Podcasts about orchestral studies

How does a young boy from Lima, Peru grow up to become a world-renowned conductor? What is the role of the conductor in the music their orchestra is performing? What new goals do the Shepherd School of Music have for the 2025-2026 school year?Miguel Harth-Bedoya is an Emmy-winning and Grammy-nominated conductor, and also the Mary Franks Thompson Professor of Orchestral Studies at Baylor University and overseer of the Shepherd School's preeminent orchestral programs in the 2025-26 season. Miguel and host David Mansouri discuss Miguel's journey to finding a love for music and he explains some about his philosophy on conducting. They talk about Miguel's educational initiatives, his thoughts on the future of classical music - the surprising reason why he wouldn't use that word himself, and his commitment to community engagement, working with kids, and broadening the audience for orchestral music. Harth-Bedoya also discusses conducting Peter and the Wolf featuring John Lithgow in both English and Spanish, his upcoming role at Rice and his plans to enrich and expand the school's musical outreach. Let us know you're listening by filling out this form. We will be sending listeners Beyond the Hedges Swag every month.Episode Guide:01:21 Miguel Harth-Bedoya's Early Life and Musical Beginnings03:18 First Steps into Conducting07:34 The Role of a Conductor14:27 Working With People Instead of Instruments16:08 Joining the Shepherd School of Music20:06 Community Engagement and Future Plans23:27 Creating More Opportunities for Young People27:43 Caminos del Inka and Musical Legacy35:04 Rapid Fire Questions and ConclusionBeyond The Hedges is a production of the Office of Alumni Relations at Rice University and is produced by University FM.Show Links:Shepherd School of Music at RiceRice AlumniAssociation of Rice Alumni | FacebookRice Alumni (@ricealumni) | X (Twitter)Association of Rice Alumni (@ricealumni) | Instagram Host Profiles:David Mansouri | LinkedInDavid Mansouri '07 | Alumni | Rice UniversityDavid Mansouri (@davemansouri) | XDavid Mansouri | TNScoreGuest Profiles:Faculty Profile at BaylorMiguelHarth-Bedoya.comInstagramEpisode Quotes:Conductors works with people, not just with instrument14:23: [David] How do you build a relationship with, or chemistry with, the musicians that you're conducting? What does that look like? Are there things that work particularly well, or things that don't work as well, in building that chemistry or relationship?14:39: [Miguel] Well, you've hit another big, important aspect of what we do, is we work with people. And conductors need to remember that we are working with people, not with instruments. These are human beings, and each of them have their own lives, their own emotions, their own feelings, their own knowledge, their own background. And we all are sharing the same piece of music. Now, unfortunately, or fortunately, we are the individuals that have to bring units. And sometimes you have to agree to disagree or have others understand that maybe you did it this way, but I think it's this way. So understanding people's willingness and desire to sound good is number one.On building connections beyond music26:22: I love being very active in connecting with non-musicians. As a matter of fact, what I bring to Rice, or what I will be doing at Rice, is what I've been doing officially since I joined academia, which is: I teach musicians, I teach artists, music teachers, and I teach music lovers. We, as musicians, have to know people in every aspect if we want to think about doing what we're talking about. You cannot have a plan about engaging people in what we do and not be part of it. So, in other words, you have to get your hands dirty. If you want to plant the soil, you cannot just correct from above and let others.How Miguel is opening doors to music and life beyond performance34:26: In the current times that we live in, the 21st century, and with the technologies that we have available to connect throughout the world, I think creating the doorway—it's both literally a door to get into a building but also a virtual door to expose, first of all, what a musician is and what life as a musician is as well. And because we see somebody performing surgery, it doesn't mean we know the life of a surgeon. In creating more of that, in promoting that, that gateway is there early on, rather than waiting until you're out of high school before you dare to come to my building. And the one way I do this, personally, is by keeping in touch with the younger crowd.

Join us for a discussion with IHS Advisory Council member Emma Brown in this special New Year Bonus Episode! Emma Brown is currently pursuing a master's degree in Orchestral Studies from the Chicago College of Performing Arts at Roosevelt University. In 2023, she graduated with a bachelor's degree in Horn Performance and a minor in Spanish from Michigan State University. Her major teachers include David Griffin, Greg Flint, Mark Almond, Corbin Wagner, Dr. Denise Root-Pierce, Janine Gaboury, and Dr. Caroline Steiger. Emma was a charter member of the International Horn Society's Student Advisory Council, serving from 2020 to 2023. She now serves on the Advisory Council. Emma has contributed multiple articles to the Horn Call, which have mainly focused on navigating musicianship as a student. She is passionate about providing resources, mentorship and connection to a musical community for young players. Episode Highlights Studying with Corbin Wagner at Michigan State University Graduate school at Roosevelt University (Chicago College of Performing Arts) Inspiration from The Art of French Horn Playing by Philip Farkas Studying privately in high school before attending college Equipment talk! Deciding to pursue music as a career “I just like the way the horn sounds…” On being mentally flexible Transitioning from undergrad to grad school, prescreening auditions IHS Advisory Council and Student Advisory Council *SAC applications open January 6, 2025 at hornsociety.org Reasons to join the IHS! Anyone can join the IHS!  

