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3 episodes with Orpheus Chamber Orchestra
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3 episodes with Orpheus Chamber Orchestra
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2 episodes with Orpheus Chamber Orchestra
2 episodes with Orpheus Chamber Orchestra
David Singer is an internationally acclaimed musician whose performances include the White House for President Jimmy Carter and later for President Bill Clinton. He was a guest artist for many seasons with the Lincoln Center Chamber Music Society and performed chamber music concerts with Yehudi Menuhin, Yo-Yo Ma, Rudolf Serkin and members of the Guarneri and Emerson String Quartets. David Singer is an Emeritus co-Principal Clarinetist of the multi-Grammy Award-winning Orpheus Chamber Orchestra. His performances have been seen on the BBC and heard on Sirius XM. In this episode I ask how a young man fell in love with baseball, the beach, girls and a clarinet. On this journey I discover a rich life, all of which is laid out in his book from From Cab Driver to Carnegie Hall. David Singer https://singerclarinet.com/book/buy-t...
In this inspiring episode of REJUVENAGING with Dr. Ron Kaiser, world-renowned clarinetist David Singer shares the extraordinary highs and humble beginnings of his life and career. From overcoming an abusive childhood and working odd jobs—including driving a cab in New York City—to performing for President Jimmy Carter at the White House and earning a Grammy with the Orpheus Chamber Orchestra, David's story is a powerful testament to perseverance, passion, and purpose.David reflects on pivotal moments in his life—from his childhood crush that introduced him to the clarinet, to his magical year studying in Vienna, and the struggles of trying to make it in the competitive world of classical music without compromising his individuality. Despite setbacks, he chose an unconventional route, building a celebrated career through unique collaborations and by impacting others through music education.Listeners will walk away with timeless life lessons: follow your passion, take small daily steps toward your goals, and never give up. David's book From Cab Driver to Carnegie Hall captures this journey in rich detail, offering humor, history, and hope. This conversation is not just for music lovers, but for anyone striving to live with enthusiasm and make a meaningful impact.More info on David:https://singerclarinet.com/https://www.amazon.com/Cab-Driver-Carnegie-Hall/dp/B0D6THBZGK/ref=sr_1_1?crid=1DPA5VCH17YVC&dib=eyJ2IjoiMSJ9.27Fyjaoak3ON0nmB2MbIYw.pFeHtK8rd6EiY6_az2jQsQ9-vPybbAiHJqI3Tb89Nyo&dib_tag=se&keywords=from+cab+driver+to+carnegie+hall&qid=1719257751&sprefix=from+cab%2Caps%2C393&sr=8-1&ccs_id=9981d16b-4d98-4d03-b6c4-1e6a592e7c1chttps://www.barnesandnoble.com/w/from-cab-driver-to-carnegie-hall-david-singer/1145768669?ean=9798822935211 Hosted on Acast. See acast.com/privacy for more information.
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
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
This week on The Sound Kitchen you'll hear the answer to the question about the climate change case at the International Court of Justice. There's The Sound Kitchen mailbag, “The Listener's Corner” with Paul Myers, Ollia's “Happy Moment”, 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 winner's 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.WORLD RADIO DAY is coming up - it's on 13 February. As we do every year, we'll have a feast in The Sound Kitchen, filled with your voices.Send your SHORT recorded WRD greetings to thesoundkitchen@rfi.fr by 1 February. This year's theme is "Radio and Climate Change", but you don't have to talk about the theme – if you just want to say "hello!", that's fine, too.Be sure you include your name and where you live in your message.Most importantly, get under a blanket to record. This will make your recording broadcast quality.Bombard me with your greetings !!!!The RFI English team is pleased to announce that Saleem Akhtar Chadhar, the president of the RFI Seven Stars Listening Club in District Chiniot, Pakistan, won the RFI / Planète Radio ePOP video contest, in the RFI Clubs category. Bravo Saleem! Mubarak ho!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!This week's quiz: On 7 December, I asked you a question about the International Court of Justice (ICJ), which had just begun to hear evidence from 98 countries and 12 organizations about climate change, and how to establish rules for rich nations to support poorer ones, who are on the frontlines of climate change.It's a landmark case: brought by students in 2019 from the University of Vanuatu – the Pacific Island nation heavily impacted by climate change – led to a UN General Assembly resolution in 2023, asking the ICJ for a formal opinion on the legal obligations of states to protect the climate system. The court will also consider whether large polluting nations can be held liable for damages to vulnerable countries like small island states.You were to re-read Paul Myer's article “Small island nations lead fight for climate justice at UN's top court”, and send in the answer to this question: In addition to the small island states and developing countries, who else will the ICJ hear from?The answer is, to quote Paul's article: “The court will also hear from the United States and China – the world's top two emitters of greenhouse gases. The oil producer group OPEC will also give its views.The 15 judges at the ICJ will hear submissions until 13 December and deliver their decision next year.”In addition to the quiz question, there was the bonus question, suggested by Liton Ahamed Mia from Naogaon, Bangladesh: What do you remember about your first boat journey, and how did you feel when you were back on land?Do you have a bonus question idea? Send it to us! The winners are: Fatematuj Zahra, the co-secretary of the Shetu RFI Listeners Club in Naogaon, Bangladesh. Fatematuj is also this week's bonus question winnerCongratulations on your double win, Fatematju!Also on the list of lucky winners this week is A. K. M. Nuruzzaman, the president of the RFI Amour Fan Club in Rajshahi, Bangladesh, and two RFI Listeners Club members from India: Babby Noor al Haya Hussen from Baripada, and Radhakrishna Pillai from Kerala State.Rounding out the list of this week's winners is RFI English listener Liton Islam Khondaker from Naogaon, Bangladesh.Congratulations, winners!Here's the music you heard on this week's programme: Hungarian Folk Dances by Bela Bartok, performed by the Orpheus Chamber Orchestra; “Dance With Pennons” from Three Japanese Dances by Bernard Rogers, performed by the Eastman Wind Ensemble conducted by Frederick Fennell; “The Flight of the Bumblebee” by Nicolai Rimsky-Korsakov; “The Cakewalk” from Children's Corner by Claude Debussy, performed by the composer; “Happy” by Pharrell Williams, and “The Intrepid Fox” by Freddie Hubbard, performed by Hubbard and the Freddie Hubbard Quintet.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 “'Exhausted' Frenchman held in Iran since 2022 reveals identity in plea for help”, which will help you with the answer.You have until 10 February to enter this week's quiz; the winners will be announced on the 15 February 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.
1.J.S. Bach - Wariacje Goldbergowskie, Aria i wariacje 7,8,9, Kimiko Ishizaka. 2. Vivaldi Recomposed by Max Richter, Wiosna cz.2 i cz.3., Daniel Hope - violin. 3. Oscar Peterson - IT Happens Every Spring. 4. April on Paris - Ella Fitzgerald, Louis Armstrong. 5. Saint Saens - Łabędź, Mischa Maisky, Orpheus Chamber Orchestra. 6. W.A. Mozart - kwartet smyczkowy G - dur KV387, Andante, Alban Berg Quartet. 7. Aaron Copland - Appalachian Spring suita: cz. 6 Meno mosso cz. 7 Doppio movimento: Variations on a Shayker Hymn cz. 8 Moderato: Coda Los Angeles Philharmonic, Zubin Mehta.
The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark. Join hosts Noah and John as they interview John Sebastian Vera and Nick Schwartz, trombonists and podcast hosts of The Trombone Retreat. After you listen to this episode, head on over to The Trombone Retreat feed for the second half of this episode. You can come see us at Booth #271 at the TMEA Convention, February 8th thru 10th, 2024 in San Antonio Texas. About John Sebastian Vera John Sebastian Vera, a native of Texas, became the principal trombonist of the Pittsburgh Opera in 2010 and also joined the River City Brass as principal Trombone in 2015. He is also professor of trombone at Duquesne University and faculty member at the Cleveland Institute of Music where he teaches a course on Music Entrepreneurship and Digital Media as well as coach chamber music. In addition to the Pittsburgh Opera, Mr. Vera has played with the symphonies of Dallas, Detroit, Pittsburgh, Cleveland, the St. Paul Chamber Orchestra, Buffalo, Kennedy Center Opera House, Malaysian Philharmonic, New York City Ballet, Vermont, Harrisburg, Charleston, American Ballet Theatre, and Orquesta Sinaloa de las Artes in Mexico amongst others. He began his studies with Jon Bohls in Texas and continued his education at Southern Methodist University where he studied with John Kitzman of the Dallas Symphony. He then spent a year studying with Ed Zadrozny as a graduate assistant at the University of Akron, and finished his graduate work in New York City at the Mannes College of Music studying with David Finlayson and James Markey of the New York Philharmonic. In 2011, he spent the summer in Haiti volunteer teaching and performing in the Orchestre Philharmonique Sainte Trinite as well as the Ecole de Musique Dessaix Baptiste which became one of the more profound experiences of his life. A dedicated chamber musician, he also was a founding member of the critically acclaimed Guidonian Hand Trombone Quartet in which he played from 2008-2014. With the quartet, John performed over 100 concerts and gave master classes all over the country. Heralded by the New York Times for their "expertly played performances" they have been recipients of numerous national grants which have enabled them to commission countless composers to create new and innovative works for four trombones. In 2014 was the premiere of River of Fundament, a movie by film artist Matthew Barney, in which John recorded for and acted in along with the quartet. Mr. Vera can also be heard on the HBO documentary The Words that Built America as well as on euphonium in the PBS documentary Abraham and Mary Lincoln, A House Divided as well as many commercial and video game soundtracks as well as James Markey's solo release, “On Base”. John is an Artist for Edwards Instruments and resides in Pittsburgh. His favorite musicians include Sigur Ros, Radiohead, the Books, and Efterklang. When he can get away from the trombone he most enjoys basketball, traveling and reading about psychology and social science. Check out his podcast he hosts with Nick Schwartz called the Trombone Retreat available everywhere you download your podcasts. Follow him on Instagram @js.vera. About Nicholas Schwartz Nicholas Schwartz has a diverse career performing across North America, Europe, and Asia. After studying at The Juilliard School with then New York Philharmonic bass trombonist Don Harwood, he moved to San Francisco where he began freelancing throughout the Bay Area. Since 2010, he has been the principal bass trombonist of the New York City Ballet Orchestra. He has also performed with the Pittsburgh Symphony, the New York Philharmonic, The Metropolitan Opera, The Philadelphia Orchestra, San Francisco Symphony, San Francisco Ballet, Orpheus Chamber Orchestra, St. Lukes Chamber Orchestra, the New York City Opera, Atlanta Symphony, Minnesota Orchestra, The Malaysia Philharmonic, Mostly Mozart Festival, and Classical Tahoe. Follow him on instagram @basstrombone444 About Third Coast Retreat The Third Coast Trombone Retreat is an 7-day trombone immersion welcoming talented college, high school, and amateur trombonists from across the country to the beautiful shores of Lake Michigan. The Retreat takes place in the charming small town of Montague, MI. Truly an escape from the distractions of everyday life, the festival is nestled in a dense forest along the coast where happening across roaming deer is a common occurrence. The Retreat utilizes facilities all over the town from churches to coffee houses to historic barns to the beach. We will perform not only for ourselves, but for the community. A fulfilling life of being a musician does not simply begin and end with winning an orchestral or teaching position. Mastering the instrument is only the first step. Being an artist in the 21st century requires discovering one's unique voice and finding new ways to present the art-form to communicate and contribute to society. Core to the retreat will be guest artist and faculty recitals, topical master classes including personal finance, performance anxiety and wellness as well as private lessons, orchestral section seminar, ensemble coachings, a trombone choir, a mock orchestral audition, and much more. In addition to the performance elements, the curriculum is expanded to include a talks about career-building, faculty bonfire Q&A, discussions on the mental approach to auditions and performances, wellness, meditation, and more.
