Podcasts about vancouver symphony

When the symphony of life hits a dissonant chord, how does a musician find harmony again? This is just one of the soul-stirring questions Russell Rybicki answers as he joins us for a rich tapestry of tales on personal transformation, mental health, and the art of self-discovery in the demanding world of classical music. From playing horn and arranging to finding silence in meditation, Russell unveils the intricate journey of an artist seeking balance amid professional peaks, personal trials, and the quest for inner peace.SPECIAL EVENT: On April 21st, Sound Mind will be hosting its very first in-person panel event at the New World Center in Miami Beach, FL titled “between the notes: exploring identities as artists”. Join us to explore the multifaceted career path as musicians and the diverse identities that shape the art and artists within it. Register now at this link.Russell Rybicki is currently acting third/assistant horn in the San Antonio Philharmonic and is the hornist and arranger for the Monarch Chamber Players. He's previously held positions with the San Antonio Symphony, the Vancouver Symphony, and the New World Symphony. Russell is also a certified Holistic Life Coach passionate about deep personal work involved in self-acceptance and self-compassion through a holistic process.

Exciting episode today, as we have an international guest on the podcast today, interviewing Ilan Morgenstern! Ilan has experienced such a spectacular orchestral and solo playing career. He has subbed with numerous top orchestras across the United States and even overseas in Israel such as Israel Philharmonic, Philadelphia Orchestra, Atlanta Symphony, Detroit Symphony, and many more. He has won many awards from internationally renowned competitions including the Jeju International Brass and Percussion Competition, Zellmer-Minnesota Orchestra Competition, and the National Repertory Orchestra's Concerto Competition. His official positions in the past include San Antonio Symphony, Houston Grand Opera Orchestra, Jacksonville Symphony, and Kansas City Symphony. Originally from Rehovot, Israel, Ilan has unique stories about his time growing up in Israel, how he eventually moved to the United States for his bachelor's and master's degrees, and continue through his progression as one of the top bass trombonists in North America up until his present day position in the Vancouver Symphony. -- Transition Music #1: Ballade for Bass Trombone Strings and Harp, Eric Ewazen, featuring Ilan Morgenstern, Rachel Ferris and the San Antonio Symphony Instagram: @8thposition @dbaldwin903 @_mehurst_

Margaret Maria is a wonderful cellist who's a unique composer. Her compositions are all written by layering cello lines in some gorgeous and emotive aural tapestries. Her personal story is interesting and moving: she started the cello as a teenager, was admitted to the University of Toronto at age 16 without graduating from high school, and was then admitted to the prestigious Curtis Institute. She went on to have a successful career as a member of the Vancouver Symphony and then Canada's National Arts Centre Orchestra, which is how I came to know her. She gave up her job with the NAC after a few years, and embarked on a new life as a composer, meanwhile continuing to teach. Some of her work as an educator has been with the Orkidstra program, which she has been involved with since it's inception in 2007. It's a social development program that serves over 650 youth from over 62 linguistic and cultural backgrounds by building community through free music programs. This episode has a lot of powerful music; you can use the timestamps to navigate. Like all the episodes in this series, this is available wherever you get your podcasts, as well as this video, and the transcript and show notes are all linked to my website https://www.leahroseman.com/episodes/margaret-mariahttps://margaretmariamusic.com/home I'm an independant podcaster, and this podcast needs your help! https://ko-fi.com/leahroseman Thanks! Timestamps (00:00) Intro(02:44) Teaching improvisation in Breno, Maribyllia, creative process(06:57) Marbyllia duo with Bill Gilliam, clip from Gravitational March(07:47) Margaret's music education and evolution as a cellist and composer(12:52) intro to Blessing of Awakening and Margaret's creative process(17:00) clip from Blessing of Awakening(18:03) Margaret's personal story and evolution as a composer(19:46) please support this podcast(20:01) perfectionism, starting late, playing injuries(23:39) Curtis(27:05) more about Margaret's personal story and evolution as a composer(31:32) Orkidstra and music education(34:26) Alice Kanack, the benefits of teaching improvisation (38:35) producing music with Craig McConnell, intro to Raging Red(41:24) clip from Raging Red with Craig McConnell(42:04) duo project with singer Donna Brown, rock opera with Julian Gracia Reig, getting grants(50:22) From Scars to Infinite Stars(55:19) where to find Margaret's music(56:20) Margaret's approach to teaching (01:05:49) reflections on her life, intro to Her Heart on a Platter(01:08:29) Her Heart on a Platter(01:14:39) Margaret's sheet music(01:15:34) empath feeling others' emotions, intro to Shame on an Angel, artist Angel Muriel(01:20:39) Sham on an Angel(01:25:52) Margaret's creative process photo of Margaret: Bret Archangel Menezes --- Send in a voice message: https://podcasters.spotify.com/pod/show/leah-roseman/message

Vancouver Arts and Music Festival, presented by the city of Vancouver, Vancouver Symphony, and Columbia Arts Network, is looking for artists to display their work. https://bit.ly/3MBQLUa #VancouverArtsAndMusicFestival #ColumbiaArtsNetwork #CityOfVancouver #VancouverSymphony #EstherShortPark #ClarkCountyWa #Art #Artists #Musicians #PosterContest #ArtVendors #CallsForArt #VancouverWa #ClarkCountyWa #ClarkCountyNews #ClarkCountyToday

WGTE's Brad Cresswell speaks with conductor Andrew Crust, newly-appointed Music Director of the Lima Symphony Orchestra. Currently the Associate Conductor of the Vancouver Symphony in Canada and former Assistant Conductor for the Memphis Symphony, Andrew launches his official Lima Symphony tenure with a concert on November 26. The program, called Lyrical Exuberance, features music by Copland and Bartok, plus Beethoven's Piano Concerto No. 4 with soloist Awadagin Pratt. The concert will be both broadcast at the Van-Del Drive-In theater in Lima and streamed online. In this conversation, Andrew talks about that upcoming concert, his plans for the future and how the orchestra is adapting under the coronavirus pandemic.

