Podcast appearances and mentions of paris conservatory

Ever get that overwhelmed feeling in the practice room? Where you know there's a ton of work to be done, but you're not quite sure where to start or what exactly to do?Maybe you're not happy with your sound, or your intonation is sketchy, or perhaps it's one of those days when it feels like everything needs attention?We only have so much time and energy, so what are we to do?Flutist Linda Chesis is a soloist, chamber musician, educator, and festival director. She was a student of Jean-Pierre Rampal at the Paris Conservatory, a top prizewinner at the Paris and Barcelona International Competitions, and has been a longtime faculty member at the Manhattan School of Music and Chair of the Woodwind Department.In this episode, Linda shares insights on how to cultivate a more beautiful sound, walks us through a checklist for what exactly to listen and look for when listening back to recordings of ourselves, and how to manage and organize our practice time when we have too much music to learn and not quite enough time:Get all the nerdy details and connect with Linda here:Linda Chesis: On Cultivating a More Beautiful Sound and Becoming a Better Practicer* * *Have you ever wondered why it is exactly that things often sound better at home than they do on stage? If you've been confused (and frustrated) by the inconsistency of your performances, I put together a FREE 4-minute quiz called the Mental Skills Audit, which will help you pinpoint your mental strengths and weaknesses, and figure out what exactly to adjust and tweak in your preparation for more consistently optimal performances. It's 100% free, takes only 4 minutes, and you'll get a downloadable PDF with a personalized breakdown of where you stand in six key mental skill areas. You'll also get the Pressure Proof Practice Challenge, a free 7-day email course where you'll learn specific practice strategies that will help you perform your best, even under pressure. Take the quiz here: bulletproofmusician.com/msa

SynopsisCarlos Salzedo, the most influential harpist of the 20th century, was born in Arcachon, France, on today's date in 1885. Salzedo transformed the harp into a virtuoso instrument, developing new techniques showcased in his own compositions and that others like Stravinsky, Schoenberg, and Britten adopted in theirs.In 1921, Salzedo and Edgard Varese co-founded the International Composers Guild, promoting works by progressive composers like Bartok and Honegger. Salzedo's compositions for harp include both transcriptions as well as original works like Scintillation, probably his most famous piece, and Four Preludes to the Afternoon of a Telephone, based on the phone numbers of four of his students. He taught at the Curtis Institute and the Juilliard School, and offered summer courses in Camden, Maine. Hundreds of Salzedo pupils filled harp positions with major orchestras around the world. Salzedo himself entered the Paris Conservatory at 9 and won the premiere prize in harp and piano when he was 16. He came to America in 1909 at the invitation of Arturo Toscanini, who wanted him as harpist at the Metropolitan Opera, and — curious to note — Salzedo died in the summer of 1961, at 76, while adjudicating Metropolitan Opera regional auditions in Maine.Music Played in Today's ProgramCarlos Salzedo (1885-1961): Scintillation; Carlos Sazledo, harp; Mercury LP MG-80003

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

About Gaby Casadesus Born Gabrielle l'Hôte, she studied at the Paris Conservatory with Louis Diémer and Marguerite Long and was awarded the first prize in piano at age 16. She met Claude Debussy at this time, as he was the judge for one of her competitions. Gaby later won the Prix Pagès, which was the most prestigious award in France at the time for which women were eligible. In 1921, she married the pianist Robert Casadesus and with him formed the Robert and Gaby Casadesus duo. The duo made many recordings of the four-hand piano repertoire. However, Gaby was also a significant soloist. She knew Maurice Ravel, Gabriel Fauré, Florent Schmitt and Moritz Moszkowski, and her interpretations were aided by their guidance. Her repertoire also included Felix Mendelssohn, whose music she effectively championed, and the keyboard composers of the Baroque era. As a teacher, Gaby Casadesus taught in the US, at the Salzburg Mozarteum, at the Académie Maurice Ravel in Saint-Jean-de-Luz and most notably at the American Conservatoire at Fontainebleau. Among her notable pupils are Donna Amato, David Deveau, Rudy Toth, and Vladimir Valjarević. After her husband's death in 1972, she worked with Grant Johannesen and Odette Valabrègue Wurtzburger, to found the Robert Casadesus International Piano Competition which ran from 1975 to 1993. Casadesus died November 12, 1999, at age 98 in Paris. She is buried with her husband and son, Jean in Recloses, department of Seine-et-Marne. About Thereselink to buy book -- https://www.amazon.com/Robert-Gaby-Casadesus-Piano-Recital/dp/B00000DSHBCasadesus Rawson Daughter of the late French pianists Robert and Gaby Casadesus, Therese Casadesus Rawson received a Ph.D. in French language and literature from the University of Pennsylvania in 1977. She has taught French, Humanities, French Diction and French vocal repertoire to singers at the Curtis Institute of Music in Philadelphia for nearly 30 years. Besides teaching and performing—she is a soprano focusing on Bach and French repertoire--Therese Casadesus Rawson is also active as a lecturer in a variety of topics pertaining to French culture, music, literature, painting, culinary arts. She has been and continues to be involved with French or Franco-American cultural institutions. She was President of the Alliance Française de Philadelphie for nearly 10 years, and has been President of the Fontainebleau Associations for 25 years: the stateside support group which helps organize and finance the summer Music and Fine Arts program at the Château de Fontainebleau. Therese's involvement with the Fontainebleau Schools is steeped in the legacy of her famous parents, Robert and Gaby, and her brother Jean, who were themselves devoted to the Fontainebleau Schools, teaching extensively at the Conservatoire Américain (the music side of the program). Remarkably, Robert and Gaby succeeded in running the program in New England during World War II and Gaby continued to teach until her passing in 1999 at the age of 98. The French Government awarded Therese the Palmes Académiques in recognition of her teaching activities, and, in 2001, she was named to the rank of Chevalier des Arts et Lettres on account of her efforts on behalf of Franco-American cultural affairs. Meosha Bean Films on Plex https://watch.plex.tv/person/meosha-bean Shout out ATL link -https://shoutoutatlanta.com/meet-meosha-bean-filmmaker-actor/ Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

Virigina Hall studied at Radcliffe College and Barnard College (the women's colleges of Harvard and Columbia) and spoke three languages. She served as a consular clerk in Poland and Turkey, where a hunting accident required an amputation below the knee.Noor Inayat Kahn studied child psychology at the Sorbonne and music at the Paris Conservatory. The daughter of Sufi Muslims, she was described as quiet, shy, sensitive, and dreamy.Josephine Baker was an American-born French dancer, singer and actress and the first Black woman to star in a major motion picture. She was a school drop out who ascended to international stardom in France and befriended the likes of Ernest Hemingway and Pablo Picasso.A studious amputee, a shy artist, and a flamboyant entertainer. Who also happened to be secret agents during World War II and integral to the Resistance movement against the Axis powers. Could these women, who confronted sexism, ableism, racism, who refused to speak under Nazi interrogation and bamboozled German officials while extracting secrets also convince West Texas high school students that history is not about “the dead, old and irrelevant.” It was a mission two teachers chose to accept when they also accepted a $10,000 Fund for Teachers grant.Today we're learning from Renee Parson and Cory Cason, history teachers at Alpine High School in Alpine, Texas, set in the high plateau of the Chihuahuan Desert between the Glass and Davis Mountain Ranges. When not in adjoining classrooms, these women are coaching track and field, sponsoring History Club and supporting students involved in Future Farmers of America and UIL academic contests, among other activities. While the small school environment is rich with opportunities, exposure to the world beyond Brewster County – not so much. Cory and Renee leveraged their interest in female spies to craft a fellowship that researched Virginia Hall, Noor Inayat Khan and Josephine Baker throughout Europe to expand students' mindset of what can be accomplished when ordinary people employ the courage to defy rigid societal norms in the name of humanity and justice.

Carmen is maybe the most famous heroine in all of opera. She's a woman of Romani descent living in 19th century Spain, sensual and self-confident, aware of the power she wields over men — and she enjoys it. In her signature aria, popularly known as the “Habanera,” she describes herself as a bird who can't be captured. True to her own word, Carmen — and what she represents — is hard to pin down.  When “Carmen” premiered in Paris in 1875, it was deemed wildly immoral. Carmen becomes intrigued by a soldier, Don José, who initially pays her no attention. She seduces him, Don José abandons his fiancée to run away with her, and one thing leads to another (this is opera, after all) — he winds up murdering Carmen in a fit of jealous rage. One interpretation is that this is the story of a man giving into temptation and meeting his downfall. A more modern view would position Carmen as a proto-feminist. She's a woman who refuses to be controlled, and that puts her life in danger.But perhaps Carmen's greatest irony is that she is both a complex character and a full-blown stereotype of Romani women. In this episode, host Rhiannon Giddens and guests unpack the myth and the magic of Georges Bizet's "Carmen," and Clémentine Margaine brings it home with a performance of “L'amour est un oiseau rebelle” from the Met stage.THE GUESTSFrench mezzo-soprano Clémentine Margaine first performed in “Carmen” as a member of the children's chorus. Shortly after graduating from the Paris Conservatory, she joined the ensemble of the Deutsche Oper Berlin, where she sang her first performances in the title role. Since then, she's performed Carmen at opera houses all over the world. Susan McClary is a pioneer in feminist music criticism. She's a musicologist at Case Western Reserve University whose research focuses on the cultural analysis of music, both the European canon and contemporary popular genres. She's authored 11 books, including "Feminine Endings: Music, Gender, and Sexuality" and the Cambridge Opera Handbook on “Carmen.”Ionida Costache is an assistant professor of ethnomusicology and an affiliate of the Center for Comparative Studies in Race and Ethnicity at Stanford University. She is of Romani-Roma descent, and her work explores the legacies of historical trauma inscribed in Romani music, sound, and art. Her family likes to pass on the story of the time her great-grandfather performed the cimbalom for Theodore Roosevelt at the 1939 New York World's Fair. Rosamaria Kostic Cisneros wears many hats. She is a professional dancer, dance historian and critic, Romani studies scholar, Flamenco historian, as well as a sociologist, curator and peace activist. A research-artist at Coventry University's Centre for Dance Research, she works to bring arts and culture to vulnerable groups. She was introduced to flamenco by her Spanish-Roma mother during their frequent trips to Seville.

The second episode of Season 2 of The Sounding Jewish Podcast features Dr. Jessica Roda. We discuss her forthcoming book about Ultra Orthodox Hasidic and Litvish female artists from New York and Montreal, as well as her new project on music, spirituality and healing in Orthodox Jewish circles.Jessica Roda is an anthropologist and ethnomusicologist. She specializes in Jewish life in North America and France, and in international cultural policies. Her research interests include religion, performing arts, cultural heritage, gender, and media. Her articles on these topics have appeared in various scholarly journals, as well as edited volumes in French and English. The author of two books and the editor of a special issue of MUSICultures, her more recent book (Se réinventer au present, PUR 2018) was finalist for J. I. Segal Award for the best Quebec book on a Jewish theme. It also received the Prize UQAM-Respatrimoni in heritage studies. Her forthcoming monograph, For Women and Girls Only: Reshaping Jewish Orthodoxy Through the Arts in the Digital Age, investigates how music, films, and media made by ultra-Orthodox and former ultra-Orthodox women act as agents of social, economic, and cultural transformation and empowerment, and as spaces that challenge gender norms, orthodoxy, and liberalism. For this research, she was awarded the Cashmere Award from the AJS Women's Caucus (2021) and the Hadassah Brandeis Institute Research Award (2021). Immersed in the French and North American schools of anthropology and ethnomusicology, Roda earned Ph.Ds from Sorbonne University and the University of Montreal. She has served as a fellow and scholar in residence at McGill University (Eakin Fellow and Simon and Ethel Flegg), Columbia University (Heyman Center), UCLA (Department of Ethnomusicology), Universidade Estadual de Campinas, Université de Tours, University of Pennsylvania (Katz Center for Advanced Judaic Studies) and Université de Paris. Her public-facing work has appeared in Times of Israel, LaPresse, TV Quebec, The Huffington Post, Akadem, Radio Canada, Canadian Jewish News, France Culture, The Moment, Glamour, The Conversation US, Jewish Telegraphic Agency, and numerous networks in Europe, United-States, and South America (Brazil and Colombia). Beyond her academic life, she is also a trained pianist, flutist, and modern-jazz dancer (City of Paris Conservatory), and grew up in French Guiana, a childhood that shaped her as a person, educator, and a scholar.

