Podcast appearances and mentions of Rob Kapilow

The relegation of Hanukkah merchandise to a tiny corner of the grocery aisle can cause Jews to feel excluded or marginalized by the Christmas holiday season. But the impact of Jews on the history and culture of secularized Christmas is deeper than you might think. In this exciting new Yuletide episode of Identity/Crisis, host Yehuda Kurtzer and American composer and music commentator Rob Kapilow sit down at the keyboard to better understand the relationship between Jews and Christmas through the holiday music that Jewish composers have contributed to the canon. Read Maoz Tzur at the End of Christianity Listen to the accompanying episode playlist HERE Partner with us as we address the big issues facing contemporary Jewish life. Make a gift now. JOIN OUR EMAIL LIST FOR MORE HARTMAN IDEAS 

Musician, author, and composer Rob Kapilow will unpack Tchaikovsky's "Serenade for Strings" with local chamber orchestra A Far Cry tomorrow at the New England Conservatory this weekend. It's part of the Celebrity Series of Boston.

Musician, author, composer and friend of the show Rob Kapilow is back to talk about Aaron Copland's "Appalachian Spring," and what makes it great.

Episode SummaryIn this final episode of Season 4, I bring you Rob Kapilow. A musical savant, innovator, and global presence, listening to Rob is like taking a master class in music, and in life. From Duke Ellington to Joseph Campbell, from Beethoven to the Beatles, and from Yale to Paris to Native American reservations, Rob Kapilow will take you on the classic Sydcast journey of discovery, creativity, and learning. Sydney Finkelstein Sydney Finkelstein is the Steven Roth Professor of Management at the Tuck School of Business at Dartmouth College. Professor Finkelstein has published 25 books and 100 articles, including the bestsellers Why Smart Executives Fail and Superbosses: How Exceptional Leaders Master the Flow of Talent, which LinkedIn Chairman Reid Hoffman calls the “leadership guide for the Networked Age.” He is also a Fellow of the Academy of Management, as well as a consultant and speaker to leading companies around the world. His latest projects include the leading podcast, The Sydcast, that uncovers and shares the stories of fascinating people in business, sports, entertainment, politics, academia, and everyday life, as well as a new series of online courses based on his life's work available at Coursera.Rob KapilowFor over 30 years, Rob Kapilow has brought the joy and wonder of classical music – and unraveled some of its mysteries – to audiences of all ages and backgrounds. Characterized by his unique ability to create an “aha” moment for his audiences and collaborators, whatever their musical sophistication or naiveté, Kapilow's work brings music into people's lives: opening new ears to musical experiences and helping people to listen actively rather than just hear.Kapilow's range of activities is astonishingly broad, including his What Makes It Great?® presentations (now for over 20 seasons in New York and Boston), his family compositions and Family Musik® events, his Citypieces, corporate programs, and residencies with institutions as diverse as the National Gallery of Canada and Stanford University. The reach of his interactive events and activities is wide, from Native American tribal communities in Montana and inner-city high school students in Louisiana to audiences in Kyoto and Kuala Lumpur and tots barely out of diapers to musicologists in Ivy League programs.Insights from this episode: Where Rob's love for music came fromLearning about different genres of musicGrowing his skills in musicGetting the right skills for musicWhat makes a great songWhat is creativity, and how to tap into itThe importance of listeningInsights into American musicHow music connects usQuotes from the show:“To me, really, I didn't know there was any difference between The Beatles, jazz, and piano music. To me, there was just music. Only later did I learn that you are in separate niches, separate categories” —Rob Kapilow [7:22]“One of my favorite quotes is from Joseph Campbell, the brilliant writer on mythology, and he says ‘The privilege of a lifetime is being who you are'” —Rob Kapilow [8:42]“Aside from taking apart what actually makes a song like She Loves You by The Beatles great musically, which I can certainly do, there's also the sense that it often is part of someone's life experience” —Rob Kapilow [18:34]“At the heart of all great creators, is the kind of ability to pay attention, but not only to just pay attention to what's happening but to listen for possibilities” —Rob Kapilow [23:17]“I realized that listening is such a larger thing than just hearing” —Rob Kapilow [28:46]“You cannot hate immigrants when you've heard their stories. Let's not politicize this, but humanize it” —Rob Kapilow [45:45]​​“The whole purpose of a piece of music is to show that we are all connected. That beneath our surface differences, we are all connected” —Rob Kapilow [58:00]Stay connected:Sydney FinkelsteinWebsite: http://thesydcast.comLinkedIn: Sydney FinkelsteinTwitter: @sydfinkelsteinFacebook: The SydcastInstagram: The SydcastRob KapilowWebsite: https://robkapilow.comTwitter: Rob KapilowFacebook: Rob Kapilow Subscribe to our podcast + download each episode on Stitcher, iTunes, and Spotify.This episode was produced and managed by Podcast Laundry.

Leonard Bernstein only composed a handful of shows on Broadway, but he was a game-changer. From On the Town to West Side Story, Bernstein mixed genres and styles of music—incorporating jazz, blues, ragtime, Latin beats-- mixing them with popular song traditions and the rhythms of the streets and then filtering it all through his own distinctive voice.  In this 2018 podcast, we explore it all with Rob Kapilow.  You may know Kapilow from the public radio program "What Makes It Great" in which he takes listeners inside of music to explore that very question. Well, in this pod, Kapilow discusses what makes Leonard Bernstein's music for Broadway great. He talks about Bernstein's impact on Broadway,  his refusal to accept musical silos, and his generosity and difficulty as a collaborator. Rob also illustrates the distinctiveness of the chords, rhythms, and melodic structures that Bernstein composed.   It's a musical exploration of a great composer in musical theater.

Leonard Bernstein only composed a handful of shows on Broadway, but he was a game-changer. From On the Town to West Side Story, Bernstein mixed genres and styles of music—incorporating jazz, blues, ragtime, Latin beats-- mixing them with popular song traditions and the rhythms of the streets and then filtering it all through his own distinctive voice.  In this 2018 podcast, we explore it all with Rob Kapilow.  You may know Kapilow from the public radio program "What Makes It Great" in which he takes listeners inside of music to explore that very question. Well, in this pod, Kapilow discusses what makes Leonard Bernstein's music for Broadway great. He talks about Bernstein's impact on Broadway,  his refusal to accept musical silos, and his generosity and difficulty as a collaborator. Rob also illustrates the distinctiveness of the chords, rhythms, and melodic structures that Bernstein composed.   It's a musical exploration of a great composer in musical theater.

Plus, music extraordinaire Rob Kapilow joins us to highlight the work of Irving Berlin.

Musician, composer, and author Rob Kapilow helps us appreciate greatness in a way nobody else can. Today, he joins us to highlight the work of Irving Berlin.

