of the conflict. This episode is the Breakthrough on Okinawa Welcome to the Pacific War Podcast Week by Week, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about world war two? Kings and Generals have an assortment of episodes on world war two and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel you can find a few videos all the way from the Opium Wars of the 1800's until the end of the Pacific War in 1945.  As of mid-May, General Buckner's forces had made steady, albeit slow, progress against the determined Japanese defenders on the Shuri defensive line. On May 16, the offensive continued. Colonel Schneider's 22nd Marines and Colonel Whaling's 29th Marines launched yet another unsuccessful assault on Sugar Loaf Hill, while Colonel Snedeker's 7th Marines exhausted their strength in a failed attempt to seize Wana Ridge. To the east, Colonel Coolidge's 305th Regiment advanced 200 yards closer to Shuri. Colonel Hamilton's 307th Regiment nearly captured Flattop and Chocolate Drop Hill but was ultimately pushed back. Colonel Dill's 382nd Regiment successfully cleared Dick Hill but came under intense fire from Oboe Hill. Meanwhile, Colonel May's 383rd Regiment made only minor gains on the southeastern slopes of Conical Hill and Love Hill, even as tanks broke through toward Yonabaru for the first time. The following day, the 383rd Regiment maintained pressure on Conical and Love Hills, prompting General Bradley to commit part of Colonel Halloran's 381st Regiment to the attack. To the west, the 382nd Regiment staged a hard-fought advance of 200 yards but was unable to capture Oboe Hill.  Slowly the 77th Division forces between Flattop and Route 5 were reducing enemy positions bearing on the area in front of the 307th Infantry. By 17 May this progress began to show in the advances of the foot troops around Chocolate Drop. Covered by company heavy weapons out on both flanks, infantrymen worked around both sides of the hill to the huge caves on the reverse slope. Inside were 4 antitank guns, 1 field piece, 4 machine guns, 4 heavy mortars, and a American 60-mm. mortars. By nightfall the caves had been partially sealed off. During the night an enemy force launched a counterattack against the American positions around the hill but was repulsed with the loss of twenty-five Japanese killed. On the 17th another bitter struggle raged on Flattop. The struggle swayed back and forth across the narrow crest of the hill. Company K, the assaulting unit, had been reduced to fourteen infantrymen by the end of the day; finally it was forced back off the top. Tanks tried to go through the road cut between Flattop and Dick Hill, but two of them were disabled by mines, leaving the cut blocked. The road cut was later blown along its entire length by seven tons of bangalore torpedoes to remove the mines. Company E continued to push toward Ishimmi Ridge, where they faced a series of heavy Japanese counterattacks. Coolidge's 3rd Battalion and the rest of Hamilton's 2nd Battalion dug in just a few hundred yards north of Shuri and Ishimmi in the highway valley. Meanwhile, Coolidge's 1st Battalion was halted by heavy fire from 110 Meter Hill and the extensive fortress houses in Shuri's suburbs. The intense fighting had nearly depleted the 22nd Regiment, prompting General Amamiya to direct the 32nd Regiment to take over the defense of Shuri along a line extending from Ishimmi to Oboe. Meanwhile, on Wana, the 7th Marines launched a renewed attack but were once again repelled. However, the 5th Marines succeeded in advancing to Hill 55. Further west, the bulk of the 29th Marines attacked toward Half Moon Hill, successfully reaching its forward slopes but later having to withdraw to more defensive positions overnight. Whaling's 2nd Battalion also mounted relentless assaults on Sugar Loaf, each time suffering heavy losses in repelled attacks. As dusk fell, Japanese planes targeted American shipping, successfully damaging the destroyer Douglas H. Fox. On May 18, tanks played a crucial role in a successful assault on Sugar Loaf, executing a double envelopment while securing the top of the hill. The 2nd Battalion then advanced to Horseshoe Hill, while the remainder of the 29th Marines managed to secure the forward slopes of Half Moon.After a night of sporadic bombardment from enemy artillery and mortars, 3/7 again attempted to gain a foothold on Wana Ridge. During the morning supporting weapons concentrated their fire on the forward slopes and crest of the objective and at noon Company I, followed by a platoon of Company L, jumped off and fought its way to the ridge. The assault troops' gains "were measured in yards won, lost, and then won again." Finally, mounting casualties inflicted by enemy grenade and mortar fire forced Lieutenant Colonel Hurst to pull back his forward elements and consolidate his lines on positions held the previous night. On the right flank of the division front the isolated platoon from Company E of 2/5 was unsuccessful in exploiting its hold on the western slopes of Hill 55. The men were driven to cover by intense enemy fire, and tanks again had to be called upon to supply ammunition and rations to the outpost. During the morning operations the 5th Marines laid protective fire with tanks and assault guns along Wana Ridge to support 3/7's advance. At noon, under cover of this fire, Company F sent one rifle platoon and an attached platoon of engineers into Wana village to use flame throwers and demolitions against the enemy firing positions in the ruins. Numbers of grenade dischargers, machine guns, and rifles were found in Wana and the tombs behind it and destroyed. Further advance into the draw was not feasible until the 7th Marines could occupy the high ground on the eastern end of the ridge and furnish direct supporting fire to troops advancing in the draw below. At 1700 the troops were ordered to return to their lines for the night. n the center, General Bruce pressed his attack deeper into the Shuri defenses, with Coolidge's 3rd Battalion gaining 150 yards along the Ginowan-Shuri highway and Hamilton's 2nd Battalion advancing up to 300 yards toward Ishimmi, although attacks against 110 Meter Hill and Flattop failed to gain ground. On the morning of 18 May, orders were given to stay at all costs. Lieutenant Bell said firmly, "We stay." The men resigned themselves to a last-ditch stand. Their grenades exhausted and their machine guns and mortars destroyed, the remaining men salvaged every clip of ammunition from the bandoleers of the dead. Spare workable rifles were loaded and bayonets laid alongside. Enemy pressure increased steadily during the day. Some Americans were shot at close range as they darted from hole to hole to escape grenades. At one time eight knee mortars were pounding the ridge, firing in pairs. Friendly artillery could to some extent keep off the charging Japanese but seemed unable to ferret out the enemy mortars, which were well protected. The moans of wounded men, many of whom were in pitiful condition from lack of water and of medical aid, added to the strain. All canteens had been emptied the previous night. Nevertheless, battle discipline remained excellent. The worst problem concerned the replacements, who were courageous but inexperienced. Thrust suddenly into a desperate situation, some of them failed at crucial moments. One man saw two Japanese attacking a sergeant thirty feet away, but his finger froze on the trigger. Another shouted wildly for a comrade to shoot some Japanese while his own rifle lay in his hands. Another saw an enemy soldier a few yards from his hole, pulled the trigger, and discovered that he had forgotten to reload. By the end of the ordeal, however, the replacements who survived were battle-hardened veterans. During the afternoon the 307th attempted to reinforce the small group. Elements of Company C tried to cross the open ground north of Ishimmi Ridge. Only the commander and five men reached Company E. The men scrambled safely into foxholes, but the commander, shot through the head while racing toward the command post, fell dead on the parapet of the command post foxhole. Spirits rose considerably when word came later in the afternoon that a litter-bearing unit of eighty men would try to get through in the evening. Enemy fire slackened after dark, and the first of the litter bearers arrived at about 2200. They immediately started back carrying casualties. Walking wounded accompanied them. The litter bearers moved swiftly and managed to avoid being seen in the light of flares. Through splendid discipline and good luck eighteen men were carried out in two and a half hours, and others walked out. The litter teams had brought some water and ammunition and the troops drank for the first time since the day before. The second sleepless night on the ridge passed. The 382nd Regiment continued to face heavy resistance from Oboe Hill but managed to secure the road cut between Flattop and Dick Hill. Meanwhile, Halloran's 3rd Battalion could only push about 400 yards south due to the relentless mortar and small-arms fire coming from Hogback Ridge. At sea, a low-flying kamikaze aircraft struck LST-808 off Iejima, resulting in the deaths of 17 men. The following day, while the 382nd and 383rd Regiments focused on neutralizing the cave positions and gun emplacements in the uneven terrain between Conical and Dick Hills, Halloran's 3rd Battalion launched an attack to the south and west toward Sugar Hill but made little progress due to the heavy defensive fire. In the center, the 307th Regiment systematically worked to eliminate enemy firing positions on the high ground in front of them, employing every available weapon for the task. Colonel Smith's rehabilitated 306th Regiment began moving up to replace the battered 305th, with its 3rd Battalion relieving Coolidge's 3rd Battalion and portions of Hamilton's 2nd Battalion along the low ground bordering the highway to Shuri, including the isolated men at Ishimmi Ridge.  On 19 May the enemy seemed to intensify his efforts to recapture Ishimmi Ridge. The besieged troops wondered whether his supply of men and ammunition was inexhaustible. The Japanese launched several attacks which were repulsed with great difficulty. Only the support of artillery and mortars, together with self-propelled mounts firing with precision on both flanks of Ishimmi Ridge, prevented the enemy from making an attack in strength which would have overrun the American positions. One enemy attack of platoon strength was dispersed by mortar and machine-gun fire and by a four-battalion time-on-target artillery concentration. Japanese mortar fire continued to fall on Ishimmi, however, and took its toll during the day. A message arrived during the morning that Company E would be relieved that evening. By noon the radio had become so weak that further communication with the company was impossible. The day wore slowly on. By 2100 there was still no sign of the relief. Shortly afterward, however, rifle fire intensified to the rear, a sign of activity there. At 2200 Company L, 3d Battalion, 306th Infantry, arrived. The relief was carried out in pitch darkness; each member of Company E left as soon as a replacement reached his position. As the haggard survivors were about to descend the ridge at 0300, a bursting shell hit two of the newcomers; one of them had to be evacuated on a poncho. Carrying its own wounded, Company E followed a white tape to the rear and arrived safely. Of the 204 officers and men of the reinforced company that had made the night attack on Ishimmi, 156 had been killed or wounded. There were 28 privates, 1 noncommissioned officer, and 2 officers left of the original 129 members of Company E. The platoon sent in relief by Company C had gone out with 58 effectives and returned with 13. Of the 17 men in the heavy weapons section only 4 came back. Company E had spearheaded a several-hundred-yard advance toward Shuri, however, and with the help of supporting weapons had killed hundreds of Japanese around Ishimmi. The 7th Marines launched one last unsuccessful assault on Wana Ridge before being relieved by Colonel Mason's rested 1st Marines. Meanwhile, after repelling a strong night counterattack, the exhausted 29th Marines were also relieved by Colonel Shapley's reserve 4th Marines, which made additional advances alongside the 22nd Marines, now under Colonel Harold Roberts. Four new regiments had been committed over the past few days to revitalize the offensive. On May 20, Shapley's assault battalions gained more ground on Horseshoe Hill but were still unable to reach the crest of Half Moon, though they successfully repelled another strong night counterattack. To the east, Mason's 2nd Battalion advanced rapidly to the base of 110 Meter Hill and captured part of Wana Ridge, while his 3rd Battalion secured a firm hold on the northern slope. Concurrently, the 5th Marines attacked southwest along the Naha-Shuri Road and successfully captured the high ground. Meanwhile, in coordination with the 1st Marines, Coolidge's 1st Battalion and Smith's 3rd Battalion made a slow, grinding advance of about 150 yards, positioning themselves within 200 yards of the outskirts of Shuri in the highway valley. At the same time, the 382nd Regiment expanded its hold on the reverse slope of Dick Hill but remained unable to penetrate Oboe Hill. The 307th Regiment consolidated and expanded its positions around Chocolate Drop, finally seizing Flattop. Reducing the tiny hill continued to be ticklish work because enemy positions to the south still overlooked the area. The fighting was still so confused that three wounded Americans lay south of Chocolate Drop for two days before relief arrived. By that time two had died and the third was so delirious that he thought he was still fighting Japanese and had to be forcibly subdued. By 20 May the caves were completely sealed off. The enemy made a final attempt to retake Chocolate Drop, attacking in company strength, but was repelled with the loss of half his force. On the same day the 3d Battalion, using tanks, flame throwers, and demolition teams, finally secured the crest of Flattop. The final American attack started with a saturation shower of grenades. A chain of men extending from the base of Flattop passed hand grenades to the troops lined up along the crest, who threw the missiles as fast as they could pull out the pins. Having seized the advantage, the infantry moved down the reverse slope blasting caves with satchel charges and flame throwers. Tanks along the road cut accounted for many of the Japanese. BY 1545 Flattop had fallen. More than 250 enemy bodies lay on the crest and reverse slope of the hill. Further east, Halloran's 3rd Battalion made a slow but steady advance down the eastern slopes of Hogback, reaching the foot of Sugar Hill despite constant grenade duels with an enemy fighting desperately to hold every inch of ground. Additionally, the 1st and 2nd Battalions of the 383rd Regiment fought their way to jump-off positions within 300 yards of Love Hill, destroying enemy strongpoints that had obstructed their advance for a week. Meanwhile, back at sea, Japanese aircraft managed to damage two destroyers and three transports. The following day, the 383rd again attacked Love Hill but was ultimately forced to withdraw from its base due to fierce defensive fire. Despite this setback, May's 2nd Battalion successfully supported the 381st Regiment in clearing Hogback and pushing to the top of Sugar Hill. To the west, the 382nd advanced quickly against moderate opposition toward Oboe Hill and Hen Hill, encountering retreating enemy units moving toward the high ground at Shuri. Concurrently, the 307th pushed 350 yards south of Flattop before being halted by enemy forces at the Three Sisters, while the 306th completed the relief of the 305th, with its 3rd Battalion advancing 200 yards unopposed to the eastern slopes of 110 Meter Hill. Meanwhile, the 1st Marines continued their assault along Wana Ridge, making only limited gains at the Draw, where the 5th Marines held out and aggressively patrolled forward. The 4th Marines began their push toward the Asato River, achieving a costly advance of about 200 yards on Horseshoe. By nightfall, heavy rains began to fall, significantly impeding efforts to resupply assault troops and replenish forward ammunition dumps. Amidst this torrential downpour on May 22, Shapley's 1st and 3rd Battalions slogged through the "gooey slick mud" to reach the bank of the rain-swollen river. This prompted the Japanese to evacuate Naha and establish new defensive positions on the Kokuba Hills. To the east, the continuous rain flooded Wana Draw with mud and water, transforming it into a makeshift lake. For the next few days, General Del Valle's Marines were forced to attack without support, leading to aggressive patrolling rather than organized assaults. The prospects of success for the infantry alone, slogging through the mud without the support of other arms, were not encouraging. Tanks bogged down, helplessly mired. Amphibian tractors were unable to negotiate the morass, and front-line units, which had depended on these vehicles for carrying supplies forward in bad weather, now had to resort to hand carrying of supplies and of the wounded. These were back breaking tasks and were performed over areas swept by enemy fire. Mortar and artillery smoke was used as far as possible to give concealment for all movement. Litter cases were carried back through knee-deep mud. Living conditions of front-line troops were indescribably bad. Foxholes dug into the clay slopes caved in from the constant soaking, and, even when the sides held, the holes had to be bailed out repeatedly. Clothes and equipment and the men's bodies were wet for days. The bodies of Japanese killed at night lay outside the foxholes, decomposing under swarms of flies. Sanitation measures broke down. The troops were often hungry. Sleep was almost impossible. The strain began to take a mounting toll of men. Under these conditions the Marine attack against Wana Ridge was soon at a standstill. The action degenerated into what was called in official reports "aggressive patrolling." Despite inactivity, enemy mortar and artillery fire continued to play against the American front lines, especially at dusk and at night. In the center, Bruce's 77th Division faced similar challenges, with the 306th Regiment stalled and the 307th Regiment again unsuccessfully attacking the Three Sisters. There, Company A became isolated at the base of the forward slope of Jane Hill, nearly cut off by intense enemy mortar and machine-gun fire. For the following week, the 382nd Regiment struggled to make headway on Hen and Oboe Hills, where fierce hand-to-hand combat erupted. Similarly, all attempts by the 383rd Regiment to breach the defenses of Love Hill on the western side of Conical failed, as the 381st was also unable to make any progress against Cutaway. General Hodge had also moved General Arnold's rehabilitated 7th Division to assembly areas just north of Conical Hill to spearhead the advance toward Yonabaru and the high ground south of the village. Strengthened by 1,691 replacements and 546 men returned to duty from hospitals since it left the lines on 9 May, the 7th Division moved up to forward assembly areas just north of Conical Hill and prepared to make the dash through the corridor. At 1900 on 21 May the 184th Infantry, chosen by General Arnold to lead the way, was in place at Gaja Ridge, at the northern base of Conical. The initial move of the envelopment was to be made in the dead of the night and in stealth. General Buckner felt that "if the 7th can swing round, running the gauntlet, it may be the kill." As part of this operation, the 2nd Battalion of the 184th Regiment moved out from Gaja Ridge during the night, swiftly and silently passing through Yonabaru in the early morning hours to capture Spruce Hill and Chestnut Hill in a surprise attack. Colonel Green's 3rd Battalion then followed the 2nd Battalion through Yonabaru, but their assault on Juniper and Bamboo Hills was unsuccessful as the surprised defenders regrouped. The following day, Green's two battalions continued to push toward these initial objectives, ultimately securing a solid line that stretched from the coastline across the southern slopes of Chestnut, and then over to Juniper and Bamboo by day's end. This success allowed Colonel Finn's 32nd Regiment to pass through Yonabaru and advance westward along the Naha-Yonabaru valley to assault the enemy's western hill defenses focused around Oak Hill.On the west coast, after a successful night reconnaissance of the Asato River, the 4th Marines rapidly crossed the river under cover of smoke, beginning their advance toward a low ridge 500 yards south of the Asato. However, as previously noted, the torrential rain had turned every draw and gully into a sticky morass of knee- and thigh-deep mud in the center. The steep slopes of the hills and ridges, treacherous under the best of conditions, became virtually unassailable. Consequently, full-scale coordinated attacks had to be canceled, and only localized gains could be achieved. Despite the breakthrough in the center, the Japanese command remained concerned about the threat posed to the flanks of the Shuri bastion by American advances along both coasts. While they believed the Naha breakthrough could be contained, every available soldier was deployed to establish a defensive line stretching from the southwest slopes of Conical Hill through Yonawa to the road junction village of Chan, aiming to eliminate Arnold's spearhead that had penetrated into the Naha-Yonabaru valley. General Ushijima feared that his forces were being gradually encircled in the Shuri fortress, where they would become “easy prey” to overwhelming American firepower. In light of this situation, Ushijima began planning a withdrawal to the Chinen Peninsula or the southernmost part of the island, the Kiyamu Peninsula. This decision was met with resistance from General Fujioka, who expressed concern that thousands of severely wounded men would have to be abandoned during the retreat.  Although the holding of the heights surrounding the city had been the keystone of the Japanese preferred plan, several factors now militated against its retention. There were an estimated 50000 surviving officers and men to be crammed into a final defense zone less than a mile in diameter. Once these troops were surrounded, the Japanese believed that they would be rendered ineffectual and become "easy prey" to overwhelming American fire superiority. In addition, Japanese long-range artillery pieces, many of which were still intact, could not be effectively utilized within the limited space that would be available. The best chance of prolonging the battle for Okinawa seemed to rest in defending the Kiyamu Peninsula region which was dominated by the Yaeju Dake-Yuza Dake Escarpment. Natural and artificial caves, sufficient to accommodate the whole of the surviving army, abounded in the area. The 24th Division, which had organized the terrain, had left a considerable amount of ammunition and weapons there when it moved north to the Shuri lines. The principal roads in southern Okinawa led directly to the proposed position, thus facilitating the movement of large bodies of men in the shortest possible time. These roads also gave American tanks an excellent route of advance, but only to the outposts of the defensive zone where cliffs, hills, and precipitous ridges barred the way. To add weight to his argument, General Amamiya indicated that his 24th Transport Regiment had preserved enough trucks to move the Shuri munitions reserve to the new position within five nights if weather conditions permitted. General Ushijima, after considering the respective positions of his staff and commanders, decided to order the move to Kiyamu.  Although General Suzuki preferred the Chinen Peninsula, which his brigade had fortified, most officials supported a move to the Kiyamu Peninsula, where Amamiya's 24th Division had previously established defenses in the natural and artificial caves of the Yaeju Dake-Yuza Dake Escarpment. Thus, transportation of wounded personnel and munitions reserves to the south commenced at midnight on May 23, with the bulk of the 32nd Army scheduled to begin their withdrawal six days later.  On the night of 25 May, the remnants of the 62d Division were to pull out of the Shuri line and move through Tsukasan to counterattack the Americans. The relatively strong 22d Independent Infantry Battalion, which had been in reserve throughout most of the fighting in April and May, was directed to hold the Shuri front in place of the division. The orders to General Fujioka were "to annihilate the enemy rushing from the Yonabaru area." Failing this, the division was at least to stop the American advance long enough to allow the main body of the Thirty-second Army to retire. In order to gain time to organize the new positions, the holding force left on the Shuri front was to fight on until 31 May. Withdrawing units were to leave behind strong rearguards which would defend a line along the Kokuba Gawa to the hills north of Tsukasan and Chan and then south through Karadera to the east coast until the night of 2 June. Then a second line centered on Tomusu, approximately 2,000 yards farther south, would be held until the night of 4 June. By that time the Thirty-second Army would be firmly set up within its Itoman-Yunagusuku-Gushichan outpost zone. Admiral Ota's naval force was directed to hold the west flank of the withdrawal corridor and begin its own retreat when ordered by 32nd Army. During the night, Admiral Ugaki initiated his seventh mass Kikisui attack, launching 165 kamikaze aircraft that inflicted only light damage on landing craft. On May 24, while engineers constructed a bridge over the Asato River to facilitate vehicle movement, the 4th Marines suffered heavy casualties as they attempted to advance through the muddy, flooded valley and low clay hills. Simultaneously, Shepherd's Reconnaissance Company crossed the lower Asato and roamed the streets of northwestern Naha without encountering any resistance. To the east, Dill's 1st Battalion faced a brutal counterattack that inflicted significant casualties and nearly drove the Americans from Oboe Hill. Following Ushijima's directives, the 32nd and 184th Regiments began to encounter increasing resistance as they sought to expand their control over the valley and the high ground to the south. This culminated in a series of aggressive nighttime counterattacks that ultimately slowed and halted the western advance of the 7th Division. During the night, Japanese forces conducted heavy raids on American airfields at Kadena, Yontan, and Iejima. However, these attacks were merely a diversion for Operation Gi-Gou, a suicide raid against Kadena and Yontan. In this operation, twelve Ki-21 heavy bombers, carrying Giretsu Kuteitai special airborne assault troops, aimed to crash land on the airfields to deploy commandos tasked with destroying aircraft stationed there.  After the start of B-29 attacks on Tokyo from bases in the Mariana Islands, the 1st Raiding Brigade of the Teishin Shudan was ordered to form a commando unit for a "special operations" mission to attack and destroy the bombers on the Aslito Airfield on Saipan. Captain Okuyama Michiro, commander of the brigade's engineering company and trained in sabotage and demolition was selected as mission leader. He selected an additional 126 men from his own team, the 4th Company of the 1st Raiding Regiment, to form the first Giretsu Airborne Unit. It was initially organized with a command section and five platoons and one independent squad, based at the Imperial Japanese Army's air academy at Saitama. The group unit also included eight intelligence officers and two radio men from the Nakano School. Giretsu operations were to be undertaken at night, beginning with air strikes by bombers. After this, commando units would be inserted onto the target airfield by crash landing their transports. The fact that there was no provision for extraction of the strike force, along with the rejection of surrender in Japanese military doctrine at the time, meant that the Giretsu ground operations were effectively suicide attacks. Though the Saipan attack was eventually cancelled, the 6th Air Army ultimately requested the deployment of the Giretsu Special Forces to neutralize the Okinawa airfields. The 6th Air Army accordingly began preparations for the attack in early May. Led by Captain Okuyama, the raid force moved from Nishitsukuba to Kumamoto as it continued to prepare for the assault, codenamed Operation Gi-Gou. Aircraft for the raid came from the 3rd Independent Air Unit based in the vicinity of Hamamatsu. The raid force consisted of 120 commandos broken up into a headquarters section and five flights, each containing twenty men. They were to be transported by twelve Mitsubishi Ki-21s stripped of their guns and with additional forward and rear exits added to assist raiders with exiting. The timing of the raid was also meant to coincide with the withdrawal of the 32nd Army from the Shuri Line in southern Okinawa. Of the twelve bombers dispatched, four encountered engine trouble and returned to base, while three were intercepted by American night fighters en route to Okinawa. The remaining five Ki-21 bombers approached Yontan Airfield at low altitude and engaged Marine anti-aircraft gunners from the 1st Provisional Anti-aircraft Artillery Group. As a result, four of the bombers were shot down or crash-landed; however, a small number of Giretsu commandos survived this wave and commenced their mission to attack aircraft on the airfield. The fifth bomber, however, successfully evaded anti-aircraft fire and belly-landed approximately 100 meters from the control tower. About 10 commandos disembarked and attacked aircraft and air personnel with grenades. In the ensuing chaos, the Japanese commandos killed two Americans, wounded 18, destroyed nine aircraft, damaged 29 more, and set a fuel dump ablaze, destroying 70,000 gallons of aviation gasoline. After twelve hours of mayhem, however, American troops hunted down the commandos and exterminated them to a man. Despite this partial success, the Japanese operation occurred against a backdrop of heavy losses, with American fighters and anti-aircraft fire claiming a total of 150 Japanese planes on May 24. During the course of three days, Ugaki committed a total of 387 Navy planes and 174 Army planes to his kamikaze attacks, which continued through May 25. These attacks successfully sank the destroyer Bates, one transport, and one landing craft, while further damaging two destroyers, one destroyer minesweeper, one minesweeper, one transport, and one Liberty ship. On the same day, Admiral Rawlings' Task Force 57 launched its final strikes in the Okinawa area before retiring late on May 25, having completed the Royal Navy's Iceberg mission. On land, while Shepherd's Reconnaissance Company occupied the deserted ruins of Naha, the 4th Marines fought to seize Machisi Ridge and continued pushing into the eastern outskirts of Naha. However, across the remainder of the 10th Army front, assault units struggled to make progress due to the havoc wreaked by the rain and the stiffened Japanese resistance. That night, in accordance with the withdrawal plan, the 62nd Division began moving its remaining 3,000 men to counter the advance of the 7th Division, hoping to delay the American advance long enough for the main body of the 32nd Army to retreat. The arrival of additional forces on the Ozato-Mura front had little significant impact, primarily serving to strengthen the covering and holding force. On May 26, the 184th Regiment successfully cleared the Hemlock-Locust Hill Escarpment. Meanwhile, the 32nd Regiment was brought nearly to a standstill in front of the Japanese defensive line across the Yonabaru valley. Looking west, Del Valle's Marines observed large numbers of enemy troops withdrawing from Shuri and were able to pinpoint their location for naval guns, artillery, and aircraft to bombard. However, despite penetrating the Shuri defensive line on both flanks, the day yielded minimal progress. At sea, further kamikaze attacks caused damage to one destroyer, one destroyer minesweeper, and a subchaser. In total, Ugaki's raids over the past three days resulted in the deaths of 103 sailors.  Believing the fast carriers' continued value off Okinawa had become dubious, back on May 18 Mitscher had requested that TF 58 be relieved from its Okinawa station. Spruance regretfully declined. A week later an increasingly weary Mitscher reported: “For two and a half months [Task Force 58] operated daily in a 60nm square area East of Okinawa, less than 350nm from Kyushu. This was necessitated by the restricted area available and the necessity for being able to cover [the] Amami Gunto airfields, intercept air raids before they could reach Okinawa, and still furnish air support to ground forces. There was no other location from which all these things could be done.” Reflecting on the months of unrelenting stress, tedium, and fatigue, TG 58.1's screen commander, Captain Tom Hederman, signaled Rear Admiral J.J. Jocko Clark: “See Hebrews 13, verse 8.” Consulting his Bible aboard Hornet, Clark read: “Jesus Christ the same yesterday, and today, and forever.” Amused, Clark forwarded the verse to his entire Task Group, adding, “No disrespect intended.” Clark then signaled Mitscher, “What the hell are we doing out here, anyway?” Mitscher's response: “We are a highspeed stationary target for the Japanese air force.” Indeed, TF 58 had already suffered over 2,000 Iceberg fatalities. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. The brutal Battle of Okinawa was reaching a critical point as General Buckner's forces pressed against fierce Japanese defenses. Struggles unfolded over Sugar Loaf Hill and Wana Ridge, with Marines suffering heavy casualties but slowly gaining ground. By late May, the dire situation prompted Japanese commanders to plan a retreat to more defensible positions as American forces closed in. Despite challenging conditions, the Allies pushed forward, marking a decisive breakthrough in the Pacific War.