Noah Reitman has been assistant principal bass of the Vancouver Symphony since 2015 and is also currently the president of the Vancouver Musicians' Association.  He also coaches bass and chamber music at Idyllwild Arts in California in the summers.  He is also on the faculty at the VSO School of Music where he teaches bass lessons and coaches chamber music, as well as the Saint James Academy of Music.  He and his wife Maggie are also the founders of Purple Mollusk Music, a label for their varied projects.    He grew up in Los Angeles and began studying at the Colburn School with David Young at age 12.  He continued his studies at the University of Michigan, where he studied with Diana Gannett, followed by Indiana University, where he studied with Lawrence Hurst.  After that, he freelanced in New York while working towards a Professional Certificate from the Manhattan School of Music, and he was a bass fellow at the New World Symphony from 2012-2015.   We talk about life in 2021, auditions, Noah's path through the music world, and much more.  Enjoy, and be sure to check out Noah's website and follow him on YouTube!   Subscribe to the podcast to get these interviews delivered to you automatically!   Check out our Online Sheet Music Store with 100+ wide-ranging titles for bassists.   Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle. Check out my Beginner's Classical Bass course, available exclusively from Discover Double Bass.   Thank you to our sponsors!   Dorico - Dorico helps you to write music notation, automatically producing printed results of exceptional quality — and plays it back with breathtaking realism. It is easy enough for anyone to learn, yet has hundreds of advanced notations, features, options and sounds to satisfy even the most demanding professionals.  With its streamlined, natural user interface, students and those with less experience in scoring can compose and arrange straight into Dorico, making learning the language of music notation much faster and more intuitive. Editing and making changes — such as instrument, time signature or key — are straightforward, with the notation instantly and correctly adapting to include them, reinforcing the learning outcome.   Upton Bass String Instrument Company - Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players.   Ear Trumpet Labs - They make hand-built mics out of Portland, OR and they have an excellent mic for upright bass called Nadine. The Nadine is a condenser mic with a clear natural sound and incredible feedback rejection. This mic is a completely new design -- the head mounts in between the strings above the tailpiece with a rubber grommet, and the body securely straps to the tailpiece with velcro elastic. A 14-inch Mogami cable connects the two parts making it easy to place on any bass. It's durable and holds up to the demanding needs of the instrument while offering excellent sound quality. Ear Trumpet Labs is offering a free t-shirt just for Contrabass listeners with the purchase of a mic, just visit EarTrumpetLabs.com/contrabass to claim yours and check out the Nadine!   Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion theme music by Eric Hochberg

In 1803 a virtuoso violinist came to visit Vienna and Beethoven wrote a new Sonata to play with him that would change music history; so why doesn’t it have Bridgetower’s name on it? The great musical partnership that wasn’t.  I also speak with Rosemary Thomson about all of the things conductors have to keep in balance, and the importance of having a personal relationship with her audience as music director of the Okanagan Symphony.    NPR Obit of Lou Ottens: https://www.npr.org/2021/03/10/975598869/lou-ottens-inventor-of-the-cassette-tape-has-died   British Library Webpage about the Beethoven/Bridgetower tuning fork: https://www.bl.uk/collection-items/beethovens-tuning-fork   British Library Webpage about George Bridgetower: https://www.bl.uk/people/george-bridgetower   Rosemary Thomson is music director of the Okanagan Symphony Orchestra: https://okanagansymphony.com   Rosemary Thomson photo by Glenna Turnbull https://www.glennaturnbull.ca   Bramwell Tovey, former music director, Winnipeg Symphony, Vancouver Symphony, Calgary Opera: https://en.wikipedia.org/wiki/Bramwell_Tovey   Hans Graf, former music director of the Calgary Philharmonic https://en.wikipedia.org/wiki/Hans_Graf   Non-Profit Quarterly article about the CPO turnaround: https://nonprofitquarterly.org/phoenix-in-calgary-how-the-calgary-philharmonic-survived-bankruptcy-and-flourished/   Composer Jocelyn Morlock https://en.wikipedia.org/wiki/Jocelyn_Morlock   Orchestral Album featuring Morlock’s Music Apple:https://music.apple.com/ca/album/jocelyn-morlock-cobalt/830562463 Spotify: https://open.spotify.com/album/4ct3kGzOF5upOu4dhvu2EQ?si=N9h0vaGrS-6PIE5h84eZeg   Composer R Murray Schafer https://www.thecanadianencyclopedia.ca/en/article/r-murray-schafer-emc   Composer Emily Doolitte article about Schafer’s “Wolf Project” http://emilydoolittle.com/wolfpaper.pdf   Composer Dinuk Wijeratne Dinuk Wijeratne - Dinuk Wijeratne   Composer Chistos Hatzis https://en.wikipedia.org/wiki/Christos_Hatzis Album featuring Hatzis’ music Apple:https://music.apple.com/ca/album/christos-hatzis-lamento-ecstasy/1493802947 Spotify: https://open.spotify.com/album/3B1rWPvxCXSaSdfzdLvCXP?si=AMBZD-8HR4uOr17RD5MaEg   Composer Allan Bell https://en.wikipedia.org/wiki/Allan_Gordon_Bell   Beethoven music provided by Musopen.com Released March 2021 CultureMonster.ca

