Podcast appearances and mentions of peter oundjian

Andrew Armstrong is a pianist who has performed for audiences all over the world, including performances at Alice Tully Hall, Carnegie Hall, the Kennedy Center, London's Wigmore Hall, the Grand Hall of the Moscow Conservatory, and Warsaw's National Philharmonic. He has performed with conductors including as Peter Oundjian, Itzhak Perlman, Günther Herbig, Stefan Sanderling, Jean-Marie Zeitouni and Stanislaw Skrowaczewski, and has appeared in solo recitals and in chamber music concerts with a bunch of Quartets and as a member of the Caramoor Virtuosi, Boston Chamber Music Society, Seattle Chamber Music Society, and the Jupiter Symphony Chamber Players.

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Eric Idle was born on March 29th 1943 in Harton Hospital, South Shields, County Durham, U.K. His mother was a nurse and his father was a Sergeant in the RAF who was killed hitch-hiking home on compassionate leave and died in Darlington Hospital on Christmas Eve 1945. As a young child he lived in Manchester, attended his first school St. George's, Wallasey (Liverpool) and in 1950 was sent to The Royal School Wolverhampton where his education was paid for by the RAF Benevolent Fund. Leaving school in 1962 with 10 O levels, 3 A Levels and 1 S Level he was accepted by Pembroke College, Cambridge, to read English Literature, in which he took his B.A. in 1965.From 1964/5 he was President of The Footlights Dramatic Club (founded in 1883) and changed the rules to accept women members, the first of whom was Germaine Greer. After touring with her in the annual Footlights Revue My Girl Herbert (1965) which ran for a brief time at The Lyric Theatre, Hammersmith, he spent a season in Leicester Rep before moving to London, appearing in two BBC TV Movies: Jonathan Millers Alice in Wonderland, and Ken Russell's Isadora, and then starting to write professionally for BBC Radio's I'm Sorry I'll Read That Again and BBC Television's The Frost Report, which won The Golden Rose of Montreux.In 1968 he began writing and acting in two series of a children's TV hit, Do Not Adjust Your Set, with Michael Palin Terry Jones and Terry Gilliam, which won The Priz Jeunnesse, Munich for Best Children's Television. The success of this show led to four series of Monty Python's Flying Circus for the BBC from July 1969 through 1973, with the addition of John Cleese and Graham Chapman. Also in that month he married actress Lyn Ashley, by whom he had a son Carey (b. 1973). The Pythons made several stage appearances, Monty Python's First Farewell Tour, (UK and Canada, 1973) Monty Python Live at Drury Lane (1974) Monty Python Live at City Center (1976), and several movies, And Now For Something Completely Different (1971), Monty Python and The Holy Grail (1975), The Life of Brian (1979), Monty Python Live at The Hollywood Bowl (1982) and The Meaning of Life (1983).After Python he created Radio Five the first comedy music show on BBC's Radio One. He then wrote and starred in two Series of Rutland Weekend Television (with Neil Innes) which led to writing and co-directing The Rutles, in All You Need is Cash, for NBC, produced by Saturday Night Live's Lorne Michaels, a show which he hosted four times in the 1970's. In 2001 he made a sequel called “Can't Buy Me Lunch” which looked back on the Rutles and their influence on people's lives. In 1975 he published Hello Sailor his first novel. His first play Pass The Butler was produced at The Globe Theatre, London 1983 where it ran for five months. In 1977 he met Tania Kosevich in New York, and married her there in 1981. They have one daughter, Lily (b. 1990.)He has appeared in several films including Baron Munchausen, European Vacation, Yellowbeard, Nuns on the Run, Splitting Heirs, Casper, Wind in the Willows and has voiced Transformers, Shrek 3, South Park (the movie) and four episodes of The Simpsons. In 1986 he appeared as Koko in Jonathan Miller's production of Gilbert and Sullivan's The Mikado at The English National Opera, a role he repeated at The Houston Grand Opera in 1989. In 1994 he moved to Los Angeles, where he currently resides.Publications include The Rutland Dirty Weekend Book (1976) a children's audio book The Quite Remarkable Adventures of the Owl and The Pussycat (1996) and two novels Hello Sailor (1975) and The Road to Mars (1999.) In 1978 he began collaborating with composer John Du Prez, writing and recording songs for Monty Python, the signature tune for One Foot in the Grave and a musical Behind The Crease for BBC Radio Four (1990.) In 1991 his song Always Look on the Bright Side became a hit single in the UK.His collaboration with John Du Prez led to two live stage tours of North America (2000 and 2003) and a book The Greedy Bastard Diary which details life on the road for three months, fifteen thousand miles in a rock and roll bus. Their musical Spamalot, directed by Mike Nichols, opened in Chicago in December 2004 and then Broadway on March 17th 2005 at The Shubert Theater, where it ran until January 2009, breaking all house records, garnering $175 million at The Box Office, winning three Tonys (including Best Musical 2005) a Grammy for Best Broadway Album and a Writers Desk Award for Best Lyrics. It subsequently toured North America for three years, opened in the West End of London for two years at The Palace Theater, and played The Wynn Hotel in Las Vegas (2007), Melbourne (2007), Barcelona (2008), Cologne (2008), Madrid (2009), Hungary(2009), Paris(2010), Sweden (2010), South Korea (2010) Holland and Belgium and Mexico City (2011.) Spamalot is currently touring both the UK and the US. A comic Oratorio Not The Messiah (He's a Very Naughty Boy) based on Monty Python's Life of Brian, written with John Du Prez “for Choir, Orchestra and Sheep”,premiered in Toronto (May 2006) conducted by his cousin Peter Oundjian. Subsequently it was lengthened and performed on tour in Australia and New Zealand, including two sell out nights at The Sydney Opera House, Wolf Trap (Washington), Houston and two nights at The Hollywood Bowl 2009 (with fireworks to the Galaxy Song) all conducted by John Du Prez. Idle appeared in all performances singing “Baritonish.” In October 2009 as part of the celebration of forty years of Monty Python it was performed and filmed at The Royal Albert Hall, London, with guest stars fellow Pythons Michael Palin, Terry Jones, and Terry Gilliam, plus Carol Cleveland and Neil Innes. It was released in HD DVD by Sony in 2010.In 2009 at a special presentation in New York City Monty Python received a BAFTA lifetime achievement Award. He is apparently not yet dead, but his final words will probably be “Say No More.”From https://ericidle.com/my-life/. For more information about Eric Idle:“Eric Idle - Always Look On The Bright Side of Life”: https://www.youtube.com/watch?v=SJUhlRoBL8M “Always Look On The Bright Side of Life”: https://genius.com/Monty-python-always-look-on-the-bright-side-of-life-lyrics“Monty Python's Eric Idle Breaks Down His Most Iconic Characters”: https://www.youtube.com/watch?v=Qbchmshpsz0“Eric Idle: A Monty Python Legend Looks Back”: https://www.rollingstone.com/culture/culture-features/eric-idle-monty-python-interview-autobiography-732335/Photo by Eduardo Unda-Sanzana: https://www.flickr.com/photos/grimorio/14579015076/