On this episode we talk about heading back to school! For our interview we welcome Gina Cuffari, co-principal bassoonist of the Orpheus Chamber Orchestra! This podcast is brought to you by Chemical City Double Reeds (www.chemicalcityreeds.com), ACDC Reeds(www.acdcreeds.com/), Barton Cane (www.bartoncane.com/), and RDG Woodwinds Inc. (rdgwoodwinds.com)! Thank you to our wonderful sponsors!
Learn more at TheCityLife.org --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support
This week on Cultural Manifesto, we'll talk with rapper Parris Ladame. She has a new album out titled “Pressure P”. We discussed her early years growing up in Indianapolis, and the teacher that inspired her love for poetry. And we'll catch up with the Indianapolis vocalist and composer Hanna Benn. 2023 is becoming a breakout year for Benn — her voice was featured on the Oscar-nominated soundtrack for “Everything Everywhere All at Once”, her composition “View (Un)titled” was recently premiered at Carnegie Hall by the Orpheus Chamber Orchestra, and she's a featured performer on the new Meshell Ndegeocello album.
This week on Cultural Manifesto, we'll talk with rapper Parris Ladame. She has a new album out titled “Pressure P”. We discussed her early years growing up in Indianapolis, and the teacher that inspired her love for poetry. And we'll catch up with the Indianapolis vocalist and composer Hanna Benn. 2023 is becoming a breakout year for Benn — her voice was featured on the Oscar-nominated soundtrack for “Everything Everywhere All at Once”, her composition “View (Un)titled” was recently premiered at Carnegie Hall by the Orpheus Chamber Orchestra, and she's a featured performer on the new Meshell Ndegeocello album.
This episode is about art, innovation and leadership. What is the relationship between art-based learning, innovation and co-creation? How do you lead an ensemble of leaders? And why do people often use the metaphor of a conductor when discussing leadership? Or, is a conductor actually just a middle manager? So, today we are in New York and talking with Harvey Seifter. Harvey is the founder of The Art of Science Learning, a US National Science Foundation-funded initiative that uses the arts to spark innovation in science, technology, engineering and education. And Harvey is also a classically trained musician and formerly served as Executive Director of the Orpheus Chamber Orchestra. The only orchestra in the world that rehearses and performs without a conductor. Harvey shares with us insights on giving directions as a ‘decision maker of last resort' - as he calls it - stimulating co-creation and what this means for the innovative power of the organisation. Well, you can say we have learnings here for any organisation. By the way: we recorded this episode via Zoom when Harvey returned just a few days from his Ted talk in Madrid; before the talk, he lost his voice and finally did the TED talk without repetition. To spare his voice and energy, we stopped the recording at a certain point and agreed to have a second conversation in the very near future. So listen to Part One with Harvey Seifter and how you lead an orchestra of leaders. Show Notes Connect with Harvey via LinkedIn: https://www.linkedin.com/in/hseifter/ Orpheus Chamber Orchestra: https://open.spotify.com/artist/35pZsti1RSA5Zv98jAm8kX?si=FIjGn4yeTPKzZvD46PTdVA Art of Science Learning: https://www.artofsciencelearning.org/ Like this show? Subscribe to the podcast. Leave us a review — even one sentence helps! I appreciate your support; it helps the show! There is more about Music Thinking: a book, a blog and many more podcast episodes. The Power of Music Thinking is brought to you by CREATIVE COMPANION specialised in facilitating leaders, teams and organisations in customer experience, change and innovation. Support us Tell your friends about musicthinking.com and consider buying the book and/or the Jam Cards.
Episodio 17.2023 cuya portada fue Brad Mehldau junto a la Orpheus Chamber Orchestra en Variations on a Melancholy Theme, publicado en 2021. Después escucharemos uno de los últimos álbumes publicados por el pianista Martin Tingvall, When Light Returns, del 2021. El Clásico de la Semana fue el inconfundible sonido de Paul Desmond y su Quartet junto a Jim Hall, en esta caja de Mosaic, The Complete Recordings Of The Paul Desmond Quartet With Jim Hall. Seguir leyendo La Montaña Rusa 17.2023. Brad Mehldau & Orpheus Chamber Orchestra. Martin Tingvall. Paul Desmond Quartet with Jim Hall. Julio Resende. Luisvi Jiménez. Nguyen Le. en La Montaña Rusa Radio Jazz.
Our guest today is cellist and Artistic Coordinator for the Orpheus Chamber Orchestra, Jim Wilson. The world renowned ensemble bringing a brand new...
"Variations on a Melancholy Theme" on ameerika džässpianisti ja helilooja Brad Mehldau autoriplaat, millel teeb kaasa Orpheus Chamber Orchestra.
Listen to Lecolion's album “Legacy: Music for Bassoon by African-American Composers.”After over 20 years as a performing bassoonist, 15 years as a music professor, and ten years as an arts administrator, Lecolion Washington has established himself as a leader for the next generation of arts entrepreneurs; and he has been a staunch advocate for the relevance of music as an agent for social change. Lecolion is the Executive Director of Community Music Center of Boston. Before moving to Boston, Lecolion was the Co-Founder/Executive Director of the PRIZM Ensemble in Memphis from 2009-2017, and he was the founder of the PRIZM International Chamber Music Festival. In 2015, he was named one of the Memphis Business Journal's Top 40 Under 40. He was selected as a 2019 Musical America's Top Professional of the Year, honoring Innovators, Independent Thinkers, and Entrepreneurs celebrated as a 2020 Boston HUBWeek “Change Maker,” and he is the 2020 Chamber Music America Conference Planning Committee Chair. He was selected as one of Musical America's 2019 Professionals of the Year, honoring Innovators, Independent Thinkers, and Entrepreneurs celebrated as a 2020 Boston HUBWeek “Change Maker,” and was a 2020 Chamber Music America Conference Planning Committee Chair. Lecolion was a recipient of the Sphinx's Organization's MPower Artist Grant to support a mentorship initiative for young artists and entrepreneurs in 2020-21. Lecolion has performed solo recitals and master classes at colleges and universities worldwide as a bassoonist. He has been a featured solo and chamber musician throughout the U.S., Brazil, South Africa, Canada, and Switzerland. As an orchestral musician, Lecolion has performed as guest principal and/or co-principal bassoon with orchestras such as the Orpheus Chamber Orchestra and the Sphinx Symphony Orchestra. He served on the faculty of the Stellenbosch International Chamber Music Festival in South Africa from 2006-2013. His CD entitled “Legacy: Music for Bassoon by African-American Composers” was released on the Albany Records label.Support the show
Our ears perk up when we hear about different systems practicing self-management. That was the case with Orpheus Chamber Orchestra, a Grammy-award winning group that rehearses and performs without a formal conductor. Instead, the orchestra decentralizes power and leadership among its members, who rotate in between positions and treat each other as equals. Collaborative decision-making; multi-filled roles; shared ownership; clear feedback agreements—Orpheus embodies the very practices we love to talk about. So we asked James Wilson, a cellist with Orpheus and one of the ensemble's three artistic directors, and Alexander Scheirle, Orpheus's executive director, about the group's democratic underpinnings and how it's experimented with emergence for more than 50 years. Learn more about Orpheus Chamber Orchestra at orpheusnyc.org. Our book is available now at bravenewwork.com We want to hear from you. Send your thoughts and feedback to podcast@theready.com Looking for some help with your own transformation? Visit theready.com
In this episode, we talk to a very special guest - Serena's former flute teacher Bart Feller! Serena shares the lessons she learned from Bart in high school, and how some of them have changed meaning or truly begun to click over time. We also discuss what it means to be a compassionate teacher and mentor at various stages of a young person's development. Bart Feller is Principal Flute of the New Jersey Symphony, New York City Opera and Santa Fe Opera Orchestras. He has appeared with the New York Philharmonic, Orpheus Chamber Orchestra, Bargemusic and the Chamber Music Society of Lincoln Center. Mr. Feller has also appeared as concerto soloist with the Philadelphia Orchestra, St. Paul Chamber Orchestra, and the Jupiter Symphony. He is a graduate of the Curtis Institute of Music, where his teachers included Julius Baker and John Krell; he has also worked extensively with Keith Underwood. Among the summer festivals he has participated in are the Marlboro Music Festival, OK Mozart International Festival, Colorado College Chamber Music Festival, Napa Valley Chamber Music Festival, and the Grand Teton Music Festival. Mr. Feller is Professor of Flute at Rutgers University/Mason Gross School of the Arts, and teaches in the Pre-College Division of The Juilliard School. https://www.bartfeller.net --- Support this podcast: https://anchor.fm/creative-baggage/support
Cellist Khari Joyner is a sought-after musician who performs with numerous top ensembles such as Orpheus Chamber Orchestra. The charismatic young American instrumentalist is also a passionate music teacher who has inspired students all over the world. Dr. Joyner has performed for a number of important occasions, such as the 2008 Maya Angelou Birthday Celebration, and a private performance for President Barack Obama in the Oval Office. He earned his Doctor of Musical Arts degree from The Juilliard School, where his dissertation -- The Vertex: An Analysis of Mathematics and Music for the 21st Century Student and Performer – looked at the connections and overlap between mathematics and music. Khari Joyner spoke with Suzanne about his music, teaching, and his passion for learning and experiencing new things.
