Podcasts about Philadelphia Orchestra

Cellist Yumi Kendall has been the assistant principal cellist of the Philadelphia Orchestra since 2004, serves on the faculty of the Curtis Institute of Music, co-hosts the Tacet No More podcast with bassist Joseph Conyers, and is a graduate of the University of Pennsylvania's Master of Applied Positive Psychology program.In this episode, we explore…Yumi's early musical influencesWhat effective practice really means (and looks like)How Yumi balances competing demands and sets practice goals and intentionsWhen is something good enough, and it's time to move on?Biggest takeaways from her studies in the University of Pennsylvania's positive psychology programSelf-compassion, positive teaching, overcoming negative self-talkIdentity and habit formationYumi's experience with performance anxiety and how she learned to get past this in the early part of her careerDealing with shaky bowWhat change would she love to see in the music industry?For the complete transcript and other notes and links, visit:Cellist Yumi Kendall: On Becoming a More Positive (And Effective) Practicer* * *Have you been feeling a little stuck or stagnant in the practice room? Or has performance anxiety and the gap between practice and performance been a nagging issue that hasn't changed, no matter how well you've prepared for performances, auditions - and even lessons? If you've been wanting to experience more joy in the practice room and play more like yourself on stage, but haven't been quite sure how to make that happen, starting June 10, 2025, I'll be teaching a live, online, accelerated 2-week class on the most essential mental skills and practice strategies that can make a difference in your practicing and performing. We'll meet twice a week via Zoom and work on a series of exercises and techniques in four essential skill areas (effective practice, managing anxiety, focus, and confidence), together as a group. And to make sure the concepts become consistent habits, I'll show you how to gently integrate these new skills into your (or your students') daily practice through bite-sized practice challenges alongside a supportive group of practice buddies from around the world. Registration is open now through 11:59pm on Sunday, June 8th. Over 2000 musicians, educators, and students and learners of all ages have participated in the course to date. You can find out what alumni are saying, and sign up to join Cohort 23 at: bulletproofmusician.com/essentials

SPAC President Christopher Shiley and Chief Executive Officer Elizabeth Sobol join us this morning for a preview of their Summer Season including highlights from the New York City Ballet and the Philadelphia Orchestra.When last we met, Chris was SPAC's Senior Vice President of Artistic Planning and now has been promoted to President. He is now overseeing SPAC's programming and day-to-day operations in alignment with the organization's goals for the future. And he works collaboratively with Elizabeth and, the Board of Directors.

Philadelphia treasure Lauren Hart joins the show today! We go in-depth on her time serving as the Philadelphia Flyers national anthemist (25 years and counting), her musical journey which includes releasing over a half-dozen albums and performing with Philly's own The Dovells (and numerous other musical artists), and her beloved dad, Philadelphia Flyers Hall of Fame broadcaster Gene Hart. Lauren is (or has been) involved with the boards of the Philadelphia Orchestra, Pennsylvania Hospital and the Philadelphia Zoo, and along with her husband Todd Carmichael (co-founder of Philadelphia's La Colombe Coffee Roasters), are heavily involved in philanthropic work in the region and beyond. Lauren also shares about the great blessing and joy of adopting and parenting four beautiful children from Ethiopia and the important teamwork with Todd all along the way. Find out more at www.laurenhart.com! Sports clips:Bryce Harper (Philadelphia Phillies first baseman) (MLB.com) See omnystudio.com/listener for privacy information.

What makes your jaw drop? A celestial event? A powerful piece of music? In this episode, explore awe in its many forms, from a total solar eclipse to the psychology of wonder. Psychologist Dacher Keltner breaks down the science of awe, cellist Yumi Kendall shares how music transports us, and Audacious listeners share their most treasured moments of awe. GUESTS: Mara Suttmann-Lea, Joseph Dickerson, and Stefan Keller: Awestruck with Chion in Vermont during the April 8, 2024 total eclipse Dacher Keltner: Professor of Psychology at UC Berkeley and faculty director of the Greater Good Science Center. He hosts The Science of Happiness podcast, and he’s the author of many scientific articles and several books, including Awe: The New Science of Everyday Wonder and How It Can Transform Your Life Yumi Kendall: Assistant Principal Cellist at the Philadelphia Orchestra. She founded and co-hosts the Tacet No More podcast Awestruck Audacious listeners who sent in voice memos (in order of appearance): Brenton Graveley, Carissa Teff, Levi Lomasky, Vinny Camire, Khaleel Rahman, Anne Mercer, Michelle Horsley, Erin Shapland, Pamela Morrison-Wolf, Maria Raviele, Carl Delmolino, Paul Gladis, Jane Carroll, Nell Codner, Catherine Shen, Maggie Downie, Brian Foley, Allison Durham, Jennifer LaRue, Lisa Sanchez Gonzalez Jessica Severin de Martinez, Meg Fitzgerald, Robyn Doyon-Aitken, and Meg Dalton contributed to this show, with help from our interns, Kathy Wang and Angelica Gajewski. Audacious with Chion Wolf is available as a podcast on Apple Podcasts, Spotify, Amazon Music, Tune In, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode. Join the conversation on Facebook, Instagram, TikTok, and email.Support the show: https://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

Daron Hagen is a renowned composer of Operas, Operafilms, Symphonies, Concertos, Chamber Works and Artsongs. He's worked with numerous orchestras including the New York, Philadelphia and Buffalo Philharmonic. He's a Guggenheim Fellow. He's been awarded the Kennedy Center Friedman Prize among others. And he's written a memoir.My featured song is “The Winner” from the album Made In New York by my band Project Grand Slam. Spotify link.---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.—----------------------------------------Connect with Daron:www.daronhagen.com—----------------------------------------ROBERT'S RECENT SINGLES:“LOVELY GIRLIE” is Robert's latest single. It's a fun, Old School, rock/pop tune with 3-part harmony. It's been called “Supremely excellent!”, “Another Homerun for Robert!”, and “Love that Lovely Girlie!”Click HERE for All Links—----------------------------------“THE RICH ONES ALL STARS” is Robert's single featuring the following 8 World Class musicians: Billy Cobham (Drums), Randy Brecker (Flugelhorn), John Helliwell (Sax), Pat Coil (Piano), Peter Tiehuis (Guitar), Antonio Farao (Keys), Elliott Randall (Guitar) and David Amram (Pennywhistle).Click HERE for the Official VideoClick HERE for All Links—----------------------------------------“SOSTICE” is Robert's single with a rockin' Old School vibe. Called “Stunning!”, “A Gem!”, “Magnificent!” and “5 Stars!”.Click HERE for all links.—---------------------------------“THE GIFT” is Robert's ballad arranged by Grammy winning arranger Michael Abene and turned into a horn-driven Samba. Praised by David Amram, John Helliwell, Joe La Barbera, Tony Carey, Fay Claassen, Antonio Farao, Danny Gottlieb and Leslie Mandoki.Click HERE for all links.—-------------------------------------“LOU'S BLUES”. Robert's Jazz Fusion “Tone Poem”. Called “Fantastic! Great playing and production!” (Mark Egan - Pat Metheny Group/Elements) and “Digging it!” (Peter Erskine - Weather Report)!Click HERE for all links.—----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Marin Alsop is a world-renowned conductor and the first woman to lead major orchestras internationally. The subject of the Emmy-nominated documentary "The Conductor” and formerly Music Director of the Baltimore Symphony Orchestra, she's Chief Conductor of the ORF Vienna Radio Symphony Orchestra and the Ravinia Festival, and Principal Guest Conductor of the Philharmonia Orchestra and the Philadelphia Orchestra. She has recorded 200+ titles and is the only conductor to receive a MacArthur Fellowship.In this episode, we explore:How giving people max autonomy drives performance How to balance elite talent with team cohesionTheories on talent selection to build top teamsThe "no shortcuts" practice philosophy This episode is great for anyone building teams. It offers powerful insights on creating excellence at scale, balancing autonomy with accountability, and fostering self-motivation. Enjoy this episode? Rate it and leave a review. It really helps others find the podcast.Learn more about Kristen and Irrational Labs ⁠here⁠.

Merry Christmas! On this episode of Catholic Forum, after a news update from The Dialog, we will present Bishop William Koenig's annual Christmas message to the people of the Diocese of Wilmington and some beautiful Christmas hymns from John Michael Talbot's The Birth of Jesus CD and The Glorious Sounds of Christmas CD by the Philadelphia Orchestra under the direction of Eugene Ormandy and the Temple University Concert Choir. 

Steven Spielberg is the most successful director of his generation and the highest-grossing director of all time: his films have taken more than $10 billion worldwide. From Jaws to E.T. and Jurassic Park to Schindler's List, his storytelling has captivated audiences around the world.Steven grew up in Phoenix, Arizona, where he started making films as a young boy. In 1958 he made a short Western which won him a Boy Scout merit badge. He screened it to his entire Scout troop and their laughter and applause got him hooked on film making.In 1971 he directed a television movie called Duel about a motorist who is pursued by a murderous truck driver. The film attracted good reviews from critics, and before the age of 30, Steven had directed his first global hit: Jaws grossed $471 million worldwide and is credited as heralding the arrival of the blockbuster era. He now says Jaws was ‘a free pass into my future.'He has won three Academy Awards, and has received eight nominations for best director. The Fabelmans, his most recent film, is a semi-fictionalised account of his own coming of age, drawing on his film-making experiences as a child.Steven is married to the actor Kate Capshaw, who starred in his film Indiana Jones and the Temple of Doom, and they have seven children.DISC ONE: The Man Who Shot Liberty Valance by Gene Pitney DISC TWO: Fugue in G minor, BMW 578 – “The Little” arranged by Leopold Stokowski, composed by J.S Bach, performed by Philadelphia Orchestra and conducted by Yannick Nezet-Seguin DISC THREE: Michelle by The Beatles DISC FOUR: What the World Needs Now Is Love by Jackie DeShannon DISC FIVE: Come Fly with Me by Frank Sinatra DISC SIX: The Ghost of Tom Joad by Bruce Springsteen DISC SEVEN: Somewhere, composed by Leonard Bernstein and Stephen Sondheim, performed by Reri Grist DISC EIGHT: Coolhand by Buzzy LeeBOOK CHOICE: The Grapes of Wrath by John Steinbeck LUXURY ITEM: H-8 Bolex camera CASTAWAY'S FAVOURITE: Coolhand by Buzzy LeePresenter Lauren Laverne Producer Paula McGinley