We had a discussion with violinist Jonathan Crow. Jonathan Crow has been Concertmaster of the Toronto Symphony Orchestra (TSO) since 2011. Jonathan has also performed as a soloist with most major Canadian orchestras, including the Montreal, Toronto, and Vancouver Symphony Orchestras; the National Arts Centre and Calgary Philharmonic Orchestras; the Victoria, Nova Scotia, and Kingston Symphonies; and Orchestra London, under the baton of such conductors as Charles Dutoit, Sir Yehudi Menuhin, Sir Andrew Davis, Peter Oundjian, Kent Nagano, Mario Bernardi, João Carlos Martins, and Gustavo Gimeno.

We had a discussion with violinist Andrew Wan. As soloist, Wan has appeared in the United States, China, New Zealand, Cuba, Argentina, Brazil, Switzerland and Canada under conductors such as Jean-Claude Casadesus, Maxim Vengerov, Peter Oundjian, Jacques Lacombe, Vasily Petrenko, James DePreist, Marc Piollet and Michael Stern.

This week on the podcast, we present the first of several interviews with incoming guest conductors on this season's Classical Series. Maestro Peter Oundjian joins the Kansas City Symphony for an exciting performance featuring works by Florence Price, Richard Strauss and Rimsky-Korsakov. Hear all about his career both as a world class violinist and conductor, how a thoughtful encounter with a conducting icon shaped his future, and find out what he's been up to since his last visit to KC in early 2020. This week on Beethoven Walks into a Bar. https://open.spotify.com/playlist/5ND0Id6Cztquj9d8LcOKXN?si=47720303a18a497f (Episode 404 Playlist )

