Podcasts about toronto symphony

Jewelle Blackman is a Dora nominated Canadian actor, violinist, singer/songwriter and playwright.  Born and bred in Toronto, Jewelle has worked extensively in theatre, television and film across North America.  She was most recently seen on Broadway starring as “Persephone” in the Tony and Grammy winning Best Musical HADESTOWN.  The same show where she made her Broadway debut and was part of the OBC originating the role of “Contralto Fate”. While in New York Jewelle performed two sold-out Cabarets at the iconic 54 Below and was the anthem singer at Madison Square Gardens. Canadian credits include the Companies of HADESTOWN, WE WILL ROCK YOU; THE LION KING; CAROLINE OR CHANGE; DREAMGIRLS; CROWNS, and three seasons at The Stratford Festival. She was also the headliner for the Toronto Symphony's 2023 Canada Day Celebration. Jewelle's other show ROOTED: A Musical Poem is also debuting at the Toronto Fringe this year and will be presented Off-Broadway later this summer. Rooted: A Musical Poem "Rooted what does it mean to me? To be stuck in the ground like this tree." A contemporary fable for the ages, ROOTED begs the question what does it mean to be rooted and how does our idea of being rooted change as we grow? With R'n'B, soul, and soaring strings, this musical poem is brought to life in the heart of Central Park.

Jewelle Blackman is a Dora nominated Canadian actor, violinist, singer/songwriter and playwright.  Born and bred in Toronto, Jewelle has worked extensively in theatre, television and film across North America.  She was most recently seen on Broadway starring as “Persephone” in the Tony and Grammy winning Best Musical HADESTOWN.  The same show where she made her Broadway debut and was part of the OBC originating the role of “Contralto Fate”. While in New York Jewelle performed two sold-out Cabarets at the iconic 54 Below and was the anthem singer at Madison Square Gardens. Canadian credits include the Companies of HADESTOWN, WE WILL ROCK YOU; THE LION KING; CAROLINE OR CHANGE; DREAMGIRLS; CROWNS, and three seasons at The Stratford Festival. She was also the headliner for the Toronto Symphony's 2023 Canada Day Celebration. Jewelle's other show ROOTED: A Musical Poem is also debuting at the Toronto Fringe this year and will be presented Off-Broadway later this summer. BOY BOY AND THE MAGIC DRUM The annual Peace Parade has been cancelled and it's up to the self-doubting Boy Boy to save it. Will he figure out the mystery of the rainbow brew in time? This heart-warming, soca-inspired musical is the 2024 Adam's Prize winner, adapted from the children's book "Boy Boy and the Magic Drum" by Machel Montano. Celebrating the sounds of steel pan and the spirit of Trinidad and Tobago in a joyful, family friendly, new show.

Send us a Text Message.For decades now, Dr. Lisa Yui has inspired audiences with her playing, has promoted the piano with her writing and speaking, and is raising up a new generation of artists with her teaching. Her career is multifaceted and multi-variegated; it shines with brilliance and excellence. It was an absolute honor to explore with her the Taubman Approach and its impact on her astounding pianism. Be sure to visit Lisa's website for more information about this incredible person, artist and pianist. Lisa Yui's website. Described as “a musical phenomenon” (Pianiste magazine), Yamaha Artist Lisa Yui enjoys a multifaceted musical career as pianist, lecturer, teacher, author, and musical director. Since making her concerto debut at the age of seven, Lisa Yui has performed throughout North America, Europe, and Asia as a recitalist and soloist with orchestra. She is the top prizewinner of the Senigallia International Piano Competition in Italy, the Super Classics International Auditions in Tokyo, and has twice been the recipient of a Canada Council Scholarship. Lisa Yui has performed as soloist with prominent orchestras such as the Tokyo Symphony, Polish National Radio, Toronto Symphony, Edmonton Symphony, the Montreal Metropolitan Orchestra, and the Krakow State Philharmonic. Her performances have been broadcast on WQXR (New York), CBC (Canadian Broadcast Corporation), CJRT-FM (Ontario, Canada), and STV (Sapporo, Japan). She has performed in Suntory Hall in Tokyo, Roy Thompson Hall in Toronto, Théâtre du Châtelet in Paris, and the Liszt Ferenc Memorial Museum in Budapest, among other major concert venues around the world.As a lecturer and performer, Ms. Yui originated The Lives of the Piano, Manhattan School of Music's first piano lecture/concert series, now in its 23rd season. She has been invited as a lecturer to the Juilliard School, Kunitachi Music University, Princeton University, Washington and Lee University, and the University of Toronto, among other universities, colleges and venues.   Lisa Yui's insightful writing on music has appeared in numerous publications such as Clavier Companion, EPTA Journal, and Listen, on a variety of topics including the life and influence of the virtuosic 19th-century pianist Marie Pleyel, on whom Dr. Yui wrote her doctoral thesis. Lisa Yui is currently on the faculty of the Juilliard Extension, where she teaches piano and a new lecture/performance course, Keyboard Literature in Concert. Previous appointments include piano faculty at John J. Cali School of Music at Montclair State University, Associate Dean of Assessment and Academic Programs at Manhattan School of Music, department chair of the Music Advancement Program at the Juilliard School, and director of Ensemble 212's Young Artist Competition Series. She also taught a course on the social history of the piano at Marymount Manhattan College for many years. Lisa Yui has served as a member of numerous competition juries includiThe Golandsky Institute's mission is to provide cutting-edge instruction to pianists based on the groundbreaking work of Dorothy Taubman. This knowledge can help them overcome technical and musical challenges, cure and prevent playing-related injuries, and lead them to achieve their highest level of artistic excellence.Please visit our website at: www.golandskyinstitute.org.