Ladies and gentlemen, with honesty, tenderness and, yes, sometimes humor, the film Facing the Wind invites viewers into the lives of people with Lewy body dementia and their caregivers…real people in real time.  FACING THE WIND, a sixty-minute documentary film, reveals how a mutual support community can be an antidote to despair, letting people know they are not alone.  You will follow their journey, laughing and crying with them, while taking an unflinching look at dementia care with its overwhelming and isolating aspects. The struggle is real, but so is the love. Ladies and gentlemen, Lewy body dementia is not a rare disease. It affects more than 1.4 million people in America. It is the second most common form of dementia, but it still being misdiagnosed. Alzheimer's disease is the gradual decline of memory as Lewy body dementia is the roller coaster ride with ups and downs. One moment the patient can be fully present and lucid and the next be completely lost or deal with hallucinations from mild to severe. There is no cure, but this very powerful film documentary is not for those suffering with Lewy body dementia, but for the people who care for them. Many spouses and family members are thrust into being a caregiver and navigating the vast ocean of the unknown. FACING THE WIND is a starting place for caregivers and to know that it's ok to not be ok. Head over to LewyBodyResourceCenter.org for more information. If your loved one was diagnosed with Lewy body dementia, you are not alone and there are resources right now that can help you. Mary Lou Falcone, author of the book, “I Didn't See It Coming: Scenes of Love, Loss and Lewy Body Dementia”. Mary Lou Falcone, author of I DIDN'T SEE IT COMING: Scenes of Love, Loss, and Lewy Body Dementia, is internationally known as a classical music publicist/strategist who for 50 years has helped guide the careers of celebrated artists – Van Cliburn, Gustavo Dudamel, Renée Fleming, Sir Georg Solti, James Taylor – and advised many institutions including Carnegie Hall, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, New York Philharmonic, Vienna Philharmonic.  Combining communication skills with her background as a performer and educator, she now adds another layer: advocate for Lewy body dementia (LBD) awareness.  Her late husband, the illustrator/painter Nicky Zann who died from LBD in 2020, was the catalyst for her book.  She is also an Executive Producer of a new documentary film about LBD entitled Facing the Wind, a love story about people with Lewy body dementia, the spouses who care for them, and the remarkable community where they find sustenance and support. #lewybodydementia #lewybody #dementia #alzheimersdisease #alzheimers #parkinsonsdisease #brainhealth #medicine #filmdocumentary #documentary #health #wellness #caregiving #caregivers 

Ladies and gentlemen, with honesty, tenderness and, yes, sometimes humor, the film Facing the Wind invites viewers into the lives of people with Lewy body dementia and their caregivers…real people in real time.  FACING THE WIND, a sixty-minute documentary film, reveals how a mutual support community can be an antidote to despair, letting people know they are not alone.  You will follow their journey, laughing and crying with them, while taking an unflinching look at dementia care with its overwhelming and isolating aspects. The struggle is real, but so is the love. Ladies and gentlemen, Lewy body dementia is not a rare disease. It affects more than 1.4 million people in America. It is the second most common form of dementia, but it still being misdiagnosed. Alzheimer's disease is the gradual decline of memory as Lewy body dementia is the roller coaster ride with ups and downs. One moment the patient can be fully present and lucid and the next be completely lost or deal with hallucinations from mild to severe. There is no cure, but this very powerful film documentary is not for those suffering with Lewy body dementia, but for the people who care for them. Many spouses and family members are thrust into being a caregiver and navigating the vast ocean of the unknown. FACING THE WIND is a starting place for caregivers and to know that it's ok to not be ok. Head over to LewyBodyResourceCenter.org for more information. If your loved one was diagnosed with Lewy body dementia, you are not alone and there are resources right now that can help you. Mary Lou Falcone, author of the book, “I Didn't See It Coming: Scenes of Love, Loss and Lewy Body Dementia”. Mary Lou Falcone, author of I DIDN'T SEE IT COMING: Scenes of Love, Loss, and Lewy Body Dementia, is internationally known as a classical music publicist/strategist who for 50 years has helped guide the careers of celebrated artists – Van Cliburn, Gustavo Dudamel, Renée Fleming, Sir Georg Solti, James Taylor – and advised many institutions including Carnegie Hall, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, New York Philharmonic, Vienna Philharmonic.  Combining communication skills with her background as a performer and educator, she now adds another layer: advocate for Lewy body dementia (LBD) awareness.  Her late husband, the illustrator/painter Nicky Zann who died from LBD in 2020, was the catalyst for her book.  She is also an Executive Producer of a new documentary film about LBD entitled Facing the Wind, a love story about people with Lewy body dementia, the spouses who care for them, and the remarkable community where they find sustenance and support. #lewybodydementia #lewybody #dementia #alzheimersdisease #alzheimers #parkinsonsdisease #brainhealth #medicine #filmdocumentary #documentary #health #wellness #caregiving #caregivers 

When you think of harp music, is there a characteristic harp sound that comes to mind, a musical gesture that belongs to the harp more than to any other instrument? A glissando, maybe? That's certainly one of them, and a favorite of mine. Another one that I find very powerful and very harp-y is a rolled chord.  Harps were meant to play chords, especially rolled chords. They sound liquid and rich, even plummy. You can listen to an orchestral recording and when the harpist plays a rolled chord, you know it. It's almost as if everything melts for a moment. If you want to check out some of those moments, just stick with me because we'll be talking about a couple. But I also want to talk to you about how to make your rolled chords sound just that magical. In my opinion, we often forget that our rolled chords play a significant role in our musical expression. I hear so many harpists playing their chords blocked or flat when the music clearly calls for a chord that's more lush and romantic. In fact, this is one of my pet peeves and something I'm likely to go into a rant over given the opportunity. I'm not ashamed about this though. I felt totally vindicated when I was in a workshop given at the World Harp Congress by the famous French harpist Isabelle Perrin. She was talking about the opening chords of the Fauré Impromptu, and suddenly she was off on a rant just like mine. The frustration she expressed was that too many harpists play blocked chords all the time, when rolled chords would be infinitely more musical. She didn't know it, but she was ranting to the choir, where I was concerned. Rolled chords are part of the native language of the harp. Today I want to help you roll them well, to understand how to fit them in and most of all, how to use them to add expression to your music.  We'll explore the differences between flat, cracked and rolled chords. We'll deal with some of the critical technical aspects of rolled chords, too. But mainly, I want you to learn how to love them and how to use them to create more depth of expression, more beauty in everything you play. Links to things I think you might be interested in that were mentioned in the podcast episode:  Our November Seminar series on rolling chords is starting - join today! Related resource: Podcast episode #92, Quick Fix: Roll Your Chords Right Listen to Marilyn Costello with the Philadelphia Orchestra, playing Rimsky Korsakov's Scheherezade; the Pas de deux from Tchaikovsky's Swan Lake, and Debussy's Danses sacrée et profane. Harpmastery.com Get involved in the show! Send your questions and suggestions for future podcast episodes to me at podcast@harpmastery.com LINKS NOT WORKING FOR YOU? FInd all the show resources here: https://www.harpmastery.com/blog/Episode-181  

durée : 00:05:04 - Classic & Co - par : Anna Sigalevitch - Anna Sigalevitch se penche sur le cas de Daniil Trifonov et de son "American Story", interprété avec le Philadelphia Orchestra, c'est un disque qui vient de paraître chez Deutsche Grammophon…

What does it take to perform at your best in critical moments?It's what differentiates the great from the good. Being at the top of your game requires years of courage, skill, and discipline. This is why some falter whilst others shine.In this episode I am joined by the multi-award-winning trumpet soloist, Alison Balsom. She shares what it takes to get to, and sustain, the highest levels of performance. These are concepts and practises that leaders in all fields would do well to apply.Alison talks about how she chooses the right repertoires to play and people to work with. She also discusses the importance of finding your own interpretation of a piece and what it's like to perform with the conductors and musicians.Music plays a huge role in all our lives, whether we know it or not.This conversation is for anyone looking to perform at the highest of levels and pushing the frontiers of their craft.“It's certainly a high wire act” – Alison BalsomYou'll hear about:●      Alison's process for finding the right work●      How to know when the project is right for you ●      Building relationships in orchestras●      What helps Alison to excel?●      How do you know you've impacted people?●      Alison's mindset minutes before taking the stage●      You are not better in rehearsal●      Has Alison had moments of self-doubt?●      How Alison nurtures and looks after herself●      The impact Alison wants to have on the worldAbout Alison Balsom:Alison has performed as a solo trumpeter worldwide with many of the greatest conductors and orchestras of our time, including Pierre Boulez, Lorin Maazel, Claudio Abbado, the New York Philharmonic Orchestra, Philadelphia Orchestra and London Philharmonic Orchestras, as well as The Balsom Ensemble, a handpicked group of leading Baroque soloists.Balsom has commissioned much music, and had hundreds of works written for her, including by composers such as Betsy Jolas, Dobrinka Tabakova, James MacMillan, and Thea Musgrave.She has been awarded an OBE for Services to Music, and has dedicated her career to broadening the artistic horizons of the trumpet.Resources:Profile: https://bit.ly/3LTvGV0Discography: https://bit.ly/3AbVE3DConcerts: https://bit.ly/3LXD026My resources:Take my new Becoming a Strategic Leader course (https://bit.ly/3KJYDTj)Sign up to my Every Day is a Strategy Day newsletter (http://bit.ly/36WRpri) for modern mindsets and practices to help you get ahead. Subscribe to my YouTube channel (http://bit.ly/3cFGk1k) where you can watch the conversation.For more details about me:●      Services (https://rb.gy/ahlcuy) to CEOs, entrepreneurs and professionals.●      About me (https://rb.gy/dvmg9n) - my background, experience and philosophy.●      Examples of my writing https://rb.gy/jlbdds)●      Follow me and engage with me on LinkedIn (https://bit.ly/2Z2PexP)●      Follow me and engage with me on Twitter (https://bit.ly/36XavNI)

On this episode we announce our fifth, final and BIGGEST Halloween Reed Decorating Contest! For our interview, we welcome Daniel Matsukawa, principal bassoon of the Philadelphia Orchestra. This podcast is brought to you by Chemical City Double Reeds (www.chemicalcityreeds.com), ACDC Reeds(www.acdcreeds.com/), Barton Cane (www.bartoncane.com/), and RDG Woodwinds Inc. (rdgwoodwinds.com)! Thank you to our wonderful sponsors!