The URI Symphony Orchestra is the subject of this week's program with Luis Viquez, Director of Orchestral Studies. We talked about the concert that will be presented on October 20th at the URI Fine Arts Center. The event will feature music by Hyden, Mahler, and much more. For more information, you can go to https://web.uri.edu/music/events 

Miguel Harth Bedoya has been the Music Director of the Fort Worth Symphony Orchestra for 20 years and is now their Music Director Laureate. In addition to other Music Director positions he has held, he has also guest conducted major orchestras around the world such as the New York Philharmonic, the Philadelphia Orchestra, the Cleveland Orchestra, and the Chicago Symphony - to name only a few. He is currently the Mary Franks Thompson Director of Orchestral Studies at Baylor University. We begin by asking Miguel about the differences in conducting various levels of orchestras, ranging from student orchestras to the top orchestras in the world... and his main thought is, "The love of music is very important." I also ask him about score study, to which he explains why a piece sounds different to him each time he reads and studies its score. (He also mentions how reading Cervantes' Don Quixote three times over the years gave him a different understanding of the book each time he read it.) Miguel was the conductor for the premiere and recording of Jennifer Higdon's Cold Mountain, and he talks about the process of bringing a new opera to life. We end with an explanation of why an orchestra is like a research laboratory.[Subscriber content] In Part 2, we begin by talking about Miguel's background. He was born in Peru, and we trace his journey as a student from Peru to Chile to the Curtis Institute and finally to Juilliard. He was an assistant conductor for the New York Philharmonic when Leonard Slatkin was delayed in getting to a concert, and he talks about jumping in at the last moment. He also talks about a later experience conducting Copland's Appalachian Spring with that great orchestra. We finally turn to his career as a teacher, and his belief that building a foundation is critical to becoming a conductor. We end on a non-musical note... his helping with the disposal of garbage in Fort Worth... known as the "Cowboy Compost"... while he was Music Director of the Fort Worth Symphony.Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more! As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including: Extra Audio Content: Only available to Contributing Listeners. Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students. Ask Me Anything: Both as written messages and occasional member-only Zoom sessions. The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music! Can I just donate instead of subscribing? Absolutely! Cancel at anytime and easily resubscribe when you want all that extra content again. Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

The Orchestra Teacher Podcast with Dr. Rachel Dirks (Ep. 64) Dr. Rachel Dirks, Director of Orchestral Studies at Kansas State University, is an active conductor, clinician, researcher, and teacher. In addition to her work with the K-State Symphony Orchestra, she teaches graduate and undergraduate string education and conducting courses, and applied cello. She has collaborated with orchestras throughout the United States, most recently in New York, Georgia, Hawaii, and Minnesota. As a featured clinician and educator, she has presented her research for numerous music education conferences within the United States and Europe. A Kansas native, Dr. Dirks holds cello performance degrees from the University of Texas at Austin and Bethel College, and a Ph.D. in music education, with an emphasis in orchestral conducting, from the University of Kansas. Her current research surrounding the mental wellbeing of music students and teachers is published in numerous books, periodicals, and online resources. She also serves as the current chair of the American String Teachers Association (ASTA) Health and Wellness Committee. Throughout her experiences as a conductor and educator, her fundamental goal is to encourage musicians to seek and create community through music. You can contact Dr. Dirks at rdirks@ksu.edu. -- For orchestra teacher resources and more information visit https://www.orchestrateacher.net -- Your support is appreciated! If you are enjoying The Orchestra Teacher Podcast, please consider becoming a supporter for as little as 99 cents per month. I am working hard to bring on some amazing educators who will share ideas, tell their story, and offer some support for all of you. I have invested a lot of time in putting it all together and money purchase equipment that will help provide the best possible listening experience. Here is the link: https://anchor.fm/orchestrateacher/support Thank you for your continued support! If you have suggestions for podcast guests, please let me know by providing a name and contact information. Subscribe to The Orchestra Teacher Website, YouTube Channel, and Podcast! Website: http://www.orchestrateacher.net YouTube Channel: http://youtube.com/theorchestrateacher Podcast on Anchor.fm: https://anchor.fm/orchestrateacher Podcast on Spotify: https://open.spotify.com/show/5pvAWs3uftZ5FJ2KyZYU0z Podcast on Google: https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy9mNjU1ZWEwL3BvZGNhc3QvcnNz Podcast on Apple Podcasts: https://podcasts.apple.com/us/podcast/the-orchestra-teacher-podcast/id1489358262 — Looking to advertise a product or service to string and orchestra teachers? Consider an audio advertisement on the Orchestra Teacher Podcast! Proceeds from your ad will help offset costs of equipment and web hosting. Please contact Charles at charleslaux1@gmail.com for more information. ——— Please donate to Charles' charity!! Charles is a supporter of the American Foundation for Suicide Prevention. AFSP is dedicated to saving lives and bringing hope to those affected by suicide.  AFSP creates a culture that's smart about mental health by engaging in the following core strategies: * Funding scientific research * Educating the public about mental health and suicide prevention * Advocating for public policies in mental health and suicide prevention * Supporting survivors of suicide loss and those affected by suicide in our mission You can learn more about Charles' fundraisers and donate here: https://www.theovernight.org/index.cfm?fuseaction=donordrive.participant&participantID=44899 --- Support this podcast: https://podcasters.spotify.com/pod/show/orchestrateacher/support

Morihiko Nakahara has been the conductor of the South Carolina Philharmonic for the last 15 years. Nakahara was added as an Experience Columbia SC Ambassador. He also serves as Director of Orchestral Studies at the University of Massachusetts Amherst. Nakahara recently concluded a 17-year tenure as Resident Conductor of the Spokane Symphony Orchestra, where he frequently returns as a guest conductor. In addition to his wide-ranging activities with these orchestras, Nakahara will also appear with the symphony orchestras of Virginia, Portland, Charleston, and Long Beach as well as with the Rhode Island All-State Senior Orchestra during the current season. Morihiko's links: Instagram: https://www.instagram.com/morihiko_naka/ SC Philharmonic: https://www.instagram.com/thescphil/ HFTHOI links: hereforthehealthofit.com https://www.instagram.com/hereforthehealthofitpodcast/