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. Barry Douglas has established a major international career since winning the Gold Medal at the 1986 Tchaikovsky International Piano Competition, Moscow. As Artistic Director of Camerata Ireland, the only all-Ireland orchestra and the Clandeboye Festival, he continues to celebrate his Irish heritage whilst also maintaining a busy international touring schedule. In recent seasons Barry performed with a list of orchestras that includes the London Symphony, St. Petersburg Philharmonic, Russian National, Vancouver Symphony, Oregon Symphony and Halle Orchestras. He also performed the premiere of Kevin Volans' fourth piano concerto with the Birmingham Contemporary Music Group and in 16/17 marked the 30th anniversary of his Tchaikovsky International Piano Competition win with full Tchaikovsky Piano Concerto cycles with the RTE Orchestra in Dublin and the Ulster Orchestra in Belfast. Other recent highlights include a major UK tour with the Russian State Symphony Orchestra, and appearances with the Barcelona Symphony, Vancouver and Sydney Symphony orchestras as well as a continuation of his collaboration with the Borodin String Quartet. Also a highly sought after recitalist and chamber musician, he has given performances across the globe from Royal Albert Hall, Barbican and Wigmore Hall and the Verbier Festival to the Forbidden City Concert Hall in Beijing, Grand Theatre in Shanghai and other cities in China. Piano Concerto, "Resurrection": Penderecki: Piano & Flute Concertos / Douglas, Wit / Item # 8572696 Threnody for the Victims of Hiroshima: Eternal Penderecki / Wit, Bieler, Tichman, Warsaw National Po Et Al / Item # 8572134

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

Ashley Brown (IG:@ashleybrown9) TW:@ashleybrown9)(FB: @AshleyBrownonline)(ashleybrownonline.com) originated the title role in “Mary Poppins” on Broadway for which she received Outer Critics, Drama League and Drama Desk nominations for Best Actress.  Ms. Brown also starred as Mary Poppins in the national tour of Mary Poppins where she garnered a 2010 Garland award for “Best Performance in a Musical”. Ms. Brown’s other Broadway credits include Belle in "The Beauty and The Beast", and she has starred in the national tour of Disney's "On The Record". Ashley recently returned to the Lyric Opera of Chicago to star in the role of Laurey in “Oklahoma”.   She previously played Magnolia opposite Nathan Gunn in Francesca Zembello’s “Showboat” at the Lyric Opera of Chicago.   Ashley has performed with virtually all of the top orchestras in North America including the Boston Pops, the New York Philharmonic, The Hollywood Bowl Orchestra at Disney Hall, The Pittsburgh Symphony, the New York Pops at Carnegie Hall (three times), Fort Worth Symphony, the Cincinnati Pops, Philadelphia Orchestra (two times), the Milwaukee Symphony, the Indianapolis Symphony (three times), Seattle Symphony, the Houston Symphony, Vancouver Symphony, and the Philly Pops. She has also performed with the BBC orchestra opposite Josh Groban.   Ashley made her solo concert debut at The Kennedy Center as part of Barbara Cook’s Spotlight Series, and has appeared in New York City at prestigious venues including Feinstein’s at the Regency and Birdland.  Other projects include a star turn at the La Jolla Playhouse in a production of “Limelight”,  “Sound of Music” at the St. Louis MUNY which garnered her a Kevin Kline award, and her own PBS special called “Ashley Brown: Call Me Irresponsible” which received a PBS Telly Award. Ms. Brown’s long awaited album of Broadway and American Songbook standards is available on Ghostlight/Sony. Ashley is a graduate of the Cincinnati Conservatory of Music.

Ashley Brown (IG:@ashleybrown9) TW:@ashleybrown9)(FB: @AshleyBrownonline)(ashleybrownonline.com) originated the title role in “Mary Poppins” on Broadway for which she received Outer Critics, Drama League and Drama Desk nominations for Best Actress.  Ms. Brown also starred as Mary Poppins in the national tour of Mary Poppins where she garnered a 2010 Garland award for “Best Performance in a Musical”. Ms. Brown’s other Broadway credits include Belle in "The Beauty and The Beast", and she has starred in the national tour of Disney's "On The Record". Ashley recently returned to the Lyric Opera of Chicago to star in the role of Laurey in “Oklahoma”.   She previously played Magnolia opposite Nathan Gunn in Francesca Zembello’s “Showboat” at the Lyric Opera of Chicago.   Ashley has performed with virtually all of the top orchestras in North America including the Boston Pops, the New York Philharmonic, The Hollywood Bowl Orchestra at Disney Hall, The Pittsburgh Symphony, the New York Pops at Carnegie Hall (three times), Fort Worth Symphony, the Cincinnati Pops, Philadelphia Orchestra (two times), the Milwaukee Symphony, the Indianapolis Symphony (three times), Seattle Symphony, the Houston Symphony, Vancouver Symphony, and the Philly Pops. She has also performed with the BBC orchestra opposite Josh Groban.   Ashley made her solo concert debut at The Kennedy Center as part of Barbara Cook’s Spotlight Series, and has appeared in New York City at prestigious venues including Feinstein’s at the Regency and Birdland.  Other projects include a star turn at the La Jolla Playhouse in a production of “Limelight”,  “Sound of Music” at the St. Louis MUNY which garnered her a Kevin Kline award, and her own PBS special called “Ashley Brown: Call Me Irresponsible” which received a PBS Telly Award. Ms. Brown’s long awaited album of Broadway and American Songbook standards is available on Ghostlight/Sony. Ashley is a graduate of the Cincinnati Conservatory of Music.