Today I welcome back Broadway Vocalist Sally Wilfert. In this episode Sally is Baring It All with Call Me Adam about her theatrical legacy, including her work with the legendary composer William Finn, singing at Congregation Beit Simchat Torah (CBST), lessons learned & so much more! Listen to Part 1 of our interview here! We paid tribute to Sally's best friend, Three-time Tony nominee Rebecca Luker Be sure to catch Sally in her triumphant return to the concert stage this summer! July 10: Broadway Under The Trees at Harmony in the Woods: Click here for tickets! July 18 & 20: How Did I End Up Here? at Feinstein's/54 Below: Click here for tickets! Connect with Sally: Website Facebook Twitter Instagram YouTube Like What You Hear? Join my Patreon Family to get backstage perks including advanced notice of interviews, the ability to submit a question to my guests, behind-the-scene videos, and so much more! Follow me on Facebook, Twitter, and Instagram Visit: https://callmeadam.com for more my print/video interviews Special Thanks: My Patreon Family for their continued support: Angelo, Reva and Alan, Marianne, Danielle, Tara, Alex, and The Golden Gays NYC. Join the fun at https://patreon.com/callmeadamnyc. Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ) Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY) Edited by Drew Kaufman (https://bit.ly/2OXqOnw) Outro Music Underscore by CueTique (Website: https://bit.ly/31luGmT, Facebook: @CueTique) More on Sally: Sally Wilfert has appeared on Broadway in the Tony Award-winning production of Assassins, The Adventures of Tom Sawyer, and King David. She toured the country in the first national tour of The 25th Annual Putnam County Spelling Bee. Off-Broadway, Sally's credits include See Rock City, Make Me A Song: The Music of William Finn, The Mistress Cycle, and The Prince & The Pauper. At Carnegie Hall she has appeared in Cole Porter's Jubilee, South Pacific in Concert (starring Reba McEntire), and Sondheim: A Tribute, (all for PBS). Performing with the New York City Ballet at Lincoln Center and Tokyo, she was featured soloist, singing “Somewhere” for their performances of West Side Story Suite. Sally has performed throughout the country, including shows at the La Jolla Playhouse, Cincinnati Playhouse, Baltimore Center Stage, Pittsburgh Civic Light Opera, Barrington Stage, Houston's Theatre Under the Stars (TUTS), Goodspeed Musicals, Northshore Music Theatre, Cap 21, Hartford Theatreworks. She has appeared at The Ensemble Theatre of Cincinnati in Mamma Mia, Chasing Rainbows, Damn Yankees, Kiss Me Kate, The Light in the Piazza, Footloose, When We Met, LMNOP (World Premiere), Little Miss Sunshine (World Premiere), Marry Me A Little, Elegies: A Song Cycle, Les Miserables, The Last Five Years, Amadeus, Into the Woods, & The Threepenny Opera. Sally performed in concert in Rob Kapilow's What Makes it Great, American Songbook's Rebecca Luker, Sally Wilfert: It's Time, William Finn's Songs of Innocence and Experience, Broadway in South Africa, Jeff Blumenkrantz Songbook, New York City Christmas in such venues as 54 Below & NJ Performing Arts Center, Jacob Javits Center, The Allen Room, The Zipper Theatre, Merkin Hall, Symphony Space, Joe's Pub, & Birdland. Her recording credits include One Voice: Natalie Weiss & Sally Wilfert, See Rock City, New York City Christmas, Make Me A Song, Assassins, King David, The Prince & the Pauper, and A Christmas Survival Guide. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 2017, filmmaker Larry Weinstein shot Dreaming of a Jewish Christmas (available to stream on iTunes) for the Canadian Broadcast Company. The documentary starts in a fictional Chinese restaurant in 1967, and a number of music video-like performances set in that restaurant give structure to an exploration of the Jewish relationship to Christmas. The documentary is built on the fact that many of the Christmas classics were written by Jews--the same writers who wrote many of the great American songs.  Our conversation deals with the way that Christmas crosses cultural lines, and one additional line we talk about is Weinstein and the musicians he includes being Canadian. While much of the film is about the experience of Jews in America, we talk about how that experience was the same and how it differed in Canada.  In the episode, I included Bing Crosby's "White Christmas," The Platters' "Winter Wonderland," "The Little Drummer Boy's Bolero" by the University of Texas at El Paso Wind Symphony & Ron Hufstader, Lou Reed's "September Song" from the Hal Willner tribute to Kurt Weill, Lost in the Stars, and Lena Horne's "Rudolph the Red-Nosed Reindeer."  I also ask Weinstein about a video by Rob Kapilow during which he argues that there are specifically Jewish musical choices made by Irving Berlin in "White Christmas." Here is that video.  The episode also features two Johnny Cash songs, "Merry Christmas Mary" and "Christmas as I Knew It."  In the conversation, I talked to Weinstein about musical director and producer Hal Willner. Last October, I interviewed producer Mark Bingham, who also worked with Willner.

Sally Wilfert & Rebecca Luker were best friends. In celebration of what would have been Rebecca Luker's 60th Birthday (4/17), Sally & I pay tribute to their amazing friendship, their final project together, All The Girls, and much more! After listening to this episode, please consider making a donation to Target ALS, in honor of Rebecca Luker who passed away from ALS on December 23, 2020. Stream All The Girls on Spotify and Amazon Purchase/Download All The Girls on PS Classics and iTunes Connect with Sally: Website Facebook Twitter Instagram YouTube Like What You Hear? Join my Patreon Family to get backstage perks including advanced notice of interviews, the ability to submit a question to my guests, behind-the-scene videos, and so much more! Follow me on Facebook, Twitter, and Instagram Visit: https://callmeadam.com for more my print/video interviews Special Thanks: My Patreon Family for their continued support: Angelo, Reva and Alan, Marianne, Danielle, Tara, Alex, and The Golden Gays NYC. Join the fun at https://patreon.com/callmeadamnyc. Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ) Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY) Edited by Drew Kaufman (https://bit.ly/2OXqOnw) Outro Music Underscore by CueTique (Website: https://bit.ly/31luGmT, Facebook: @CueTique) More on Sally: Sally Wilfert has appeared on Broadway in the Tony Award-winning production of Assassins, The Adventures of Tom Sawyer, and King David. She toured the country in the first national tour of The 25th Annual Putnam County Spelling Bee. Off-Broadway, Sally’s credits include See Rock City, Make Me A Song: The Music of William Finn, The Mistress Cycle, and The Prince & The Pauper. At Carnegie Hall she has appeared in Cole Porter’s Jubilee, South Pacific in Concert (starring Reba McEntire), and Sondheim: A Tribute, (all for PBS). Performing with the New York City Ballet at Lincoln Center and Tokyo, she was featured soloist, singing “Somewhere” for their performances of West Side Story Suite. Sally has performed throughout the country, including shows at the La Jolla Playhouse, Cincinnati Playhouse, Baltimore Center Stage, Pittsburgh Civic Light Opera, Barrington Stage, Houston’s Theatre Under the Stars (TUTS), Goodspeed Musicals, Northshore Music Theatre, Cap 21, Hartford Theatreworks. She has appeared at The Ensemble Theatre of Cincinnati in Mamma Mia, Chasing Rainbows, Damn Yankees, Kiss Me Kate, The Light in the Piazza, Footloose, When We Met, LMNOP (World Premiere), Little Miss Sunshine (World Premiere), Marry Me A Little, Elegies: A Song Cycle, Les Miserables, The Last Five Years, Amadeus, Into the Woods, & The Threepenny Opera. Sally performed in concert in Rob Kapilow’s What Makes it Great, American Songbook’s Rebecca Luker, Sally Wilfert: It’s Time, William Finn’s Songs of Innocence and Experience, Broadway in South Africa, Jeff Blumenkrantz Songbook, New York City Christmas in such venues as 54 Below & NJ Performing Arts Center, Jacob Javits Center, The Allen Room, The Zipper Theatre, Merkin Hall, Symphony Space, Joe’s Pub, & Birdland. Her recording credits include One Voice: Natalie Weiss & Sally Wilfert, See Rock City, New York City Christmas, Make Me A Song, Assassins, King David, The Prince & the Pauper, and A Christmas Survival Guide. More on Rebecca: Broadway: "Helen" in Fun Home; Cinderella’s Fairy Godmother; "Winifred" in the original Broadway production of Mary Poppins (Tony Award nomination); "Claudia" in Nine, opposite Antonio Banderas; "Marian Paroo" in The Music Man (Tony, Drama Desk & Outer Critics Circle Award nominations); "Maria" in The Sound of Music (Outer Critics Circle Award nomination); "Magnolia" in Showboat (Tony Award nomination); "Lily" in The Secret Garden (Drama Desk Nomination); "Christine" in The Phantom of the Opera. Learn more about your ad choices. Visit megaphone.fm/adchoices

What makes a great song great?