In this episode of One Symphony, host Devin Patrick Hughes interviews Dr. Samantha Ege, pianist and musicologist, about the life and works of Florence Price. Dr. Ege discusses Price's musical style, her significance in American classical music, and the recent rediscovery of her compositions. The conversation covers Price's role in the Chicago music scene, her blending of classical and African American musical traditions, and the challenges she faced as a Black female composer in the early 20th century. Dr. Ege also shares insights from her own recordings of Price's piano works and her upcoming scholarly publications on the composer.   Dr. Samantha Ege is a leading scholar and interpreter of the African American composer Florence Price.  Her work illuminates Price in the context of the Black Chicago Renaissance and Black women's dynamic networks of advocacy, empowerment, and uplift. Her first book, South Side Impresarios: How Race Women Transformed Chicago's Classical Music Scene, and first edited collection, The Cambridge Companion to Florence B. Price, are important culminations of the research she has shared around the world.   Dr Ege is a also concert pianist who specializes in the music of 20th and 21st century composers. Her performances bring her research to life, sounding new narratives that are so often unheard in the modern-day concert hall. Dr Ege seeks to communicate the diversity of classical music's past, present, and future through her performances, and foster a sense of belonging for everyone.   In her London debut at the 2021 London Festival of American Music she gave the world premiere of Florence Price's complete Fantasie Nègre set. In 2018, she made her international lecture-recitalist debut at the Chicago Symphony Center with her event A Celebration of Women in Music: Composing the Black Chicago Renaissance. She has performed across the UK, Europe, North America, and Southeast Asia. She has also played with the Oxford Philharmonic Orchestra, Oakland Symphony Orchestra, Arkansas Symphony Orchestra, and Yale Philharmonia.   Thank you for joining us on One Symphony. Thanks to Dr. Samantha Ege for sharing her incredible research, insights, and music-making. You can find her book, South Side Impresarios and more at https://www.samanthaege.com.   Music Selections “Weeping Willow, A Rag Time Two Step.” Composed by Scott Joplin. Performed by Benjamin Loeb on the album Scott Jopin: Piano Rags 2 from Naxos. Violin Concerto No. 2. Composed by Florence Price. Featuring Kelly Hall-Tompkins on violin with the Urban Playground Chamber Orchestra. Conducted by Thomas Cunningham. Sonata in E minor “Andante.” Composed by Florence Price. Performed by Samantha Ege. “Sketches in Sepia.” Composed by Florence Price. Performed by Samantha Ege. Symphony No. 1 in E minor: I. Allegro ma non troppo. Composed by Florence Price. Performed by The Philadelphia Orchestra. Yannick Nézet-Séguin, conductor. Available from Deutsche Grammophon. Symphony No. 3 in C minor: I. Andante – Allegro. Composed by Florence Price. Performed by The Philadelphia Orchestra. Yannick Nézet-Séguin, conductor. Available from Deutsche Grammophon. Sonata in E minor “Scherzo.” Composed by Florence Price. Performed by Samantha Ege. Fantasie Nègre No.4 in B minor. Composed by Florence Price. Performed by Samantha Ege. Available from Lontano Records. “Snapshots Moon Behind a Cloud.” Composed by Florence Price. Performed by Samantha Ege. Available from Lontano Records. Fantasie Nègre No.1 in E minor. Composed by Florence Price. Performed by Samantha Ege. Available from Lontano Records. Juba Dance from Symphony No. 3. Composed by Florence Price. Performed by the Chicago Symphony Orchestra. Ricardo Muti, conductor. Fantasie Nègre No.2 in G minor. Composed by Florence Price. Performed by Samantha Ege. Available from Lontano Records.   You can always find more info at OneSymphony.org or DevinPatrickHughes.com including a virtual tip jar if you'd like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music. 

Kelly connects with Yumi Kendall, Assistant Principal cellist for the Philadelphia Orchestra to talk about the power of the arts and her experiences as a student in the Waldorf educational system. “I didn't decide until the day after my SATs, because all of my friends were working on their personal essays and I thought, ‘My personal essay is cello,'” […]

Matthew Aucoin is an American composer, conductor, writer, pianist, and a 2018 MacArthur Fellow. In recent seasons, his music has been performed by artists ranging from Yo-Yo Ma to the Philadelphia Orchestra, and commissioned by institutions including the Metropolitan Opera, Carnegie Hall, and the Ojai Music Festival. Aucoin is a co-founder of the American Modern Opera Company. His book about opera, The Impossible Art: Adventures in Opera, was published in 2021 by Farrar, Straus & Giroux. Peter and Matt talk about what it takes to compose an opera, writing classical music in the modern age, the symbiotic benefits of being a composer, pianist, and conductor, Matt's upcoming projects, and much more. Please welcome Matthew Aucoin.

Philadelphia Orchestra's Principal Bassist Joseph Conyers is back as co-host as we meet a bright teen harpist whose commitment to her instrument is so strong she commutes weekly from Virginia to New York for lessons and a vibrant 12-year-old guitarist plays a fiery work by Roland Dyens and talks about his love for fishing, movies, and performing with his sisters. Peter Dugan and Joseph Conyers open the program with a moving interpretation of Florence Price's Adoration.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

We're in Philadelphia where we meet a local teen composer who aspires to create more opportunities for fellow Black composers and learn how co-host Joseph Conyers, Philadelphia Orchestra's principal bassist, is making an impact through his service to the community. We also hear a young violinist perform a phenomenal work by contemporary composer Jessie Montgomery.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

EGOT winning, critically acclaimed, multi-platinum, singer, and songwriter John Legend will be in town tonight at the Saratoga Performing Arts Center preforming with the Philadelphia Orchestra.

The Philadelphia Orchestra will return to SPAC for its annual residency next week, Wednesday, July 31, opening with the tradition of Tchaikovsky Spectacular, highlighted by the 1812 Overture with live cannon fire and a brilliant fireworks display.

This week on Sinica, I chat with University of Melbourne transnational historian Pete Millwood about his outstanding book Improbable Diplomats: How Ping-Pong Players, Musicians, and Scientists Remade U.S.-China Relations. The road to normalization is told too often with a focus only on the Nixon-Kissinger opening and official diplomatic efforts culminating in the final recognition of the PRC in January 1979, but there's much more to the story than that, and Millwood tells it deftly, drawing on extensive archival research as well as interviews with many of those directly involved.3:33 — Transnational history 4:44 — The early, “pioneering” trips to China in the 1950s and ‘60s and China's shift in invitations 11:14 — The Council on Foreign Relations (CFR) and the National Committee on U.S.-China Relations (NCUSCR) in the 1960s 16:27 — The role of the Committee of Concerned Asia Scholars (CCAS)20:43 — Why Nixon's opening to China was seen as so surprising, and the impact of the UN's shift in recognition from the ROC to the PRC on American thinking 24:57 — The Glenn Cowan and Zhuang Zedong ping-pong diplomacy story 31:21 — Edgar Snow's meeting with Mao33:43 — The return leg of ping-pong diplomacy and the National Committee's “baptism by fire”36:33 — The significance of the Philadelphia Orchestra's tour of China with Eugene Ormandy 42:23 — Jiang Qing and the controversy around the cancelled performing arts tour in the U.S. in 1975 46:03 — Kissinger's thinking in the early 1970s after the first communiqué 48:48 — The U.S.-China People's Friendship Association 50:42 — How scientific cooperation smoothed the process toward normalization under the Carter administration, the state of play in '77, and how Frank Press CSCPRC argued for greater reciprocity 1:02:25 — The politics in China in regards to the grander bargain and the decentralization of exchanges 1:05:43 — The disbandment of the CSCPRC and the reinvention of the NCUSCR 1:08:58 — Pete's suggestion for continuing academic and cultural exchange 1:12:51 — How Pete got interested in such an American and China-centric topic 1:18:02 — Pete's current projects Recommendations:Pete: Island X: Taiwanese Student Migrants, Campus Spies, and Cold War Activism by Wendy Cheng; Indelible City: Dispossession and Defiance in Hong Kong by Louisa Lim (also available as an audiobook read by the author) Kaiser: We Met in Beijing, a book of poems by Anthony Tao See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today's episode features an interview with trombonist/publisher David Vining, recorded at the 2024 ITG Conference in Anaheim, California.David was diagnosed with focal dystonia in 2003. In our interview, he discusses his struggles, eventual recovery through holistic movement therapies such as Feldenkrais, Alexander Technique, and body mapping and exposing the vastly understudied diagnoses and treatment of focal dystonia.Perhaps the biggest misconception about focal dystonia is that it is a physical problem. While the symptoms manifest in the physical realm, it is a distinctly neurological issue which disrupts musicians' fine motor skills.David's diagnosis and eventual recovery inspired him to establish Mountain Peak Music, which offers resources and materials aimed at promoting healthy playing and living habits, as well as taking a preventative approach to issues like dystonia.Episode Highlights:01:25 David Vining's Musical Journey04:37 The Onset of Focal Dystonia05:43 Diagnosis and Initial Struggles09:24 Exploring Treatment Options18:34 Movement Therapies and Recovery25:29 Redefining Embouchure and Global Awareness26:46 Rafael Mendez a Model of Overcoming Adversity27:54 Recovering from Focal Dystonia29:33 Founding Mountain Peak Music30:19 The Breathing Book and Body Mapping32:32 Innovative Learning Materials36:49 Success Stories and Cross Training45:02 Challenges with High Brass Players46:42 Final Thoughts and AdviceResources mentioned:Mountain Peak MusicAbout the Guest:Trombonist David Vining is the founder of Mountain Peak Music, a publishing company devoted to offering innovative, healthy teaching methods for all musicians. Mountain Peak Music represents Mr. Vining's personal mission, combining his extensive performing and teaching background with insights learned through his remarkable recovery from embouchure dystonia. His Mountain Peak Music publications include the Breathing Book series, Flow Studies, Daily Routines, Long Tone Duets, Trombone Intonation Mastery, Dueling Fundamentals for Trombones, Cross Training for Musicians, The Big Book of Sight Reading Duets, Teaching Brass, and Rangesongs.Currently Professor of Trombone at Northern Arizona University in Flagstaff, Arizona, Mr. Vining has also served on the faculties of the University of Cincinnati's College-Conservatory of Music and the University of Kansas. Professor Vining's teaching transcends his trombone specialty, covering a wide range of topics appealing to musicians of every discipline. He is equally at home teaching trombone technique, helping instrumentalists and vocalists become more efficient, and helping musicians cope with injuries, among other topics.Mr. Vining is a dynamic performer who has delivered hundreds of recitals nationwide. As trombonist with the Chestnut Brass Company, he recorded several CD's and toured the United States and Europe performing recitals, masterclasses, and concerts with orchestras. Currently a member of the Flagstaff Symphony, he has performed with the Cincinnati Symphony, Kansas City Symphony and the Philadelphia Orchestra. Mr. Vining has appeared on college campuses coast-to-coast in recital and as a guest soloist with ensembles, and recorded a solo CD, Arrows of Time.Body + Mind + Spirit = Mastery. Now available is a collection of excerpts from some of the most popular...