SynopsisOn today's date in 1843, a composer dubbed “The Chopin of America” was born in San Juan, Puerto Rico. His name was Manuel Gregorio Tavárez, born to a French father and Puerto Rican mother. He began his musical studies in San Juan but at 15 moved to France to study at the Paris Conservatory with two leading French composers of the day, Daniel Auber and Eugen D'Albert.While in Paris, Tavárez suffered a stroke that paralyzed his left hand and affected his hearing. He returned to Puerto Rico, overcame those problems and after giving several recitals in San Juan, became a piano teacher.As a composer, Tavárez developed an original dance form called danza — similar to the waltz but tinged with Afro-Cuban rhythms from the Caribbean and the wistful melancholy of European Romantic composers.Tavárez gave his works evocative titles such as La Sensitiva (The Sensitive One), La Ausencia (Absense), Un Recuerdito (A Little Remembrance) and Pobre Corazón (Poor Heart), but the title of his most famous danza, written in 1870, was simply a woman's name: Margarita.Like Chopin, Tavárez lived only 39 years. He died in 1883.Music Played in Today's ProgramManuel Gregorio Tavárez (1843-1883) Margarita; Kimberley Davis, p. from “La Ondina: Una Colección de Música Puertorriqueña para Piano” (digital album)

SynopsisIn 1834, the great violin virtuoso Niccolo Paganini acquired a new Stradivarius viola. He approached 30-year-old French composer Hector Berlioz and commissioned him to write a viola concerto.What Berlioz came up with, however, was a Romantic program symphony with a prominent part for solo viola, Harold in Italy, inspired by Byron's narrative poem “Childe Harold.” Paganini was disappointed. “That is not what I want,” he said. “I am silent a great deal too long. I must be playing the whole time.”And so, when Harold in Italy was first performed, at the Paris Conservatory on today's date in 1834, it was an old classmate of Berlioz's, Chrétien Urhan, who was the soloist, not the superstar Paganini. The audience seemed to like the “Pilgrims' March” movement of the symphony, which was encored, but otherwise the performance was one train wreck after another.Four years later, however, Berlioz had the last laugh when Paganini, hearing the music he commissioned at a better performed concert, rose from the audience, mounted the stage and publicly declared Berlioz a genius, and, two days later, presented the stunned Berlioz with a check for 20,000 francs.Music Played in Today's ProgramHector Berlioz (1803-1869) Harold in Italy; Nobuko Imai, viola; London Symphony; Colin Davis, cond. Philips 416 431

Bruce Williams is a jazz saxophonist who hails from our nation's capital of Washington, D.C. He has made his presence known on the jazz scene by garnering critical attention with his own enthusiastically received CD releases - "Brotherhood" and "Altoicity" - issued on Savant Records. He's made an indelible impression as a sideman on over twenty other CD and video recordings. Bruce has performed, toured, and recorded with a long roster of jazz legends - Little Jimmy Scott, Frank Foster, The Lincoln Center Jazz Orchestra, Stanley Cowell, Louis Smith, Cecil Brooks III, The Count Basie Orchestra, The World Saxophone Quartet, Russell Gunn, Curtis Fuller, and Roy Hargrove to name a few. Bruce Williams is a versatile saxophone stylist, performing in a variety of diverse playing environments - from traditional to hip-hop to the avant-garde. He has been an honored recipient of awards from DownBeat magazine and The Charlie Parker Music and More Foundation. His ability to perform masterfully in a range of jazz styles has placed him on two Grammy nominated recordings and sent him to numerous cities throughout the US and abroad in France, Italy, Germany, Scandinavia, the West Indies, Lebanon, and Japan. ​Bruce Williams is currently the newest and youngest member, of the internationally recognized jazz group, "The World Saxophone Quartet". Bruce is currently a member of a newly founded group by legendary drummer Ben Riley, the "Thelonious Monk Legacy Septet". Bruce also leads four bands of his own - a quartet, a quintet, a jazz organ trio, and a progressive electric jazz group. ​A noted jazz educator and mentor to young jazz musicians; Bruce has given master classes at Ohio State, Iowa State, The Jazz Institute of New Jersey, The University of the District of Columbia, Princeton University, The New Jersey Performing Arts Center "Jazz For Teens" program, and the Paris Conservatory in France. He has served as adjunct saxophone instructor at both the New School for Social Research (Mannes School of Music) in NYC, Princeton, and Bard College . He's currently an ensemble coach for the Jazz department at Julliard.  ​Bruce Williams has been mentored by some of the best in the business including Frank Foster, Branford Marsalis, Joe Ford, Laura George, William Shadle,Oliver Lake and Cecil Brooks III. All of the above experiences have aided Bruce Williams in becoming a confident doubler and one of the premier jazz alto and soprano saxophonists in the world today. (Republished from Brucewilliams-saxophone.com)

Synopsis Carlos Salzedo, the most influential harpist of the 20th century, was born in Arcachon, France, on today's date in 1885. Salzedo transformed the harp into a virtuoso instrument, developing new techniques showcased in his own compositions and that others like Stravinsky, Schoenberg, and Britten adopted in theirs. In 1921, Salzedo and Edgard Varese co-founded the International Composers Guild, promoting works by progressive composers like Bartok and Honegger. Salzedo's own compositions for harp include both transcriptions as well as original works like Scintillation, probably his most famous piece, and Four Preludes to the Afternoon of a Telephone, based on the phone numbers of four of his students. He taught at the Curtis Institute, the Juilliard School, and offered summer courses in Camden, Maine. Hundreds of Salzedo pupils filled harp positions with major orchestras around the world. Salzedo himself entered the Paris Conservatory at age nine and won the premiere prize in harp and piano when he was just 16. He came to America in 1909 at the invitation of Arturo Toscanini, who wanted him as harpist at the Metropolitan Opera, and—curious to note—Salzedo died in the summer of 1961, at the age of 76, while adjudicating Metropolitan Opera regional auditions in Maine. Music Played in Today's Program Carlos Salzedo (1885 – 1961) Scintillation Carlos Sazledo, harp Mercury LP MG-80003

Synopsis Two interesting symphonies had their premieres on today's date just eight years apart. Oddly enough, they were composed nearly ninety years apart. The first was the Symphony in C by George Bizet, written in 1855 when the composer was only 17. It was mislaid in his papers, ignored by Bizet himself as a naive youthful exercise, and not revived until 1935. It was performed for the first time on the 26th of February that year in Basel, Switzerland under the baton of Felix Weingartner, who found a copy of the score that had been kept in the Paris Conservatory. The other work that premiered today was the Fifth Symphony of the American composer Roy Harris. It was written in 1942, during the Second World War, and was reportedly inspired by reports of heroic resistance by the Soviet Union to the Nazi invasion. Harris dedicated this symphony to the Red Army in honor of its 25th anniversary. The first performance—given by Koussevitzky and the Boston Symphony on February 26th, 1943—was broadcast via short wave to the Soviet Union. Ironically, despite Harris's unquestionable credentials as a loyal American and enthusiastic patriot, his pro-Soviet Symphony No. 5 was to become something of an embarrassment when our one-time Soviet allies became Public Enemy No. 1 during the long Cold War period that followed the end of the Second World War. Music Played in Today's Program Georges Bizet (1823 - 1892) Symphony No. 1 in C ORTF Orchestra; Jean Martinon, conductor. DG 437 371 Roy Harris (1899 - 1979) Symphony No. 5 Louisville Orchestra; Robert Whitney, conductor. Albany 012

Synopsis Today's date in 1910 marks the birthday in Paris of a French composer you perhaps have never heard of, but Elsa Barraine is well-deserving of your attention. Barraine's father was a cellist at the Paris Opera, and as a teen Elsa attended the Paris Conservatory, studying composition with Paul Dukas. Olivier Messiaen was her classmate and remained a life-long friend. Barraine won several prizes for her compositions, including the prestigious Prix de Rome in 1929 when she was just 19.She worked at the French National Radio from 1936 to 1940. During World War II, Barraine was heavily involved in the French Resistance, and from 1944 to 1947 was the Recording Director of the French record label Le Chant du Monde. In 1953 she joined the faculty at the Paris Conservatoire, where she taught until 1972, the year the French Ministry of Culture named her Director of Music. She died in 1999. Elsa Barraine's catalog of works includes a variety of vocal and instrumental works, an opera, ballets, and two symphonies, but her music is seldom performed today. We're sampling one of her chamber works, a piece for French horn and piano entitled Crépuscules, or Twilights. Music Played in Today's Program Elsa Barraine (1910-1999): Crépuscules Lin Foulk Baird, fh; Martha Fischer, p. Centaur CRC-3857

Synopsis On this day in 1934, an excited crowd of locals and visitors had gathered in Hartford, Connecticut, for the premiere performance of a new opera entitled Four Saints in Three Acts. The fact that the opera featured 16 saints, not 4, and was divided into 4 acts, not 3, was taken by the audience in stride, as the libretto was by the expatriate American writer, Gertrude Stein, notorious for her surreal poetry and prose. The music, performed by players from the Philadelphia Orchestra and sung by an all-black cast, was by the 37-year old American composer, Virgil Thomson, who matched Stein's surreal sentences with witty musical allusions to hymn tunes and parodies of solemn, resolutely tonal music. Among the locals in attendance was the full-time insurance executive and part-time poet, Wallace Stevens, who called the new opera (quote): "An elaborate bit of perversity in every respect: text, settings, choreography, [but] Most agreeable musically… If one excludes aesthetic self-consciousness, the opera immediately becomes a delicate and joyous work all around." The opera was a smashing success, and soon opened on Broadway, where everyone from Toscanini and Gershwin to Dorothy Parker and the Rockefellers paid a whopping $3.30 for the best seats—a lot of money during one of the worst winters of the Great Depression. Music Played in Today's Program Virgil Thomson (1896-1989) Four Saints in Three Acts Orchestra of Our Time; Joel Thome, conductor. Nonesuch 79035 On This Day Births 1741 - Belgian-born French composer André Grétry, in Liège; 1932 - American composer and conductor John Williams, in New York City; Deaths 1709 - Italian composer Giuseppe Torelli, age 50, in Bologna; 1909 - Polish composer Mieczyslaw Karlowicz, age 32, near Zakopane, Tatra Mountains; Premieres 1874 - Mussorgsky: opera “Boris Godunov”, at the Mariinsky Theatre in St. Petersburg, with bass Ivan Melnikov in the title role, and Eduard Napravnik conducting; This was the composer's own revised, nine-scene version of the opera, which originally consisted of just seven scenes (Julian date: Jan.27); 1897 - Kalinnikov: Symphony No. 1 (Gregorian date: Feb. 20); 1904 - Sibelius: Violin Concerto (first version), in Helsinki, by the Helsingsfors Philharmonic conducted by the composer, with Victor Novácek as soloist; The revised and final version of this concerto premiered in Berlin on October 19, 1905, conducted by Richard Strauss and with Karl Halir the soloist; 1907 - Schoenberg: Chamber Symphony No. 1 in Vienna, with the Rosé Quartet and members of the Vienna Philharmonic; 1908 - Rachmaninoff: Symphony No. 2 in St. Petersburg, with the composer conducting (Julian date: Jan. 26); 1909 - Liadov: “Enchanted Lake” (Gregorian date: Feb. 21); 1910 - Webern: Five Movements, Op. 5, for string quartet, in Vienna; 1925 - Cowell: "Ensemble" (original version for strings and 3 "thunder-sticks"), at a concert sponsored by the International Composers' Guild at Aeolian Hall in New York, by an ensemble led by Vladimir Shavitch that featured the composer and two colleagues on "thunder-sticks" (an American Indian instrument also known as the "bull-roarer"); Also on program was the premiere of William Grant Still's "From the Land of Dreams" for three voices and chamber orchestra (his first concert work, now lost, dedicated to his teacher, Edgard Varèse); 1925 - Miaskovsky: Symphonies Nos. 4 and 7, in Moscow; 1934 - Virgil Thomson: opera "Four Saints in Three Acts" (libretto by Gertrude Stein), in Hartford, Conn.; 1942 - Stravinsky: "Danses concertantes," by the Werner Janssen Orchestra of Los Angeles, with the composer conducting; 1946 - Bartók: Piano Concerto No. 3 (completed by Tibor Serly after the composer's death), by the Philadelphia Orchestra, Eugene Ormandy conducting and György Sándor as the soloist; 1959 - Elie Siegmeister: Symphony No. 3, in Oklahoma City; 1963 - Benjamin Lees: Violin Concerto, by the Boston Symphony, with Erich Leinsdorf conducting and Henryk Szeryng the soloist; 1966 - Lou Harrison: "Symphony on G" (revised version), at the Cabrillo Music Festival by the Oakland Symphony, Gerhard Samuel condicting; 1973 - Crumb: "Makrokosmos I" for amplified piano, in New York; 1985 - Earle Brown: "Tracer," for six instruments and four-track tape, in Berlin; 1986 - Daniel Pinkham: Symphony No. 3, by the Plymouth (Mass.) Philharmonic, Rudolf Schlegel conducting; 2001 - Sierra: "Concerto for Orchestra," by the Philadelphia Orchestra, Wolfgang Sawallisch conducting; Others 1875 - American composer Edward MacDowell admitted to the Paris Conservatory; 1877 - German-born (and later American) composer Charles Martin Loeffler admitted to the Paris Conservatory; 1880 - German opera composer Richard Wagner writes a letter to his American dentist, Dr. Newell Still Jenkins, stating "I do no regard it as impossible that I decide to emigrate forever to America with my latest work ["Parsifal"] and my entire family" if the Americans would subsidize him to the tune of one million dollars. Links and Resources On Virgil Thomson More on Thomson

Welcome to January 8th, 2023 on the National Day Calendar. Today we celebrate our mysterious universe and curious keys.  On this day in 1851 French physicist, Leon Foucault made an important discovery. As a med school dropout and amateur photographer Leon had not yet made his mark. Then on January 8th he suspended a pendulum from the ceiling of the Meridian Room of the Paris Conservatory and invited some fellow scientists to “...see the Earth turn.” As the pendulum swung through the air it traced a pattern that effectively illustrated that the Earth turns on an axis. On Earth's Rotation Day, celebrate the mysteries of the universe that still manage to capture our imagination.   If you've ever looked at the top row of your keyboard, then you've noticed the made up word QWERTY. Turns out that the design was proprietary on purpose. The Remington company began producing typewriters based on the design of Christopher Latham Sholes, who came up with the QWERTY arrangement. When the Remington company sold the typewriters, they also held trainings on how to use them. This keyboard arrangement has been around so long that everyone just accepts it as normal. By the way, the word typewriter can be typed using only the top row of your keyboard. On World Typing Day celebrate at your own speed even if you're in the hunt and peck lane. I'm Anna Devere and I'm Marlo Anderson. Thanks for joining us as we Celebrate Every Day!  Learn more about your ad choices. Visit megaphone.fm/adchoices