Morihiko Nakahara has been the conductor of the South Carolina Philharmonic for the last 15 years. Nakahara was added as an Experience Columbia SC Ambassador. He also serves as Director of Orchestral Studies at the University of Massachusetts Amherst. Nakahara recently concluded a 17-year tenure as Resident Conductor of the Spokane Symphony Orchestra, where he frequently returns as a guest conductor. In addition to his wide-ranging activities with these orchestras, Nakahara will also appear with the symphony orchestras of Virginia, Portland, Charleston, and Long Beach as well as with the Rhode Island All-State Senior Orchestra during the current season. Morihiko's links: Instagram: https://www.instagram.com/morihiko_naka/ SC Philharmonic: https://www.instagram.com/thescphil/ HFTHOI links: hereforthehealthofit.com https://www.instagram.com/hereforthehealthofitpodcast/

In this week's episode, we have the privilege of talking to Miguel Harth-Bedoya, conductor of the Baylor University Symphony Orchestra and Director of Orchestral Studies.  With many years of experience conducting orchestras all around the world, Miguel tells us about what the ultimate goal of a conductor should be, and his methods on preparing scores and working with ensembles.Connect with Miguel Harth-Bedoya!Website: https://www.miguelharth-bedoya.com/Instagram: https://www.instagram.com/miguelharthbedoya/Facebook: https://www.facebook.com/MiguelHarthBedoyaTwitter: https://twitter.com/MHarthBedoyaYouTube: https://www.youtube.com/channel/UCxDtynJwmcgudZPu9hkFWDgBaylor University School of Music: https://www.baylor.edu/music/The Conducting Institute: https://conductinginstitute.org/Miguel Harth-Bedoya is the Director of Orchestral Studies at Baylor University. He is the former music director of the Norwegian Radio Orchestra, Fort Worth Symphony Orchestra, Auckland Philharmonia Orchestra (New Zealand), and New York Youth Symphony. He graduated from the Curtis Institute of Music and the Juilliard School. Miguel has conducted worldwide, including the New York Philharmonic, Chicago Symphony, Cleveland Orchestra, Philadelphia Orchestra, Munich Philharmonic, London Philharmonic Orchestra, Tokyo Metropolitan Symphony, and the Sydney Symphony, among others. He is also the Founder of The Conducting Institute in Ft. Worth, Texas.Want a free piece of music for your ensemble to perform? Join Christian's mailing list!https://www.christianfortnermusic.com/mailings

Interview with Mark Gibson, Director of Orchestral Studies at the University of Cincinnati College- Conservatory of Music! “Be patient and joyful.” - Gibson Episode available everywhere you listen to podcasts! instagram - @detoursinmusicpodcast Facebook - Detours in Music Podcast YouTube - Detours in Music Podcast website - www.detoursinmusicpodcast.com email - detoursinmusicpodcast@gmail.com Podcast artwork - Ana Hart Podcast music - Jack Yagerline --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/detoursinmusic/support

Kevin Hanafin chats to Ryan about the lifelong benefits of learning to play a musical instrument. Kevin is Head of Orchestral Studies at TU Dublin.

When you name an initiative Opera For All Voices (OFAV), it better have the “all voices” to back that claim up!  In the first of a series of guest-hosted episodes, Andrea passes the mic to the remarkable young talents making Is This America? their own. But before she does, Andrea reminds listeners of what OFAV is all about: telling stories for our time and extending that conversation outward––to all voices. Javier Jose Mendoza, Director of Orchestral Studies at Florida International University School of Music, Miami, is joined in conversation by FIU students Angeline Fontaine, Elisha Martin, and Pedja Kovacevic, all of whom participated in the university's full orchestral workshop of Is This America? which is based on selections from This Little Light of Mine by composer Chandler Carter and librettist Diana Solomon-Glover. One of OFAV's earliest commissions, it's a celebration of American civil rights activist Fannie Lou Hamer's legacy.  Although new to the work and, in some cases, Ms. Hamer herself, the opera holds special meaning for these three students. Is This America? provides the soundtrack as they contemplate future roles as citizens, artists, and activists, its words and music of the past reverberating through their 21st-century lives. It's impossible to listen as Angeline, Elisha, or Pedja discuss bringing Ms. Hamer's story to life or the broader effect her commitment has had without being awed by their insight. It's as Javier says, “I don't know if a person that sits through this work if they leave thinking the same way.” That's the promise of Is This America? and the endowment of OFAV. RELATED EPISODES: Season 2, episode 7: Mother of a Movement - introduction to the commission of This Little Light of Mine with composer Chandler Carter and librettist Diana Solomon-Glover Season 3, bonus episode: Is This America? - interview with voting and civil rights activist, LaToya Ratlieff, Fannie Lou Hamer's grand-niece; and Diana Solomon-Glover Season 3, episode 4: Singing a Call to Action - featuring the interpretative artists and community partners of Is This America? *** Key Change is a production of The Santa Fe Opera in collaboration with Opera for All Voices. Hosted by Andrea Fellows Fineberg Guest Host Javier José Mendoza Featuring: Angeline Fontaine, Pedja Kovacevic, Elisha Martin Produced and edited by Andrea Klunder at The Creative Impostor Studios Audio Engineer: Kabby at Kabby Sound Studios in Santa Fe Theme music by Rene Orth with Corrie Stallings, mezzo-soprano, and Joe Becktell, cello. NEW! Cover art by Dylan Crouch Special thanks to Florida International University School of Music. This podcast is made possible due to the generous funding from the Melville Hankins Family Foundation, the Andrew W. Mellon Foundation, and an OPERA America Innovation Grant, supported by the Ann and Gordon Getty Foundation.   To learn more about Opera For All Voices, visit us at SantaFeOpera.org  

Composer Peter Askim does it all. Active as a performing bassist, Conductor of the Raleigh Civic Symphony and Chamber Orchestra, Director of Orchestral Studies at North Carolina State University, he is also founder and Artistic Director of The Next Festival of Emerging Artists, fostering and mentoring young composers and performers.  A few months ago,  Peter Askim added ‘Dad' to his distinguished list of titles. It wasn't easy for us to get this interview, but it was well worth the wait.  Peter is not only a master of his Art, he is a warm and delightful human being. 