Kapilow tells us why, in 2020, he believes Porter is as relevant as ever.

》》》》》》》》一键领取入口《《《《《《《为你读英语美文 · 第374期 海顿弦乐四重奏主播：April 坐标：乌鲁木齐-写在收听前-前段时间，我们收到了一封来信，信里说：“我叫April，是一个在美国快读大二的留学生。几个月之前我在喜马拉雅上留意到了你们，于是听了好几期节目后产生了自己创作的想法。” 随信，April附上了投稿的作品。经过了解，得知April是一位作曲系的学生，00后的她就读于全美排名前三的新英格兰⾳乐学院。又经过了一系列的沟通，备稿，录音，后期和调整，April的节目终于出炉了！April首期节目的主题是海顿《弦乐四重奏》。海顿是维也纳古典乐派的奠基人，交响乐之父。弦乐四重奏(String Quartet)，顾名思义，就是"由四把弦乐器组合而成的室内乐形式"。它包含两把小提琴、一把中提琴以及一把大提琴，是目前最主要和最受欢迎的室内乐类型。April说：“音乐在我眼里一向有巨大的力量，使人沉醉，幻想，感动。我希望能通过我的努力，让更多的人领略古典音乐的魅力。”最近，April在乌鲁木齐的家中，因为疫情的关系，不能出门，但希望April的声音依旧能传递到你身边？你在哪里听到April的声音呢？留言告诉我们哦。同时，我们也为新疆加油，希望新疆可以早日战胜疫情！-正文-听众朋友们，⼤家好，欢迎来到为你读英语美⽂，我是你们的新朋友April，我来⾃新疆，是⼀位⼤⼆在读作曲系的学⽣，现就读于美国波⼠顿新英格兰⾳乐学院 New England Conservatory。很 ⾼兴与你在为你读英语美⽂相遇。⼤家都在开头⼗⼏秒钟的⾳乐⽚段中听到了什么呢？如果现在，我让你们⽤两个词描述刚才的⽚段，那会是哪两个词呢？活泼的，愉快的？还是优雅，轻巧的？如果你刚刚注意⼒还没有集中，那么现在我会再放⼀次，这⼀次，请⼤家⼼⾥要带着我刚才的问 题去听哦～怎么样？现在⼤家的⼼⾥都有了两个词吗？刚才你们所听到的⽚段，取⾃奥地利作曲家Joseph Haydn的弦乐四重奏op.76中第五⾸的第四乐章。Haydn has composed up to 68 string quartets in his composition career, among them, the six string quartets in op.76 are among Haydn's most ambitious chamber works and op.76 is also the last complete set of string quartets he composed. (海顿在他的作曲⽣涯中创作过多达 60⾸弦乐四重奏，作品集op.76中的六⾸四重奏是其中最具代表性的作品。这个作品集也是海顿 留下的最后⼀部完整弦乐四重奏作品集。)Mr.Rob Kapilow said in his book, ‘The movement begins with a joke'. （Rob Kapilow先⽣在他的书中说过，“这个乐章由⼀个⼩玩笑开始”）⼤家有听出这个joke吗？The two chords that traditionally end a Classical period piece are wittily used as a beginning. （在古典时期⾥常被⽤ 作结尾的两个和弦在这⾥俏⽪地放在了开头）现在⼤家仔细听，[只播放开头两个和弦]，如果我们 只注意这短短的⼏秒，是不是听起来更像是⼀⾸曲⼦的结束⽽不是开始呢？The effect is like starting a film with the words “The End.” Now, do you notice the joke? （这样就好像是电影刚 开始，屏幕上却⼤⼤的出现“剧终”的字样。现在，你听懂这个“joke”了吗？）这样听，这⾸曲⼦ 是不是⼜变的鲜活⽽⼜有趣起来了呢？Right after the two chords, the silence that follow are as important as the chords themselves. （出现在两个和弦之后的⼀段休⽌也同样重要。）⼤家以前是否注意过⼀⾸曲⼦中安静的，所有 的乐器都停⽌演奏的时候呢？In fact, silence is a very essential element in music.（其实，休⽌ 是⾳乐中⾮常重要的部分） 拿今天的⽚段举例，the silence not only give you time to take in Haydn's witty gesture, to let the joke land, so to speak, but they give you time, if you are listening for plot, to wonder what Haydn could possibly be up to. Now let's listen to these chords again,（这段休⽌不仅给听众⾜够的时间接住海顿抛出的“玩笑”，还能给那些试图找出规 律的⼈们⼀点时间去思考⾳乐接下来会怎样发展。现在，让我们再听⼀下这些和弦） While listening, each time the silence happens, each time you might wonder, “what will happen next?” Maybe you expect something else to happen, because this theme seems to be so simple and seems to be and end, but Haydn breaks your expectation by repeating the same things for three times. He continues the comedy by running three “The Ends” together without intervening parses to make a kind of “combo package”: The End, The End, The End. （在听的过程中，⾳乐每休⽌暂停⼀次，听众就会好奇⼀次，“在这段休⽌之后什 么会发⽣呢？” 也许在你的想象中，⼀些其他的旋律会开始演奏，毕竟这个主题似乎太简单⽽且 听上去像个结尾。但海顿打破了你的想象，他重复了同样的和弦三遍从⽽让这出喜剧继续下去， 这三个连续的“剧终”变成了⼀套“组合击”：剧终！剧终！剧终！）