The Out of Tune InstrumentsOn the bank of a stream, where a great many colorful little fish swam, lived a small family: mamma, babbo, and their seven children — four boys and three girls. Their house was a bit far from the town of Strumentopoli, but being close to the stream and next to the Great Forest made it a wonderful place to live.Mamma lovingly tended the vegetable garden. Babbo, on the other hand, was a woodworker who crafted musical instruments from the finest trunks, chosen among the sturdiest and most fragrant trees in the forest.The children went to school in the village. In winter, they reached it on skis, while in spring and autumn they rode in a cart pulled by two young deer — one white and one black, like the keys of a piano.Before they left, babbo counted them one by one to make sure no one was missing. Then, as he did every day, he reminded them:“Behave yourselves, don't skip school, and remember the tale of Pinocchio and his nose!”Those words always ended with a smile from everyone.Babbo would then return to his workshop. His instruments were well-made, using excellent materials, but there was one problem: they were out of tune. Still, as a good luthier, he didn't lose heart. His passion for music was so strong that teaching his children to play had become a joy. He even gave them special names: Chitarra, Violino, Oboe, Liuto, Arpa, Bongo, and Ukulele.Mamma didn't object. Of course, naming them after vegetables might have been funny, but their village friends probably would've made fun of them.The children did well in school, and when they came home, they helped mamma in the garden. One day, though, they mistook some nettle plants for lettuce — what a sting! They all ran straight to the stream and jumped in to soothe the burning.The little fish burst into laughter:“You're so silly! Ah ah ah!”Mamma helped them out of the water and, turning to the fish, said:“This evening, at sunset, there will be a concert in our courtyard. My children will perform with their instruments. You're all invited!”The fish replied enthusiastically:“Thanks for the invitation! We'll be there for sure — it's going to rain, and we love splashing! Splich, sploch, splach!”That evening turned out to be a real party. At the concert of slightly strange and delightfully quirky music, everyone had a blast: the musicians, the animals from the forest, and even the fish — who mamma cheerfully sprayed with water.After that joyful evening, life went back to its usual pace: school, garden, and even the forest. In fact, during their free time, the children often helped babbo choose and cut wood to build his instruments.The Great Forest had become familiar to them. So one day, while they were playing there and climbing trees, the kids spotted a group of gnomes huddled together, looking agitated. They quickly hid behind some bushes to observe and listen in on their conversation.The meeting, called in great haste, was to make a decision about an imminent danger. A powerful storm was on the way. They spoke of a hurricane wind that hadn't been seen or heard in a hundred years — or perhaps even longer — and it was heading for the forest.“We must stop it, by any means,” said the gnomes.So they decided to call on an old ally: the Great Warrior of the Mountain, armed with a sword and magical powers. He was the one who, in the past, had already defeated dragons and even extraterrestrials who had tried to conquer Earth.The seven children, alarmed by the news and determined to help in the battle, ran quickly back to the house — also to warn the villagers of the impending danger. Meanwhile, the wind drew closer. You could hear it from afar — wild and howling. As it passed, the trees bent until their tops brushed the ground. Some swayed, others snapped, and a few were completely uprooted.The people of Strumentopoli, who had begun to feel the wind blowing through the village streets and saw the Great Warrior descending the mountain, grew concerned — but they didn't panic. Everyone grabbed their instruments and rushed toward the house by the stream to help the family who lived there, and together try to save the Great Forest.At the same time, the colorful fish arrived — united and determined — along with the other animals of the woods and stream.“All together we can form a barrier and block the wind!” they shouted in unison.At that moment, the children of the family — still out of breath from running — stepped forward and said:“We have our babbo's instruments too. They're strange, a bit out of tune… but if we all play together, maybe we can stop the storm.” And with that, they rushed into the house and came back out in no time at all.The gnomes, fully aware of the instruments' flaws, cast a powerful musical spell. When the children began to play, something magical happened. For the first time, the music was melodious, harmonious, and full of feeling.One by one, all the people of Strumentopoli joined in. Each person, with their own instrument, contributed as if they were all part of one great orchestra.The hurricane wind — engaged in a fierce battle with the Great Warrior of the Mountain — heard the music from afar and immediately began to calm. Its howling softened, and by the time it reached the forest, it had become a cool mountain gust, and finally… a gentle valley breeze.The wind had become part of that marvelous orchestra — the battle was won thanks to everyone. Each had offered their own music and helped bring about the victory.“United we are strong,” they all said proudly.The babbo luthier continued building instruments with the finest wood the forest had to offer. They were so beautiful and sounded so good that people said they were the most melodic ever heard.The children — Chitarra, Violino, Oboe, Liuto, Arpa, Bongo, and Ukulele — joined the village band. At every festival, they played with great success, cheered on by applause and warm smiles. Even the gnomes and the Great Warrior listened to their music… from the forest and the mountain.The colorful fish swam and danced happily in the stream, and when someone passed by, they greeted them with joyful splashes.The family continued to live near the Great Forest, and on summer evenings, when everything finally grew quiet, they would lie along the stream and watch the stars above. Their hearts would tell stories… and the night would write the happy ending of every tale.