Conductor Mark Gibson, the current Director of Orchestral Studies at the University of Cincinnati College-Conservatory of Music (CCM), invited Lefebvre to participate in a CCM summer program in Luca, Italy.Gustav Meier was a Swiss conductor and professor of orchestral conducting at the Peabody Institute of Johns Hopkins University.Elisabeth Schwartzkopf was a German-born soprano and is considered one of the top singers of the 20th century. In her performing career, she specialized in German-language art song (lieder) and Viennese operetta; later in life, she became an international renowned voice teacher.Nana Mouskouri is a popular Greek singer whose extensive discography includes over 200 albums in at least twelve different languages.English-Italian conductor Annuzio Mantovani led his own orchestra (the Mantovani Orchestra) in the mid-20th century and became famous in the “light music” style.Mario Bernardi was a Canadian conductor and pianist.Dale Bartlett was a Canadian pianist, educator, and collaborative pianist.Vladimir Horowitz was a renowned Russian-born classical pianist who spent most of his life in the U.S.“Il mio tesoro” is a famous tenor aria from W.A. Mozart’s opera Don Giovanni.Beverly Sills was one of the most notable sopranos of the 20th century and, after retiring from singing, became the General Manager of the New York City Opera and later the Metropolitan Opera.Renée Fleming is an actively performing American operatic soprano and the current Creative Consultant at the Lyric Opera of Chicago.Franco Zeffirelli was an Italian director and producer of opera, films, and television. Many of his opera productions are still in use today around the world.Yannick Nézet-Séguin is a Canadian conductor and pianist. Currently, he is the Music Director of the Metropolitan Opera, Philadelphia Orchestra, and Orchestre Métropolitain in Montréal.Hungarian pianist Franz Liszt set three sonnets by Italian Renaissance poet Petrarch to music in the collection “Tre sonetti di Petrarch” (“Three Petrarch Sonnets”).The Brooklyn Academy of Music (BAM) is a performing arts center based in Brooklyn, New York.Françoise Frenkel’s memoir A Bookshop in Berlin follows her escape from the rise of fascism in Germany and, later, her evasion from Nazi occupation in war-torn France.Grey’s Anatomy is an American medical drama television series.Kanopy is an online film streaming service specializing in classic, independent, and foreign films.Duolingo is a Google-owned mobile application and website for studying foreign languages.WhatsApp is a Facebook-owned mobile application for messaging and calling over the Internet.Lefebvre enjoys eating at restaurant Red Feather Kitchen in Cincinnati.Nico Castel was a tenor and notable language and diction coach.Oscar Peterson was a famous Canadian jazz pianist and composer.

Mozart's The Marriage of Figaro sparks a varied and important conversation with Boston Lyric Opera Music Director David Angus and guest conductor Vimbayi Kaziboni, Assistant Professor of Orchestral Studies and Contemporary Music at Boston Conservatory at Berklee. This second episode focuses on the complexities of Mozart's masterpiece while also addressing the chaos and unrest of our current national crises and the future of opera.This episode includes musical excerpts from Flanders Symphony Orchestra 2003 recording of Mozart's Overture to Le Nozze di Figaro.

The 2019-2020 season marks Morihiko Nakahara's 12th season as Music Director of the South Carolina Philharmonic and 17th season as Resident Conductor of the Spokane Symphony Orchestra. Additionally, Nakahara serves as Director of Orchestral Studies at the University of Massachusetts Amherst. In addition to his wide-ranging activities with these orchestras, Nakahara will also guest conduct the Portland Symphony (ME) as well as the Ann Arbor Symphony Orchestra during the current season.

Ep. 101: Miguel Harth-Bedoya, conductor. Let's Talk Off The Podium with Tigran Arakelyan. Celebrating more than 30 years of professional conducting, Miguel Harth-Bedoya is a master of color, drawing idiomatic interpretations from a wide range of repertoire in concerts across the globe. He has amassed considerable experience at the helm of orchestras, including seven seasons as Chief Conductor of the Norwegian Radio Orchestra and twenty seasons as Music Director of the Fort Worth Symphony Orchestra. Previously he has held Music Director positions with the Auckland Philharmonia and Eugene Symphony. Beginning in August 2020, Harth-Bedoya will be the new Director of Orchestral Studies at the University of Nebraska, Omaha, and will work to create a brand new Bachelor of Music in orchestral conducting. He has also created The Conducting Institute, with a summer orchestral conducting program as well as a variety of online courses. In this podcast we talk about his time studying with Otto-Werner Mueller, new position at UNO, premieres, passion for teaching, and hobbies. He also discusses the importance of an undergraduate degree in conducting, a project he is eager to conduct and his first experience on the podium. Lastly, he talks about starting Cowboy Compost, a business geared to achieve food waste reduction. For more information about Miguel Harth-Bedoya please visit: https://www.miguelharth-bedoya.com/ © Let's Talk Off The Podium, 2020

This podcast features Dr. Sophie Fuller who is the Programme Leader at Trinity Laban Conservatoire of Music and Dance in Greenwich, South East London, author of The Pandora Guide to Women Composers in Britain and the United States, and along with the Head of Orchestral Studies at Trinity Laban Jonathan Tilbrook is behind the year-long celebration of women composers [Venus Blazing](https://www.trinitylaban.ac.uk/creative-innovation/venus-blazing).  Excerpts from works by women composers featured in this podcast include the first movement from Elizabeth Maconchy's first string quartet, the first movement of Louise Farrenc's third symphony, and Meena Keel's Symphony performance by the BBC Symphony Orchestra conducted at the BBC Proms in 1989.