Part II Kathleen Parlow was one of the most outstanding violinists at the beginning of the 20th century. In 1912, she was signed by the Columbia Record Company in New York, and her first records for the U.S. label were brought out alongside those of the legendary Eugene Ysaÿe. Listen to her fascinating story and how she took the world by storm. From her devastating looks to the intrigue her priceless instrument created. You will hear rare recordings of this prodigious player as we retell her life and try to understand why such an incredible talent has been so forgotten today. Brought to you by Biddulph recordings   Transcript     Welcome to the Historical String Recordings podcast, a show that gives you a chance to hear rare and early recordings of great masters and their stories.  My name is Linda Lespets and my co host is Eric Wan. This is part two of the story of the remarkably talented violinist Kathleen Parlow. In part one, we met a prodigious talent. She was the first foreigner to study in the Russian Conservatorium in St. Petersburg with the famous teacher Auer, and her most ardent admirer had given her an extraordinary gift of a Guarneri del Gesù violin. But just how far can talent, hard work, and good looks get this young woman in the beginning of the 20th century? Keep listening to find out. So now it's 1909 and Kathleen has her career taking off. She has her teacher with connections, she has her violins, and the concert that she did in the National Theatre, the one where Einar saw her for the first time, the one with Johan Halvorsen conducting, well Kathleen and Johan hit it off. And now, a year later Johan Halvorsen has finished his violin concerto, and he's been working so long and hard on it, like it's his baby and, he actually dedicates this concerto to Kathleen Parlow, and asks her to premiere it with the Berlin Philharmonic at the Modenspa outside The Hague in the Netherlands in the summer of 1909. Then Johan Halversen writes this concerto, which is sort of athletic and sort of gymnastic to play. And  he finishes it and dedicates it to her to Kathleen Parlow. And she plays this very tricky piece which kind of shows his faith in her virtuosic talents.  Well, one of her first recordings was the Moto Perpetuo by Paganini and Auer says it's one of the most difficult pieces in terms of bowing technique ever written, he says in one of his books. The reason why is one has to keep a very controlled bow, crossing strings all over the place, and play it very rapidly. Now Kathleen Parlow's recording of the Paganini Moto Perpetuo, which was made in her first recording session for HMV, is really astounding. It's the fastest  version ever made. I think it's even faster than the Jascha Heifetz and Yehudi Menuhin.  Clean as a whistle, but she also phrases it so beautifully. So she doesn't just play it technically very fast. She really shapes, you know, it's all regular sixteenth notes or semiquavers, and yet she shapes the line beautifully and really gives a direction. So when you hear this, you realize she's more than just a virtuoso performer. She's somebody with real musicianship.  She's an astounding player. And this concerto, it's quite interesting. It's, it's tricky and it's a piece that really shows off a virtuoso. So it's, it's quite a good one for Kathleen. And at the same time, he gives it a Norwegian twist. It's cleverly composed and a virtuoso such as Kathleen was perfect for playing this piece. There are references to Norwegian folk music. In the last movement, we can hear pieces that were traditionally played on the Norwegian Hardanger fiddle. So it's a violin that has sympathetic strings that run under the fingerboard, and it gives it quite like a like a haunting sound, a very kind of Scandinavian sound. So there are bits in this concerto that are from traditional music played on that violin. Then there's, there's this fun bit which makes a reference to a traditional Norwegian dance called the Halling Dance. And the Halling Dance is danced, it's danced by men at weddings or parties, and there's really no other way to describe it than breakdancing and it's like the ancestor of breakdancing. So what happens is the men, they show off their prowess to the ladies by doing this really cool sort of these acrobatics and the music for this hailing dance itself is quite tricky and you have to play it with like a rhythm to get the crowd moving and to give the dancer like the impetus to do his tricks and the men, they wear these like traditional costumes of like high waisted breeches and red waistcoats with long puffy sleeves and this little black hat. It's a bit like Mr. Darcy meets Run DMC.  You've got this man in this traditional dress doing this breakdancing, basically. And then they do they do backflips. They do that thing where you hold your foot and you jump through it with your other foot. They do like the caterpillar move. Even like spitting around on their heads. And what happens is they'll be, they'll be dancing to this music often played with, you know, the epinette and they'll be spinning around and then intermittently after spinning around, they'll do, you know, the backflip and the headspin or the, the caterpillar. And it's, I don't know how they do it. It's, they must be very dizzy. Anyway, it's incredible. And then sort of the climax of the dance is that there's a woman also, you know, dressed traditionally, and she's got this pole, this long pole. And on the end of the pole is a hat. And the idea is you have to kick the hat off, but the pole is three meters high.  So she's standing on like a ladder with the pole. And so the dancer, he'll do this kind of flying kick in the air. Either you can, you kick it off or you miss it. So in Johan Halvorsen's concerto at the end, there's this high harmonic and that you either have to hit on the G string. And like in the dance, you know, you're hitting that hat off. And so you're always there. You're always wondering if the soloist can pull it off. Can they, can they hit that high harmonic? And it's, it's the same sort of the equivalent of the spinning high kick from the dance. So, and if you were Norwegian, You would get this, I think, from the, from the music and you'd hear it. You hear that you do hear it in the music. So Kathleen Parlow, she plays this Halversen concerto and she plays it three times that year, and when she plays the piece in the National Theatre in September, there's sort of, there are mixed reviews with the critics saying that the piece was too unconventional. It's a little bit different and here's where Halvorsen, he like, he kicks up a stink a bit. This, because this concerto is like his baby and he's really protective and he's like, you know, he's quite fragile. He's, he's worked so much on this thing and people are just saying, you know, nasty things.  They don't understand the work that went into it. Yeah, you write a concerto.  So people, they flocked to hear Kathleen play Johan Halversen's concerto at the theatre. And it was full to bursting on several nights in a row. And if you consider on the same night in Oslo in another hall, Fritz Kreisler was playing and here you have Kathleen Parlow and people are just like cramming in to see her and Halvorsen's concerto. She was a huge name in her time. Only after a few performances and the negative critiques, Johan Halvorsen, he cancelled all the future performances of the work and, and when he retired, he burnt the manuscripts and asked for all the copies to be destroyed as well, it really, he was really hurt. Well, it was to be lost forever, except So a hundred years later, a copy of the concerto was serendipitously found in the University of Toronto's Faculty of Music, when one of the employees was looking through, not music, but personal documents of Kathleen's and it had been filed in there by mistake. And because it was with her personal files, it hadn't really, like her letters and things, it had been overlooked. So they found it and they resurrected it and they've re performed this concerto that had been lost for a hundred years.  And that's another role as a musician. You're also not managing, but you also have to deal with composers that could have quite be quite touchy and everything like a musician has to have, have on their plate. Well, I think being a musician, not only do you have to have an incredible skill level, you have to have an engaging personality. You have to be able to transmit a personality through the music itself. And you have to have incredible social grace to navigate charming not only your audience, but charming the people who create the concerts, the sponsors, the people who bankroll them. I think it's an incredibly difficult task. Because the skill level playing the violin is so difficult. That in itself would take up most people's energy. But on top of that, also have to be ingratiating and charming. I think it's an incredibly difficult life. Yeah, must be exhausting. And she does get exhausted. She'll have Breakdowns through, like her first one is when she's about 22. She has like almost like a nervous breakdown. And so it's kind of, she runs hot for a long time and then crashes.  And it might be like, you're saying like all these different things they have to, all the balls that they have in the air that they're juggling to keep it going. Kathleen Parlow, she's still in her teens. She's still a teenager. She has incredible success. She's performing in Germany and the Netherlands. And later that same year, she returns to Canada where she makes an extensive tour. She makes her debut in New York and Philadelphia.  I mean, she's just like, she's just all over. I mean, America's a big place and she's just all over the place.  And then in 1909, at the age of 19, she gets a recording contract with the gramophone company known as his master's voice. And that's the one with the dog listening into a recording trumpet.  And she was offered a 10 percent artist's royalty figure. So is that good? Getting 10 percent royalties? Yes. A 10 percent royalty at that time. is really quite unheard of. I believe the gramophone company gave that to their superstars. Louisa Tetrazzini, for example, was the great coloratura soprano of the day, and she received 10 percent of the sales royalty. So for Kathleen Parlow to be receiving that percentage really attests to her status. Yeah. And like you were saying before, it was, it's like amazing that we've forgotten about her. Oh, it's kind of astounding. She was an absolute star. The concert halls and one newspaper wrote an article and I quote one of the articles, the young woman could not mistake the furor she created. She was, so she was described as the greatest woman violinist in the world and the girl of the golden bow and Of course the obsession with her willowy figure and pale complexion and feminine wilds continues Which is sort of I mean even the case today I suppose will people will go into describing a woman and what she's wearing what she looks like a bit more than a guy, this thing that's just pervaded and then there was Einar Bjornsson, always there in the background. The communications between them, himself and Kathleen, was sort of constant. He was always visiting and in her diary she was, you know, just abbreviating his name because it was so his feelings for the young woman were extreme and the money he borrowed from his father, he would never be able to repay. So he was sort of indebted his whole life because of this. It must have been a little bit awkward explaining to his wife as well where the money has gone. Yeah, it's a big chunk of her dowry. I mean, even if he did tell her, maybe, you know, I don't know, maybe he didn't tell her. Maybe she, it was possible for him to do that. I'm not sure how the laws in Norway work. If, you know, sometimes in some countries, once you marry, your, your money becomes your husband's.  Basically, after the successful gramophone company recordings, she was really launched her career. She travelled all over. She travelled to, back to the United States, even though she's from Canada. She was regarded as a British artist, primarily because Canada was part of Britain, but then she made her success in the United States. And she was a very big success, so much so that the Columbia Record Company decided to offer her a recording contract. Now, there were two main companies in the United States. One of them was the Victor talking machine, which is essentially, that later became RCA Victor when it was bought by the Radio Corporation of America. But it originally started as the Victor talking machine. They had many, many big artists. They had people like Fritz Kreisler and Mischa Elman, and they also engaged a female violinist by the name of Maude Powell, who was an American born violinist. And so the Columbia Record Company decided that they should have their own roster of great instrumentalists, particularly violinists. And so they signed up Eugene Ysaie,  the great Belgian violinist, but at the same time they also signed up And I think, in a sense, that was to somehow put themselves in competition with the Victor Company. These two major record companies in the United States. So you had  the Victor Company with Mischa Elman and Fritz Kreisler and their female star, Maude Powell. And then you have Columbia answering back with Eugenie Ysaie and their female star, Kathleen Parlow.  Yeah. So you have like we were saying, like all the relationships that you have to keep juggling as a musician. And I think what Kathleen Parlow had on top of that was this. This complicated relationship with Einar, her, her patron, who was, who it was, it's all a bit ambiguous what was going on there, but she also had that in the equation. So it's not surprising that she had multiple breakdowns like she would just go for it and then, and crash. And she plays, I think Kreisler's tambourine chinois. And was that because there was sort of this, like this kind of fascination with the Orient at that time in the, in like the 1910s, 1920s? Well, the origin of tambourine chinois, apparently according to Kreisler, but Kreisler always spun tall tales. He said that he was in a Chinese restaurant in San Francisco when the idea, the musical ideas of tambourine chinois came to, to being. So, but Kreisler always. You know, invented stories all the time. I mean, the thing is, it's a very  playful, it's a very you know, fun piece of music. It's very bustling.  So, hence, that's why probably Fritz Kreisler is associated with a busy Chinese restaurant in San Francisco, because it's very, very bustling in its character. But the middle section of Tamborine Chinois It's Act Viennese,  so it's funny, because the middle section, when you hear it, it doesn't sound like anything  to do with the Orient, or if anything, it sounds like the cafe, coffeehouses  of Vienna. Yeah, it'd probably be cancelled anyway today. Well, if they heard that story, it certainly would. Then, she actually only does her first tour in America when she's 20. Kathleen, she continues with her endless touring and concert. Her money management was never great, although, you know, she's still, she's still earning quite a lot of money, and her mother and herself had, they had enough to live on, but never enough to be completely hassle free. And not that she wanted it, it seemed like she was sort of addicted to this life of the stage, and she once said when she was older that she thought maybe she had to get a job teaching, but she just couldn't do it.  She played more than 375 concerts between 1908 and 1915 and, and you can believe it to get an idea. So she's 19 year old's touring schedule. Here are the countries she played in in 1909. And you have to remember the concerts are nonstop every night, almost in different cities, but here are just, here are just some of the countries she travelled to in this year, in 1909. Germany, England, Poland, Netherlands, then she goes back to England, Ireland, Germany, England, the Netherlands, Norway, Wales, England again, Ireland again, England, Scotland, Poland. Man, I gave it, it was just, you know, huge. And in her diaries we can see that she's, like, she's just a young woman, like, about town when she's in London, she takes trips to the theatre, and she talks about going to see Madame Butterfly, and she goes shopping, and she goes to tea with people she has like, appointments at the dressmaker for fittings for new dresses, and, and all of this is in between lessons, and rehearsals, and concerts. And her diary is just jam, she has these day books and they're just jam packed. Then Auer when he comes to London, her diary, it's like she has lessons with him. And you can see she's sort of excited, she's like hours arriving and then she'll see him and then she'll often have lunch with him and lessons and sometimes the lessons are at eight o'clock at night or, or 10am on a Saturday or at the middle of the night on a Monday. And she'll skip from him to rehearsals with her pianist from Carlton Keith. And she's lots of tea. She's going to tea a lot with a lot of different people. She's still only 19 here. So her popularity, it's like, it's far reaching and she's not just playing like classical music. She'll also play just popular pieces of the day. There's Kreisler's Tambourine Chinoise. And then she'll play, there's some of the recordings. They're these Irish, little Irish. Songs. So it was to appeal to the general public as well, her repertoires and her recordings. And then in 1910, she turns 20 and she has her first tour in North America. And then in 1911, the New York Herald declares her as one of the phenomena of the musical world on par with Mischa Elman. That must have been frustrating because for years she's in the same class as him and she knows him. And everyone just keeps comparing her to, she's like, Oh, she's almost as good as this guy. But no, here they're saying she is as good as this guy. I could just, must've been a little bit frustrating. Then she makes an appearance with the Toronto Symphony in 1911 and she'll go back there many times. And in the next year, in 1912, she moved with her mother, who's still her mentor and manager and chaperone, to England, where they, they rent a house just out of Cambridge, you know, in the peaceful countryside away from the big cities. And in between her touring from here, she went, she goes to China, to the U. S., to Korea and Japan. And in Japan, she records with Nipponophone Company. She recorded quite just in a not much in a short space of time. She could have, she could have recorded more afterwards, because yeah, but she doesn't. Then the news of the tragic sinking of the Titanic in April had Kathleen jumping on a streamliner herself to play a benefit concert in New York for the survivors of the disaster. And I've seen that booklet, and that you open the booklet, and there's like, life insurance.  And then there's actually ads for another streamliner, and you're like, too soon, too soon, people don't want this. And then she plays, so on that same trip, she plays at the Met Opera. She plays Tchaikovsky's Serenade, Melancholique.  And in New York, she signed up by Columbia Record, by the Columbia Record Company. And her first records for the US label are brought out alongside those of Eugene Ysaye. So she's alongside these, they all, they must've all known each other. She was a contemporary and she just kind of slips off the radar. And as with all the recordings of the great violinists of the day, most of Paolow's recordings on American Columbia were of popular songs and that, that would attract the general public. But the fact that most of these recordings were accompanied by an orchestra and not just piano highlights her status as a star. So they had the, they got together an orchestra for her, so she's worthy of an orchestra.  Still in 1912, Kathleen, she's 22 now and she's been traveling so much, she's, now it's happening, it's hitting her, she's exhausted and she has a kind of breakdown it'd probably be like a burnout and, which, it's amazing she's lasted this long, since, you know, age 5, 6, up to 22. So she's both mentally and physically exhausted and her mother, acting as her agent, realizes that she needs to reduce some of her tours. She retreats to Meldreth, that's that house just outside of Cambridge that they have, that they've been renting. It's quite close to London, that little cottage that they have. They have easy access to London by train. And not only could they go easily to London, but traveling, traveling businessmen! From Norway! Could come to them! Easily. She continues with the concerts, one at Queen's Hall in London. So she has her little burnout, but then she's back again. Plays Schubert's Moment Musical around this time. After they've rented this home for four years, they end up buying it. So she does have enough money to buy a house, so she is you know, not frittering away all her money. So this gives her some sort of stability. And it, even though it's a, it's still a very unusual existence for a young lady of the day. So she's breaking a lot of stereotypes and this could end up being exhausting after a while. So it was nice for her to have a calm place to kick up her heels or fling off her corset. But no, she didn't, but willowy frame, she doesn't look like she's got a corset. I don't think you can play. Can you? Could you play that much? You know, you can't breathe. But, but, aren't there like old photos of, of lady violinists in corsets? I don't know how they do it. Like, you can't.  Well, you had to do everything else in the corset.  But you get kind of hot and sweaty and you're under the lights and it must have been exhausting. At least she was like lucky to have that pre Raphaelite fashion where she could be wearing, you know, the flowing sort of we're heading into the, the sort of the looser clothes in this era. But I think some people are still hanging on to corsets, but it's like the end of corsets and you're getting more loose clothing thankfully for her. And according to letters Kathleen wrote to friends her and her mother, and they fell in love with the village life in Mildreth. Kathleen was able to relax and lead a normal life in between tours. And then in 1915, you have World War I hits, and her tours are less frequent. Her, her patron Einar, must have been having some lively fun. Dinner conversations with his family on opposing sides.  So you've got, you know, with his, you know, fascist party, enthusiastic brother and his ex-prime minister brother in law and his theatre operating lefty brother and his Jewish wife and his Left wing satirical journalist sister, and her German husband, and then,  and then his patriot father. So Einar probably just wanted to run away to willowy Kathleen, and her stunning violin. But she remains in England for much of the war, and she does a few concerts locally.  And her diary is quite blank until about 1916. And she uses, like, so she uses this time to relax. So ironically, she needed a war. To have a rest. That was the only thing slowing her down. She could, because she couldn't travel and tour. Now she's 26, but I feel like she's just, she's lived so much already. It's incredible. So Meldreth was the happy place where she enjoyed their lovely garden and their croquet lawn and Miss Chamberlain from the Gables next door would come and play croquet and she could escape to another world, almost. She'll go through periods of having these sort of breakdowns. I think she just pushes, there are some people like that. They'll push themselves; they just keep pushing themselves until they collapse. And I feel like she was one of, she looks like she didn't really pace herself. She just went, just hurtling into it. She just catapults herself into life and concerts and playing.  In 1916, she returned to the US. She toured Norway and the Netherlands. For playing she was said to possess a sweet legato sound that made her seem to be playing with a nine foot and was admired for her effortless playing, hence her nickname, the girl with the nine foot bow. So yeah, so she must have had this really kind of, it's hard to tell, you want to be there in the concert hall to hear her. I feel like the recordings don't do her justice. A lot of Experiencing music and these pieces is actually going to a concert and it's the same today listening  on a you know, at home, it's not the same as being in a concert hall and having that energy of the musician and the energy of the orchestra and the and the audience,  it's very different dynamic. She recorded a few small pieces for Columbia records. And then that was, that was it. And we have no more recordings of her. And between 1917 and 1919, she wasn't able to tour outside England due to the war that was going on. And for the last 12 years, Einar Bjornsson had. He'd been this presence in her life, but now in the summer of 1920, he visited her one last time in London before sailing home for good. So that.  So it finishes at this time, so he was, he was married, he had children, he was also broke. Buying a horrendously expensive violin and giving it to a girl can do that to you. And Kathleen writes, Kathleen writes in her diary simply, E. B. Sailing home. Einar had to return to his family as soon as possible because he couldn't afford to divorce his wife. Elspeth Langdon, she was, she wasn't going to let him off that easily. And if he left, he would have had to repay the, the dowry, I imagine.  Thank you. Thank you very much.  As I said, there are just no letters of her correspondence. There's correspondence between her and everyone else, but not with them. So that still remains. But you can sort of see by circumstance what was kind of going on. And after the Great War, Kathleen Parlow, she resumed her career in full force. She gave several world tours traveling to the Middle East, to India, to China, to Korea and Japan. And she toured the States, Canada, Indonesia and the Philippines in that year and she played concerts in 56 different cities. It was just non stop and in, and when I say 56 different cities, that's not 56, you know, concerts. That's like multiple concerts in each.  City, night after night.  And then in 1926, Kathleen and her mother, they leave England and they move to San Francisco. She takes a year off due to her mental health. So again, she's like, she's overdone it. The stress and basically, you know, a nervous breakdown and she's now in her mid thirties. But after having this year off, she's back onto it. She's back touring again. It's like this addiction, like you were saying, this is what, it's kind of like her, what makes her run. It's what, You know, keeps her going. But at this point she begins to slow down slightly and she starts teaching a bit. Starts teaching more and in 1929 she tours Mexico and she travels without her mother for the first time. Because her mother, Minnie, she would have been getting quite old and then Kathleen she's 39 now. So despite playing many concerts and receiving very high praise financially, she's barely kind of breaking even and she later told an interviewer that when things were very hard she and her mother had talked about her getting a job to ensure their security for the future but she just couldn't do it. And then, but then she did end up teaching at Mills College, Oakland, California. For from 1929 to 1936, but then her world tours continued and this is like, this is how she thrived, even though she would, you know, she'd crash and burn and from the exhaustion and, but then, you know, then she would go back. She realized she had to teach to earn some money. And then she returned to Canada in 1941, where she remained until she remains there until she dies in 1963.  She's offered a job at the Toronto College of Music and she begins making appearances with orchestras. She has a pianist, she has the, she creates the Parlow String Quartet, which was active for 15 years. Even though this time was difficult financially for her, she would,  she would never give up her violin. You know, she was struggling, just scraping by, but she, she would never give up her violin and so, I mean, it was a tricky situation. It was, it was a gift. Yeah. I mean, could you imagine? Like, she must've realized what Einar went through to give this to her and she can't, you know, she can't just be like, I'm going to sell it. So there's this sort of, it's like she's holding on to a bit of him really, like, by keeping it, if she, she gives that up.  So she taught at the University of Toronto and on her wall was a large portrait of her teacher, Leopold Auer, whom she would always refer to as Papa Auer. Now that she'd given up her career as a soloist, but she still remains very active in chamber music, concerto appearance. October of 1959, she was made head of the string department at the London College of Music in West Ontario, Canada. She never marries, and she dies in Oakville, Ontario, in 1963 at the age of 72. She kept her Guarneri del Gesu until her dying day, and the instrument was sold with her estate. The Kathleen Parlow scholarship was set up with the proceeds from the sale of her violin and the money from her estate. So Kathleen Parlow was a somewhat extraordinary woman, ahead of her times in many ways, and her relationship with Einar, must have been pretty intense. And it was, there was obviously strong feelings there. And even though it's a very grey area, we don't know her love life contrasts with her, her brilliant career and her phenomenal touring and the, the energy that she had to do, it was.  Exceptional she just does these brief recordings and then she does no more. And maybe, maybe that's why we've forgotten her. Have the other, did the others go on to keep recording? Well, they did. They certainly did. I think I'm surprised that Kathleen Parlow didn't make more recordings. I really am. And I don't know what that's about. I can only speculate, but I think she also kind of retreated from concertizing, didn't she,  in her twenties? So, I mean, you know, she did play as far afield as the, you know, she went to China, she went to Japan. She even made recordings for the Niponophone Company in the early twenties. So she was obviously still a great celebrity. But it's sort of puzzling how somebody who had all their ducks in place to make a superstar career. You know, she had  talent, she had beauty, she had interest. You know, from the public, so support from her teacher, all those elements would guarantee a superstar career. But it's so mysterious that she kind of fell off the radar. So much so that her name is completely forgotten today. Yeah, it's one of the big mysteries, but it's really quite remarkable that she was such a terrific violinist, even at the end. It wasn't that she lost her nerve or lost her playing ability. She obviously had it. So there are definitely other factors. that made her withdraw from public concertizing.  And just her touring schedule is just exhausting. Like just the traveling. Yeah, it's crazy. I mean, I mean, this is truly an example of burnout. Yeah. But, but then she would, she would have the crisis and then she'd be back on, she'd be back touring.  Well, you know, she was pretty resilient. But I think just the sheer number of years, I think, must have taken its toll. I think she loved being in England, in Cambridgeshire. I think those were some really happy years for her, to have a home and in a beautiful setting. But it really, it's a very complicated life and a life that really, one would want to try to understand in a deeper way.  Yeah, and it seems a little nothing was ever very simple. Yeah, and she never, she never marries, she never has a family. It's Yes. Her life is really And you'd imagine she'd have suitors, you know, send them off because, you know, she was a talented, beautiful woman. So she's got Misha Elman. He could, like, if you were a man, you could easily get married and then your wife would have children. But at that time, if you married, like, she had to choose between getting married and her career. You couldn't work if, like and it often, like, you weren't allowed to work. Absolutely. Terrible. No, it's true. So she had this like, this threat, and that's all she could do. That was her life playing. And then if she married, that would be taken away from her. So she had to decide between, you know, a career and this. It's kind of, it's a bit sad, but yeah, it's a huge choice that she made and she  was married to life. Yeah. The sacrifice. One way or the other. Well, I think it's wonderful that she is being remembered  through this Buddulph recordings release.  And it's the first time there's ever been a recording completely devoted to her. So I'm really glad that. will be able to somehow restore her memory, just a little bit even. Well, thank you for listening to this podcast. And I hope you enjoyed this story about the incredible Kathleen Parlow.  If you liked the podcast, please rate it and review it wherever you listen to it. And I would really encourage you to keep listening to Kathleen Parlow's work. What you heard today were just excerpts from her songs. So if you would like to listen to. The whole piece, Biddulph Recordings have released two CDs that you can listen to on Apple Music, Spotify or any other major streaming service. You can also buy the double CD of her recordings if you prefer the uncompressed version.  Goodbye.   ​ 

