Podcasts about Philadelphia Orchestra

The Cello Sherpa Podcast Host, Joel Dallow, interviews cellist John Haines-Eitzen, Cornell University Senior Lecturer and Artist-in-Residence. They talk about his journey from  rural Pennsylvania to the Philadelphia Orchestra, and then onto his current position at Cornell University. John also takes a deep dive in to his experimentation with cutting edge cello technology. For more information on John, visit:www.saddleridermusic.comYou can also find John on Facebook and Instagram: @saddle_rider_musicIf you are looking for in person/virtual cello lessons, or orchestral repertoire audition coachings, check out www.theCelloSherpa.comFollow us on Instagram @theCelloSherpa

Jonathan Colbert recently joined the faculty of the University of Memphis, bringing a wealth of experience gathered from playing with ensembles like the Atlanta Symphony, Pittsburgh Symphony Orchestra, and Philadelphia Orchestra.  He spent six years serving as co-principal bass of the Royal Danish Orchestra, and he is in high demand as a performer and private teacher. We talk about his path through the music world, the highlights and challenges of a career as an orchestral player, his approach to building a varied career, and much more. Enjoy, and be sure to check out Jonathan's University of Memphis faculty page and also this cool article on his appointment to this position! Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us: all things double bass double bass merch double bass sheet music   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course and Intermediate to Advanced Classical Bass course, available exclusively from Discover Double Bass.   theme music by Eric Hochberg

Ian Cusson celebrates deep questions and despises stereotypes. is In this episode, you'll hear the sought-after Indigenous (Georgian Bay Métis Community) and French Canadian composer share a candid conversation with host Khadija Mbowe, digging into his experiences of privilege, shame, and one anecdote of sweet, swift, cosmic justice.  Chapters:[00:00] Introduction [02:49] Métis community influence on Ian's artistic approach today [10:00] Navigating indigenous heritage and Western religion will be a lifelong process  [16:50] The privilege and shame of being "white-passing"[25:16] Becoming better by making art  [34:23] In-depth lightning round bonus! Music from this episode:Ian Cusson, "Le Loup de Lafontaine," world premiere performance by Alexander Shelley & NAC Orchestra as part of the Móshkamo Festival which marked the launch of the National Arts Centre's Indigenous Theatre department. Le loup de Lafontaine was a National Arts Centre Orchestra commission as part of the Carrefour Composer Program, made possible by the Canada Council for the Arts. Ian Cusson, "Where There's a Wall,”  Song-cycle for voice and piano with text by Joy Kogawa. Performed by Krisztina Szabó, voice and Rachael Kerr, piano. Recorded at the Canadian Music Centre, Toronto on November 14, 2019, by John Gray.Ian Cusson, "Of the Sea," a co-production with Obsidian Theatre Company and Tapestry Opera. Libretto by Kanika Ambrose, Directed by Philip Akin, Conducted by Jennifer Tung. Links from this episode:Métis Nation Yvette Nolan Katherena VermetteMore on Ian's Louis Riel re-doBANFF Indigenous Classical Music GatheringThe 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.

David Ludwig is an American composer, teacher, and Dean of Music at The Juilliard School. His work has been commissioned and performed by artists and ensembles including the Philadelphia Orchestra, Pittsburgh Symphony, Minnesota Orchestra, National Symphony, Chamber Music Society of Lincoln Center, and Carnegie Hall. He is a committed advocate for diversity and inclusion in new music and programming, and serves on the national program committee of New Music USA and is a member of the distinguished mentors council of Composers Now.  Grab your favorite instrument and the first chair…let's talk about life, MUSIC, and learning.  Please leave a review and visit us at www.teacherpeprally.com  Join the Facebook community to collaborate and celebrate with us and fellow educators. If you are enjoying the podcast, we would greatly appreciate it if you rate the show and then leave a review on Apple Podcasts. Reviews helps other educators to find the Teacher's Pep Rally.  ARE YOU LOOKING FOR INSPIRATION AND TO BUILD A NETWORK OF FUN AND INNOVATIVE TEACHERS?  Join us at the most MAGICAL PLACE for a 4-DAY PROFESSIONAL DEVELOPMENT.  EdMagineering Education Conference in Orlando, FL  

We've had composer Rob Kovacs on Level in the past to talk about his alter ego, 88bit. This time, he's here to discuss his Prophet 5 modern 80s soundtrack for the VR game Straylight, and I love every minute of it. The music is fantastic, and Rob sits at his piano during our chat to demonstrate some of the musical choices he made. It was so much fun! You can support Rob in many ways, whether on his Patreon, on Twitch, Bandcamp and many other places! You can support Level with Emily on Patreon. Join us on Discord for free. Find this conversation on YouTube and Twitter. Patrons have access to exclusive merch, Discord events and special guest playlists. PLAYLIST by Rob Kovacs for Straylight unless noted otherwise 00:00 Straylight 09:31 Straylight 10:26 Straylight 13:00 Petrushka, Tableau IV “La foire du mardi gras”: Danse des cochers et des palefreniers (1947 version) by Igor Stravinsky, conductor Riccardo Muti, Philadelphia Orchestra 14:12 Straylight 16:40 Straylight 19:40 Star Forge 21:37 Star Forge 23:26 Star Forge 24:40 The Last Campfire 27:12 The Last Campfire 30:02 The Last Campfire 31:56 Void Compass 34:08Void Compass 34:56 Void Compass 35:58 Void Compass 37:40 Devil Star 38:06 Devil Star 40:26 Devil Star 41:18 Devil Star 42:24 Devil Star 44:26 Devil Star 49:20 Devil Star 51:42 Marble Madness “Practice Race” - performed by 88bit/Rob Kovacs 54:18 File Select from Super Mario 64 - 88bit, Save Point Video Game LoFi - Super Mario 64 55:10 Cave Dungeon from Super Mario 64 - 88bit, Save Point Video Game LoFi - Super Mario 64 59:30 The Railgun Run 1:02:28 The Railgun Run 1:03:32 Ascent of the Juggernaut 1:07:40 Ascent of the Juggernaut 1:08:50 Ascent of the Juggernaut 1:09:24 Ascent of the Juggernaut 1:12:32 Ouroboros 1:13:16 Ouroboros 1:15:20 The End 1:16:16 The End 1:17:55 The End 1:20:26 Platform 1:24:42 The Last Campfire 1:28:04 Star Forge 1:29:10 Other Sprouts by Sam Keenan

Synopsis The Russian émigré composer and pianist Sergei Rachmaninoff was himself the soloist on today's date in 1927 in the first performance of his Piano Concerto No. 4 with the Philadelphia Orchestra, conducted by Leopold Stokowski. Rachmaninoff had premiered his Third Concerto in New York in 1909, and he'd been thinking about writing another one for over a decade. In the meantime, his life had been disrupted by both the Russian Revolution and the exhausting business of earning a living as a touring virtuoso pianist. In 1926, Rachmaninoff finally felt he could afford to take some time off and put a Fourth Piano Concerto down on paper. In its original form, it turned out to be a much longer work than even Rachmaninoff thought practical. He joked to a friend that its movements would have to be "performed on successive nights, like Wagner's Ring operas." Rachmaninoff made a number of cuts before the Philadelphia premiere, but even so, the new work was not well received, and so Rachmaninoff kept cutting. Audiences and critics still remained cool, and Rachmaninoff eventually shelved the work for a time—quite a time. In 1941 he prepared a "final cut" version, which ended up considerably shorter than his other three Piano Concertos, and recorded it with Eugene Ormandy and the Philadelphia Orchestra. Music Played in Today's Program Sergei Rachmaninoff (1873 - 1943) Piano Concerto No. 4 Jean-Yves Thibaudet, piano; Cleveland Orchestra; Vladimir Ashkenazy, conductor. London 458 930

Carol Jantsch made history in 2006 when she won the position of principal tuba with the Philadelphia Orchestra, becoming the first woman to win such a position in a major American orchestra. But even more impressive is that she won the chair while she was still in her senior year at the University of Michigan. Noted not only for her orchestral playing, she is a brilliant soloist, and in addition to her solo recitals has appeared with numerous orchestras, including the Philadelphia Orchestra. Her career serves as an inspiration to young women throughout the world.When she was 14 years old, Carol was third tuba in the band at the Interlocken Arts Academy, but by the age of 18 was in the semi-finals for the principal tuba position of the New York Philharmonic and two years later won the principal position with the Philadelphia Orchestra, a position she still holds. So in Part 1, we discuss in depth her transition from being a student to becoming a professional.