Zachary James is currently starring as Hades in the West End production of Hadestown at the Lyric Theatre. Zachary James' work in theatre and opera includes the original production of Akhnaten (English National Opera), Lurch in the original cast of The Addams Family (Broadway), Spain (Second Stage), The Perfect American (Teatro Real Madrid), Breaking the Waves (Opera Philadelphia), Il Sogno (Teatro Citta Della Pieve), Edward Tulane (Minnesota Opera) and South Pacific, Coram Boy, Sweeney Todd, The Most Happy Fella, Irma la Douce, The Pirates of Penzance and Wozzeck (New York). Zachary has performed around the globe, at venues including The Metropolitan Opera, Opera Queensland, Lincoln Center Theater, Carnegie Hall, New York Philharmonic, NHK Symphony Orchestra Tokyo and Philadelphia Orchestra. His TV work includes 30 Rock, Law & Order, The Blacklist, Succession, Saturday Night Live and Murphy Brown. Zachary has released multiple solo albums which can be streamed. In this episode, Zachary discusses why he was determined to be in Hadestown, how he has balanced a career between theatre and opera, his path into performing and lots more. Check out Zachary's website www.zachjames.com and for more information about Hadestown visit www.uk.hadestown.comHosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  Past Present FeatureA filmmaker appreciation podcast hosted by Emmy-winning director...Listen on: Apple Podcasts Spotify

This is an interview with renowned Jazz drummer Jon Krosnick, who has been a significant figure in the music industry for several decades. Krosnick began playing piano at age 6 and drums at age 9. Most of his formal musical training occurred during ten summers spent at the National Music Camp in Interlochen, Michigan. There, he studied classical percussion and jazz drumming, and he performed with orchestras, concert bands, percussion ensembles, jazz bands, and backup bands for musical theater performances. Recognizing his accomplishments during those years, Jon was awarded the NMC Jazz Scholarship, and he won the High School Division's Concerto Competition. Jon studied classical percussion at Interlochen with many noted instructors, including Niel DePonte (Oregon Symphony) and Scott Stevens (Metropolitan Opera Orchestra).  While studying classical percussion with Fred Hinger (Metropolitan Opera Orchestra) in high school, Jon won the Philadelphia Orchestra's Student Concerto Competition and performed with the orchestra... --- Send in a voice message: https://podcasters.spotify.com/pod/show/backstagejazz/message

Simon Woods brings more than 30 years of experience working with orchestras to his leadership role as president and CEO of the League of American Orchestras.Simon is known throughout the world of classical music as a highly trusted mentor and advisor to orchestra management professionals.His leadership includes regular columns in professional periodicals about the future of orchestras, as well as lectures and speaking engagements at conferences and orchestra boardrooms around the country.  I was fortunate enough recently to host a panel discussion with him on the subject of the presentation of classical music.Prior to joining the League in 2020, Woods served as CEO of the Los Angeles Philharmonic; he was interim executive director of the Grand Teton Music Festival, president and CEO of the Seattle Symphony, chief executive of the Royal Scottish National Orchestra, as well as serving the New Jersey Symphony Orchestra and The Philadelphia Orchestra. Born in London, England, Woods earned a degree in music from Cambridge University and a diploma in conducting from the Guildhall School of Music and Drama in London. He currently serves on the boards of Astral Artists and the Performing Arts Alliance.

Send us a Text Message.I am so grateful to the writer and musician, music historian and public musicologist , Sarah Fritz, for joining us on today's episode of "Inside the Taubman Approach." I am also so grateful for amazing women like Clara Schumann who blazed the trail for us all in music. I see so many parallels in the groundbreaking work of Dorothy Taubman and Edna Golandsky. These women have sacrificed so much in bringing this body of knowledge to us for our benefit. They have pressed on despite criticism and even opposition. Friends - we want you to be involved in the Golandsky Institute. Come and join us. Sign-up on our website today. www.golandskyinstitute.org.  Sarah brings to us so many insights into the pianistic world of the 19th century through the experience of Clara Schumann. We even get into hand and arm treatments in the 19th century that include milk and animal carcasses. Stick around for that incredible story.  Sarah Fritz is a writer and musician, music historian and public musicologist specializing in the composer Clara Wieck-Schumann. Her passionate advocacy for marginalized composers on social media seeks to change the dialogue around classical music, challenging the misbelief that all great composers in history were cis white men. She's an in-demand guest speaker and lecturer, most recently at the Philadelphia Orchestra's pre-concert talks, WWFM The Classical Network, Northeastern University, and the launch of the Cambridge University Press's Clara Schumann Studies. In 2024, she will appear in the new documentary Mozart's Sister from Media Stockade.Sarah has written about Clara Schumann for numerous publications including the New York Times and VAN Magazine. Her popular (formerly known as) Twitter account is dedicated to telling truths and debunking myths around the infamous Madame Schumann. With overlooked research and a modern feminist lens, she places Clara's life and music within the context of popular history. Her fresh perspective on Clara's correspondence challenges traditional narratives around the composer's personal and professional relationships with her husband Robert and her “beloved friend” Johannes Brahms.Sarah is the founder of the Clara Schumann Channel blog, newsletter, and YouTube Channel. Her platform is studied in public musicology courses, and her articles are quoted in program notes and academic publications. She holds an M.M. from the Eastman School of Music and a B.M. from Westminster Choir College and also teaches on the faculty of the The Golandsky Institute's mission is to provide cutting-edge instruction to pianists based on the groundbreaking work of Dorothy Taubman. This knowledge can help them overcome technical and musical challenges, cure and prevent playing-related injuries, and lead them to achieve their highest level of artistic excellence.Please visit our website at: www.golandskyinstitute.org.

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

Introduction: In this episode, we delve into the profound journey of Mary Lou, a dedicated caregiver to her husband, the renowned artist and rocker, Nicholas ‘Nicky' Zann. Mary Lou candidly shares their story of navigating life with Lewy body dementia, shedding light on the challenges, resilience, and the importance of understanding and support. Key Points Covered: Understanding Lewy Body Dementia (LBD): Mary Lou describes how LBD differs from Alzheimer's, with fluctuating symptoms affecting memory and behavior. It's a condition affecting 1.4 million Americans and 11 million globally, though it remains relatively less known. The Caregiver's Perspective: Mary Lou emphasizes the need to meet the person with dementia where they are, suspending personal needs to prioritize theirs. Caregiving is described as improvisation, requiring adaptability and a willingness to accept failures. Lessons in Forgiveness and Vulnerability: She reflects on her book, “I Didn't See it Coming, Scenes of Love, Loss and Lewy Body Dementia,” as a journey of reconciliation with herself as a caregiver. Forgiveness and vulnerability are central themes, offering insights into the complexities of caregiving. Nicky's Messages and Final Moments: Mary Lou shares Nicky's enduring messages and the profound experience of understanding his needs in his final moments. She highlights the transformative potential of grief, turning it into catharsis. Raising Awareness and Encouraging Support: Mary Lou advocates for greater awareness of Lewy body dementia, urging celebrities and public figures to help shine a light on this condition. She underscores the importance of creating supportive communities for family caregivers. Notable Quotes from Mary Lou: “You have to join the person where they are, you can't expect them to come to you in their former state. It's just not possible.” “Suspend what you need and give them what they need.” “Grief doesn't have to be your nemesis, it can be your catharsis.” Closing Thoughts: Mary Lou concludes by emphasizing the moments of light and hope amidst the challenges of caregiving. Her story serves as an inspiration and a call to action for increased understanding and support for those affected by Lewy body dementia. ABOUT THE AUTHOR & ILLUSTRATOR Mary Lou Falcone is internationally known as a classical music publicist/strategist who for 50 years has helped guide the careers of celebrated artists – Van Cliburn, Gustavo Dudamel, Renée Fleming, Sir Georg Solti, James Taylor – and advised many institutions including Carnegie Hall, Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, New York Philharmonic, and Vienna Philharmonic. Combining communication skills with her background as a performer and educator, she now adds another layer: advocate for Lewy body dementia (LBD) awareness. Her late husband, the illustrator Nicky Zann, who died from LBD in 2020, was the catalyst for this, her first book. Nicholas ‘Nicky' Zann, the inspiration for this book, was a popular 1950s rock 'n' roll musician who became a world-renowned cartoonist, illustrator, and painter. His work hangs in the permanent collection of London's Victoria and Albert Museum, and the illustrations featured throughout this book come from his bestselling fortune-telling card game, The Answer Deck. Visit Mary Lou's website HERE. Buy her book HERE.