“The number one thing that I look for when I meet a younger conductor is imagination, someone who comes with ideas but also has a story to tell with the music. Often younger conductors are really worried about technique, the way they look, the way they rehearse, but it starts with imagination. What do you want to communicate? People are so worried about technique that they hide themselves. We want to see the person. Who are you and what do you have to say?”Prof. Jean-Sébastien Vallée is a renowned Canadian-American conductor, scholar, and pedagogue known for his expertise in vocal, choral, and orchestral repertoires. With an illustrious career spanning over several decades, Dr. Vallée has conducted numerous ensembles across North America, Europe, and Asia, and has prepared choruses for some of the world's most prestigious orchestras including the Toronto Symphony, the Montreal Symphony, the National Arts Center Orchestra in Ottawa, and the Chicago Symphony Orchestra.Currently serving as Associate Professor of Music, Director of Choral Studies, and Coordinator of the Ensembles & Conducting Area at the Schulich School of Music of McGill University, and as Artistic Director of the Toronto Mendelssohn Choir, Dr. Vallée is a sought-after conductor and pedagogue. He has previously served as the Director of Choral Studies at California State University, Los Angeles, and was on the choral faculty of the University of Redlands. Dr. Vallée holds degrees from Laval University, Sherbrooke University, the University of California, Santa Cruz, and a doctorate in conducting from the University of Illinois at Urbana-Champaign.Maestro Vallée's passion for contemporary music is evident in his work, as he makes it a priority to premiere and commission works by young composers and program rarely performed repertoire. Dr. Vallée has presented his research at several national and international conferences, including the American Choral Directors Association Conventions, Festival 500 in Newfoundland, the National Collegiate Choral Organization conference, Podium—the national convention of Choral Canada, the Hawaii International Conference on Arts and Humanities, and the World Symposium on Choral Music in Spain (2017), New Zealand (2020), and Portugal (2022).Maestro Vallée's recordings have been broadcast internationally and include Lux (ATMA, 2017), Requiem (ATMA, 2018 – requiems by Fauré and Duruflé), and Distance (ATMA, 2021). His recent engagements include concerts at the Liszt Ferenc Academy of Music in Budapest, a tour with the National Choir of Canada, and concerts with l'Orchestre symphonique de Québec, the Toronto Symphony Orchestra, and the Chicago Symphony Chorus. To get in touch with Jean-Sébastien, you can visit his website jsvallee.com or find him on Facebook (@sebastien.vallee) or Instagram (@jsvallee). Choir Fam wants to hear from you! Check out the Minisode Intro Part 2 episode from May 22, 2023, to hear how to share your story with us.Email choirfampodcast@gmail.com to contact our hosts.Podcast music from Podcast.coPhoto in episode artwork by Trace Hudson

SynopsisWhat's your favorite season? And how would you describe it in words? And if you're a composer, how would you describe it in music?The most famous musical depiction is The Four Seasons, a set four violin concertos by Italian Baroque composer Antonio Vivaldi, but other composers have evoked the mood and sounds of the seasons. On today's date in 2009, American composer Philip Glass tossed his hat into the ring with the Toronto Symphony premiere of a new work, The American Four Seasons.Glass' seasonal tone painting, like Vivaldi, is a set of four concertos, written for violinist Robert McDuffie, who also performed the premiere. But when McDuffie finally saw the finished score, he felt Glass's view of some of the seasons did not quite match his own, so they came up with an unusual solution: In the published score, Glass did not provide titles for any of the four concertos, letting each listener (or performer) decide for him- or herself which concerto matched which season.So, in this case of this Four Seasons, it's all up to you.Music Played in Today's ProgramPhilip Glass (b. 1938) The American Four Seasons (Violin Concerto No. 2); Robert McDuffie, vn; London Philharmonic; Marin Alsop, cond. Orange Mountain CD 0072

Jesse Dietschi recently released Gradient, his debut album with fellow Toronto musicians Ethan Ardelli (drums) and Ewen Farncombe (piano).  This album has been getting considerable acclaim and will be featured in the Debut Album Reviews section of the December 2023 edition of DownBeat Magazine, along with numerous radio programs throughout North America and Europe.   We talk about the story behind this album, how Jesse and I met several years ago at the Suzuki Association of the Americas Conference, what it's like balancing classical work like subbing with the Toronto Symphony with his jazz projects, and much more.   Enjoy, and be sure to check out October on Spotify and bandcamp, and be sure to follow along with Jesse on his website and Instagram!   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   Thank you to our sponsors!   Carnegie Mellon University Double Bass Studio – The School of Music at CMU highly values each and every individual who wants to be a part of an innovative fine arts community immersed in a top research university.   Every week each student receives private lessons and participates in a solo class with Micah Howard. Peter Guild, another member of the PSO, teaches Orchestral Literature and Repertoire weekly. They encourage students to reach out to the great bassists in their area for lessons and direction. Many of the bassists from all of the city's ensembles are more than willing to lend a hand. Every year members of the Symphony, the Opera and the Ballet give classes and offer our students individual attention. Click here to visit Micah's website and to sign up for a free online trial lesson.   theme music by Eric Hochberg

SynopsisOn today's date in 1950, Karel Ančerl was named the artistic director of the Czech Philharmonic, a position he would hold for the next 18 years.Ančerl had first conducted the orchestra in 1930, when, upon graduation from the Prague Conservatory, he led that ensemble in one of his compositions. For a time, Ančerl debated whether to be a composer or a conductor. He opted for the latter, demonstrating a mastery of classical and contemporary scores with other orchestras in Czechoslovakia.With all that in mind, it might not seem all that surprising that in 1950, he was eventually tapped to lead the Czech Philharmonic — but that would be ignoring the miracle that Ančerl was even alive in 1950.In 1942, Ančerl and his family were imprisoned in the Nazis' notorious Theresienstadt concentration camp, and, in 1944, they were transported to Auschwitz, where his wife and young son were killed. He alone survived.In 1968, when Czechoslovakia was invaded by Soviet and Warsaw Pact troops, Ančerl emigrated to Canada in protest and served as music director of the Toronto Symphony until his death in 1973.Music Played in Today's ProgramBohuslav Martinu (1890 - 1959) Symphony No. 5 - Czech Philharmonic; Karel Ancerl, cond. Supraphon SU-3694-2

Brian welcomes on two guestsFirst is William Leathers. William, from Mississauga is now the principal trumpet of the Nashville Symphony after winning the job at 21 years old while he still had one year left to finish his Masters of Music at Juilliard. And he also won the position of principal trumpet for the Santa Fe Opera. He will be returning home in a few days to play as guest principal trumpet with the Toronto Symphony.Then, Aleksandra Sydorow. Aleksandra is a social media strategist and business consultant that helps real estate developers and investors grow their brand on and offline. Building your Brand On and Offline as a Real Estate Investor or really anyone in business.

SynopsisThere was a time when German opera houses would have fought over the chance to premiere a brand-new opera by Richard Strauss. But by 1940, when Strauss finished a mythological opera entitled The Love of Danae, there was a war on and Strauss had fallen out of favor with Germany's Nazi rulers.A scheduled premiere in Dresden had to be cancelled. In Leipzig, the orchestral parts for the new opera were lost in a fire, and in Munich an Allied air raid damaged the opera's sets and scenery. By the summer of 1944, when conductor Clemens Krauss was rehearsing handpicked vocal soloists and the Vienna Philharmonic for the opera's belated premiere at the Salzburg Festival, the collapse of the Third Reich was imminent. On August 1st, an order was issued from Berlin canceling all music festivals and closing all theaters. Somehow Salzburg managed to get a dispensation, and rehearsals for Strauss's opera were allowed to continue. A private dress rehearsal of The Love of Danae took place in Salzburg on August 16, 1944. The 80-year old composer attended, and, with tears in his eyes, thanked the performers with these words: “Perhaps we shall meet again in a better world.”Music Played in Today's ProgramRichard Strauss (1864 – 1949) Die Liebe der Danae (Symphonic Fragment), Op. 83 Toronto Symphony; Andrew Davis, conductor. CBS 45804

The Hockey Sweater is a Canadian children's book by Roch Carrier. It tells the story of a boy in Quebec who gets the wrong jersey in the mail and is forced to play hockey with a group of Montreal Canadian's fans, while repping the Toronto Maple Leafs. In February, The Toronto Symphony will be presenting this book in concert form. How cool is that? The conductor of this show, Trevor Wilson is here to tell us all about this marriage of sports and classical music. We chat about why this story resonates with Canadians, how a book becomes a concert and what to expect when you watch this musical hockey match on February 5th.  Buy tickets for The Hockey Sweater: https://www.tso.ca/concerts-and-events/events/the-hockey-sweater/Learn more about Trevor: https://trevorwilsonconductor.com/about/Watch The Hockey Sweater short film: https://www.youtube.com/watch?v=hka6mVkszq0

You may have never stopped to think about how much the creative process promotes innovative thinking and problem solving skills in the music room. As a music educator, it's important to put on your creative mask first, then you'll have so much more to give to your students. Remember that musical studies are both a science and an art and while students are involved in the creative process, it's about honoring the process over the product or performance. Allowing students time to explore creatively, have input on what they're learning, and giving them a seat at the table is so important to this process. In this episode, we'll explore all of this and so much more. Initially a visual artist, Kathryn Patricia Cobbler sees the world through shape and line—a vision that has laid the groundwork for many of her musical creative projects. Kathryn's current explorations of the loop pedal have led to the development of her workshop/concert, Sound In Living Colour, where she draws connection between the technical use of the paint brush and her viola bow, guiding her listeners through a music inspired painting experience. After switching to music as her artistic path, she would receive degrees in viola performance from Western University (B.M.) and the University of Ottawa (M.M.). Ms. Cobbler has also performed as an orchestral musician, appearing within the Toronto Symphony's Trans-Siberian Orchestra, Ottawa Symphony Orchestra, and the Ottawa Jazz Orchestra. A native of Windsor, Ontario, she makes her home in Ottawa. She performs on a viola by luthier Sibylle Ruppert and a Boss RC-30 loop pedal. You can connect with Kathryn here: Her website at kathrynpatricia.com Her music at kathyrnpatricia.bandcamp.com On Instagram @kathrynpatriciaviolist On Facebook @kpviolist Find out more about the HARMONY membership here. Get your copy of Make A Note: What You Really Need to Know About Teaching Elementary Music Head to my website to grab your free music teaching resource. I'd love for you to leave a rating and a review of the podcast on I-tunes, be sure to share the podcast with any music teacher friends who would find it helpful and be sure to tag me on Instagram or Facebook.

Loops pedals.  Viola.  Art.  Music.  Empathy and Connection.  Kathryn Patricia is sharing about all of these art forms today as we discuss blending music and art, sound journals, growing connection in our community and expressing our emotions through music. Links Website: kathrynpatricia.com Instagram: @kathrynpatriciaviolist Kathryn Patricia Music Invite Kathryn Patricia into your classroom virtually or by video!  Check out masconline HERE. Kathryn Patricia's Bio: Hailing from Canada's Capital region, Loop pedal violist, composer, and educator Kathryn Patricia Cobbler has crafted a singular niche in improvisation and classical performance. She obsesses over creating uniquely arresting soundscapes, whether in solo recitals, composing for theatre, performing at art installations, and more. A recipient of one of Ottawa Arts Council's Emerging Artist awards, she has been featured in Canada's most notable Concert Series, including Chamberfest, Music and Beyond, NUMUS Music Festival, and the Ottawa New Music Creators' Analogue Series to name a few. ​As a seasoned performer, speaker, presenter and workshop facilitator, Kathryn has given masterclasses at Carleton University and was a speaker for the Canadian Network for Arts and Learning Convergence Conference.  As a performing artist and educator, Ms. Cobbler is an artist on the ​MASC Artist roster​ and Teaching Artist at the National Arts Centre.  As a composer, Kathryn has been featured in the Boston based Concert series, ​Castle of Our Skin's ​Black Composers Miniature Challenge, which resulted in the world premier of her piece A Home Called ‘Wander'. Kathryn continues to be inspired by the next generation of composers and improvisers,  having served as an adjudicator for the Canadian Music Showcase and NUMUS Emerging Improvisor competition.  Kathryn Patricia's most recent multidisciplinary collaboration was through an  artist in residency with the Ottawa Dance Directive composing and collaborating for the premiere of Dream & True North envisioned and choreographed by Elizabeth Emond-Stevenson. ​Initially a visual artist, Kathryn sees the world through shape and line—a vision that has laid the groundwork for many of her musical creative projects. Kathryn's current explorations of the loop pedal have led to the development of her workshop/concert, Sound In Living Colour, where she draws connection between the technical use of the paint brush and her viola bow, guiding her listeners through a music inspired painting experience. After switching to music as her artistic path, she would receive degrees in viola performance from Western University (B.M.) and the University of Ottawa (M.M.). Ms. Cobbler has also performed as an orchestral musician, appearing within the Toronto Symphony's Trans-Siberian Orchestra, Ottawa Symphony Orchestra, and the Ottawa Jazz Orchestra. A native of Windsor, Ontario, she makes her home in Ottawa. She performs on a viola by luthier Sibylle Ruppert and a Boss RC-30 loop pedal. Afternoon Ti Instagram:  @highafternoonti Website:  jessicagrant.org

The Miami Guide sat down with Phoebe Powell  New World Symphony harpist, to talk about what inspired her to become a musician and the upcoming season opener on Oct 15-16 in Miami Beach. Interview Notes:Phoebe talks about how she got started in music, and what led her to the harp.She shares what inspires her and where she finds creativity.What was your first big break as a musician?Phoebe shares her advice for emerging artists.What excites her the most about what's happening in the music industry right now?Quotes from the interview:Music is one of the most universal ways of expression in human life.Surround yourself with people you aspire to beWho is Phoebe PowellCanadian harpist, Phoebe Powell, is a second-year Fellow at the New World Symphony. She has been praised for her breadth of expression ranging from “mature and virtuosic to gorgeously musical and sweet.”Second prize winner of the 2018 OSM Manulife Competition in Montreal, Ms. Powell was also awarded the Aspen Summer Music Festival scholarship.An avid orchestral musician, Ms. Powell has performed extensively with orchestras such as the Chicago Symphony, National Arts Centre Orchestra, Toronto Symphony and Calgary Philharmonic.Ms. Powell has been the recipient of the Ihnatowycz Emerging Artist Scholarship, Aspen Summer Music Festival Fellowship, NYO Canada Award of Excellence and an Alberta Foundation for the Arts Career Development Grant. She holds a bachelor of music degree and an artist diploma from The Glenn Gould School of The Royal Conservatory of Music in Toronto, where she studied with world-renowned harpist, Judy Loman.Outside of orchestral rehearsals and practicing, she enjoys paddle boarding around Sunset harbor, running on the beach and when not in Miami, hiking or skiing in the mountains.I loved this conversation with Phoebe, and I know you're going to love hearing her wisdom! If you loved this episode, please share it on Instagram along with your biggest takeaways. And make sure to tag Phoebe, @phoebepowell.official and, @themiamiguide. We'd love to hear what you got from the episode!Lastly, please subscribe to The Miami Guide over on the Apple Podcasts —leave us a rating and review to spread the message to even more people like you!Podcast show notes available here:https://themiamiguide.com/show23Follow Phoebe Powellhttps://www.phoebepowell.comNew World Symphonyhttps://www.instagram.com/phoebepowell.official/Follow The Miami Guide:https://themiamiguide.com/

DescriptionAlexina Louie is one of my favourite Canadian composers of contemporary classical music. I first heard her work “Music For Heaven and Earth” in 1990, which was commissioned by the Toronto Symphony. This is one composer you should definitely get to know. Join me, as we take a minute to get the scoop!Fun FactAlexina Louie settled in Toronto in 1980, and over the subsequent four decades, she created a brilliant and ongoing career whose highlights are far too many to mention. Some of the most notable ones include her work O Magnum Mysterium: In Memoriam Glenn Gould, composed in response to the tragic and untimely death of Gould in 1982; two JUNO awards, as well as numerous JUNO nominations; her opera, The Scarlet Princess, commissioned by the Canadian Opera Company; her 2005 appointment as an Officer of the Order of Canada; and esteemed awards like the 1999 Jules Leger Prize for New Chamber Music and the 2019 Canada Council Molson Prize in the Arts.About StevenSteven is a Canadian composer living in Toronto. He creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his website for more.A Note To Music Students et al.All recordings and sheet music are available on my site. I encourage you to take a look and play through some. Give me a shout if you have any questions.Got a topic? Pop me off an email at: TCMMPodcast@Gmail.com Support the show (https://www.buymeacoffee.com/TCMM)