Ben Bloomberg on the JUMP Music Podcast SE2-EP16 Ben Bloomberg - @benbloomberg https://youtu.be/lR3ICUI_pE8 Ben is a Grammy nominated creative technologist who imagines, designs and builds everything from electro-acoustic musical instruments to AI driven performances and tours. He specializes in the conception and implementation of advanced surround sound and interactive music systems. His recent work with Jacob Collier involved the creation of Collier's signature Harmoniser and the development of his groundbreaking one-man-show, for which he was praised by the Guardian as “the Tonto's Expanding Headband to Collier's Stevie Wonder.” As a recent graduate of the MIT Media Lab, Ben worked with Composer/Professor Tod Machover, as sound designer for two recent operas; Schoenberg in Hollywood, and Pulitzer finalist Death and the Powers (a robot opera), as well as six City Symphonies, working with the Orchestre Symphonique de Montréal under Kent Nagano, Philadelphia Orchestra under Yannick Nézet-Séguin, and the Royal Scottish National Orchestra under Peter Oundjian. In addition he worked with the Metropole Orkest under Jules Buckley for Collier's Djesse Vol. 1 album, and with Jacob as a core part of the Djesse project. He was nominated for the Album of the Year Grammy in 2021 for his mixing and engineering contributions to Djesse Vol. 3. Ben started recording and running live sound at age nine and has since worked on hundreds of projects in venues and studios all over the world, including Abbey Road, the Hollywood Bowl, Royal Albert Hall, and Carnegie Hall. He has crossed paths with many other artists, engineers and designers— from Björk to Ariana Grande, people seem to seek him out when there is a challenge that hasn't been seen before, requiring novel, creative and highly customized solutions. Ben is passionate about finding human-centric experiences even when technology is abundant and predominant. In doing this he strives to interweave creative, technical, social, and logistical aspects of production, all necessary to craft compelling musical experiences for the present day and beyond.

Conversa gravada em Agosto de 2020 Marcos Lemes graduou-se na The Buchmann-Mehta School of Music, da Universidade de Tel Aviv, em colaboração com a Filarmônica de Israel, com Nir Comforty. Nesse período, fez prática orquestral na Filarmônica de Israel sob a batuta de Zubin Mehta, Kent Nagano, Christoph von Dohnányi, Peter Oundjian e Lahav Shani. Em 2015, por sua performance no programa de treinamento da Buchmann-Mehta, recebeu o Certificate of Honor for Outstanding Achievment. Atualmente é contrabaixista na Orquestra Filarmônica de Minas Gerais.

This year we have been celebrating what would’ve been the 100th birthday of legendary violinist Isaac Stern.  Back in January we were fortunate to have an extraordinary violinist perform with the Kansas City Symphony, Nancy Zhou.  Nancy was the first prize winner in the 2018 Shanghai Isaac Stern International Violin Competition, and she performed the Mendelssohn Concerto with guest conductor Peter Oundjian and the Symphony.  In this episode, we talk with Nancy about her career, how she’s spending her time during Covid-19, mojitos, Tex-Mex and much more -- this week on Beethoven Walks into a Bar. https://open.spotify.com/playlist/15FsFhYOaOnslqG5funjE3?si=jowYLEG2SWyeSMSWC-yMjg (Episode 205 Playlist)