Sean Rice, second clarinetist of the NAC Orchestra, interviews the five apprentices who participated in the NAC's annual Institute for Orchestral Studies in the fall of 2017. They were: Alexander Volkov, violin Gabrielle Bouchard, violin Alisa Klebanov, viola Grace Sommer, cello Talia Hatcher, double bass The Institute for Orchestral Studies (IOS) is an apprenticeship program designed to prepare highly talented young musicians towards successful orchestral careers. It was established in 2006 under the guidance of former Music Director Pinchas Zukerman, and is funded by the National Arts Centre Foundation through the National Youth and Education Trust. Apprentices take a seat in regular NAC Orchestra rehearsals and performances, and get private lessons, coaching and mentorship throughout their apprenticeship.

Episode 20 - Gary Lewis, Director of Orchestral Studies at the University of Colorado Boulder, discusses chamber music and the goals of music educators. Be sure the subscribe for more great episodes on music education and to find a full archive of past podcast episodes, go to http://www.beyondtheclef.com. Also, join the music education conversation on Facebook at http://www.facebook.com/beyondtheclef

We are featuring Bruce Bransby on today’s show. Bruce has been professor of double bass at Indiana University for three decades and has taught bass players who now hold positions in major orchestras worldwide. Bruce has also been a faculty member at the Aspen Music Festival for this same length of time. Prior to that, he served as principal bass of the Los Angeles Philharmonic and the Kansas City Symphony. Bruce is also an outstanding soloist, composer, and arranger, and you’ll be hearing an excerpt from his arrangement of the Valentini Cello Sonata at the beginning of the episode, and we’ll conclude today with Bruce’s own Valse for double bass and piano, which he composed under the pseudonym Rolande E. Curb (Curb is Bruce spelled backwards). We feature more music from Bruce in the bonus content for this episode, and you can access that material from the Contrabass Conversations app. Just click on this episode and choose ‘bonus.’These compositions and arrangements can be purchased from Lemur Music (Theme, Prelude, and Valentini links) or the String Emporium website.  Enjoy, and check out this link to learn more about the Performer Diploma in Orchestral Studies offered by the Jacobs School--most graduate double bass students are choosing this option at IU. About Bruce: Bruce Bransby was principal double bass with the Los Angeles Philharmonic (1978-1986) under Zubin Mehta, Carlo Maria Giulini, and Andre Previn, and was principal double bass with the Kansas City Symphony (1971-1978). He studied with Nat Gangursky, Peter Mercurio, and Stuart Sankey. Professor Bransby performs widely as soloist and chamber player and has premiered numerous works, including several concertos for the double bass. While in Los Angeles, he was active in studio recordings for motion pictures and television. He was a faculty member at California State University Northridge, the University of Missouri at Kansas City, the California Music Center, and the Los Angeles Philharmonic Institute, and has been a performing member of the faculty of the Aspen Music Festival since 1987. His students hold positions in many of the world's finest symphony orchestras.

Here's another popular episode from the Contrabass Conversations archives.  If you haven't check this episode out before (or even if you have), you'll be in for a real treat as we explore the world of the double bass with Mr. Barker. We’re featuring Boston Symphony Principal Bassist Ed Barker on this week’s Contrabass Conversations episode. Conducted by Contrabass Conversations co-host John Grillo, this episode features John chatting with Ed about his early years on the bass, his schooling and time spent in the Chicago Symphony prior to his appointment with the Boston Symphony, and in-depth look at articulation on the bass, and a discussion on practicing. We hope you enjoy this conversation with this modern master performer and teacher of the double bass! About Ed Barker: Edwin Barker is recognized as one of the most gifted bassists on the American concert scene. Acknowledged as an accomplished solo and ensemble player, Mr. Barker has concertized in North America, Europe, and the Far East. Edwin Barker has performed and recorded with the Boston Symphony Orchestra, the Boston Symphony Chamber Players, and with the contemporary music ensemble Collage, a Boston – based contemporary music ensemble, and is a frequent guest performer with the Boston Chamber Music Society. Mr. Barker gave the world premiere of James Yannatos’ Concerto for Contrabass and Chamber Orchestra and of Theodore Antoniou’s Concertino for Contrabass and Chamber Orchestra ; he was the featured soloist in the New England premiere of Gunther Schuller’s Concerto for Double Bass and Chamber Orchestra, conducted by the composer with The Pro Arte Chamber Orchestra. Mr. Barker graduated with honors from the New England Conservatory in 1976, where he studied double bass with Henry Portnoi. That same year, while a member of the Chicago Symphony, he was appointed at age 22 to the position of principal double bass of the Boston Symphony Orchestra. His other double bass teachers included Peter Mercurio, Richard Stephan, Angelo LaMariana, and David Perleman. Mr. Barker was invited to inaugurate the 100th anniversary season of the Boston Symphony Orchestra with a solo performance of the Koussevitzky Bass Concerto; other solo engagements have included appearances at Ozawa Hall (Tanglewood), Carnegie Recital Hall’s “Sweet and Low” series, and at major universities and conferences throughout the world, as well as concerto performances with the Boston Classical Orchestra, the Athens State Orchestra (Greece) and with the Boston Symphony Orchestra in Boston and Europe. He was a featured premiere soloist with the Boston Symphony of John Harbison’s Concerto for Bass Viol and Orchestra at Tanglewood’s 2007 Festival of Contemporary Music. Mr. Barker is an Associate Professor at the Boston University College of Fine Arts where he teaches double bass, orchestral techniques, and chamber music. His other major teaching affiliations include the Boston Symphony Orchestra’s Tanglewood Music Center, where he is Chairman of Instrumental and Orchestral Studies. Edwin Barker’s solo CD recordings include Three Sonatas for Double Bass, on Boston Records, James Yannatos’ Variations for Solo Contrabass, on Albany Records, and Concerti for Double Bass, on GM Recordings, which includes bass concerti by Gunther Schuller and Theodore Antoniou. Concerti for Contrabass also includes his highly praised performance of Tom Johnson’s Failing , which was recorded live at Harvard University’s Sanders Theater. Edwin Barker’s latest solo offering on CD is a recently released performance of James Yannatos’ Concerto for Contrabass with Collage. This episode originally aired on June 6, 2009. Enjoy!