One of the things that really sets Gabriel Fauré apart is the singing style of his music. He was an exceptional and prolific composer of song so it's no wonder that we hear that singing quality even in his instrumental works. Fauré's "Morceau de Concours" is an incredibly special tiny gem. Don't be fooled by the title. Though he wrote it as a sight-reading examination piece for students at the Paris Conservatory, it is a poetic lullaby. -A musical balm for this most dark time of year. MUSIC: Georg Philip Telemann, Fantaisie No. 12, performed by Karen KevraGabriel Fauré, Sicilienne, Op. 78, performed by Karen KevraFrédéric Chopin, Waltz in E flat major, performed by Jeffrey Chappell George Gershwin, Rhapsody in Blue, performed by George Gershwin, piano with Paul Whiteman and the  Paul Whiteman Orchestra (Recorded June 10, 1924)Gabriel Fauré, Violin Sonata no.1, op. 13, Allegro molto, performed by Arthur Grumiaux, violin, and Paul Crossley, pianoGabriel Fauré, Piano Trio No. 1, Allegro molto moderato, performed by Marguerite Long, piano,  Jean Pasquier, violin, Pierre Pasquier, viola, Etienne Pasquier, celloGabriel Fauré, Piano Trio No. 1, Scherzo: allegro vivo, performed by Marguerite Long, piano,  Jean Pasquier, violin, Pierre Pasquier, viola, Etienne Pasquier, celloAdjutant's Call/French Foreign Legion March, US Marine BandGabriel Fauré, Cantique de Jean Racine, Op. 11, performed bythe Cambridge Singers, Cambridge Singers, City of London SinfoniaGabriel Fauré, Morceau de Concours, performed by Karen KevraSupport the show

Synopsis A fiery horse with the speed of light, a cloud of dust, and a hearty “Hi-yo, Silver!” Generations of American baby boomers first heard Rossini's “William Tell” Overture as the opening credits of the old Lone Ranger TV western, but we suspect only a few of them ever realized the overture by an Italian composer was written for a French opera about a Swiss archer, which was adapted from a German play by Friedrich Schiller. Like a Facebook relationship, “It's complicated.” Anyway, Rossini's “William Tell” was first heard in Paris on today's date in 1829. Rossini hoped “William Tell” would be considered his masterpiece. Ironically, the complete opera is only rarely staged these days, but the “William Tell” overture became a familiar concert hall showpiece – SO familiar, in fact, as to become something of a musical cliché. The Russian composer Dimitri Shostakovich gave a dark 20th-century spin to Rossini's overly familiar theme, when he quoted the “William Tell” overture in the opening movement of his Symphony No. 15. In the context of Shostakovich's enigmatic final symphony, Rossini's jaunty little theme comes off like a forced smile, and audiences are free to read whatever political subtext they wish into its rather sinister context. Music Played in Today's Program Gioacchino Rossini (1792-1868) –William Tell Overture (Philharmonia Orchestra; Carlo Maria Giulini, cond.) EMI 69042 Dimitri Shostakovich (1906-1975) –Symphony No. 15 in A, Op. 141 (London Philharmonic; Mariss Jansons, cond.) EMI 56591 On This Day Births 1884 - Russian-born American composer Louis Gruenberg, near Brest-Litovsk (Julian date: July 22); 1896 - Russian inventor Lev Sergeivitch Termen (anglicized to Leon Theremin) in St. Petersburg (Gregorian date: August 15) Deaths 1784 - Italian composer and teacher Giovanni Battista Martini, age 78, in Bologna; His students included Gluck, Mozart, Grétry, and Jommelli; Premieres 1829 - Rossini: opera, "Guillaume Tell" (William Tell), at the Paris Opéra; 1941 - Robert Russell Bennett: Symphony in D ("For the Dodgers"), in New York; 1961 - John Cage: "Atlas Eclipticalis," at the "International Week of Today's Music," in Montréal; 1967 - Lalo Schifrin: cantata, "The Rise and Fall of the Third Reich" (adapted from the composer's filmscore) by the Los Angeles Philharmonic at the Hollywood Bowl, with Lawrence Foster conducting; Others 1668 - German composer Dietrich Buxtehude marries the daughter of Franz Tunder, retiring organist at St. Mary's Church in Lübeck, as a condition to succeed Tunder in his position at St. Mary's; It is thought that both Handel and J.S. Bach were both interested in the position - but not in Tunder's daughter; 1778 - Milan's famous Teatro alla Scala (La Scala) opens with a performance of “L'Europa riconosciuta” by Italian opera composer Antonio Salieri, a work written specially for the occasion; The theater took its name from the site previously occupied by the church of Santa Maria della Scala (named after Bernabo Visconti's wife, Beatrice della Scala); This same opera, conducted by Riccardo Muti, was performed on Dec. 7, 2004 at the Gala reopening of La Scala after three years of major renovation; 1779 - Mozart finishes in Salzburg his "Posthorn" Serenade; 1795 - The Paris Conservatory of Music is founded by the National Revolutionary Convention. Links and Resources On Rossini On other famous radio themes

Today's copyright laws are predicated on the idea that music is intellectual property; a commodity that has value to its creator and to its publisher. But, how did that concept originate and why? From Servant to Savant: Musical Privilege, Property, and the French Revolution (Oxford University Press, 2022) by Rebecca Geoffroy Schwinden tackles this question with an insightful examination of the years around the French Revolution when the legal protections for music moved from a system of monopolies granted by the sovereign that regulated music as an activity to a framework that assumed music was a kind of property. Before the French Revolution, making music was an activity that required permission. After the revolution, music was an object that could be possessed.In Geoffroy-Schwinden's analysis, this is far from a simple history of commodification, it is, instead, a process entwined with the political, ideological, and cultural agendas of the French Revolutionaries. It is also a history of the development of new institutions, and how the Paris Conservatory, founded in the fluid and sometimes violent aftermath of the French Revolution, became the conservator and arbiter of French musical traditions and pedagogy. Musicians capitalized on new kinds of legal protections to guard their professionalization within new laws and institutions, while excluding those without credentials from their elite echelon. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today's copyright laws are predicated on the idea that music is intellectual property; a commodity that has value to its creator and to its publisher. But, how did that concept originate and why? From Servant to Savant: Musical Privilege, Property, and the French Revolution (Oxford University Press, 2022) by Rebecca Geoffroy Schwinden tackles this question with an insightful examination of the years around the French Revolution when the legal protections for music moved from a system of monopolies granted by the sovereign that regulated music as an activity to a framework that assumed music was a kind of property. Before the French Revolution, making music was an activity that required permission. After the revolution, music was an object that could be possessed.In Geoffroy-Schwinden's analysis, this is far from a simple history of commodification, it is, instead, a process entwined with the political, ideological, and cultural agendas of the French Revolutionaries. It is also a history of the development of new institutions, and how the Paris Conservatory, founded in the fluid and sometimes violent aftermath of the French Revolution, became the conservator and arbiter of French musical traditions and pedagogy. Musicians capitalized on new kinds of legal protections to guard their professionalization within new laws and institutions, while excluding those without credentials from their elite echelon. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Today's copyright laws are predicated on the idea that music is intellectual property; a commodity that has value to its creator and to its publisher. But, how did that concept originate and why? From Servant to Savant: Musical Privilege, Property, and the French Revolution (Oxford University Press, 2022) by Rebecca Geoffroy Schwinden tackles this question with an insightful examination of the years around the French Revolution when the legal protections for music moved from a system of monopolies granted by the sovereign that regulated music as an activity to a framework that assumed music was a kind of property. Before the French Revolution, making music was an activity that required permission. After the revolution, music was an object that could be possessed.In Geoffroy-Schwinden's analysis, this is far from a simple history of commodification, it is, instead, a process entwined with the political, ideological, and cultural agendas of the French Revolutionaries. It is also a history of the development of new institutions, and how the Paris Conservatory, founded in the fluid and sometimes violent aftermath of the French Revolution, became the conservator and arbiter of French musical traditions and pedagogy. Musicians capitalized on new kinds of legal protections to guard their professionalization within new laws and institutions, while excluding those without credentials from their elite echelon. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Today's copyright laws are predicated on the idea that music is intellectual property; a commodity that has value to its creator and to its publisher. But, how did that concept originate and why? From Servant to Savant: Musical Privilege, Property, and the French Revolution (Oxford University Press, 2022) by Rebecca Geoffroy Schwinden tackles this question with an insightful examination of the years around the French Revolution when the legal protections for music moved from a system of monopolies granted by the sovereign that regulated music as an activity to a framework that assumed music was a kind of property. Before the French Revolution, making music was an activity that required permission. After the revolution, music was an object that could be possessed.In Geoffroy-Schwinden's analysis, this is far from a simple history of commodification, it is, instead, a process entwined with the political, ideological, and cultural agendas of the French Revolutionaries. It is also a history of the development of new institutions, and how the Paris Conservatory, founded in the fluid and sometimes violent aftermath of the French Revolution, became the conservator and arbiter of French musical traditions and pedagogy. Musicians capitalized on new kinds of legal protections to guard their professionalization within new laws and institutions, while excluding those without credentials from their elite echelon. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's copyright laws are predicated on the idea that music is intellectual property; a commodity that has value to its creator and to its publisher. But, how did that concept originate and why? From Servant to Savant: Musical Privilege, Property, and the French Revolution (Oxford University Press, 2022) by Rebecca Geoffroy Schwinden tackles this question with an insightful examination of the years around the French Revolution when the legal protections for music moved from a system of monopolies granted by the sovereign that regulated music as an activity to a framework that assumed music was a kind of property. Before the French Revolution, making music was an activity that required permission. After the revolution, music was an object that could be possessed.In Geoffroy-Schwinden's analysis, this is far from a simple history of commodification, it is, instead, a process entwined with the political, ideological, and cultural agendas of the French Revolutionaries. It is also a history of the development of new institutions, and how the Paris Conservatory, founded in the fluid and sometimes violent aftermath of the French Revolution, became the conservator and arbiter of French musical traditions and pedagogy. Musicians capitalized on new kinds of legal protections to guard their professionalization within new laws and institutions, while excluding those without credentials from their elite echelon. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Today's copyright laws are predicated on the idea that music is intellectual property; a commodity that has value to its creator and to its publisher. But, how did that concept originate and why? From Servant to Savant: Musical Privilege, Property, and the French Revolution (Oxford University Press, 2022) by Rebecca Geoffroy Schwinden tackles this question with an insightful examination of the years around the French Revolution when the legal protections for music moved from a system of monopolies granted by the sovereign that regulated music as an activity to a framework that assumed music was a kind of property. Before the French Revolution, making music was an activity that required permission. After the revolution, music was an object that could be possessed.In Geoffroy-Schwinden's analysis, this is far from a simple history of commodification, it is, instead, a process entwined with the political, ideological, and cultural agendas of the French Revolutionaries. It is also a history of the development of new institutions, and how the Paris Conservatory, founded in the fluid and sometimes violent aftermath of the French Revolution, became the conservator and arbiter of French musical traditions and pedagogy. Musicians capitalized on new kinds of legal protections to guard their professionalization within new laws and institutions, while excluding those without credentials from their elite echelon. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Today's copyright laws are predicated on the idea that music is intellectual property; a commodity that has value to its creator and to its publisher. But, how did that concept originate and why? From Servant to Savant: Musical Privilege, Property, and the French Revolution (Oxford University Press, 2022) by Rebecca Geoffroy Schwinden tackles this question with an insightful examination of the years around the French Revolution when the legal protections for music moved from a system of monopolies granted by the sovereign that regulated music as an activity to a framework that assumed music was a kind of property. Before the French Revolution, making music was an activity that required permission. After the revolution, music was an object that could be possessed.In Geoffroy-Schwinden's analysis, this is far from a simple history of commodification, it is, instead, a process entwined with the political, ideological, and cultural agendas of the French Revolutionaries. It is also a history of the development of new institutions, and how the Paris Conservatory, founded in the fluid and sometimes violent aftermath of the French Revolution, became the conservator and arbiter of French musical traditions and pedagogy. Musicians capitalized on new kinds of legal protections to guard their professionalization within new laws and institutions, while excluding those without credentials from their elite echelon. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

Today's copyright laws are predicated on the idea that music is intellectual property; a commodity that has value to its creator and to its publisher. But, how did that concept originate and why? From Servant to Savant: Musical Privilege, Property, and the French Revolution (Oxford University Press, 2022) by Rebecca Geoffroy Schwinden tackles this question with an insightful examination of the years around the French Revolution when the legal protections for music moved from a system of monopolies granted by the sovereign that regulated music as an activity to a framework that assumed music was a kind of property. Before the French Revolution, making music was an activity that required permission. After the revolution, music was an object that could be possessed.In Geoffroy-Schwinden's analysis, this is far from a simple history of commodification, it is, instead, a process entwined with the political, ideological, and cultural agendas of the French Revolutionaries. It is also a history of the development of new institutions, and how the Paris Conservatory, founded in the fluid and sometimes violent aftermath of the French Revolution, became the conservator and arbiter of French musical traditions and pedagogy. Musicians capitalized on new kinds of legal protections to guard their professionalization within new laws and institutions, while excluding those without credentials from their elite echelon. Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century.