I was really honoured to have this opportunity to sit down and talk with the dynamic conductor, composer, multi-instrumentalist and radio host of CBC's CentreStage, Daniel Bartholomew-Poyser. We explored many interesting and important ideas around creating spaces for diverse audiences, amateur versus professional musicians, LGBTQ rights, his project with the drag queen Thorgy Thor, the lost music of Florence Price, and wonderful advice not only for conductors, but for everyone seeking more balance and meaning in their lives. Daniel currently holds positions with the San Francisco Symphony, the Toronto Symphony, Symphony Nova Scotia, and the National Arts Centre Canada. The video version is here, also linked to the transcript: https://www.leahroseman.com/episodes/e8-s2-daniel-bartholomew-poyser His current projects can be found here: https://www.danielbartholomewpoyser.com/bio   Buy me a coffee? Check out my Ko-fi page: https://ko-fi.com/leahroseman Daniel Bartholomew-Poyser: "Your specific nerdy interests, I believe will be of use and value to the orchestras of the communities that you serve. That would be one thing.   For conductors, I would say study languages. If I were to give practical advice, I'm just going to scatter shot a bunch of practical advice. Learning languages is important, not just because of the ability to read scores or read books of languages, but just be able to think in a different way and to have a breadth of knowledge that's like not a triangle, but a pyramid. I think that's really important for a conductor. I think as a conductor, it's really important to listen and I mean, listen, capital L, not just listen to music, but listen to people, because ultimately what a conductor needs to be able to do the best is listen.  Listen to what the orchestra's playing, listen to what your players are saying in committee meetings, listen to what the marketing people are saying, listening to what your community is saying, your community stakeholders, listening to what the board is saying, listening to what the donors are saying, taking all of this in, holding it, ruminating with it, looking at it from different facets, and being able to hold everything that is in orchestra and being an art leader in a community and observe it and being able to have it affect you. And then also having enough of a grounded center of other things, like airline marketing and car design, to be able to put it over here and come back to it. But being able to listen and take things in is ultimately the job of a conductor, being able to listen under pressure and take things in. And you can do that anywhere, at any time, really focusing your listening, whether it's people speaking to you or the composer speaking or the orchestra.”   Photo Credit: Benjamin Delarivière --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

Flute 360 | Episode 187: “An Interview with Nora Shulman!” Within Series 40, we are going to talk with six amazing women about their contributions to our musical community. Today's guest is Nora Shulman who is a Canadian female educator and flutist. We talk about her time with the Toronto Symphony, her flute studio, and how we can support each other through our different creative projects! Listen today to hear about Nora's career and take these nuggets and apply them to your musical life. We cannot wait to see you at the SPO + Flute 360's international flute festival that's happening in February of 2022! Subscribe to the SPO's and Flute 360's YouTube channels to get more information about the festival. Enjoy! E187 – Resources Mentioned: Subscribe to the Flute 360's YouTube Channel! SPO – YouTube Channel Nora Shulman's YouTube Channel BOOKS! Caroline Joy Quinn's Book: “Jazzy Joy, Our Miracle Dog” The Power of Why: Compiled by Glory St. Germain Co-Authors: Caroline Joy Quinn & Dr. Heidi Kay Begay EVENTS! The Pivoting Musician's Webinar 3: Create! Thursday, January 20, 2022 at 4:30 P.M. / CST - Register here! Follow Flute 360! Follow Flute 360 via Instagram! Heidi's Website Join the Flute 360 Newsletter!

Patrice Dutil discusses the history and symbolism of Massey Hall in Toronto with David McPherson, the author of Massey Hall (Dundurn Press). Together they examine the origins of the building as a gift to the city from Hart Massey and its evolution as an iconic building with a unique significance in the entertainment and social history of Toronto. Many key events are reviewed as well as its architectural transitions as it sought to respond to the city's needs. Among the artists mentioned are Nana Mouskouri, the Mendelsohn Choir, the Toronto Symphony, and the famous Jazz concert of May 1953, The podcast was produced by Jessica Schmidt. If you like our work, please consider supporting it: https://bit.ly/support_WTY. Your support contributes to the Champlain Society’s mission of opening new windows to directly explore and experience Canada’s past.

Youtube: https://www.youtube.com/channel/UCj7HKmMrFB4vAQm3SKzvftA Facebook: https://www.facebook.com/tomfunproductions Itunes: https://podcasts.apple.com/us/podcast/something-came-from-baltimore/id1400504427 Anchor: https://anchor.fm/somethingcame-from-baltim Spotify: https://open.spotify.com/show/1Bdz5634Wk5bSpaazynbI4?si=cS-_c_rBS2Os83QECKcuJA&dl_branch=1 THE ART OF TIME ENSEMBLE VISION: A world in which people seek the uncertainties, and possibilities, of art. THE ART OF TIME ENSEMBLE MISSION: To engage diverse audiences in powerful arts experiences through the performances, collaborative endeavours, and curatorial vision of its Artistic Director. ABOUT ART OF TIME Andrew Burashko formed Art of Time Ensemble in 1998 with the support of a small group of like-minded musicians and prominent figures in dance, theatre and other art forms, beginning with one-off concerts to small but enthusiastic audiences. Word quickly spread through Toronto's cultural scene. Today, Art of Time works with the best Canadian artists in the performing arts, film and literature, and noteworthy international musicians such as Branford Marsalis, Madeleine Peyroux, Gavin Bryars and Guinga to name but a few. Art of Time presents an annual subscription season at Toronto's Harbourfront Centre Theatre and regularly appears as part of the Royal Conservatory of Music performance season at Koerner Hall. The Ensemble has also toured extensively throughout Canada and the United States and is regularly invited to performs at major festivals such as Luminato in Toronto, Chamberfest in Ottawa and at the Banff Centre for the Arts. The artists with whom the Ensemble have worked represent the finest in their genres, including writers Margaret Atwood and Michael Ondaatje; choreographers James Kudelka and David Earle; dancers Peggy Baker and Evelyn Hart; singers Barbara Hannigan and Madeleine Peyroux; actors Brent Carver and Martha Burns; and filmmakers Peter Mettler and Bruce MacDonald. Music and musicians are at the heart of Art of Time Ensemble; the ranks of our musicians are deep and their talent unmatched. Over the last 20 years group members have included composer Jonathan Goldsmith, Rachel Mercer (principal cellist of the National Arts Orchestra), Benjamin Bowman (concertmaster of the Metropolitan Opera), Stephen Sitarski (concertmaster of Esprit Orchestra), Steven Dann (soloist and former principal violist of the Royal Concertgebouw Orchestra and Toronto Symphony), Thomas Wiebe (soloist and cellist of the Duke Trio); Phil Dwyer (renowned composer and jazz saxophonist) and the great Canadian guitarist, Rob Piltch, among many others. Dozens of Art of Time performances have been broadcast nationally on CBC and the Ensemble has released six commercial CDs on the Pheromone and ArtofTime Recordings labels. --- Send in a voice message: https://anchor.fm/somethingcame-from-baltim/message Support this podcast: https://anchor.fm/somethingcame-from-baltim/support

Penderecki in Memoriam Podcast is produced and hosted by Max Horowitz, Crossover Media. Created by Anna Perzanowska and Klaudia Ofwona Draber, and presented by Polish Cultural Institute New York. Penderecki in Memoriam Podcast unveils a multifaceted portrait of Krzysztof Penderecki, with commentary from musicians, colleagues, radio programmers, and writers who lend insight and memories of Poland's greatest modern composer. This podcast is part of Penderecki in Memoriam Worldwide project, honoring the life and legacy of the great composer. Thank you to project partners DUX, NAXOS, Ludwig van Beethoven Association, and Schott EAM for sharing Krzysztof Penderecki's music with the world. GRAMMY-winning conductor JoAnn Falletta serves as Music Director of the Buffalo Philharmonic Orchestra, Music Director Laureate of the Virginia Symphony Orchestra, Principal Guest Conductor of the Brevard Music Center and Artistic Adviser of the Hawaii Symphony Orchestra and the Cleveland Institute of Music Orchestra. Hailed for having ‘Toscanini's tight control over ensemble, Walter's affectionate balancing of inner voices, Stokowski's gutsy showmanship, and a controlled frenzy worthy of Bernstein', she is a leading force for the music of our time. JoAnn with composer Ken Fuchs at the GRAMMY Awards in 2019Her recent and upcoming North American guest conducting includes the National Symphony, Detroit Symphony, Nashville Symphony, Indianapolis Symphony, and Milwaukee Symphony; and further north, the Toronto Symphony and Orchestre metropolitain. Internationally, she has conducted many of the most prominent orchestras in Europe, Asia, and South America. Pending further national and international guidance on the current COVID-19 pandemic, she is looking forward to guest conducting appearances in Canada, Poland, Sweden, and Spain in 2021. The pieces included: Penderecki Adagio: Symphony No 3 - Buffalo Philharmonic Orchestra; Penderecki - Concerto Doppio - Buffalo Philharmonic Orchestra; Penderecki Horn Concerto - Buffalo Philharmonic Orchestra.

A look at the diverse world of orchestras in the province of Ontario. Besides the major orchestras like the Toronto Symphony and the National Arts Centre Orchestra, there are exciting orchestral activities throughout the province. Featuring part 1 interviewees conductor Philip Sarabura and Co-President of the Board Joann Alho (the Brantford Symphony), and part 2 Artistic Director Joyce Lai (Canadian Sinfonietta), Music Services Manager Ana-Maria Lipoczi (Canadian Music Centre), Vice-President Christine Fong (Cathedral Bluffs Symphony) and Executive Director Devin Scott (Scarborough Philharmonic Orchestra). --- Send in a voice message: https://podcasters.spotify.com/pod/show/spogreatmusic/message

A look at the diverse world of orchestras in the province of Ontario. Besides the major orchestras like the Toronto Symphony and the National Arts Centre Orchestra, there are exciting orchestral activities throughout the province. Featuring part 1 interviewees conductor Philip Sarabura and Co-President of the Board Joann Alho (the Brantford Symphony), and part 2 Artistic Director Joyce Lai (Canadian Sinfonietta), Music Services Manager Ana-Maria Lipoczi (Canadian Music Centre), Vice-President Christine Fong (Cathedral Bluffs Symphony) and Executive Director Devin Scott (Scarborough Philharmonic Orchestra). --- Send in a voice message: https://podcasters.spotify.com/pod/show/spogreatmusic/message

Episode 7: Violinist Edmond Agopian & Sousa’s Secret Career  I speak with a musician of passionate curiosity, violinist Edmond Agopian. I also tell the story of John Philip Sousa’s secret career, and the mysterious tale of the artwork still on the Moon.    CBC website story on the Thorgy Thor | orchestra collaboration: https://www.cbc.ca/cbcdocspov/features/drag-star-thorgy-thor-brings-her-star-power-to-the-world-of-orchestral-musi   CBC gem link to the complete film “Disruptor Conductor” https://gem.cbc.ca/media/cbc-docs-pov/season-3/episode-5/38e815a-0119a7bfbd7?cmp=sch-disruptor (note outside of Canada, the entire film might still be available here https://watchmoviesonlinenow.xyz/movie/752824/   Daniel Bartholomew-Poyser page at the Toronto Symphony: https://www.tso.ca/conductor/daniel-bartholomew-poyser   Slate Article on the tangled controversy that surrounded “Fallen Astronaut” past and present: http://www.slate.com/articles/health_and_science/science/2013/12/sculpture_on_the_moon_paul_van_hoeydonck_s_fallen_astronaut.html   Another Artwork on the Moon: https://www.openculture.com/2019/07/tiny-art-museum-on-the-moon.html   German gallery selling authorized replicas: https://www.galerie-breckner.de/edition-paul-van-hoeydonck-man-in-space/   VOD film documentary on “Fallen Astronaut” https://vimeo.com/ondemand/thefallenastronaut?ref=tw-share   The United States Marine Band’s appreciation of its former director Sousa: https://www.marineband.marines.mil/About/Our-History/John-Philip-Sousa/   Sousa and “The Transit of Venus” https://copycateffect.blogspot.com/2009/02/sousas-transit-of-venus.html   More info about Sousa as a writer: https://web.archive.org/web/20041021201305/http://wgpark.com/page.asp?pid=10   Edmond Agopian page at SCPA-University of Calgary https://arts.ucalgary.ca/creative-performing-arts https://scpa.ucalgary.ca/manageprofile/profiles/edmond-agopian   Edmond Agopian speaking of Beethoven’s 250th birthday and his continued influence: https://ckua.com/listen/honouring-two-hundred-and-fifty-years-of-beethoven/   UCalgary String Quartet Album “Far Behind I left My country” featuring Agopian’s arrangements: Apple: https://music.apple.com/ca/album/far-behind-i-left-my-country-klezmer-east-european/324074237 Spotify: https://open.spotify.com/album/1XM84Glc4OAUIh6qr0LAJd   Livestream: Dvořák – Morawetz Connections II: https://arts.ucalgary.ca/creative-performing-arts/news-and-events/school-events#!view/event/event_id/289813   Livestream: A Celebration of Music by Black Composers II: https://arts.ucalgary.ca/creative-performing-arts/news-and-events/school-events#!view/event/event_id/289893   Chausson: Symphony in B-Flat: Apple: https://music.apple.com/ca/album/chausson-symphony-in-b-flat-major-op-20-franck-le-chasseur/1166131594 Spotify: https://open.spotify.com/album/4bItTskYxH3Q6TgwIi1Uj0   Enescu: Poème Roumain Apple: https://music.apple.com/ca/album/enescu-po%C3%A8me-roumain-vox-maris-voix-de-la-nature/403125669 Spotify: https://open.spotify.com/track/6bOXNXmNOhAd9vqTlStKsz?si=df433a123c0c4ef2   “President’s March (Hail Columbia)” courtesy of the US Army Old Guard Fife and Drum Corps Apple: https://music.apple.com/ca/album/presidents-march-rights-man-death-general-wolf-rights/394209001?i=394209028 Spotify: https://open.spotify.com/track/5Oxxso8ZLyfwd9BHZnVsvB?si=ba4b62b637a446f8   “Transit of Venus March” by John Phillip Sousa, courtesy of the US Marine Band https://music.apple.com/ca/album/transit-of-venus/1021275726?i=1021275907   “Ukrainian Dance” from Far Behind I left my Country featuring UCalgary String Quartet: Apple: https://music.apple.com/ca/album/far-behind-i-left-my-country-klezmer-east-european/324074237 Spotify: https://open.spotify.com/album/1XM84Glc4OAUIh6qr0LAJd   Episode published March 2021 CultureMonster.ca Support the Podcast and help create future episodes at buymeacoffee.com/culturemonster  