Each day during February, we posted a “Classical Music Moment in Black History” on our Facebook page to show the contributions of black artists to classical music throughout history. We’ve collected our twenty-eight February entries in this article. By the way, these entries were originally part of an episode of the Classical Classroom podcast (audio included below).  Composer Chevalier de Saint-Georges.  In the mid-to-late 1700’s, Chevalier de Saint-Georgeswas an Afro-French composer who was also France’s best fencer. After Napoleon re-instituted slavery in France, de Saint-Georges’ works were rarely played, though lots of his work has been recorded since the 1970’s. In 1803, virtuoso violinist George Bridgetower, who had studied under the leader of the Royal Opera, played with Beethoven. Beethoven then dedicated his Violin Sonata No. 9 in A Major to Bridgetower, and they premiered the piece together. Later, the two had a falling out – something to do with a lady – and Beethoven changed the piece’s name. It’s now called the Kreutzer Sonata. Poet Rita Dove wrote a book about Bridgetower and Beethoven’s relationship. Soprano Elizabeth Taylor Greenfield, “The Black Swan”.  In 1853, soprano Elizabeth Taylor Greenfield – people knew her as the “Black Swan” – made her New York debut at the Metropolitan Hall. While she could sing, her skin color would have denied her entrance to the concert. But that didn’t slow Greenfield down: In 1854, this classy lady sang a command performance before Queen Victoria. Composer Scott Joplin.  In 1868, innovative composer and pianist Scott Joplin was born in Texas. Joplin wrote 2 operas, one ragtime ballet, and 44 original ragtime pieces before he died. Composer Harry Thacker Burleigh.  From 1892-95, Antonin Dvorak – not black as you might know, but stick with me – was director of the National Conservatory of Music in New York City. The woman who founded the school, Jeanette Thurber, opened the school to men, women, blacks, and whites – pretty unusual for that time. Dvorak felt that a true American style of music should grow out of African- and Native-American music. Harry Burleigh, one of the earliest African-American composers and one of Dvorak’s pupils, introduced Dvorak to American spirituals. In 1898, Afro-British composer Samuel Coleridge-Taylor wrote the musical Hiawatha’s Wedding Feast. It was wildly successful during his lifetime. Coleridge-Taylor also visited the States and inspired American blacks to become composers. Tenor Roland Hayes.  In 1921 tenor Roland Hayes gave a performance before King George V of England. In 1923, Hayes debuted at Carnegie Hall. He was the first African American man to become famous worldwide as a concert performer, and he became one of the world’s greatest Lieder interpreters. In 1926, Undine Smith Moore graduated cum laude from the Juilliard School. She was the first graduate of Fisk University, a historically black school, to receive a scholarship to Juilliard. According to the Richmond Times-Dispatch, Moore became “…one of this country’s most prominent composers and arrangers of choral works, many based on or inspired by Negro spirituals and folk songs.” Composer William Grant Still.  1931 was the year William Grant Stillbecame the first Black American composer to have a symphonic work performed by a major American orchestra. The Rochester Philharmonic performed his Afro-American Symphony. Stills had another big “first” in 1949 when his opera Troubled Island – based on a libretto by Langston Hughes – was performed by the New York City Opera, becoming the first opera by a black person to be performed by a major company. William Grant Still was also the first black man to conduct a major orchestra (LA Phil) and he won 2 Guggenheim fellowships. In 1933, Caterina Jarboro became the first black woman to appear in a leading role with a major American opera when she again played the title role in Aida with the Chicago Opera.  Composer Florence Price. Also in 1933, the Chicago Symphony Orchestra performed Florence Price’s Symphony in E Minor. She was the first female African-American composer to have a symphonic composition performed by a major American symphony orchestra. Baritone Todd Duncan and Anne Brown. Culver Pictures/file 1935. In 1935, George Gershwin’s Porgy and Bess opened on Broadway, with baritone Todd Duncan as Porgy, and sopranos Anne Brown as Bess and Ruby Elzy as Serena. In 1945, Todd Duncan became the first African American to sing with a major American opera company, when he played the role of Tonio Leoncavallo’s I Pagliacci with the New York City Opera. Contralto Marian Anderson In 1939, both the Daughters of the American Revolution and the District of Columbia’s Board of Education refused to allow contralto Marian Anderson to use Constitution Hall and Central High School auditorium for a recital respectively. So, she gave her concert on the steps of the Lincoln Memorial instead, drawing a crowd of 75,000 – not to mention the millions who listened on the radio. (To read more about the performance, go here.) Lyric Soprano Camilla Williams (l) with Margery Mayer. Courtesy of Fred Fehl/New York City Opera. Also in 1945, lyric soprano Camilla Williams signed a contract with the New York City Opera in 1946, becoming the first African American to do so with a major American opera company. She debuted with the role of the heroine in Madama Butterfly. And in 1947, soprano Helen Phillips was the first African American to sing on the stage of the Metropolitan Opera. In 1951 William Warfield and Muriel Rahn were the first black concert artists on TV – they appeared on The Ed Sullivan Show. Soprano and educator Dorothy Maynor. In 1953, soprano and educator Dorothy Maynor was the first black person to sing at a US presidential inauguration when she performed the national anthem for Dwight Eisenhower. Composer Margaret Bonds. Wikimedia Commons. Margaret Bonds, who frequently collaborated with Langston Hughes, was one of the first black composers and performers in the US to gain recognition. In 1965, when the Freedom March on Montgomery, Alabama took place, she wrote Montgomery Variations for orchestra, dedicating it to Martin Luther King, Jr.. For more information about Ms. Bonds, check out this piece from WBUR 90.9 FM. Conductor Henry Lewis. In 1968 Henry Lewis became the first black conductor and music director of a major American orchestra when he was appointed to the New Jersey Symphony Orchestra. He was also the first African-American to conduct at the Metropolitan Opera. 1972 saw Scott Joplin’s opera Treemonisha finally premiere – 55 years after his death – at the Atlanta Memorial Arts Center. In 1976, Joplin posthumously received a special Pulitzer Prize for his contributions to American music. Trumpeter Wynton Marsalis. Photo by Luigi Beverelli. Courtesy Mr. Marsalis’ website. In 1983 and 1984, trumpeter Wynton Marsalis became the only artist ever to win Grammy Awards for both jazz and classical records. He won the Pulitzer Prize for Music in 1997 for Blood on the Fields, a three-hour oratorio for 3 singers and a 14-member ensemble. The oratorio follows the story of an African couple sold into slavery in the US. In 1987, conductor Paul Freeman became Founding Musical Director of the Chicago Sinfonietta. This orchestra’s mission is “Musical Excellence Through Diversity”. Dr. Freeman served for 24 years. Violinist Aaron Dworkin. Courtesy of the MacArthur Foundation website. Violinist Aaron Dworkin founded the non-profit Sphinx Organization in 1996 to cultivate the development of young black and Latino musicians in the classical music profession. The Sphinx Competition, spotlights young black and Latino string players on a national platform. Composer George Walker received the Pulitzer Prize in 1996 for Lilacs for Voice and Orchestra, a work commissioned by the Boston Symphony Orchestra as part of its tribute to tenor Roland Hayes. This was the first time a living African American won the prize for music. Mezzo-Soprano Denyce Graves. Courtesy of the artist’s website. In 2001 mezzo-soprano Denyce Graves sang “America the Beautiful” and “The Lord’s Prayer” at the National Day of Prayer and Remembrance Service at the Washington National Cathedral following the September 11 attacks. James DePriest conducting the Oregon Sympony. Courtesy of the Sympony’s website. In 2005, James DePriest, one of classical music’s most accomplished conductors who at the time of his death in 2013 was Laureate Music Director of the Oregon Symphony and Director Emeritus of Conducting and Orchestral Studies at the Juilliard School, received the National Medal of Arts. Tim Brooks won a 2007 Grammy award for Best Historical Release with his Lost Sounds: Blacks and the Birth of the Recording Industry, which includes performances by Harry Burleigh, Roland Hayes, and Edward Boatner. Tenor Noah Stewart. Photograph: Mitch Jenkins Mitch Jenkins/PR. In 2012, tenor Noah Stewart became the first black musician to top the UK Classical Album Chart. Of course, we had to leave a GAGILLION people out of our daily Black History Month Facebook posts because (duh) there are just not enough days in the month. Like Jeffrey Mumford, Awadagin Pratt, David Baker, Imani Winds, André Watts, Chelsea Tipton, Thomas Wilkins, Morris Robinson, Lawrence Brownlee, Valerie Coleman, Rachel Jordan, and Tona Brown. And Daniel Bernard Roumain. And Black Violin. And… you get the idea!  But, blacks are still one of classical music’s most under-served communities. As of 2011, according to the League of American Orchestras, only 1.83% of our nation’s orchestras’ makeup was black. Aaron Dworkin has pointed out that African-American composers are often missing in traditional classical music station programming. But people like Dworkin and many others are working to change that!  We hope you’ve enjoyed learning about all of these awesome artists.