In this episode, I have the great pleasure of speaking about all things mindful practice with international cello soloist Alisa Weilerstein. Alisa has attracted widespread attention for her playing that combines natural virtuosity and technical precision with impassioned musicianship.  In this episode, Alisa shares insight on: How her parents nurtured a natural unfolding and healthy progression of her career Practicing: focusing efficient practice, intentional breaks and time off management (so important for long term sustainability + physical and mental health!) Her approach to learning a piece The importance of keeping musicality part of the technical work (as she said “Keeping everything married”) How practicing mindfully is the key for her to get rid of nerves and feel comfortable in performance How she plays mock performance for friends How to develop a natural rubato using the metronome … and much more!   It's an information and inspiration packed episode and I hope you enjoy and find value in our discussion!   MORE ABOUT ALISA WEILERSTEIN alisaweilerstein.com twitter.com/aweilerstein facebook.com/AlisaWeilerstein instagram.com/alisaweilerstein/   Alisa Weilerstein is one of the foremost cellists of our time. Known for her consummate artistry, emotional investment and rare interpretive depth, she was recognized with a MacArthur “genius grant” Fellowship in 2011. Today her career is truly global in scope, taking her to the most prestigious international venues for solo recitals, chamber concerts, and concerto collaborations with all the preeminent conductors and orchestras worldwide. “Weilerstein is a throwback to an earlier age of classical performers: not content merely to serve as a vessel for the composer's wishes, she inhabits a piece fully and turns it to her own ends,” marvels the New York Times. “Weilerstein's cello is her id. She doesn't give the impression that making music involves will at all. She and the cello seem simply to be one and the same,” agrees the Los Angeles Times. As the UK's Telegraph put it, “Weilerstein is truly a phenomenon.”   Bach's six suites for unaccompanied cello figure prominently in Weilerstein's current programming. Over the past two seasons, she has given rapturously received live accounts of the complete set on three continents, with recitals in New York, Washington DC, Boston, Los Angeles, Berkeley and San Diego; at Aspen and Caramoor; in Tokyo, Osaka, Guangzhou, Shenzhen, London, Manchester, Aldeburgh, Paris and Barcelona; and for a full-capacity audience at Hamburg's iconic new Elbphilharmonie. During the global pandemic, she has further cemented her status as one of the suites' leading exponents. Released in April 2020, her Pentatone recording of the complete set became a Billboard bestseller and was named “Album of the Week” by the UK's Sunday Times. As captured in Vox's YouTube series, her insights into Bach's first G-major prelude have been viewed almost 1.5 million times. During the first weeks of the lockdown, she chronicled her developing engagement with the suites on social media, fostering an even closer connection with her online audience by streaming a new movement each day in her innovative #36DaysOfBach project. As the New York Times observed in a dedicated feature, by presenting these more intimate accounts alongside her new studio recording, Weilerstein gave listeners the rare opportunity to learn whether “the pressures of a pandemic [can] change the very sound a musician makes, or help her see a beloved piece in a new way.”   Earlier in the 2019-20 season, as Artistic Partner of the Trondheim Soloists, Weilerstein joined the Norwegian orchestra in London, Munich and Bergen for performances including Haydn's two cello concertos, as featured on their acclaimed 2018 release, Transfigured Night. She also performed ten more concertos by Schumann, Saint-Saëns, Elgar, Strauss, Shostakovich, Britten, Barber, Bloch, Matthias Pintscher and Thomas Larcher, with the London Symphony Orchestra, Zurich's Tonhalle Orchestra, Frankfurt Radio Symphony, Gürzenich Orchestra Cologne, Tokyo's NHK Symphony, the New York Philharmonic, and the Houston, Detroit and San Diego symphonies. In recital, besides making solo Bach appearances, she reunited with her frequent duo partner, Inon Barnatan, for Brahms and Shostakovich at London's Wigmore Hall, Milan's Sala Verdi and Amsterdam's Concertgebouw. To celebrate Beethoven's 250th anniversary, she and the Israeli pianist performed the composer's five cello sonatas in Cincinnati and Scottsdale, and joined Guy Braunstein and the Dresden Philharmonic for Beethoven's Triple Concerto, as heard on the duo's 2019 Pentatone recording with Stefan Jackiw, Alan Gilbert and the Academy of St. Martin in the Fields.   Committed to expanding the cello repertoire, Weilerstein is an ardent champion of new music. She has premiered two important new concertos, giving Pascal Dusapin's Outscape “the kind of debut most composers can only dream of” (Chicago Tribune) with the co-commissioning Chicago Symphony in 2016 and proving herself “the perfect guide” (Boston Globe) to Matthias Pintscher's cello concerto un despertar with the co-commissioning Boston Symphony the following year. She has since reprised Dusapin's concerto with the Stuttgart and Paris Opera Orchestras and Pintscher's with the Gürzenich Orchestra Cologne and with the Danish Radio Symphony and Cincinnati Symphony, both under the composer's leadership. It was also under Pintscher's direction that she gave the New York premiere of his Reflections on Narcissus at the New York Philharmonic's inaugural 2014 Biennial, before reuniting with him to revisit the work at London's BBC Proms. She has worked extensively with Osvaldo Golijov, who rewrote Azul for cello and orchestra for her New York premiere performance at the opening of the 2007 Mostly Mozart Festival. Since then she has played the work with orchestras around the world, besides frequently programming his Omaramor for solo cello. Grammy nominee Joseph Hallman has written multiple compositions for her, including a cello concerto that she premiered with the St. Petersburg Philharmonic and a trio that she premiered on tour with Barnatan and clarinetist Anthony McGill. At the 2008 Caramoor festival, she premiered Lera Auerbach's 24 Preludes for Violoncello and Piano with the composer at the keyboard, and the two subsequently reprised the work at the Schleswig-Holstein Festival, Washington's Kennedy Center and for San Francisco Performances.   Weilerstein's recent Bach and Transfigured Night recordings expand her already celebrated discography. Earlier releases include the Elgar and Elliott Carter cello concertos with Daniel Barenboim and the Staatskapelle Berlin, named “Recording of the Year 2013” by BBC Music, which made her the face of its May 2014 issue. Her next album, on which she played Dvořák's Cello Concerto with the Czech Philharmonic, topped the U.S. classical chart, and her 2016 recording of Shostakovich's cello concertos with the Bavarian Radio Symphony and Pablo Heras-Casado proved “powerful and even mesmerizing” (San Francisco Chronicle). She and Barnatan made their duo album debut with sonatas by Chopin and Rachmaninoff in 2015, a year after she released Solo, a compilation of unaccompanied 20th-century cello music that was hailed as an “uncompromising and pertinent portrait of the cello repertoire of our time” (ResMusica, France). Solo's centerpiece is Kodály's Sonata for Solo Cello, a signature work that Weilerstein revisits on the soundtrack of If I Stay, a 2014 feature film starring Chloë Grace Moretz in which the cellist makes a cameo appearance as herself.   Weilerstein has appeared with all the major orchestras of the United States, Europe and Asia, collaborating with conductors including Marin Alsop, Daniel Barenboim, Jiří Bělohlávek, Semyon Bychkov, Thomas Dausgaard, Sir Andrew Davis, Gustavo Dudamel, Sir Mark Elder, Alan Gilbert, Giancarlo Guerrero, Bernard Haitink, Pablo Heras-Casado, Marek Janowski, Paavo Järvi, Lorin Maazel, Cristian Măcelaru, Zubin Mehta, Ludovic Morlot, Yannick Nézet-Séguin, Peter Oundjian, Rafael Payare, Donald Runnicles, Yuri Temirkanov, Michael Tilson Thomas, Osmo Vänskä, Joshua Weilerstein, Simone Young and David Zinman. In 2009, she was one of four artists invited by Michelle Obama to participate in a widely celebrated and high-profile classical music event at the White House, featuring student workshops hosted by the First Lady and performances in front of an audience that included President Obama and the First Family. A month later, Weilerstein toured Venezuela as soloist with the Simón Bolívar Symphony Orchestra under Dudamel, since when she has made numerous return visits to teach and perform with the orchestra as part of its famed El Sistema music education program.   Born in 1982, Alisa Weilerstein discovered her love for the cello at just two and a half, when she had chicken pox and her grandmother assembled a makeshift set of instruments from cereal boxes to entertain her. Although immediately drawn to the Rice Krispies box cello, Weilerstein soon grew frustrated that it didn't produce any sound. After persuading her parents to buy her a real cello at the age of four, she developed a natural affinity for the instrument and gave her first public performance six months later. At 13, in 1995, she made her professional concert debut, playing Tchaikovsky's “Rococo” Variations with the Cleveland Orchestra, and in March 1997 she made her first Carnegie Hall appearance with the New York Youth Symphony. A graduate of the Young Artist Program at the Cleveland Institute of Music, where she studied with Richard Weiss, Weilerstein also holds a degree in history from Columbia University. She was diagnosed with type 1 diabetes (T1D) at nine years old, and is a staunch advocate for the T1D community, serving as a consultant for the biotechnology company eGenesis and as a Celebrity Advocate for JDRF, the world leader in T1D research. Born into a musical family, she is the daughter of violinist Donald Weilerstein and pianist Vivian Hornik Weilerstein, and the sister of conductor Joshua Weilerstein. She is married to Venezuelan conductor Rafael Payare, with whom she has a young child.     Visit www.mindoverfinger.com and sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And don't forget to join the Mind Over Finger Tribe for additional resources on practice and performing! If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support!     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