Today I am talking to Noah Reitman who is the assistant principal bass of the Vancouver Symphony Orchestra. In our chat Noah and I are talking about the influence that Covid-19 has had on our work as performers and teachers, and how the music industry is changing. Noah also talks about how his interaction on social media, his new found skills in accountancy and sound technology continue to prepare him for the future.Noah Reitman has been assistant principal bass of the Vancouver Symphony since 2015.  He is also currently the president of the Vancouver Musicians' Association.Having grown up in Los Angeles, Noah discovered music through his father's eclectic music collection.  When he was seven, his mother bought him Sgt. Pepper's Lonely Hearts Club Band by the Beatles, and from there he was hooked on music for good.Noah picked up the bass when he was twelve and went on to study at the Colburn School with David H. Young.  From there he attended the University of Michigan where he studied with Diana Gannett, followed by Indiana University where he studied with Lawrence Hurst.  After that he freelanced in New York while working towards a Professional Certificate from the Manhattan School of Music.Noah has played with some of the world's finest ensembles.  He was a bass fellow at the New World Symphony from 2012-2015.  During that time he also played in the Verbier Festival Orchestra in Switzerland in the summers.  He has also played in the Mainly Mozart Festival Orchestra in San Diego.  In addition to his position in the VSO, Noah has also played with the Pittsburgh, Detroit, Atlanta and Nashville Symphonies.Noah is passionate about teaching and coaches bass and chamber music at Idyllwild Arts in California in the summers.  He is also on the faculty at the VSO School of Music where he teaches bass lessons and coaches chamber music, as well as the Saint James Academy of Music, an el Sistema inspired program.Noah lives in Vancouver along with his wife Maggie, and young daughter Madeline.  During the pandemic of 2020, Noah and Maggie have collaborated in founding Purple Mollusk Music, a label for their varied projects.  Follow Noah on YouTube to watch their latest productions!Twitter: @noahreitmanYoutube: https://youtu.be/CrLLjDXnKVYWebsites: noahreitman.com  and purplemollusk.comNoah mentions the "Music Lovers Care Fund" connected to the VSO. Listeners who are interested in donating can contact Noah directly. A donation can be sent via paypal to the following link: https://www.paypal.com/donate/?hosted_button_id=SBSG3NBZRQ424

WGTE's Brad Cresswell speaks with conductor Andrew Crust, newly-appointed Music Director of the Lima Symphony Orchestra. Currently the Associate Conductor of the Vancouver Symphony in Canada and former Assistant Conductor for the Memphis Symphony, Andrew launches his official Lima Symphony tenure with a concert on November 26. The program, called Lyrical Exuberance, features music by Copland and Bartok, plus Beethoven's Piano Concerto No. 4 with soloist Awadagin Pratt. The concert will be both broadcast at the Van-Del Drive-In theater in Lima and streamed online. In this conversation, Andrew talks about that upcoming concert, his plans for the future and how the orchestra is adapting under the coronavirus pandemic.

WGTE's Brad Cresswell speaks with conductor Andrew Crust, newly-appointed Music Director of the Lima Symphony Orchestra. Currently the Associate Conductor of the Vancouver Symphony in Canada and former Assistant Conductor for the Memphis Symphony, Andrew launches his official Lima Symphony tenure with a concert on Saturday, November 28th. The program, called Lyrical Exuberance, features music by Copland and Bartok, plus Beethoven's Piano Concerto No. 4 with soloist Awadagin Pratt. The concert will be both broadcast at the Van-Del Drive-In theater in Lima and streamed online. In this conversation, Andrew talks about that upcoming concert, his plans for the future and how the orchestra is adapting under the coronavirus pandemic.

David Rejano is the Principal Trombone of the Los Angeles Philharmonic Orchestra since 2016. Before that, he served as Principal Trombone with the Orquestra Sinfonica de Navarra from 2002 to 2007, Principal Trombone with the Orquestra del Gran Teatro del Liceo de Barcelona (Barcelona Opera House) from 2007 to 2010, and Principal Trombone with the Münchner Philharmoniker from 2010 to 2016. He has also performed as a guest with the Berliner Philharmoniker, Orchestre National de France, Seoul Philharmonic, Symphonieorchester des Bayerischen Rundfunks or the Orchestre de l’Opéra de Paris. David Rejano appears frequently as a soloist at the Festival Européen du Trombone, Concours National de Trombone de France, Sapporo Festival, Summer Brass Festival or the International Trombone Festival, as well as with top orchestras like the Vancouver Symphony or the LAPhil. He frequently works together with Zubin Mehta, Gustavo Dudamel and Valery Gergiev. Learn more about David at www.davidrejano.com. Brought to you by The Brass Ark (brassark.com) and Bob Reeves Brass (bobreeves.com). ​