As a young man, Ernest Chausson studied law, and was admitted to the bar. But music was his great love, and instead of practicing law he enrolled at the Paris Conservatory.

Descarga Cultura UNAM y Gerardo Kleinburg presenta "Werther de Massenet" Por favor tenga en cuenta: este episodio incluye contenido para adultos y puede no ser adecuado para todos los oyentes. Como parte de la trama de la historia, se discuten los temas del suicidio y la salud mental. Lifeline ofrece apoyo gratuito y confidencial las 24 horas del día, los 7 días de la semana para personas en peligro, y recursos de prevención y crisis para usted o sus seres queridos. Los servicios están disponibles por teléfono y por chat en línea. Web: http://suicidepreventionlifeline.org Teléfono: (888)628-9454 - Español Jules Massenet (Saint-Étienne, 1842 - París, 1912) nació en la plenitud del romanticismo y muere en vísperas de la Primera Guerra Mundial. Inició sus estudios de música a los once años en el Conservatorio de París y en 1863 ganó el Grand Prix de Roma gracias a su cantata David Rizzio. Fue compositor de más de cuarenta obras operísticas. Manon, La grand'tante, Don Quichotte, Hérodiade, Le Cid, y Werther son algunas de sus composiciones más reconocidas. Para la ópera Werther, Massenet se basó en la novela epistolar Las desventuras del joven Werther, del escritor alemán Johann Wolfgang von Goethe. A lo largo de esta charla, Kleinburg, expone los antecedentes tanto de la obra literaria de Goethe como los de la obra operística de Massenet, y evidencia las relaciones que mantienen ambas con la naturaleza, el motivo del amor incondicional, la amenaza, la muerte y el suicidio. ------------------------------------------------------------------------------------------------ Descarga Cultura UNAM and Gerardo Kleinburg present "Massenet – Werther” Please note: This episode includes adult content and may not be suitable for all listeners. As part of the story's plot, themes of suicide and mental health are discussed. The Lifeline provides 24/7, free and confidential support for people in distress, and prevention and crisis resources for you or your loved ones. Web: http://suicidepreventionlifeline.org Phone: (800)273-8255 On this episode of Behind the Curtain, you'll be listening to a talk presented by Gerardo Kleinburg and graciously shared by the National Autonomous University of Mexico and Descarga Cultura UNAM. Jules Massenet (Saint-Étienne, 1842 - Paris, 1912) was born in the prime of the Romantic era and died on the eve of the World War I. He began his music studies at the age of eleven at the Paris Conservatory, and in 1863 he won the Grand Prix of Rome thanks to his cantata David Rizzio. He composed more than forty operatic works. Manon, La grand'tante, Don Quichotte, Hérodiade, Le Cid, and Werther are some of his most recognized compositions. Massenet based his opera Werther on the epistolary novel The Sorrows of Young Werther by the German writer Johann Wolfgang von Goethe. Throughout this talk, Kleinburg discusses the antecedents of both Goethe's literary work and those of Massenet's operatic work, and highlights the relationships that both maintain with nature, the motive of unconditional love, threat, death, and suicide.

  Join us for a discussion with Dr. Jeffrey Snedeker, Editor of a forthcoming special volume dedicated to the 50th Anniversary of the IHS. Jeff is Professor of Horn at Central Washington University, and is a member of the IHS Advisory Council, Past President of the IHS, past Editor of The Horn Call, and was awarded the IHS Service Medal of Honor in 2020. Episode Highlights Overview of the 50th Anniversary volume Discussion of the planning, creation process  Chapters Anticipated release date Where can someone buy the book? Jeff's Book on the Paris Conservatory is out soon by Routledge

Episode Notes Wasn't I right? How can you not be motivated by hearing Harvey Miller's story Listen to Pride Connection this Tuesday April, 12 at 10 pm. EST on ACB Radio Mainstream and hear the rest of the story. In this part of our conversation hear to whom and how Harvey came out. Learn how a road trip with a friend lead him to a once in a lifetime find. You will be totally impressed hearing how Harvey made it around every obstacle put in his way to get started on the work he was committed to do. Learn more about Louis Braille and his students who used Braille's system of music notation for the blind. I could not imagine being a student at the Paris Conservatory for the Blind and dealing with the inadequacies of the facilities during the mid-nineteenth century. Find out how Dr. Miller used his lap top computer and syllabus, a music notation soft wear program which allows a blind musician to create printed music for the sighted musician to play. This project took over a decade to complete and gives Harvey yet one more title. Music Archivist. All because he stopped at the American Printing House for the Blind in Louisville, Kentucky. There are musical examples to tweak the ear of the discerning listener. Please join us this Tuesday for Pride Connection at 10 EST on ACB Radio Mainstream.

It's the Better Each Day Podcast Radio Show and once again it's me, Bruce Hilliard, bringing you the power roots trio Delgres and one third of the trio, our very talented guest Pascal Danae. He is a singer/guitar player and songwriter of music that takes on slavery, immigration, workers' rights on their new album coming out April 9th titled 4:00 AM. The band members include drummer Baptiste Brondy and, in a nod to New Orleans tradition, rather than using a conventional electric or acoustic bass, our guest Pascal chose to anchor the music with a sousaphone, calling on Rafgee (excuse my French), a Paris Conservatory trained trumpeter who is well versed in playing tuba in Caribbean dance bands. Let's welcome, from the band Delgres, Pascal Danae. The music in 4:00 AM, the new recording by the Paris-based power roots trio Delgres, sounds gritty and full of energy. It's a brand of Creole blues built on strands of African and French Caribbean culture, Mississippi blues storytelling, and New Orleans grooves. The lyrics, sung mostly in Creole, address issues such as poverty, slavery, and the struggles of the immigrant searching for a better life. It's a powerful combination that conjures the spirit of the blues to speak up, but also celebrate and heal. Delgres' new album is coming out April 9th titled 4:00 AM. Support this podcast

It’s the Better Each Day Podcast Radio Show and once again it’s me, Bruce Hilliard, bringing you the power roots trio Delgres and one third of the trio, our very talented guest Pascal Danae. He is a singer/guitar player and songwriter of music that takes on slavery, immigration, workers’ rights on their new album coming out April 9th titled 4:00 AM. The band members include drummer Baptiste Brondy and, in a nod to New Orleans tradition, rather than using a conventional electric or acoustic bass, our guest Pascal chose to anchor the music with a sousaphone, calling on Rafgee (excuse my French), a Paris Conservatory trained trumpeter who is well versed in playing tuba in Caribbean dance bands. Let’s welcome, from the band Delgres, Pascal Danae. The music in 4:00 AM, the new recording by the Paris-based power roots trio Delgres, sounds gritty and full of energy. It's a brand of Creole blues built on strands of African and French Caribbean culture, Mississippi blues storytelling, and New Orleans grooves. The lyrics, sung mostly in Creole, address issues such as poverty, slavery, and the struggles of the immigrant searching for a better life. It's a powerful combination that conjures the spirit of the blues to speak up, but also celebrate and heal. Delgres’ new album is coming out April 9th titled 4:00 AM. Support this podcast

On today’s date in 1843, a composer dubbed “The Chopin of America” was born in San Juan, Puerto Rico. His name was Manuel Gregorio Tavárez, born to a French father and Puerto Rican mother. He began his musical studies in San Juan but at the age of 15 moved to France to study at the Paris Conservatory with two leading French composers of the day, Daniel Auber and Eugen D'Albert. While in Paris, Tavárez suffered a stroke that paralyzed his left hand and affected his hearing. He returned to Puerto Rico, overcame those problems and after giving several recitals in San Juan, became a piano teacher. As a composer, Tavárez developed an original dance form called Danza–similar to the waltz, but tinged with Afro-Cuban rhythms from the Caribbean and the wistful melancholy of European Romantic composers. Tavárez gave his works evocative titles like “La Sensitiva” (The Sensitive one), “La Ausencia” (Absense), “Un Recuerdito” (A little remembrance) and “Pobre Corazón” (Poor heart), but the title of his most famous Danza, written in 1870, was simply a woman’s name: “Margarita.” Like Chopin, Tavárez lived only 39 years. He died in 1883.

On today’s date in 1843, a composer dubbed “The Chopin of America” was born in San Juan, Puerto Rico. His name was Manuel Gregorio Tavárez, born to a French father and Puerto Rican mother. He began his musical studies in San Juan but at the age of 15 moved to France to study at the Paris Conservatory with two leading French composers of the day, Daniel Auber and Eugen D'Albert. While in Paris, Tavárez suffered a stroke that paralyzed his left hand and affected his hearing. He returned to Puerto Rico, overcame those problems and after giving several recitals in San Juan, became a piano teacher. As a composer, Tavárez developed an original dance form called Danza–similar to the waltz, but tinged with Afro-Cuban rhythms from the Caribbean and the wistful melancholy of European Romantic composers. Tavárez gave his works evocative titles like “La Sensitiva” (The Sensitive one), “La Ausencia” (Absense), “Un Recuerdito” (A little remembrance) and “Pobre Corazón” (Poor heart), but the title of his most famous Danza, written in 1870, was simply a woman’s name: “Margarita.” Like Chopin, Tavárez lived only 39 years. He died in 1883.

In 1834, the great violin virtuoso Niccolo Paganini acquired a new Stradivarius viola. He approached the 30-year old French composer Hector Berlioz and commissioned him to write a viola concerto. What Berlioz came up with, however, was a Romantic program symphony with a prominent part for solo viola titled “Harold in Italy,” inspired by Byron’s narrative poem “Childe Harold.” Paganini was disappointed. “That is not what I want,” he said. “I am silent a great deal too long. I must be playing the whole time.” And so, when “Harold in Italy” was first performed, at the Paris Conservatory on today’s date in 1834, it was an old classmate of Berlioz’s, Chrétien Urhan, who was the soloist, not the superstar Paganini. The audience seemed to like the “Pilgrims’ March” movement of the symphony, which was encored, but otherwise the performance was one train wreck after another. Four years later, however, Berlioz had the last laugh when Paganini, hearing the music he commissioned at a better performed concert, rose from the audience, mounted the stage and publicly declared Berlioz a genius, and, two days later, presented the stunned Berlioz with a check for 20,000 francs.

In 1834, the great violin virtuoso Niccolo Paganini acquired a new Stradivarius viola. He approached the 30-year old French composer Hector Berlioz and commissioned him to write a viola concerto. What Berlioz came up with, however, was a Romantic program symphony with a prominent part for solo viola titled “Harold in Italy,” inspired by Byron’s narrative poem “Childe Harold.” Paganini was disappointed. “That is not what I want,” he said. “I am silent a great deal too long. I must be playing the whole time.” And so, when “Harold in Italy” was first performed, at the Paris Conservatory on today’s date in 1834, it was an old classmate of Berlioz’s, Chrétien Urhan, who was the soloist, not the superstar Paganini. The audience seemed to like the “Pilgrims’ March” movement of the symphony, which was encored, but otherwise the performance was one train wreck after another. Four years later, however, Berlioz had the last laugh when Paganini, hearing the music he commissioned at a better performed concert, rose from the audience, mounted the stage and publicly declared Berlioz a genius, and, two days later, presented the stunned Berlioz with a check for 20,000 francs.

My guest today is the famed virtuoso concert pianist and composer, Cyprien Katsaris. One of the most renowned concert pianists of both the 20th and 21st centuries, Katsaris has performed with the world's greatest orchestras and recorded extensively over his storied career. We talk about his transcriptions, compositions, playing the Cziffra Flight of Bumblee live in front of Cziffra on TV, being told by the world's most powerful classical music agent not to play transcriptions, his famed sightreading prowess, and much more! 0:41 Did you always improvise, even when you were young? 2:32 Are you saying anyone can learn to improvise? 4:05 Chick Corea finding it harder to play his written music vs improvising 4:56 Studying at the Paris Conservatory 7:09 His teacher Monique de la Bruchollerie being the first western female to play Rach 3 in 1945 8:56 Would you consider yourself a musical great-grandchild of Alkan and Liszt? 11:26 Did you study with György Cziffra? 11:59 Cziffra being a great jazz improviser 16:22 Did you meet Cziffra personally? 19:45 Recording Cziffra's transcription of the Flight of the Bumblebee 24:05 What did Cziffra think of your playing? 26:06 What motivated you to become a concert pianist who created your own transcriptions? 28:17 Did you ever face any pushback from attempting to play transcriptions? 32:13 The most powerful classical music agent in the world telling you not to play transcriptions 34:17 Why was there such a negative attitude towards transcriptions in the 20th century? 35:59 What is the difference between the modern, academic way of playing vs the traditional, older way? 39:39 Why do you dislike piano competitions? 44:19 Koji Attwood's anecdote of your incredible sight-reading feat 48:23 How important is the metronome in practice? 49:47 How do you think about music theory? 52:04 What is your compositional process? 54:43 Does your ability to play any style come from absorbing it from playing repertoire? 55:50 What is your proudest musical moment? 56:22 If you could step into a time machine and meet any great composer from history, who would it be? 56:46 What are the 3 hardest things you've ever had to play? 57:03 What are the hardest concertos for you to play? 57:18 Do you play any other instruments apart from the piano? 57:33 Have you ever dabbled on the harpsichord, organ or electric keyboard? 57:57 If you could have done it all over again, what would you have changed about your career? 58:31 At what age did you feel that you had your mature conception as an artist? 59:25 Who are the top 3 greatest composers? 59:36 Name me your top 3 recordings that you feel most proud of 59:48 If someone wanted to hear your music, which 3 albums would you recommend? 1:01:32 Name me your 3 most important compositions 1:02:57 Do you listen to or play jazz? 1:03:47 How does Scientology influence your music or life? 1:05:15 Who are the top 3 pianists of the 20th century? 1:05:28 Wrapping Up