Pour le tout dernier épisode de la saison 2019-2020, une vaticination particulière vous est proposée… Tout en approfondissant, amplifiant et fortifiant notre fervente passion pour le culte du Black, nous allons entreprendre un ahurissant détour vers un tout autre genre musical, pareillement noir de méphistophélique potentiel, mais davantage élitiste, ésotérique et vilainement outrageuse pour les non-initiés et les pauvres d'esprit. Bouillonnant de haines misanthropiques, de sombres méditations existentielles, de désespoirs nauséabonds, de ferveurs ancestrales et d'anxiétés apocalyptiques, voici douze compositions de l'éternel génie des Noirceurs au cœur de la musique savante. ☩ LISTE LITURGIQUE ☩ 1. Carlo Maria Giulini avec la Berliner Philharmoniker et la Ernst Senff Chor (Allemagne) - Messa da requiem : 2, Dies irae « Tuba mirum » (de Guiseppe VERDI) 2. Charles Dutoit avec l'Orchestre symphonique de Montréal (Québec) - Carmina Burana : 1, « O Fortuna » (de Carl ORFF) 3. Anna Meredith et la Scottish Ensemble (Écosse) - Concerto no. 4 en fa mineur, op. 8, RV 297, « L'inverno » (de Antonio VIVALDI) 4. Nemanja Radulovic et Les Trilles du Diable (France) - Toccata et fugue en D mineur, BmV 565 (de Johann Sebastian BACH) 5. Georg Solti avec la Wiener Philharmoniker (Autriche) - Götterdämmerdung, WWV 86D, acte 3 : « Trauermarsch » (de Richard WAGNER) 6. Peter Oundjian avec la Toronto Symphony Orchestra (Ontario) - The Planets : 1. « Mars, the Bringer of War » (de Gustav HOLST) 7. Thomas Dausgaard avec Hetna Regitse Bruun, Peter Lodahl, la Dansk Nationalt Kor, la Dansk Nationalt Vokalensemble et la danske nationale symfoniorkester (Danemark) - Endens tid, BVN 243 : IV, « La Catastrophe » (de Rued LANGGAARD) 8. Olivier MESSIAEN avec Lise Arseguest (France) - Poèmes pour mi, no.4, « Épouvante » (de Olivier MESSIAEN) 9. Juan Pablo Izquierdo avec la Cuarteto Latinoamericano et la Carnegie Mellon Philharmonic Orchestra (International) - Black Angels (13 Images from the Dark Land), partie 1 « Return » : no. 13, Threnody III, « Night of the Electric Insects » (de George CRUMB) 10. Sir Simon Rattle avec la City of Birmingham Symphony Orchestra (Royaume-Uni) - Three Screaming Popes (after the paintings by Francis Bacon), for Large Orchestra (de Mark-Anthony TURNAGE) 11. Philip Glass Ensemble (États-Unis) - « Prophecies », dernier mouvement du documentaire Koyaanisqatsi (de Philip GLASS) 12. Valery Gergiev avec la Mariinsky Orchestra (Russie) - Suite scythe, op. 20 « Ala et Lolly » : II. « Tchoujbog et la danse des esprits » (de Sergei PROKOFIEV) (en fond)