On this episode we dish our tips and tricks for grant writing! For our interview, we welcome Elizabeth Starr Masoudnia, solo English hornist of The Philadelphia Orchestra. This episode is brought to you by Barton Cane (www.bartoncane.com/), Ugly Duckling Oboes (uglyducklingoboes.com/), Chemical City Double Reeds (www.chemicalcityreeds.com/)and Oboe Chicago (www.oboechicago.com). Thank you to our amazing sponsors!

The Saratoga Performing Arts Center (SPAC) has announced the return of 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. And there is an amazing Spring Season coming as well. SPAC President and CEO Elizabeth Sobol and Vice President of Artistic Planning Christopher Shiley join us.

Andy Einhorn (LI:@andy-einhorn) has directed concerts with the Boston Pops, Cincinnati Pops Orchestra, Calgary Philharmonic Orchestra, National Arts Centre Orchestra, and the National Symphony Orchestra. He has worked as the Music Supervisor and Musical Director for the Broadway productions of Carousel and Hello Dolly!  Einhorn's previous Broadway credits include Holiday Inn, Woody Allen's Bullets Over Broadway, Rodgers + Hammerstein's Cinderella, Evita, Brief Encounter, The Light in the Piazza, and Sondheim on Sondheim. He recently served as music director and conductor for the Châtelet Theatre's production of Sondheim's Passion in Paris and Einhorn made his New York Philharmonic debut with world-renowned trumpeter Chris Botti. Since 2011 Einhorn has served as music director and pianist for Six-Time Tony Award Winner, Audra McDonald, performing with her at such prestigious orchestras and venues including The Philadelphia Orchestra, San Francisco Symphony, National Symphony Orchestra, Los Angeles Opera, Avery Fisher Hall, Carnegie Hall, Walt Disney Concert Hall and Teatro Real, Madrid. They recently recorded performances for an upcoming telecast with the Sydney Symphony at the Sydney Opera House in Australia. Einhorn has also music directed for Barbara Cook at Feinstein's and Toronto's Royal Conservatory of Music. His tour work includes Sweeney Todd, The Light in the Piazza, Mamma Mia!, and The Lion King. Einhorn's work can be heard on the current touring production of Rodgers & Hammerstein's The Sound of Music. Einhorn has worked at Goodspeed Opera House, Signature Theatre, Oregon Shakespeare Festival and PaperMill Playhouse. He was principal vocal coach and pianist for Houston Grand Opera's An Evening with Audra McDonald, a double-bill of Poulenc's La Voix Humaine and LaChiusa's Send. Recording credits include Bullets Over Broadway, Cinderella, Evita, Sondheim on Sondheim (Grammy Nom) Stage Door Canteen and McDonald's newest release, Go Back Home. He served as the music director for HBO's Peabody Award winning documentary Six by Sondheim and music supervisor for Great Performances Peabody Award winning special “Broadway Musicals: A Jewish Legacy” on PBS. Andy Einhorn is an honors graduate of Rice University in Houston, Texas.

In business, marketing strategies often revolve around defining your ideal customer. What specific interests and demographics do they represent? The more specific you are in your targeting, the better. But Time for Three proves just how wrong that approach to building an audience can be. Performing their unique blend of Americana, modern pop, and classical music, the acclaimed string trio has grown a large fan base that defies demographics — people who are just as likely to listen to Brahms as bluegrass and the Beatles. And now the members of Time for Three — violinists Charles Yang and Nick Kendall and bassist Ranaan Meyer — are celebrating their latest achievement: a Grammy Award for Letters for the Future, the Deutsche Grammophon album they recorded last year with the Philadelphia Orchestra. For Yang, the nominations carry a comforting sense of validation. "As a group as eclectic, and unique, and weird as we are, we've had to swim upstream at times in this industry. So this was a nice way of saying, finally: What we're doing is right, and we went with our heart." In this episode of the Classical Post podcast, the members of Time for Three and I talk more about the album and the Olympic training mindset that helped them thrive while recording Letters for the Future in Philly. Plus, they share how therapy sessions can often serve as creative sessions and their picks for the best Thai and Japanese food in Manhattan. Listen to Letters for the Future on Spotify, Apple Music, or wherever you stream and download music. — Classical Post® is a leading podcast based in New York. Our content uncovers the creativity behind exceptional music through dynamic deep-dive interviews with prominent artists in the world today. We are powered by Gold Sound Media® — a creative studio providing omnichannel marketing and public relations services for the classical music industry.

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

Andy Einhorn (LI:@andy-einhorn) has directed concerts with the Boston Pops, Cincinnati Pops Orchestra, Calgary Philharmonic Orchestra, National Arts Centre Orchestra, and the National Symphony Orchestra. He has worked as the Music Supervisor and Musical Director for the Broadway productions of Carousel and Hello Dolly!  Einhorn's previous Broadway credits include Holiday Inn, Woody Allen's Bullets Over Broadway, Rodgers + Hammerstein's Cinderella, Evita, Brief Encounter, The Light in the Piazza, and Sondheim on Sondheim. He recently served as music director and conductor for the Châtelet Theatre's production of Sondheim's Passion in Paris and Einhorn made his New York Philharmonic debut with world-renowned trumpeter Chris Botti. Since 2011 Einhorn has served as music director and pianist for Six-Time Tony Award Winner, Audra McDonald, performing with her at such prestigious orchestras and venues including The Philadelphia Orchestra, San Francisco Symphony, National Symphony Orchestra, Los Angeles Opera, Avery Fisher Hall, Carnegie Hall, Walt Disney Concert Hall and Teatro Real, Madrid. They recently recorded performances for an upcoming telecast with the Sydney Symphony at the Sydney Opera House in Australia. Einhorn has also music directed for Barbara Cook at Feinstein's and Toronto's Royal Conservatory of Music. His tour work includes Sweeney Todd, The Light in the Piazza, Mamma Mia!, and The Lion King. Einhorn's work can be heard on the current touring production of Rodgers & Hammerstein's The Sound of Music. Einhorn has worked at Goodspeed Opera House, Signature Theatre, Oregon Shakespeare Festival and PaperMill Playhouse. He was principal vocal coach and pianist for Houston Grand Opera's An Evening with Audra McDonald, a double-bill of Poulenc's La Voix Humaine and LaChiusa's Send. Recording credits include Bullets Over Broadway, Cinderella, Evita, Sondheim on Sondheim (Grammy Nom) Stage Door Canteen and McDonald's newest release, Go Back Home. He served as the music director for HBO's Peabody Award winning documentary Six by Sondheim and music supervisor for Great Performances Peabody Award winning special “Broadway Musicals: A Jewish Legacy” on PBS. Andy Einhorn is an honors graduate of Rice University in Houston, Texas.