For this episode, we were joined by trumpet player Scott Moore, who has been principal trumpet of the Memphis Symphony Orchestra since 1988. He has performed with the Chicago Symphony, the St. Louis Symphony, the Baltimore Symphony, the National Symphony, and the Toronto Symphony. He has also recorded and performed with the Nashville Chamber Orchestra, and with I Fiamminghi, the Orchestra of Flanders. As a teacher, Scott has served as a Mentor with the Hot Springs Music Festival (which is where I met him) and on the faculties of the Sewanee Summer Music Center and the Tennessee Governor's School for the Arts. In the episode, we talked about his life in music and the wisdom he's acquired along the way. While we do geek out about specific aspects of trumpet playing and musician life, I think a lot of the wisdom and life advice can apply to all sorts of situations. The topics we cover include performance anxiety, audition advice, quieting the inner critic, golf, and other advice that I picked up from Scott back in 2014 when I was at the Hot Springs Music Festival. In particular, I remind him of the advice he gave me of "nobody is shooting at you" which 7 years later I still use pretty much every day. Timestamps:[02:18] Scott's background [05:22] Why do trumpets get associated as being the meatheads of the orchestra? [10:03] Performance mindset vs. audition mindset [15:23] Audition fatigue and the differences between the early music world and the modern music world [17:03] The Dunning–Kruger effect and why having self-awareness can be both a blessing and a curse [23:36] How to dial down the inner critic [25:20] Geeking out on trumpet sound production (finding the sweet spot of a note, letting the trumpet resonate, etc.) [31:53] What cocktails we're drinking! [35:49] Running into playing problems and what to do about it [42:42] Violin technique/sound production, ColourStrings violin method, and why we flinch away from difficult music [46:28] Golf is Not a Game of Perfect by Bob Rotella and how to achieve peak performance [49:33] Overcoming performance anxiety and Scott's advice of "nobody is shooting at you". [55:39] Bonus Questions Links:https://memphissymphony.org/meet-the-musicians/musicians/scott-moore (Scott's Bio) https://www.amazon.com/Golf-Not-Game-Perfect-Rotella/dp/068480364X (Golf is Not a Game of Perfect) by Bob Rotella https://www.youtube.com/user/skahmo (Scott's Youtube Channel) https://en.wikipedia.org/wiki/Dunning%E2%80%93Kruger_effect (The Dunning–Kruger effect) http://www.colourstrings.fi/ (Colourstrings violin method) Support Us:You can always support us by leaving a rating or review in your podcasting app. You can also share our episodes with friends on social media. But it does take a lot of time to put together a podcast, maintain a website, and write new content every week. So if you would like to support us in a more substantial way, consider making a donation through the PayPal buttons on our website: https://exploringkodawari.blog/donation/ (https://exploringkodawari.blog/donation/) Follow Us:https://exploringkodawari.blog/ (Our Website/Blog) https://exploringkodawari.blog/newsletter/ (Newsletter) Twitter: https://twitter.com/EKodawari (@EKodawari) Instagram: https://www.instagram.com/exploringkodawari/ (@exploringkodawari) Facebook: https://www.facebook.com/ExploringKodawari/ (facebook.com/ExploringKodawari) Support this podcast

Alan Hetherington GoSamba.net Drums, bags, mallets and gear direct from Brazil! Bio:Alan Hetherington's performing experience spans many of the musical genres in the west where percussion can be found today. He has performed widely in North and South America, and the Caribbean: Cumbia in Colombia, the Joropo tradition (maracas) in Venezuela, Afro-Peruvian music in Lima, Peru, Cuban folkloric music in Havana, and today specializes in the many musical styles of Brazil...Since 1989 Alan has spent extensive periods of time residing in São Paulo and Rio de Janeiro Brazil, performing with Sombra e Agua Fresca, Bel Brasil, Carlos do Cavaco, Chocolatte da Vila Maria, Henrique Cazes, and Filó Machado, among others. He has been a devotee of the samba school tradition of Rio de Janeiro and São Paulo, performing with some of the largest and most exciting baterias on the planet. He has studied and performed with great masters including Mestre Tatá Batera, Mestre Serjão from the Escolas de Samba Arco Iris and Leões da Hortolândia de Jundiaí, Mestre Sombra from Mocidade Alegre, Mestre Odilon from Acadêmicos do Grande Rio, Mestre Celinho from Unidos da Tijuca, Mestre Beto from Imperatriz Leopoldinense, and Mestre Paulão from Beija-Flor. His eclectic background has allowed him to perform in a variety of musical settings including with The Toronto Symphony, The Vancouver Symphony, John Wyre and World Drums, Nexus, Hermeto Pascoal, Guinga, Andrea Bocelli, David Foster, Michael Bublé, Trichy Sankaran, Evergreen Club Gamelan, The Canadian Opera Company, Peter Erskine, Glen Velez, Filó Machado, Celso Machado, and Henrique Cazes, among others. He was a member of Ravi Naimpally's critically acclaimed Indo-Jazz ensemble, Tasa, which has toured North America, Europe and Japan, and recorded 5 CD's. He has also performed and recorded with many accomplished Canadian artists such as John MacMurchy, Lenka Lichtenberg, Maryem Tollar, Sophie Milman, Carol Welsman, Emily-Claire Barlow, Melissa Stylianou and Kiran Ahluwalia. He has made numerous recordings for television, film and video, and has toured with ensembles or as a solo artist throughout Europe, North and South America and Asia.Alan is the founder and Director of Toronto's own Escola de Samba de Toronto, presently teaches a course in Brazilian Bateria at The University of Toronto and The Royal Conservatory of Music, and has traveled throughout Canada, the United States and Japan teaching the tradition. Alan's Fantástica Bateria from the Escola de Samba de Toronto toured Brazil in 2008, 2011 and 2016 to high acclaim, and today the ensemble is considered one of Canada's principal cultural links to Brazil. A Fantástica Bateria de Alan Hetherington and Chocollatte, recorded in São Paulo and Toronto, is a percussion tour de force CD that mixes traditional and contemporary idioms.Alan's Brazilian musical life is the subject of filmmaker Avi Lev's feature documentary, We Are Samba with Beth Carvalho, Mestre Sombra, Mestre Odilon, and others.In 2016, 2017 and 2018 Alan produced and performed on tour with Filó Machado and Celso Machado, as well as with Henrique Cazes and his group (Canadioca) in music festivals across the country. In 2019 he was commissioned to produce Um Grande Encontro for the Toronto Jazz Festival, and was music director for Rafael Piccolotto's, Forró Sem Palavras, for the Orquestra de Fulô de Toronto.Alan holds a Bachelor's Degree in Music from The University of British Columbia where he studied with John Rudolph, and a Masters of Music in Percussion Performance from the University of Toronto, under Russell Hartenberger.Alan is a Sonor Drums and Contemporânea Instrumentos Musicais endorser.Links:Documentary “We Are Samba”: https://youtu.be/ne8JJjmvaC8With Kris Maddigan and The Cuphead Orchestra: https://youtu.be/qD54sROmeIMNicolas Krassik on violin with A Fantástica Bateria: https://afantasticabateria.com/track/527930/molho-de-boiDholdrums: https://afantasticabateria.com/track/526729/dholdrumsRemix (vocalizations from Dholdrums): https://afantasticabateria.com/track/528043/batucadatronicaAos Mestres: https://afantasticabateria.com/track/527268/aos-mestresYouTube Channel: https://www.youtube.com/channel/UCSv_8rKvjn_jla6fXDwM9VgRelated projects:Canadioca with Henrique Cazes: https://afantasticabateria.com/epk-hcKoda: https://youtu.be/uWFORDuR_jo Alan Hetherington

Francesco Lecce-Chong is the Music Director of the Eugene Symphony in Oregon, and the Santa Rosa Symphony, performing at the Green Music Center in Northern California. The press has described him as a “fast rising talent in the music world” with “the real gift” and recognized his dynamic performances, fresh programming, deep commitment to commissioning and performing new music as well as to community outreach. Mr. Lecce-Chong has appeared with orchestras around the world including the San Francisco Symphony, New York Philharmonic, National Symphony, Atlanta Symphony, Pittsburgh Symphony, Toronto Symphony, St. Louis Symphony, and Hong Kong Philharmonic and collaborated with top soloists including Renée Fleming and Itzhak Perlman. Other recent subscription debuts included the Colorado Symphony, Louisville Orchestra, Louisiana Philharmonic and Xi’An Symphony Orchestra. Mr. Lecce-Chong has also returned to conduct the Civic Orchestra of Chicago, Milwaukee and San Diego Symphony. The 19/20 season also marked his debut with the New York Philharmonic as part of the legendary Young People’s Concert Series.Following the paths of renowned Music Directors of the Eugene and the Santa Rosa aSymphonies including Marin Alsop, Giancarlo Guerrero and Jeffrey Kahane, Mr. Lecce-Chong has made his mark with the two orchestras introducing a series of new music and community initiatives. In 2019, the orchestras announced Mr. Lecce-Chong’s “First Symphony Project” commissioning four major orchestral works by young composers – Matt Brown, Gabriella Smith, Angélica Negrón and Michael Djupstrom – to be performed over several seasons accompanied by multiple composer residencies and community events. In Eugene, he has reinitiated family concerts and presented a number of innovative projects such as an original multimedia performance of Scriabin’s compositions engaging light and color.In the 20/21 season, an unprecedented one for live orchestral music, Mr. Lecce-Chong will conduct virtual concerts with both the Santa Rosa and the Eugene Symphony, specifically created for online audiences. The performances will be streamed worldwide and will take a unique form of a cohesive musical journey complete with interviews with musicians. The programs will include music by living composers Jessie Montgomery, Gabriella Lena Frank and Chen Yi. Santa Rosa Symphony will also celebrate Beethoven’s 250th with performances of his first three symphonies.During his successful tenures as Associate Conductor with the Milwaukee Symphony under Edo de Waart and the Pittsburgh Symphony under Manfred Honeck, Mr. Lecce-Chong also dedicated his time to opera, building his credentials as staff conductor with the Santa Fe Opera and conducted Madama Butterfly at the Florentine Opera with the Milwaukee Symphony. Mr. Lecce-Chong is the recipient of several distinctions, including the prestigious Solti Foundation Award. Trained also as a pianist and composer, he completed his studies at the Curtis Institute of Music with Otto-Werner Mueller after attending the Mannes College of Music and Accademia Musicale Chigiana in Italy. He has had the privilege of being mentored and supported by celebrated conductors including Bernard Haitink, David Zinman, Edo de Waart, Manfred Honeck, Donald Runnicles and Michael Tilson Thomas.You can find out more about Francesco on his website, lecce-chong.com, or on Instagram @leccechong.

What’s your favorite season? And how would you describe it in words? And if you’re a composer, how would you describe it in music? The most famous musical depiction of “The Four Seasons” is a set four violin concertos by the Italian Baroque composer Antonio Vivaldi, but other composers have evoked the mood and sounds of the seasons. On today’s date in 2009, the American composer Philip Glass tossed his hat into the ring with the Toronto Symphony premiere of a new work entitled “The American Four Seasons.” Glass’s seasonal tone painting, like Vivaldi, is a set of four concertos, written for violinist Robert McDuffie, who also performed the premiere. But when McDuffie finally saw the finished score, he felt Glass’s view of some of the seasons did not quite match his own, so they came up with an unusual solution: in the published score, Glass did not provide titles for any of the four concertos, letting each listener (or performer) decide for him- or herself which concerto matched which season. So, in this case of THIS “Four Seasons,” it’s all up to you.

What’s your favorite season? And how would you describe it in words? And if you’re a composer, how would you describe it in music? The most famous musical depiction of “The Four Seasons” is a set four violin concertos by the Italian Baroque composer Antonio Vivaldi, but other composers have evoked the mood and sounds of the seasons. On today’s date in 2009, the American composer Philip Glass tossed his hat into the ring with the Toronto Symphony premiere of a new work entitled “The American Four Seasons.” Glass’s seasonal tone painting, like Vivaldi, is a set of four concertos, written for violinist Robert McDuffie, who also performed the premiere. But when McDuffie finally saw the finished score, he felt Glass’s view of some of the seasons did not quite match his own, so they came up with an unusual solution: in the published score, Glass did not provide titles for any of the four concertos, letting each listener (or performer) decide for him- or herself which concerto matched which season. So, in this case of THIS “Four Seasons,” it’s all up to you.

On today’s date in 1950, Karel Ančerl was named the artistic director of the Czech Philharmonic, a position he would hold for the next 18 years. Ančerl had first conducted the Philharmonic in 1930, when, upon graduation from the Prague Conservatory, he led that orchestra in one of his own compositions. For a time, Ančerl debated whether to be a composer or a conductor. He opted for the later, demonstrated a mastery of both classical and contemporary scores with other orchestras in Czechoslovakia. With all that in mind, it might not seem all that surprising that in 1950 he was eventually tapped to lead the Czech Philharmonic—but that would be ignoring the miracle that Ančerl was even ALIVE in 1950. In 1942, Ančerl and his family were imprisoned in the Nazi’s notorious Theresienstadt concentration camp, and in 1944, they were transported to Auschwitz, where his wife and young son were killed; Karel alone survived. In 1968, when Czechoslovakia was invaded by Soviet and Warsaw Pact troops, Karel Ančerl emigrated to Canada in protest, and served as music director of the Toronto Symphony until his death in in 1973.

On today’s date in 1950, Karel Ančerl was named the artistic director of the Czech Philharmonic, a position he would hold for the next 18 years. Ančerl had first conducted the Philharmonic in 1930, when, upon graduation from the Prague Conservatory, he led that orchestra in one of his own compositions. For a time, Ančerl debated whether to be a composer or a conductor. He opted for the later, demonstrated a mastery of both classical and contemporary scores with other orchestras in Czechoslovakia. With all that in mind, it might not seem all that surprising that in 1950 he was eventually tapped to lead the Czech Philharmonic—but that would be ignoring the miracle that Ančerl was even ALIVE in 1950. In 1942, Ančerl and his family were imprisoned in the Nazi’s notorious Theresienstadt concentration camp, and in 1944, they were transported to Auschwitz, where his wife and young son were killed; Karel alone survived. In 1968, when Czechoslovakia was invaded by Soviet and Warsaw Pact troops, Karel Ančerl emigrated to Canada in protest, and served as music director of the Toronto Symphony until his death in in 1973.

Our interview with violinist Yolanda Bruno from the Toronto Symphony.

Ralph Sauer retired from the Los Angeles Philharmonic in 2006 after 32 years as principal trombonist. Previously, he spent six years as principal with the Toronto Symphony as well as with the Canadian Opera and the Canadian Broadcasting Corporation. A native of Philadelphia, he is a graduate of the Eastman School of Music, where he studied with Emory Remington. Mr. Sauer has performed as a soloist with many orchestras, including premieres of concertos by Kazimierz Serocki and Augusta Read Thomas. He has given masterclasses and recitals throughout Europe, Japan, Mexico, Costa Rica, Brazil, Canada, Australia, and the United States, and has appeared at the Stratford, Marlboro, Aspen, and Pacific summer music festivals. He is a founding member of Summit Brass. Recent activities include performing as guest principal with the Malmö (Sweden) Symphony Orchestra, teaching at the Malmö Academy of Music, and leading masterclasses at various American universities. He continues to add to his catalog of more than 300 transcriptions for brass instruments.