Das Projekt «wachgespielt» hat die Hochschule für Musik Basel FHNW gemeinsam mit SRF Kultur auf die Beine gestellt. Talentförderung im Bereich Musik trifft hier auf das Versprechen von SRF, die eigenen Archivschätzen zu pflegen. Im elektronischen Studio der Musikakademie Basel sitzen fünf Studierende im Halbkreis hinter ihren Laptops und Samplern. In der Mitte, in grünes Licht getaucht, steht ein seltsames Gerät: eine Art Spieluhr, die in Endlosschlaufe die ersten Takte vom Lied «Z Basel a mym Rhy» erklingen lässt. Dieses Pausenzeichen gehört zum Bestand des Studios Basel. Bis in die 1960er Jahre hatte es die Aufgabe zu überbrücken - wenn von einem Studio zum anderen geschaltet wurde oder die Moderation wechselte. Mit diesem alten Gerät haben die Studierenden eine atmosphärisch dichte Performance entwickelt, ergänzt mit Sprachfetzen aus historischen SRF-Sendungen. «Es war herausfordernd nur diese wenigen Töne als Ausgangspunkt zu nehmen» sagt die Audiodesign-Studentin Lara Wolff. «Ich bin es gewohnt unendlich viele digitale Möglichkeiten zu haben». Aber in der Reduziertheit des analogen Geräts lag eben gerade der Reiz. Das Projekt «wachgespielt» hat die Hochschule für Musik Basel FHNW gemeinsam mit SRF Kultur auf die Beine gestellt. Talentförderung im Bereich Musik trifft hier auf das Versprechen von SRF, die eigenen Archivschätzen zu pflegen, zum Beispiel jene im Bereich der Neuen Musik. Durch die Vergabe von hunderten Kompositionsaufträgen hat SRF Schweizer Musikgeschichte mitgeschrieben. Einige dieser Partituren schlummern im Archivkeller des Basler SRF-Studios. Im Rahmen von «wachgespielt» wurden die Stücke nicht nur wiederaufgeführt und von SRF aufgezeichnet. Auf deren Grundlage haben Kompositionsstudierende auch Neues geschaffen. Inbar Sharet zum Beispiel hat sich einem Kompositionsauftrag von 1976 an Thomas Kessler angenommen. Er ist fasziniert von diesem Stück namens «Unisono». Drei Klarinetten versuchen zu einer Gemeinschaft zu finden, aber man hört vor allem die Unterschiede, sagt der 29-Jährige. «Ich sehe darin eine Metapher für unsere hochindividualisierte Gesellschaft». Sharets Rekomposition für drei Saxophone greift genau diesen Aspekt auf und beweist, wie gut sich manche Ideen von damals ins Heute transferieren lassen. Die Stücke aus dem SRF-Archiv, die am 2. März an der Hochschule für Musik Basel FHNW aufgeführt wurden: Robert Suter: La Scesa für drei Klarinetten und Gitarre (Kompositionsauftrag von Studio Basel 1976) Thomas Kessler: Unisono für drei Klarinetten in B (Auftrag von 1976) Hans Ullrich Lehmann: Faces für Cembalo, Flöte, Oboe, Klarinette, Violine und Violoncello (Auftrag von 1972) Jacques Wildberger: Double Refrain für Flöte, Englischhorn, Gitarre und Tonband (Auftrag von 1972) Neukompositionen mit Bezug auf das SRF-Archiv: Camilo Bornstein: I I I I I, basierend auf Klaus Hubers Orchesterstück «James Joyce Chamber Music» für Harfe, Flöte, Klarinette, Saxophon, Komtrabass und Schlagzeug (2025, UA) Inbar Sharet: 78/9, Reframing von Thomas Kesslers «Unisono», für drei Tenorsaxophone und Tonband (2025, UA)