现在，让我们带着这⾸曲⼦的背景，以及开头的joke，再来听⼀遍。现在，⼤家⼼中的两个词有没有变化呢？在opening joke之后，Haydn⽤了⾮常有对⽐性的旋律主题让我们觉得⽿⽬⼀新。那么Haydn是 如何让重复了三遍的The End复活，重新变成了begining并让我们有兴趣 继续往下听呢？答案就 藏在joke之后。This second idea that immediately follows the opening is a folklike repeatednote accompaniment figure that continues underneath a lively tune played by the violin, then by the cello. The liveliness and energy contained in this second phrase fresh our feelings and break our expectation before. It makes it interesting to listen to as now we are listening horizontally, to a continuous melody, instead of vertically, to two chords. （跟在开头之后的第⼆ 个主题由带有⺠俗⾊彩的重复⾳伴奏开始，在此之上是先由⼩提琴演奏，后由⼤提琴演奏的⾮常 有活⼒的旋律。这段主题的鲜活和动⼒和之前的主题完全不同，使我们有了新鲜感的同时也更愿 意继续往下探索。如果说我们之前听⼀个⼀个和弦时，是“纵向”的聆听，那么现在我们听⼀段⼀ 段旋律时，便是“横向”的聆听了）现在，我们最后听⼀次这个⽚段。如果刚才听时，我们的注意⼒放在开头的“joke”上⾯，那么现 在我们则可以仔细聆听开头两个主题的对⽐性。假如两个词有些少，我们现在可以把范围拓宽到四个词，你可以⽤两个词形容开头的opening idea，两个词形容在这之后的second idea，在聆听的时候也可以放开⾃⼰的想象⼒，想象⼀幅画 ⾯，或是⼀⾸诗，也欢迎你们来信告诉我你们都想象了什么哦～现在，我们就再来听⼀遍，⼤家注意⼒集中～好的，现在⼤家可能已经⽆⽐熟悉这⼗⼏秒的⾳乐节选了吧，⼤家是不是已经觉得对这个⽚段已 经了如指掌了呢？Now, let me ask you a question. What do you think will happen next?（现在，让我问⼀个问题，你觉得接下来，会发⽣什么呢？）我们可以闭上眼睛想象⼀下，在刚才的⽚段之后，⾳乐会以怎样的形式发展下去呢？在我们刚刚 听到的⾳乐⽚段中，有哪些是重要的，有哪些是不重要的？有哪些会被重复 哪些不会呢？What was that first phrase all about? Are we supposed to take two chords repeated five times seriously as a theme, as a main character in the movement's story? Or was it simply a witty introduction never to be heard again, with the violin/cello tune of the second phrase being the “real” topic of the piece? Do the two phrases relate in any way? Will there be any development based on these themes? What will happen next?（第⼀个乐句讲了什么呢？那些重复的“⼩玩 笑”式的和弦是这个乐章中⾮常重要的⼀个主题吗？还是那只是⼀个幽默的开头，不会再次出现， 第⼆个充满活⼒的乐句才是“真正”重要的主题呢？这两个乐句之间有联系吗？会有基于这两个乐 句的展开吗？接下来什么会发⽣呢？）当我们仔细去探讨这些问题，尝试理清楚⾳乐中包含的东⻄时，我们会发现可以有太多答案。 Your brain will be bursting with endless possibilities and questions. （你的⼤脑会充满了⽆限的 可能和⽆数的问题）我相信每⼀位正在收听的你都会给我⼀个不同的答案，然⽽这不恰恰是⾳乐 的乐趣所在吗？正是因为有如此多的possibilities，在知道⾳乐的真正⾛向后，才会觉得恍然⼤悟，或者不可思 议，像是读⼀本烧脑的推理⼩说，我们⽆时⽆刻不在推理或者猜测的情节，⽆时⽆刻不在推翻着 之前的猜想，当我们以为我们掌握了作者的思路，觉得胜券在握，但就算在书的最后⼀⻚我们之 前的所有推断也可能被重新定义，让我们⼜觉得情理之中，⼜觉得意料之外。我希望⼤家在听完这期节⽬后，会对聆听古典⾳乐有不⼀样的定义与认识。也许在刚才的⼗⼏分 钟⾥，⼤家⼀开始对⾳乐⽚段的两个词的印象在我后⾯的讲解中不断的被推翻，也许我每说⼀ 层，⼤家就迸发出了新的想法，也许在收听的你在聆听过程中不⾃觉的分析，尝试着问⾃⼰下⼀ 步是什么样的，⽽这些都是聆听⾳乐时最宝贵的收获。Mr.Kapilow说，“If there are a thousand people at a concert, there are a thousand different performances occurring simultaneously.” （Kapilow先⽣说，“如果⼀场⾳乐会⾥有⼀千名观众， 那么就会有⼀千场⾳乐会在同时演奏。”）同理于⼀千个⼈⼼中就有⼀千个哈姆雷特， ⾳乐能与 所有⼈都产⽣共鸣，就算这些共鸣也许都是互不相同的，每⼀个⼈⼼中产⽣的想法与灵感也都会 发出独特的，有魅⼒的光芒，这就是⾳乐的伟⼤之处。我希望⼤家能感受到聆听古典⾳乐的乐 趣，这不是⽣涩难懂，不是刻板⽆聊，⽽是充满灵动与思考的奇妙旅程。最后的最后，我将把今 天所讲的⾳乐⽚段的完整版放给你们听。记得我刚刚的问题吗？What will happen next? Haydn 会如何谱写剩下的篇章呢？我是April，今天给⼤家带来Joseph Haydn String Quartet Op.76 No.5, 4th Movement, 谢谢⼤家 的聆听，我们下次再⻅！▎背景音乐Joseph Haydn String Quartet Op.76 No.5, 4th Movement▎主播介绍April：出生于新疆，就读于美国波⼠顿新英格兰⾳乐学院后期：April, 编辑：永清▎节目首发，背景音乐，图文资料，更多推送敬请关注微信公众号：为你读英语美文，ID：readenglishforyou