I'm beyond excited to begin 2020 with a brilliant pedagogical mind and someone that I respect tremendously, cellist and pedagogue Hans Jørgen Jensen!  Professor Jensen shares incredible insight on how to approach practicing and performing!  Among several topics, he talks to us about: His journey from growing up in Denmark to today Why he quit his solo and chamber music career to dedicate himself to teaching How being a performer made him a better teacher and what being a teacher taught him about performing The habits that help his students be successful Why we must develop great discipline and practicing habits in order to maximize our progress How we can expand our musicianship His wonderful books: CelloMind and ViolinMind Focus in the practice room The new book he's working on, which is about practicing (I know I'll be buying that!) The importance of setting short goals and the mindset to adopt when practicing The power of focusing on the *result* of a movement (the sound/the music you hear in your mind) rather than the movement itself Why he likes “block practice”   Don't forget to visit the Mind Over Finger Resources' page to check out amazing books recommended by my podcast guests, as well as my favorite websites, cds, the podcasts I like to listen to, and the practice and podcasting tools I use everyday!  Find it here: www.mindoverfinger.com/resources!   And join the Mind Over Finger Book Club in the Tribe!  We meet HERE, and we'll begin 2020 with The Inner Game of Golf by Tim Gallwey!   Don't forget to sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY AT www.mindoverfinger.com!!!!   MORE ABOUT PROFESSOR JENSEN: CelloMind: Have you ever doubted your intonation? Have you experienced the need to place pitches differently from one piece to another, or even from one measure to another? If so, you are not alone. Trying to decipher intonation is often frustrating and undermines the confidence of some of the most accomplished and talented musicians.   CelloMind is a two-part, pedagogical method book that has been written to help musicians understand HOW intonation works and, more importantly, WHY it works the way it does. Purchase of the book includes exclusive access to an online resource portal with supplemental videos and audio. ViolinMind: ViolinMind is a pedagogical method book that has been written to help musicians understand HOW intonation works and, more importantly, WHY it works the way it does. It is an adaptation of the acclaimed book CelloMind. Facebook: https://www.facebook.com/CelloMindBook Instagram: https://www.instagram.com/cellomindbook/ YouTube: https://www.youtube.com/results?search_query=cellomind   Hans Jørgen Jensen is professor of cello at the Bienen School of Music at Northwestern University. From 1979 to 1987 he was professor of cello at the Moore's School of Music at the University of Houston. During the summer, he is a faculty member at The Meadowmount School of Music and The Young Artist Program at the National Arts Center in Ottawa Canada under the direction of Pinchas Zukerman. He has been a guest professor at the Thornton School of Music at the University of Southern California, The Oberlin College Conservatory, The Eastman School of Music, The Academy of Music in Sydney, The Royal Academy of Music in Copenhagen, the Tokyo College of Music and the Musashino Academy of Music in Japan, the Festival de Musica de Santa Catarina in Brazil, The Jerusalem Music Center, and the PyeongChang International festival and School in Korea.   Mr. Jensen has performed as a soloist in the United States, Canada, Europe, and Japan including solo appearances with the Danish Radio Orchestra, the Basel Symphony Orchestra, the Copenhagen Symphony, and the Irish Radio Orchestra under the baton of conductors such as: Simon Rattle, Mistislav Rostropovich and Carlo Zecchi. He has given numerous workshops and master classes across the United States, Canada, Europe, Japan, Brazil, Korea, Australia, and Israel.   His former students have been and are members of major orchestras including The New York Philharmonic, the Chicago Symphony, the Saint Louis Symphony Orchestra, the Cincinnati Symphony, the Detroit Symphony, the Kansas City Symphony, the Colorado Symphony, the Gulbenkian Orchestra in Portugal, the Graz Philharmonic in Austria and the Montreal Symphony. Mr. Jensen's former students are currently the principal cellists in the Toronto Symphony, the Detroit Symphony, the Kansas City Symphony, the Copenhagen Philharmonic Orchestra, and the Symphony Nova Scotia. His former students hold teaching positions at Northwestern University, the University of California at Berkeley, the Cleveland Institute of Music, the San Francisco Conservatory, the Cincinnati College Conservatory, the Royal Academy of Music in Copenhagen, the Desautels Faculty of Music at the university of Manitoba and numerous other music schools.   Hans Jørgen Jensen's students have been first prize winners in competitions such as the 2017 Klein Competition, the 2017 Sphinx Competition, the Casado International Competition in Japan, the Johansen International Competition, the MTNA National Competition, the ASTA National Competition, the Stulberg International Competition, the Chicago Symphony Young Performers Competition, the WAMSO Young Artist Competition, and numerous other competitions. His students have also been prizewinners in the 2017 Queen Elisabeth Inaugural Cello Competition, the Naumburg International Competition, the Lutoslawski Cello Competition, and the Klein Competition.   Mr. Jensen was awarded the prestigious 2010 Artist Teacher Award from the American String Teachers Association (ASTA), as well as the Copenhagen Music Critics Prize, the Jacob Gades Prize, the Danish Ministry of Cultural Affairs Grant for Musicians, the Northwestern Charles Deering McCormick Professor of Teaching Excellence award, and the U.S. Presidential Scholar Teacher Recognition Award by the U.S. Department of Education. He was named the outstanding studio teacher of the year by Illinois ASTA. He was also the winner of the Artist International Competition that resulted in three New York Recitals. E.C. Shirmer, Boston, published his transcription of the Galamian Scale System for Cello Volume I and II and Shar Products Company published his cello method book, Fun in Thumb Position. A new pedagogy book “CelloMind” was published in November 2017 by OvationPress.   Jensen studied at the royal Academy of Music in Denmark with Asger Lund Christiansen at the Juilliard School with Leonard Rose and Channing Robbins and pursued  private studies with Pierre Fournier, also appearing in his master classes.     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

Jonathan Newman is a well-known composer and is the Director of Composition & Coordinator of New Music at the Shenandoah Conservatory in Winchester, Virginia. Topics: Jonathan’s background, how playing the trombone has helped his career, and important teachers in his life. How writing in a variety of genres helps him stay focused and the importance of exploring a plurality of styles as a composer. BCM International and how four friends found a way to have a booth at Midwest and launch their careers. Being a pioneer as a self-published composer in the early 2000’s and how a job at Boosey & Hawkes helped him learn how to publish his own music. Jonathan’s newest work Pi‘ilani and Ko‘olauan. Links: Jonathan Newman, Composer BCM International Newman: OK, Feel Good Newman: Blow it Up, Start Again Newman: Pi’ilani and Ko’alauan Britten: War Requiem Bach: Komm, süsser Tod Strauss: Der Rosenkavalier (Final Trio) Biography: Jonathan Newman composes music rich with rhythmic drive and intricate sophistication, creating broadly colored musical works that incorporate styles of pop, blues, jazz, folk, and funk into otherwise classical models. Trained as a pianist, trombonist, and singer, his work is informed by an upbringing performing in orchestras, singing in jazz choirs, playing in marching bands, and accompanying himself in talent shows. From opera to bubblegum pop, Newman delivers a new perspective on American concert music. Recent work includes Mass, a large-scale project with texts by poet Victoria Chang which premiered in 2018 with The Choir of Trinity Wall Street as part of their Mass Reimaginings commissioning program. In 2016 he was appointed Chicago Youth Symphony Orchestras Composer-in-Residence; work with CYSO included performances of Metropolitan, Tree, and 3 O’Clock Mix, Chicago’s 2016 Ear Taxi Festival, and the commissions for Meridian and Blow It Up, Start Again—which have subsequently been performed by orchestras worldwide, including the Minnesota Orchestra, the Toronto Symphony, the 2015 Cabrillo Festival of Contemporary Music, and the Royal Philharmonic Orchestra at the 2015 BBC Proms. Other recent commissions include Prayers of Steel for Chicago’s Gaudete Brass (recorded on Cedille Records, 2017) and These Inflected Tentacles for chamber quartet. Newman’s ensemble transcriptions include arrangements of Beck, George Harrison, Puccini, Sufjan Stevens, Eric Whitacre, Led Zeppelin, and electronica premiered at the 2005 Lincoln Center Festival and recorded on Acoustica: Alarm Will Sound Performs Aphex Twin (Cantaloupe Records). As a MacDowell Fellow, he began work on an opera based on the 1962 cult horror film Carnival of Souls, in collaboration with playwright Gary Winter. He is currently working with Winter on an imaginary ballet suite for the Florida State University Wind Orchestra based on the Hawaiian story of Pi’ilani and Ko’olau. Wind and educational ensembles around the world frequently perform from his large catalog of works, including Blow It Up, Start Again (transcription for winds), Symphony No. 1, My Hands Are a City—a wind ensemble consortium commission based on themes of mid-century American Beat Culture, Sowing Useful Truths, commissioned by the Boston University Tanglewood Institute, and Moon by Night, 2003 winner of the NBA/Merrill Jones Composition Award. Born in 1972, Newman received the Charles Ives Scholarship from the American Academy of Arts and Letters, and holds degrees from Boston University’s School for the Arts, where he studied composition with Richard Cornell and Charles Fussell and conducting with Lukas Foss, and The Juilliard School, where he studied with composers John Corigliano and David Del Tredici and conducting with Miguel Harth-Bedoya. At Juilliard, his collaborative works for dance enjoyed multiple performances at The Juilliard Theater, Alice Tully Hall, P.S. 122, and Dance Theater Workshop. His early training includes Boston University Tanglewood Institute and the Aspen Music Festival where he studied with composers George Tsontakis and Bernard Rands. His works have been recorded on Avian, BCM, Brain Music, Cantaloupe, Cedille, Klavier, Mark Custom, Naxos, Potenza, and Summit Records. Newman is a founding member of the composer-consortium BCM International: four stylistically-diverse composers dedicated to enriching the repertoire with exciting works for mediums often mired in static formulas. BCM recorded two albums: BCM Saves the World (Mark Custom Records, 2002) and BCM Men of Industry (BCM Records, 2004). He resides in Virginia, where he serves as Director of Composition & Coordinator of New Music at Shenandoah Conservatory.

TBJ122: Shelagh Abate on playing horn on Broadway, meeting Sting and the importance of networking. She gives us a great overview of life in a Broadway pit and what it takes to get (and stay) there. From her bio: SHELAGH ABATE is unquestionably one of New York’s most sought-after musicians. Shelagh’s love for the horn is almost as old as her love for music itself. Known for her simultaneously warm and assertive sound, her versatility and musical intuition has earned her a place in the lexicon of NYC’s busiest performers. Shelagh has opened more than one dozen Broadway productions. Among them are Mary Poppins, A Gentleman’s Guide to Love and Murder, South Pacific, Honeymoon in Vegas, Evita, Fiddler on the Roof, Anastasia, and most currently Disney’s Frozen. Since arriving in New York in 2006, she has performed regularly with The Metropolitan Opera Orchestra, The Mostly Mozart Festival, The American Ballet Theater, The American Symphony Orchestra, The Opera Orchestra of New York, is third horn with the Greenwich Symphony Orchestra and has been principal horn of the Vermont Symphony Orchestra under the artistic direction of Jaime Laredo since 1999. During the course of her career, she has been conducted by some of the great musicians of our time; Seiji Ozawa, Simon Rattle, Andre Previn, James Conlon, Gunther Schuller, James DePriest, Robert Spano, Carl St. Clair, John Williams, Marin Alsop, Jaime Laredo, Keith Lockhart, and Placido Domingo, to name a few. Shelagh has established fluency in the commercial realm as well as the classical, having performed as part of the Lincoln Center Jazz Orchestra with Wynton Marsalis, Michel Legrand, the ensembles of Earl McDonald, Gary Morgan, Jamie Baum, John Allmark, John Vanore and Greg Hopkins. Shelagh has recorded, performed live in concert, as well as on televised events with Sting, The Who, Tony Bennett, Rufus Wainwright, Lady Gaga, Barry Manilow, Joni Mitchell, Trey Anastasio, Club d’Elf, Josh Groban, Brian Wilson, Linda Ronstadt, and most recently with the 2019 Tony Awards at Radio City Music Hall. Chamber music has been at the very core of Shelagh’s success as a musician. A winner of the Coleman Competition (2000), and a founding member of the award-winning Triton Brass (Fischoff, Lyon & Concert Artist’s Guild, 2005), Shelagh has collaborated with her world-class and longtime colleagues in order to achieve what is only artistically possible through such an intimate medium. Together they have shared their gifts with many thousands of others through live performances, recordings, and through education. Shelagh will be returning as faculty with Triton Brass to the Boston University Tanglewood Institute for their 2019 season. She also served as faculty for more than a decade with the renown Atlantic Brass Quintet International Summer Seminar.  Through these summer programs, Shelagh is proud to have influenced, shaped and enriched the lives of many dozens of tomorrow’s musicians. Shelagh is an Artist in Residence at Boston College, and The Boston Conservatory of Music where she has performed and conducted clinics and masterclasses on a regular basis since 2003. Shelagh’s early musical influences include extensive study with the Boston Symphony Orchestra’s Richard Sebring, Toronto Symphony’s principal horn Neil Deland, and renowned pedagogue and performer Laura Klock. She has been a fellow at the Tanglewood Music Center and with The National Repertory Orchestra. Shelagh holds a B.A. from Boston College, an M.M. from The University of Massachusetts at Amherst where she was a recipient of the Howard W. Lebow Scholarship, and an Artist Diploma from The New England Conservatory of Music, where she was a Walkenier Scholar. Shelagh is proud to be a Stephens Horns artist, playing one of the very first horns handcrafted by Stephen Shires https://www.stephenshorns.com.   In this fun and lively discussion, we cover: In the Lexicon! Fun with pronunciations Amhad Rashad Baseball cards Erasers and jewelry Going to school with Andy Bove Trent Austin's bio writer Playing on Broadway eight times a week Playing Disney's Frozen Name-dropping  How playing on Broadway works Dealing with repetition How the sub pool works and how to get started as a player Dormant subs Networking The impact of social media on networking Jeff Nelsen Be nice Pit orchestra size and the state of the industry Horn job pool on Broadway Horn writing rant Horn: The Cornstarch of the Orchestra Triton Brass Working with Sam Pilafian Playing with famous people from Trey Anastasio to Barry Manilow and Sting Being married to Tony Kadleck Facebrace LINKS: Shelagh's site Triton Brass Vermont Symphony Orchestra Want to help the show? Here are some ways: Unlock bonus episodes galore by becoming a Patreon patron. We just launched a brand new Brass Junkies newsletter! It will change your life. Like, it's life-changing! Subscribe today to stay in the loop on all things Brass Junkies! Help others find the show by leaving a rating and review on iTunes or Apple Podcasts. Show us some love on Instagram, Facebook, and Twitter. Show some love to our sponsors: The brass program at The Mary Pappert School of Music at Duquesne University and Parker Mouthpieces (including the Andrew Hitz and Lance LaDuke models.) Buy Pray for Jens and The Brass Junkies merch at The Brass Junkies online store! Tell your friends! Expertly produced by Will Houchin with love, care, and enthusiasm.

Hello and welcome to episode 27 of Sing! Dance! Act! Thrive!Today we have Broadway and Symphony Star Capathia Jenkins. I love this line from her bio that says “This woman who grappling with two dueling passions each with a strong grip: acting and music, yet she refuses to pick one because they both represent her soul. Capathia approaches a song the same way she approaches a script, like an artist. She looks for the nuances, the secret hidden within the notes or text. She seeks the melody, harmony and rhythm. She asks herself: what am I trying to say? What do I want my audience to experience with me? She wants to take her audience on a journey.Her Broadway theatre credits include Newsies, The Civil War, The Look of Love, Caroline, Or Change and Martin Short-Fame Becomes Me.Her Television credits include 30 Rock, the Practice, Law & Order SVU, the Sopranos, Law & Order. She can be seen in the film ‘Musical Chairs’ and heard on the film soundtracks of Nine, Chicago, and Legally Blonde 2.An active concert artist, she has appeared with orchestras around the world including the Toronto Symphony where she is a featured performer in James Bond: The Music Oct 15th and 16th. Next she performs a tribute to Aretha Franklin with various orchestras across the US.I hope that you enjoy it, she has a lot of great advice for up and coming performers.It was so great chatting with Capathia and I am looking forward to seeing the show on Tue. If you are in Toronto check out tso.ca for all the upcoming concerts. For links and transcript for this show visit http://singdanceactthrive.com/027