This week on The Sound Kitchen you'll hear the answer to the question about European military powers. You'll hear about recent concerts featuring the music of JS Bach, as well as “The Listener's Corner” with Paul Myers and Erwan Rome's “Music from Erwan". All that and the new quiz and bonus questions too, so click the “Play” button above and enjoy!  Hello everyone! Welcome to The Sound Kitchen weekly podcast, published every Saturday – here on our website, or wherever you get your podcasts. You'll hear the winners' names announced and the week's quiz question, along with all the other ingredients you've grown accustomed to: your letters and essays, “On This Day”, quirky facts and news, interviews, and great music … so be sure and listen every week.Erwan and I are busy cooking up special shows with your music requests, so get them in! Send your music requests to thesoundkitchen@rfi.fr Tell us why you like the piece of music, too – it makes it more interesting for us all!Facebook: Be sure to send your photos to thesoundkitchen@rfi.fr for the RFI English Listeners Forum banner!More tech news: Did you know we have a YouTube channel? Just go to YouTube and write “RFI English” in the search bar, and there we are! Be sure to subscribe to see all our videos.Would you like to learn French? RFI is here to help you!Our website “Le Français facile avec RFI” has news broadcasts in slow, simple French, as well as bilingual radio dramas (with real actors!) and exercises to practice what you have heard.Go to our website and get started! At the top of the page, click on “Test level”. According to your score, you'll be counselled to the best-suited activities for your level.Do not give up! As Lidwien van Dixhoorn, the head of “Le Français facile” service told me: “Bathe your ears in the sound of the language, and eventually, you'll get it.” She should know – Lidwien is Dutch and came to France hardly able to say “bonjour” and now she heads this key RFI department – so stick with it!Be sure you check out our wonderful podcasts!In addition to the news articles on our site, with in-depth analysis of current affairs in France and across the globe, we have several podcasts that will leave you hungry for more.There's Spotlight on France, Spotlight on Africa, The International Report, and of course, The Sound Kitchen. We also have an award-winning bilingual series – an old-time radio show, with actors (!) to help you learn French, called Les voisins du 12 bis. Remember, podcasts are radio, too! As you see, sound is still quite present in the RFI English service. Please keep checking our website for updates on the latest from our journalists. You never know what we'll surprise you with!To listen to our podcasts from your PC, go to our website; you'll see “Podcasts” at the top of the page. You can either listen directly or subscribe and receive them directly on your mobile phone.To listen to our podcasts from your mobile phone, slide through the tabs just under the lead article (the first tab is “Headline News”) until you see “Podcasts”, and choose your show. Teachers take note! I save postcards and stamps from all over the world to send to you for your students. If you would like stamps and postcards for your students, just write and let me know. The address is english.service@rfi.fr  If you would like to donate stamps and postcards, feel free! Our address is listed below. Another idea for your students: Br. Gerald Muller, my beloved music teacher from St. Edward's University in Austin, Texas, has been writing books for young adults in his retirement – and they are free! There is a volume of biographies of painters and musicians called Gentle Giants, and an excellent biography of Dr. Martin Luther King, Jr., too. They are also a good way to help you improve your English - that's how I worked on my French, reading books that were meant for young readers – and I guarantee you, it's a good method for improving your language skills. To get Br. Gerald's free books, click here.Independent RFI English Clubs: Be sure to always include Audrey Iattoni (audrey.iattoni@rfi.fr) from our Listener Relations department in your RFI Club correspondence. Remember to copy me (thesoundkitchen@rfi.fr) when you write to her so that I know what is going on, too. N.B.: You do not need to send her your quiz answers! Email overload!We have new RFI Listeners Club members, all members of a student radio club in West Bengal, India, headed up by their teacher, Ratan Kumar Paul. Join me in a hearty welcome to new members Deep Paul, Dilip Meta, Sima Pal, and Rimil Paul, with of course, their teacher, Ratan Kumar Paul.Welcome, one and all! So glad you have joined us!You too can be a member of the RFI Listeners Club – just write to me at english.service@rfi.fr and tell me you want to join, and I'll send you a membership number. It's that easy. When you win a Sound Kitchen quiz as an RFI Listeners Club member, you'll receive a premium prize.This week's quiz: On 15 March, I asked you a question about our article “Macron hosts European military chiefs to discuss Ukraine security guarantees”. French President Emmanuel Macron had just met with defense ministers from Europe's five main military powers for talks on the "necessary rearmament of Europe", as well as military support to Ukraine, according to one of the French defense minister's aides.You were to send in the answer to this question: Which five countries are Europe's main military powers? The answer is: France, Britain, Germany, Italy, and Poland. In addition to the quiz question, there was the bonus question: “Which is more important, talent or hard work?”Do you have a bonus question idea? Send it to us! The winners are: RFI Listeners Club member Helmut Matt from Herbolzheim, Germany. Helmut is also this week's bonus question winner. Congratulations, Helmut, on your double win!Also on the list of lucky winners this week are Hasina Zaman Hasi, a member of the RFI Amour Fan Club in Rajshahi, Bangladesh, and RFI Listeners Club members Solomon Fessahazion from Asmara, Eritrea, Karobi Hazarika from Assam, India, and Samir Mukhopadhyay from West Bengal, India.Congratulations, winners!Here's the music you heard on this week's programme: The Adagio from the Concerto for Violin and Oboe, BWV 1060 by Johann Sebastian Bach, performed by violinist Nemanja Radulovic, oboist Sébastien Giot, and the Double Sens Ensemble; “Herr, unser Herrscher”  (“Lord, our Ruler”) from the St John Passion, BWV 245 by Johann Sebastian Bach, performed by the Netherlands Bach Society conducted by Jos van Veldhoven; Czardas by Vittorio Monti, performed by Nemanja Radulovic with the Chamber Orchestra of Cannes, conducted by Didier Benetti; the Allegro from the Violin Concerto in d minor, BWV 1052R by Johann Sebastian Bach, performed by Nemanja Radulovic and the Double Sens Ensemble; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; the theme music from "I Dream of Jeannie" by Hugo Montenegro; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer, and traditional Greenland Inuit Chants and Drums. Do you have a music request? Send it to thesoundkitchen@rfi.frThis week's question ... you must listen to the show to participate. After you've listened to the show, re-read our article “Air pollution in Paris region 'cut in half' over the past 20 years”, which will help you with the answer.You have until 5 May to enter this week's quiz; the winners will be announced on the 10 May podcast. When you enter, be sure to send your postal address with your answer, and if you have one, your RFI Listeners Club membership number.Send your answers to:english.service@rfi.frorSusan OwensbyRFI – The Sound Kitchen80, rue Camille Desmoulins92130 Issy-les-MoulineauxFranceClick here to learn how to win a special Sound Kitchen prize.Click here to find out how you can become a member of the RFI Listeners Club, or form your own official RFI Club.   