》》》》》》》》一键领取入口《《《《《《《为你读英语美文 · 第374期 海顿弦乐四重奏主播：April 坐标：乌鲁木齐-写在收听前-前段时间，我们收到了一封来信，信里说：“我叫April，是一个在美国快读大二的留学生。几个月之前我在喜马拉雅上留意到了你们，于是听了好几期节目后产生了自己创作的想法。” 随信，April附上了投稿的作品。经过了解，得知April是一位作曲系的学生，00后的她就读于全美排名前三的新英格兰⾳乐学院。又经过了一系列的沟通，备稿，录音，后期和调整，April的节目终于出炉了！April首期节目的主题是海顿《弦乐四重奏》。海顿是维也纳古典乐派的奠基人，交响乐之父。弦乐四重奏(String Quartet)，顾名思义，就是"由四把弦乐器组合而成的室内乐形式"。它包含两把小提琴、一把中提琴以及一把大提琴，是目前最主要和最受欢迎的室内乐类型。April说：“音乐在我眼里一向有巨大的力量，使人沉醉，幻想，感动。我希望能通过我的努力，让更多的人领略古典音乐的魅力。”最近，April在乌鲁木齐的家中，因为疫情的关系，不能出门，但希望April的声音依旧能传递到你身边？你在哪里听到April的声音呢？留言告诉我们哦。同时，我们也为新疆加油，希望新疆可以早日战胜疫情！-正文-听众朋友们，⼤家好，欢迎来到为你读英语美⽂，我是你们的新朋友April，我来⾃新疆，是⼀位⼤⼆在读作曲系的学⽣，现就读于美国波⼠顿新英格兰⾳乐学院 New England Conservatory。很 ⾼兴与你在为你读英语美⽂相遇。⼤家都在开头⼗⼏秒钟的⾳乐⽚段中听到了什么呢？如果现在，我让你们⽤两个词描述刚才的⽚段，那会是哪两个词呢？活泼的，愉快的？还是优雅，轻巧的？如果你刚刚注意⼒还没有集中，那么现在我会再放⼀次，这⼀次，请⼤家⼼⾥要带着我刚才的问 题去听哦～怎么样？现在⼤家的⼼⾥都有了两个词吗？刚才你们所听到的⽚段，取⾃奥地利作曲家Joseph Haydn的弦乐四重奏op.76中第五⾸的第四乐章。Haydn has composed up to 68 string quartets in his composition career, among them, the six string quartets in op.76 are among Haydn's most ambitious chamber works and op.76 is also the last complete set of string quartets he composed. (海顿在他的作曲⽣涯中创作过多达 60⾸弦乐四重奏，作品集op.76中的六⾸四重奏是其中最具代表性的作品。这个作品集也是海顿 留下的最后⼀部完整弦乐四重奏作品集。)Mr.Rob Kapilow said in his book, ‘The movement begins with a joke'. （Rob Kapilow先⽣在他的书中说过，“这个乐章由⼀个⼩玩笑开始”）⼤家有听出这个joke吗？The two chords that traditionally end a Classical period piece are wittily used as a beginning. （在古典时期⾥常被⽤ 作结尾的两个和弦在这⾥俏⽪地放在了开头）现在⼤家仔细听，[只播放开头两个和弦]，如果我们 只注意这短短的⼏秒，是不是听起来更像是⼀⾸曲⼦的结束⽽不是开始呢？The effect is like starting a film with the words “The End.” Now, do you notice the joke? （这样就好像是电影刚 开始，屏幕上却⼤⼤的出现“剧终”的字样。现在，你听懂这个“joke”了吗？）这样听，这⾸曲⼦ 是不是⼜变的鲜活⽽⼜有趣起来了呢？Right after the two chords, the silence that follow are as important as the chords themselves. （出现在两个和弦之后的⼀段休⽌也同样重要。）⼤家以前是否注意过⼀⾸曲⼦中安静的，所有 的乐器都停⽌演奏的时候呢？In fact, silence is a very essential element in music.（其实，休⽌ 是⾳乐中⾮常重要的部分） 拿今天的⽚段举例，the silence not only give you time to take in Haydn's witty gesture, to let the joke land, so to speak, but they give you time, if you are listening for plot, to wonder what Haydn could possibly be up to. Now let's listen to these chords again,（这段休⽌不仅给听众⾜够的时间接住海顿抛出的“玩笑”，还能给那些试图找出规 律的⼈们⼀点时间去思考⾳乐接下来会怎样发展。现在，让我们再听⼀下这些和弦） While listening, each time the silence happens, each time you might wonder, “what will happen next?” Maybe you expect something else to happen, because this theme seems to be so simple and seems to be and end, but Haydn breaks your expectation by repeating the same things for three times. He continues the comedy by running three “The Ends” together without intervening parses to make a kind of “combo package”: The End, The End, The End. （在听的过程中，⾳乐每休⽌暂停⼀次，听众就会好奇⼀次，“在这段休⽌之后什 么会发⽣呢？” 也许在你的想象中，⼀些其他的旋律会开始演奏，毕竟这个主题似乎太简单⽽且 听上去像个结尾。但海顿打破了你的想象，他重复了同样的和弦三遍从⽽让这出喜剧继续下去， 这三个连续的“剧终”变成了⼀套“组合击”：剧终！剧终！剧终！）现在，让我们带着这⾸曲⼦的背景，以及开头的joke，再来听⼀遍。现在，⼤家⼼中的两个词有没有变化呢？在opening joke之后，Haydn⽤了⾮常有对⽐性的旋律主题让我们觉得⽿⽬⼀新。那么Haydn是 如何让重复了三遍的The End复活，重新变成了begining并让我们有兴趣 继续往下听呢？答案就 藏在joke之后。This second idea that immediately follows the opening is a folklike repeatednote accompaniment figure that continues underneath a lively tune played by the violin, then by the cello. The liveliness and energy contained in this second phrase fresh our feelings and break our expectation before. It makes it interesting to listen to as now we are listening horizontally, to a continuous melody, instead of vertically, to two chords. （跟在开头之后的第⼆ 个主题由带有⺠俗⾊彩的重复⾳伴奏开始，在此之上是先由⼩提琴演奏，后由⼤提琴演奏的⾮常 有活⼒的旋律。这段主题的鲜活和动⼒和之前的主题完全不同，使我们有了新鲜感的同时也更愿 意继续往下探索。如果说我们之前听⼀个⼀个和弦时，是“纵向”的聆听，那么现在我们听⼀段⼀ 段旋律时，便是“横向”的聆听了）现在，我们最后听⼀次这个⽚段。如果刚才听时，我们的注意⼒放在开头的“joke”上⾯，那么现 在我们则可以仔细聆听开头两个主题的对⽐性。假如两个词有些少，我们现在可以把范围拓宽到四个词，你可以⽤两个词形容开头的opening idea，两个词形容在这之后的second idea，在聆听的时候也可以放开⾃⼰的想象⼒，想象⼀幅画 ⾯，或是⼀⾸诗，也欢迎你们来信告诉我你们都想象了什么哦～现在，我们就再来听⼀遍，⼤家注意⼒集中～好的，现在⼤家可能已经⽆⽐熟悉这⼗⼏秒的⾳乐节选了吧，⼤家是不是已经觉得对这个⽚段已 经了如指掌了呢？Now, let me ask you a question. What do you think will happen next?（现在，让我问⼀个问题，你觉得接下来，会发⽣什么呢？）我们可以闭上眼睛想象⼀下，在刚才的⽚段之后，⾳乐会以怎样的形式发展下去呢？在我们刚刚 听到的⾳乐⽚段中，有哪些是重要的，有哪些是不重要的？有哪些会被重复 哪些不会呢？What was that first phrase all about? Are we supposed to take two chords repeated five times seriously as a theme, as a main character in the movement's story? Or was it simply a witty introduction never to be heard again, with the violin/cello tune of the second phrase being the “real” topic of the piece? Do the two phrases relate in any way? Will there be any development based on these themes? What will happen next?（第⼀个乐句讲了什么呢？那些重复的“⼩玩 笑”式的和弦是这个乐章中⾮常重要的⼀个主题吗？还是那只是⼀个幽默的开头，不会再次出现， 第⼆个充满活⼒的乐句才是“真正”重要的主题呢？这两个乐句之间有联系吗？会有基于这两个乐 句的展开吗？接下来什么会发⽣呢？）当我们仔细去探讨这些问题，尝试理清楚⾳乐中包含的东⻄时，我们会发现可以有太多答案。 Your brain will be bursting with endless possibilities and questions. （你的⼤脑会充满了⽆限的 可能和⽆数的问题）我相信每⼀位正在收听的你都会给我⼀个不同的答案，然⽽这不恰恰是⾳乐 的乐趣所在吗？正是因为有如此多的possibilities，在知道⾳乐的真正⾛向后，才会觉得恍然⼤悟，或者不可思 议，像是读⼀本烧脑的推理⼩说，我们⽆时⽆刻不在推理或者猜测的情节，⽆时⽆刻不在推翻着 之前的猜想，当我们以为我们掌握了作者的思路，觉得胜券在握，但就算在书的最后⼀⻚我们之 前的所有推断也可能被重新定义，让我们⼜觉得情理之中，⼜觉得意料之外。我希望⼤家在听完这期节⽬后，会对聆听古典⾳乐有不⼀样的定义与认识。也许在刚才的⼗⼏分 钟⾥，⼤家⼀开始对⾳乐⽚段的两个词的印象在我后⾯的讲解中不断的被推翻，也许我每说⼀ 层，⼤家就迸发出了新的想法，也许在收听的你在聆听过程中不⾃觉的分析，尝试着问⾃⼰下⼀ 步是什么样的，⽽这些都是聆听⾳乐时最宝贵的收获。Mr.Kapilow说，“If there are a thousand people at a concert, there are a thousand different performances occurring simultaneously.” （Kapilow先⽣说，“如果⼀场⾳乐会⾥有⼀千名观众， 那么就会有⼀千场⾳乐会在同时演奏。”）同理于⼀千个⼈⼼中就有⼀千个哈姆雷特， ⾳乐能与 所有⼈都产⽣共鸣，就算这些共鸣也许都是互不相同的，每⼀个⼈⼼中产⽣的想法与灵感也都会 发出独特的，有魅⼒的光芒，这就是⾳乐的伟⼤之处。我希望⼤家能感受到聆听古典⾳乐的乐 趣，这不是⽣涩难懂，不是刻板⽆聊，⽽是充满灵动与思考的奇妙旅程。最后的最后，我将把今 天所讲的⾳乐⽚段的完整版放给你们听。记得我刚刚的问题吗？What will happen next? Haydn 会如何谱写剩下的篇章呢？我是April，今天给⼤家带来Joseph Haydn String Quartet Op.76 No.5, 4th Movement, 谢谢⼤家 的聆听，我们下次再⻅！▎背景音乐Joseph Haydn String Quartet Op.76 No.5, 4th Movement▎主播介绍April：出生于新疆，就读于美国波⼠顿新英格兰⾳乐学院后期：April, 编辑：永清▎节目首发，背景音乐，图文资料，更多推送敬请关注微信公众号：为你读英语美文，ID：readenglishforyou