The four apprentices in the NAC Orchestra's Institute for Orchestral Studies — violinist Sunny Shi, violist Kayleigh Miller, cellist Zhou Fang and bassist Nate Martin, plus former apprentice Emily Westell — were the guests for the pre-concert talk of November 14. The young musicians spoke about their experiences in the IOS, NACO's tour of China, and they performed movements from Mozart's “Divertimento" and Vivian Fung's “Pizzicato".

Singer, Songwriter, Musician, Producer, Author, Playwright, Artist  Miles Jaye Stops Bye to debut his 3 New Albums his upcoming tour also to discuss   being a Avant Garde painter Singer, songwriter, Miles Jaye, is a native New Yorker; it is there that he studied music theory and classical violin for more than ten years at the Brooklyn Conservatory of Music, Saratoga School for Orchestral Studies and Brooklyn College. An accomplished musician and producer, Jaye is best known for his chart-topping hits, "Let's Start Love Over", "Heaven" and "Objective" featuring Grover Washington, Jr. His heart wrenching "I've Been A Fool For You" has become one of radio's favorite R&B classics. While Jaye laid the groundwork for excellence with his three highly acclaimed CD's on Island Records, MILES, STRONG and IRRESISTIBLE; he continued that standard of excellence on his own Black Tree Records with titles such as the ODYSSEY, DIVINE ASCENSION, ROMANTIC STORM, TIME TO GET MY MIND RIGHT and HUMANITY."Miles is an artist in the true sense of the word." -- Tony Brown, WDAS-FM

Jorja Fleezanis is professor of music and the Henry A. Upper Chair in Orchestral Studies at IU’s Jacobs School of Music.

The UCF Symphony Orchestra is featuring the contemporary work of an Israeli composer in its latest concert. We speak with the Director of Orchestral Studies at UCF, Laszlo Marosi, about the challenges posed by contemporary music for both musicians and audiences.