Our National Poetry Month celebration continues with a musical presentation of this sensuous Edna St Vincent Millay poem. Since I awoke this April morning to tree branches covered with wet April snow in my northern clime, I felt part of "the shared world" with this poet as I completed this song setting today. The Parlando Project combines various words (mostly literary poetry) with original music in differing styles. We've done over 800 of these combinations. and you can hear any of them and read about our encounters with the words at our blog and archives located at frankhudson.org

Gepresenteerd door: Saskia Voorbach Filmmuziek: Radio Filharmonisch Orkest Dirk Brossé, dirigent John Williams - Tribute to the film composer Alan Silvestri - Back to the Future Suite * John Williams - Main theme uit Schindlers List * John Williams - E.T. Adventures on Earth - Flying theme * Rogier van Otterloo - Thema Soldaat van Oranje * Vangelis - 1492: The Conquest of Paradise * Michel Legrand - Les Parapluies de Cherbourg * John Williams - Hedwig's Theme uit Harry Potter * Ennio Morricone - Gabriel's Oboe uit The Mission * Rachel Portman - Chocolat Suite * Laurence Rosenthal - Young Indiana Jones and the Hollywood Follies

Gepresenteerd door: Leonard Evers AVROTROS Filmmuziekconcert Radio Filharmonisch Orkest Dirk Brossé, dirigent Nadia Wijzenbeek, viool Aisling Casey, hobo Maria Fiselier, presentatie podium, zang * John Williams - Tribute to the film Composer * Vangelis - 1492: Conquest of Paradise * Michel Legrand - Les parapluies de Cherbourgh: "I will wait for you" * John Williams - Thema uit Schindler's List * Alan Silvestri - Back to the Future (suite) * John Williams - Adventures on Earth uit E.T. * Rogier van Otterloo - Thema uit Soldaat van Oranje * Ennio Morricone - Gabriel's Oboe uit The Mission * Max Steiner - Casablanca (suite) * Rachel Portman - Chocolat (suite) * John Williams - Hedwig's Theme uit Harry Potter and the Philosopher's Stone * Billie Eilish/Finneas O'Connell - No Time To Die (zang: Maria Fiselier) * Laurence Rosenthal - Young Indiana Jones and the Hollywood follies (suite)

‘Prelude' is de opmaat naar het AVROTROS Vrijdagconcert! Gastspreker: presentator Jet Berkhout Radio Filharmonisch Orkest Dirk Brossé, dirigent Nadia Wijzenbeek, viool (Thema uit Schindler's List) Aisling Casey, hobo (Gabriel's Oboe) Maria Fiselier, podiumpresentatie John Williams - Tribute to the film composer Vangelis - 1492 Conquest of paradise Michel Legrand - Les parapluies de Cherbourg: "I will wait for you" John Williams - Thema uit Schindler's List Alan Silvestri - Back to the future (suite) John Williams - Adventures on Earth uit E.T. (The Extra-Terrestrial) Rogier van Otterloo - Soldaat van Oranje: thema John Williams - Hedwig's Theme uit Harry Potter Ennio Morricone - Gabriel's Oboe uit The Mission Max Steiner - Casablanca suite Rachel Portman - Chocolat (suite) Billie Eilish / Finneas O'Connell - No Time To Die Laurence Rosenthal - Young Indiana Jones and the Hollywood follies (suite) Meer info & kaarten (https://www.npoklassiek.nl/concerten/a566ddd5-9a72-4727-8c33-1a37dbfd6a21/avrotros-filmmuziekconcert) In deze podcast vertelt presentator Leonard Evers je iedere week meer over de bijzondere stukken die gaan klinken in TivoliVredenburg én op NPO Klassiek. Dat doet hij samen met verschillende gasten die in de studio aanschuiven. Aan de hand van muziekfragmenten word je warm gemaakt voor de mooie composities die je te wachten staan. Abonneer je nu! Alles over het AVROTROS Vrijdagconcert (https://www.npoklassiek.nl/programmas/avrotros-vrijdagconcert) Prelude-Spotifylijst 'Leonards luistertips' (https://open.spotify.com/playlist/0HnaH8gzitGVB6zboIzgbu)

Schreib mir gern dein Feedback!Dominik Wollenweber hat Oboe am Münchner Richard-Strauss-Konservatorium bei Simon Dent studiert. Von 1991-93 setzte er seine Ausbildung als Stipendiat der Orchesterakadmie der Berliner Philharmoniker fort. Seit 1993 ist er Solo-Englischhornist der Berliner Philharmoniker und 1996 war er Preisträger für Oboe beim ARD-Wettbewerb. Im Jahre 2000 erhielt er eine Gastprofessur für Oboe an der Hanns-Eisler-Musikhochschule in Berlin. 2022 kam sein erstes Album “The Art of English Horn” raus und wurde mit dem Opus Klassik für den besten Instrumentalisten prämiert.Instagram:@dominik.wollenweber@andyschreck_

Schreib mir gern dein Feedback!Miriam Hanika habe ich schon vor längerer Zeit auf Instagram entdeckt und sie immer wieder mal mehr, mal weniger verfolgt. Schon beim ersten Entdecken gab es eine gewisse Neugier von meiner Seite und jetzt habe ich sie endlich eingeladen. Sie ist Komponistin, Liedermacherin, spielt Oboe, Englischhorn und Klavier. Für mich wird das heute ein ganz besonderes Gespräch, denn sie wandelt zwischen den musikalischen Welten, wie keine andere bisher hier im Podcast.Instagram:@miriamhanika@andyschreck_Supporter:www.buffetcrampon.comInstagram: @showroom_munichKonzertmeister-AppWie du mich unterstützen kannst?- Podcast abonnieren- Newsletter abonnieren  -> Air-Mail- Werde Patron -> www.patreon.com/andyschreck (um mehr bzw. früher Folgen zu hören)Schnitt: Leander MachanMusik: Dirk Mattes

A Deep Dive with Nicholas Daniel: From Oboe Beginnings to Musical Leadership In this episode of Legends of Reed, host Jo Anne Sukumaran, has an engaging and heartfelt conversation with acclaimed oboist Nicholas Daniel. Nicholas shares his journey from his surprising introduction to the oboe, influenced by his grandmother, to achieving critical acclaim with his latest album “Schumann Works for Oboe and Piano.”  They delve into his practice routines, the importance of calm environments for recording, and his thoughts on working with producers like Jonathan Cooper and longtime collaborator Julius Drake. Nicholas recounts his experiences interacting with composers, shedding light on his approach to learning new concertos and the influence of contemporary thinkers like Molly Gabrien. The conversation also touches on broader themes such as teaching practices, the tradition of the British oboe school, his involvement with various musical organizations, and memorable encounters with Queen Elizabeth II. Nicholas's stories and insights reveal his passion for music, teaching, and the importance of maintaining a positive outlook in life. Find out more about Nicholas:https://nicholasdaniel.co.uk Vote for the Schumann album (until end Feb 2025): https://www.classical-music.com/awards/2025-awards/bbc-music-magazine-chamber-award-2025 00:00 Introduction and Greetings02:47 Discussing the Latest Album05:20 Journey into Music and the Oboe10:47 Influential Teachers and Early Training16:47 The British Oboe Tradition19:17 Goossens's Oboe and Historical Instruments27:35 Women in Music and Gender Equality33:06 Impact of COVID-19 on Musicians35:51 The Path to Becoming a Concert Oboe Soloist43:00 Meditation and Mindfulness in Practice48:30 Preparing for Performances and Learning New Music01:03:17 Using Gymnastic Balls for Breathing Exercises01:04:10 The Impact of Musculature on Breathing01:06:00 The Partnership Between Body and Breath01:06:44 The Emotional Connection to Musical Instruments01:08:13 The Importance of Flexibility in Musicians01:09:46 Hydration and Its Effects on Musicians01:10:58 Favorite Composers and Their Influence01:21:29 Collaborating with Composers01:28:47 Balancing Leadership and Collaboration in Orchestras01:36:06 Rapid Fire Questions01:41:57 The Future of Classical Music01:54:11 Meeting Queen Elizabeth II

Johann Sebastian Bach - Concerto for Oboe and Violin: AdagioChristian Hommel, oboeLisa Stewart, violin Cologne Chamber Orchestra Helmut Muller-Bruhl, conductorMore info about today's track: Naxos 8.554602Courtesy of Naxos of America Inc.SubscribeYou can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed.Purchase this recordingAmazon

Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.In this episode of Broadway Drumming 101, I chat with the legendary Jonathan Haas about his incredible journey from studying liberal arts to becoming a virtuoso timpanist and professional musician. We talk about his groundbreaking work in Broadway and orchestral music, his passion for drumming, and his thoughts on navigating the challenges of the entertainment industry.Highlights from the Episode:* Jonathan's Journey: How he transitioned from liberal arts to music and became a timpanist with the St. Louis Symphony before moving to New York to study at Juilliard.* NYU Broadway Percussion Seminar: The creation of a one-of-a-kind program that brought over 400 students from around the world to learn from Broadway professionals, observe live pits, and engage with union leaders.* Broadway Experiences: Jonathan shares stories about his early days as a sub on Broadway, a memorable sword accident during Pirates of Penzance, and the lessons he learned.* Making Connections: Why being a good person and building relationships is essential for success in the music industry.* The Role of Luck and Hard Work: Jonathan reflects on serendipity, the reality of hard work, and balancing dreams with practical goals.Key Takeaways:* Aspiring percussionists need to sound exactly like the person they're subbing for—the best compliment is being mistaken for the regular.* Always respond promptly to emails and calls, and don't take on tasks you're not ready for.* Hard work, connections, and adaptability are crucial in building a sustainable career in entertainment.Subscribe and Don't Miss Out!Make sure to subscribe to Broadway Drumming 101 on your favorite podcast platform and turn on notifications to be the first to hear this inspiring episode with Jonathan Haas!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Get ready for an exciting upcoming episode of Broadway Drumming 101! I'll be talking with the legendary timpanist Jonathan Haas about his groundbreaking work with the NYU Broadway Percussion Seminar. Jonathan shares how the program started, its impact on over 400 students worldwide, and how it gave young musicians a real taste of Broadway—playing with top percussionists, sitting in active pits, learning about unions at Local 802, and getting advice from icons like contractor John Miller.We'll also dive into how a simple lunchroom conversation sparked the creation of the NYU Broadway Orchestra Program. You won't want to miss these incredible behind-the-scenes stories about Broadway music education and what it takes to succeed.Subscribe now to Broadway Drumming 101 on your favorite platform and turn on notifications so you'll be the first to know when this episode drops!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

▲本集節目由桃園市政府贊助播出 ▲本集內容本集邀請到知名的「Oboe 王子」蔡興國，作為 2025 台灣燈會在桃園的表演節目總監，與我們分享燈會節目的亮點與幕後故事。今年的燈會因應桃園多元文化以及作為國境之門的特色以「一日一主秀」為主軸，每天帶來不同的表演團隊，包含桃園在地團隊及兩支特別邀請的法國馬戲團。蔡興國也透露，國際合作的前期溝通雖然耗時，但最終成果值得期待。除此之外，我們也聊到表演團隊在不同場地演出時可能遇到的挑戰，這些幕後的小細節雖然觀眾不易察覺，但卻是完美呈現表演的關鍵。燈會將於 2 月 12 日正式開幕，至 2 月 23 日閉幕，2 月 7 日起A19光的遊戲場展區率先試營運。歡迎大家在期間前往桃園，享受精彩絕倫的燈會體驗！ ｜2025台灣燈會｜活動時間：2/7～2/23（2/7-2/11 A19光的遊戲場展區試營運）展區位置：機場捷運A18高鐵桃園站、A19桃園體育園區站看看燈會有什麼好玩的：https://2025taiwanlanternfestival.org/ ▲本集使用的音樂：Impressions (Acoustic) by Robert Alan DunnCreative Commons CC BY SA 3.0Robert-dunn-15 – Impressions-acousticSee omnystudio.com/listener for privacy information.