Synopsis Today's date marks the birthday of a 20th century Czech composer you perhaps have never heard of. Viktor Kalabis was born in 1923 and by age 6, was giving public piano performances. All the signs pointed to a brilliant career. But first Kalabis had to face – and surmount–two major political hurdles. First, his formal musical studies were delayed by the Nazi occupation of his country in 1938, when he was forced into factory work; then, after the war, Kalabis met and married a young harpsichordist named Zuzana Ruzickova, who was a concentration camp survivor. Victor was a Gentile, but in Stalinist Czechoslovakia, anti-Semitism was rampant and marrying a Jew was frowned upon. To make matters worse, both Victor and Zuzana refused to join the Communist Party, hardly what one would call “a smart career move” in those years. Even so, Kalabis began to attract commissions and performances of his music at home and abroad, and following the 1989 Velvet Revolution, Kalabis assumed a more prominent position in his country's musical life. His symphonies, concertos, and chamber works are now regarded as some of the most important contributions to Czech music in the late 20th century. Music Played in Today's Program Viktor Kalabis (1923 – 2006) — Piano Concerto No. 1 (Zuzana Ruzickova, p; Czech Philharmonic; Karel Sejna, cond.) MRS Classics MS-1350 On This Day Births 1848 - English composer (Sir) Hubert Parry, in Bournemouth; Deaths 1887 - Russian composer Alexander Borodin, age 53, at a fancy dress ball in St. Petersburg (Julian date: Feb. 15); Premieres 1729 - Bach: Sacred Cantata No. 159 ("Sehet, wie gehn hinauf gen Jerusalem") probably performed in Leipzig on Estomihi Sunday as part of Bach's fourth annual Sacred Cantata cycle (to texts by Christian Friedrich Henrici, a.k.a. "Picander") during 1728/29; 1737 - Handel: opera “Giustino,” in London (Julian date: Feb. 16); 1740 - Handel: oratorio “L'Allegro, il Penseroso, ed il Moderato,” in London at Lincoln's Inn Field, with the premiere of Handel's Organ Concerto in Bb, Op. 7, no. 1 (Gregorian date: Mar. 9); 1814 - Beethoven: Symphony No. 8, in Vienna, with composer conducting; 1908 - Amy Beach: Piano Quintet, at Boston's Potter Hall, with the Hoffmann Quartet and the composer at the piano; 1913 - Walter Damrosch: opera, "Cyrano de Bergerac," at the Metropolitan Opera in New York City; 1915 - Miaskovsky: Symphony No. 3, in Moscow (Julian date: Feb. 14); 1940 - William Schuman: String Quartet No. 3, at Town Hall in New York City, by the Coolidge Quartet; 1945 - Amy Beach: opera "Cabildo," by the Opera Workshop at the University of Georgia in Athens, directed by Hugh Hodgson; The first professional production occurred on May 13, 1995, at Alice Tully Hall in New York City as a "Great Performances" telecast conducted by Ransom Wilson; 1947 - Hindemith: Piano Concerto, by the Cleveland Orchestra, George Szell conducting, with Jesús Maria Sanromá the soloist; 1947 - Peter Mennin: Symphony No. 3, by the New York Philharmonic, Walter Hendel conducting; 1949 - Elliott Carter: Woodwind Quintet, at Times Hall in New York City, at a new music concert of the National Association for American Composers and Conductors, sharing a program with Henry Cowell's Suite for Wind Quintet, Vincent Perischetti's "Pastorale," Richard Franko Goldman's Duo for Tubas, Ingolf Dahl's "Music for Five Brass Instruments," and a revised version of Carl Ruggles; "Angles" for seven brass instruments; 1949 - Wm. Schuman: Symphony No. 6, by the Dallas Symphony, Antal Dorati conducting; 1950 - Elliott Carter: Cello Sonata, at Town Hall in New York, by cellist Bernard Greenhouse and pianist Anthony Markas; 1958 - Peter Mennin: Piano Concerto, by the Cleveland Orchesttra conducted by George Szell, with Eunice Podis the soloist; 1984 - Libby Larsen: "Parachute Dancing" for orchestra, by the American Composers Orchestra, Tom Nee conducting; 1986 - U. Zimmermann: opera "Weisse Rose" (White Rose), in Hamburg by the Opera stabile; 1999 - Peter Lieberson: Horn Concerto, at Carnegie Hall, with soloist William Purvis and the Orpheus Chamber Orchestra. Others 1885 - First documented American performance of Handel's Concerto Grosso in B Minor (op. 6, no.12), by the Boston Symphony, William Gericke conducting. Links and Resources On Viktor Kalabis Kalabis tribute (PDF)
durée : 00:25:07 - Orpheus Chamber Orchestra (5/5) - Un orchestre sans chef ? C'est possible et ils l'ont fait ! Depuis 50 ans, l'orchestre new-yorkais parcourt le monde. Cette semaine, on explore la discographie de cet ensemble hors du commun.
durée : 00:26:19 - Orpheus Chamber Orchestra (4/5) - Un orchestre sans chef ? C'est possible et ils l'ont fait ! Depuis 50 ans, l'orchestre new-yorkais parcourt le monde. Cette semaine, on explore la discographie de cet ensemble hors du commun.
durée : 00:25:55 - Orpheus Chamber Orchestra (3/5) - Un orchestre sans chef ? C'est possible et ils l'ont fait ! Depuis 50 ans, l'orchestre new-yorkais parcourt le monde. Cette semaine, on explore la discographie de cet ensemble hors du commun.
durée : 00:28:26 - Orpheus Chamber Orchestra (2/5) - Un orchestre sans chef ? C'est possible et ils l'ont fait ! Depuis 50 ans, l'orchestre new-yorkais parcourt le monde. Cette semaine, on explore la discographie de cet ensemble hors du commun.
durée : 00:28:58 - Orpheus Chamber Orchestra (1/5) - Un orchestre sans chef ? C'est possible et ils l'ont fait ! Depuis 50 ans, l'orchestre new-yorkais parcourt le monde. Cette semaine, on explore la discographie de cet ensemble hors du commun.
In this interview from Live with C#, Cecelia speaks with 22 year old cellist Joshua McClendon who is currently pursuing a Bachelor's degree at Juilliard. He is a founding member of the Isidore String Quartet, and recently made his debut with the Orpheus Chamber Orchestra.
Branford Marsalis, Grammy-winning Saxophonist and revered jazz musician, joins Bruce St. James and Andrea Darlas to talk about his upcoming concert with the Orpheus Chamber Orchestra at the Symphony Center. Marsalis talks about the fusion of classical and jazz, as well as the future generation of music. The show is Saturday, January 22 at 8:00 pm. For more, visit cso.org.
durée : 00:13:42 - Mendelssohn - Augustin Dumay, Jonathan Fournel, Orpheus Chamber Orchestra - Bien qu'il réfute la notion « d'école » en musique, Augustin Dumay est le digne héritier de la grande école française de violon. Il sort un nouvel enregistrement consacré à Mendelssohn et paru en septembre dernier chez Onyx Classics.
On this episode I am very pleased to share my interview with one of most renowned American bassoonists, Mr. Frank Morelli. He is the first bassoonist awarded a Juilliard doctorate, and has been a Carnegie Hall soloist nine times. He performed at the last White House State Dinner for President Clinton and is Co-principal bassoon of the Orpheus Chamber Orchestra. Faculty positions include Juilliard, Yale, Manhattan School of Music, SUNY Stony Brook and Queens College. His over 180 recordings include MSR Classics solo CDs From the Heart, Romance and Caprice, Bassoon Brasileiro and Baroque Fireworks. Gramophone Magazine proclaimed that "Morelli's playing is a joy to behold." American Record Guide stated: "the bassoon playing...is as good as it gets." We speak about his teaching philosophy, his musical journey and being one of the first bassoonists to have a "portfolio career", his musical influences, his favourite memories playing with the Orpheus Chamber Orchestra, his foray into jazz with the album "The Ox-Mo Incident", his thoughts on the classical music industry and tips for the future generation of classical musicians, what he would like to be remembered for and even what the "theme song" of his life would be. Visit his website at www.morellibassoon.com
TPP had the privilege of interviewing Dr. Alexandria Le, concert pianist, Yamaha Artist, educator, and arts advocate. A winner of over twenty first-prize music awards, her performance career has seen her play everywhere from Carnegie Hall and the Salle Cortot to the jails of Riker's Island. After establishing her career for over 15 years in New York, she returned to her hometown, Las Vegas, to form the nonprofit organization Notes with a Purpose. Since its inception several years ago it has already engaged thousands of children and adults in the Las Vegas area through outreach concerts and special events. [Dr. Alexandria Le] Alexandria Le, pianist and Las Vegas native, has appeared as a soloist on the world's most illustrious stages, such as Carnegie Hall in New York City and Salle Cortot in Paris, and in the most intimate of venues, such as the French Embassy in New York City and the Parrish Museum in the Hamptons. Her performances have been broadcast over radio stations in cities including Los Angeles, Las Vegas, and Seattle. A winner of over twenty first-prize music awards, she is a laureate of the Pro Musicis International Award and the Ackerman Chamber Music Competition. She was the pianist for two years with Ensemble Connect, the resident ensemble of Carnegie Hall, and appeared regularly on Carnegie Hall's concert series. She has also performed with principal members of the world's leading orchestras, including the Metropolitan Opera Orchestra, St. Martin-in-the-Fields, Orpheus Chamber Orchestra, American Brass, and Canadian Brass. She has worked with Pulitzer Prize-winning composers Steve Reich and John Corigliano, and has commissioned and premiered new works, including a solo piano piece (Competing Demands) dedicated to her by Ryan Carter. Alexandria is a graduate of the Las Vegas Academy, where she was an inaugural inductee in their Hall of Fame. She holds piano performance degrees from the Eastman School of Music and SUNY Stony Brook, where she received her Doctorate of Musical Arts. She was named a Yamaha Artist in 2015, of which there are fewer than 100 worldwide on their classical piano roster. After establishing a career in New York, she returned to her roots in Las Vegas to make a difference in people's lives. In 2016, she founded Notes with a Purpose, an award-winning music nonprofit that has enriched the lives of over 15,000 elementary schoolchildren and disenfranchised adults. Through performances, community outreach, and private piano teaching, she is committed to adding beauty and cultural growth to her hometown every day.
Synopsis For many professional musicians, summertime is spent away from home at one or more summer music camps and festivals. And if the camp or festival just happens to in a gorgeous mountain or lakeside setting, well, so much the better. Since 1987, world-class musicians and ensembles have made the climb to scenic Vail, Colorado, at this time of year for the Bravo! Music Festival. And on today's date in 1993, it was at the Bravo! Festival that this new Concerto for Horn and Strings by the American composer Ellen Taaffe Zwilich received its premiere. The concerto was a triple commission from the Rochester Philharmonic, the Orpheus Chamber Orchestra, and the New York-based French horn virtuoso David Jolley, who was the soloist for the Vail premiere. Zwilich writes: “While I think of the solo horn as a heroic figure, I enjoyed the interplay and dialogue between horn and strings and allowed the character and nature of the horn to influence the strings and visa-versa… For me, the combination of solo horn and string orchestra is rich and evocative, as is the unique nature of the horn: its warmth and color, its dramatic legato as well as it pungent staccato, the sheer breadth of its sound.” Music Played in Today's Program Ellen Taaffe Zwilich (b. 1939) — Horn Concerto (David Jolley, horn; MSU Symphony Orchestra; Leon Gregorian, cond.) Koch 7487
Es gibt viele Berührpunkte zwischen der Welt der klassischen Musik und der Kunst der Blue Notes. Jetzt hat der amerikanische Jazzpianist Brad Mehldau ein Werk geschrieben, das er "Variationen eines melancholischen Themas" nennt. Roland Spiegel über das Album.
The Interview:In Vincent's Books: Van Gogh and the Writers Who Inspired Him (University of Chicago Press), Italian curator Mariella Guzzoni unpacks her year's long research into the books that Vincent Van Gogh read throughout his life and how they influenced and inspired his painting and drawing, letters, and purpose in life. The Reading:Guzonni reads from The Letters of Vincent Van Gogh (Penguin) Music: Composed by Igor StravinskyPerformed by the Orpheus Chamber Orchestra
Eine CD von Brad Mehldau und dem Orpheus Chamber Orchestra, vorgestellt auf NDR Kultur.