To make money with your podcast, you need to create a strategy that you can repeat over and over again. Focus on one strategy step-by-step until you reach success to grow your business. That step-by-step process is my Podcast Profits Framework. It consists of six steps. COACHING Before we jump into it, let me invite you to get some help building your strategy. You know how most podcasters don't make money with their show? They waste a lot of time on their podcast when it doesn't do anything to grow the business? I am a content coach. I help you build powerful, sales relationships with your podcast. If you want to try it, the process is really simple. First, we have a 30-minute conversation where we get clear on your podcast goals, what you hope to accomplish and how the podcast works into that plan. Next, we figure out where you are today, determine what you've tried in the past, and build the strategy to get you to your goals. And if you like what we've built, and you want some help implementing your strategy, I can show you what that would look like. You can only continue to dump so much time and effort into an ineffective podcast that isn't bringing you clients and growing your business. Doing what you're doing isn't getting you to your goals. My clients enjoy the freedom, success and financial gain by attracting clients through their podcast. They free up their time and relax with a real strategy to consistently and easily attract clients with their podcast. Implementation of the strategy helps them quickly and easily grow their revenue without the frustration, hard sales and guess work. I have a few slots on my calendar if you want to meet, find the holes in your strategy, and craft your strategy to make money with your podcast. Visit www.PodcastTalentCoach.com/apply and we'll talk. PODCAST PLATFORM Let's take a look at each of the six steps to build your podcast profits framework. Step one is your Podcast Platform. This is your foundation and your why. TaVona Denise worked with me to build a strong foundation and a powerful "why" for her show. She worked as a nurse, but no longer loved the profession. She transitioned out of nursing into a new career. Soon, she began coaching other nurses to do the same and find the career they loved. This quickly became her purpose in life and she built her show around helping nurses launch their own businesses. AUDIENCE ATTRACTION Step two is your Audience Attraction. This step helps people discover you. You get in front of new potential listeners and show them how you can help. This is all about partnerships, attraction and engagement. You want to find influencers who are already speaking to your ideal clients and partner with them. Greg Payne is the host of the Cool Grandpa podcast. He was around 350 downloads per month. After implementing the Audience Explosion Blueprint, his monthly downloads hit 854. When I put this step into place with my own show, I was able to double my downloads in the span of three months. I basically doubled my audience in 90 days. That was after 275 episodes as well. CONTENT CREATION Step three is your Content Creation. This is what you podcast. Your content gets people to listen to your show. You content builds your authority and trust. This is how your ideal clients gets to know, like and trust you when you do it right. Sadie and Sausha created the Meathead Test Kitchen podcast. They talk about content they love and interview influencers in their niche. They've interviewed Olympic athletes, MMA fighters, renowned chefs, and various other powerful people in the niche. The two of them do it with a flair and sense of personality only these two tatooed ladies could deliver. In the first episode, you know exactly who they are and what you get. There's no holding back. RELATIONSHIP ROADMAP Step four is your Relationship Roadmap. People may come for your content. They keep coming back for your personality. Build relationships with your listeners. Jedlie is one of my clients. He has the "Reading With Your Kids" podcast. Jedlie is a magician, clown and performer. He brings that personality to his show and builds relationships with his audience. STARTING STRATEGY Step five is your Starting Strategy. Without a roadmap, you can't hope to get where you're going. You need a strategy. Let me show you a case study that will show you how this works. When Oscar Trimboli came to me for coaching, he had the desire to strengthen the connection between his podcast and his consulting business. Season one of his podcast consisted of interviews. He was headed into season two and wanted this season to be more about teaching his five levels of listening. Oscar Trimboli is a mentor, leadership coach, speaker, author and podcaster. His podcast and book are both entitled "Deep Listening – Impact Beyond Words". Oscar Trimboli has 30 years' experience in bringing out the best in senior executives and next generation leaders. As we worked together, our challenge was to bring that power and authority to Oscar's podcast. Our goal was to create engagement with his audience and demonstrate his authority in the space. Over time, this would help him grow his consultancy. He could demonstrate his authority on his show and gain new clients. To build his authority in his space, I suggested that Oscar interject himself more into the episodes, so listeners get to know, like and trust him. Oscar Trimboli is now the author of 3 books. He has coached, mentored and advised people in a wide range of roles from founders, CEOs and CFOs. He has also been asked to speak to leadership teams and their organizations. His podcast is now focused on the same material. Oscar demonstrates his authority in and mastery of the space. This allows potential clients to experience what his coaching, mentoring and consulting is all about. CONVERTING CLIENTS Finally, step six is creating your Converting Clients. This is where get your listeners to your sales conversation and invite them to work with you. HARP TEACHER Anne Sullivan began her career as a concert harpist at age twelve when she appeared twice as soloist with the Philadelphia Orchestra. A native of the Philadelphia area and a graduate of the Curtis Institute of Music, she is in demand as a recitalist, chamber musician and symphonic soloist. Her orchestral appearances have included engagements with the Baltimore Symphony, the Delaware Symphony where she was principal harpist, the Pennsylvania Chamber Orchestra, and the Chamber Orchestra of Philadelphia. In 2012, Ms. Sullivan founded Harp Mastery®, an online resource which now serves a worldwide community of harpists. Her creative approaches to teaching harp students of all ages focus on helping harpists achieve harp happiness, which she defines as "playing the music you want the way you want." Through her blogs, a podcast, online courses, challenges, live events, and proprietary coaching process, Harp Mastery® continues to empower every harpist to find fulfillment and joy in their harp playing. Learn more at harpmastery.com. Anne now uses her podcast to grow her business and connect with her students. In our conversation today, you will get many nuggets to help you in your business as well. Anne shares with us how she launched her podcast, how she uses the podcast in the business and how her first episode turned out. Enjoy my conversation with Anne Sullivan. FIND MORE Big thanks to Anne for joining us today. You can learn more about Anne and Harp Mastery at harpmastery.com. If you don't have a mentor who can take your hand and walk you every step of the way, go to www.PodcastTalentCoach.com/apply, click the button and apply to have a chat with me. We will develop your plan and see how I can help and support you to achieve your podcast goals.

PETER BOYER is one of the most frequently performed American orchestral composers of his generation, joins Devin Patrick Hughes on One Symphony. He's conducted and been commissioned by ensembles around the world including the London Symphony Orchestra, the Philharmonia Orchestra, the London Philharmonic Orchestra, the Kennedy Center for the National Symphony Orchestra, the Boston Pops, Cincinnati Pops, and “The President's Own” United States Marine Band, along with the Philadelphia Orchestra, Cleveland Orchestra, Pittsburgh Symphony, Houston Symphony, Dallas Symphony, Nashville Symphony, and Hollywood Bowl Orchestra. Boyer's Grammy-nominated work Ellis Island: The Dream of America, has become one of the most performed American orchestral works of the last 15 years and was featured on PBS' Great Performances in 2018. In 2019, Boyer received the Ellis Island Medal of Honor, which is officially recognized by both Houses of Congress as one of the most prestigious American awards. Peter Boyer is active in the film and television music industry. He has contributed to more than 35 feature film scores from all the major movie studios and has composed scores for The History Channel and even arranged for the Academy Awards!   Thank you for joining us for on One Symphony. Thanks to Peter Boyer for sharing his music and insights, you can get more info at https://propulsivemusic.com. Works of his heard today include Fanfare, Hymn and Finale; Elegy, Balance of Power, and Ellis Island - the Dream of America. Thank you to all amazing performers featured on today's show including: Peter Boyer, the London Symphony Orchestra, Philharmonia Orchestra, the Staatskapelle Dresden, Rundfunkchor Leipzig, & Peter Schreier.  Thanks to the record labels Naxos and Universal International Music for making this episode possible. You can always find more info at OneSymphony.org 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!

Matty (@teague.miller) and Kikau (@kikautown) speak to the amazing Van Angelo, who is currently at San Diego State University working on their MFA in Theatre Arts: Musical Theatre. At the end of the episode, Van recommends YouTube University, the College of Google, Google Chrome Extension: Transpose, Tik Tok, and Joe Deer's Acting for Musical Theatre. Van Angelo (they/them) - is a proud Westminster Choir College graduate and served as Director of Choral Activities for five years at the high school level. Van is currently a teaching artist for Moonlight Youth Theatre and New Village Arts. Select Regional Credits: Something Rotten, Memphis (Moonlight), Catch Me If You Can (SDMT), Seussical (Candlelight), West Side Story, Tarzan, Hairspray (Performance Riverside), The View UpStairs (Desert Rose Playhouse). Music Directing Credits: Leonard Bernstein's New York (NVA), Moana Jr. (MYT), Little Shop of Horrors, Seussical, and The Little Mermaid (VVUSD). Van has performed with the New York Philharmonic, Vienna Chamber Orchestra, Boston Symphony Orchestra, Zelda Symphony Orchestra, and the Philadelphia Orchestra. Van is a two-time Inland Theatre League Award winner, and a Desert Theatre League Award winner. Van is currently a Teaching Associate at San Diego State Universty and an MFA in Theatre Arts: Musical Theatre candidate.