We’re featuring Boston Symphony Principal Bassist Ed Barker on this week’s Contrabass Conversations episode. Conducted by Contrabass Conversations co-host John Grillo, this episode features John chatting with Ed about his early years on the bass, his schooling and time spent in the Chicago Symphony prior to his appointment with the Boston Symphony, and in-depth look at articulation on the bass, and a discussion on practicing. We hope you enjoy this conversation with this modern master performer and teacher of the double bass! About Ed Barker: Edwin Barker is recognized as one of the most gifted bassists on the American concert scene. Acknowledged as an accomplished solo and ensemble player, Mr. Barker has concertized in North America, Europe, and the Far East. Edwin Barker has performed and recorded with the Boston Symphony Orchestra, the Boston Symphony Chamber Players, and with the contemporary music ensemble Collage, a Boston – based contemporary music ensemble, and is a frequent guest performer with the Boston Chamber Music Society. Mr. Barker gave the world premiere of James Yannatos’ Concerto for Contrabass and Chamber Orchestra and of Theodore Antoniou’s Concertino for Contrabass and Chamber Orchestra ; he was the featured soloist in the New England premiere of Gunther Schuller’s Concerto for Double Bass and Chamber Orchestra, conducted by the composer with The Pro Arte Chamber Orchestra. Mr. Barker graduated with honors from the New England Conservatory in 1976, where he studied double bass with Henry Portnoi. That same year, while a member of the Chicago Symphony, he was appointed at age 22 to the position of principal double bass of the Boston Symphony Orchestra. His other double bass teachers included Peter Mercurio, Richard Stephan, Angelo LaMariana, and David Perleman. Mr. Barker was invited to inaugurate the 100th anniversary season of the Boston Symphony Orchestra with a solo performance of the Koussevitzky Bass Concerto; other solo engagements have included appearances at Ozawa Hall (Tanglewood), Carnegie Recital Hall’s “Sweet and Low” series, and at major universities and conferences throughout the world, as well as concerto performances with the Boston Classical Orchestra, the Athens State Orchestra (Greece) and with the Boston Symphony Orchestra in Boston and Europe. He was a featured premiere soloist with the Boston Symphony of John Harbison’s Concerto for Bass Viol and Orchestra at Tanglewood’s 2007 Festival of Contemporary Music. Mr. Barker is an Associate Professor at the Boston University College of Fine Arts where he teaches double bass, orchestral techniques, and chamber music. His other major teaching affiliations include the Boston Symphony Orchestra’s Tanglewood Music Center, where he is Chairman of Instrumental and Orchestral Studies. Edwin Barker’s solo CD recordings include Three Sonatas for Double Bass, on Boston Records, James Yannatos’ Variations for Solo Contrabass, on Albany Records, and Concerti for Double Bass, on GM Recordings, which includes bass concerti by Gunther Schuller and Theodore Antoniou. Concerti for Contrabass also includes his highly praised performance of Tom Johnson’s Failing , which was recorded live at Harvard University’s Sanders Theater. Edwin Barker’s latest solo offering on CD is a recently released performance of James Yannatos’ Concerto for Contrabass with Collage.

Back from our summer hiatus, Christopher talks with three young and dynamic music students -- the first participants in the NAC's new Institute for Orchestral Studies -- about the opportunity to play in the NAC Orchestra, their studies, their instruments ( ... and even tuning in fifths).

It is my pleasure to bring you this great interview with Pittsburgh Symphony principal bassist Jeff Turner for this week's episode of Contrabass Conversations. Jeff has excellent advice for musicians, and he reflects on his early years on the instrument in this very engaging interview. You will also be hearing a double bass feature from the Lascivious Biddies on this episode. Enjoy! About Jeff Jeffrey Turner is the Director of Orchestral Studies at Duquesne University, where he serves as conductor of the Duquesne Symphony Orchestra. A native of South Carolina, Mr. Turner holds a Bachelor of Music degree from the Eastman School of Music and a Master's degree in conducting from Carnegie Mellon University, where he studied with Dr. Robert Page. He has served in recent years as Music Director of the Pittsburgh Live Chamber Orchestra, and Artistic Director of the City Music Center Chamber Orchestra from 2004 - 2009.  Locally, Mr. Turner has also conducted opera productions at CMU, as well as Honors Orchestra Festivals for the Pennsylvania Music Educator's Association.  Mr. Turner is also the Principal Bassist of the Pittsburgh Symphony Orchestra. His teachers include James VanDemark, Lawrence Hurst and Robert Gladstone. Before joining the PSO in 1987, Mr. Turner was the Principal Bass of the New American Chamber Orchestra from 1984 to 1986, and played with the Detroit Symphony Orchestra for the 1986-87 season. As winner of the Y Music Society's Passamaneck Award, Jeffrey Turner appeared in a critically acclaimed recital at Carnegie Music Hall in 1989.  He was also a winner of the 1990 Pittsburgh Concert Society's Artist Award. Jeffrey Turner has served as Visiting Professor at the Eastman School of Music, Indiana University, and the University of Maryland, and as a faculty member of Carnegie Mellon University. At Duquesne, Mr. Turner has also served as Chair of Strings and as Artistic Director of City Music Center's Young Bassist Program. Mr. Turner gives annual recitals, seminars, and master classes at universities and conservatories throughout the world, and serves as resident artist for annual festivals including the Pacific Music Festival, The National Orchestral Institute, the Korsholm Festival (Finland), Indiana University's Summer Music Festival, and The Asian Youth Orchestra (Hong Kong).  Mr. Turner has been a faculty member for International Workshops in Graz, Austria; Lausanne, Switzerland; and Glasgow, Scotland. He is featured as recitalist, clinician, and competition judge at the conventions of The International Society of Bassists. From 1988-92 Mr. Turner was the Executive Director of the Pittsburgh Chamber Music Project, a yearly series of concerts and educational programs featuring Pittsburgh's finest musicians in collaboration.