In this episode, we talk to flutist Susan Palma-Nidel about her experiences playing in Orpheus Chamber Orchestra and her more recent endeavors performing and recording world music. We discuss the internal and external push-and-pull that is required for music-making, concluding that we should embrace discomfort as a means for growth and satisfaction. http://www.susanpalmanidel.com/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/creative-baggage/support
For this episode, I'm really excited to bring you and extremely knowledgeable, thoughtful , and inspiring musician: horn player, pedagogue, and author Eli Epstein. I'm particularly excited about this episode because Eli's philosophy and approach to practicing and music making embody so much of what mind over finger is about. Eli elaborates on: His inspiring journey from picking up the horn to teaching at NEC and Berklee, via a 16- year tenure with the Cleveland Orchestra The importance of listening to music in order to ignite our interest, refine our ears, and improve our playing The process of myelination and how it affects our work Ways to deal with our negative inner voice Ways to express authentic emotions through sounds The “Magic If” … and so much more! I I know you're going to love this conversation! Frustrated with your playing? Unsatisfied with you career? Ready for a change? Whatever your challenge, you don't have to go at it alone, and I can help. Visit www. https://www.mindoverfinger.com/workwithme to learn more and book your call and let's discuss how to get you from where you are to where you want to be! THE MUSIC MASTERY EXPERIENCE will be back in June 2021! This is my LIFE CHANGING, highly personalized group coaching program where I show you how to implement mindful & effective practice techniques, how to make them habits, and how to get RESULTS. Save your spot at http://www.mindoverfinger.com/mme and get access to some really cool bonuses! MORE ABOUT Eli Epstein Website: https://eliepstein.com/ YouTube channel: https://www.youtube.com/channel/UCabKpW2k2vQDAkpmI4H2D7w Facebook: https://www.facebook.com/eliepsteinproductions/ Eli Epstein enjoys a multi-faceted career as performer, educator, conductor and author. Epstein was second horn of the Cleveland Orchestra (1987-2005), and horn professor at the Cleveland Institute of Music (1989-2005). He has appeared several times as soloist with the Philadelphia Orchestra and Cleveland Orchestra. Epstein left Cleveland in 2005, and moved to Boston to devote more time and energy toward educational and creative endeavors. He is currently on faculty of New England Conservatory and Boston Conservatory at Berklee. At NEC, Epstein is on the college faculty, NEC at Walnut Hill, and Brass Chair of the Preparatory School. Epstein's students hold positions as chamber musicians and teachers, and have won posts in more than 30 major orchestras in North America. An active performer, Epstein has appeared on chamber programs at Jordan Hall, Severance Hall, Tanglewood, Philadelphia's Academy of Music, Kennedy Center, Music Academy of the West, where he was on faculty (2005-2013), and the Aspen Music Festival, where he served as principal horn of the Aspen Chamber Symphony (2000-2012). Epstein has collaborated with the Borromeo and Brentano String Quartets, and has been guest principal horn for the Rhode Island Philharmonic, Orpheus Chamber Orchestra and the Saint Louis Symphony. Epstein performs with the Boston Symphony Orchestra from time to time and has played on the BSO Community Chamber Concerts series. Director of the NEC Youth Brass Ensemble since 2009, Epstein has conducted college ensembles at Boston Conservatory at Berklee, Cleveland Institute of Music, Longy School of Music, Music Academy of the West, NEC, and El Sistema in Venezuela. Advocating the idea that music can be a meaningful and uplifting force in society, in 2009 Epstein won Grand Prize in the Entrepreneur the Arts Contest for his Inside Out Concerts, and appeared on Heartbeat of America with William Shatner. Drawing on years of experience as a performer, educator and entrepreneur, in 2013 Epstein joined the NEC Entrepreneurial Musicianship faculty to teach their survey course The Entrepreneurial Musician. Epstein's book, Horn Playing from the Inside Out, A Method for All Brass Musicians (Third Edition) was celebrated in Horn Matters: "Without a doubt the most physiologically correct book ever published on horn playing. Epstein presents a pedagogy that is truly informed by science, with new insights that should not be ignored." Orchestral Excerpts for Low Horn, Epstein's album released in 2014, was acclaimed in HornWorld as "a perfect sequel to (Krebiehl's) original horn excerpts CD...you would be hard pressed to find more nuanced, musically substantial performances anywhere." Join the Mind Over Finger Tribe for access to my weekly live videos and to exchange with a community of like-minded musicians Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to an exceptionally productive practice using the metronome. This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights. If you enjoy the show, leave a review on Apple Podcast or your favorite podcast provider! I genuinely appreciate your support! THANK YOU: A HUGE thank you to my fantastic producer, Bella Kelly, who works really hard to make this podcast as pleasant to listen to as possible for you! Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme! Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Thank you to Susan Blackwell for the introduction! You can find out more about Susan, her fantastic podcast The Spark File, and her work helping creatives of all backgrounds expand their impact by visiting https://www.susanblackwell.com/home. MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/
BRANDON'S DEBUT ALBUM IS OUT NOW ON ALL PLATFORMS- Apple Music: https://music.apple.com/us/album/j-s-bach-boulez-aho-prokofiev-flute-sonatas-solo-works/1529663533 Spotify: https://open.spotify.com/album/1PjM7pLn3o2kDum6jP6Xqs?si=jmkyXVBnRriWGnPX0HnQ8Q Amazon (hard copy) : https://www.amazon.com/Flute-Sonatas-Brandon-Patrick-George/dp/B08DSZ33WM/ref=sr_1_1?crid=1S4MBANWJHRJ8&dchild=1&keywords=brandon+patrick+george&qid=1600750237&sprefix=Brandon+Patrick+%2Caps%2C190&sr=8-1 Brandon Patrick George is the flutist of the Grammy®-nominated Imani Winds, and has performed with many of the world's leading ensembles including the Los Angeles Philharmonic, Pittsburgh Symphony Orchestra, Orpheus Chamber Orchestra, and the International Contemporary Ensemble (ICE). He has appeared at Alice Tully Hall, Carnegie Hall, Elbphilharmonie, the Kennedy Center, Metropolitan Museum of Art, Dresden Music Festival, and the Prague Spring Festival. An avid chamber musician, Brandon has collaborated with members of the Gryphon Trio, New York Philharmonic, Jasper String Quartet, and has performed live on New York's WQXR with harpist Bridget Kibbey. He has been hailed by The New York Times as “the elegant Brandon Patrick George”, as a “virtuoso” by The Washington Post, and called a “knockout musician with a gorgeous sound” by The Philadelphia Inquirer. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thefortepodcast/message Support this podcast: https://anchor.fm/thefortepodcast/support
Ep. 118: Christopher Theofanidis, composer Let's Talk Off The Podium with Tigran Arakelyan. In this episode Mr. Theofanidis talks about his collaborations with Robert Spano, Sarah Chang, his most performed work the Rainbow Body, and working with soloists on a commissioned works. He also talks about scuba diving, cooking, having pieces performed more than once and much more. CHRISTOPHER THEOFANIDIS (b. 12/18/67 in Dallas, Texas) has had performances by many leading orchestras from around the world, including the London Symphony, the New York Philharmonic, the Philadelphia Orchestra, the Atlanta Symphony, the Moscow Soloists, the National, Baltimore, St. Louis, and Detroit Symphonies, among many others. He has also served as Composer of the Year for the Pittsburgh Symphony during their 2006-7 season, for which he wrote a violin concerto for Sarah Chang. Mr. Theofanidis holds degrees from Yale, the Eastman School of Music, and the University of Houston, and has been the recipient of the International Masterprize, the Rome Prize, a Guggenheim fellowship, a Fulbright fellowship to France to study with Tristan Mural at IRCAM, a Tanglewood fellowship, and two fellowships from the American Academy of Arts and Letters. In 2007 he was nominated for a Grammy award for best composition for his chorus and orchestra work, The Here and Now, based on the poetry of Rumi, and in 2017 for his bassoon concerto. His orchestral work, Rainbow Body, has been one of the most performed new orchestral works of the new millennium, having been performed by over 150 orchestras internationally. Mr. Theofanidis’ has written a ballet for the American Ballet Theatre, a work for the Orpheus Chamber Orchestra as part of their ‘New Brandenburg’ series, and two operas for the San Francisco and Houston Grand Opera companies. Thomas Hampson sang the lead role in the San Francisco opera. His work for Houston, The Refuge, featurs six sets of international non-Western musicians alongside the opera musicians. He has a long-standing relationship with the Atlanta Symphony and Maestro Robert Spano, and has just four recordings with them, including his concert length oratorio, Creation/Creator, which was featured at the SHIFT festival at the Kennedy Center in Washington, D.C. this year with the ASO, chorus, and soloists. His work, Dreamtime Ancestors, for the orchestral consortium, New Music for America, has been played by over fifty orchestras over the past two seasons. He has served as a delegate to the US-Japan Foundation’s Leadership Program, and he is a former faculty member of the Peabody Conservatory of Johns Hopkins University as well as the Juilliard School. Mr. Theofanidis is currently a professor at Yale University, and composer-in-residence and co-director of the composition program at the Aspen Music Festival. For more information about Christopher Theofanidis please visit: https://www.theofanidismusic.com/index.html © Let's Talk Off The Podium, 2020