Synopsis In 1933, Aaron Copland introduced Roy Harris to Serge Koussevitzky, the famous conductor of the Boston Symphony in those days. Now, Koussevitzky was one of the great patrons of American music and was always looking for new American music and new American composers. Roy Harris had been described to him as an "American Mussorgsky," which probably intrigued the Russian-born conductor. When Koussevitzky learned that Harris had been born in a log cabin in Lincoln County, Oklahoma, on Abraham Lincoln's birthday, no less – well, perhaps he hoped the 41-year old Harris might produce music equally all-American in origin. "Write me a big symphony from the West," asked Koussevitzky, and Harris responded with a three-movement orchestral work titled: "Symphony, 1933," which had its premiere performance on today's date in 1934 with the Boston Symphony under Koussevitzky's direction. Koussevitzky loved it. "I think that nobody has captured in music the essence of American life -- its vitality, its greatness, its strength -- so well as Roy Harris," enthused the famous conductor, who recorded the piece at Carnegie Hall in New York just one week after its premiere. And it was Koussevitzky's Boston Symphony that would subsequently premiere Harris's Second, Third, Fifth and Sixth Symphonies as well. Music Played in Today's Program Roy Harris (1898 – 1979) Symphony 1933 (No. 1) Louisville Orchestra; Jorge Mester, conductor Albany 012 On This Day Births 1924 - American composer Warren Benson, in Detroit, Michigan; Deaths 1795 - German composer Johann Christioph Friedrich Bach, age 62, in Bückeburg 1993 - American composer and teacher Kenneth Gaburo, age 66, in Iowa City; Premieres 1732 - Handel: opera "Ezio" (Julian date: Jan.15); 1790 - Mozart: opera, "Così fan tutte," in Vienna at the Burgtheater; 1873 - Tchaikovsky: Symphony No. 2, in Moscow (Gregorian date: Feb. 7); 1882 - Borodin: String Quartet No. 2 in D, in St. Petersburg (Gregorian date: Feb. 7); 1905 - Schoenberg: symphonic poem "Pelleas und Melisande," in Vienna, with the composer conducting; 1908 - Rachmaninoff: Symphony No. 2 in St. Petersburg (Gregorian date: Feb. 8); 1911 - Richard Strauss: opera, “Der Rosenkavalier,” in Dresden at the Hofoper, conducted by Ernst von Schuch, with vocal soloists Margarethe Siems (Marschallin), Eva von der Osten (Octavian), Minnie Nast (Sophie), Karl Perron (Baron Ochs), and Karl Scheidemantel (Faninal); 1920 - Prokofiev: "Overture on Hebrew Themes," in New York by the Zimro Ensemble, with the composer at the piano; 1922 - Vaughan Williams: Symphony No. 3 "Pastoral," by the Royal Philharmonic, London, Sir Adrian Boult conducting; 1934 - Roy Harris: Symphony No. 1, by the Boston Symphony, Serge Koussevitzky conducting; 1952 - Ernst von Dohnányi: Violin Concerto No. 2, in San Antonio, Texas; 1957 - Bernstein: "Candide" Overture (concert version), by New York Philharmonic conducted by the composer; The musical "Candide" had opened at the Martin Beck Theater in New York City on December 1, 1956; 1957 - Poulenc: opera, "Les dialogues des carmélites" (The Dialogues of the Carmelites) in Milan at the Teatro alla Scala, Nino Sanzogno conducting; 1962 - Diamond: Symphony No. 7, by the Philadelphia Orchestra, Eugene Ormandy conducting; 1966 - Dominick Argento: Variations for Orchestra and Soprano (The Masque of Night"), at the St. Paul Campus Student Center of the University of Minnesota, by the Minneapolis Civic Orchestra, Thomas Nee conducting, with soprano Carolyn Bailey; A second performance took place on Jan. 27th at Coffmann Memorial Union on the Minneapolis campus of the University of Minnesota; 1967 - Frank Martin: Cello Concerto, in Basel, Switzerland; 1994 - Elisabetta Brusa: “La Triade” for large orchestra, by the Tirana (Albania) Radio and Television Orchestra, Gilberto Serembe conducting; 1994 - Christopher Rouse: Cello Concerto, by the Los Angeles Philharmonic conducted by David Zinman, with Yo-Yo Ma the soloist; 1995 - Joan Tower: "Duets for Orchestra," by the Los Angeles Chamber Orchestra, Christoph Perick conducting. Links and Resources On Roy Harris

American composer Michael Torke joins conductor Devin Patrick Hughes on One Symphony. Michael Torke's music has been hailed as "some of the most optimistic, joyful and thoroughly uplifting music to appear in recent years" by Gramophone, and the composer has been commissioned by such orchestras as The Philadelphia Orchestra, the New York Philharmonic, and the San Francisco Symphony; and  by ballet and opera companies around the world including the Met and the English National Opera. He has been commissioned by Disney and Absolute Vodka, has written incidental music for The Old Globe Theater, and has been composer in residence with the Royal Scottish National Orchestra. Beginning his career with exclusive contracts with Boosey and Hawkes, and Decca Records, he now controls his own copyrights and masters through his publishing company, Adjustable Music, and record company, Ecstatic Records. Hailed as a "vitally inventive composer" by the Financial Times and "a master orchestrator whose shimmering timbral palette makes him the Ravel of his generation" by the New York Times, Michael Torke's recent work, SKY, written for violinist Tessa Lark, was a finalist for the 2020 Pulitzer Prize, and was nominated for a Grammy for best classical instrument solo.   Thank you for joining us for on One Symphony. Thanks to Michael Torke for sharing his music and insights, you can get more info at https://www.michaeltorke.com. Works of his heard today include Ecstatic Orange, Time, Bright Blue Music, Being, Sky, and Four Proverbs. Thank you to all amazing performers featured on today's show including: David Zinman & the Baltimore Symphony Michael Torke and the Michael Torke Orchestra American Modern Ensemble David Alan Miller, Tessa Lark, & the Albany Symphony Lester Flatt & Earl Scruggs Catherine Bott and the Argo Band And thanks to Michael Torke, Ecstatic Records, Albany Records, Columbia Records, and Decca Music Group for making the show possible. You can always find more info at OneSymphony.org including a virtual tip jar if you'd like to support the show.  Thanks to Mary and Diane for making this episode possible! Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

Synopsis The first Piano Concerto by Brahms received its premiere public performance on today's date in 1859 with the Hanover Court Orchestra under the direction of Brahms's close friend Joseph Joachim and its 25-year composer as soloist. That first night audience had never heard anything quite like it. In his biography of Brahms, Jan Swafford describes what was expected of a piano concerto back then, namely “virtuosic brilliance, dazzling cadenzas, not too many minor keys, [and nothing] too tragic.” “To the degree that these were the rules,” writes Swafford, “[Brahms] violated every one of them.” His concerto opens with heaven-storming drama, continues with deeply melancholic lyricism, and closes with something akin to hard-fought, even grim, triumph. Rather than a display of flashy virtuosity, Brahms's concerto comes off as somber and deeply emotional. A second performance, five days later in Leipzig, was hissed. "I am experimenting and feeling my way,” Brahms wrote to his friend Joachim, adding, "all the same, the hissing was rather too much." Now regarded a dark Romantic masterpiece, it's important to remember how long it took audiences to warm to Brahms' music. The American composer Elliott Carter recalled that even in the 1920s, Boston concert goers used to quip that the exit signs meant, "This way in case of Brahms." Music Played in Today's Program Johannes Brahms (1833-1897) Piano Concerto No. 1 in D Minor, Op. 15 - I. Maestoso - Poco più moderato Maurizio Pollini, piano; Berlin Philharmonic; Claudio Abbado, cond. DG 447041 On This Day Births 1899 - Russian-born American composer Alexander Tcherepnin, in St. Petersburg (Julian date: Jan. 9); Deaths 1851 - German opera composer Albert Lortzing, age 49, in Berlin; 1948 - Italian composer Ermanno Wolf-Ferrari, age 72, in Venice; Premieres 1713 - Handel: opera "Teseo" (Julian date: Jan. 10); 1725 - Bach: Sacred Cantata No. 111 ("Was mein Gott will, das g'scheh allzeit") performed on the 3rd Sunday after Epiphany as part of Bach's second annual Sacred Cantata cycle in Leipzig (1724/25); 1816 - Cherubini: "Requiem," in Paris; 1880 - Rimsky-Korsakov: opera "May Night," in St. Petersburg, Napravnik conducting (Julian date: Jan. 9); 1904 - Janácek: opera "Jenufa" in Brno at the National Theater; 1927 - Roussel: Suite in F for orchestra, in Boston; 1929 - Schreker: opera "Der Schatzgräber" (The Treasure Hunter), in Frankfurt at the Opernhaus; 1930 - Shostakovich: Symphony No. 3 ("May First"), in Leningrad; 1936 - Gershwin: "Catfish Row" Suite (from the opera "Porgy and Bess"), by the Philadelphia Orchestra, Alexander Smallens conducting; 1947 - Martinu: "Toccata e due canzona" for chamber orchestra, in Basel, Switzerland; 1968 - Bernstein: song "So Pretty" (a song protesting the Vietnam War) at Philharmonic Hall (now Avery Fisher Hall) in New York City, with singer Barbra Streisand and the composer at the piano; 1968 - Allan Pettersson: Symphony No. 6, in Stockholm; 1988 - Christopher Rouse: Symphony No. 1, by the Baltimore Symphony, David Zinman conducting; Links and Resources On Brahms