This episode features my interview with the legendary Dr. Jerry Blackstone. Jerry is a Grammy award-winning conductor who is well known for his work as a professor of choral music at the University of Michigan. In our discussion, Jerry shares his views on repertoire, inspiring musicians, and the art of music-making.    Topics include: (04:09) Jerry talks about his life, background, and current role as a visiting professor at Wheaton College (12:32) Score study (30:05) Connecting students to the music they perform (34:20) Rehearsal methodology (42:31) Framing verbal instruction (47:28) Jerry’s approach to conducting  (1:11:37) Getting musicians to fall in love with music (1:15:04) Favorite rehearsal tactics (1:16:24) Why do we teach music?  (1:20:15) Todd discusses leaders that have made an impact on his life  (1:24:20) Advice for music educators   Links:  Jerry’s University of Michigan page: https://smtd.umich.edu/about/faculty-profiles/jerry-blackstone/ Jerry conducting Ein deutsches Requiem, op. 45 at UoM: https://www.youtube.com/watch?v=iAGxnqRpiF0 Jerry conducting William Brehm’s “Allulia” and “Jubilee!” at UoM: https://www.youtube.com/watch?v=AWVFUfXRkzE Jerry giving a clinic on compelling musical performances: https://www.youtube.com/watch?v=vw8FtiyRXMo Bio:  Grammy Award winner Jerry Blackstone is a leading conductor and highly respected conducting pedagogue.  Now emeritus professor of conducting, he served on the faculty of the University of Michigan School of Music, Theatre & Dance for thirty years where as director of choirs he led the graduate program in choral conducting and oversaw the University’s eleven choirs.   In February 2006, he received two GRAMMY Awards (“Best Choral Performance” and “Best Classical Album”) as chorusmaster for the critically acclaimed Naxos recording of William Bolcom’s Songs of Innocence and of Experience. The Naxos recording of Milhaud’s monumental L’Orestie d’Eschyle, on which Blackstone served as chorusmaster, was nominated for a 2015 GRAMMY Award (“Best Opera Recording”). Opera Magazine reviewer Tim Ashley wrote: “the real stars, though, are the University of Michigan’s multiple Choirs, who are faced with what must be some of the most taxing choral writing in the entire operatic repertory. Their singing has tremendous authority and beauty, while the shouts and screams of Choéphores are unnerving in the extreme. Their diction is good too: the occasions when we don’t hear the words are Milhaud’s responsibility, rather than theirs. It’s an extraordinary achievement, and utterly mesmerizing.” The University of Michigan Chamber Choir, conducted by Blackstone, performed by special invitation at the inaugural conference in San Antonio of the National Collegiate Choral Organization (NCCO) and presented three enthusiastically received performances in New York City at the National Convention of the American Choral Directors Association (ACDA).  As conductor of the University of Michigan Men’s Glee Club from 1988-2002, Professor Blackstone led the ensemble in performances at ACDA national and division conventions and on extensive concert tours throughout Australia, Eastern and Central Europe, Asia, South America, and the United States. In 2017, NCCO presented him with its prestigious Lifetime Achievement Membership Award and, in 2006, for “significant contributions to choral music,” he received the ACDA-Michigan chapter’s Maynard Klein Lifetime Achievement Award.  From 2003-2015, Dr. Blackstone served as conductor and music director of the University Musical Society (UMS) Choral Union, a large community/university chorus that frequently appears with the Detroit Symphony Orchestra (DSO) and the Ann Arbor Symphony and presents yearly performances of Handel’s Messiah and other major works for chorus and orchestra. Choirs prepared by Blackstone have appeared under the batons of Valery Gergiev, Neeme Järvi, Leonard Slatkin, Hans Graf, Michael Tilson Thomas, John Adams, Helmuth Rilling, James Conlon, Nicholas McGegan, Rafael Frühbeck de Burgos, Peter Oundjian, and Yitzak Perlman. Professor Blackstone is considered one of the country’s leading conducting teachers, and his students have been first place award winners and finalists in both the graduate and undergraduate divisions of ACDA’s biennial National Choral Conducting competition.  His 2016 rehearsal techniques DVD, Did You Hear That? (GIA Publications) deals with the conductor’s decision-making process during rehearsal.  Santa Barbara Music Publishing distributes Blackstone’s acclaimed educational DVD, Working with Male Voices and also publishes the Jerry Blackstone Choral Series. Blackstone is an active guest conductor and workshop presenter and has appeared in forty-two states as well as New Zealand, Australia, Hong Kong, Shanghai, and Sicily. In the summer, he leads the Adult Choir Camp and the Choral Conducting Institute at the Interlochen Center for the Arts. Prior to coming to the University of Michigan in 1988, Dr. Blackstone served on the music faculties of Phillips University in Oklahoma, Westmont College in California, and Huntington University in Indiana.    