It's my pleasure to introduce my guest today, pianist, composer, educator, and researcher, Philipp Teriete. Today we will explore the improvisation and partimento in the 19th century, the great French music teacher Pierre-Joseph-Guillaume Zimmerman, Frederic Chopin's music education, the influence of German music theory in early ragtime and jazz composers and so much more! 0:38 What is your background and how did you come to your present areas of research? 4:40 Who was Pierre-Joseph-Guillaume Zimmerman? 5:55 Did he have any famous pupils? 7:27 What was Zimmerman's training? 9:17 Was he a victim of the cult of genius? 10:41 Was Zimmerman consigned to historical oblivion before your research? 12:55 Partimento and Zimmerman 14:21 Zimmerman's holistic approach to teaching music 17:00 How was Zimmerman different from someone like Fenaroli? 18:10 Zimmerman's recommendation of solfege 19:23 Needing to read 7 clefs right at the beginning with Zimmerman 20:33 How long does it take to be acquainted with 7 clefs? 21:23 Zimmerman calling pianists who have no knowledge of harmony, “schoolboys” 22:37 Cherubini giving Liszt and Berlioz a hard time 23:05 Zimmerman rejecting Louis Moreau Gottschalk from entering the Paris Conservatory 24:09 Did Zimmerman teach the Rule of the Octave and Moti del basso? 24:35 Were these 19th century versions of these things? 26:23 Zimmerman's method leading to free composition and counterpoint 29:00 Are Zimmerman's technical piano teachings comparable to someone like Hanon? 30:56 Frederic Chopin, how did he learn music? 32:19 What's the evidence for the claim that Josef Elsner's curriculum was modeled after the Paris Conservatory? 33:27 Chopin studying 6 hours a week of counterpoint with Elsner 34:06 Chopin and the cult of the genius 34:51 Could he be considered a formally trained musician instead of self-taught? 35:47 Were these all treatises that Elsner used to teach Chopin? 36:14 Did Chopin know the Rule of the Octave? 36:43 What about Chopin and Partimento? 39:05 What was Henri Reber's lineage of teaching music theory? 39:46 Were Henri Reber and Chopin good friends? 40:27 Chopin's plan to write his own piano method 41:35 Why would Chopin ask a music theorist/composer to help him with his piano method 42:33 Was Chopin 100% focused on completing his method? 43:14 Chopin being very musically opinionated and yet asking several friends to finish his piano method 44:42 Friedrich Kalkbrenner's negative image 47:33 People dismissing great composers as “inferior” 48:57 How would Chopin analyze his own music? 52:10 Francis Plante's video recordings of Chopin Etudes at age 90 53:26 Ragtime - Do we have any evidence that Scott Joplin and Tom Turpin had any formal music training? 55:06 Do we know for sure that Scott Joplin had a counterpoint treatise in his possession? 58:32 The Leipzig Conservatory and Generalbass 59:13 Roman Numerals, Harmonic Function Theory, Generalbass and Counterpoint - a Nuanced take 1:01:34 Were Leipzig Conservatory students learning Stufentheorie and Generalbass at the same time? 1:02:45 Joplin's counterpoint treatise containing many notes and annotations 1:03:56 On counterpoint being something that takes years to study 1:05:34 If you study counterpoint already, what's the need for Stufentheorie or Roman Numerals? 1:07:30 Is Wagner influenced by the German theories of music? 1:10:33 Counterpoint vs chord invertibility 1:14:17 Wrapping Up

Ransom Wilson has long been recognized internationally as one of the greatest flutists of his generation. Flutist/conductor Ransom Wilson has performed in concert with major orchestras the world over. As a flutist, he has recently launched an ongoing series of solo recordings on the Nimbus label in Europe. As a conductor, he is starting his third season as Music Director of the Redlands Symphony in Southern California, and he continues his positions with the Lar Lubovitch Dance Company and Le Train Bleu ensemble. He has led opera performances at the New York City Opera, and was for ten years an assistant conductor at the Metropolitan Opera. He has been a guest conductor of the London, Houston, KBS, Kraków, Denver, New Jersey, Hartford, and Berkeley symphonies; the Orchestra of St. Luke’s; the Philadelphia Chamber Orchestra; the Hallé Orchestra; and the chamber orchestras of St. Paul and Los Angeles. He has also appeared with the Glimmerglass Opera, Minnesota Opera, and the Opera of La Quinzena Musical in Spain. As an educator, he regularly leads master classes at the Paris Conservatory, Juilliard School, Moscow Conservatory, Cambridge University, and others. A graduate of The Juilliard School, he was an Atlantique Foundation scholar in Paris, where he studied privately with Jean-Pierre Rampal. His recording career, which includes three Grammy Award nominations, began in 1973 with Jean-Pierre Rampal and I Solisti Veneti. Since then he has recorded over 35 albums as flutist and/or conductor. Mr. Wilson is Professor of Flute at the Yale University School of Music, and has performed with The Chamber Music Society of Lincoln Center since 1991. In this episode we talk about his relationships with Jean-Pierre Rampal, Leonard Bernstein and Julius Baker. He talks about various collaborations, teaching, hobbies, solo career, touring and much more! For more information about Ransom Wilson please visit: https://www.ransomwilson.com © Let's Talk Off The Podium, 2020

Returning to the program is Professor Robert Gjerdingen, Professor Emeritus of Music at Northwestern University's School of Music. He is well known for his research in Music Schemata Theory, Partimento and is an expert in music of the 18th century. His previous book was the influential 2007 book “Music in the Galant Style” and he has a new book out entitled,”Child Composers in the Old Conservatories: How Orphans Became Elite Musicians”. He is also very actively updating his new website partimenti.org ----- 0:48 How did you come to write Child Composers? 2:43 Do you still conduct research in Music Schema Theory? 3:20 How long did you work with Alma Deutscher and what did you work on? 5:56 How do the elite child classical performers of today compare with the elite child musicians of these old conservatories? 8:22 What was the typical job description of a graduate of the Neapolitan conservatories? 9:44 Was fugal training overkill with regard to the work that the graduates would use in their professional lives in the 18th century? 11:24 What are the problems with Move-able Do in Solfeggio? 16:19 How were intavolature, beginning keyboard pieces, used at the conservatories? 18:12 What are some good, easy keyboard pieces that children today could use? 18:54 If I was a violinist, would I still need to sing and play the keyboard? 19:26 Even if I played guitar, cello, trumpet or any instrument I'd still be expected to sing and play keyboard? 19:37 Why did the Neapolitans place so much importance on singing? 20:23 How many hours a day did one of these child composers dedicate to music at the conservatories? 21:21 How many times a week would a class like partimento be taken a week? 22:04 Did Debussy study partimenti at the Paris Conservatory? 23:42 What is the difference between the Bologna and Naples traditions? 25:28 Henri Busser's blackballing at his harmony entrance exam by Theodore Dubois 28:30 Did Rameau and his theories of fundamental bass have any influence on the Paris Conservatory? 29:46 If the Paris Conservatory was so emulated around the world and Walter Piston studied with Nadia Boulanger, why didn't the old italian methods continue on in America in the 20th century? 32:58 Do things like submediants, supertonics then exist? 33:49 Are there modern theories of music with levels of harmony or is it just a serious study of counterpoint? 35:08 Are these 20th century college books of harmony just for learning “about” music and instead of real study of music would entail a serious multi-year course of counterpoint? 36:19 What is your opinion about classical music performance competitions? 39:14 How do these old Italian methods work with regular, non-prodigy children and people? 41:40 Have you seen a change in perception in music analysis with regard to music schema, partimento, figured bass over the years? 45:00 What about Heinrich Schenker's popularity in music conservatories, didn't he believe in counterpoint? 45:55 What's your plan with partimenti.org? 46:11 Do you have new books and articles planned for the future? 46:28 Were you friends with Daniel Heartz who recently passed away? 47:33 Commenting on Music Schema with regard to form-functional analysis 48:46 How should a child start learning music?

Thomas Lacôte is organiste titulaire at the Eglise de la Trinité in Paris, a post that Olivier Messiaen held for 60 years. He worked at the Paris Conservatory for six years as the assistant of Michaël Levinas, before being named professor of analysis in 2014. He was educated at this institution, receiving five first prizes with distinction between 2002 and 2006. His manifold musical activities bring together composition, improvisation, performance, teaching and research. His cycle Etudes pour orgue (2006–2015) presents a new approach to the instrument and its sonority. In 2013, his first solo CD entitled The Fifth Hammer was recorded at the Eglise de la Trinité, and released by Hortus.He is regularly invited for recitals, master classes and lectures by many international institutions, including The Royal College of Organists, Eastman School of Music, Mozarteum Salzburg, Gothenburg Music Academy, Haarlem Organ Academy, Bologna Conservatorio, etc. Along with musicologists Yves Balmer and Christopher Murray, Thomas Lacôte has devoted several years to important research on the works of Olivier Messiaen, leading to the publication of several articles in international journals (XXth Century Music, Journal of the American Musicological Society) and a book (Le modèle et l'invention: Olivier Messiaen et la technique de l'emprunt, Editions Symétrie, 2017).In 2012, Thomas Lacôte was awarded the Del Duca prize from the Académie des Beaux-Arts-Institut de France. In 2019 he received the Hervé Dugardin composition prize from the SACEM. He is artist in residence at the Royaumont Foundation, and a member of the musical committee of the Prince Pierre Foundation in Monaco.Thomas has a new work being premiered in Paris on February 9th, 2020 in which he will participate as soloist. More information here.More about Thomas Lacôte:Official websiteSoundcloud pageYoutube channel**SUPPORT THIS PODCASTPatreonDonorboxLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSSpoken introduction: Maya RasmussenPodcast artwork photograph © 2019 Philippe StirnweissSupport the show (http://www.patreon.com/samuelandreyev)

Flute 360 | Episode 98: “Building Your C.V. Through International Experiences with Dr. Nevart Galileas” (34:00) In today’s episode, Heidi talks with Dr. Nevart Galileas about adding international experiences to build your résumé or curriculum vitae. Dr. Galileas gives her advice regarding this area and shares the benefits of traveling abroad to enhance your musical career. Episode 98 – Main Points: 0:26 – Gold Sponsor: J&K Productions 1:21 – Welcome & Introduction 2:54 – Please share with the listeners who you are and your musical background! 2:59 – Nevart’s Answer 3:12 – Studies at Oberlin Conservatory (OH) with Debost 3:33 – Studies at Indiana University (IN) with Robertello and Lukas 4:08 – Studies at Stony Brook University (NY) with Carol Wincenc 4:45 – Neo Conservatory of Music in Thessaloniki, Greece 4:50 – ACT’s Summer Music Program, Greece 5:00 – State Conservatory of Thessaloniki, Greece 5:53 – ACT’s Summer Music Program in July of 2020 6:43 – Straubinger Flute Scholarships 8:45 – Heidi gives an Episode 100 teaser. 10:26 – Nevart Comments 11:11 – Building connections and growing your network. 12:27 – Question: What are the benefits of building international experiences to your C.V. or résumé. 12:43 – Nevart Answers 13:09 – Nevart comments about how the profession is changing throughout the times. 13:46 – Doctor of Musical Arts (D.M.A.) degree 15:24 – “You must be out there. Also, because it is a globalized music world nowadays. We are somehow all connected, even if you are on the other end of the world.” – Nevart 15:57 – Job applications for academic positions. 16:13 – Nevart talks about cultural differences and how this can aid your teaching. 16:46 – Heidi Comments 17:45 – Paris Conservatory in Paris, France 19:43 – Question: Can you please share the lessons you’ve learned from your musical family and your international career? 20:08 – Nevart’s Answer 20:18 – Thessaloniki State Symphony Orchestra & Georgia State University 22:00 – Question: Any last thoughts or suggestions that you’d like to offer the listeners? 22:50 – Teachers can learn from their students, too! 23:54 – Heidi Comments 25:00 – Bucharest, Romania & Sofia, Bulgaria 25:39 – Listen here to bring the episode full circle! 27:16 – The Italian language. 28:33 – “Musicians need to be in touch with the world because it is an international language.” – Nevart 28:47 – Music is a privilege! 30:41 – “Music is our tool to communicate ideas, so if English is not the common ground, well good! Don’t let that hold you back! That’s a benefit because now you have to get creative!” – Heidi 30:58 – Nevart Comments 32:46 – Bronze Sponsor: J&K Productions  Episode 98 – Resources Mentioned: Straubinger Flutes (IN) Stony Brook University (NY) Indiana University (IN) Oberlin Conservatory (OH) Georgia State University (GA) Thessaloniki State Symphony Orchestra, Greece Paris Conservatory (France) ACT’s Summer Music Program in July of 2020, Greece Straubinger Flute Scholarships for ACT, Greece State Conservatory of Thessaloniki, Greece Neo Conservatory of Music in Thessaloniki, Greece Nevart Galileas’s Website Episode 98 – Sponsors: Gold & Bronze Level: J&K Productions