A podcast listener recently suggested that I re-interview Colin Corner about how he has managed to win audition after audition.  It turned out that I would be in Portland, Oregon for a couple weeks, and Colin and I sat down for a terrific deep-dive into auditioning, the role of a principal bassist, and much more. Prior to his current positions of principal bass for the Oregon Symphony and Grant Park Symphony, Colin played principal bass for the Atlanta Symphony and the Rochester Philharmonic.  He also held positions in the Minnesota Orchestra, Vancouver Symphony, and Louisiana Philharmonic. I originally interviewed Colin back in 2007 when he was playing in the Minnesota Orchestra, and I caught up with him briefly in 2009 after he’d moved into his role as principal bass of the Rochester Philharmonic.  It was such a pleasure to dig into Colin’s experiences over this past decade.  There are a tremendous amount of valuable takeaways from this conversation! Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: Upton Bass String Instrument Company Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr. Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. D'Addario Strings This episode is brought to you by D’Addario Strings! Check out their Helicore strings, which are are designed, engineered, and crafted at the D’Addario string factory in New York and come in orchestral, hybrid, pizzicato, and solo string sets.   A440 Violin Shop An institution in the Roscoe Village neighborhood for over 20 years, A440's commitment to fairness and value means that we have many satisfied customers from the local, national, and international string playing communities. Our clients include major symphony orchestras, professional orchestra and chamber music players, aspiring students, amateur adult players, all kinds of fiddlers, jazz and commercial musicians, university music departments, and public schools.   Contrabass Conversations production team: Jason Heath, host Michael Cooper and Steve Hinchey, audio editing Mitch Moehring, audio engineer Trevor Jones, publication and promotion Subscribe to the podcast to get these interviews delivered to you automatically!

Episode #86 Sitting down with David Warrack was a real treat for me. David strikes me as someone who has, over time, become even more passionate about the arts and living a creative lifestyle. He has not become jaded or bitter about certain projects not going the way he wanted or maybe not even being produced at all. He has figured out a way to adapt and go with the flow of change in the industry through his career as an artist. David is a real champion of the artist. Your success is his success and he strives to create that kind of supportive environment wherever he goes by creating and producing new work, cheering on his colleagues, and most of all listening to the thoughts and feelings of others until they feel understood. The last thing he said to me before we parted was, “I am only an email away” and after spending time with him, I knew he meant it. Sometimes it’s what people say that impacts me the most and sometimes it's the impact of who they are that leaves the biggest impression. With David, it was both. In this episode, we discuss what changes he would like to see happen in the entertainment industry, why he believes every artist should explore writing on some level, what was the biggest takeaway from his lunch with Leonard Bernstein and so much more!   About David: Conductor, Pianist, Organist, Composer, Lyricist, Book-Writer, Musical Director, Orchestrator, Arranger, Singer, Vocal Coach, Music Producer, Producer (theatre, television, recordings), Guest Lecturer, Teacher Toured for fifteen years with Maureen Forrester, starting with the Vancouver Symphony at EXPO 86 (CD), 5 years with Jeff Hyslop (CD), and 8 years with Michael Burgess, in each case as Musical Director/Accompanist/Conductor.  In 2013, enjoyed a 19 concert cross Canada tour with Rebecca Caine and Michael Burgess.  2010 – 2015:  conductor of the Rose Orchestra in Brampton.   Starting in 2017 – touring with the quartet of Rebecca Caine, Ben Heppner, Gary Relyea, and Jean Stillwell. Musical Director of over 200 shows for stage or television, including SHENANDOAH on Broadway, 9 of Ross Petty’s Pantomimes at Toronto’s Elgin Theatre, the cross Canada tour of JACQUES  BREL …, the Vancouver production of UNFORGETTABLE, seven consecutive years at the Elora Festival, and all of the CBC’s DuMAURIER SEARCH FOR STARS.   Founding Conductor of the Canada Pops Orchestra. Credited as writer or co-writer of 79 professionally produced musicals, including some of the longest running shows in Toronto’s Theatre History (FLICKS, SWEET REASON, THE VAUDEVILLIANS, TEASE FOR TWO).  ROB ROY opened at the Edinburgh Festival (Scotland) in 2006 to rave reviews, and was recorded in 2007. More recently, THE THREE DAVIDS (the music of David Shire, David Frishberg, and David Warrack) premiered in 2013.  A SNOW WHITE CHRISTMAS, written with Norm Foster, premiered at Theatre Collingwood in 2014. The Oratorio ABRAHAM premiered in Toronto in 2015 with Richard Margison in the starring role, along with a cast of 6, plus the Bach Children’s Choir and the Elmer Iseler Singers.   Current: SHE’S NO LADY in workshop; CATWALK optioned as a film. Beginning with the 1972 radio special of the Charlottetown Festival’s BALLADE (orchestrator, conductor), over 40 years as a studio musician.  Recent: THE SECOND TIME AROUND (film). Huge body of choral and instrumental work. Created role of Jack Ayre in THE DUMBELLS at the Charlottetown Festival.  Shared the stage over the years with iconic performers, including Ronnie Hawkins, Don Harron, Len Cariou (most recently at 2013 Stratford Music Festival), Sheila McCarthy, Marilyn Lightstone, Sheila Brand, Brent Carver, Louise Pitre, Juan Chioran, George Masswohl, Mary Pitt, Thom Allison, Ma Anne Dionisio, Cynthia Dale, and Amanda Martinez.  Recently performed with the Bravura Baritones. Playing for Blues/Gospel Diva Jackie Richardson in October and November.  THE UNIVERSE IS DANCING (one man show) in October (Guelph, then the Jazz Bistro in Toronto).  CD release Hugh’s Room. In December.Christmas/Hanukkah show with Theresa Tova. 1980: produced TORONTO TORONTO, which ran for three years, followed by 2 years of TORONTO TORONTO 2. 1981: He had six shows running simultaneously in Toronto and he produced the award-winning CBC television superspecial  ALL FOR ONE. 1981 – 1983, he produced the Dora Mavor Moore Award shows for Toronto theatre, the only three years they were ever televised. He has won three Doras: producing TORONTO TORONTO, producing ON TAP, and music directing CLOSER THAN EVER. Starting in 1985, he was a regular guest on Peter Gzowski’s MORNINGSIDE (CBC radio) singing his trademark satirical songs, and creating songs spontaneously. Organist/Choir Director at Hillcrest Christian Church since 2006. Part of three man artistic team (along with Michael James and Kevin McCormick) who created SONGS OF THE CITY for United Way Toronto (now United Way Toronto/York Region) in 2015, a theatrical event originally presented at the Jane Mallet Theatre, which matches up three United Way speakers who have been “rescued” by a United Way sponsored organization with a three composers who each write a song about his or her experience. These songs are then performed during the evening, along with other selections which celebrate the renewal of the human spirit.  A second SOTC took place this past spring, and a third is happening in April, 2017, moving into the 1,000-seat Wintergarden Theatre.  A version took place last year in Fredericton, New Brunswick , and one is being planned for Halifax, Nova Scotia early in 2017.  Created as a Donor Appreciation Event, SONGS OF THE CITY has had a huge impact already in terms of increased pledges to support the remarkable work of United Way in the community. While the ongoing involvement in the various segments of the arts community has not allowed David the time to contribute to the education of up and coming artists that he might have preferred, he has maintained a presence in developing students to become professional artists.  For 20 years, he has been on the faculty of the Avenue Road Arts School. He participated in the BMI Music Theatre Workshops in New York and Toronto, originally conceived by Lehman Engel.  When BMI no longer supported the Toronto workshops, Mr. Warrack kept them going on his own initiative. He has taught part-time at the Randolph Academy and the Ryerson Theatre School, and given numerous guest lectures at Sheridan College (now University).  For many years he was on the advisory board of Humber College, and he is currently on the advisory board of the Toronto Film School. He is also an honorary member of IATSE. David is married to Lona Davis, a celebrated musician in her own right, and they are blessed with three children – Gordon (Jessica), Cayleigh (Patrick) and Levi, as well as four grandchildren: Alexis, Grayson, Griffin, and Neave, all three years old or younger! Connect with David! www.davidwarrack.ca e:dwarrack@rogers.com      Chelsea thisischelseajohnson.com Facebook: @thisischelseajohnson Instagram: @thisischelseajohnson Twitter: @thisischelseaj  