Today's show brings you a powerful and honest conversation on very important topics, including how changing your mindset can change your life, how focusing on your musical voice instead of perfection in execution and external validation can transform your relationship with practicing, enrich your playing, and affect the trajectory of your career.  Milan Milisavljevic, Principal Viola with the Metropolitan Opera Orchestra, elaborates on: the major impact a mentor had in his life the importance of knowing where you're coming from as a musician the importance of having a clear intention of what you want to sound like and listen intently to yourself and monitor your body when playing why shame has no business in the practice room his scale routine how he feels sound production in his arm the importance of “reducing the distance between thought and sound (I love that one!!!) how the fear transmitted from a teacher made him dread practicing, and how that has since changed how he uses the Pomodoro technique why it's important to be calm when we're facing things that make us feel uncomfortable how changes in our lives come from us making the effort to go through the reflection and do the work the important of courage in approaching music why serving others and serving music IS THE POINT of music-making! why it's about “saying something meaningful rather than being perfect”     MORE ABOUT MILAN:   Website: http://milanmilisavljevic.com/ YouTube channel: https://www.youtube.com/channel/UCsqbMHG_aOg5dgnTX_jYApw The Metropolitan Opera Orchestra: http://www.metorchestramusicians.org/milan-milisavljevi Facebook: https://www.facebook.com/milimusique/ Instagram: https://www.instagram.com/quincejuice/   Widely considered one of the leading violists of his generation, Milan Milisavljević is Principal Viola with the Metropolitan Opera Orchestra and is on the viola faculty at Mannes School of Music in New York. His performances combine intense expression with an immediate and profound link to his listeners and have won much critical acclaim. The Strad magazine has described his playing as “very imaginative, with a fine, cultured tone.” Milan's solo album Sonata-Song, released by Delos Music, has received glowing reviews, with the recording of A. Khachaturian's solo sonata on the album hailed as “definitive”. He has won prizes at competitions such as Lionel Tertis and Aspen Lower Strings and has performed at Marlboro, Cascade Head, Classical Tahoe, Agassiz and Grand Teton music festivals. Milan has appeared as soloist throughout the world, with orchestras such as the Munich Chamber Orchestra, the Belgrade Philharmonic, Aspen Sinfonia, Classical Tahoe, Orquesta Filarmónica de Boca del Río and many others. As a chamber musician, he has collaborated with members of the Guarneri and Mendelssohn String Quartets, as well as Joseph Kalichstein, Sergiu Luca, Cho-Liang Lin and many others. Milan has been heard worldwide on countless recordings and broadcasts of the MET. He previously served as its Assistant Principal Viola for twelve seasons. He is a former member of the Royal Concertgebouw Orchestra and has served as guest Principal Viola of many orchestras, such as the Toronto Symphony. In addition to his teaching activities at Mannes, Milan has coached violists in masterclasses at universities and conservatories worldwide, as well as at Verbier Music Festival, Aspen Music Festival, and as a volunteer at Ecole de musique St-Trinite in Port-au-Prince, Haiti. He is also increasingly in demand as a conductor. Milan's teachers include Jutta Puchhammer, Atar Arad, James Dunham, Nobuko Imai and Samuel Rhodes. He plays a viola made by Joseph Curtin of Ann Arbor, Michigan, and is a Larsen Strings Artist. Milan is also active as a conductor and founder of Music for the People, a New York-based ensemble dedicated to a new perspective and concert experience of classical music. In addition to his musical interests, he is also an avid runner, an occasional triathlete and a huge fan of modern architecture and design, especially the Mid Century Modern style.     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

Composing with Matthew Reid. Matt returns to the podcast solo to talk about his time with Second City, the Toronto Symphony, and both! Join Matt, Darcy and TVA as they play through the following: - Be careful what composer you pull out of the air - Show and improv troupe names are just dumb - Matt's been on 'Chopped'!!! Thanks and enjoy!

This New York born, New Jersey raised actress received TONY and Drama Desk Award nominations and won a Helen Hayes Award for her portrayal of Mother in the Kennedy Center Revival of RAGTIME on Broadway. She is currently starring in the record-breaking First National Tour of DEAR EVAN HANSEN. She made her Broadway debut creating the role of Emma in JEKYLL & HYDE, receiving a FANY award for Best actress in a musical. Ms. Noll received her second Drama Desk nomination for her work in CHAPLIN on Broadway. She has been seen perennially as Sister Margaretta in NBC’s THE SOUND OF MUSIC LIVE with Carrie Underwood and she supplied the singing-voice of Anna in the Warner Brothers animated feature THE KING AND I.    She has also enjoyed starring in Broadway productions of ELF (at Madison Square Garden), IT AIN’T NOTHIN’ BUT THE BLUES and on tour in URINETOWN (Ovation Award), THE MAMBO KINGS, GREASE!, MISS SAIGON and CITY OF ANGELS as well as a tour of Australia and Thailand of SOUTH PACIFIC. With a reputation for great versatility, Ms. Noll has performed a varied repertoire in Broadway, Operetta and Jazz. She has been a frequent guest soloist with symphony orchestras in every state in the USA, as well as international appearances with Toronto Symphony, Vancouver Symphony Orchestra, Jerusalem Symphony, Sinfonica Brasileira in Rio, China Philharmonic with concert pianist, Lang Lang and orchestras in Hong Kong, Czech Republic and Kuala Lumpur, Malaysia. She made her Carnegie Hall debut with Skitch Henderson, in his last pops performance with The New York Pops and sang with Steven Reineke SONDHEIM! THE BIRTHDAY CONCERT at Carnegie Hall. She made her Hollywood Bowl and O2 Arena debut singing with Julie Andrews in GIFTS OF MUSIC and her opera debut with Placido Domingo in THE MERRY WIDOW at the Kennedy Center as well as operetta performances in City Center Encores! THE NEW MOON, THE STUDENT PRINCE, THE PIRATES OF PENZANCE and THE MIKADO. Ms. Noll has premiered shows Off-Broadway and regionally: SNOW CHILD, OCTOBER SKY, City Center Encores! 1776, John Kander’s KID VICTORY, THE COTTAGE, THEY’RE PLAYING HIS SONGS, ACE (Helen Hayes nomination), THE WITCHES OF EASTWICK, THE PIPER, FRANKENSTEIN, KEPT (Krieger/Russell), CALL THE CHILDREN HOME, A FINE AND PRIVATE PLACE, TAKE FLIGHT (Maltby/Shire), LITTLE BY LITTLE and LIZZIE BORDEN.  And happily starred in favorites NEXT TO NORMAL (Connecticut Cristics Circle award), FOLLIES (St. Louis Critics Circle award), CLOSER THAN EVER (Off-Broadway Alliance award), BEAUTY AND THE BEAST, MARY POPPINS, 1776, THE KING & I, LITTLE SHOP OF HORRORS, INTO THE WOODS, MACK & MABEL (Connecticut Critics Circle Award), THE BAKER’S WIFE, THE SOUND OF MUSIC (Salzburg Marionette Theare), and CAROUSEL. Ms. Noll as also enjoyed television performances on LAW & ORDER SVU, MADAM SECRETARY, and THE GOOD FIGHT.  Christiane has performed her solo shows in cabaret at 54 Below, The Metropolitan Room, Birdland, The Regency, The Nikko, The Plush Room, The Duplex, The Nevermore, Arci’s Place, The China Club, Peaches, B.Smith’s and The West Bank Café as well as appearing in Town Hall's BROADWAY BY THE YEAR and the Lincoln Center's AMERICAN SONGBOOK SERIES.  Along will many cast albums and compilation recordings, she has released five solo CD’s, CHRISTIANE NOLL – A BROADWAY LOVE STORY and THE IRA GERSHWIN ALBUM, both on Fynsworth Alley, LIVE AT THE WESTBANK CAFÉ on 2Die4 Records, MY PERSONAL PROPERTY on Jay Records and GIFTS – LIVE AT 54 BELOW on Broadway Records. Christiane is a graduate of Carnegie Mellon University.  ChristianeNoll.com - Twitter: @christianenoll - Instagram: @christiane.noll --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/confessionsofanactress/message Support this podcast: https://anchor.fm/confessionsofanactress/support

In this episode, Cindy chats with her old friend Lynn Bruce (of the Ambleside Advisory board) to kick off a series of conversations about advent: how they celebrate, their favorite traditions, things that have changed over the years, movies, books, recipes, and more. ***Don't forget to join the Mere Motherhood Facebook group and to subscribe to the Mason Jar feed wherever you get your podcasts!If you like this show - and would like to gain access to some great bonus content - please consider supporting it on Patreon.Show Notes: Lynn recommends:Music:Comfort and Joy- A Christmas Celtic SojournA Christmas Celtic Sojourn— includes Lynn’s favorite Wexford Lullaby with Mairead Ni Dhomhnaill and the Voice Squad (also on youtube)Songs of Joy and Peace by YoYo Ma & Friends--includes Wexford Carol sung by Allison Krauss (with bagpipes!)Handel’s Messiah-- Christopher Hogwood & The Academy of Ancient Music (baroque soprano Emma Kirkby)Handel’s Messiah-- Andrew Davis & Toronto Symphony with Kathleen BattleHandel’s Messiah-- book of the complete libretto for singalongs, Schirmer Nine Lessons & Carols, Choir of King’s College at CambridgeBooks:Women of Advent by Sheila AtchleyCookbooks: Nigella Christmas, and Feast, by Nigella LawsonThe Christmas Mystery by Jostein GaarderCrafts:Orange Pomander Balls See acast.com/privacy for privacy and opt-out information.

In this episode, Cindy chats with her old friend Lynn Bruce (of the Ambleside Advisory board) to kick off a series of conversations about advent: how they celebrate, their favorite traditions, things that have changed over the years, movies, books, recipes, and more. ***Don't forget to join the Mere Motherhood Facebook group and to subscribe to the Mason Jar feed wherever you get your podcasts!If you like this show - and would like to gain access to some great bonus content - please consider supporting it on Patreon.Show Notes: Lynn recommends:Music:Comfort and Joy- A Christmas Celtic SojournA Christmas Celtic Sojourn— includes Lynn’s favorite Wexford Lullaby with Mairead Ni Dhomhnaill and the Voice Squad (also on youtube)Songs of Joy and Peace by YoYo Ma & Friends--includes Wexford Carol sung by Allison Krauss (with bagpipes!)Handel’s Messiah-- Christopher Hogwood & The Academy of Ancient Music (baroque soprano Emma Kirkby)Handel’s Messiah-- Andrew Davis & Toronto Symphony with Kathleen BattleHandel’s Messiah-- book of the complete libretto for singalongs, Schirmer Nine Lessons & Carols, Choir of King’s College at CambridgeBooks:Women of Advent by Sheila AtchleyCookbooks: Nigella Christmas, and Feast, by Nigella LawsonThe Christmas Mystery by Jostein GaarderCrafts:Orange Pomander Balls See acast.com/privacy for privacy and opt-out information.

Mezzo-soprano Wallis Giunta is a multi-faceted artist with a variety of interests, a great take on mindful practice, and a truly wonderful personality.  In our conversation, we discuss, among other things, the importance of making choices that will allow you to thrive, how she prepares for a role, and how she uses mental practice to learn and memorize music at a deeper level. We elaborate on: Her journey from Ottawa, Ontario (Canada) to Toronto, New York, and, more recently Leipzig as a member of Oper Leipzig Her experience as a young girl in the Ottawa Youth Choir, and the importance it had in her becoming a professional singer Her experience at the Glenn Gould School and the Canadian Opera Company and the various opportunities she found there How making choices that fit her well were very important in her development and allowed her to thrive Her life as a member of Oper Leipzig Her fun, mindful way of curating a recital program that is meaningful to her How she prepares for a role How she went from a more repetitive form of working on songs to a more mindful and mental approach to practicing as she evolved as an artist o   Translate the text and understand the meaning o   Listen to various recordings and interpretations o   Break it down o   Memorize it How practicing mentally first thing in the morning and last thing before bed is tremendously effective for her and helps her cement the repertoire to memory How she has developed the skill to learn repertoire mentally, now that that is in a place where she feels confident about her technique How singers practice difficult passages How she brings operatic characters to life     ALL ABOUT WALLIS: Wallis Giunta's website Wallis' YouTube channel Wallis' Facebook page Wallis on Instagram The Complete Sherlock Holmes (Knickerbocker Classics) The Complete Sherlock Holmes (2 Volumes)   Irish-Canadian mezzo, Wallis Giunta, has been named “Young Singer of the Year” in the 2018 International Opera Awards, and was named both “Young Artist of the Year” by The Arts Desk and “Breakthrough Artist in UK Opera” in the What's On Stage Opera Awards for her work in 2017. She has been praised by OPERA NEWS for her “delectably rich, silver-toned mezzo-soprano, with a beautiful sense of line and effortless, rapid runs”, with her performance as Mozart's Sesto for the Canadian Opera Company celebrated as “a triumph…remarkable in its combination of intelligence and beauty”. Her 2018/19 season includes debuts with the BBC Proms Festival in a program celebrating Leonard Bernstein, with the Grange Festival as Cherubino at The Barbican, London, with the MDR Sinfonieorchester as Haydn's Berenice, and with the Royal Opera House Muscat in La Traviata. She also debuts the title roles in Carmen and Der Rosenkavalier, along with Rossini's Rosina for Oper Leipzig, and Idamante for Toronto's Opera Atelier. She began the 2017/18 season with two role debuts for Opera North, the title role in Ravel's L'enfant et les sortiléges, and Dinah in Bernstein's Trouble in Tahiti, both to great critical acclaim. She returned to Oper Leipzig, where she has been an ensemble member since 2015/16, for her house roles of Angelina, Cherubino, Rossweise & Wellgunde, and debuted Prince Orlofsky in Die Fledermaus and Der Gymnasiast in a new production of Berg's Lulu. She also returned to the Munich Radio Orchestra, Toronto's Koerner Hall and the Music & Beyond Festival in concert, and debuted at the Oregon Music Festival as Anna I in Weill's The Seven Deadly Sins. The 2016/17 season saw her debuts with Opera North, performing the title role in Rossini's La Cenerentola, with Teatro Communale di Bolzano as Cherubino, and with the Munich Radio Orchestra, Tokyo Metropolitan Symphony Orchestra, and Symphony Nova Scotia in concert. Wallis returned to Opera Atelier to debut the title role in Purcell's Dido & Aeneas, and to both the Toronto Symphony and the Real Orquesta Sinfónica de Sevilla for new productions of Weill's The Seven Deadly Sins. The 2015/16 season saw her make several major European debuts, including for Teatro dell'Opera di Roma (Adams' I Was Looking at the Ceiling and Then I Saw the Sky), Oper Frankfurt (Carmen), Oper Leipzig (La Cenerentola, Le Nozze di Figaro, Faust, Der Ring des Nibelungen), the Hamburg Symphony (Candide), and the Deutsche Oper am Rhein in concert. She also returned to the Edmonton Symphony for Messiah and had her first experience teaching, with a series of masterclasses for Toronto's Tapestry New Opera. Early in 2015, she returned to The Metropolitan Opera as Olga in their new production of The Merry Widow, directed by Susan Stroman. Other recent highlights include returns to the Canadian Opera Company as Dorabella in Atom Egoyan's new production of Cosí fan tutte (2014), to Opera Lyra Ottawa as Cherubino in Le Nozze di Figaro (2015), and to Opera Atelier as Bradamante in a new period-production of Alcina (2014), along with debuts at Madison Opera (2014) and the Taipei Symphony Orchestra as Annio in La Clemenza di Tito (2013). In June 2014, she recorded her first album with the RTÉ National Symphony Orchestra in Dublin (NAXOS), of a new work by American composer, William Perry. Wallis also debuted in 2014 with Toronto's 21C Music Festival in Louis Andriessen's one-woman-opera, Anaïs Nin, and brought her acclaimed recital program of Kurt Weill's The Seven Deadly Sins to Miami, New York, Toronto and Ottawa. She had a whirlwind 2012/13 season, making her Metropolitan Opera debut in Rigoletto, debuting the roles of Sesto & Annio in La Clemenza di Tito with the Canadian Opera Company, making her Paris debut with Le Théâtre du Châtelet as Tiffany in John Adams's I Was Looking at the Ceiling…, and singing Dorabella in the Met + Juilliard production of Cosí fan tutte at Lincoln Center. She also made debuts with Fort Worth Opera, L'Opéra de Montréal, the Edmonton, Seville and Nuremberg Symphonies, the Stuttgart Festivalorchester, and the National Arts Centre Orchestra. Wallis is a passionate recitalist, and has recently performed for the Aspen, Caramoor, Banff, Luminato, Music & Beyond, and Ottawa Chamber Music festivals. She is the grateful recipient of the 2016 Bernard Diamant Prize from the Canada Council for the Arts, the 2013 Novick Career Advancement Grant, the 2013 Sylva Gelber Music Foundation Career Development Award, and multiple prizes from the George London Foundation. Wallis is a 2013 graduate of both the Metropolitan Opera Lindemann Young Artist Development Program & the Juilliard School's Artist Diploma in Opera Studies, and a 2011 graduate of the Canadian Opera Company Ensemble Studio. She has also studied at The Glenn Gould School, the Ravinia Festival's Steans Music Institute, and the International Meistersinger Akademie in Germany, and continues her private studies with Edith Wiens. Wallis is also devoted to animal rights, particularly the rescue and rehabilitation of abandoned domestic rabbits. She is an active rabbit foster parent and finds opportunities to foster and volunteer at shelters as she is performing around the world. She is a volunteer and supporter at Rabbit's Rest Sanctuary & WildRescue in Denton, Texas, and works to draw attention to our societal responsibility towards domesticated animals. Please get in touch if you are interested and would also like to help!   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. For added fun, join the Mind Over Finger Tribe on Facebook where you will find a community of mindful musicians!   THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a huge thank you to my producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/     (As an Amazon Associate I earn from qualifying purchases, which helps cover some of the costs associated with the production of the podcast.  Thank you for your support.)