Does an orchestra’s triangle player get the same pay as a violinist? Do conductors ever fall off their podiums? Which section do the other musicians love to hate? ELT dishes symphony secrets from two orchestra insiders. Guests: violinist Akiko Tarumoto and conductor Rob Kapilow. Special thanks to Nathan Cole and danke schön to caller Laszlo. Correction: This episode has been updated to replace the #noboe music with oboe music. Additional thanks to Marcus Phillips for helping us right this wrong.

Rob Kapilow - Listening for America: Inside the Great American Songbook from Gershwin to Sondheim...with TRE's Dave Hodgson

For this episode of Boston Public Radio, hour one was live, with Ascend CEO Andrea Cabral and WGBH Executive Arts Editor Jared Bowen filling in for Jim and Margery: NBC Sports Boston anchor and reporter Trenni Kusnierek discussed how former NBA player Dwayne Wade has been using his platform to raise awareness for LGBTQ+ rights. Corby Kummer discussed why there is a generational difference in tipping in restaurants. Kummer is executive director of the Food and Society policy program at the Aspen Institute, a senior editor at The Atlantic and a senior lecturer at the Tufts Friedman School of Nutrition Science and Policy. Patrick Swanson, the artistic director of the Christmas Revels, previewed some songs the group are performing at the Sanders Theater through Dec. 29. Then, we replayed some of our favorite holiday interviews: Rob Kapilow, the composer, conductor, and music commentator, broke down what makes Irving Berlin’s White Christmas great. Boston Pops Conductor Keith Lockhart challenged Jim and Margery to a speed read of The Night Before Christmas. Jared Bowen led a special cinema classic challenge, and we asked him why Frank Capra’s “It’s A Wonderful Life” still holds up. We opened the lines and ask you about the best and worst holiday music. We wrapped things up by asking you when it’s time to come clean with your kids about Santa Claus.

Abell was raised in the Philadelphia and Chicago areas.David sang in the 1971 world premiere of Leonard Bernstein's Mass at the John F. Kennedy Center for the Performing Arts with the Berkshire Boy Choir.Abell enrolled at Yale University, where his teachers included John Mauceri and Rob Kapilow. He studied with Nadia Boulanger and Robert D. Levin at the American Conservatory in Fontainebleau before returning to Yale to complete his B.A. in 1981.Abell made his professional debut conducting Bernstein's Mass at Berlin's Deutschlandhalle in 1982.Abell mentions the following three operas by Gaetano Donizetti that were his introduction to opera: La Favorite, Lucia di Lammermoor, and Lucie de Lammermoor.Lyric Opera of ChicagoThe Makropulos Affair is a Czech opera with music and libretto by Leoš Janáček.Don Giovanni is an opera by Mozart.Mefistofele is the only completed opera with music by the Italian composer-librettist Arrigo BoitoThe Symphony No. 2 in D-flat major was written by Howard Hanson on commission from Serge Koussevitsky for the 50th anniversary of the Boston Symphony Orchestra in 1930.Interlochen Center for the ArtsThe Beatles were an English rock band formed in Liverpool in 1960. Members were: John Lennon, Paul McCartney, George Harrison and Ringo Starr.Abbey Road StudiosWashington National OperaGiacomo Puccini was an Italian opera composer who has been called "the greatest composer of Italian opera after Verdi".Oscar Hammerstein was an American librettist, theatrical producer, and (usually uncredited) theatre director of musicals for almost 40 years.The Marriage of Figaro is an opera buffa (comic opera) composed in 1786 by Mozart, with an Italian libretto written by Lorenzo Da Ponte.Evans mentions the following schools as notable music schools: Juilliard School, Indiana University Jacobs School of Music, University of Michigan School of Music.The American Bach SocietyYale WhiffenpoofsWashington National OperaAbell continued his postgraduate training from 1983 to 1985 at the Juilliard School, under Jorge Mester and Sixten Ehrling.Eroica Symphony, byname of Symphony No. 3 in E-flat Major, is a symphony by Ludwig van Beethoven, known as the Eroica Symphony for its supposed heroic nature.Natalia Makarova is a Soviet-Russian-born prima ballerina and choreographer.Abell deputized at short notice for John Mauceri conducting Britten's The Turn of the Screw at Washington National Opera.On Your Toes is a musical with a book by Richard Rodgers, George Abbott, and Lorenz Hart.Gian Carlo Menotti gave David the advice to “never conduct Broadway. Never do it you will regret it.”Les Misérables, colloquially known in English-speaking countries as Les Mis is a musical adapted from French poet and novelist Victor Hugo's 1862 novel of the same name by Claude Schönberg.Porgy and Bess is an English-language opera by the American composer George Gershwin, with a libretto written by author DuBose Heyward and lyricist Ira Gershwin.Miss Saigon is a musical by Schönberg.Abell subsequently conducted the 25th anniversary concert of Les Misérables at the O2 Arena.The Philly PopsArturo Toscanini was an Italian conductor.Aaron Copland was an American composer, composition teacher, writer, and later a conductor of his own and other American music.Rhapsody in Blue is a musical composed by George Gershwin.Trevor Nunn is an English theatre director.Harold Prince was an American theatrical producer and director associated with many of the best-known Broadway musical productions of the 20th century.Ariadne auf Naxos is an opera by Richard Strauss with a German libretto by Hugo von Hofmannsthal.The Voice of Firestone is a long-running radio and television program of classical music.Leontyne Price is an American soprano.Marilyn Monroe was an American actress, model, and singer.Dorothy Kirsten was an American operatic soprano.Minnesota OperaBlind InjusticeJohn Williams is an American composer, conductor, and pianist. Williams has composed for many critically acclaimed and popular movies, including the Star Wars series, Jaws, E.T. the Extra-Terrestrial, and the first three Harry Potter films.Till Eulenspiegel's Merry Pranks is a tone poem written in 1894–95 by Strauss.Along with pianist and musicologist Seann Alderking, Abell edited a complete edition of Cole Porter's Kiss Me, Kate, published in 2014.Glimmerglass OperaThe Library of Congress is the research library that officially serves the United States Congress and is the de facto national library of the United States.The New York Public Library is a public library system in New York City.Scott Davenport RichardsGioachino Rossini was an Italian composer who gained fame for his 39 operas, although he also wrote many songs, some chamber music and piano pieces, and some sacred music.Phillip Gossett was an American musicologist and historian, and Robert W. Reneker Distinguished Service Professor of Music at the University of Chicago.Tancredi is a melodramma eroico in two acts by composer Gioachino Rossini and librettist Gaetano RossiUn ballo in maschera (A Masked Ball) is an 1859 opera by Verdi.Powel Crosley Jr. was an American inventor, industrialist, and entrepreneur. He was also a pioneer in radio broadcasting, and a former owner of the Cincinnati Reds major league baseball team.Alfred Drake was an American actor and singer.Robert Russell Bennett was an American composer and arranger, best known for his orchestration of many well-known Broadway and Hollywood musicals by other composers such as Irving Berlin, George Gershwin, Jerome Kern, Cole Porter, and Richard Rodgers.Don Walker is an Australian musician, songwriter and author.Felix Mendelssohn was a German composer, pianist, organist and conductor of the early Romantic period.Messiah is an English-language oratorio composed in 1741 by George Handel.Lemuel WadeFrancesca Zambello is an American opera and theatre director. She serves as director of Glimmerglass Festival and the Washington National Opera.Lyric Opera of Kansas CityHawaii Opera TheatreChandos Records is a British independent classical music recording company based in Colchester.Peter Morris is an American playwright, television writer and critic, best known for his work in British theatre."Something's Gotta Give" is a song that was written for and first performed by Fred Astaire in the 1955 musical film Daddy Long Legs."A Wonderful Guy" is a show tune from the 1949 Rodgers and Hammerstein musical South Pacific.Abell cites Evans Mirageas as one of his greatest mentors.Abell cites his niece’s podcast, The Bright Sessions, as one of his current favorites.Abell mentions Dark Sky as one of his favorite appsTrio BistroCarousel is the second musical by Rodgers and Hammerstein.English National OperaAlfred “Alfie” Boe is an English tenor and actor, notably performing in musical theatre.