French Percussionist Adélaïde Ferrière stops by to talk about her PASIC 2019 performance and other elements of marimba performance (03:40), her career as a freelance percussionist in France (19:30), growing up in Dijon, France to musical parents and entering the Paris Conservatory at 16 (35:35), going to Paris Conservatory for her undergrad and master’s degrees and studying in England (53:15), and takes time for the Random Ass Questions (01:27:00).Finishing with a Rave on American Experience: Jubilee Singers (01:45:15). Links:Adélaïde Ferrière’s websiteAdélaïde’s Black Swamp pageRhapsody in Blue - solo marimba versionTrio KDMTrio XenakisAdélaïde’s version of “Asturias” published by Edition SvitzerOne World ObservatoryEmpire State BuildingMetropolitan Museum of ArtAmerican Museum of Natural History“Nocturne in E-Flat Major, Op. 9, No. 2” - Frederic Chopin“Rebonds A/B” - Iannis XenakisParis Conservatory“She Who Sleeps with a Small Blanket” - Kevin Volans“After Syrinx II” - Richard Rodney BennettInterstellar trailerThe Hangover trailerAladdin (2019) trailerThe Mysterious Island - Jules VerneRaves:Jubilee Singers on PBS

My guest today is Professor of Music Theory, Lydia Carlisi. She studied in Rome (Università di Roma 2/Tor Vergata) completing in 2010 a Bachelor Thesis on Leonardo Leo's Partimenti under the direction of Professor Giorgio Sanguinetti. In 2015 she completed a Master in Music Theory in the class of Prof. Dr. Ludwig Holtmeier at the Hochschule für Musik Freiburg (DE) with a thesis on Gaspare Selvaggi's «Trattato di armonia» (1823). During this time she was awarded a DAAD scholarship. She worked at creating the Neapolitan canon project at the university of the arts Bern and she is now professor for music theory at the Conservatorio of Lugano, Switzerland. Her upcoming PhD thesis focuses on the French reception of Partimento. ----- 1:02 When was the Paris Conservatory founded? 2:39 Was Italian music very influential in France at the time? 3:26 Did France have it's own music tradition separate from Italy? 4:02 How and why was the Paris Conservatory founded? 4:56 What happened in 1799? 5:47 Emanuele Imbimbo's background 7:12 Fenaroli's popularity in France 8:38 On French music theory 8:52 Talking about Honoré Langlé 9:32 Was Niccolò Piccinni the first head of the Paris Conservatory? 10:23 Did the French government send people to Naples to procure Italian music materials? 13:27 Was the Paris Conservatory interested also in German music at the time? 14:10 Gaspare Selvaggi's massive collection of Neapolitan composers 14:55 Did people like to collect music scores? 15:33 Did the Paris Conservatory copy the Neapolitan model of Solfeggio and Partimenti? 18:02 Was the Paris Conservatory Solfeggio different from the Neapolitan Solfeggio? 19:50 Did other conservatories around the world copy the model of the Paris Conservatory? 20:46 On the separation of subjects within the Paris Conservatory curriculum 21:05 On Luigi Cherubini's background and training 25:30 Was the word “partimenti” found in any of the French texts 26:18 Did Partimenti get “reborn” in France in the middle of the 19th century? 27:28 How did they learn counterpoint in the Paris Conservatory? 28:07 Did Choron have any influence on the Paris Conservatory? 29:03 Was partimenti viewed as old-fashioned or incomplete according to François-Joseph Fétis at the Paris Conservatory? 30:22 Was the Paris Conservatory approach to harmony similar to the Neapolitan method? 31:02 Were only composers and accompanists the ones who practiced improvisation? 32:00 Who was responsible for the fragmentation of the Neapolitan method in the Paris Conservatory? 33:10 Did accompanists like Debussy learn how to do “partimenti”-like exercises? 34:20 Were accompanists only practicing chords? 35:48 What were the important pedagogical books that the students would use at the Paris Conservatory? 36:40 Did the Charles-Simon Catel book erase the Neapolitan view of harmony? 37:43 What do you teach at the mentiParti? 39:07 How is the Partimenti composition class different from a more orthodox composition class? 39:53 What books can you recommend to people interested in developing their compositional training? 41:08 How do you improve your written counterpoint? 41:26 What are some basics for counterpoint that beginners can use? 43:12 Is renaissance-style counterpoint useful for learning galant music? 43:48 Is partimento counterpoint considered strict? 44:29 Are fugues at the end of the counterpoint study? 45:54 How do you introduce orchestration into composition study? 46:46 What are some common mistakes when learning the Neapolitan tradition? 48:05 Do you have unlearn a lot of information when learning partimento? 48:27 Who are your favorite Neapolitan composers? 49:00 Do you have favorite Partimenti? 49:29 What is the future for Partimento research? 51:06 Did Bach have Durante scores? 51:35 Is Partimento theory applicable for the 21st century? 52:22 If you could reform music education, how would you do it? 53:43 Can you learn to compose as an adult or is it too late? 54:37 Wrapping up

I'm so pleased today to talk to my guest today, Music theorist, historian, pianist and singer, Dr. Marco Pollaci! Following his studies as a pianist and singer, he graduated in a "Liberal arts - Music and Performing Arts degree - " from the University of Tor Vergata in Rome with Dr. Giorgio Sanguinetti and went on to receive his PhD in Music from the University of Nottingham in 2018. 
Dr. Pollaci's research focuses on eighteenth and nineteenth-century opera and music history. He is interested in sketch studies, music theory and music analysis. Further research interests include Partimento Studies and Italian compositional practice in eighteenth and nineteenth century music. He is currently working as an assistant researcher for a Partimento project for the Department of Musicology of Pavia. He runs the popular Facebook Group, "The Art of Partimento". ----- 1:52 What's your musical background? 4:16 Are these articles and books you mentioned new? 5:13 What were the gaps that people had in understanding before? 6:25 Talking about the German and French influence in the Neapolitan Partimento tradition? 7:57 On the secretiveness of the Neapolitans 9:20 Did Fugal writing lessen as 19th century Romantic harmony took over? 11:46 Was writing Opera the main goal for young Italian composers? 14:15 Who were the “Giovane Scuola” (Young School)? 15:59 Weren't the Young School more associated with the Milan tradition rather than the Neapolitan tradition? 20:41 The Romantic view of composers and Bellini 22:06 What kind of training did Bellini undergo? 22:45 The famous teachers of Naples 24:58 Can you see traces of Partimento Exercises in Bellini operas? 26:28 On Bellini being greatly admired by his contemporaries 27:28 Talking about the Bellini revival with Maria Callas 29:33 Can Bellini's famous long melodies be connected with the Partimento tradition 32:53 Does the Paris Conservatory have a similarities to the Partimento tradition? 35:07 How did Germany harmony affect Partimento? 35:58 Talking about the separation of Counterpoint and Harmony 37:46 How did the Partimento tradition change with 19th century Harmony 40:19 Can you analyze 19th century romantic music with a Partimento lens 42:17 Using the Prelude to Wagner's Tristan und Isolde as an example 43:24 Talking about Giuseppe Verdi 46:15 Was Italian music as or more influential than German music during the 18th and 19th century 47:32 What has surprised you about your research? 48:44 Did non-Italian composers absorb these musical patterns without the Neapolitan training? 50:41 Was it difficult to access the Neapolitan archives because of their secretive reputation? 53:15 How much material is in these archives and is there a lot more left to study? 54:42 Do you have favorite Partimenti exercises? 55:19 What's appealing about Durante? 56:43 How widespread were Fenaroli's exercises in Europe? 58:09 On the progressive difficulty of the Fenaroli partimenti 59:28 How can partimento assist in understanding music of the 19th century? 1:01:17 Should we still keep Roman Numerals and traditional tonal analysis 1:02:29 Wrapping up and Upcoming projects/events

It's my pleasure to introduce my guest today Music Theorist, Performer and Music Historian, Dr. Giorgio Sanguinetti! Sanguinetti teaches at the University of Rome-Tor Vergata. He gives classes and seminars in many prestigious European and American institutions, such as the Orpheus Institute in Ghent, the university of Leuven (Belgium), the Schola Cantorum Basiliensis (Switzerland), the NUI in Maynooth (Ireland), the CUNY Graduate Center (New York), Northwestern University, Indiana University at Bloomington, and the Boston University. For the winter semester 2012 he taught at the Schulich school of Music at McGill University, Montreal (CA). He was the organizer of 7th European Music Analysis Conference, Rome 2011. He has written several articles and essays on the history of Italian theory from 18th to 20th century, Schenkerian analysis, “analysis and performance, form in 18th century music” ,Opera analysis, and has worked intensively in the rediscovery of the Italian partimento tradition. In 2012 Oxford University Press published his book “The Art of Partimento: History, Theory and Practice”. Sanguinetti is also a moderator on the fast growing public Facebook Group “The Art of Partimento”. ----- 2:16 Tell me your musical background 3:08 Why did Partimento die out? 4:51 Was Fenaroli a well known name in Italy in the modern age? 5:59 So even in Italy, Partimento faded away? 7:49 Was the Paris Conservatory influenced by the Naples tradition? 8:27 Why was the Prix de Rome considered a big deal for a winning French musician? 9:05 Can we pinpoint when Partimento got replaced in the 19th century? 11:43 Are there still plenty of archival material and manuscripts left in the Naples conservatory libraries? 13:52 Are there still old masters alive in Italy who practice Partimento or is it extinct? 15:37 Do we know exactly what Naples conservatory students studied over 10 years? 17:48 Talking about free improvisation 19:41 Do we have marked exam papers in these Naples conservatories? 21:10 What was Spontini's failed exam about? 21:24 How many Naples conservatories were there? 22:09 Were all the Naples conservatories different in their approaches in learning Partimento? 23:59 Did Haydn probably get the pure Neapolitan course of study from Nicola Porpora? 24:56 How was the Bologna tradition of music education different from Naples? 26:49 What was Rameau's influence on the Neapolitan tradition? 28:47 How is the Rule of the Octave different from modern triadic harmony? 30:55 How rare are authentic realizations of Partimenti and what conclusions should we draw from them? 32:50 How was a student supposed to learn diminutions? 34:58 How is Imitation important in the Partimento tradition? 36:47 How should a child new to learning music learn Partimento from the very beginning? 40:33 Was Beethoven a subscriber to Choron's compendium of Italian treatises? 42:36 What are some common mistakes when trying to learn Partimento? 43:07 What are the 3 phases of playing Partimento? 45:13 What new things have you discovered since the release of your 2012 book “The Art of Partimento”? 48:10 How do you think people should analyze music? 50:07 Who are some great Italian composers who should be ranked alongside the great German masters like Bach and Mozart? 51:37 Talking about Vincenzo Bellini and Giuseppi Verdi 52:59 If you could reform music education, what would you do? 54:03 Upcoming projects 55:20 Wrapping Up

I'm so delighted to talk to my guest today, Musicologist, Music Theorist, Composer and Educator, Peter van Tour! He is the author of Counterpoint and Partimento: Methods of Teaching Composition in Late 18th century Naples 2015, The Editor of a 3 volume series entitled, “The 189 Partimenti of Nicola Sala” published 2017 and has published many peer-reviewed articles. He earned his Phd in Musicology/Music Theory at Uppsala University, Sweden. He is also a Moderator of a popular, fast growing Facebook Group called “The Art of Partimento” which is dedicated to the compositional school of Naples and the art of partimenti, a very rich resource for interested people. He has an upcoming book coming out: ““The Italian Fugue: Investigated through Young Apprentices in Eighteenth-century Naples and Bologna.” ----- 2:00 - What's the latest research on Partimento? 4:17 - Did Neapolitan students have to sing for 3 years before playing instruments? 5:08 - What type of solmization did they use? 7:15 - How difficult does Solfeggio get? 8:10 - Where do we get Solfeggio exercises? 8:48 - Is Solfeggio unaccompanied or accompanied? 9:36 - Do Neapolitan students keep singing after the 3 years? 10:43 - Differences between Southern and Northern Italian pedagogy 11:20 - Does everyone have to learn the keyboard when learning Partimento? 11:56 - Was it common for students back then to play a little keyboard, even if it wasn't their main instrument? 13:40 - Is the Neapolitan approach to Counterpoint different from Fux? 15:06 - How do the Neapolitan students navigate the rules of Counterpoint without getting bogged down? 16:33 - Cadences, Rule of the Octave, Bass Motions 19:02 - Are Cadences about Chords moving or something else? 20:21 - The 3 types of Cadences and their variations 21:42 - How do you know when to raise the 6th and 7th degrees of the melodic minor scale when using it in Partimento? 22:58 - Written Counterpoint vs Performed Counterpoint 27:08 - What's the average amount of Partimenti that would accumulate in a student's notebook? 28:06 - Is the Partimento method applicable to modern tonal music? 29:15 - The drawbacks of typical music analysis 30:09 - How early can a student begin improvising and composing using the Partimento method 31:02 - The Clef's that you should learn for Partimento 31:36 - There are no G clefs in historical Partimento manuscripts 32:10 - Peter's music pedagogical recommendations 34:10 - Is it possible to self-teach counterpoint? 35:21 - Is the Paris Conservatory tradition related to the Partimento tradition? 36:41 - How would you teach a music student from the very beginning with Partimento? 38:00 - What materials are good to start with for Partimento? 39:35 - Using Partimento towards non-partimento based compositions 40:27 - Talking about Gjerdingen's Schema 41:06 - What surprised Peter most about his Partimento research 43:34 - During the 18th century, were Italians composers famous across Europe? 44:42 - Richard Wagner and the Progressive nature of Partimento 45:58 - Beethoven and Partimento 46:39 - The modern reaction today to the recent research in Partimento 47:41 - Talking about Peter's upcoming book, The Italian Fugue. 48:56 - How good were the Italians at Fugal writing? 51:26 - Who were some famous Italian masters of the fugue? 52:06 - The School of Leo vs The School of Durante 54:39 - Did they write or improvise Fugues, or do both? 55:30 - Upcoming projects 56:22 - Mentiparti 2019 teaching

Nico Duchamp has made it his mission to carry on the French flute tradition. The French flutist, performer, and educator believes we owe quite a lot to the composers of the Paris Conservatory test pieces, the nuance of the language and its influence on articulation, and the overall refined French style. 