Robert deMaine, principal cellist with the LA philharmonic, talks to us about his view on the various facets of practicing. He elaborates on: The importance of courage, presence, and joy in practice How to improve your playing at any time, in any circumstances Practicing for auditions Incorporating two aspects of preparation Polishing all the nitty gritty Letting go How he gets himself in “Olympian” shape for auditions The importance of “seeing the forest” His view on devices – recorders, tuners, metronome, etc. The cumulative effect of preparing for audition The mental preparation A strategy to “find” the motivation to start practicing (Read my own blog post on the topic , Commit to Ten, here: https://www.mindoverfinger.com/post/commit-to-ten) His technique routine How to make practicing excerpts personal and enjoyable   Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And join the Mind Over Finger Book Club in the Tribe!  We meet HERE, and we'll begin 2020 with The Inner Game of Golf by Tim Gallwey!   Don't forget to sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY AT www.mindoverfinger.com!!!!     MORE ABOUT ROBERT DEMAINE: Website: http://www.robertdemaine.com/index.php Los Angeles Philarmonic: https://www.laphil.com/musicdb/artists/1440/robert-demaine YouTube: https://www.youtube.com/results?search_query=robert+demaine+cello Facebook: https://www.facebook.com/robertdemainecellist/ Instagram: https://www.instagram.com/robertdemainecellist/   Robert deMaine is an American virtuoso cellist who has been hailed by The New York Times as “an artist who makes one hang on every note.” He has distinguished himself as one of the finest and most versatile instrumentalists of his generation, performing to critical acclaim as soloist, recitalist, orchestra principal, recording artist, chamber musician, and composer / arranger. In 2010, deMaine was a founding member of the highly acclaimed Ehnes String Quartet and completed several world tours and recordings with the ensemble. In 2012 he was invited to join the Los Angeles Philharmonic as Principal Cello. He collaborates often in a piano trio with violinist Hilary Hahn and pianist Natalie Zhu. A first-prize winner in many national and international competitions, deMaine was the first cellist ever to win the grand prize at San Francisco's Irving M. Klein International Competition for Strings. As soloist, he has collaborated with many distinguished conductors, including Neeme Järvi, Peter Oundjian, Joseph Silverstein, and Leonard Slatkin, and has performed nearly all the major cello concertos with the Detroit Symphony Orchestra, where he served as principal cello for over a decade. His recording of the John Williams Cello Concerto (Detroit Symphony, Leonard Slatkin conducting) is available on Naxos. His forthcoming recordings include the complete works of Beethoven for piano and cello with pianist Peter Takács, the Haydn Cello Concertos with the Moravian Philharmonic of the Czech Republic, and a recital CD of Grieg and Rachmaninoff sonatas with pianist Andrew Armstrong.   DeMaine studied at the Juilliard School, the Eastman School of Music, the University of Southern California, Yale University, and the Kronberg Academy in Germany.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

In this archival episode of the NACOcast host Sean Rice, NAC Orchestra's 2nd clarinetist, speaks with conductor Peter Oundjian weeks before his retirement as Music Director of the Toronto Symphony Orchestra in 2018. They discuss Bruckner's Eighth Symphony and Peter shares memories from his student days at The Juilliard School, his first encounter with Pinchas Zukerman and performing with the National Arts Centre Orchestra.

This week we hear from Peter Oundjian, who stepped in on short notice to guest conduct the Seattle Symphony. Oundjian is Conductor Emeritus of the Toronto Symphony Orchestra, where he was music director for 14 years. He’s conducting the SSO this week in place of Cristian Macelaru who could not be here due to illness. Oundjian talks about his admiration for the music of Felix Mendelssohn as heard in the composer’s “Scottish” Symphony on the program this week. He tells Dave Beck about how his many years as first violinist in the Tokyo String Quartet inform his interpretation of symphonic music, and speaks on his recent return to the violin after a neurological condition forced him to put down the instrument in the mid-1990s.

Maestro Peter Oundjian joins The Well-Tempered Wireless to talk about leading Tchaikovsky's Pathetique Symphony with the DSO this weekend.