This week Scott is joined by Assistant Principal Cellist of the Philadelphia Orchestra, Yumi Kendall. They discuss classical music's role in human flourishing and human transcendence, how life changes once you're a mother, and the sublime coincidence of Yumi occupying the same chair as Scott's grandfather in the Philadelphia Orchestra.  2:01-The Suzuki Method 7:53-What Is A Waldorf Education? 12:19-Yumi's Crystalizing Experience With The Cello 15:59-What Does Talent Mean? 25:33-What Are The Characteristics Of A Creative Musician? 32:28-What Are Tiers Of Transcendence? 40:32-The Importance of Self Compassion 42:12-How Can We Cultivate Healthy Organizations? 48:59-How Motherhood Has Enriched Yumi's LifeSee omnystudio.com/listener for privacy information.

The Saratoga Performing Arts Center (SPAC) will welcome back its resident companies -- New York City Ballet and The Philadelphia Orchestra -- to their summer home in Saratoga for a celebratory season that will feature masterworks from the classical cannon, alongside SPAC premieres and debuts. Before they arrive, SPAC will host the Freihofers Saratoga Jazz Festival, the Chamber Music Society of Lincoln Center will continue their residency, there educational programs and CulinaryArts@SPAC events. President and CEO of SPAC Elizabeth Sobol, and Vice President of Artistic Planning at SPAC Christopher Shiley join us to tell us more.

The misfits are sporting their tuxedo t-shirts as they review the 1940 Disney animated musical feature film Fantasia. This film features music by the Philadelphia Orchestra, conducted by Leopold Stokowski and hosted by Deems Taylor. Ranking: AFI's 100 Years…100 Movies: 58th AFI's 100 Years…100 Movies – 10th Anniversary List: Not Ranked All original content including sound effects, graphics, photos and music is © Classic Movie Misfits.  Movie audio clips and music are used in accordance with Fair Use, and are property of the film copyright holders. #Fantasia #Disney #WaltDisney #LeopoldStokowski #PhiladelphiaOrchestra #DeemsTaylor #ToccataAndFugue #JohanSebastianBach #NutcrackerSuite #Tchaikovsky #SorcerersApprentice #PaulDukas #MickeyMouse #RiteOfSpring #IgorStravinsky #PastoralSymphony #Beethoven #DanceOfTheHours #Ponchielli #NightOnBaldMountain #Mussorgsky #AveMaria #Schubert #ClassicMovies #AFI100 #ClassicMovieMisfits

Marian Anderson Hall will soon be the home of the Philadelphia Orchestra. President and CEO of the Philadelphia Orchestra and Kimmel Center, Matias Tarnopolsky, explains how updating the Kimmel Center's Verizon Hall should reflect the diversity and demographics of Philadelphia. Then, a tour of the repair and restoration of the Marian Anderson Museum and Historical Society with its CEO, Jillian Patricia Pirtle. She has been working to put the museum back together after a flood to keep Marian Anderson's music and contributions to the Civil Rights Movement alive. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Two-time Grammy-winning mezzo-soprano, Curtis Institute of Music graduate, and former varsity basketball captain J'Nai Bridges joins host Khadija Mbowe for a free-flowing conversation about her wide-ranging musical influences, structured systems for success, and the public humiliation that (inadvertently) led to her becoming a star. In February 2024, Bridges joined The Philadelphia Orchestra to announce the upcoming rededication of its home inside the Kimmel Center for the Performing Arts as Marian Anderson Hall. It will be the first major concert venue in the world to honor the late performer and trailblazer.Music from this episode: BIZET, HABANERA,  J'Nai Bridges in the Canadian Opera Company's 2022 production of CarmenJ'Nai Bridges with Gustavo Dudamel, Los Angeles Philharmonic, and YOLA (Youth Orchestra Los Angeles) perform “Whole World In Your Hand” during Global Goal: Unite for Our Future on June 27. Links from this episode:READ MORE: The Philadelphia Orchestra to Rename Its Home at the Kimmel Center for the Performing Arts MARIAN ANDERSON HALL in Honor of the Legendary Contralto, Civil Rights Icon, and Philadelphian:  https://www.philorch.org/about-us/contact-us/press-room/news-releases/the-philadelphia-orchestra-to-rename-its-home-at-the-kimmel-center-for-the-performing-arts-marian-anderson-hall-in-honor-of-the-legendary-contralto-civil-rights-icon-and-philadelphian/Want more Marian Anderson? Listen to our season one episode with Jillian Patricia Pirtles, CEO of the National Marian Anderson Museum: https://www.buzzsprout.com/1364857/5986438 Marian Anderson Museum: http://marianandersonhistoricalsociety.weebly.com/J'Nai Bridges:https://jnaibridgesmezzo.com/https://www.instagram.com/jnaibmezzo/https://www.facebook.com/jnaibridgesmezzo/The Philadelphia Orchestra's HearTOGETHER series is generously supported by lead corporate sponsor Accordant Advisors. Additional major support has been provided by the Otto Haas Charitable Trust.

SynopsisPerhaps there is some poetic justice in the fact that maverick American composers like Charles Ives had a hard time getting performances of their music during their lifetime, only to be both lionized and frequently performed after their deaths. Conversely, many mainstream American composers who were lionized and frequently performed when they were alive seldom show up on concert programs anymore — and in some cases, that's a darn shame.Take Walter Piston, for example, who in his day was regarded as one of America's premier composers. On today's date in 1957, his Viola Concerto received its premiere performance by the Boston Symphony, in a concert conducted by Charles Munch, with soloist Joseph de Pasquale, a Curtis Institute professor and first-chair violist of the Philadelphia Orchestra.It's a lovely, lyrical work and a terrific showcase for a great violist. But have you ever heard it in concert — or on the radio, for that matter? A British reviewer, writing in the UK's Gramophone magazine, was bowled over by this music, writing, “Piston's concerto opens pensively, quickly builds to an aching climax … in the final pages, a sweeter lyricism that prepares the listener perfectly for the playful syncopations of the exuberant finale.”Music Played in Today's ProgramWalter Piston (1951-1987): Viola Concerto; Randolph Kelly, viola; Latvian National Symphony; Alexandrs Vilumanis, cond. Albany TROY-558

Annie Easley was one of the first black scientists hired by NASA back in the 1950s. Initially she worked as a mathematician (a human 'computer'), but later learned computer science and programming. Mary Williams reports on this important figure in honor of both Black History Month and Women's History Month. Next, hear about the latest moon landing. Dave Robinson then reports on research about wildfires 430 million years ago, and what they tell us about earth's atmosphere at the time. Then, Scott Miller reports on what planets, stars and constellations we can see in the night sky during the month of March. Finally, Dave Robinson challenges listeners to contribute to Bench Talk by telling us what you think are the most important scientific or technological advances made between 2018 and the present, and/or what STEM advances you think will be made between now and 2030! ‘Bench Talk: The Week in Science' is a weekly radio program that airs on WFMP Louisville FORward Radio 106.5 FM (forwardradio.org) every Monday at 7:30 pm, Tuesday at 11:30 am, and Wednesday at 7:30 am. Here is the link to the story kindly provided by NASA: https://www.youtube.com/watch?v=31KmtnA0vIs Visit our Facebook page for links to the articles discussed in this episode: https://www.facebook.com/pg/BenchTalkRadio/posts/?ref=page_internal Music ('Blue Danube' by Richard Strauss) provided on public domain by the Philadelphia Orchestra - 1939 - Stowkovski conducting.