In this episode of Broadway Drumming 101, I sit down with Jonathan Haas, a percussion legend who revolutionized the timpani and built an extraordinary career performing with major orchestras, rock bands, and jazz icons. We talk about what it really takes to make it on Broadway—the hard work, the unexpected breaks, and the reality of starting at the bottom. Jonathan shares real-world advice and stories from his career, giving you a no-nonsense look at the industry. If you're serious about breaking into Broadway or curious about what it takes to succeed as a musician, you have to listen to this episode!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Paul Hawksbee was joined by Charlie Baker for this afternoons podcast. We were joined by Sam Avery taking Everton, and heavyweight boxer Frazer Clarke. Enjoy! Hosted on Acast. See acast.com/privacy for more information.

Nearly a decade after launching Anchor, cofounders Michael Mignano and Nir Zicherman have a new venture: Oboe. Oboe's mission is to make humanity smarter through AI-powered tutors. The duo delves deep into their entrepreneurial journey, starting from the early days of Anchor to their latest venture, Oboe, where Nir is the CEO. They discuss the trials and errors of building Anchor, their vision for Oboe, and why AI-driven learning could revolutionize education. Additionally, they touch upon the evolution of social audio, challenges in growth marketing today, and answer questions from X. Episode Chapters 00:00 Introduction 00:36 Reflecting on Anchor's Early Days 02:08 Podcasting Challenges and Insights 03:11 Introducing Oboe: The New Venture 05:03 The Limitations of LLMs in Education 09:40 Lessons from Being a Second-Time Founder 13:04 The Evolution of Product Development 17:36 Are MVPs relevant anymore? 24:56 Reflecting on Social Audio and Anchor 28:32 The Early Days of Anchor 29:33 The Bet on Podcasting 30:27 Distribution Challenges 31:29 What if Anchor Had Pivoted to Video? 34:14 The Future of Audio and Video 37:30 Hybrid Work Model 43:26 Acquisition by Spotify 52:27 The Future of Learning with AI 57:26 Closing Thoughts Stay in touch: www.lsvp.com X: https://twitter.com/lightspeedvp LinkedIn: https://www.linkedin.com/company/lightspeed-venture-partners/ Instagram: https://www.instagram.com/lightspeedventurepartners/ Subscribe on your favorite podcast app: generativenow.co The content here does not constitute tax, legal, business or investment advice or an offer to provide such advice, should not be construed as advocating the purchase or sale of any security or investment or a recommendation of any company, and is not an offer, or solicitation of an offer, for the purchase or sale of any security or investment product. For more details please see lsvp.com/legal.

Debra Nagy plays baroque oboe, and the historical performance expert is also founding director of the chamber group Les Délices. The award-winning Cleveland-based group has a reputation for performing less well-known music of the baroque era. Debra Nagy spoke with Suzanne about how she finds the music she programs for Les Délices, and the creative process that brings together research, composition in historical styles, improvisation, and artistic collaboration.

微信公众号：「365读书」（dus365)，有不定期赠书福利；微博：365读书v。主播：潮羽，365天每天更新一期。 文字版已在微信公众号【365读书】发布 。QQ：647519872 背景音乐：1.Danny Wright - Hayden's Spirit；2.Painless Destiny - My Sweet Symphony；3.Josef Suk - 夜曲；4.London Symphony Orchestra - Shizukesa No Nakade (Peace)；5.Music therapy - You Look Lovely；6.Henry Mancini - The Mission／Gabriel's Oboe；7.Michael Rabin - Massenet：Meditation。

DescriptionThe Soulful Journey of the Oboe: From Ancient Reeds to Modern Mastery in 60 Seconds. Take a minute to get the scoop!Fun FactOne of the most famous pieces for oboe is Alessandro Marcello's Oboe Concerto in D minor. Composed in the early 18th century, this Baroque gem highlights the oboe's lyrical and expressive qualities. The slow, emotive Adagio movement is particularly beloved, showcasing the instrument's ability to sing with haunting beauty. Often performed and recorded, the concerto remains a favorite in the oboe repertoire, offering both technical brilliance and profound emotional depth.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

Interpreten: Alison Balsom, Pinnock's Players, Trevor Pinnock Label: Warner Classics EAN: 5021732273291 Es muss nicht immer zwingend Originalklang sein – das dachte sich Trevor Pinnock, als er gemeinsam mit Alison Balsom das Konzept für die aktuelle CD Baroque Concertos entwickelt hat. Herausgekommen ist ein hervorragender Klangkompromiss, von dem sich Michael Gmasz begeistert zeigt. Der Originalklangspezialist Trevor Pinnock und Trompeterin Alison Balsom arbeiten schon seit vielen Jahren gemeinsam und haben auch schon die eine oder andere CD aufgenommen. Bisher hat die Trompetenvirtuosin Balsom dafür ebenso zu historischen Instrumenten gegriffen, um dem Original so nahe wie möglich zu kommen. Für die neue CD allerdings wollte Balsom auf einer modernen Piccolo Trompete spielen, die weit mehr Möglichkeiten bietet, Trevor Pinnock ist sofort auf den Zug aufgesprungen und hat mit den Pinnock's Players auch gleich ein neues Ensemble gegründet. Mit dem Dirigenten und Organisten Simon Wright wurde ein ausgezeichneter Arrangeur gefunden, und so stand dem neuen Projekt nichts mehr im Wege. „Die Möglichkeit, chromatische und virtuosere Musik aufzuführen, wie sie ursprünglich für Solovioline oder Oboe geschrieben wurde, hat mich und meine Trompetenkollegen seit den Tagen des großen Maurice André in ihren Bann gezogen“, sagt Alison Balsom im Beiheft der neuen CD. So sind es hier also keine barocken Trompetenkonzerte sondern Bearbeitungen von Oboen- und Violinkonzerten von Telemann, Händel, Vivaldi, Albinoni und Marcello, denen Balsom neuen Glanz verleiht. Von gestochen scharf bis samtig weich ist dabei ihr Ton, scheinbar unendlich ihr Luftstrom in den langsamen Sätzen, hoch virtuos und rasant schnell im Tempo ihr Spiel in den flotten. Doppel- oder gar Tripelzunge? Ach wo … Manche der Werke klingen in diesen Bearbeitungen so, als ob sie nie für andere Instrumente geschrieben wurden. So denke ich, hätte Antonio Vivaldi sicher seine Freude gehabt, wenn er das 9. Violinkonzert aus der Sammlung L‘estro armonico einmal in dieser feierlichen Version gehört hätte. Da er das nicht mehr kann, bleibt die Freude ganz uns überlassen! (mg)

On this episode, we spend the entire dish confusing the song "The Gambler" with "The Joker"- sorry in advance for the sore throat from screaming at us as you listen! For our interview we welcome Michele Fiala, Professor of Oboe at Ohio University. This episode is brought to you by Barton Cane (www.bartoncane.com/), Ugly Duckling Oboes (uglyducklingoboes.com/), Chemical City Double Reeds (www.chemicalcityreeds.com/)and Oboe Chicago (www.oboechicago.com). Thank you to our amazing sponsors!

For those devoted to the Rosicrucian tradition, Christopher McIntosh needs no introduction. In this conversation, Rudolf brings us closer to the man behind the foundational works that have shaped our understanding of Rosicrucianism. His books—The Rosicrucians, The Rose Cross and the Age of Reason, and his recent Rosicrucian Trilogy containing new translations of the original three Manifestos—stand as indispensable guides through the movement's rich history and symbolic mysteries. McIntosh, a widely respected speaker on Rosicrucianism's historical context, now opens a more personal window into the motivations and philosophies that drive his work, demonstrating how his passion for these mysteries can continue to inspire seekers today. In perfect timing with Pansopher's recent relaunch, McIntosh unveils a deeply personal narrative that intertwines with the cultural and spiritual backdrop of Germany—expanding his focus to explore the often-overlooked roots of the German occult tradition. In his latest book, Occult Germany, he draws on three decades of personal experience living in Germany to reveal the subtle influences and hidden currents that have helped shaped modern occultism. In this conversation, McIntosh offers his perspective on how these forces have worked behind the scenes, nurturing the esoteric landscape in ways that are both illuminating and unexpected. Exploring Germany's rich contributions to alchemy, theosophy, and Rosicrucianism, McIntosh brings us even deeper, turning to the often-overlooked realms of German folk and pagan traditions. This area, rarely discussed in esoteric circles—especially given the cultural aftermath of WWII—emerges here as a key influence on modern occultism. McIntosh unpacks the enduring legacy of German Romanticism, Wagner's mythic visions, the Grail legends, and figures like Gustav Meyrink, all of whom contribute to the rich and largely untold story of Germany's spiritual heritage. Music played in this episode In context with the content of our talk, the music for this episode is German - but from VERY different times and styles. And the music all comes to us from German women! 1) CLARA SCHUMANN - "Ich stand in dunklen Träumen", Op. 13 No. 1(I stood in dark dreams) Arranged for Oboe, Cello and Piano (Track starts at 6:14) 2) MARLENE DIETRICH - "Wenn ich mir was wünschen dürfte"(If I could make a wish) (Track starts at 48:30) 3) NICOLE - "Ein bisschen Frieden" (A little bit of Peace)Live at Eurovision Song Contest 1982 (Track starts at 1:34:57) Intro and Outro Musicespecially written and recorded for the Pansophers Podcast by Chris Roberts