http://www.jeremiasviolin.com/https://www.ryanbeachtrumpet.com/work-with-meHailed as “accomplished in mechanism and style” (Buenos Aires Herald), Jeremías is a member of the violin section of the Pittsburgh Symphony since 2019, and is building an intriguing musical life. His accomplishments began in his home country of Argentina, and have spread to the US, Europe, and Asia. A graduate from The Juilliard School, he has been awarded First Prize at the Argentinian Hebrew Foundation Competition and has soloed with the Teatro San Martín Youth National Symphony in Buenos Aires, the Córdoba National University Symphony and the New York Classical Players. While in New York, Jeremías has played at National Sawdust with Miranda Cuckson, and was a founding member of the New York-based Frisson Ensemble, a nine-people mixed chamber music group that performs in several chamber music series throughout the US and was featured in NPR’s Performance Today. He has also performed in numerous tours with the Orpheus Chamber Orchestra at Carnegie Hall, at the Dresden Frauenkirche in Germany, with appearances on MediciTV, as well as at the Roy Thomson Hall in Toronto, Canada, among many other venues throughout the US; serving as principal second violinist in several occasions. Other engagements include a tour of Nepal and Japan as part of the “Music Sharing” International Community Engagement Program where he performed in a string quartet with acclaimed violinist Midori at the Oji Hall in Tokyo, Phoenix Hall in Osaka, United Nations in Kathmandu, as well as in multiple refugee camps, shelters, and areas affected by the earthquake throughout Nepal.In the summer of 2019 he joined the Grant Park Symphony (currently serving a 1-year third chair position). He has also played as concertmaster of both the New York Classical Players and of the “Ensamble Invasión” in Buenos Aires, Argentina.Jeremías has attended several summer programs including the Music at Menlo Chamber Music Festival: International Program; as well as the Aspen Music Festival where he collaborated in chamber music performances with Robert Chen and Edgar Meyer. He has also attended the Perlman Music Program, Taos School of Music, Kneisel Hall Chamber Music Festival, New York String Seminar Orchestra and the Schleswig-Holstein Music Festival.Jeremías made his first solo appearances at the age of 10 with the Córdoba Youth Orchestra with which he toured several halls in Argentina. In 2009, he was invited to play at the inaugural concert of the “Por los Caminos del Vino” Festival, and in the inaugural concert of the 2010 Young Concert Series at Femusc Festival in Brazil where he met Miriam Fried, who encouraged him to study with her at the New England Conservatory where he received his Bachelor of Music with academic honors. He has performed at Jordan Hall in multiple occasions with his former quartet (winners of the NEC Honors Ensemble Competition) and with the New England Conservatory Philharmonia, as well as performances at the Music for Food program, dedicated to raise funds for those in need in the Greater Boston area. Jeremías obtained his Master of Music from the Juilliard School, where he studied with Sylvia Rosenberg and Ronald Copes. He recently obtained a Professional Studies Certificate from the Manhattan School of Music where he studied with Glenn Dicterow, Lisa Kim, and Sylvia Rosenberg.Jeremías is a recipient of the 2011, 2012 and 2013 “Fondo de Becas”, 2016 Teresa Gruneisen scholarships from the Argentine Mozarteum, the Ruth Katzman Scholarship, the Luria Foundation Scholarship, and the Mercantil Commercebank Scholarship.Support the show (https://thatsnotspit.com/support/)
TBJ138: Julie Landsman on being the first woman in the brass section of The Met, the teaching of Carmine Caruso and JFL. Legendary is a term that gets thrown around a lot. Sometimes, it is deserved. This is one of those times. We're playing around with the show notes organization. Let us know your thoughts! In this fun and lively discussion, we cover: Julie being on our initial “wish list” of guests Working with both Sam and Mark Gould in a quintet Trio with Dave Taylor and Gould Played Principal horn for the Met for 25 years Andrew Balio (née Anil) and the sheep Getting into The Met in 1985 Working with a bunch of dudes First woman in the brass section at The Met Only a few of them welcomed her, most did not Her only defense was to outplay them Leading by example Challenges growing up that helped shape her abilities, drive, and approach Working to be heard and developing her own voice Disaster at the banjo Joe Greco was her band director and led her to the horn Carmine Caruso was brought in to help out her band program which continued to cement her approach and drive Howard Howard from The Met as another major influence Hearing Denis Brain recordings Caruso method, no-nonsense approach Paralysis through analysis The precision timing of movement A platform for your musicality The importance of repetition JFL Warburton Mouthpiece, JFL model is on the way Missing playing with The Met (she left in 2010) Taking a leave of absence when she turned 50 The Rule of 80 The experience of watching students succeed and perform with them Pilkington playing injured Starting to teach at the University of Houston and Rice when she played with the Houston Symphony Giving and getting with and from teaching Asking for help and giving help when it is needed Deciding at 13 to become Principal at The Met Moving to California to teach at USC Teaching on both coasts for two years before moving to Southern California permanently Take a chance, follow a dream Meeting Jens for the first time LINKS: Julie's website Want to help the show? Here are some ways: Unlock bonus episodes galore by becoming a Patreon patron. Help others find the show by leaving a rating and review on iTunes or Apple Podcasts. Show us some love on Instagram, Facebook, and Twitter. Show some love to our sponsors: The brass program at The Mary Pappert School of Music at Duquesne University and Parker Mouthpieces (including the Andrew Hitz and Lance LaDuke models.) Buy Pray for Jens and The Brass Junkies merch at The Brass Junkies online store! Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm. Julie's bio: Principal horn with the Metropolitan Opera Orchestra for 25 years, Julie Landsman is a distinguished performing artist and educator. She received a bachelor of music degree from The Juilliard School in 1975 under the tutelage of James Chambers and Ranier De Intinis, and has served as a member of the Juilliard faculty since 1989. A native of Brooklyn, New York, Landsman achieved her dream of becoming principal of the MET in 1985 and held that position until 2010. She has also shared her talent to many other ensembles within the city as a current member of the Orpheus Chamber Orchestra and having performed and recorded with the New York Philharmonic. Additionally, she has performed with numerous groups outside the city, including her co-principal position with the Houston Symphony, substitute principal position with the St. Paul Chamber Orchestra, and recent performances with The Philadelphia Orchestra as Associate principal horn, and the Los Angeles Chamber Orchestra, principal horn. She has recorded for RCA, Deutsche Gramophone, CRI, Nonesuch and Vanguard labels, and is most famous for her performance of Wagner’s “Ring” cycle as solo horn with the MET Opera under the direction of James Levine. Landsman has performed as chamber musician at many festivals and concert series, including the Marlboro Music Festival, Chamber Music Northwest, the Santa Fe Chamber Music Festival, Sarasota Music Festival, La Jolla Summerfest, the Chamber Music Society of Lincoln Center, Orcas Island Chamber Music Festival, and the Metropolitan Museum of Art, where she appeared as a guest artist with the Guarneri Quartet. In the summers she performs and teaches at the Music Academy of the West , the Sarasota Music Festival, and the Aspen Music Festival. World renowned as a master teacher, Julie Landsman holds faculty positions at The Juilliard School and Bard College Conservatory, and teaches frequently as a guest at the Curtis Institute. She has presented master classes at such distinguished institutions as The Colburn School, Curtis Institute, Eastman School of Music, Mannes College of Music, Manhattan School of Music, USC Thornton School of Music, Cal State Long Beach, Rowan University, University of Oklahoma, and University of Southern Mississippi, to name a few. She is also a visiting master teacher at the New World Symphony in Miami. Her international presence includes master classes in Norway, Sweden, and Israel. In 2016 Landsman was an honored jury member at the ARD horn competition in Munich, Germany. Her students hold positions in the Metropolitan Opera Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco Opera and Ballet Orchestras, Washington National Opera Orchestra, Dallas Symphony, St. Louis Symphony, New Jersey Symphony, Colorado Symphony, and the American Brass Quintet. She recently received the “Pioneer Award” from the International Women’s Brass Conference and was a featured artist at the International Horn Society Conference in 2012 and 2015. Her recent series of Carmine Caruso lessons on YouTube have led to further fame and renown among today’s generation of horn players. Landsman currently resides in Nyack, New York.
Paul Thallner, CEO at High Peaks Group joins the Creative Teams class at Utah State University’s Outdoor Product Design & Development for a conversation with faculty member, Andrea Olsen about resiliency, teamwork, and communication in difficult times.Resources referred to in the presentation can be found in the links below.Resilience Competencies - UPENN Center for Resiliency: https://ppc.sas.upenn.edu/resilience-programs/resilience-skill-setWhat is Resilience? – American Psychological Association: https://www.apa.org/topics/resilienceAbout the Orpheus Chamber Orchestra - https://www.sfcv.org/article/the-orpheus-effect-revisitedWhat is team effectiveness - https://www.highpeaksgroup.com/path-fuel/2019/12/10/what-is-team-effectivenessHow Resilient Are You (HBR) - https://hbr.org/2015/01/assessment-how-resilient-are-youMindfulness Practices - Mayo Clinic: https://www.mayoclinic.org/healthy-lifestyle/consumer-health/in-depth/mindfulness-exercises/art-20046356Immunity to Change - Robert Keegan YouTube Video: https://youtu.be/FFYnVmGu9ZIAmerican Psychological Association - Raising Resilient Children: https://www.apa.org/helpcenter/resilienceLearn more about OPDD at opdd.usu.edu.Watch on Youtube as well!
James is an artist of the Chamber Music Society of Lincoln Center, the International Contemporary Ensemble (ICE) and Decoda, co-principal oboist of the Orpheus Chamber Orchestra and Artistic and Executive Director of Tertulia, a chamber music series that takes place in restaurants in New York and San Francisco He is a member of the oboe and chamber music faculties of Stony Brook University and the Manhattan School of Music. On this episode, I speak to James about very interesting topics: · his musical origins, · his chamber music series, Tertulia, · the power of chamber music & how he came to focus on it · what qualities presenters look for when booking artists · how to “turn the dial” as classical musicians and grow new audiences · how he stays inspired and how to keep an interpretation “fresh” · the benefits of having a life outside music · his "dream programme” and more. To find out more about James, please visit: www.jamesaustinsmith.com www.instagram.com/jaustinsmith www.tertuliamusic.org If you have enjoyed this podcast, rate/subscribe and share the podcast. You could consider supporting me here on band camp: https://joannesukumaran.bandcamp.com/
In this episode, Wayne du Maine discusses the joys and challenges of living the life of a performing musician. We also discuss how he lives his life in a loud, strong way and the teachers and mentors that helped him get to where he is today. We also discuss the teachers that shed light on what not to do as an educator. We discuss hopes, dreams, family, softball, beer, and more! Enjoy this upbeat and fun hour with our friend Wayne du Maine.A native of St. Louis, Wayne J. du Maine currently performs with the Metropolitan Opera Orchestra, Orpheus Chamber Orchestra, American Composers Orchestra, New York City Opera, Rodney Mack Philadelphia Big Brass, Chamber Music Society of Lincoln Center and with contemporary music ensembles such as Speculum Musicae, Sospeso, and ST-X Xenakis. Mr. du Maine is a member of the Manhattan Brass and with Mercury and the Brooklyn Philharmonic Brass Quintets, he is dedicated to performing and introducing live music to thousands of school children in the NYC area, NJ and PA. Wayne has worked with a broad spectrum of artists ranging from Leonard Bernstein and Leonard Slatkin to Hank Jones, Wynton and Branford Marsalis, Patti Lupone and Audra MacDonald. He has been a soloist with the orchestras of St. Louis, Cincinnati and Pittsburgh. He can be heard on recordings with the New York Philharmonic, Met Opera Orchestra, numerous commercials, motion pictures and with Prince on his New Power Soul recording. See omnystudio.com/listener for privacy information.