In this episode, Karen and Michelle discuss the pitfalls of blindly following trends in the PR and marketing world. It's important to keep strategies aligned with a brand's core values and mission. “Going viral” is not a meaningful goal if it doesn't translate into meaningful engagement or revenue.     Special Offer: Lettuce is teaming up with Solo PR Pro to offer you a free, game-changing Business Assessment Program. Be one of the first 1,000 savvy PR pros to join.   Transcript Michelle Kane (00:17): Thank you for joining us for this episode of That Solo Life, the podcast for PR pros and marketers who work for themselves. People like me, Michelle Kane, with VoiceMatters, and as ever, my wonderful co-host, the Karen Swim of Solo PR Pro. Hi Karen, how are you today? Karen Swim,, APR (00:35): Hi, Michelle. I'm nice and dry, which I understand is not the case with many across the country. Michelle Kane (00:41): So true. This is true. Karen Swim,, APR (00:43): How are you? Michelle Kane (00:44): I'm well. I'm well. By the time this airs though, this will have been at least a week or so ago, but we're in the midst of February, which shouldn't be a surprise that you get a big dump of snow, but it was definitely one of those storms that was supposed to be a nothing that turned into a something which always shakes up the day. I am spinning this for myself in that the cover of snow is making this rare sunshine that much brighter. So I'm soaking all that in. Karen Swim,, APR (01:09): Yeah, and the sunshine has definitely been rarer. This year I went ahead and invested in a happy light for myself because I was being affected by January where we had endless days of gray, dreary dark zero sunshine. Michelle Kane (01:26): Yes, yes. That is a wise investment. I had one of those and it broke, and I've yet to replace it, but given that I have a dark sense of humor, I'd make myself chuckle that even my sad lamp broke. I love that you call it a Happy Lamp. What do you do when sad lamp breaks. Karen Swim,, APR (01:46): Well, you replace it. Michelle Kane (01:51): Oh my goodness. So yes, being that, oh goodness, we're at that wonderful time in winter where we're smack between the Super Bowl and the Oscars. Karen Swim,, APR (02:03): Yes. Michelle Kane (02:03): Which for some is our own Super Bowl, but that's a topic for another day. But it brings to mind trends. Clients will see something that has hit the pop culture psyche in a way that everyone's talking about it, and next thing you know, we want to do something like that too. How can we take advantage of this? And I said that in that particular tone because it's not always appropriate, is it? Karen Swim,, APR (02:31): That's so true. And of course we have all had those clients that maybe saw something go viral and they want you to do something for them that will make them go viral. Of course, we all know as communication professionals, just as we can never guarantee media placement unless it's a paid opportunity, paid ethical opportunity that we can't guarantee whether something will go viral or not. No one knows what will go viral. That's sort of the surprise and the fun of it all is that you never know what's going to grab hold. And by the way, going viral doesn't always necessarily translate into revenue. It can translate into a fun moment. So I do think that for professional communications people as well as marketers, it's important to sort of have a framework that you can share with clients like a decision tree. And we talked about this before as it relates to social justice issues and things that are happening in the external world, you have a series of questions that you can work through, so that helps the client to become a little bit logical about whether or not this is something that they should tap into. Michelle Kane (03:49): I love that. I love that it brings to mind, I had the pleasure and good fortune a few years ago to sit through a nonprofit board training as far as creating your vision, your mission, and the most important of all was just bringing home the point of viewing everything through that lens. Because whether it's a nonprofit or a corporation and you're trying to think of marketing ideas, if it doesn't pass the muster of passing through that lens of let's say in this situation, what are your goals for your public relations? Then even if it's the best idea in the world, that might be fun. If it's not going to solve for one of your distinct goals, you may want to say, yeah, it would be great if we put time and energy into this, but is it really going to be the best use of our resources? Is it going to really provide what we're looking for? Karen Swim,, APR (04:44): I love that. That is such smart advice, and it's interesting because we as PR pros, we love tapping into trends and we love spinning analogies and we'll take a metaphor and we will metaphor it to death and it's fun. I mean, that kind of stuff is really fun. We've even done it at Solo PR Pro, but for your brands, again, when it's business, and really you have to really first of all look at your audience. So if you're tapping into, we just were off the Super Bowl and it's all about Taylor Swift, unfortunately because Swift was not one of the players. I'm just saying, so you saw millions, she's not so many articles on Taylor Swift and the Taylor showed Craft and Taylor Swift, this and Taylor Swift that and Taylor, Taylor, Taylor Taylor. But if your brand is a investment firm, is that going to really matter to their audience? And so I think that it's always important to take a step back and to think about who you are as a brand and help your clients to own who they are because that's step one of all of your communications. It's really having mission, vision and values and being true to that, even if that means ignoring trends because trends are trends and people are entertained, but we're seeking to do more than entertain. We're seeking to actually engage people and we're actually seeking to move the needle where people do business with us. It's a different lens that we're viewing it from. Have fun and yes, it's fun. You can go on TikTok and your CEO can dance, but are people going to trust them with their investments just because you dance? Will they love it? Will they share it? Maybe. Michelle Kane (06:36): Because let's face it, if it's not received well or if you kind of bomb, then that's a whole new problem. I will say one thing I'm seeing in the past week or so, and again, those that are jumping on it are doing it well and it's timely and it makes sense. I don't know if you're seeing these, but the series of Valentine cards that are arranged themed according to the brand. So the Philadelphia Orchestra did a series and it's like based around the kiddie Valentines, simple things. And it's like “You are on my Listz” using composers, or the best one today I sell is from the National Park Service. Something like, you give me a kick and it's a figure of a buffalo hoisting someone into the air. I mean, they're funny, they're timely, they align with the brand, they give you a chuckle. Something like that I think as far as I've seen, has been pretty successful. Now do you need to do those? No. Am I going to run out and make my client do these? No, because first of all, it's too late. And second of all, we have other things to do that will, like you say, move the needle. Karen Swim,, APR (07:45): So I love some of the customizable trends that I think that those, like what you just described, it's clearly it's a holiday here in the United States. And if your brand is somebody that recognizes holidays, tapping into some of those thematic trends that can be customized to your brand are perfectly okay. So that should go on your decision framework. Is this a seasonal or some observance that is recognized by our entire audience? And if so, are we just doing it to have a little fun with that particular observance or to bring awareness to that observance? Then those things are yes. And again, it's all about setting expectations. And your client is using this as a moment to either inform, educate, or entertain your intended audience in a way that's on brand. Then maybe it is something that you tap into. I will say we have all of these things that happened in the start of the year. We also, it's still February and I believe this will still air in February. It's a black history month. Michelle Kane (08:53): Yes. Karen Swim,, APR (08:53): This is one of those trends that you don't want to just ride the coattails up and start all of a sudden sharing Martin Luther King quotes, particularly if your organization is not diverse, knows nothing about diversity, is not doing anything to move the needle on diversity, please just opt out. And I can say that this is one of those months that you can isolate rather than be inclusive. Maybe this month it's better for you to learn and to be silent. I would honestly rather you be silent than to screw it up. Same with any of Women's history month. If your entire company is all men and you're not doing anything to advance, women probably want to stay out of the public facing promotions, actually fix the problem. I would love it if you all would do that. The problem Michelle Kane (09:50): That's so perfect though, because it really brings to the forefront of mind. If you don't have something to contribute in a positive way, black history month fun trend, then just don't. That's okay. But please just don't do it because you feel like you have to be in the room of conversation about things. If you truly have nothing to contribute and you're just doing it to be a face value contribution, it's again, your time and energy is better spent elsewhere, including yes, learning and becoming more diverse.   Karen Swim,, APR (10:31): And I know that some people, some leaders and some organizations are critical of what they refer to as the easily offended era. So they feel like there's so many landmines. We can't say that anymore. We can't do this anymore. But I want to put that in context as well. And here's how you can help your clients navigate these potential landmines. You are right. Many more landmines exist today, seemingly, although there's always been an etiquette that we all followed in communications and in behavior throughout our entire history. There's always been rules, there's always been cultural things. But today the awareness is particularly heightened because we have so many ways of sharing information and you're exposed to so many more people. When we didn't have the internet, our day-to-Day interactions were really limited to in-person interactions. So you office and whatever makeup of your office, that's what you were exposed to. (11:34): You didn't have a lot of outside opinions. All of your customers could not get on a social media platform and do a video about your product. And so you don't hate those things. You love it. I'm sure the pink stuff loved it when they had been making products forever and suddenly this little clean influencer, not for money just said, I love this. And she was talking about it and it went completely viral. Did they say that? Gosh darn internet, it put us on the map and we've been doing this forever. No. So you can't rage against the machine that give it because that same machine will take it. And these landmines are opportunities for us to become better educated about how to be better at speaking with our audiences, but also not isolating groups of people as we have done in the past. So I don't think that this is a bad thing. (12:28): I think that this is all a great thing and it's just awareness, right? And I think at the core of what we're talking about today, we know this as communicators, it's all about encouraging your clients to be true to their brand, to be true to who they really are. Authenticity, that big word that we throw around a lot really brains here. If you're authentic, you don't have to observe a single holiday, but if the content that you produce on any communication channel is truly you, it's representative and it's seeking to add value to your audience, you really can't go wrong. Will you possibly make someone mad? You will. No. Getting around that in 2024, someone will be mad, even if it's the greatest thing in the world. People are mad at Elma, Michelle Kane (13:20): Right? Yeah, exactly. There are people who just love to be contrary as a hobby. So we always used to say, if that happened with anything we did, well, we've done our job. We've made them happy by allowing them to express their misery. Karen Swim,, APR (13:35): Yes, I love that. Michelle Kane (13:39): But it's so true. So I think self-awareness goes a long way for your brand. And like you say, knowing who you are, how you want to present yourselves, you do not have to be everything to everyone because not everyone is into your brand. And that goes, if you're a popular soda brand or even the bigs, not everybody's for you. And that's all right, but Karen Swim,, APR (14:06): Just I think we all have to get back to the idea that why is everybody wanting to be famous? There's a downside to fame. And so that's really not our business proposition. I'm going to make you famous. No, you only need to be known by the people that matter to your purpose, your mission, your organization, period. No one else has to know your name. You don't have to be famous. You don't have to be a viral sensation to matter in this world. And if we could sort of dial it down from that and back up and say, what are we really trying to do here? What are we trying to accomplish? It really would make the work of communication professionals a lot easier. So that little message is for anyone who may not be in the comms business, please don't put these expectations on your communication professionals that are just trying to do their job and do the right thing and have plans that make sense and be strategic on your behalf. We know what to do if you'll let us do it. Michelle Kane (15:11): Right. And it all comes down to vanity metrics. I mean, how many times I like to think these days are over, but probably not. But the clients that are saying, oh, look at all the Facebook likes this account has, I was like, yeah, okay. How many of them are bought? How many of them actually do business with them? I don't care if they have 12,000 likes, if only 1000 of those are actually potential customers. It's just numbers. Yeah. And let's face it, most of the time going viral, like that example you gave is total serendipity. And how did that happen? Because that company was leading with who they are and how they help people, and that is what caught fire. Karen Swim,, APR (16:02): So Michelle Kane (16:03): I mean, there it is. Karen Swim,, APR (16:04): An influencer from the UK did not get on the internet and say, my mission in life is to become famous and to put pink stuff on the map. She just liked to clean. And people found that deeply satisfying to watch someone cleaning, and she was sharing what she was using and it took off. I mean, I think the folding lady, I love the folding lady. The folding lady is my stress reliever. I don't think that she started folding. Let me learn how to become an expert in folding so that I can be completely famous. She just shared something that she genuinely loved to do with people on the internet because we can do that these days. And so yeah, I do a lot of stuff that I love and that I'm happy to do and pass on information. And I've never been a viral sensation, and that's okay. I'm okay with that. Michelle Kane (16:58): Exactly. No, no one wants to be a virus these days anyway, Karen Swim,, APR (17:01): Yes, Michelle Kane (17:02): I might have to check out the folding lady because if I ever conquer a fitted sheet, it will be a miracle. Karen Swim,, APR (17:11): She folds fitted sheet as beautifully as my mother did, and that is something amazing compliment that I can possibly give her. Michelle Kane (17:18): That's a gift. Karen Swim,, APR (17:19): So beautiful. Everything she folds is so beautiful, and I love her. And whenever I pull out my own folding board, I think Thank you folding lady. Michelle Kane (17:29): I love it. Well, Karen, do you have anything to tell our listeners about what's happening at Solo PR Pro? Karen Swim,, APR (17:35): I do. I'm so happy to be able to share some news because it feels like forever, since we've had news and we're doing something very special with the lettuce and it's lettuce.co, we will have the address in the show notes where they have made a special offer where the first 1000 solopreneurs to sign up for this will get a free business audit. So Lettuce is a company that will help you to manage your business finances in a way that makes sense to all of us and it's app base. No privacy concerns here, but hop over to the link in the show notes and register for your freebie because it's free, but they're only taking a thousand people. But we also, they've also agreed to do a little workshop for us on escorts and how to go from a solo proprietorship to an S corp, which is great, whether you've been in business for a long time and you started as an LLC or you're thinking of starting your business, or you just started your business because they're going to walk us through some of the benefits and what it means to be become an S corp. And there are tons of benefits to it that many people may not be aware of. So please follow us, subscribe to our channel, sign up for our newsletter, and we'll have this information in the show notes for you. And we hope to just continue to bring you things that are meaningful to you in your business. Michelle Kane (19:02): I love that. And Karen and I, we love chatting like this all the time, but ultimately we want this to be helpful for you. So let us know at solopro.com. If you do find these episodes valuable, please share us around your socials. We're not asking you to make us viral, although we won't complain, but we would love that if you would share us around. And until next time, thanks for listening to That Solo Life.    