Our guest today is the renowned composer, oboist, poet and teacher Samuel Andreyev! Andreyev studied composition with Allain Gaussin in Paris, then at the Paris Conservatory, where he obtained a masters degree in composition under Frédéric Durieux, and a prix d'analyse under Claude Ledoux. He also studied electroacoustics at IRCAM from 2011-12. His composition Night Division was awarded the grand prix of the Concours Henri Dutilleux in 2012. In the same year, he was awarded a one-year residency at the Casa de Velázquez in Madrid. Frequently sought after as a guest lecturer, Samuel Andreyev teaches privately and in many conservatories and universities across Europe and North America. Samuel Andreyev's music is performed throughout the world by ensembles such as Esprit Orchestra, Nouvel Ensemble Moderne, les Percussions de Strasbourg, HANATSU miroir and many others. His most recent book, The Relativistic Empire, was released in October 2015 from Bookthug. His most recent potrait CD, ‘Music with no Edges', was released by Kairos Records (Vienna) in October 2018. Finally, Samuel runs his popular YouTube Channel also contains interviews, music analysis and music. Chris Dzengelewski and I ask Samuel about his music, his style of composition, his views on the contemporary music of today and much, more!

In this episode, I focus my "Listening To.." series towards the incomparable and distinctive French composer, Maurice Jarre. Born in 1924, Jarre studied composition and percussion at the Paris Conservatory, beginning his film scoring career in his native France during the 1950's through short films and documentaries. It was then his peerless, epic music for 1962's LAWRENCE OF ARABIA, one of the most highly honored and well-remembered movies, that introduced him to English-speaking audiences, who immediately embraced him. His subsequent career continually flourished until his passing in 2009, chock-a-block with additional musical highlights in films such as DOCTOR ZHIVAGO, IS PARIS BURNING?, THE MAN WHO WOULD BE KING, WITNESS, MAD MAX: BEYOND THUNDERDOME and GHOST. His uniquely melodic and often idiosyncratic style and approach remains a memorable component in all projects he scored.  Connect with the podcast on Facebook and Twitter: www.facebook.com/ascoretosettle https://twitter.com/score2settlepod Email the show at ascoretosettlepodcast@gmail.com

Pascale Delache-Feldman has been a frequently requested podcast guest, and it was such a pleasure to get a chance to connect with her!   Pascale enjoys a multifaceted career as a soloist, chamber and orchestral musician, and teacher.  She is the founder of the Boston Bass Bash and is co-founder of the co-founder of Duo Cello e Basso (formerly the Axiom Duo) with cellist Emmanuel Feldman.  She also teaches at Bard College, New England Conservatory, Tufts University, and Brown University.   We dig into all kinds of topics like: growing up in France attending the Paris Conservatory studying with Roger Scott at the Curtis Institute programming and commissioning music for Duo Cello e Basso differences between French and American double bass playing   Here’s a list of material that Pascale uses with her undergraduate students: Fred Zimmermann: a Contemporary Concept of Bowing Technique for the double bass Hal Robinson: Strokin' and Boardwalkin' Franco Petracchi: Simplified Higher Technique Marcos Machado: Tao of Bass Edouard Nanny: Caprice Etudes and Etudes of Virtuosity Storch-Hrabe: 57 Studies Kreutzer and Fiorillo Etudes Isaia Bille: 18 Studies Alain Weber: 10 Rhythmic and Melodic Etudes J.S Bach: Cello Suites Orchestral Excerpts by Mozart, Haydn, Beethoven, Brahms, Strauss...... Major Bass Concertos: Dittersdorf, Vanhal, Koussevitzky, Bottesini Sonatas by Vivaldi, Bach Viola da Gamba sonatas, Misek, Schubert Arpeggione, Hindemith Short pieces by Bottesini, Koussevitzky, Glière, Fauré......   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. 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.   A440 Violin Shop An institution in the Roscoe Village neighborhood for over 20 years, A440's commitment to fairness and value means that we have many satisfied customers from the local, national, and international string playing communities. Our clients include major symphony orchestras, professional orchestra and chamber music players, aspiring students, amateur adult players, all kinds of fiddlers, jazz and commercial musicians, university music departments, and public schools.   Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion Subscribe to the podcast to get these interviews delivered to you automatically!

Thierry Barbé is a man in constant motion.  When he’s not performing as principal bass of the Paris National Opera or teaching at the Paris Conservatory, Thierry can be found in all corners of the globe, performing lesser-known gems from the bass repertoire and giving clinics along the way. He is a technical synthesizer, pulling from many different schools of playing, even incorporating German bow into his bag of techniques. Thierry is a pioneer in uniting the European double bass community.  He organized the first European Bass Conference in 2008 and started the European Society of Bassists shortly after that. He also has a new CD/DVD, which are must-haves for any bassist.  It’s available from the Triton label and as an MP3 download on Amazon. Best of all, Thierry is a warm and caring person who brightens the day of anyone he runs into.  I had the good fortune to work with him on the International Society of Bassists board a few years ago, and he brought a marvelous energy to the organization.  Check out the full interview using the audio player, and subscribe to the podcast to get interviews delivered to your inbox or device automatically! Resources we covered in this interview: Thierry’s website Thierry’s YouTube channel French Impressions on Amazon (MP3 download) French Impressions - CD/DVD on Triton

Today in 1882, Eric Satie was expelled from the Paris Conservatory.  Why did this happen and what did he accomplish as a result? Find out these answers--as well as what else happened to him on this day in 1908--on today's "A Classical Day in the Life."

Program: Robert Schumann: Adagio and Allegro, op.70 Arvo Part: Fratres Luigi Boccherini (arr. Katims): Sonata No. 6 in A Major, G4 Robert Schumann: Märchenbilder, Op.113 Henri Vieuxtemps: Élégie, Op.30 Aurelien Pederzoli, viola Chicago-based violist Aurelian Pederzoli trained from a young age on the violin and his talent and skill earned him wide acclaim from critics and the public alike. But something was missing. Artistic frustrations with the violin led him to pick up the viola and, to his surprise, his authentic musical voice emerged. “The sonority of the viola just seems to resonate with the fibers of my being,” Pederzoli says, “and I love the viola’s repertoire and the very communal role it plays in ensembles.”  A finalist in the 2015 International Hugo Kauder Competition for Viola at Yale University, Pederzoli merges a deep reservoir of  musicality with wide-eyed curiosity about his instrument as a soloist and chamber ensemble player, and as a teacher at the New Music School in Chicago. He is a member of the innovative Black Oak Ensemble which pairs classical works with music from around the world, a frequent collaborator with the Lincoln Trio, and he has toured internationally with blues harmonica virtuoso Corky Siegel. A deft collaborator, Pederzoli works with other musicians of many stripes, including members of eighth black bird, bassist Matt Ulery, composer/pianist Fernando Otero, members of the Vermeer Quartet, pianist H.J Lim, accordionist Julien Labro, violinist Rachel Kolly d'Alba, pianist Christian Chamorel, violinist Daniel Rowland, violist David Aaron Carpenter, and composer/saxophonist Miguel Zenon. He also works with many of the leading composers of our time, Recent project have included Lee Hyla, Hans Thomalla, Gunter Schuller, and Robert Dillon, and he has premiered and recorded works by Augusta Read Thomas, Bernard Rands, Mason Bates,  Shulamit Ran, Sarah Ritch, Jennifer Higdon, Marc Mellitts, Nico Muhly and others. Aurelian Pederzoli was born in France and graduated from the Paris Conservatory before moving to Chicago. He studies viola with Frank Babbitt and Li Kuo Chang. His violin teachers included Jean Lenert, Shmuel Ashkenasi, and Veda Reynolds. In 2008, Pederzoli cofounded Anaphora Ensemble to explore and present adventurous music in Chicago. Pederzoli was a founding member of the Spektral Quartet in 2010 and played with the ensemble until 2014. His work appears on recordings from Azica, Parlour Tapes+, Cedille, Southport, and Aparte labels. A new string trio recording with Desirée Ruhstrat, violin, and David Cunliffe, cello, of music by Conrad Tao, Jennifer Higdon, David Ludwig, and Marc Mellits, is forthcoming in 2016.   Matthew Hagle, piano Pianist Matthew Hagle is a musician of great versatility and depth, whose performances are a rare mixture of musical understanding, imaginative programming, pianistic mastery and beauty of sound. In solo recitals he often explores the boundaries of the piano repertoire, using thoughtful programming and committed performance to integrate newer repertoire and lesser-known older works with the traditional canon. At the moment, he is working on a more conventional project: performing the 32 Beethoven Sonatas in a series of live radio recitals. Mr.

According to several recent studies, young musicians are still following traditional gender stereotypes when they choose an instrument. Girls at a young age go for what they perceive as "feminine" instruments, such as the flute, piccolo, violin, and clarinet; boys gravitate towards trumpets, tubas and percussion. Kids’ views of masculinity and femininity can lead to other problems; for instance, boys who take up the flute are more susceptible to social isolation and bullying. Hal Abeles, the co-director of the Center for Arts Education Research at Columbia University's Teachers College, cites several reasons that these gender perceptions persist: a lack of role models, the physical size of an instrument, and general societal pressures. "Adolescents, males in particular, get intimidated by not being with the majority," he tells host Naomi Lewin. "So if the majority of students in your middle school who are playing flute are girls, young boys feel 'I want to belong.'" Abeles co-authored a 2014 study in the journal Music Education Research, which found that choosing the "wrong instrument" can provoke young students to drop out of instrumental music completely as they face online "cyber-bullying" and other forms of harassment. But our guests note that instrument-based stereotypes vary from culture to culture. Sivan Magen, a New York-based harpist, said he experienced few harp stereotypes growing up in Israel, "Especially in the States, it has become a woman's instrument." Magen notes that among his eight harpist classmates at the Paris Conservatory, four were male. Being strong-willed and successful can lessen a student's risk for harassment. Carol Jantsch, the principal tuba of the Philadelphia Orchestra, says she never got grief from her classmates as a kid in Ohio. "If you're good at your instrument, your peers don't care what you play," she said. But today, she'll occasionally encounter conductors who use the phrase "gentlemen of the brass." "Usually I'll cough very loudly and they'll correct themselves after that," she noted (Jantsch appears in Part Two of this segment). Ricky O'Bannon, a writer in residence at the Baltimore Symphony, recently interviewed several teachers about this issue. Among his takeaways: It's better for teachers not to address the issue in the classroom. "The moment you start saying 'this instrument is not just for girls or not just for boys'" is the kiss of death, he noted. "Teachers are also playing YouTube videos in classrooms of counter-stereotypes," such as a beatboxing flutist. "It's about having a child find the instrument that they're going to enjoy and not having any extra pressures on that." Listen to the full segment at the top of this page and please tell us what you think below: have you experienced gender associations with an instrument? What can be done to lessen these?

Léon Escalaïs (August 8, 1859, Cuxac-d'Aude – November 8, 1940, Cuxac-d'Aude) was a prominent Gallic tenor, particularly associated with French and Italian heroic roles. His lean, nimble and powerful voice was noted for the ease and brilliance of its upper register. Life and career Born Léonce-Antoine Escalaïs, he commenced his vocal studies as a young man at the Music Conservatory of Toulouse, where he won prizes for singing and opera performance. He continued his studies at the Paris Conservatory with two well-known teachers of the day, Crosti and Obin, prior to making his professional debut at the Théâtre du Château (Paris) in 1882, in Sardanapale by Jean-Baptiste Duvernoy. Escalaïs was offered a contract by the Paris Opéra. His first appearance with the Paris Opéra at the Palais Garnier occurred in 1883, as Arnold in Guillaume Tell. (Arnold would become one of his signature roles.) Two years later, he sang for the first time at the Théâtre de la Monnaie in Brussels, and he made his debut at La Scala, Milan, in 1888. He left the Paris Opéra in 1892 after a dispute with management and accepted engagements in Dijon, Lyon, Marseille and Italy. Among the taxing roles which he undertook were Eléazar in La Juive, Robert in Robert le diable, Raoul in Les Huguenots, Vasco in L'Africaine and the title parts in Le Cid and Sigurd. Between 1892 and 1908, Escalaïs sang more often in Italy (this is wrong, he sang once in Milan and it was a fiasco) than he did in his native land. He added to his repertoire such Verdi roles as Manrico in Il trovatore, Radamès in Aida and the title part in Otello' (Escalais never sang Otello)'. Consequently, he was sometimes described as "the French Tamagno" (after Francesco Tamagno, the Italian heroic tenor). Escalaïs rejoined the Paris Opéra in 1908. The following year, he sang as a guest artist at the New Orleans Opera House. These would be his only performances in the United States. He retired from the stage in 1912 while still in good voice and was appointed to the Legion of Honour by the French Government in 1927. In retirement, he gave private singing lessons. One of his students was José Luccioni, an outstanding dramatic tenor of the 1930s and '40s. Escalaïs died in Cuxac-d'Aude during the Second World War, aged 82. What a VOICE!!!!!!   Wm.Tell, Robert le Diable, Huguenots,Prophete,Africaine,Juive,Jerusalem,Trovatore,Aida, Otello