A clip from each Brass Junkies interview of 2022 along with some brief thoughts on each. TBJ180 Matt Neff of the North Carolina Symphony on getting incredibly nervous in auditions, even two decades into his professional career (2:51) TBJ181 Kevin Newton of Imani Winds on his mental approach to auditions (7:44) TBJ182 Jeff Curnow of The Philadelphia Orchestra on Rolf Smedvig setting the tone for Empire Brass concerts (9:45) TBJ184 International tuba phenom Sergio Carolino on staying away from negative people (11:24) TBJ185 Sylvia Alimena, formerly of the National Symphony Orchestra, on why it's never too early to talk about artistry with students (13:23) TBJ186 Beth Wiese of Appalachian State University on how musicians don't control much but do control how they approach a piece of music (14:40) TBJ187 Jack Burt of the University of Maine on the concept of any performance being just a snapshot (17:28) TBJ188 Joe Dollard, retired Navy Band, on making the case for strengthening the connection between your singing voice and your playing (19:36) TBJ190 Kevin Gebo of the U.S. Army Band "Pershing's Own" on the importance of listening (21:43) TBJ191 Steve Lange of the Boston Symphony Orchestra on the breakthrough he had after experiencing a real low point early on in his career (23:31) TBJ192 William Russell of Boston Brass on the intense moment in a lesson with Mike Roylance that really impacted him (27:01) TBJ193 Billy Hunter of the Metropolitan Opera on using his imagination to help him perform at his best  (30:30) TBJ194 Natalie Mannix of the University of North Texas on the benefits of using a Pomodoro timer when practicing (32:32) TBJ195 Jasmine Pigott on overcoming a less than encouraging teacher early in her career and how she went about learning to improvise (35:41) TBJ196 Christopher Davis on the mindset he brings to subbing with orchestras around the world (38:31) TBJ197 Jonathan Fowler of West Chester University on the importance of regularly checking in with yourself to make sure your goals are still your goals (40:57) TBJ198 Terry Bingham, formerly of the U.S. Army Band "Pershing's Own", on his ability to morph to match any style or any musician and credits listening to lots of different music (43:00) TBJ200 Lance LaDuke, formerly of a lot of things, on being too stupid to quit (45:11) TBJ201 Joe Burgstaller or Arizona State University on teaching students improvisation using a theater technique (48:02) TBJ202 Andrew Dougherty of the U.S. Army Band "Pershing's Own" on exactly how organized he has been for the three professional auditions he has won to date (52:13) TBJ203 Bruce Faske of Arkansas State University on losing his father and how all we have is today (52:23) TBJ204 Pete Sullivan of the Pittsburgh Symphony on the legendary Charles Dutoit messing with Pete's head in his first year with the Montreal Symphony Orchestra (58:02) TBJ205 Kevin Harrison of Axiom Brass on his former teacher, Floyd Cooley, never quitting on him when he was at a difficult point in his life (1:05:10) Become a Patron ► https://www.patreon.com/thebrassjunkies/ Show Notes ► http://www.brassjunkies.com Facebook ► https://www.facebook.com/pray4jens/ Instagram ► https://www.instagram.com/pray4jens/ The Brass Junkies is hosted and produced by Andrew Hitz for Pedal Note Media https://www.pedalnotemedia.com/

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

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 Lee BOOK CHOICE: The Grapes of Wrath by John Steinbeck LUXURY ITEM: H-8 Bolex camera CASTAWAY'S FAVOURITE: Coolhand by Buzzy Lee Presenter Lauren Laverne Producer Paula McGinley

Jeremy Rothman, Chief Programming Officer for The Philadelphia Orchestra and The Kimmel Center, guides us through his role in the orchestra's new "Golden Age'.

Tony Prisk is in his eleventh season playing second trumpet with the Philadelphia Orchestra. Prior to taking the job in Philly, Tony played second trumpet with the Houston Symphony.See a pattern developing? It's not an accident, and it's not because Tony doesn't have what it takes to be "the man".In this episode, we discuss the value of specializing in a niche, such as playing second trumpet in a major symphony, (and why some people feel like they're "settling" for their position in the Philadelphia Orchestra), an exhortation on Charlier's Etude #2, why our ego often gets in the way of finding our purpose as musicians and as human beings, and much more.Here's a bit of what you'll hear in this episode:-Tony describes life in a top 5 orchestra...01:15-Putting the ego aside, and embracing the role you've been given...06:20-Tony's personal trumpet journey...08:15-How you "tell a story" with written music notes on a page...16:30-Is self-expression or "blending" the ideal in an orchestra?...23:50-The value of specializing in a role such as second trumpet in an orchestra...33:45-The advice Tony Prisk would tell his younger self...41:15-Plus whatever your discerning ears deem worthy of your time and interest...About the Guest:Anthony Prisk joined The Philadelphia Orchestra as second trumpet in August 2013. He came from the Houston Symphony, where he was second trumpet for 11 seasons, and the New World Symphony, where he was a trumpet fellow for four seasons. In the past 20 years he has played internationally with several orchestras and music festivals, including the Los Angeles Philharmonic, the Grant Park Festival Orchestra, the Montreal Symphony, the Boston Symphony, the Moscow Philharmonic, and many others. He has participated in several music festivals, including Classical Tahoe, the Cabrillo Music Festival, the Spoleto Festival USA, the Tanglewood Music Center, the Pacific Music Festival, the Music Academy of the West, and the Aspen Music Festival. Mr. Prisk won two international trumpet competitions through the International Trumpet Guild and Second Prize in the National Trumpet Competition. He was a soloist with the New World Symphony, the Temple Wind Symphony, the Texas Medical Center Orchestra, and several youth orchestras. He can be heard on numerous recordings with The Philadelphia Orchestra, the Houston Symphony, the New World Symphony, the Spoleto Festival Orchestra, and the McGill Symphony. Teaching is a passion for Mr. Prisk. He is currently on the faculty at Temple University and the Peabody Institute in Baltimore. He can also be found teaching at summer music festivals including the Philadelphia International Music Festival, the Luzerne Music Center, and the Monteux School and Music Festival. He is also involved with the All City program sponsored by The Philadelphia Orchestra.Mr. Prisk received his bachelor's degree from the University of Illinois, where he studied with Ray Sasaki and Michael Ewald, and his master's degree from McGill University, where he studied with Paul Merkelo. His other main influences were John Hagstrom, Michael Sachs, and David Bilger. Mr. Prisk is originally from Lombard, IL, in the suburbs of Chicago and currently resides in South Philadelphia.