Do you have favorite books and movies?Are there songs you love and stories that captivate you? Is there art that speaks to your heart? Paintings and plays, movies and music, stories and sculptures: art is valuable to the degree that it triggers emotion. But it isn't always the art, itself, that triggers the emotion. Sometimes the art is merely a point-of-contact with an idea – or an ideal – with which we identify. We're attracted to art when it stands for something we believe in, shows us a reflection of our own values, gives us a glimpse of our own inner face. An icon symbolizes a thought or a feeling for which we do not have sufficient words.But when the symbolism of an icon becomes too obvious, we call it a cliché. We are attracted to mysterious icons. We are repelled by predictable clichés. “Mr. LeSage, sir, I've got a tender new script about a sensitive young subway guard that just stinks of courage and integrity. And I know, sir, that next to scripts that are Tender and Poignant, you love scripts that have Courage and Integrity. This one, sir, as I say, stinks of both. It's full of melting-pot types. It's sentimental. It's violent in the right places. And just when the sensitive young subway guard's problems are getting the best of him, destroying his faith in Mankind and the Little People, his nine-year-old niece comes home from school and gives him some nice, pat chauvinistic philosophy handed down to us through posterity and P.S. 564 all the way from Andrew Jackson's backwoods wife. It can't miss, sir! It's down-to-earth, it's simple, it's untrue, and it's familiar enough and trivial enough to be understood and loved by our greedy, nervous, illiterate sponsors.” – J. D. Salinger, from “Zooey,” published in The New Yorker in 1957 According to W. H. Auden, “Great art is clear thinking about mixed feelings.” And according to Rob Kapilow, sappy clichés are “clear thinking about clear feelings.” I share this with you today in the hope that you will be able to use the richness of archetypes and icons in your advertising without falling into the molasses of sappy cliché. When a person spends money, they tell you everything about themselves that matters.Our purchases remind us – and announce to the world around us – who we are. Our favorite brands communicate what we stand for, what we believe in. We direct our dollars in ways that reflect our values and offer a glimpse of our souls. Great ads create a lasting bond with customers through the artful use of archetype and icon. What? You're convinced people just want the facts? The unadorned truth?It's 1991. We see workers in a car factory as we hear the voice of Brian Keith, “A car is a car. It won't make you handsome or prettier or younger. And if it improves your standing with the neighbors, then you live among snobs. A car is steel, electronics, rubber, plastic and glass. A machine. And in the end, may the best machine win… Subaru. What to drive.” In 1992, we see the next ad in that series: “Making a sports car, it seems mandatory to mention how fast it can go. Instead, why not mention the things you shouldn't mention about a sports car: a strong weld, over 24 safety features, all-wheel drive, engineering that endures. Still, if it's speed you want, we promise, with the Subaru SVX you'll easily be able to go as fast as the law allows… Subaru. What to drive.” And then the campaign evolved into open mockery of people who identify with the cars they drive.Shot from a low angle, we look upward at a man who looks down on us. He says, MAN 1: A luxury car says a lot about its owner. WOMAN 1: Mine says I'm witty beyond belief. MAN 2: Mine says I'm more Europeanish. MAN 3: Mine says I'm the product of superior genes. WOMAN 2: I'm so successful I can go into debt. MAN 4: I'm much more handsome MAN 5: cosmopolitan WOMAN 3: another pathetic sheep following the herd MAN 6: I'm irresistible WOMAN 4: powerful MAN 7: stylish...

Let's celebrate Leonard Bernstein's 100th birthday with a trip to Broadway! Bernstein only composed a handful of shows on Broadway, but he was a game-changer. From On the Town to West Side Story, Bernstein mixed genres and styles of music—incorporating jazz, blues, ragtime, Latin sounds-- mixing them with popular song traditions and the rhythms of the streets and then filtering it all through a classical voice. He was fluent in all languages of music and so created a music distinctly his own. Composer, conductor, and commentator Rob Kapilow takes us on a musical journey through Bernstein's Broadway career. You may know Rob from the public radio program “What Makes It Great?” in which he takes listeners inside of music to explore that very question. Explore Bernstein's Broadway music with Rob Kapilow (and me) in this week's podcast!

Let’s celebrate Leonard Bernstein’s 100th birthday with a trip to Broadway! Bernstein only composed a handful of shows on Broadway, but he was a game-changer. From On the Town to West Side Story, Bernstein mixed genres and styles of music—incorporating jazz, blues, ragtime, Latin sounds-- mixing them with popular song traditions and the rhythms of the streets and then filtering it all through a classical voice. He was fluent in all languages of music and so created a music distinctly his own. Composer, conductor, and commentator Rob Kapilow takes us on a musical journey through Bernstein’s Broadway career. You may know Rob from the public radio program “What Makes It Great?” in which he takes listeners inside of music to explore that very question. Explore Bernstein’s Broadway music with Rob Kapilow (and me) in this week’s podcast!

Let’s celebrate Leonard Bernstein’s 100th birthday with a trip to Broadway! Bernstein only composed a handful of shows on Broadway, but he was a game-changer. From On the Town to West Side Story, Bernstein mixed genres and styles of music—incorporating jazz, blues, ragtime, Latin sounds-- mixing them with popular song traditions and the rhythms of the streets and then filtering it all through a classical voice. He was fluent in all languages of music and so created a music distinctly his own. Composer, conductor, and commentator Rob Kapilow takes us on a musical journey through Bernstein’s Broadway career. You may know Rob from the public radio program “What Makes It Great?” in which he takes listeners inside of music to explore that very question. Explore Bernstein’s Broadway music with Rob Kapilow (and me) in this week’s podcast!

Rob Kapilow takes you inside Haydn's London Symphony and What Makes It Great. Plus, pianist Garrick Ohlsson talks about Beethoven Emperor Concerto and wine.