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.

Concert: CDMX: New Music from Mexico (Contemporary Mexico) Upbeat Live provides historical and cultural context for many concerts, featuring engaging speakers, audio examples, and special guests. These events are free to ticket holders and are held in BP Hall, on the second floor, accessible after your ticket is scanned. For more information: laphil.com/upbeatlive About the Speaker: Of Lithuanian heritage, composer Veronika Krausas was born in Australia raised in Canada, and lives in Los Angeles. She has directed, composed for, and produced multi-media events that incorporate her works with dance, acrobatics and video. The Globe & Mail (Toronto) writes “her works, whose organic, lyrical sense of storytelling are supported by a rigid formal elegance, give her audiences a sense that nature's frozen objects are springing to life.” She was one of 6 composers involved in the acclaimed mobile opera Hopscotch. Alex Ross of the New Yorker called Hopscotch, “a remarkable experimental opera.” Her first opera, The Mortal Thoughts of Lady Macbeth, based on Shakespeare's Macbeth, was premiered at the New York City Opera's VOX 2008 festival. A full production was mounted in Los Angeles in August 2010 to sold-out audiences. Mark Swed of the Los Angeles Times said of her chamber opera, “Something novel this way comes.” Her newest opera Ghost Opera, a dramma giocoso with libretto by André Alexis and The Old Trout Puppet Company, will première with Calgary Opera at the Banff Centre for Arts and Creativity in May 2019. Commissions and performances include the Los Angeles Philharmonic, The Industry, New York City Opera, Tanglewood Contemporary Music Festival, Ensemble musikFabrik, Chicago Architecture Biennial (2016), Piano Spheres for Gloria Cheng, The Vancouver Symphony, ERGO Projects, Esprit Orchestra, Fort Worth Opera, Jacaranda Music, Motion Music, and the Penderecki String Quartet. Krausas has music composition degrees from the University of Toronto, McGill University in Montreal, and a doctorate from the Thornton School of Music at USC in Los Angeles, where she is a faculty member in the Composition Department. She serves on the advisory boards of Jacaranda Music and People Inside Electronics.

Brian Barley was a great Canadian musician who died very young at age 28 as a result of a severe car accident. He only made one recording under his name for CBC Records in Montreal in June 1970. Barley died a year later on June 28,1971. Barley was a fine classical clarinettist who for years played Jazz on the side. He took up the saxophone at age 13. After playing in The National Youth Orchestra and The Vancouver Symphony and some Jazz gigs on saxophone. Barley moved in 1966 to Montreal where he embarked full time into Jazz and the tenor and soprano saxophone. Tonight as part of The Jazz Show's obscure musician series, we give you Barley's only recording with his band that he called "Aquarius Rising" (aka The Brian Barley Trio). Barley is on tenor saxophone and plays soprano on one tune. He's accompanied by electric bassist Daniel Lessard and drum legend Claude Ranger. This is a rather amazing and very adventurous date and definitely has a "New York feel" to it. Barley's influences are Sonny Rollins, Archie Shepp and Ornette Coleman but he really is his own man. It's too bad his life ended so early as he could have given so much more. Four of the compositions are by Barley and one is by drummer Claude Ranger. This is a superb and challenging document and a great listen.