Episode 136 Sun Ra and Stockhausen—An Imaginary Encounter in Electronic Music Playlist   Time Track Time Start Introduction –Thom Holmes 14:28 00:00 Karlheinz Stockhausen,  “Es (It)” (1969) from Aus Den Sieben Tagen (from the Seven Days) (1973 Deutsche Grammophon). Composed by, electronics (Filters, Potentiometers), spoken voice, technician (Sound Direction), liner notes, Karlheinz Stockhausen; Elektronium, Harald Bojé; Piano, Aloys Kontarsky; Drums, Percussion (Tam-tam, Flexatone, Guero, Bamboo Flute, Jew's Harp, Rolf Gehlhaar; Drums, Percussion (Tam-tam, Flexatone, Guero, Jew's Harp, Alfred Alings; Viola, Johannes G. Fritsch. The Elektronium was an electronic instrument in the form of an accordion, invented by Hohner in 1952. From the cycle of compositions entitled Aus den Sieben Tagen. Es (10th May 1968). This is the complete cycle for the work consisting of 7 albums recorded at the Georg-Moller-Haus (Loge) in Darmstadt, from the 26th to 31st August 1969. This is different than the earlier recordings from Cologne that were released separately. Comes in a sturdy box together with a tri-lingual 20-page booklet. Each record is packed in its own cover. 23:04 14:30 Sun-Ra and his Astro Infinity Arkestra, “Space Probe” (1969) from My Brother The Wind Vol. 1 (2017 Cosmic Myth Records). Moog Modular Synthesizer solo, two keyboards, Sun Ra; Moog programming and mixing, Gershon Kingsley.” Recorded at Gershon Kingsley's New York studio before Sun Ra had acquired a prototype Minimoog from Bob Moog the following year. 17:45 37:30 Sun-Ra and his Astro Infinity Arkestra, “The Code Of Interdependence” (1969) from My Brother The Wind Vol. 1 (2017 Cosmic Myth Records). Moog Modular Synthesizer solo, two keyboards, Sun Ra; Moog programming and mixing, Gershon Kingsley; Drums, Danny Davis, John Gilmore; Oboe, Marshall Allen; Tenor Saxophone, John Gilmore. Recorded at Gershon Kingsley's New York studio before Sun Ra had acquired a prototype Minimoog from Bob Moog the following year. 16:50 55:16   Opening background music: Sun Ra and his Solar Myth Arkestra, “Seen Three Took Four” from The Solar-Myth Approach Vol. 1 (1970 Actuel). Piano, Minimoog, Electric Organ, Clavinet, Sun Ra; Tenor Saxophone, Percussion, John Gilmore; among a huge host of others. Introduction to the podcast voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

In this episode of Legends of Reed, host Jo Anne Sukumaran interviews French oboist Armand Djikoloum, who shares his journey from early musical beginnings to becoming a professional musician. He discusses the challenges of being an oboist, the importance of physical fitness through running, and the impact of social media on musicians. Armand emphasizes the need for self-care, mental resilience, and creating positive environments in music. He also reflects on the recording process and the significance of staying true to oneself in the competitive world of classical music.   French born oboist Armand Djikoloum enjoys a varied and highly successful career as both a soloist and chamber musician, featuring frequently as a guest with some of Europe's finest orchestras and ensembles. Armand will be joining a star-studded group of YCAT artists in February 2025, as they celebrate YCAT's 40 year anniversary, performing at venues such as BoulezSaal Berlin, Concertgebouw Amsterdam, Philharmonie Cologne, Tauberphilharmonie Weikersheim and Wigmore Hall.  Armand Djikoloum, is a multi prize winning soloist and chamber musician and, in 2022, was recognised as one of Classic FM's Rising Stars. Find out more about Armand here: https://www.ycat.co.uk/armand-djikoloum Listen to the latest chamber music album "Zelenka: Trio Sonatas Zwv 181 & Ghosts" :https://open.spotify.com/album/0FlcdMG3wFLoFJkE0udTPF?si=5xFDJfG_Sl-UkpitZr2VMw Photo credit (c) Kaupo Kikkas IG: https://www.instagram.com/armandjikoloum/ Hosted by Jo Anne Sukumaran https://www.joannesukumaran.com IG: https://www.instagram.com/jewelair2.0/ Chapters 00:00 Introduction to Armand  03:08 Early Musical Beginnings 07:03 Recording Process and Collaboration 11:41 Running as a Complement to Music 16:26 Injury and Recovery in Music 24:20 Creating Positive Musical Environments 30:25 Challenges of the Oboe as a Solo Instrument 37:46 Social Media and the Musician's Image 42:01 Final Thoughts and Encouragement

The co-founders who sold their last startup to Spotify are working on a new project: an AI-powered educational startup called Oboe backed by a $4 million seed investment. The new company, hailing from Nir Zicherman and Michael Mignano, aims to democratize access to learning the way that their prior startup, Anchor. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Das kam einigermaßen überraschend: Der 1. FC Nürnberg gewinnt das Derby bei der Spielvereinigung in Fürth und dann auch gleich noch mit 4:0. Wer ist auf so etwas schon vorbereitet? Die Podcast von Ka Depp jedenfalls nicht. Nach Jahren des Abgesangs müssen sich Sebastian Gloser, Fadi Keblawi und Uli Digmayer in der neuen und von der Sparkasse Nürnberg präsentierten Podcast-Ausgabe nun also am Optimismus versuchen. Das gelingt eher so mittelmäßig und nicht in Ansätzen so flüssig wie das Nürnberger Spiel am Sonntag in Ronhof. Die drei hatten aber eben auch wirklich kaum Übung in den letzte Jahren. Zu einem Loblied auf Stefanos Tzimas und die vielen anderen Helden des Clubs langt es dann aber doch. Und außerdem noch zu einer Diskussion über die Vor- und Nachteile von Oboe, Orgel und Panflöte.

Die wohl exzentrischste der Pariser Sinfonie ist die Nr. 83 «La Poule». Die gackernde Oboe im ersten Satz hat ihr den Namen gegeben. Haydn liebte solche Anspielungen, kleine Witze, humorvolle Themen – und das französische Publikum frass ihm aus der Hand. Haydn ist hier der intellektuelle Ironiker, die Sturm-und-Drang-Phase ist abgeschlossen. Und ja, das gackernde Seitenthema im ersten Satz, das der Sinfonie den Namen gegeben hat, könnte ironischer nicht sein, das unwillkürliche Fortissimo im Andante, das bukolische Menuett und dann schliesslich das Jagdfinale: Alles deutet auf einen neuen Stil hin, den Haydn dem internationalen Publikum in Paris serviert. In der öffentlichen Diskothek im Musik- und Kulturzentrum Don Bosco in Basel hat Annelis Berger zwei Gäste geladen: Meret Lüthi, Geigerin und Leiterin des Ensembles «Les Passions de lÂme» und Christian Wildhagen, NZZ-Musikkritiker.

Die wohl exzentrischste der Pariser Sinfonie ist die Nr. 83 «La Poule». Die gackernde Oboe im ersten Satz hat ihr den Namen gegeben. Haydn liebte solche Anspielungen, kleine Witze, humorvolle Themen – und das französische Publikum frass ihm aus der Hand. Haydn ist hier der intellektuelle Ironiker, die Sturm-und-Drang-Phase ist abgeschlossen. Und ja, das gackernde Seitenthema im ersten Satz, das der Sinfonie den Namen gegeben hat, könnte ironischer nicht sein, das unwillkürliche Fortissimo im Andante, das bukolische Menuett und dann schliesslich das Jagdfinale: Alles deutet auf einen neuen Stil hin, den Haydn dem internationalen Publikum in Paris serviert. In der öffentlichen Diskothek im Musik- und Kulturzentrum Don Bosco in Basel hat Annelis Berger zwei Gäste geladen: Meret Lüthi, Geigerin und Leiterin des Ensembles «Les Passions de lÂme» und Christian Wildhagen, NZZ-Musikkritiker.

Learn more about St. Michael's at www.st-michaels.org.

On this episode, we discuss our recent travels! For our interview, we welcome Juliana Koch, Principal Oboe of the London Symphony Orchestra, and Professor of Oboe at the Royal College of Music! This episode is brought to you by Barton Cane (www.bartoncane.com/), Ugly Duckling Oboes (uglyducklingoboes.com/), Chemical City Double Reeds (www.chemicalcityreeds.com/)and Oboe Chicago (www.oboechicago.com). Thank you to our amazing sponsors!

Finale beim ARD-Musikwettbewerb 2024: Leonid Surkov wird mit dem 1. Preis im Fach "Oboe" ausgezeichnet. Er ist damit der erste seit 2007, denn so lange konnten sich die Oboen-Jurys nicht mehr auf einen Erstplatzierten einigen.

Beim 73. Internationalen Musikwettbewerb der ARD geht es langsam, aber sicher in die heiße Endphase. Nun stehen auch bei den Oboen die vier Finalisten fest, die am 13. September ein letztes Mal in den Ring steigen.

Aktuell läuft der ARD-Musikwettbewerb auf Hochtouren. Musikerinnen und Musiker aus aller Welt sind angereist und treten in den Fächern Bläserquintett, Gesang, Oboe und Violoncello an. Anna Fries war für BR-KLASSIK beim Semifinale der Bläser und berichtet.

Seit 2007 wurde beim ARD-Musikwettbewerb kein Erster Preis mehr im Fach Oboe vergeben. Nach zwei Jahrgängen, in denen es jeweils nur geteilte Zweite Plätze gab, kämpfen seit gestern wieder 56 Kandidatinnen und Kandidaten in diesem Fach um die Goldmedaille. Tobias Hell hat sich für uns umgehört, wo die besonderen Herausforderungen des Instruments liegen.

Zum 73. Mal findet er nun schon statt: der Internationale Musikwettbewerb der ARD, heuer in den Fächern Bläserquintett, Oboe, Gesang und Cello. Und ein Novum bei den Auftragswerken. Tobias Hell blickt voraus.

Naomi Frisch is a Chicago-based attorney, musician, and community leader. She is a labor and employment lawyer, working on worker and union side cases since 2018. Frisch holds a Juris Doctorate, Magna cum Laude, from the Chicago-Kent College of Law. Legal Career: As a lawyer, Frisch focuses on labor and employment law, representing workers and unions in various cases. She has been working in this field since May 2018. Music Career: Frisch is also a talented musician, holding principal Oboe positions in the Illinois Philharmonic Orchestra and the Elmhurst Symphony Orchestra. She has a robust career as a freelance orchestral musician, soloist, and chamber music collaborator. Frisch also enjoys coaching woodwind chamber music for the award-winning Midwest Young Artists Conservatory. Community Involvement: Frisch has served on the board of the Regional Orchestra Players' Association since 2012. She is also involved in various community activities, including working as a PILI intern at the Legal Assistance Foundation in Chicago.

On this episode, we dish about the end of summer and reed making goals of questionable attainability! For our interview, we welcome Dr. Rachel Becker, Assistant Professor of Musicology and Oboe at Boise State University! This episode is brought to you by Barton Cane (www.bartoncane.com/), Ugly Duckling Oboes (uglyducklingoboes.com/), Chemical City Double Reeds (www.chemicalcityreeds.com/)and Oboe Chicago (www.oboechicago.com). Thank you to our amazing sponsors!

It's Rebus Thursday, not an official holiday as far as we can tell, but a) it is Thursday, and b) the grid is riddled with rebuses (rebusae?), so the name seems apt. The crossword was Christopher Youngs' fifth for the NYTimes, but his first Thursday effort, so it's a debut, of a sort. We're betting his next crossword will be a Sunday.Show note imagery: Some JAWAs, probably up to no goodWe love feedback! Send us a text...Contact Info:We love listener mail! Drop us a line, crosswordpodcast@icloud.com.Also, we're on FaceBook, so feel free to drop by there and strike up a conversation!