Jess Gillam meets violist Jordan Bak to share some of their favourite music.Jamaican-American violist Jordan Bak is a proud new music advocate – he's performed world premieres of works by composers including Kaija Saariaho and Augusta Read Thomas. His debut album IMPULSE was released in 2022 and he's performed with orchestras including London Mozart Players. His musical picks include works by Florence Price, reggae singer Koffee, and Benjamin Britten, whilst Jess has chosen a classic Radiohead track and Stokowski's take on Bach.PLAYLIST:FLORENCE PRICE – String Quartet No 2 in A minor (3rd mvt, Juba) [Catalyst Quartet] FANNY MENDELSSOHN - Schluss [Heather Schmidt (piano)] PALACE – Live Well JOHANN SEBASTIAN BACH, ARR LEOPOLD STOKOWSKI – Passacaglia And Fugue in C minor, BWV 582 [Philadelphia Orchestra, Yannick Nézet-Séguin (conductor)] KOFFEE – Toast RADIOHEAD – House of Cards BENJAMIN BRITTEN – Night Piece “Notturno” [Stephen Hough (piano)]

George Gershwin's Rhapsody in Blue had its premiere precisely 100 years ago, and has enjoyed a productive and impactful life ever since. But as Greg puts it in this bonus episode: “Whose Rhapsody is it?” A symphonic work openly indebted to Black American musical traditions has often been more celebrated than its source material — one reason to look to an interpreter like pianist Marcus Roberts, our guest this episode. He's been performing Gershwin's piece for decades, and before a recent series of blockbuster concerts with The Philadelphia Orchestra, he sat down with Nate in our studio to share his gemlike insights.  More to explore:  NYT: The Worst Masterpiece: Rhapsody in Blue at 100 NYT: No, ‘Rhapsody in Blue' Is Not ‘the Worst' NPR: Marcus Roberts: 'Playing The History Of Jazz' Support WRTI: https://bit.ly/2yAkaJsSee omnystudio.com/listener for privacy information.

The Trombone Corner Podcast is brought to you by Bob Reeves Brass and The Brass Ark.  Join hosts Noah and John as they interview John Sebastian Vera and Nick Schwartz, trombonists and podcast hosts of The Trombone Retreat.  After you listen to this episode, head on over to The Trombone Retreat feed for the second half of this episode.  You can come see us at Booth #271 at the TMEA Convention, February 8th thru 10th, 2024 in San Antonio Texas.   About John Sebastian Vera John Sebastian Vera, a native of Texas, became the principal trombonist of the Pittsburgh Opera in 2010 and also joined the River City Brass as principal Trombone in 2015. He is also professor of trombone at Duquesne University and faculty member at the Cleveland Institute of Music where he teaches a course on Music Entrepreneurship and Digital Media as well as coach chamber music. In addition to the Pittsburgh Opera, Mr. Vera has played with the symphonies of Dallas, Detroit, Pittsburgh, Cleveland, the St. Paul Chamber Orchestra, Buffalo, Kennedy Center Opera House, Malaysian Philharmonic, New York City Ballet, Vermont, Harrisburg, Charleston, American Ballet Theatre, and Orquesta Sinaloa de las Artes in Mexico amongst others.  He began his studies with Jon Bohls in Texas and continued his education at Southern Methodist University where he studied with John Kitzman of the Dallas Symphony. He then spent a year studying with Ed Zadrozny as a graduate assistant at the University of Akron, and finished his graduate work in New York City at the Mannes College of Music studying with David Finlayson and James Markey of the New York Philharmonic.     In 2011, he spent the summer in Haiti volunteer teaching and performing in the Orchestre Philharmonique Sainte Trinite as well as the Ecole de Musique Dessaix Baptiste which became one of the more profound experiences of his life.   A dedicated chamber musician, he also was a founding member of the critically acclaimed Guidonian Hand Trombone Quartet in which he played from 2008-2014. With the quartet, John performed over 100 concerts and gave master classes all over the country. Heralded by the New York Times for their "expertly played performances" they have been recipients of numerous national grants which have enabled them to commission countless composers to create new and innovative works for four trombones.  In 2014 was the premiere of River of Fundament, a movie by film artist Matthew Barney, in which John recorded for and acted in along with the quartet.  Mr. Vera can also be heard on the HBO documentary The Words that Built America as well as on euphonium in the PBS documentary Abraham and Mary Lincoln, A House Divided as well as many commercial and video game soundtracks as well as James Markey's solo release, “On Base”. John is an Artist for Edwards Instruments and resides in Pittsburgh.  His favorite musicians include Sigur Ros, Radiohead, the Books, and Efterklang. When he can get away from the trombone he most enjoys basketball, traveling and reading about psychology and social science.  Check out his podcast he hosts with Nick Schwartz called the Trombone Retreat available everywhere you download your podcasts. Follow him on Instagram @js.vera.   About Nicholas Schwartz Nicholas Schwartz has a diverse career performing across North America, Europe, and Asia. After studying at The Juilliard School with then New York Philharmonic bass trombonist Don Harwood, he moved to San Francisco where he began freelancing throughout the Bay Area.  Since 2010, he has been the principal bass trombonist of the New York City Ballet Orchestra. He has also performed with the Pittsburgh Symphony, the New York Philharmonic, The Metropolitan Opera, The Philadelphia Orchestra, San Francisco Symphony, San Francisco Ballet, Orpheus Chamber Orchestra, St. Lukes Chamber Orchestra, the New York City Opera,  Atlanta Symphony, Minnesota Orchestra, The Malaysia Philharmonic, Mostly Mozart Festival, and Classical Tahoe.  Follow him on instagram @basstrombone444   About Third Coast Retreat The Third Coast Trombone Retreat is an 7-day trombone immersion welcoming talented college, high school, and amateur trombonists from across the country to the beautiful shores of Lake Michigan.   The Retreat takes place in the charming small town of Montague, MI. Truly an escape from the distractions of everyday life, the festival is nestled in a dense forest along the coast where happening across roaming deer is a common occurrence. The Retreat utilizes facilities all over the town from churches to coffee houses to historic barns to the beach.  We will perform not only for ourselves, but for the community. A fulfilling life of being a musician does not simply begin and end with winning an orchestral or teaching position. Mastering the instrument is only the first step.  Being an artist in the 21st century requires discovering one's unique voice and finding new ways to present the art-form to communicate and contribute to society.   Core to the retreat will be guest artist and faculty recitals, topical master classes including personal finance, performance anxiety and wellness as well as private lessons, orchestral section seminar, ensemble coachings, a trombone choir, a mock orchestral audition, and much more. In addition to the performance elements, the curriculum is expanded to include a talks about career-building, faculty bonfire Q&A, discussions on the mental approach to auditions and performances, wellness, meditation, and more.    

Shakespeare's “Romeo and Juliet” is the most famous love story in the Western canon. It's a tale so embedded in our culture — one that has seen so many iterations and retellings — it might feel hard to appreciate its original pathos, and the way it perfectly distills the intersections of young romance, idealism, and rebellion. In this episode, host Rhiannon Giddens and guests take a fresh look at this classic by focusing on the character of Juliet and her pivotal decision to take the friar's draught, a concoction that will help her feign death long enough to escape an arranged marriage and run away with Romeo. It's both an act of tremendous courage and one that sets their tragedy in motion. In Charles Gounod's operatic retelling, the aria Juliet delivers as she wrestles away her fear is so difficult that it's often cut from productions. But it's a pivotal moment, and a testament to Juiet's agency. Soprano Diana Damrau is up to the task, and delivers a rendition of “Amour, ranime mon courage” — otherwise known as the “poison aria” — from the stage of the Metropolitan Opera. THE GUESTS Soprano Diana Damrau is among the most celebrated opera singers of her generation. She's graced the stages of opera houses all over the world, and sung the role of Juliette at both The Metropolitan Opera and La Scala. After her debut as Juliette in 2016, it quickly became a favorite. For her, Gounod's “Roméo et Juliette” is “one of the most beautiful operas ever written.” Yannick Nézet-Séguin serves as music director for the Met Opera orchestra, the Philadelphia Orchestra, and Montreal's Orchestre Metropolitain, among many other appointments and collaborations with esteemed orchestras. In his opinion, “Roméo et Juliette” beats out “Faust” as Gounod's best opera. Emma Smith is a Shakespeare scholar and critic at the University of Oxford. Among her publications is the book “This Is Shakespeare,” which was a Sunday Times bestseller and has been translated into several languages. Smith frequently works with theater companies on their productions of Shakespeare plays and consults for film and television.Acclaimed British author and theater director Neil Bartlett, whose novels include “The Disappearance Boy” and “Address Book,” directed “Romeo and Juliet” for the Royal Shakespeare Company in London. He says the experience leaves him feeling “wrung dry with admiration.”