Concert: Salonen & Sibelius Upbeat Live provides historical and cultural context for many concerts, featuring engaging speakers, audio examples, and special guests. These events are free to ticket holders and are held in BP Hall, on the second floor, accessible after your ticket is scanned. For more information: laphil.com/upbeatlive About the Speaker: Of Lithuanian heritage, composer Veronika Krausas was born in Australia raised in Canada, and lives in Los Angeles. She has directed, composed for, and produced multi-media events that incorporate her works with dance, acrobatics and video. The Globe & Mail (Toronto) writes “her works, whose organic, lyrical sense of storytelling are supported by a rigid formal elegance, give her audiences a sense that nature's frozen objects are springing to life.” She was one of 6 composers involved in the acclaimed mobile opera Hopscotch. Alex Ross of the New Yorker called Hopscotch, “a remarkable experimental opera.” Her first opera, The Mortal Thoughts of Lady Macbeth, based on Shakespeare's Macbeth, was premiered at the New York City Opera's VOX 2008 festival. A full production was mounted in Los Angeles in August 2010 to sold-out audiences. Mark Swed of the Los Angeles Times said of her chamber opera, “Something novel this way comes.” Her newest opera Ghost Opera, a dramma giocoso with libretto by André Alexis and The Old Trout Puppet Company, will première with Calgary Opera at the Banff Centre for Arts and Creativity in May 2019. Commissions and performances include the Los Angeles Philharmonic, The Industry, New York City Opera, Tanglewood Contemporary Music Festival, Ensemble musikFabrik, Chicago Architecture Biennial (2016), Piano Spheres for Gloria Cheng, The Vancouver Symphony, ERGO Projects, Esprit Orchestra, Fort Worth Opera, Jacaranda Music, Motion Music, and the Penderecki String Quartet. Krausas has music composition degrees from the University of Toronto, McGill University in Montreal, and a doctorate from the Thornton School of Music at USC in Los Angeles, where she is a faculty member in the Composition Department.  She serves on the advisory boards of Jacaranda Music and People Inside Electronics.

Concert: Mirga Conducts Mozart & Haydn Upbeat Live provides historical and cultural context for many concerts, featuring engaging speakers, audio examples, and special guests. These events are free to ticket holders and are held in BP Hall, on the second floor, accessible after your ticket is scanned. For more information: laphil.com/upbeatlive About the Speaker: Of Lithuanian heritage, composer Veronika Krausas was born in Australia raised in Canada, and lives in Los Angeles. She has directed, composed for, and produced multi-media events that incorporate her works with dance, acrobatics and video. The Globe & Mail (Toronto) writes “her works, whose organic, lyrical sense of storytelling are supported by a rigid formal elegance, give her audiences a sense that nature's frozen objects are springing to life.” She was one of 6 composers involved in the acclaimed mobile opera Hopscotch. Alex Ross of the New Yorker called Hopscotch, “a remarkable experimental opera.” Her first opera, The Mortal Thoughts of Lady Macbeth, based on Shakespeare's Macbeth, was premiered at the New York City Opera's VOX 2008 festival. A full production was mounted in Los Angeles in August 2010 to sold-out audiences. Mark Swed of the Los Angeles Times said of her chamber opera, “Something novel this way comes.” Her newest opera Ghost Opera, a dramma giocoso with libretto by André Alexis and The Old Trout Puppet Company, will première with Calgary Opera at the Banff Centre for Arts and Creativity in May 2019. Commissions and performances include the Los Angeles Philharmonic, The Industry, New York City Opera, Tanglewood Contemporary Music Festival, Ensemble musikFabrik, Chicago Architecture Biennial (2016), Piano Spheres for Gloria Cheng, The Vancouver Symphony, ERGO Projects, Esprit Orchestra, Fort Worth Opera, Jacaranda Music, Motion Music, and the Penderecki String Quartet. Krausas has music composition degrees from the University of Toronto, McGill University in Montreal, and a doctorate from the Thornton School of Music at USC in Los Angeles, where she is a faculty member in the Composition Department.  She serves on the advisory boards of Jacaranda Music and People Inside Electronics.

Concert: Dances of Death Upbeat Live provides historical and cultural context for many concerts, featuring engaging speakers, audio examples, and special guests. These events are free to ticket holders and are held in BP Hall, on the second floor, accessible after your ticket is scanned. For more information: laphil.com/upbeatlive About the Speaker: Of Lithuanian heritage, composer Veronika Krausas was born in Australia raised in Canada, and lives in Los Angeles. She has directed, composed for, and produced multi-media events that incorporate her works with dance, acrobatics and video. The Globe & Mail (Toronto) writes “her works, whose organic, lyrical sense of storytelling are supported by a rigid formal elegance, give her audiences a sense that nature's frozen objects are springing to life.” She was one of 6 composers involved in the acclaimed mobile opera Hopscotch. Alex Ross of the New Yorker called Hopscotch, “a remarkable experimental opera.” Her first opera, The Mortal Thoughts of Lady Macbeth, based on Shakespeare's Macbeth, was premiered at the New York City Opera's VOX 2008 festival. A full production was mounted in Los Angeles in August 2010 to sold-out audiences. Mark Swed of the Los Angeles Times said of her chamber opera, “Something novel this way comes.” Her newest opera Ghost Opera, a dramma giocoso with libretto by André Alexis and The Old Trout Puppet Company, will première with Calgary Opera at the Banff Centre for Arts and Creativity in May 2019. Commissions and performances include the Los Angeles Philharmonic, The Industry, New York City Opera, Tanglewood Contemporary Music Festival, Ensemble musikFabrik, Chicago Architecture Biennial (2016), Piano Spheres for Gloria Cheng, The Vancouver Symphony, ERGO Projects, Esprit Orchestra, Fort Worth Opera, Jacaranda Music, Motion Music, and the Penderecki String Quartet. Krausas has music composition degrees from the University of Toronto, McGill University in Montreal, and a doctorate from the Thornton School of Music at USC in Los Angeles, where she is a faculty member in the Composition Department.  She serves on the advisory boards of Jacaranda Music and People Inside Electronics.