Special Edition: Rob Kapilow, Pre Show Interview... Smithsonian Associates Art Of Living Series, NOB For this special edition, now our second conversation with “What Makes It Great,” composer, conductor, lecturer, music expert, Rob Kapilow, I caught up with him just before he went onstage at the Baird Auditorium, where he unlocked the secrets of master songwriter  Harold Arlen.  This interview is a companion to our recent conversation with Rob, when we discussed the almost anonymous Arlen, whose vast songbook consists of more than 400 tunes such as Get Happy, Last Night When We Were Young, Stormy Weather, That Old Black Magic, and Over the Rainbow, which was voted the No. One song of the 20th century by the Recording Industry Association of America and the National Endowment for the Arts. The evening featured singers Michael Winther and Nikki Renee Daniels, both with steller voices, Broadway credits, and perfectly matched for the “Kapilow Versions,” of the music they sing, while Rob plays.    For more than a decade, Kapilow has brought the joys and wonder of music to audiences of all ages and backgrounds with his What Makes It Great? presentations, which dissect and examine the mysteries of music in terms everyone can grasp and appreciate. Part One is an entertaining discussion displaying Kapilow's astounding gift for observation and his animated teaching style. Part Two features performances of the composition, and audience sing-alongs.  The evening concludes with Part Three, a spirited question-and-answer on the work. We caught up with Rob to ask him a few questions, listen to a bit of pre show rehearsal music, and before the audience and it was a treat. Enjoy.

The Not Old Better Show Interview series, Rob Kapilow, What Makes It Great, Smithsonian Associates As part of our Smithsonian Associates, Art of Living series, our guest today on the Not Old Better Show is composer, performer, podcaster, radio show host, and music expert, Rob Kapilow.  Rob is well known for so many things, but his “What Makes It Great” series is perhaps a “go to” resource on music.  There's “FamilyMusick,” for kids, and Rob is well known for his “Polar Express,” “Green Eggs & Hamadeus,” and his vocal score companion, “Dr Suess' Gertrude McFuzz,” Kapilow's “Citypieces,” with communities, and places in history, including his work with the Blackfeet tribe titled, “Summer Sun, Winter Moon” are stunning.  Just a lot of brilliant work.  Rob's new ebook, "What Makes It Great, Enhanced Edition," is out now, too, and can be found HERE. Rob, along with a group accompanying him, will share music from Harold Arlen, who wrote over 500 songs, many, many well known, but Arlen himself isn't so well known.  None other than George Gershwin called him “the most original of all of us,” he won an Oscar, and had many hits, and yet he's largely unfamiliar to many of us.  Any fan of the Great American Songbook could hum a few bars of "Over the Rainbow," "Stormy Weather" or "That Old Black Magic" without having to think too hard. And yet, the composer of those songs remains little known. His songs are so alive that many major singers, including Nat King Cole, Frank Sinatra, Ella Fitzgerald, and even George Harrison, here singing “Between the Devil and the Deep Blue Sea.” All that changes Sunday night, October 30, when Rob Kapilow will be presenting “What Makes It Great,” (I think I counted 21 seasons of “What Makes It Great,”) in Washington DC, at the Baird Auditorium, and the program begins at 6 PM, sharp.  I'll be there.  Those who know Rob, know of his work, and know of his 21 seasons of “What Makes In Great” on NPR, agree that Rob is a born teacher, a motivational speaker, and game show host, all rolled into one,” according to the Boston Globe.  Audiences agree.  Join Rob and guests on Oct. 30, 2016, for Smithsonian Associates series, co-presented by Washington Performing Arts, and tickets are HERE. Enjoy.

Rob Kapilow introduces Mussorgsky's Pictures at an Exhibition and his series, What Makes it Great. Plus, Associate Principal Trumpet Steven Woomert describes getting winning his father's position in the orchestra.

TSO Managing Editor & Musicologist Hannah Chan-Hartley outlines the story behind Shostakovich Symphony No. 13. Plus, Rob Kapilow on Dvorak Symphony No. 8 and What Makes It Great. Hosted by The New Classical FM's Kathleen Kajioka and TSO Principal Bass Jeff Beecher.

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

TSO Musicians share horror stories of instrument mishaps. Plus, Rob Kapilow on his What Makes It Great series at the TSO. Music courtesy of Naxos of America, Inc.

This week, Marjolaine Fournier caught up with conductor, composer, commentator and broadcaster, Rob Kapilow in his dressing room at the NAC. They talked about what makes music great, and what makes for great music.

WPAS speaks with Choral Arts Society's Norman Scribner and music commentator Rob Kapilow about Mozart's Requiem. Explore this work further April 10 at the Kennedy Center. Tickets at WPAS.org or 202-785-WPAS.

Presentation on August 30, 2010 by Rob Kapilow from his "What Makes It Great" lecture series. Live from the 10th Banff International String Quartet Competition.

In this episode of Washington Performing Arts Society's Between the Lines, Rob Kapilow discusses the What Makes It Great series, in which he takes listeners inside the music to experience classical masterpieces like never before through musical examples, engaging commentaries, and live performances. In his What Makes It Great program on Tuesday, January 12 at 7pm in Baird Auditorium at the Smithsonian's Museum of Natural History, Kapilow will explore Beethoven's Piano Sonata No. 21, "Waldstein." He'll be joined on stage by pianist Yuliya Gorenman. Tickets at 202-785-WPAS or WPAS.org.

In this episode of Between the Lines, Rob Kapilow discusses his What Makes It Great series, in which he takes listeners inside the music to experience classical masterpieces like never before through musical examples, engaging commentaries, and live performances. In his next What Makes It Great program on November 10 at 7pm in Baird Auditorium at the Smithsonian's Museum of Natural Histroy, Kapilow is joined by The Peabody Chamber Players to explore Bach's Double Violin Concerto. Tickets at 202-785-WPAS or WPAS.org.

In this episode of Between the Lines, Rob Kapilow discusses the What Makes It Great? series, in which he takes listeners inside the music to experience classical masterpieces like never before through musical examples, engaging commentaries, and live performances. In his next What Makes It Great? program on February 18 at 7pm at Meyer Auditorium at The Smithsonian's Freer Gallery, Kapilow is joined by pianist Yuliya Gorenman to explore Schumann's Fantasy in C Major. Tickets at 202-785-WPAS or WPAS.org.

(January 7, 2009) An interview with composer, conductor, and NPR personality Rob Kapilow who joins forces with Trio con Brio Copenhagen to explore the crowning masterpiece of Beethoven’s cycle of piano trios.

WPAS speaks with Rob Kapilow about his What Makes It Great? series, in which he takes listeners inside the music to experience classical masterpieces like never before through musical examples, engaging commentaries, and live performances. His first What Makes It Great? program takes place November 19th at 7pm at Meyer Auditorium at the Freer Gallery at the Smithsonian as he explores Chopin Études and Ballades.

Episode #4: Hooray!! Another special guest star, this time the amazing Sally Wilfert (Assassins, Tom Sawyer, King David), who sings "I'm Free," from the one-act musical, Precious Little Jewel, with lyrics (and book) by Libby Saines and music by me. Recorded 12/29/05.Look for Sally in Rob Kapilow's upcoming What Makes It Great concerts in LA and Boston, as well as The Jeff Blumenkrantz Songbook Concert live at Birdland in NYC on February 13th.For more info about Jeff, the songbook, and upcoming concerts, visit jeffblumenkrantz.com.