SynopsisComing of age in the first half of the 20th century were two exceptionally talented children of the wealthy Austrian steel magnate Karl Wittgenstein: Ludwig Wittgenstein became a famous philosopher and Paul Wittgenstein a concert pianist.Paul served in the Austrian army in World War I, and, for a concert pianist, suffered a horrific injury: the loss of his right arm. Undaunted, he rebuilt his career by commissioning and performing works for piano left-hand. The family fortune enabled him to commission the leading composers of his day, including Richard Strauss, Maurice Ravel and Sergei Prokofiev.Unfortunately, even the Wittgenstein fortune couldn't protect the family from the racial laws of Nazi Germany, given the family's Jewish heritage. In 1938, he left for the United States after Austria's Anschluss with the German Reich.In America, he commissioned a concert work from young British expatriate Benjamin Britten, also living in America at the time, and gave the premiere performance of Britten's Diversions for piano left-hand and orchestra on today's date in 1942, with the Philadelphia Orchestra under Eugene Ormandy. Wittgenstein later confessed that of all his commissions, Britten's work came the closest to fulfilling his needs and wishes.Music Played in Today's ProgramBenjamin Britten (1913-1976) Diversions; Peter Donohoe, piano; City of Birmingham Symphony; Simon Rattle, cond. EMI 54270

Bradley Cooper talks about writing, directing, and starring in the new film Maestro, in which he portrays conductor and composer Leonard Bernstein. Also with us is conducting consultant Yannick Nézet-Séguin, who conducts the Philadelphia Orchestra and the Metropolitan Opera Orchestra. The film focuses on Bernstein's music and his relationship with his wife, including the friction caused by his affairs with men. Also, we hear from restaurateur Rose Previte, author of the new cookbook Maydān: Recipes from Lebanon and Beyond. And Justin Chang reviews Memory, starring Peter Sarsgaard and Jessica Chastain.

SynopsisOn today's date in 1941, the final orchestral work of Russian composer Sergei Rachmaninoff received its premiere performance by the Philadelphia Orchestra, led by Eugene Ormandy.It was an orchestral suite, Symphonic Dances, and was originally planned as a triptych depicting the passage of time, with its three sections to be titled “Midday,” “Twilight” and “Midnight.” For this new work, Rachmaninoff recycled music from an older one: an unfinished ballet from 1915.Rachmaninoff was an unabashed and unrepentant Romantic at heart, with his musical style grounded in the late 19th-century tradition. Oddly enough, in all other matters Rachmaninoff was modern — even trendy. When living in Russia, he owned the first automobile in his rural part of the country. After settling in Switzerland, the home he built on Lake Lucerne was designed in the ultra-modern Bauhaus style, and Rachmaninoff liked to zoom around the lake in a snappy little speedboat.And, when in New York City, rather than sipping borscht at the Russian Tea Room, he would more likely be seen at a corner drug store, indulging in a quintessential American treat: ice-cream sodas.Music Played in Today's ProgramSergei Rachmaninoff (1873-1943) Symphonic Dances; Minnesota Orchestra; Eiji Oue, cond. Reference 96

SynopsisIt might seem odd to think of Max Bruch as a 20th-century composer. After all, his three greatest hits — his Violin Concerto No. 1, his Scottish Fantasy for violin and orchestra, and his setting of the Hebraic liturgical chant Kol Nidrei for cello and orchestra — were all written in the 19th century.But this archetypal German Romantic composer, who was born in 1838, lived to the ripe old age of 82, and kept producing new works up to the time of his death in 1920.One of these, a Concerto for Two Pianos, was commissioned by an American duo piano team, Ottilie and Rose Suttro, who premiered it with Leopold Stokowski and the Philadelphia Orchestra on today's date in 1916. The new work was well-received and its composer praised.But there is a somewhat ironic historical footnote to this successful premiere: It appears the Suttro Duo drastically revised and even rewrote parts of Bruch's score for their 1916 performance, unbeknown to the composer. It wouldn't be until 1971 that the concerto was performed as he had actually written it.Music Played in Today's ProgramMax Bruch (1838-1920) Concerto for Two Pianos; Güher and Süher Pekinel, pianos; Philharmonia Orchestra; Neville Marriner, cond. Chandos 9711

Blossom Your Awesome Podcast Creativity For Healing With Tina DavidsonTina Davidson is a nationally acclaimed composer and author of 'Let Your Heart Be Broken, Life and Music of a Classical Composer'. Tina has composed and created works with major ensembles and orchestras, such as The Philadelphia Orchestra, American Composers Orchestra, St. Paul Chamber Orchestra, Kronos Quartet, Cassatt Quartet and more. To learn more about Tina Davidson go here. To get her book click here. To follow me, get bonus content from the show, my own takeaways and favorite quotes, along with access to my Check me out here at my Substack. This is the best place to support my work. Or sign up for my Weekly Newsletter here. To see more of my work check me out at my website where I write and cover mindfulness and other things to help you Blossom Your Awesome. Or checkout my other site where I right about arts and culture, wellness, essays and op-eds. Or follow me on instagram where I post fairly regularly and ask an inquisitive question or two weekly in hopes of getting you thinking about your life and going deeper with it. My Instagram - i_go_by_skdTo see more of who I'm talking to on the Podcast, to advertise your brand on the Blossom Your Awesome Podcast or just get in touch click here.  

SynopsisThe short career of Charles Tomlinson Griffes is one of the more tragic “might-have-beens” of American music history. Griffes died at 35 in 1920 just as his music was being taken up by the major American orchestras of his day.As most American composers of his time, Griffes studied in Germany, and his early works were, not surprisingly, rather Germanic in tone. But beginning around 1911, he began composing works inspired by French impressionism and the art of Asia.The Boston Symphony, under Pierre Monteux, premiered his tone poem The Pleasure Dome of Kubla-Khan and the New York Symphony, under Walter Damrosch, his Poeme for flute and orchestra. On today's date in 1919, the Philadelphia Orchestra, under Leopold Stokowski, premiered four orchestral pieces: Nocturne, Bacchanale, Clouds and one of his best works, The White Peacock. The Philadelphia newspaper reviews of the premieres called Griffes' work “one of the hopeful intimations for the future of American music.”A severe bout of influenza left Griffes too weak to attend these Philadelphia premieres under Stokowski, and he died of a lung infection the following spring.Music Played in Today's ProgramCharles Tomlinson Griffes (1884-1920) The White Peacock; Dallas Symphony; Andrew Litton, cond. Dorian 90224

SynopsisA color wheel is a circular chart showing the relationship of the colors of the spectrum. It was originally fashioned by Isaac Newton in 1666 and still serves as a useful tool for painters and graphic designers today.Color Wheel also is the title of an orchestral showpiece by American composer Aaron Jay Kernis — a work that was premiered on today's date in 2001 by the Philadelphia Orchestra at the opening concerts of the then-new Verizon Hall at the Kimmel Center for the Performing Arts in Philadelphia.“The honor of being asked to compose the first music played in this new hall led me to conceive of a ‘miniature' concerto for orchestra which treats it as a large and dynamic body of sound and color,” Kernis said.“I sometimes see colors when I compose,” he confessed, “and the qualities of certain chords do elicit specific sensation in me — for example, I see A-major as bright yellow. I've also been fascinated with Sufi whirling dervishes and their ecstatic spinning. This work may have some ecstatic moments but it is full of tension, continuous energy and drive.”Music Played in Today's ProgramAaron Jay Kernis (b. 1960) Color Wheel; Nashville Symphony; Giancarlo Guerrero, cond. Naxos 8.559838

This week on Sinica, on the occasion of the 50th anniversary of the 1950 concert tour of China by the Philadelphia Orchestra in 1973, Kaiser chats with Matías Tarnopolsky, the orchestra's president and chief executive; Alison Friedman, executive and creative director of Carolina Performing Arts; and virtuoso guzheng player and composer Wu Fei about the legacy of the Philadelphia Orchestra's China tour, their continuing connection with China, and their concert performances in Chapel Hill, performed to the day on the two closing nights of that historic tour 50 years ago.07:00 – The China connection in the overall identity of the Philadelphia Orchestra11:32 – 缘分 [yuánfèn] and the serendipity of the commemorative concert in Chapel Hill14:19 – What can we learn from the original Philadelphia Orchestra members?19:49 – Has the interest in the China-U.S. culture exchange started to fall off in recent years?25:04 – Music as the common ground in the light of worsening relations with China28:02 – “What's the orchestra of today?” - as the leading theme for the commemorative concert 31:10 – The significance of Beethoven's Symphony No.6 to the orchestra's history in China33:41 – The inspiration for Hello Gold Mountain and its connection to the Jewish history in China A complete transcript of this podcast is available at TheChinaProject.com.Recommendations:Matias: Soave sia il vento (the trio from Mozart's opera Così fan tutte)Alison: Natalie Haynes Stands Up for the Classics (podcast)Shanir Blumenkranz's musicFei: Sleepytime Gorilla Museum (avant-garde metal band)Kaiser: Good Harvest 大丰收 (restaurant) Matteo Mancuso (Sicilian guitar virtuoso)See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We celebrate our ten year anniversary with clips of old shows and memories, some that we wish were no longer on the internet. We also go through Mike's Top 10 Players That Spike and Mike Disagreed on. As well, Amos Lee joins us to talk about his upcoming show with the Philadelphia Orchestra at the Mann, Tony T, and more. We got to 2017, and will finish the rest on the next pod. THANK YOU! Get the Ricky X merch here: https://bit.ly/RickyXMerch Get tickets to Amos show for $10 off by using code RICKY (put the code in the UNLOCK box) here: https://www.ticketmaster.com/wxpn-welcomes-amos-lee-w-the-philadelphia-pennsylvania-07-20-2023/event/02005E39CF4D6487 The Rights To Ricky Sanchez is presented by Draft Kings Sportsbook We'd like to thank our other partners: Adam Ksebe, Big Barker, Body BIo, Briggs Auction, Kinetic Skateboarding, LL Pavorsky, MortgageCS and Stateside Vodka --- Send in a voice message: https://podcasters.spotify.com/pod/show/spike-eskin/message