047 James VanDemark: Technical Discipline & Interpretive Magic This episode is full of inspiration and extremely useful information! Eastman School of Music Bass Professor, James VanDemark, offers us tip after great tip to bring our practice and performance to the next level! Among many topics, James talks to us about creating a technical discipline that leads to interpretive magic, and about on how crucial it is to have clear goals and setting the intention to build up our entire identity as an artist whenever we enter the practice room. He elaborates on the importance of: using the bow in an imaginative way (having the bow be an extension of our imagination) while having a left hand that is as immaculate as can be acutely playing in the present moment establishing a great basic posture slow practice using the mirror having interpretation be at the center of the technical work create the concert experience in the practice room ear training - through listening to recording actively and with imagination, and through exercises having a schedule, have a clear intent, and be kind to others MORE ABOUT JAMES: Eastman School of Music: https://www.esm.rochester.edu/faculty/james-vandemark/ YouTube Videos: Here Instagram: https://www.instagram.com/bassfilm1/ "Some people seemed destined to lead unconventional lives, and James VanDemark is certainly one of them," said the New York Times in the first of its three profiles on VanDemark. Performer, academic, boxer, producer, and entrepreneur - these are the principal roles VanDemark has successfully played in a highly diverse career spanning nearly four decades. VanDemark's arts and culture projects have been featured in the New York Times, Connoisseur Magazine, on the MacNeil/Lehrer NewsHour, the BBC, CBC, NPR, and in many other media outlets around the world. In considerable demand as a speaker on entrepreneurial skills at colleges across the United States and Canada, VanDemark has also received great acclaim for his frequent role as narrator with many prominent symphony orchestras, including more than 40 performances with the Rochester Philharmonic and 15 with the Texas Festival Orchestra. Appointed to the Eastman School of Music at the age of 23, VanDemark was the youngest faculty member ever appointed to a professorial position at a major American music school. His students perform in many of the world's great orchestras – the New York Philharmonic, Cleveland Orchestra, Pittsburgh Symphony, Los Angeles Philharmonic, Orpheus Chamber Orchestra, Philadelphia Orchestra, Rochester Philharmonic, Buffalo Philharmonic, Vienna Chamber Orchestra, Tokyo Chamber Orchestra, Singapore Symphony, Hong Kong Philharmonic – and many more. His students have also been nominated for—and won—numerous Grammy awards in various categories, including classical, contemporary, jazz, and bluegrass. VanDemark's students have also held positions at major music schools, including Indiana University, Oberlin Conservatory, Eastman School of Music, Louisiana State University, Carnegie-Mellon, Peabody Conservatory, University of Delaware, NYU's Steinhardt School of Music, Michigan State University, University of Colorado, University of Alabama, University of Tennessee, and many others. VanDemark's performing career has included solo appearances with the New York Philharmonic, St. Paul Chamber Orchestra, Buffalo Philharmonic, National Symphony of Mexico, Netherlands Radio Symphony, Symphony Nova Scotia, Minnesota Orchestra, Orchestre Symphonique de Quebec, Mostly Mozart Festival Orchestra, and many more. Chamber music appearances have included the Cleveland, Guarneri, Muir, Colorado and Ying Quartets, the Gryphon Trio, violinist Yehudi Menuhin, as well as legendary pianists Andre Watts, Alfred Brendel, and Gary Graffman. VanDemark has also been featured on Lincoln Center's “Great Performers Series” on three occasions, including in recital with Andre Watts. VanDemark is also the recipient of commissioned works by many composers, including three Pulitzer Prize winners: Gian-Carlo Menotti, Joseph Schwantner, and Christopher Rouse. As a founding member of Square Peg Entertainment, VanDemark developed and represented screenplays and properties of Oscar winners Ernest Thompson, Horton Foote, Eiko Ishioka, Ron Harwood, Oscar nominee Hesper Anderson, Stu Silver, Paul Theroux, and many others. VanDemark also developed the World War I story CODE BROTHERS for CTV (Toronto), THE WAYNE AND SUE SHOW for Tribune Entertainment, produced the album and music video THE GIFT with singer Linda Eder for Atlantic Records, and with television legend Sir David Frost, developed the Frederick Forsyth novella THE SHEPHERD in conjunction with Shaftesbury Films (Toronto). VanDemark also co-produced and cast SPEAK LOW, the highly successful Brooklyn Academy of Music (BAM) Gala featuring Jerry Orbach, Donna Murphy, Duncan Sheik, and other stars of Broadway and the Metropolitan Opera in the music of Kurt Weill. VanDemark has also served as Music Supervisor for John Cougar Mellencamp's film, AFTER IMAGE. Acclaimed for his extensive work in the Native American community, VanDemark commissioned and developed the Native collaborative musical work CIRCLE OF FAITH, profiled in The New York Times, Cleveland Plain Dealer, Detroit Free Press, Minneapolis Star and Tribune, Denver Post, Lakota Times, and on NPR's Morning Edition. VanDemark has helped produce more than 40 performances of the work in the United States and Canada. As an accomplished amateur boxer, VanDemark was recently profiled on the front page of The Wall Street Journal, The Strad, on CBC's "Q," WNYC's "Soundcheck," and was featured at length on ESPN's E-60. VanDemark's conditioning and boxing program for students, musicians, and the general public has also brought him considerable worldwide acclaim. His recent boxing/ conditioning presentations include the University of Tennessee, the University of Alabama, Louisiana State University, Loyola University New Orleans, and the University of Santiago (Chile). VanDemark attributes the longevity and diversity of his career not only to his own athletic training, but also to his work in the the health care field in the 1970's, when he worked extensively under the renowned neurologist Dr. Howard S. Barrows at the McMaster University School of Medicine in Canada in developing the groundbreaking Simulated/Standardized Patient Program (SPP). As a result of these achievements, VanDemark was named to the Industry Board of the American Health Council in October 2017. If you enjoyed the show, please leave a review on iTunes! I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here! https://www.facebook.com/groups/mindoverfingertribe/ THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme! Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly! MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/
From John's Marine Band bio: Trumpeter/cornetist Master Gunnery Sergeant John Abbracciamento joined “The President’s Own” United States Marine Band in November 1992. Master Gunnery Sgt. Abbracciamento began his musical instruction at age 8. After graduating from Valley Stream South High School in 1978, he attended the New England Conservatory of Music in Boston. He completed his bachelor’s degree in music at the University of Michigan in Ann Arbor in 1983 and also earned a master’s degree from Mannes College of Music in New York in 1985. He studied trumpet with Armando Ghitalla of the Boston Symphony Orchestra, and John Ware and Vincent Penzarella of the New York Philharmonic. Prior to joining “The President’s Own,” Master Gunnery Sgt. Abbracciamento was a substitute with the New York Philharmonic and toured Europe with the Orpheus Chamber Orchestra. In this fun and lively discussion, we cover: John retiring from "The President's Own" United States Marine Band after 27 years Be prepared and know that the system is in place to support you The importance of realizing that you are joining a section The diversity of demands in The Marine Band Us math am smart like What John will miss most Why he decided to retire now Change is hard Going back to school to becomes a physical therapist The impact of standing at attention for long periods of time Helping musicians deal with pain John's retirement remarks Hiram Diaz Tom Hooten Studying with Armando Ghitalla Distinctive players and styles What happens at a Marine Band retirement ceremony The Italian Store chicken parmesan on a hard roll Baseball rule changes Freelancing, listening and adapting to a variety of situations Learning to blend Overcoming doubt Rich Kelley Central Park story Putting other players at ease within a section Trial and error and the importance of experience as a teacher Playing the appropriate musical role Mallory Thompson Andrew and the silk shirt LINKS: John's Marine Band bio page Andrew's blog post about John's insights on freelancing Want to help the show? Here are some ways: Help others find the show by leaving a rating and review on iTunes. Show us some love on Instagram, Facebook, and Twitter. Help us pay the bills (and get regular bonus episodes!) by becoming a Patreon patron. Show some love to our sponsors: The brass program at The Mary Pappert School of Music at Duquesne University and Parker Mouthpieces (including the Andrew Hitz and Lance LaDuke models.) Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm.
Pianist Jan Lisiecki shares insights into his new album with the Orpheus Chamber Orchestra featuring masterpieces by Mendelssohn.
Temperamentvoller Mendelssohn: Der Pianist Jan Lisiecki liebt die frühromantische Musik. Der 23-jährige Kanadier widmet seine neue CD Felix Mendelssohn Bartholdy. Beide Klavierkonzerte hat er mit dem Orpheus Chamber Orchestra aufgenommen - und brilliert in diesem Repertoire.
GREGG AUGUST is the man of the hour on the bass. He’s played with Ray Barretto, Ornette Coleman, Paquito D’Rivera, Arturo O’Farrill, James Moody, The Chico O’Farrill Big Band, The list goes on. As a classical bassist he frequently performs with the Orpheus Chamber Orchestra, The Mark Morris Dance Group, the Orchestra of St. Luke’s, and the American Composer’s Orchestra. He’s also a faculty member at the Bang on a Can Summer Music Institute at MassMoca in North Adams, Mass. We cracked a beautiful bottle of wine at his place in brooklyn, and he’s got a lot to offer here.
Orpheus Chamber Orchestra was founded in 1972 by a group of like-minded young musicians determined to combine the intimacy and warmth of a chamber ensemble with the richness of an orchestra. The ensemble performs without a conductor, rotating musical leadership roles for each work with a focus on presenting diverse repertoire through collaboration and open dialogue. Orpheus aims to bring this unique approach to students of all ages through its worldwide education and engagement programs: Access Orpheus-NYC, Orpheus Music Academy, Orpheus Leadership Institute and their newest project Orpheus Reflections curated for people with Alzheimers and dementia and their caregivers. On Monday’s “Leonard Lopate at Large” on WBAI, Executive Director Alexander Schierle and musicians Elizabeth Mann and James Wilson of Orpheus Chamber Orchestra talk about their unique approach to performing classical music and perform some of their repertoire.
Llevaba cinco años sin publicar un disco y se marca tres en su retorno. Acaba de cumplir 85 años y sigue buscando y arriesgando junto a su cuarteto de los últimos veinte años. El saxofonista Wayne Shorter regresa con "Emanon", disco que ocupa de manera monográfica esta edición de 'Club de Jazz' del 26 de septiembre de 2018. Lo hace junto a Danilo Pérez (piano), John Patitucci (contrabajo) y Brian Blade (batería), más la Orpheus Chamber Orchestra en la grabación de estudio. Los discos en cuarteto están registrados en directo. "Emanon", que toma su nombre de una composición de Dizzy Gillespie y Milton Shaw, es el nombre de la novela gráfica que acompaña la edición del disco, de la que Shorter es coguionista Toda la información y derechos: http://www.elclubdejazz.com
Llevaba cinco años sin publicar un disco y se marca tres en su retorno. Acaba de cumplir 85 años y sigue buscando y arriesgando junto a su cuarteto de los últimos veinte años. El saxofonista Wayne Shorter regresa con "Emanon", disco que ocupa de manera monográfica esta edición de 'Club de Jazz' del 26 de septiembre de 2018. Lo hace junto a Danilo Pérez (piano), John Patitucci (contrabajo) y Brian Blade (batería), más la Orpheus Chamber Orchestra en la grabación de estudio. Los discos en cuarteto están registrados en directo. "Emanon", que toma su nombre de una composición de Dizzy Gillespie y Milton Shaw, es el nombre de la novela gráfica que acompaña la edición del disco, de la que Shorter es coguionista Toda la información y derechos: http://www.elclubdejazz.com
Michael Lowenstern, widely considered one of the finest bass clarinetists in the world, has performed, recorded and toured as a soloist and with ensembles of every variety. He has performed with groups such as the Orpheus Chamber Orchestra and the Klezmatics, and has 6 solo recordings to date. Michael’s Earspasm YouTube channel contains hundreds of...
In this conversation with recent Kansas City Symphony audition winner Nash Tomey, we dig into how Nash overcame a playing injury that threatened to derail his playing career. This is an inspiring and honest conversation about something that many musicians struggle with during their careers! About Nash Tomey: Philadelphia native Nash Tomey joins the Kansas City Symphony beginning with the 2017/18 season. An experienced orchestral bassist and chamber musician, he attended the New England Conservatory where he studied with Boston Symphony Assistant Principal Bass Lawrence Wolfe and Donald Palma of the Orpheus Chamber Orchestra. Under the tutelage of Boston Symphony Principal Bass Edwin Barker, he received his master’s degree from Boston University in 2017. During summers at the Tanglewood Music Center, Tomey has worked with several noted conductors including Andris Nelsons, Christoph von Dohnányi, Michael Tilson Thomas and Charles Dutoit. He also has attended the Pacific Music Festival, Aspen Music Festival and Wabass Institute. Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: D’Addario Strings This episode is brought to you by D’Addario Strings! Check out their Helicore strings, which are are designed, engineered, and crafted at the D’Addario string factory in New York and come in orchestral, hybrid, pizzicato, and solo string sets. Robertson & Sons Violins For more than four decades, Robertson & Sons has specialized in providing the highest quality stringed instruments and bows to collectors, professional musicians, music educators, and students of all ages. Their modern facility is equipped with three instrument showrooms as well as a beautiful Recital Hall available to our clients to in their search for the perfect instrument and/or bow. The English Double Bass Book The English Double Bass Book examines the great English double bass makers of the 18th and 19th Century, illustrating in fine detail the incredible work they produced. It also explores the fascinating story of how the double bass came to England, its development guided by the great Venetian virtuoso Domenico Dragonetti, and the rise and fall of the English double bass makers. To pre-order your limited-edition copy, please visit www.theenglishdoublebass.com. Subscribe to the podcast to get these interviews delivered to you automatically!