The absence of women conductors at the world’s top orchestras is no longer news, but it stands out more every year, as women scale male bastions in business, sports and entertainment. Of the 20 largest orchestras in the U.S., only the Baltimore Symphony has a woman music director: Marin Alsop, who last month made history as the first woman to conduct the Last Night of the Proms concert in its nearly 120-year history. In New York this season, women conductors are noticeably scarce, their scheduled appearances countable on one hand. A similar male-to-female ratio can be found in London. But that’s not to say that there's a lack of women conductors in the field. Recently, the British journalist and author Jessica Duchen compiled a list of more than 100 women conductors. “It’s quite clear to me that there are plenty of women conductors but they’re just not getting the top gigs,” she tells host Naomi Lewin in this podcast. Many of the women on Duchen’s list are not recent college graduates or newcomers, but mid-career conductors, well at the point where a major podium is theoretically in reach. Some, like the conductor and harpsichordist Emmanuelle Haïm, have found that the niche of early-music remains an easier entry point. “Early music is more of a collaborative effort,” said Haïm (right), who this Saturday conducts her ensemble, Le Concert d’Astrée, at Lincoln Center's White Light Festival. “Therefore you shock fewer people maybe in that field.” By contrast, when faced with 19th century masterworks, the principal of male power is deeply ingrained in the conductor mythology. “If I had gone that path it would have been much harder for me to conquest those bastions." Some recent, highly-publicized remarks suggest that prejudice is alive and well in the business. The young Russian conductor Vasily Petrenko told a Norwegian newspaper, perhaps ironically, that orchestras simply play better for men, and that “a sweet girl on the podium can make one’s thoughts drift towards something else.” And Bruno Mantovani, the head of the Paris Conservatory, recently made headlines when he said in a radio interview that conducting is too demanding for women: “The profession of a conductor is a profession that is particularly physically testing. Sometimes women are discouraged by the very physical aspect – conducting, taking a plane, taking another plane, conducting again. It is quite challenging.” Duchen believes that this reflects wider obstacles in music schools and conservatories. “Several of the women conductors that I have interviewed say they were deliberately deterred at college level,” she said. “There were people at the institutions where they wanted to study who actively tried to put them off.” Charlotte Lee, a vice president and artist manager at IMG Artists, sees less evidence that sexism is widespread in the classical music business, and believes that hiring boils down to questions of supply and demand. “I don’t feel that female conductors tend to get hired or not hired based solely on anything other than their talent,” she said. “The artistic programmers that I work with, at least, tend to hire you based on your talent.” While many in the classical music business prefer not to talk about gender prejudice, Lee and Haïm both acknowledge that double standards exist. Orchestras have been known to ask woman conductors to change their hairstyle or tone down a style of dress. But Haim believes there are deeper societal questions at work too. “Behind a great man, there is always a great woman – or another great man,” Haim said. “It’s somebody helping out. As a woman, it’s more difficult because it puts the man accompanying you in a difficult position. Socially speaking they are looked at as weird.” Lee believes classical music will ultimately be forced to keep in step with society at large. “As time goes on we’ll have fewer firsts in general,” she said. “I should hope in 10 years we won’t be having this conversation.” Listen to the full discussion above and tell us below what you think: has there been adequate progress for women conductors?

French  recording artist Jourdain LaFleur is looking to take his talents across the globe. A prodigy at a very young age, he was accepted to the e Paris Conservatory of Music at age three. A classically trained musician, he moved to England during his childhood, and has grown up to find his own way in music. His rock round harpens back to British rockers of the 70's and 80's. He debuted his first single "Let You Go"  in September and has had nothing but positive feedback from iTunes. We will talk to LaFleur about making his way into the international music scene.

French  recording artist Jourdain LaFleur is looking to take his talents across the globe. A prodigy at a very young age, he was accepted to the e Paris Conservatory of Music at age three. A classically trained musician, he moved to England during his childhood, and has grown up to find his own way in music. His rock round harpens back to British rockers of the 70's and 80's. He debuted his first single "Let You Go"  in September and has had nothing but positive feedback from iTunes. We will talk to LaFleur about making his way into the international music scene.

Even when he was young, Claude Debussy loved to experiment with new sounds. That got him into trouble when he was a student at the Paris Conservatory, but it turned out to be a good thing when he grew up. Inspired by Impressionist poets and visual artists around him, Debussy created Impressionism in music.

Walter-Küne: Fantasy on Tchaikovsky’s Eugene OneginChausson: Concerto in D Major for violin, piano, and string quartet, Op. 21Had circumstances been different, Ernest Chausson might well have become one of the most important French composers to bridge the Romantic and modern eras. Chausson led a comfortable upper-class life, studying law at his father’s encouragement prior to taking up composition in his early 20s. He studied with Massenet and then Franck at the Paris Conservatory, and made rapid progress. Still, there was no pressure on Chausson to make a living as a musician, and his output was modest. Chausson did leave behind a number of works that have found a foothold in the repertoire, among them the chamber piece on today’s program. Though it is a work for six instruments, Chausson’s odd title is far more fitting a name than “sextet”. The violin and piano are clearly the stars here, with the quartet acting like a miniature orchestra. Before the Chausson, you will hear Walter-Küne’s Fantasy on Tchaikovsky’s Eugene Onegin. A professor at the St. Petersburg Conservatory, Walter-Küne composed a number of fantasies on operatic themes, a number of which remain favorites with harpists today.

Selected Duets for Flute, Page 4 Number 2, performed by David Summer. This piece is marked Moderato, which means at a moderate tempo. Notice the syncopation sections that provide rhythmic contrast in the duet. This is the second duet in the book from the works of Francois Devienne. Devienne was a French composer and professor for flute at the Paris Conservatory. He was also a flutist and eventually became a professor of flute at the Paris Conservatory. The metronome setting for this performance is quarter note = 100.

Born in Aleppo, Syria into a musical family of six boys and three girls, François discovered the double bass at the age of thirteen when one of his brothers brought an instrument home and allowed him to experiment with it. When the family moved to Beirut, Lebanon he found an old copy of Edouard Nanny's Contrabass Method in a tailor shop and with some difficulty, since he read neither music nor French, began to teach himself. After nine years of work in Beirut, François saved enough money to move to Paris for a year. He was eager to go to the Paris Conservatory, meet with Monsieur Nanny and show him what he was able to do with the bass. When he applied at the Conservatory he was disappointed to learn that Nanny had died in 1947. He was also told that auditions were to be held in three days and that he would never have enough time to learn the required pieces. He asked for the music anyway and returned three days later to finish first among the applicants. However, his stay at the Conservatory was a brief one, since it didn't take very long to see that he was not only far ahead of the other students but of the professors as well! François Rabbath's uniqueness stems from his refusal to accept any traditional limitations. Whether performing his own fascinating compositions, the music of others or the classical repertoire, one is always moved by his profound musicianship and dazzling virtuosity. You quickly discover that he brings you such a sense of security that the most difficult passages sound effortless. The importance of François Rabbath to the development of double bass playing can be compared with that of Paganini to the violin. Since the early 1800s when Nicole Paganini established the violin as a virtuoso instrument, solo violinists have practiced the most brilliant of instrumental art. Meanwhile, the development of double bass playing had been seriously neglected. The great and popular 19th century composers did not consider the bass worth their attention and in turn the bass repertoire did not attract potential virtuoso performers with enough genius to change the situation. It demanded an artist with the unique qualities of François Rabbath to break this impasse. http://www.liben.com/FRBio.html Musical Guest - Leon Bosch You will be hearing the Bottesini Elegy and the Bottesini Gavotta from Leon Bosch’s recent solo album called Virtuoso Double Bass, which is available from Meridian Records. Leon’s website: http://www.leonbosch.co.uk Album information for Virtuoso Double Bass: http://www.leonbosch.co.uk/music.php Click here to order this great album from Leon Bosch: http://www.meridian-records.co.uk/acatalog/CDE84544a.html Meridian Records website: http://www.meridian-records.co.uk/ About Leon Bosch: (Visit his website for more information about this great artist’s career and the challenges he had to overcome during his early years in Apartheid South Africa.) From liner notes to his recent release as well as an interview with Lawrence Milner – published in the Summer 2003 edition of Double Bassist magazine: Leon had to overcome many difficult circumstances in the early years of his career. He was arrested by members of the Cape Town special branch when he was just 15 years old for demonstrating against the Apartheid government outside of parliament. He faced a month’s detention and torture, only to be found not guilty on all charges. This experience fired up his ambition to become a lawyer, but this field of study was forbidden to him by the regime at the time. He then chose to study a subject that would be the least likely to mark him out as subversive—music. Had Bosch been able to pursue his prime aspiration to become a lawyer, the cello/double bass debate might never have occurred. Born in Cape Town, South Africa in 1961, Bosch was forbidden by the repressive regime of the time to study law, so applied to the University's music faculty instead `as a light-hearted prank.' The `prank' soon turned more serious. Once enrolled at the University, Bosch studied with Zoltan Kovats, principal double bassist of the Cape Town Symphony Orchestra at that time. A single year into his studies, the young student was invited to play in the Symphony Orchestra's bass section alongside his mentor. Only another 12 months passed before he was giving his first solo performance of Dittersdorf 's concerto in E major. Completing his Batchelor of Music Performance degree at the University, he received the highest mark ever awarded there in a performance examination. Post-university, Bosch quickly realised that he would have to study abroad if he really wanted to further his performance career, but was thwarted once again by the apartheid laws which decreed that overseas scholarships could only be given to white performers. However, Bosch was undeterred. `I had a passionate commitment to the double bass and never enter- tained the idea that I would fail in my pursuit', he asserts. Fortunately, a number of private individuals came forward to sponsor his travel to England where he was heard playing by Rodney Slatford, the former Head of School of Strings at the Royal Northern College of Music (RNCM), who offered to teach him. Bosch enrolled at the RNCM following a successful interview with Eleanor Warren to study with Slatford and Duncan McTier. He describes his time at RNCM as `extremely fruitful'. Bosch's prestigious record of achievements also continued there, as he received the College's PPRNCM (Professional Performer of the RNCM) with distinction, the first such award to a double bassist in the College's history. Studies completed, Bosch embarked on the varied professional orchestral and chamber career that continues to this day. His first assignment was with the Royal Scottish National Orchestra, moving onto The Manchester Camerata as principal in 1985. His playing career has also taken in the BBC Philharmonic, Hallé, Royal Liverpool Philharmonic, Opera North and Scottish Chamber orchestras, plus the Moscow Virtuosi Chamber Orchestra, Brodsky Quartet and Goldberg Ensemble as a freelance performer, a career path that he chose to `give me greater variety in my playing.' A decade after his first principal appointment, Bosch began his current association with the Academy of St Martin in the Fields, touring with the orchestra's founder, Sir Neville Marriner. `Chamber music represents the most enjoyable part of my musical life,' he enthuses, explaining why he has focused on this area through most of his professional career ¬ which has taken in almost all of the major chamber orchestras in the UK.  

Born in Aleppo, Syria into a musical family of six boys and three girls, François discovered the double bass at the age of thirteen when one of his brothers brought an instrument home and allowed him to experiment with it. When the family moved to Beirut, Lebanon he found an old copy of Edouard Nanny's Contrabass Method in a tailor shop and with some difficulty, since he read neither music nor French, began to teach himself. After nine years of work in Beirut, François saved enough money to move to Paris for a year. He was eager to go to the Paris Conservatory, meet with Monsieur Nanny and show him what he was able to do with the bass. When he applied at the Conservatory he was disappointed to learn that Nanny had died in 1947. He was also told that auditions were to be held in three days and that he would never have enough time to learn the required pieces. He asked for the music anyway and returned three days later to finish first among the applicants. However, his stay at the Conservatory was a brief one, since it didn't take very long to see that he was not only far ahead of the other students but of the professors as well! François Rabbath's uniqueness stems from his refusal to accept any traditional limitations. Whether performing his own fascinating compositions, the music of others or the classical repertoire, one is always moved by his profound musicianship and dazzling virtuosity. You quickly discover that he brings you such a sense of security that the most difficult passages sound effortless. The importance of François Rabbath to the development of double bass playing can be compared with that of Paganini to the violin. Since the early 1800s when Nicole Paganini established the violin as a virtuoso instrument, solo violinists have practiced the most brilliant of instrumental art. Meanwhile, the development of double bass playing had been seriously neglected. The great and popular 19th century composers did not consider the bass worth their attention and in turn the bass repertoire did not attract potential virtuoso performers with enough genius to change the situation. It demanded an artist with the unique qualities of François Rabbath to break this impasse. http://www.liben.com/FRBio.html

Music 271: 4/9/07II: Claude Debussy (1862-1918): → Stravinsky → French Composers (Poulenc) A: Education:• Paris Conservatory• Captivated by music of Wagner B: Changing attitude concerning Richard Wagner• Began to separate from Wagner’s music in the late 1870s and 1880s• Franco-Prussian War raised desire for a French musicC: Evolving approach to musical composition: Tonality and form → moving to greater equality of importance of the five elements of the musical language:• I - related key - I• Used patterns of sound, texture, timbre rather than chords for a harmony• Harmony, Melody, Rhythm, Texture, Timbre: Musical element hierarchy 19th Century• 20th Century: All musical elements become equal