Bruckner scholars seem to focus on psychoanalysis rather than closing their eyes and listening to the music. To listen to Anton Bruckner’s eighth symphony is to listen to the summit of his music. The Toronto Symphony Orchestra performs this work with conductor Peter Oundjian on May 7, 2018. Listen to Jean-Jacques van Vlasselaer and Marjolaine Fournier talk about Bruckner’s eighth symphony.

TSO Production team Chris Walroth and Alaina Viau describe the challenges of bringing an orchestra on tour. Plus, Music Director Peter Oundjian shares details of the Tour of Israel & Europe.

Music Director Peter Oundjian sits down with TSO Bassoon Fraser Jackson for a candid conversation. Plus, TSO Viola Gary Labovitz on practicing the Alexander Technique.

TSO Music Director Peter Oundjian introduces the 13th New Creations Festival. Plus, RBC Affiliate Composer Jordan Pal describes his new work, Iris.

Peter Oundjian introduces the Tchaikovsky Piano Concerto program. Stewart Goodyear discusses the concerto.

Join Music Director Peter Oundjian for an intimate backstage conversation with the legendary Itzhak Perlman. Plus, Canadian composer Howard Shore discusses creating the score for the Lord of the Rings film series.

Peter Oundjian introduces The Decades Project at the TSO. Plus, TSO Musicians Shane Kim and Eri Kosaka take you inside Reich's Duet for Two Violins and Strings.

TSO Principal Viola Teng Li shares why she spent the summer teaching in China. Plus, Music Director Peter Oundjian welcomes you to the season.

Travel backstage to hear Music Director Peter Oundjian look back on the season. Plus, TSO Musicians share their summer plans.

RBC Affiliate Composer Jordan Pal discusses his latest piece, City in Colour, which is premiered by the TSO this week. It includes a special instrument called the handpan. Plus, Peter Oundjian looks ahead to the rest of the season.

TSO Principal Bass Jeff Beecher explains why Brahms uses an out-of-fashion technique in his Symphony No. 4. Plus, Music Director Peter Oundjian on a Canadian Première at the TSO this week.

TSO Associate Principal Flute speaks with Kathleen Kajioka and Camille Watts about her time in the TSO. Plus, Music Director Peter Oundjian discusses Angela Hewitt and Shostakovich.

Music Director Peter Oundjian talks about his nephew, who plays with the Toronto Maple Leafs, and what hockey players have in common with musicians. Plus, Kathy Buckworth with tips about taking your kids to the symphony.

On March 14, Heritage Minister Mélanie Joly announced TSO's Canada Mosaic: a pan-Canadian signature project of Canada 150. Music Director Peter Oundjian speaks with The New Classical FM's Kathleen Kajioka about innovation and Canadian music.

TSO Music Director Peter Oundjian and President & CEO Jeff Melanson answer your questions about the TSO. Plus, Principal Viola Teng Li and Associate Principal Clarinet Yao Guang Zhai discuss Chinese New Year.

Peter Oundjian speaks about this week's performance with Barbara Hannigan. Plus, pianist Christina Petrowska Quilico shares memories of recording with late TSO Concertmaster Jacques Israelievitch.

TSO President and CEO Jeff Melanson speaks with Peter Oundjian from Naples on a tour of Florida. Plus, Rob Kapilow on Mozart Symphony 40 and what makes it great.

This week on the podcast: TSO Musicians share their highlights from 2015. Plus, Peter Oundjian discusses how to build an orchestra.

TSO Double Bass Timothy Dawson has a knack for giving back. He joins Jeff and Kathleen to talk about his charity concerts and thoughts on music education. Plus, Peter Oundjian talks about the TSO's benefit concert for SickKids.

Music Director Peter Oundjian explores this week's Arabian Nights program. Plus, meet new Tafelmusik Managing Director William Norris.

Music Director Peter Oundjian introduces the music of The Decades Project. Plus, Centre for Social Innovation CEO Tonya Surman.

Music Director Peter Oundjian takes you inside The Decades Project, an immersive look at the music and culture of 1900-1909. Plus, hear Peter's personal reason for TSO's partnership with SickKids hospital.

Peter Oundjian joins us to discuss The Decades Project. But first, TSO Musicians on performing Mahler.

RSNO Music Director Peter Oundjian and RSNO Chorus Director Gregory Batsleer chat about Elgar's Dream of Geronitus ahead of the RSNO's Season Finale concerts next weekend.  Please click here for concert details.

RSNO Music Director Peter Oundjian and RSNO Chorus Director Gregory Batsleer chat about Elgar's Dream of Geronitus ahead of the RSNO's Season Finale concerts next weekend.  Please click here for concert details.

On the road again, David Perlman talks with the TSO Artistic Director Peter Oundjian.