Naomi Frisch is a Chicago-based attorney, musician, and community leader. She is a labor and employment lawyer, working on worker and union side cases since 2018. Frisch holds a Juris Doctorate, Magna cum Laude, from the Chicago-Kent College of Law. Legal Career: As a lawyer, Frisch focuses on labor and employment law, representing workers and unions in various cases. She has been working in this field since May 2018. Music Career: Frisch is also a talented musician, holding principal Oboe positions in the Illinois Philharmonic Orchestra and the Elmhurst Symphony Orchestra. She has a robust career as a freelance orchestral musician, soloist, and chamber music collaborator. Frisch also enjoys coaching woodwind chamber music for the award-winning Midwest Young Artists Conservatory. Community Involvement: Frisch has served on the board of the Regional Orchestra Players' Association since 2012. She is also involved in various community activities, including working as a PILI intern at the Legal Assistance Foundation in Chicago. Get tickets to her August Performance: AUGUST 15, 2024 SHIFTING WINDS Our IPO Woodwind Quintet, led by IPO principal oboist Naomi Bensdorf Frisch, closes out the 2024 IPO Summer @ Olympia Fields Country Club chamber series. https://ipomusic.org/ipo-summer-olympia-fields-2024/

On this episode, we dish about Galit's move! For our interview, we welcome Rebecca Scarnati, Professor of Oboe at the Northern Arizona University Kitt School of Music and host of the upcoming 2024 IDRS Conference! This episode is brought to you by Barton Cane (www.bartoncane.com/), Ugly Duckling Oboes (uglyducklingoboes.com/), Chemical City Double Reeds (www.chemicalcityreeds.com/)and Oboe Chicago (www.oboechicago.com). Thank you to our amazing sponsors!

Hello, friend, and welcome back to another episode of the Tales From The Lane Podcast. I'm your host, Kate Kayaian– a former cellist, and now a writer and coach for high-performing creatives–This is the show where we talk about how to create a life and career that you love– ones that bring both creative fulfillment and financial reward–ones that make you feel like you are Thriving, instead of merely Surviving.  Today, we have as our guest, oboist, coach, podcaster, and author of the upcoming book, Artists For Joy. Dr. Merideth Hite-Estevez. You'll hear about:  Some of the books that have most profoundly influenced Dr. Merideth's life and career, and why. Her creative process and how she approaches starting a new project or piece of work One piece of advice Dr. Merideth would give her younger self, just starting out in her career.  The 4 questions everyone must ask themselves when they complete a project.  About Dr. Merideth:  Dr. Merideth Hite Estevez is a creative catalyst, inviting all to the joy of creative expression through her writing, coaching, and performing. As an oboist, Merideth has performed with top orchestras in the US and abroad, including the Met Opera and PhillyPops, and is currently the English hornist/Second Oboe of the Chamber Orchestra of NY. She has served on faculties of numerous universities and schools of music, most recently as Associate Professor of Oboe at the University of Delaware. Her education has taken her all over the world—Cincinnati Conservatory of Music, Yale School of Music, Fulbright Scholar to Germany, and The Juilliard School, where she received her doctorate in oboe. She has been a featured speaker at Google, Longy School of Music, ShePodcasts LIVE, Hope*writers, Music Institute of Chicago, and more. As a coach, she has helped thousands of artists overcome creative block through her popular online creative recovery clusters and has served as an executive coach for all types of arts leaders, from major museum directors to deans of conservatories and art schools. Dr. Estevez's award-winning podcast, Artists for Joy, was in the top 250 podcasts in the US in the Self-Help category in January 2023 and is currently top 1.5% of podcasts worldwide. Her first book, “The Artist's Joy: A Guide to Getting Unstuck, Embracing Imperfection, and Loving Your Creative Life,” debuts in Spring 2024 from Broadleaf Books. Originally from South Carolina, Merideth now resides in Metro Detroit, Michigan, with her husband, Rev. Edwin Estevez, daughter Eva, and son Eli. Here is the link to her Free Bonus Chapter with her Four Curtain Call Questions: https://artistsforjoy.myflodesk.com/s7mi3cvutm   Meredith's Website:  https://artistsforjoy.org/book   If you enjoyed today's episode, please don't forget to subscribe and share it with your friends!   Book a free 30-minute discovery call with Kate Want more Tales From The Lane content? Check out the TFTL Blog, with 6+ years of past articles and interviews!  Let's hang out on socials:  IG: https://www.instagram.com/kkayaian FB: https://www.facebook.com/groups/Talesfromthelane Twitter: https://twitter.com/kkayaianwright Website: KateKayaian.com

Today's book is: The Artist's Joy: A Guide to Getting Unstuck, Embracing Imperfection, and Loving Your Creative Life (Broadleaf Books, 2024), by Dr. Merideth Hite Estevez, which is the ultimate guide for creatives. Whether you are a dabbler, a career creative, or a long-time self-proclaimed "tortured artist," The Artist's Joy is here to help. As a professional oboist, teacher, and creative coach, Dr. Estevez knows the world of creatives and what they truly need to cultivate a life-giving practice. The Artist's Joy offers not only tools for the journey but a deeper understanding of the ways creativity works in our lives. It includes self-coaching questions, a group discussion guide, and a companion playlist with tracks for musical meditation and creative engagement. The Artist's Joy can help you get unstuck, recover your creativity, and cultivate a practice that is joyful and sustainable. Content Warning: from minute ten to minute fifteen, Dr. Merideth Hite Estevez discusses ED and addiction. Our guest is: Dr. Merideth Hite Estevez, who has performed with top orchestras in the US and abroad, including the Met Opera and PhillyPops, and is currently the English hornist/Second Oboe of the Chamber Orchestra of New York. She has served on faculties of numerous universities and schools of music, most recently as Associate Professor of Oboe at the University of Delaware. She has helped thousands of artists overcome creative block through her online creative recovery clusters, and has served as an executive coach for arts leaders, from major museum directors to deans of conservatories and art schools. Her podcast is Artists for Joy, and she is the author of The Artist's Joy: A Guide to Getting Unstuck, Embracing Imperfection, and Loving Your Creative Life. Our host is: Dr. Christina Gessler, the producer of the Academic Life podcast. Listeners may also like: The Academic Life episode on addiction and sobriety in academia The Academic Life episode on managing your mental health during your PhD The Academic Life episode on protecting your wellbeing in grad school The Academic Life episode on healing your writing practice after grad school Make Your Art No Matter What Becoming the Writer You Already Are Welcome to Academic Life, the podcast for your academic journey—and beyond! Join us to learn from experts inside and outside the academy, and around the world. You can support the show by downloading and sharing episodes. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Oboe and English Horn player extraordinaire talks his career as one of the most prominent double reed soloists in Hollywood and his many years playing for John Williams on such scores as Jurassic Park, Schindler's List, The Patriot, Memoirs of a Geisha and many others. For more information, go to https://thelegacyofjohnwilliams.com/2024/05/30/phil-ayling-podcast/

Jay begins this episode with Paul Hindemith, who in 1921 combined his interest in ragtime with his love of Bach. There is also a minuet by Ravel, glancing back at Haydn. There is a song by Zemlinsky, setting Langston Hughes. There are wonders and curiosities in this episode—which, by the way, has a sponsor: Michael Lohafer, who, as Jay says, is “a particular authority on Mozart.” Mr. Lohafer says, “My sponsorship is on behalf of all attentive listeners to Music for a While who enjoy the well-considered selections that always delight the ear.” Bach, Fugue in C minor from “The Well-Tempered Clavier,” Book 1 Hindemith, “Ragtime (Well-Tempered)” Ravel, “Menuet sur le nom d'Haydn” Schumann, “Faschingsschwank aus Wien” Zemlinsky, “Afrikanischer Tanz” from “Symphonische Gesänge” Liszt, “Canzonetta del Salvator Rosa” from “Années de pèlerinage, deuxième année: Italie” Vasks, Dolcissimo from “The Book” Prokofiev, Sonata No. 7, Precipitato Martinů, Fantasia for String Quartet, Oboe, Theremin, and Piano Gounod, “Ah! lève-toi, soleil!” from “Roméo et Juliette” Tchaikovsky-Pletnev, Pas de deux from “The Nutcracker”

On this episode, we dish about onions and offices! For our interview, we welcome Teodora Pejašinović Proud, Assistant Professor of Oboe at the University of North Carolina School of the Arts. This episode is brought to you by Barton Cane (www.bartoncane.com/), Ugly Duckling Oboes (uglyducklingoboes.com/), Chemical City Double Reeds (www.chemicalcityreeds.com/)and Oboe Chicago (www.oboechicago.com). Thank you to our amazing sponsors!

Lisa Jo Barr is a writer extraordinaire. Her articles and columns have been published worldwide. She has published three poetry books and her work can be found in Chicken Soup for the Recovering Souls, Daily inspirations. Lisa has lived in experience with overcoming childhood violence, serious mental health conditions, including Bipolar I and Complex PTSD, and addictions. Now Lisa Jo helps others take the journey from surviving to thriving as the Founder/Life Consultant of HELL TO HAPPINESS Coaching. She also  works as an Outpatient Peer Specialist at a local mental health center. She is working on her first book, a 12-step Inspired Prayer Book for Christians with Addictions and Mental Illness. She loves to swim laps, travel internationally and spend time with her two kittens, Oboe & Phoebe.The Pit of Despair is a raw and riveting account of one woman's triumphant journey from the abyss of addiction through the hope-filled world of recovery.Lisa Jo Barr intimately guides the audience through her struggles with sex, cocaine, and food addiction, her near-fatal relapse, and her ultimate redemption through a conscious connection with God via a 12-step program. Beautiful, heartfelt prayers punctuate each chapter, designed for individual or group recitation, offering an interactive dimension to her story. Lisa Jo's vivid, emotional storytelling captures the devastating depths of addiction and the transformative joy of recovery, acting as a beacon of hope for those entangled in the thorny brambles of addiction.Her candid approach dismantles societal stigma around addiction, by reframing it as a disease rather than a moral failing, aiding in the release of those struggling with toxic shame. She further empowers her audience by teaching them how to craft powerful prayers, fostering a closer relationship with Jesus Christ.Uniquely straddling the domains of addiction recovery and Christian faith, this compelling memoir offers a potent remedy for those seeking a solution to their addiction, 12-steppers, and all believers in Christ who seek to better understand this profound struggle. lisajobarr.com Lisa Jo Barr

A fragile and wondrous technology that we all possess, the human breath powers any number of things in our lives — speeches, feats of music, athleticism, and more. Carl Dennis's powerful and meditative poem “Breath” calls on us to take a moment, give our breath our full attention, and celebrate it. Carl Dennis is the author of 13 works of poetry, including Earthborn (Penguin Books/Penguin Random House, 2022), as well as a collection of essays called Poetry as Persuasion (University of Georgia Press, 2001). In 2000, he received the Ruth Lilly Poetry Prize for his contribution to American poetry. His 2001 collection Practical Gods (Penguin Books/Penguin Random House) won the Pulitzer Prize. He lives in Buffalo, New York.Find the transcript for this show at onbeing.org.We're pleased to offer Carl Dennis's poem, and invite you to read Pádraig's weekly Poetry Unbound Substack, read the Poetry Unbound book, or listen back to all our episodes.