In this episode of Pathways, host Adam Wolf meets with horn legend Marty Hackleman. They discuss his time in the Vancouver Symphony, National Symphony, Toronto Symphony, Canadian Brass and Empire Brass. He also shares his thoughts and strategies as a teacher, as well as a heartfelt statement about the most recent chapter in his career.

In this episode of Pathways, host Adam Wolf meets with horn legend Marty Hackleman. They discuss his time in the Vancouver Symphony, National Symphony, Toronto Symphony, Canadian Brass and Empire Brass. He also shares his thoughts and strategies as a teacher, as well as a heartfelt statement about the most recent chapter in his career.

This Week's Episode, The boys go to the Oshawa Library Fan Con and then Brent and Gen talk about going to the Toronto Symphony for the music of John Williams.

*photo by Lauren Garms for Columbus Underground We launch Creative Entrepreneur Week with our interview with Justin Johnston. Justin became the inaugural Executive Director of Wild Goose Creative in 2015. Before that role, he worked as a classically trained clarinetist, performing with the Chicago Symphony, the Cleveland Orchestra, the Toronto Symphony and toured the world as … Continue reading "Justin Johnston, Wild Goose Creative – Episode 17"

Episode 52: "Keep the phrase going" - a conversation with Charles Daval Trumpet player Charles Daval has held positions in some of North America’s most prestigious orchestras including the Boston Symphony, the Cincinnati Symphony and the Seattle Symphony. His principal appointments have included the Boston Pops and the Solo Trumpet position of the Montreal Symphony Orchestra. In 1993, Mr. Daval was appointed Professor of Trumpet at the University of Michigan. Mr. Daval moved to Pittsburgh in 1998 to enable his wife to accept the Principal Second Violin position in the Pittsburgh Symphony Orchestra. Since the move he has been appointed Principal Trumpet of the Pittsburgh Opera and Pittsburgh Ballet Theater Orchestras and continues to maintain an active teaching and performing schedule. In the spring of 2008, Mr. Daval fulfilled a lifelong dream when he received the degree of Juris Doctor (Cum Laude) from the Duquesne University Law School, where he enrolled in the fall semester 2004. As a law student, Mr. Daval worked to secure benefits for Veterans and their families through his participation in the Duquesne University Veteran’s Benefits Clinic in 2006-07, and he participated in the Civil Rights Litigation Clinic at Duquesne University’s Center for the Bill of Rights. After passing the bar examination in the summer of 2008, Mr. Daval was admitted by the State Supreme Court to the bar of the Commonwealth of Pennsylvania. In the winter of 2009 he passed bar exams in Colorado and Wyoming, and is admitted to the bars of both states. Highlights from his performing career include appearances on PBS broadcasts of “Evening at Pops” with conductor – composer John Williams and the Boston Pops from 1984 to 1988. In 1986, he was featured on Maryland Public Television’s “Live from Wolftrap” as cornet soloist with Keith Brion’s “New Sousa Band.” Additional appearances as soloist include concerts with the Boston Pops, the Cincinnati Pops, the Toronto Symphony, the Rochester Philharmonic, the Detroit Symphony, the Indianapolis Symphony, the Naples Philharmonic, the Seattle Symphony, and the Carmel Bach Festival. After receiving a Bachelor of Arts degree from San Jose State University, Mr. Daval went on to study with Vincent Cichowicz at Northwestern University where he earned his Masters Degree and was elected to the Pi Kappa Lambda music honor society. While in Chicago, he also performed with the Chicago Civic Orchestra and studied with Principal Trumpet of the Chicago Symphony, Adolph Herseth. The trumpet playing of Charles Daval has been met with much critical acclaim. The San Francisco Chronicle called him “downright sensational”, and the Seattle Post-Intelligencer praised his “musical finesse and technical polish”. His performances on the piccolo trumpet at the Carmel Bach Festival hailed this response from the Monterey Peninsula Herald; “Daval’s sound is all that can be asked of the Baroque trumpeter: He is polished, accurate, and articulate.” And the San Francisco Examiner says; “He made every note a personal treasure.” Email: cdaval@illinois.edu    

August 22, 2016:  I was very lucky to find a few minutes to speak with Capathia Jenkins this week.  When not performing on TV and Broadway, she is busy crisscrossing the globe performing on the world's biggest stages with the finest orchestras.  Last year I performed in Philadelphia, Atlanta and Jacksonville with Capathia in Classic Soul. She brought the house down in all three cities, every single night of the show.  It was a real thrill to hear her sing each night and to perform with her.  In this episode we learn about Capathia's early influences including the church and R&B, the significance of a teacher's encouragement, how her aural skills broadened at Temple University, the moment that she felt as though she had finally made it,  why live music is always her favorite, and her deep passion for her work with Covenant House.  This Brooklyn-born and raised actress most recently starred as ‘Medda' in the hit Disney production of Newsies' on Broadway. She made her Broadway debut in The Civil War, where she created the role of Harriet Jackson.  An active concert artist, Ms. Jenkins has appeared with orchestras around the world including the Pittsburgh Symphony (with Marvin Hamlisch), National Symphony, Atlanta Symphony, Toronto Symphony, Calgary Philharmonic, The Philly Pops, and the Hong Kong Philharmonic, just to name a few.  Her Television credits include 30 Rock, the Practice, Law & Order SVU, the Sopranos, Law & Order and The Wiz Live!   When not acting and singing she spends much of her free time supporting the efforts of Covenant House by serving on the board of directors and organizing Sleep Out: Broadway Edition. 

The Toronto Symphony Orchestra's decision to drop its piano soloist Valentina Lisitsa this week because of her Twitter comments about Ukrainians and other ethnic groups raises a crucial point: orchestras and arts organizations find themselves walking a fine line with protecting their brand when they engage an artist with controversial views. In this episode, Washington Post classical music critic Anne Midgette argues that the Toronto Symphony handled the Lisitsa situation poorly by not presenting its case properly to the public. "The orchestra decorously cited distasteful Tweets and Lisitsa, who is a very savvy social media person, went on the warpath and said 'free speech,'" Midgette said. "Because the Toronto Symphony didn't come out and cite the Tweets they were talking about – and because Lisitsa was able to marshal opinion on her side – this has developed into a kind of cause celebre and people are jumping to conclusions based on inadequate information." Peter Himler, a P.R. strategist who advises clients on crisis management, agrees that the TSO didn't get out ahead of the story. "There is not one Tweet from them bringing up this issue," he said. "I think they should be up front and continually communicating their point of view. That's one of the rules of thumb in crisis communication." [Listen to WQXR's interview with TSO president Jeff Melanson.] Himler believes that many of Lisitsa's social media supporters may in fact be paid trolls who operate on behalf of the Russian government. "Vladimir Putin has people that go out and bolster the posts that are in his court," he noted. Both Himler and Midgette agree that artists should be free to speak their minds, but orchestras should realize that guest soloists become the temporary representative of the symphony. "Your soloist is certainly your face that week in terms of marketing," said Midgette. "You are hiring somebody as an ambassador with the assumption that your organization is aligned with what they represent." Hear our guests' examples of successful crisis management in the full segment at the top of this page, and tell us what you think in the comments below.

Toronto Symphony president Jeff Melanson tells WQXR's Conducting Business that pianist Valentina Lisitsa's politics had nothing to do with the orchestra's decision to drop her from its program this week. "The concerns raised were not about a political perspective but were about directly offensive and intolerant comments directed at other human beings," he told host Naomi Lewin. Melanson disputed Lisitsa's contention that the orchestra had made the decision in December after a donor threatened to withhold funds if she performed as scheduled. The orchestra produced a seven-page list of the Twitter commentary it found most offensive and sent it to ask if the posts were made by her, or by a proxy. "A week-and-a-half ago she confirmed that these were her words and we had to make a decision," he said. Melanson continued that "a contract provision allows us to pay an artist her fee and remove them from the program. We tried to do it in a way that was protective of the artist, in terms of not publicly discussing any of this, and of course she's chosen to turn the story into one for the Twitter-verse." Lisitsa is an ethnic Russian who was born in Ukraine. Through her active Twitter account, she has been highly critical of the Kiev government, comparing its leaders to Nazis and dog feces. In one frequently-cited Tweet, she juxtaposed a photo of contemporary Ukrainian teachers wearing traditional embroidered shirts with a photo of black costumed dancers. The pianist has not responded to multiple requests by WQXR for comment on the Tweets, but she told the CBC that the Tweets were "satirical" and "there is a great space for exaggeration and hyperbole." Melanson said the Toronto Symphony does not habitually screen artists' social media before it offers them work, nor does take a side on political matters. "We are not taking a side here between Russia and the Ukraine," he noted. The orchestra president also implied that the decision to cancel the replacement soloist, Stewart Goodyear, was made out of concern for the musicians' safety. "We could not put an orchestra, an artist and a guest artist up on stage in the context of this week's discussions," he said. For more on how Melanson said the TSO's decisions were made, and who blew the whistle, listen to the full interview at the top of this page.

We’re featuring an interview with and music from Joel Quarrington this week of Contrabass Conversations. Joel is the former Principal Bass of the Toronto Symphony and currently serves as Principal Bass for the National Arts Centre Orchestra of Canada. In addition to his orchestral duties, Joel maintains an active career as a solo and chamber artist, touring internationally in this capacity and performing a wide range of repertoire. This week’s episode begins with a recording of Joel performing the fourth movement from the Sonata For Solo Contrabass by Weinberg, and the episode concludes after the interview with Joel’s performance of the Bottesini Elegy. Both of these tracks are from his new album Garden Scene. Learn more about this album and Joel’s numerous other projects atwww.joelquarrington.com.

We’re concluding our interview with double bassist Barry Lieberman. The former Assistant Principal Bass of the Los Angeles Philharmonic and Principal Bass of the Winnipeg Symphony, Barry now serves as co-director of The American String Project, an innovative string ensemble which features arrangements of string quartets for small string ensemble with double bass. On today’s episode, Barry (pictured here with his John Lott double bass) discusses the arranging process that he goes through for the American String Project, his recording of the Vivaldi Cello Sonatas, and his beautiful Maggini bass. About Barry: Barry Lieberman is now in his sixteenth year as double bass faculty at the University of Washington. He began his career at age 21 as principal bass of the Winnipeg Symphony. In 1976 Zubin Mehta appointed him associate principal bass of the Los Angeles Philharmonic, a post he held for sixteen years. Lieberman has been a regular performer with Chamber Music Northwest, Music From Angel Fire, the International Festival in Seattle, Bravo Colorado, Bargemusic, the Seattle Chamber Music Festival, and Mostly Mozart, and served as Principal Bass of the Colorado Music Festival in Boulder, Colorado. Most recently Lieberman performed with the Orpheus Chamber Orchestra, both in New York City and on tour in Europe. He has also performed with and toured the Far East, Europe, and the U.S. with the Mostly Mozart chamber orchestra.   Lieberman has performed with many of the world’s greatest conductors, including Pierre Boulez and Sir Simon Rattle (in both orchestral and chamber music settings), Erich Leinsdorf, Leonard Bernstein, Daniel Barenboim, Georg Solti, Eugene Ormandy, Claudio Abbado, Carlo Maria Giulini, and Kurt Sanderling, among many others. He has performed chamber music with artists including Emmanuel Ax, James Galway, Lynn Harrell, Pinchas Zuckerman, Glenn Dicterow, and David Shifrin. A former member of the New European Strings for several years, he has toured both the US and Europe with the ensemble’s leader, Dimirtri Sitkovetsky. Lieberman has also served as Principal Bass of the Seattle Symphony on many occasions. In l994, Lieberman created the series “Barry Lieberman and Friends” at the University of Washington. The series combines the talents of School of Music faculty, members of the Seattle Symphony (including his wife, Maria Larionoff, Concertmaster of the Seattle Symphony), guest artists, and most importantly, students from both the UW and from preparatory schools and high schools. The series has met with great success and critical acclaim, and has incorporated Lieberman`s project of arranging standard chamber music literature to include the double bass. Featured artists on this series include Gary Karr, Thomas Martin (Principal Bass, London Symphony), Hal Robinson (Principal Bass, Philadelphia Orchestra,), Joel Quarrington (Principal Bass, Toronto Symphony,) and many other prominent double bassists from around the world. The series continues and has become one of the most popular concert series in Seattle.

We’re concluding our interview with double bassist Barry Lieberman. The former Assistant Principal Bass of the Los Angeles Philharmonic and Principal Bass of the Winnipeg Symphony, Barry now serves as co-director of The American String Project, an innovative string ensemble which features arrangements of string quartets for small string ensemble with double bass. On today’s episode, Barry (pictured here with his John Lott double bass) discusses the arranging process that he goes through for the American String Project, his recording of the Vivaldi Cello Sonatas, and his beautiful Maggini bass. About Barry: Barry Lieberman is now in his sixteenth year as double bass faculty at the University of Washington. He began his career at age 21 as principal bass of the Winnipeg Symphony. In 1976 Zubin Mehta appointed him associate principal bass of the Los Angeles Philharmonic, a post he held for sixteen years. Lieberman has been a regular performer with Chamber Music Northwest, Music From Angel Fire, the International Festival in Seattle, Bravo Colorado, Bargemusic, the Seattle Chamber Music Festival, and Mostly Mozart, and served as Principal Bass of the Colorado Music Festival in Boulder, Colorado. Most recently Lieberman performed with the Orpheus Chamber Orchestra, both in New York City and on tour in Europe. He has also performed with and toured the Far East, Europe, and the U.S. with the Mostly Mozart chamber orchestra.  Lieberman has performed with many of the world’s greatest conductors, including Pierre Boulez and Sir Simon Rattle (in both orchestral and chamber music settings), Erich Leinsdorf, Leonard Bernstein, Daniel Barenboim, Georg Solti, Eugene Ormandy, Claudio Abbado, Carlo Maria Giulini, and Kurt Sanderling, among many others. He has performed chamber music with artists including Emmanuel Ax, James Galway, Lynn Harrell, Pinchas Zuckerman, Glenn Dicterow, and David Shifrin. A former member of the New European Strings for several years, he has toured both the US and Europe with the ensemble’s leader, Dimirtri Sitkovetsky. Lieberman has also served as Principal Bass of the Seattle Symphony on many occasions. In l994, Lieberman created the series “Barry Lieberman and Friends” at the University of Washington. The series combines the talents of School of Music faculty, members of the Seattle Symphony (including his wife, Maria Larionoff, Concertmaster of the Seattle Symphony), guest artists, and most importantly, students from both the UW and from preparatory schools and high schools. The series has met with great success and critical acclaim, and has incorporated Lieberman`s project of arranging standard chamber music literature to include the double bass. Featured artists on this series include Gary Karr, Thomas Martin (Principal Bass, London Symphony), Hal Robinson (Principal Bass, Philadelphia Orchestra,), Joel Quarrington (Principal Bass, Toronto Symphony,) and many other prominent double bassists from around the world. The series continues and has become one of the most popular concert series in Seattle.