Synopsis If the late 18th century is the “Classical Age,” and the 19th “The Romantic,” then perhaps we should dub our time “The Eclectic Age” of music. These days, composers can—and do—pick and choose from a wide variety of styles. The American composer William Bolcom was loath to rule anything out when he approached the task of setting William Blake's Songs of Innocence and of Experience to music. Bolcom calls for a large orchestra, multiple choruses, and more than a dozen vocal soloists versed in classical, pop, folk, country, and operatic styles. There are echoes of jazz, reggae, gospel, ragtime, country and rock idioms as well. As Bolcom put it: "At every point Blake used his whole culture, past and present, high-flown and vernacular, as sources for his many poetic styles. All I did was use the same stylistic point of departure Blake did in my musical settings.” The massive work received its premiere performance in Stuttgart, Germany, on today's date in 1984. Most of the work was completed between 1973 and 1982, after Bolcom joined the faculty of the University of Michigan in Ann Arbor, and it was there that the work received its American premiere a few months following its world premiere in Germany. Music Played in Today's Program William Bolcom (b. 1938) Songs of Innocence and of Experience Soloists; Choirs; University of Michigan School of Music Symphony; Leonard Slatkin, conductor. Naxos 8.559216/18 On This Day Births 1792 - American composer and educator Lowell Mason, in Medford, Massachusetts; 1812 - Swiss composer and pianist Sigismond Thalberg, in Pâquis, near Geneva; 1896 - Czech composer Jaromir Weinberger, in Prague; 1899 - Russian-born American composer Alexander Tcherepnin (Gregorian date: Jan. 21); 1905 - Italian composer Giacinto Scelsi, in La Spezia; 1924 - Russian-American composer Benjamin Lees (née Lysniansky), in Harbin, Manchuria; 1924 - Austrian-born American composer Robert Starer, in Vienna; 1935 - The charismatic rock 'n' roll performer Elvis Presley is born in Tupelo, Miss.; 1937 - American composer Robert Moran, in Denver; Deaths 1713 - Italian composer and violinist Arcangelo Corelli, age 59, in Rome; 1831 - Moravian-born composer and violinist Franz Krommer, age 71, in Vienna; 1998 - British composer Sir Michael Tippett, age 93, in London; Premieres 1705 - Handel: opera "Almira" in Hamburg; This was Handel's first opera (see also Dec. 5 & 30 for related contemporary incidents); 1720 - Handel: opera "Radamisto" (2nd version), in London (Julian date: Dec. 28, 1720); 1735 - Handel: opera "Ariodante" in London at the Covent Garden Theater (Gregorian date: Jan. 19); 1843 - Schumann: Piano Quintet in Eb, Op. 44, at Leipzig Gewandhaus with pianist Clara Schumann; 1895 - Brahms: Clarinet Sonata, Op. 120, no. 1 (first public performance), in Vienna, by clarinetist Richard Mühlfeld, with the composer at the piano, as part of the Rosé Quartet's chamber music series; The first performance ever of this work occurred on September 19, 1894, at a private performance in the home of the sister of the Duke of Meiningen at Berchtesgaden, with the same performers; Brahms and Mühlfeld also gave private performances of both sonatas in Frankfurt (for Clara Schumann and others) on November 10-13, 1894; at Castle Altenstein (for the Duke of Meiningen) on Nov. 14, 1894; and on Jan. 7, 1895 (for members of the Vienna Tonkünstler Society); 1911 - Florent Schmitt: "La tragédie de Salomé" for orchestra, in Paris; 1927 - Berg: "Lyric Suite" for string quartet, in Vienna, by the Kolisch Quartet; 1928 - Hindemith: "Kammermusik" No. 7, Op. 46, no. 2, in Frankfurt, with Ludwig Rottenberg conducting and Reinhold Merten the organist; 1940 - Roger Sessions: Violin Concerto, by the Illinois Symphony conducted by Izler Solomon, with Robert Gross as soloist; The work was to have been premiered by Albert Spalding with the Boston Symphony under Koussevitzky in January of 1937, but did not take place); 1963 - Shostakovich: opera "Katerina Izmailova" (2nd version of "Lady Macbeth of the Mtsensk District"), in Moscow at the Stanislavsky-Nemirovich-Dachenko Music Theater; 1971 - Shostakovich: Symphony No. 15, in Moscow, by the All-Union Radio and Television Symphony, with the composer's son, Maxim, conducting; 1987 - Christopher Rouse: "Phaethon" for orchestra, by the Philadelphia Orchestra, Riccardo Muti conducting; 1988 - Schwantner: "From Afar . . . " (A Fantasy for Guitar and Orchestra), by guitarist Sharon Isbin with the St. Louis Symphony, Leonard Slatkin conducting; Others 1923 - First broadcast in England of an opera direct from a concert hall, Mozart's "The Magic Flute" via the BBC from London; Links and Resources More on Wiiliam Bolcom More on William Blake

Synopsis On New Year's Eve, 1948, Eugene Ormandy and the Philadelphia Orchestra gave the first performance of the Symphony No. 5 by the American composer George Antheil. Now, in his youth, Antheil was something of a wild man, composing a Ballet mechanicque for a percussion ensemble that included electric bells, sirens, and airplane propellers. It earned him a reputation, and Antheil titled his colorful 1945 autobiography what many called him: "The Bad Boy of Music." But the great Depression and World War II changed Antheil's attitude. Rather than write for small, avant-garde audiences, Antheil found work in Hollywood, with enough time left over for an occasional concert work, such as his Symphony No. 5. In program notes for the premiere, Antheil wrote: "The object of my creative work is to disassociate myself from the passé modern schools and create a music for myself and those around me which has no fear of developed melody, tonality, or understandable forms." Contemporary critics were not impressed. One called Antheil's new Symphony "nothing more than motion-picture music of a very common brand" and another lamented its "triviality and lack of originality," suggesting it sounded like warmed-over Prokofiev. The year 2000 marked the centennial of Antheil's birth, and only now, after years of neglect, both Antheil's radical scores from the 1920s and his more conservative work from the 1940s is being performed, recorded and re-appraised. Music Played in Today's Program George Antheil (1900-1959) Symphony No. 5 (Joyous) Frankfurt Radio Symphony; Hugh Wolff, conductor. CPO 999 706 On This Day Births 1894 - Anglo-Irish composer Ernest John Moeran, in Heston, Middlesex; 1899 - Mexican composer Silvestre Revueltas, in Santiago, Papasquiaro; 1962 - American composer Jennifer Higdon, in Brooklyn, New York; Deaths 1950 - French composer Charles Koechlin, age 83, in Canadel, France; 1970 - British composer Cyril Scott, age 91, in Eastbourne, England; Premieres 1724 - Bach: Sacred Cantata No. 122 ("Das neugeborne Kindelein") performed on the Sunday after Christmas as part of Bach's second annual Sacred Cantata cycle in Leipzig (1724/25); 1842 - Lortzing: opera "Der Wildschütz" (The Poacher), in Leipzig at the Stadttheater; 1865 - Rimsky-Korsakov: Symphony No. 1, in St. Petersburg, with Balakirev conducting (Julian date: Dec. 19); 1879 - Gilbert & Sullivan: operetta "The Pirates of Penzance," at the Fifth Avenue Theatre in New York, with the composer conducting (see also Dec. 30 above); 1943 - Martinu: Violin Concerto (No. 2), by the Boston Symphony with Serge Koussevitzky conducting and Micsha Elman the soloist; 1948 - Antheil: Symphony No. 5, by Philadelphia Orchestra, Eugene Ormandy conducting; 1948 - Howard Hanson: Piano Concerto, by the Boston Symphony with the composer conducting and Rudolf Firkusny the soloist. Links and Resources On George Antheil More on Antheil

For the final episode of 2022, we interviewed Dr. Magdalena Stern-Baczewska on a Saturday afternoon and had a great time chatting with her about

Stéphane Denève, Music Director of SLSO, stopped by to speak with Nancy about the goings on at the symphony. ------ Stéphane Denève is Music Director of the St. Louis Symphony Orchestra, Artistic Director of the New World Symphony, and from 2023 will also be Principal Guest Conductor of the Netherlands Radio Philharmonic. He recently concluded terms as Principal Guest Conductor of The Philadelphia Orchestra and Chief Conductor of the Brussels Philharmonic, and previously served as Chief Conductor of Stuttgart Radio Symphony Orchestra (SWR) and Music Director of the Royal Scottish National Orchestra. ------  Recognised internationally for the exceptional quality of his performances and programming, Stéphane Denève regularly appears at major concert venues with the world's greatest orchestras and soloists. He has a special affinity for the music of his native France, and is a passionate advocate for music of the 21st century. ------ 

On this episode of Catholic Forum we celebrate the Light of Christ coming into the world at Christmas. We will hear some great Christmas hymns from the CDs, "Songs of Angels: Christmas Hymns and Carols" by the Robert Shaw Chamber Singers and "The Glorious Sound of Christmas" by Eugene Ormandy and the Philadelphia Orchestra and the Temple University Concert Choir. Also, we will hear Bishop William Koenig's Christmas message to the people of Delaware and Maryland's Eastern Shore. Merry Christmas from the Diocese of Wilmington!