The Team Coaching Zone Podcast: Coaching | Teams | Leadership | Dr. Krister Lowe
How does arts-based learning rapidly transform culture and performance in teams and organizations? What is the relationship between creative thinking, collaboration and innovation? What research evidence exists to support incorporating arts-based learning in teams? How can these processes be scaled up in organizations? Tune in to this week’s episode of The Team Coaching Zone podcast where host Dr. Krister Lowe interviews special guest Harvey Seifter to explore these and other compelling topics. Harvey Seifter is Founder and Director of Art of Science Learning (www.artofsciencelearning.org) and Principal Investigator of its two National Science Foundation grants and is one of the world’s leading authorities on organizational creativity and arts‐based learning. Themes explored in the podcast include: Harvey’s journey from classically trained musician to author to Founder of the Art of Science Learning Harvey’s experience at the Orpheus Chamber Orchestra and his 2001 book Leadership Ensemble: Lessons in Collaborative Management from the World’s Only Conductorless Orchestra Convening the field of arts-based learning in business Metaforming (symbolic modelling) 2012 $2.8 million grant from National Science Foundation exploring arts-based learning, innovation and business -The development of an arts-based innovation process and curriculum The creation of 3 innovation incubators: San Diego, Chicago, Worcester Teaching innovation through doing it: research on 29 cross-disciplinary teams; 22 teams after 1 year went to market (products, processes, services) The core skills of innovation as well as phases Approaches to infusing arts-based approaches: music, improv, movement, conducting, drawing, sketching Wicked problems as failures of imagination Experimental research: randomized and controlled study of arts-based learning and innovation in teams: 2 phases of innovation: 1) what is the problem and 2) how do we solve it: each with a converge and diverge component The linkage between divergent thinking, convergent thinking, business results and culture change Using research and data to bring arts from the fringes into the center of business processes A story of applying arts-based learning to foster creativity with 22 startups within a Fortune 500 organization The future of innovation, arts-based learning and wicked problems This is an episode that truly all teams, team leaders, and team coaches cannot afford to miss! For show notes and more great information and resources on team coaching go to: http://www.teamcoachingzone.com/
Hai-Ting Chinn Read more at www.hai-ting.com American Mezzo-soprano Hai-Ting Chinn performs in a wide range of styles and venues, from Purcell to Pierrot Lunaire, Cherubino to The King & I, J.S. Bach to P.D.Q. Bach. She was featured in the revival and tour of Phillip Glass’s Einstein on the Beach, performed at venues around the world from 2011–2014, and she is currently singing the role of Belle in Glass’s La Belle et la Bête, also on tour. She has performed with New York City Opera, The Wooster Group, OperaOmnia, the Orpheus Chamber Orchestra, Israel Philharmonic, Orchestra of St. Luke’s, and the Waverly Consort; and on the stages of Carnegie Hall, the Mann Center in Philadelphia, the Edinburgh Festival, the Verbier Festival, and London’s West End. She has premiered new works by Amy Beth Kirsten, Du Yun, Conrad Cummings, Stefan Weisman, Yoav Gal, and Matt Schickele. Hai-Ting is also an Artist in Residence at HERE arts center, where she is developing Science Fair, a staged solo show of science set to music.
Join me this week as I talk with composer Clint Needham about his chamber orchestra piece When We Forget, performed by the Orpheus Chamber Orchestra.
Episode 28: Keeping Perspective - A conversation with Chris Gekker Chris Gekker is Professor of Trumpet at the University of Maryland, School of Music and currently lives in the Washington, DC area. He has been featured as soloist at Carnegie Hall, Lincoln Center, and throughout the United States, Europe, and Asia. Chris was a member of the American Brass Quintet for eighteen years, and on the faculties of the Juilliard School, the Manhattan School of Music, and Columbia University. He was principal trumpet with the Orchestra of St. Luke’s, frequently performed and recorded as principal with the Orpheus Chamber Orchestra, and often a guest with the Chamber Music Society of Lincoln Center. He has been a guest principal with the New York Philharmonic, the San Francisco Symphony, and the Santa Fe Opera. Chris has performed and recorded with many jazz and contemporary artists, and often for television and movies. In 2009 he was invited to record and perform with Sting, and is featured on the dvd “A Winter’s Night” which was recorded live at Durham Cathedral in Durham, England. Many of his former students occupy orchestral positions in major symphonies throughout the world, as well as being prominent in jazz, chamber, and commercial music. His Articulation Studies, 44 Duos, Endurance Drills, Piccolo Trumpet Studies, and 24 Etudes are available from Colin Publications and are sold worldwide.
Grammy-nominated oboist Blair Tindall penned Mozart in the Jungle, now an Amazon Studios comedy series of the same name winning two 2016 Golden Globe Awards. She enjoys a musical career ranging from the classical stage of Carnegie Hall to the late-night ambiance of New York's famed Blue Note Jazz Club. She presented a critically acclaimed Weill Recital Hall debut and captured a top prize in the Lucarelli International Competition for Solo Oboists. A busy classical artist, Blair has played principal oboe with the New York Philharmonic, San Francisco Symphony, Orpheus Chamber Orchestra, Orchestra of St. Luke's, New York City Ballet and Opera Orchestras and the Pittsburgh Symphony. She was solo oboist on Broadway with Les Miserables, Aspects of Love, Man of La Mancha and Miss Saigon and graduated from Manhattan School of Music, Columbia and Stanford Universities, and has taught music & journalism at UC-Berkeley, Stanford, and Mills College. Main website for the book, Mozart in the Jungle, is blairtindall.comThe show is available at mozartinthejungle.comBlair's speaking website is flairforgenius.com=
Blame it on Aaron Copland's Appalachian Spring or perhaps the ridiculous virtuosity that is characteristic of so much bluegrass playing. In the past decade, growing numbers of classical musicians have been mixing it up with fiddlers, banjo players and mandolin pluckers. Yo-Yo Ma has worked with bluegrass players in the Goat Rodeo Sessions; mandolin wizard Chris Thile has played his own concerto with several American orchestras and released an album of Bach partitas. The latest group to explore this hybrid is the Jake Schepps Quintet, a string band whose members are steeped in bluegrass spontaneity but whose repertoire – yes, repertoire – is by composers from the modern classical tradition. They include Matt McBane, Marc Mellits, Gyan Riley, and Matt Flinner. Led by Schepps, a Colorado-based banjoist, the group came to WQXR to play three pieces from "Entwined," their debut album. "Most of the instruments in the string band aren't foreign" to classical composers, said Schepps, in an interview with host Terrance McKnight. "Most classical composers have written for violin, guitar, and bass, and a mandolin is tuned like a violin so it's familiar territory." The quintet's set began with Flatiron VII: Planetary Tuners by Mellits, a Chicago-based composer whose works have been performed by the Orpheus Chamber Orchestra and Kronos Quartet, among other groups. Schepps has been at the forefront of melding bluegrass with other genres for several years. He previously recorded an album of Béla Bartok's music arranged for a string band, "An Evening In The Village," and says he wants to play the music of Henry Purcell for a future project. "I fell in love with his three and four-part fantasias," he said. "I love Baroque music and Bach. I'm always curious for places that I can take string band instruments into new terrain." Schepps added that it's a "lateral step" to transfer pieces from Purcell's viola da gambas to the five-string banjo. The quintet's next selection is the album's title track, by Matt McBane, a Brooklyn violinist and composer who directs the Carlsbad Music Festival in California and whose music has been played by a number of new-music groups. Flinner, who plays mandolin in the quintet, composed the last selection in the set, called Migrations. He tells McKnight that his challenge "was trying, as a bluegrass musician, to write across that line in a long-form manner. Classical music goes so many different directions these days. One thing that we could use more of is more American roots elements added to that. Bluegrass is a uniquely American art form. It feels like it's getting more respect." Schepps added: "My hope is that a classical audience will come to find something interesting about bluegrass." Listen to the full interview and performances at the top of this page. Jake Schepps Quintet Personnel: Jake Schepps: five-string banjoMatt Flinner: mandolinRyan Drickey: violinJordan Tice: acoustic guitarAndrew Small: double bass Videos: Kim Nowacki; Audio: Irene Trudel; Production: Brian Wise; Interview: Terrance McKnight; Production Assistance: Rebecca Stein
Oboist and Photographer Matt Dine shares his story on how a physical injury launched his career as a New York Times Freelance Photographer. As an oboist for American Ballet Theater and Orpheus Chamber Orchestra, most of his time is spent as a photographer and filmmaker. He shares his stories about his love for the Oboe and the Oboe community, including the movie he made of “Delmar.” Melting his love of the visual and musical, he has created interesting projects blending the two. Matt’s choices were clear from the start after graduation as he forged his own way in creating an active career in Manhattan. Matts website: http://mattdinephotography.blogspot.com/
Mother Nature is unpredictable, as WQXR was reminded last summer in a broadcast of the Orpheus Chamber Orchestra in Central Park. Heavy rain arrived halfway through a Haydn symphony and musicians and station recording engineers were forced to pack it in quickly. Of course, outdoor summer concerts present many hazards: relentless mosquitoes, noisy airplanes, chatty audiences, and stages baked by the afternoon sun. Bad weather can also lead to substandard performances, with wayward intonation and unfocused playing. It can occasionally be dangerous for players and their instruments (varnish on string instruments turns sticky; seams can come unglued). Last year, the New York Philharmonic performed only half of a concert at Van Cortlandt Park in the Bronx due to the heat, and the crowd got ugly, booing and chanting "We want Dvorak." Despite these challenges, many orchestras say the concerts absolutely necessary. In this podcast we look at the challenges of al fresco performing with these three guests: Robin Pogrebin, culture reporter, New York Times, who recently covered the New York Philharmonic's parks concerts Nardo Poy, a violist with the Orpheus Chamber Orchestra and Metropolitan Opera Orchestra Tito Muñoz, conductor and music director of the Phoenix Symphony The New York Philharmonic at Van Cortlandt Park in the Bronx on July 17, 2012 (Kim Nowacki/WQXR). Segment Highlights: Pogrebin on the value of outdoor concerts: "Something that seems bucolic and relatively simple actually has a complex operation that enables it behind the scenes. Speaking with Alan Gilbert, the music director of the New York Philharmonic, he said 'it's one of the most important things we do.' There is this real emphasis now on culture for the people." Poy on extreme heat and humidity: "For the musicians, the most difficult part is if it rains or if it's so hot and humid, it makes it really difficult to play. The extreme humidity, I've experienced anywhere including when Orpheus was in Cartagena, Colombia. We had so much condensation on our instruments, it made it impossible for the bow to grab the string and get the tone out." Muñoz on bug infestations: "I don't know if you've ever seen fish flies but they just swarm. We unfortunately got hit by that during one of our concerts. We actually had to stop the concert because it was getting so bad. Every page that I turned I was crunching about a hundred of these bugs." Poy on a particularly heavy rainstorm: "The sound of the water hitting the top of the tent literally wiped out the sound of any music. Poor Mark, having learned this concerto, basically half of it was inaudible. We refer to it as the Marcel Marceau performance." Muñoz on the upside of an outdoor dance performance: "As the lights were coming up, [the dancers] were hearing the crickets and that set the scene even more realistically for them. In a way, it sometimes adds to the performance." Pogrebin on rain policies: The Philharmonic does not call off a concert for rain until the musicians get in the van to go to the venue. So it's really down to the wire because they want the show to go on." Weigh in: Listen to the segment above and share your outdoor music war stories in the comments box below:
Anne Akiko Meyers plays a centuries-old Guarneri del Gesu violin once used by Itzhak Perlman, Henri Vieuxtemps and Yehudi Menuhin, but it doesn’t reveal its beauty easily. "It definitely doesn’t play itself,” Meyers said. “When you have such a powerful instrument you want to dig in deeper and soak in the juice. But with this instrument, almost less is more. It’s counterintuitive. “You have to really finesse it in a certain way,” she added, noting how she is learning how to find the sweet spots and bring them out. The 1741 Guarneri, known as the Vieuxtemps, was sold in 2012 for what was reported to be more than $16 million and its anonymous owner has loaned it to Meyers for life. She recently put the instrument to the test with a recording of Vivaldi’s Four Seasons with the English Chamber Orchestra. Days after the album's release she brought the instrument to the WQXR Café to offer repertoire in a somewhat more unusual vein. The internationally known Meyers, who is performing this spring with the Chicago Symphony and Orpheus Chamber Orchestra, demonstrated its lyrical qualities with an arrangement of Charlie Chaplin’s “Smile.” One of the salient features of the Vieuxtemps is its enormous, rich sound, which Meyers attributes to its excellent state of preservation. “It doesn’t have one crack on it and it doesn’t even have the normal sound post patch, which almost every violin has,” Meyers explained. “And it’s a muse for so many violin makers and violinists because nobody knows why it’s in such pristine condition. And this condition has helped the sound of the violin just soar.” For one thing, the wood inside the violin was thicker, owing to the fact that previous owners did not alter it in a (misguided) attempt to draw out a deeper sound. Meyers added that the instrument had been mostly sitting under a bed for the past 50 years and as a result, “Even now, it’s still growing.” A Japanese folk tune arrangement revealed its tone in more virtuosic passagework. Certainly, there has been ongoing debate over the relative merits of old and modern violins, and whether Guarneri and Stradivarius models are really better than the new ones. Blind tests have even suggested that experts couldn’t tell the difference between the two. Meyers notes, however, that contemporary makers still look to the centuries-old instruments for inspiration and guidance. “There was one Monet, there was one Picasso, there was one Guarneri del Gesu," she said. "We try to emulate these incredible makers but they were artists that were transcendent. It’s so important to cherish these instruments as much as we can.” Below: Meyers introduces and performs the "Star-Spangled Banner." Video: Amy Pearl; Sound: Norko Okabe; Text & Production: Brian Wise; Interview: Jeff Spurgeon
When times are tough, a lot of arts groups go for the sure thing. For orchestras, that means a Beethoven symphony cycle over Schoenberg or Cage. For an opera house, it's Carmen and La Boheme over a risky modern opera. But some companies think differently. In the face of all its hardships, New York City Opera planned a season that includes J.C. Bach's Endimione, Bartok’s Bluebeard’s Castle, and the U.S. premiere of Mark-Anthony Turnage’s Anna Nicole – hardly proven audience bate. So what’s the proper balance? Does safe programming equal more "butts in seats?" Or do you need to take risks, even in tough times? Philip Kennicott, the Pulitzer Prize-winning art and architecture critic of the Washington Post, tells host Naomi Lewin that arts organizations often get into trouble by neglecting more serious-minded audiences in an effort to chase niche listeners. "Orchestras very often think that their audience falls into two categories: there's a conservative, old audience that only wants Beethoven and Mozart and Haydn, and then there is this ideal audience that’s interested in everything," he said. "I argue that there is another audience out there." Kennicott recently wrote an article for The New Republic, in which he chastised orchestras for an over-reliance on star soloists, a handful of over-familiar concertos, and a cookie-cutter mix of "special events" – video game music, crossover tenors, Broadway crooners and movie screenings. Lost in this mix, Kennicott tells Lewin, is the listener who is "open to new pieces, open to obscure pieces, interested still in the traditional repertoire. The panic response of reflexively programming familiar works that you see in orchestras actually doesn’t serve the serious listener very well." Krishna Thiagarajan, the executive director of Orpheus Chamber Orchestra, notes that many orchestras don't want to take risks with unfamiliar programming because "the funding isn’t there to back it up," he said. "When you’re being very creative and breaking the mold, you have to know that’s an area where you have to invest.” By investment, Thiagarajan means that an orchestra must take the long view and condition audiences to leave their comfort zone. As an example, he points to Esa-Pekka Salonen's tenure as music director of the Los Angeles Philharmonic from 1992 to 2009, where he premiered 120 works, including 54 commissions. "If you initially get a poor reaction from your audience, if you pull back you won’t know what the full effect was," he said. Marc Scorca, president of Opera America, a national service organization, says there are no surefire hits anymore. "There are fewer and fewer safe pieces," he said. "Operas that used to be reliable box office producers are no longer pulling the way they used to." Scorca adds that he's seen an audience fatigue with La Traviatas and Carmens, whereas new works can energize an organization and create excitement. To some observers, the performing arts are mirroring the homogenization of mass media and popular culture as a whole. "There is something going on in this country at large, and what we’re seeing in the arts scene is a symptom," Thiagarajan cautioned. But Kennicott is more optimistic. "I think there are audiences out there," he said. “I call them countercultural audiences that are really eager for stuff that doesn’t fit that homogenized cultural model. That’s the great hope of any organization that’s producing live art.” Listen to the full discussion in the audio link above and take our poll below: .chart_div { width: 600px; height: 300px; } loadSurvey( "classical-music-programming", "survey_classical-music-programming");
A founding member of ETHEL, Dorothy Lawson (Artistic Director, Cello) has performed with the Orpheus Chamber Orchestra, the White Oak Dance Project, Philharmonia Virtuosi, the American Symphony Orchestra, the Toronto Symphony Orchestra and numerous new music ensembles. Canadian-born, she completed degrees at the University of Toronto, the Vienna Academy and The Juilliard School. She teaches in the Preparatory Division of Mannes College at the New School in New York City. Joe Cerqua is in charge of the "Artist in Residence" program at Columbia College in Chicago. You get one guess who will be the "Artist In Residence" in April.
A continuation of the Orpheus Chamber Orchestra’s commissions of new works inspired by the Brandenburg concertos of J.S. Bach, The Cardinall’s Musick completes their Byrd Series, and Jordi Savall explores music around Dimitrie Cantemir.
A continuation of the Orpheus Chamber Orchestra’s commissions of new works inspired by the Brandenburg concertos of J.S. Bach, American lutenist Ronn McFarlane joins us to talk about his compositions, and the Dunedin Consort & Players are featured in a release of Bach’s B minor Mass.
Harmonia begins an exploration the Orpheus Chamber Orchestra’s commissions inspired by the Brandenburg Concertos of J.S. Bach, a look at prominent countertenors from the 1990s, and Rolf Lislevand performs music of the Italian Renaissance on the featured recording “Diminuito.”
We’re concluding our interview with double bassist Barry Lieberman. The former Assistant Principal Bass of the Los Angeles Philharmonic and Principal Bass of the Winnipeg Symphony, Barry now serves as co-director of The American String Project, an innovative string ensemble which features arrangements of string quartets for small string ensemble with double bass. On today’s episode, Barry (pictured here with his John Lott double bass) discusses the arranging process that he goes through for the American String Project, his recording of the Vivaldi Cello Sonatas, and his beautiful Maggini bass. About Barry: Barry Lieberman is now in his sixteenth year as double bass faculty at the University of Washington. He began his career at age 21 as principal bass of the Winnipeg Symphony. In 1976 Zubin Mehta appointed him associate principal bass of the Los Angeles Philharmonic, a post he held for sixteen years. Lieberman has been a regular performer with Chamber Music Northwest, Music From Angel Fire, the International Festival in Seattle, Bravo Colorado, Bargemusic, the Seattle Chamber Music Festival, and Mostly Mozart, and served as Principal Bass of the Colorado Music Festival in Boulder, Colorado. Most recently Lieberman performed with the Orpheus Chamber Orchestra, both in New York City and on tour in Europe. He has also performed with and toured the Far East, Europe, and the U.S. with the Mostly Mozart chamber orchestra. Lieberman has performed with many of the world’s greatest conductors, including Pierre Boulez and Sir Simon Rattle (in both orchestral and chamber music settings), Erich Leinsdorf, Leonard Bernstein, Daniel Barenboim, Georg Solti, Eugene Ormandy, Claudio Abbado, Carlo Maria Giulini, and Kurt Sanderling, among many others. He has performed chamber music with artists including Emmanuel Ax, James Galway, Lynn Harrell, Pinchas Zuckerman, Glenn Dicterow, and David Shifrin. A former member of the New European Strings for several years, he has toured both the US and Europe with the ensemble’s leader, Dimirtri Sitkovetsky. Lieberman has also served as Principal Bass of the Seattle Symphony on many occasions. In l994, Lieberman created the series “Barry Lieberman and Friends” at the University of Washington. The series combines the talents of School of Music faculty, members of the Seattle Symphony (including his wife, Maria Larionoff, Concertmaster of the Seattle Symphony), guest artists, and most importantly, students from both the UW and from preparatory schools and high schools. The series has met with great success and critical acclaim, and has incorporated Lieberman`s project of arranging standard chamber music literature to include the double bass. Featured artists on this series include Gary Karr, Thomas Martin (Principal Bass, London Symphony), Hal Robinson (Principal Bass, Philadelphia Orchestra,), Joel Quarrington (Principal Bass, Toronto Symphony,) and many other prominent double bassists from around the world. The series continues and has become one of the most popular concert series in Seattle.
We’re concluding our interview with double bassist Barry Lieberman. The former Assistant Principal Bass of the Los Angeles Philharmonic and Principal Bass of the Winnipeg Symphony, Barry now serves as co-director of The American String Project, an innovative string ensemble which features arrangements of string quartets for small string ensemble with double bass. On today’s episode, Barry (pictured here with his John Lott double bass) discusses the arranging process that he goes through for the American String Project, his recording of the Vivaldi Cello Sonatas, and his beautiful Maggini bass. About Barry: Barry Lieberman is now in his sixteenth year as double bass faculty at the University of Washington. He began his career at age 21 as principal bass of the Winnipeg Symphony. In 1976 Zubin Mehta appointed him associate principal bass of the Los Angeles Philharmonic, a post he held for sixteen years. Lieberman has been a regular performer with Chamber Music Northwest, Music From Angel Fire, the International Festival in Seattle, Bravo Colorado, Bargemusic, the Seattle Chamber Music Festival, and Mostly Mozart, and served as Principal Bass of the Colorado Music Festival in Boulder, Colorado. Most recently Lieberman performed with the Orpheus Chamber Orchestra, both in New York City and on tour in Europe. He has also performed with and toured the Far East, Europe, and the U.S. with the Mostly Mozart chamber orchestra. Lieberman has performed with many of the world’s greatest conductors, including Pierre Boulez and Sir Simon Rattle (in both orchestral and chamber music settings), Erich Leinsdorf, Leonard Bernstein, Daniel Barenboim, Georg Solti, Eugene Ormandy, Claudio Abbado, Carlo Maria Giulini, and Kurt Sanderling, among many others. He has performed chamber music with artists including Emmanuel Ax, James Galway, Lynn Harrell, Pinchas Zuckerman, Glenn Dicterow, and David Shifrin. A former member of the New European Strings for several years, he has toured both the US and Europe with the ensemble’s leader, Dimirtri Sitkovetsky. Lieberman has also served as Principal Bass of the Seattle Symphony on many occasions. In l994, Lieberman created the series “Barry Lieberman and Friends” at the University of Washington. The series combines the talents of School of Music faculty, members of the Seattle Symphony (including his wife, Maria Larionoff, Concertmaster of the Seattle Symphony), guest artists, and most importantly, students from both the UW and from preparatory schools and high schools. The series has met with great success and critical acclaim, and has incorporated Lieberman`s project of arranging standard chamber music literature to include the double bass. Featured artists on this series include Gary Karr, Thomas Martin (Principal Bass, London Symphony), Hal Robinson (Principal Bass, Philadelphia Orchestra,), Joel Quarrington (Principal Bass, Toronto Symphony,) and many other prominent double bassists from around the world. The series continues and has become one of the most popular concert series in Seattle.
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