Jennifer Montone is Principal Horn of The Philadelphia Orchestra, and teaches at teaches at the Curtis Institute of Music and The Juilliard School. Jennifer is an active chamber musician, hs performed as a guest artist or soloist with numerous orchestras, and the recipient of an Avery Fisher Career Grant, also has a Grammy Award for her performance of the Penderecki Horn Concerto with the Warsaw National Philharmonic. Today's episode is made extra special, in that I'm joined by guest co-host Catherine Cho (violin). A top prize-winner at the Hannover, Queen Elizabeth, and Montreal competitions, Catherine maintains an active performing career, serves on the faculty at The Juilliard School, and has also recently been appointed Artistic Advisor of the biennial Starling-DeLay Symposium. In today's episode, we'll explore… 4:12 - Why is playing horn such a mental game? And what do horn players worry about anyway? Jennifer illustrates the mind of a horn player by walking us through one of her recent low points - and how she recovered. 8:32 - How do you separate how you feel from how you sound? As in, how do you avoid getting sucked into the mental negativity spiral of assuming that if you feel bad you must sound bad? 11:29 - What do violinists (and string players) worry about? And whether as a horn player or violinist (or any musician, really), how can one get to a better place mentally? 14:05 - Jennifer describes the three ingredients that seem to contribute to an optimal mental balance during performing. 17:10 - A funny anecdote which illustrates how different musicians approach nerves differently. 18:38 - Are young musicians nowadays more open to talking about nerves than in previous generations? Or is that just because teachers are more open to providing a space to talk about this than in the past? 23:46 - How does parenthood affect you as a musician? What are the positive impacts, and what are some of the challenges? 28:43 - Jennifer and Catherine describe their teaching journeys and how they've worked at the craft of teaching over the years. 35:22 - What kinds of notes do Jennifer and Catherine take during (or after) lessons? 37:44 - What it says on the refrigerator magnet that Jennifer will look to for support on tough days. 35:08 - The thing Catherine did one year with her studio that made a “very, very significant” change in the growth of her students that year. 43:06 - What is something that was really difficult for Jennifer and Catherine? And what is something that has come pretty easily? 46:02 - The approach Jennifer adopted when recovering from a serious jaw injury that helped her go from feeling like a player with lots of technical shortcomings, to feeling like a much stronger and more confident technical player. ==== And, if you've been feeling stuck on a practice or performance or audition plateau lately, check out the Beyond Practicing mental skills course mentioned in the episode, which is available at bulletproofmusician.com/beyondpracticing.

GUEST OVERVIEW: Founded in 1976 by Bob Farnsworth, Hummingbird Productions is one of the longest standing full service music production companies in America. Includes production of: “Always Coca-Cola”, Wrigley's “Double Double Your Refreshment” and “I Wish I Were an Oscar Mayer Weiner”. Bob has also composed music for numerous IMAX Signature films, including a Paris Film Festival award winner. From Dolly Parton to Arlo Guthrie, from Ray Charles to Stevie Ray Vaughn; and with venues from the Philadelphia Orchestra to the London Symphony, from the United Way to the United Nations. He tackles tough issues on advertising, branding and ROI with a sense of joy that is infectious and exciting.

The Philadelphia Orchestra and the Temple University Concert choir made a Christmas album together in 1962. Conducted by Eugene Ormandy, this record sold more than a million copies that season, going on to become "the fastest-selling classical set in history," according to the Record Industry Association of America. This collection continues to sell well and receives regular airplay to this day. So join us as we listen to The Glorious Sound of Christmas.

Opera Now Magazine in their article, “Written in the Stars” profiled Hilary Ginther in May 2016 as one of ten young American singers intent on taking the opera world by storm, calling attention to her “substantial and richly colored instrument”. This was followed by her Philadelphia Orchestra debut in Bernstein's MASS under the baton of Yannick Nézet-Séguin, which was recorded by Deutsche Grammophon and released in March 2018, in commemoration of the composer's centenary. Most recent engagements include Olga in Eugene Onegin for Opera Omaha, Rosina in Il Barbiere di Siviglia for Opera on the James, Adalgisa in Norma for Musica Viva Hong Kong, and Beethoven's Ninth Symphony in Santa Fe. My gratitude goes out to Hannah Boissonneault who edits our Masterclass episodes and to Juanitos and Scott Holmes for the music featured in this episode. You can help support the creation of these episodes when you join the Sybaritic Camerata on Patreon. Get started at patreon.com/mezzoihnen. Be on the Studio Class Podcast Megan Ihnen is a professional mezzo-soprano, teacher, writer, and arts entrepreneur who is passionate about helping other musicians and creative professionals live their best lives. Studio Class is an outgrowth of her popular #29DaystoDiva series from The Sybaritic Singer. Let your emerging professionals be part of the podcast! Invite Megan to your studio class for a taping of an episode. Your students ask questions and informative, fun conversation ensues. Special Guest: Hilary Ginther.

New host Khadija Mbowe is joined by esteemed soprano Karen Slack for a no-holds-barred conversation about excellence, expectations, and self-esteem. In this episode, you'll hear:[00:00] MUSIC: Hannibal, Healing Tones, Karen Slack with The Philadelphia Orchestra [03:25] Fairytale love story[05:19] Music in the household[07:29] Veterinary dreams[8:27] Journey into classical through CAPA (Creative and Performing Arts High School)[13:14] MUSIC: Bizet, Habanera, Denyce Graves [14:11] Undiagnosed learning challenges[15:07] The double-edged sword of winning the Rosa Ponselle scholarship [18:45] Approach to mentorship[25:49] MUSIC: Price, Bewilderment  (with text from Langston Hughes), Michelle Cann and Karen Slack[27:09] See the need, fill the need [29:03] #KikiKonversations[33:14] Who heals the healers; unrealistic expectations placed on black women[36:49] The struggle for self-care MUSIC: Barnes, Taking Names,  Karen SlackLinks from this episode: BANFF Opera in the 21st Century ProgramBellini, "Casta Diva," Maria CallasWagner, "Tristan Und Isolde" - Prelude & Leibestod,  Jessye Norman and Herbert von Karajan Opera Philadelphia Sounds of Learning Rehearsal Program  La Forza Del Destino (Ponselle's debut)  Michelle Cann on the HearTOGETHER podcast#SayTheirNames#KikiKonversationsKhadija MboweKaren Slack

Heralded as "[one] of the most powerful voices of our time" by the Los Angeles Times, bass-baritone Davóne Tines has come to international attention as a path-breaking artist whose work not only encompasses a diverse repertoire but also explores the social issues of today. As a Black, gay, classically trained performer at the intersection of many histories, cultures, and aesthetics, Tines is engaged in work that blends opera, art song, contemporary classical music, spirituals, gospel, and songs of protest, as a means to tell a deeply personal story of perseverance that connects to all of humanity. Davóne Tines is Musical America's 2022 Vocalist of the Year. During the 2022-23 season, he continues his role as the Philharmonia Baroque Orchestra & Chorale's first-ever Creative Partner and, beginning in January 2023, he will serve as Brooklyn Academy of Music's first Artist in Residence in more than a decade. In addition to strategic planning, programming, and working within the community, this season Tines curates the “Artist as Human” program, exploring how each artist's subjectivity—be it their race, gender, sexuality, etc.—informs performance, and how these perspectives develop throughout their repertoire. In the fall of 2022, Tines makes a number of important debuts at prominent New York institutions, including the Park Avenue Armory, New York Philharmonic, BAM, and Carnegie Hall, continuing to establish a strong presence in the city's classical scene. He opens his season with the New York premiere of Tyshawn Sorey's Monochromatic Light (Afterlife) at the Park Avenue Armory, also doubling as Tines' Armory debut. Inspired by one of Sorey's most important influences, Morton Feldman and his work Rothko Chapel, Monochromatic Light (Afterlife) takes after Feldman's focus on expansive textures and enveloping sounds, aiming to create an all-immersive experience. Tine's solo part was written specifically for him by Sorey, marking a third collaboration between the pair; Sorey previously created arrangements for Tines' Recital No. 1: MASS and Concerto No. 2: ANTHEM. Peter Sellars directs, with whom Davóne collaborated in John Adam's opera Girls of the Golden West and Kaija Saariaho's Only the Sound Remains. Tines' engagements continue with Everything Rises, an original, evening length staged musical work he created with violinist Jennifer Koh, premiering in New York as part of the Brooklyn Academy of Music's Next Wave Festival. Everything Rises tells the story of Tines' and Koh's artistic journeys and family histories through music, projections, and recorded interviews. As a platform, it also centers the need for artists of color to be seen and heard. Everything Rises premiered in Santa Barbara and Los Angeles in April 2022, with the LA Times commenting, “Koh and Tines' stories have made them what they are, but their art needs to be—and is—great enough to tell us who they are.” This season also has Tines making his New York Philharmonic debut performing in Beethoven's Symphony No. 9, led by Jaap van Zweden. Tines returns to the New York Philharmonic in the spring to sing the Vox Christi in Bach's St. Matthew Passion, also under van Zweden. Tines is a musician who takes full agency of his work, devising performances from conception to performance. His Recital No. 1: MASS program reflects this ethos, combining traditional music with pieces by J.S. Bach, Margaret Bonds, Moses Hogan, Julius Eastman, Caroline Shaw, Tyshawn Sorey, and Tines. This season, he makes his Carnegie Hall recital debut performing MASS at Weill Hall, and later brings the program to the McCarter Theatre in Princeton, Baltimore's Shriver Hall, for the Philadelphia Chamber Music Society, and as part of Boston's Celebrity Series. Concerto No. 1: SERMON is a similar artistic endeavor, combining pieces including John Adams' El Niño; Vigil, written by Tines and Igée Dieudonné with orchestration by Matthew Aucoin; “You Want the Truth, but You Don't Want to Know,” from Anthony Davis' X: The Life and Times of Malcolm X; and poems from Langston Hughes, James Baldwin, and Maya Angelou into a concert performance. In May 2021, Tines performed Concerto No. 1: SERMON with Yannick Nézet-Séguin and the Philadelphia Orchestra, and with the BBC Symphony Orchestra. He recently premiered Concerto No. 2: ANTHEM—created by Tines with music by Michael Schachter, Caroline Shaw, Tyshawn Sorey, and text by Mahogany L. Browne—with the Los Angeles Philharmonic at the Hollywood Bowl. Also this season, Tines performs in El Niño with the Cleveland Orchestra, conducted by composer John Adams; a concert performance of Adams' Girls of the Golden West with the Los Angeles Philharmonic also led by Adams; and a chamber music recital with the New World Symphony.Going beyond the concert hall, Davóne Tines also creates short music films that use powerful visuals to accentuate the social and poetic dimensions of the music. In September 2020, Lincoln Center presented his music film VIGIL, which pays tribute to Breonna Taylor, the EMT and aspiring nurse who was shot and killed by police in her Louisville home, and whose tragic death has fueled an international outcry. Created in collaboration with Igée Dieudonné, and Conor Hanick, the work was subsequently arranged for orchestra by Matthew Aucoin and premiered in a live-stream by Tines and the Louisville Orchestra, conducted by Teddy Abrams. Aucoin's orchestration is also currently part of Tines' Concerto No. 1: SERMON. He also co-created Strange Fruit with Jennifer Koh, a film juxtaposing violence against Asian Americans with Ken Ueno's arrangement of “Strange Fruit” — which the duo perform in Everything Rises — directed by dramaturg Kee-Yoon Nahm. The work premiered virtually as part of Carnegie Hall's “Voices of Hope Series.” Additional music films include FREUDE, an acapella “mashup” of Beethoven with African-American hymns that was shot, produced, and edited by Davóne Tines at his hometown church in Warrenton, Virginia and presented virtually by the Philharmonia Baroque Orchestra & Chorale; EASTMAN, a micro-biographical film highlighting the life and work of composer Julius Eastman; and NATIVE SON, in which Tines sings the Black national anthem, “Lift Ev'ry Voice and Sing,” and pays homage to the '60s Civil Rights-era motto “I am a man.” The latter film was created for the fourth annual Native Son Awards, which celebrate Black, gay excellence. Further online highlights include appearances as part of Boston Lyric Opera's new miniseries, desert in, marking his company debut; LA Opera at Home's Living Room Recitals; and the 2020 NEA Human and Civil Rights Awards.Notable performances on the opera stage the world premiere performances of Kaija Saariaho's Only the Sound Remains directed by Peter Sellars at Dutch National Opera, Finnish National Opera, Opéra national de Paris, and Teatro Real (Madrid); the world and European premieres of John Adams and Peter Sellars' Girls of the Golden West at San Francisco Opera and Dutch National Opera, respectively; the title role in a new production of Anthony Davis' X: The Life and Times of Malcolm X with the Detroit Opera (where he was Artist in Residence during the 2021-22 season) and the Boston Modern Opera Project with Odyssey Opera in Boston where it was recorded for future release; the world premiere of Terence Blanchard and Kasi Lemmons' Fire Shut Up In My Bones at Opera Theatre of Saint Louis; the world premiere of Matthew Aucoin's Crossing, directed by Diane Paulus at the Brooklyn Academy of Music; a new production of Stravinsky's Oedipus Rex at Lisbon's Teatro Nacional de São Carlos led by Leo Hussain; and Handel's rarely staged Aci, Galatea, e Polifemo at National Sawdust, presented in a new production by Christopher Alden. As a member of the American Modern Opera Company (AMOC), Tines served as a co-music director of the 2022 Ojai Music Festival, and has performed in Hans Werner Henze's El Cimarrón, John Adams' Nativity Reconsidered, and Were You There in collaboration with composers Matthew Aucoin and Michael Schachter.Davóne Tines is co-creator and co-librettist of The Black Clown, a music theater experience inspired by Langston Hughes' poem of the same name. The work, which was created in collaboration with director Zack Winokur and composer Michael Schachter, expresses a Black man's resilience against America's legacy of oppression—fusing vaudeville, opera, jazz, and spirituals to bring Hughes' verse to life onstage. The world premiere was given by the American Repertory Theater in 2018, and The Black Clown was presented by Lincoln Center in summer 2019.Concert appearances have included John Adams' El Niño with the Rundfunk-Sinfonieorchester Berlin under Vladimir Jurowski, Schumann's Das Paradies und die Peri with Louis Langrée and the Cincinnati Symphony, Kaija Saariaho's True Fire with the Orchestre national de France conducted by Olari Elts, Beethoven's Ninth Symphony with Michael Tilson Thomas leading the San Francisco Symphony, Stravinsky's Oedipus Rex with Esa-Pekka Salonen and the Royal Swedish Orchestra, and a program spotlighting music of resistance by George Crumb, Julius Eastman, Dmitri Shostakovich, and Caroline Shaw with conductor Christian Reif and members of the San Francisco Symphony at SoundBox. He also sang works by Caroline Shaw and Kaija Saariaho alongside the Calder Quartet and International Contemporary Ensemble at the Ojai Music Festival. In May 2021, Tines sang in Tulsa Opera's concert Greenwood Overcomes, which honored the resilience of Black Tulsans and Black America one hundred years after the Tulsa Race Massacre. That event featured Tines premiering “There are Many Trails of Tears,” an aria from Anthony Davis' opera-in-progress Fire Across the Tracks: Tulsa 1921.Davóne Tines is a winner of the 2020 Sphinx Medal of Excellence, recognizing extraordinary classical musicians of color who, early in their career, demonstrate artistic excellence, outstanding work ethic, a spirit of determination, and an ongoing commitment to leadership and their communities. In 2019 he was named as one of Time Magazine's Next Generation Leaders. He is also the recipient of the 2018 Emerging Artists Award given by Lincoln Center for the Performing Arts and is a graduate of The Juilliard School and Harvard University, where he teaches a semester-length course “How to be a Tool: Storytelling Across Disciplines” in collaboration with director Zack Winokur.The Truth In This ArtThe Truth In This Art is a podcast interview series supporting vibrancy and development of Baltimore & beyond's arts and culture. To find more amazing stories from the artist and entrepreneurial scenes in & around Baltimore, check out my episode directory. Stay in TouchNewsletter sign-upSupport my podcastShareable link to episode ★ Support this podcast ★