Episode 39: "Breathe" - A Conversation with Justin Emerich A nationally renowned trumpeter and teacher with extensive national and international performing experience, Justin Emerich is associate professor of trumpet at the MSU College of Music. Emerich’s orchestral experience includes serving as acting associate principal trumpet of the San Francisco Symphony, as well as performing with the St Louis Symphony, Cleveland Orchestra, Metropolitan Opera Orchestra, San Diego Symphony, San Francisco Opera, Malaysia Philharmonic, Seoul Symphony, Seattle Symphony, Seattle Opera, Grant Park Symphony, New Jersey Symphony, Buffalo Philharmonic, Grand Rapids Symphony, Palm Beach Opera Orchestra, and the New World Symphony. He has been a featured soloist with the Seattle Symphony and the Fulcrum Point New Music Ensemble in Chicago. In April 2013, Emerich was singled out as one of the San Francisco Symphony's "superb soloists" by the San Francisco Chronicle. Emerich is also an avid chamber musician and has been a member of, and toured with, such groups as the Canadian Brass, Burning River Brass, Proteus 7, the Avatar Brass, and Pink Martini. Performing with these groups, he traveled extensively throughout Europe, Asia, the Caribbean, and all 50 states in the U.S. While with the world famous Canadian Brass, he performed as solo-piccolo trumpet and collaborated with the New York Philharmonic and Philadelphia Orchestra brass sections. Emerich and the Canadian Brass were also featured with the New Jersey Symphony and premiered a new work by Bramwell Tovey with the Vancouver Symphony. He is currently the piccolo trumpet of Burning River Brass. Emerich performed in numerous Broadway shows in New York City including Kiss Me Kate, Into the Woods, and 42nd Street. After earning his degree, he became artist-in-residence and assistant trumpet professor at Grand Valley State University. Emerich has performed with such artists as Diana Ross, Burt Bacharach, Natalie Cole, Wayne Newton, Luciano Pavarotti, Placido Domingo, Yo-Yo Ma, Gil Shaham, Doc Severinsen, Allen Vizzutti, Renee Fleming, Sufjan Stevens, Ben Folds, and Vanessa Williams. He has recorded for hundreds of TV, movie, and video game soundtracks, and can be heard as the lone trumpet on The Blind Side with Sandra Bullock. Emerich has recorded various CDs for the Columbia, SFS Media, Naxos, New World, Dorian, Burmermusic, LML music, and Albany record labels. Emerich, who comes to Michigan State University from a faculty position at the University of Las Vegas, is a graduate of the Juilliard School of Music. 

Concert: Green Umbrella: All-Reich Upbeat Live provides historical and cultural context for many concerts, featuring engaging speakers, audio examples, and special guests. These events are free to ticket holders and are held in BP Hall, on the second floor, accessible after your ticket is scanned. For more information: laphil.com/upbeatlive About the Speaker: Of Lithuanian heritage, composer Veronika Krausas was born in Australia raised in Canada, and lives in Los Angeles. She has directed, composed for, and produced multi-media events that incorporate her works with dance, acrobatics and video. The Globe & Mail (Toronto) writes “her works, whose organic, lyrical sense of storytelling are supported by a rigid formal elegance, give her audiences a sense that nature's frozen objects are springing to life.” She was one of 6 composers involved in the acclaimed mobile opera Hopscotch. Alex Ross of the New Yorker called Hopscotch, “a remarkable experimental opera.” Her first opera, The Mortal Thoughts of Lady Macbeth, based on Shakespeare's Macbeth, was premiered at the New York City Opera's VOX 2008 festival. A full production was mounted in Los Angeles in August 2010 to sold-out audiences. Mark Swed of the Los Angeles Times said of her chamber opera, “Something novel this way comes.” Her newest opera Ghost Opera, a dramma giocoso with libretto by André Alexis and The Old Trout Puppet Company, will première with Calgary Opera at the Banff Centre for Arts and Creativity in May 2019. Commissions and performances include the Los Angeles Philharmonic, The Industry, New York City Opera, Tanglewood Contemporary Music Festival, Ensemble musikFabrik, Chicago Architecture Biennial (2016), Piano Spheres for Gloria Cheng, The Vancouver Symphony, ERGO Projects, Esprit Orchestra, Fort Worth Opera, Jacaranda Music, Motion Music, and the Penderecki String Quartet. Krausas has music composition degrees from the University of Toronto, McGill University in Montreal, and a doctorate from the Thornton School of Music at USC in Los Angeles, where she is a faculty member in the Composition Department.  She serves on the advisory boards of Jacaranda Music and People Inside Electronics.

Celine Thackston is a self-described hybrid. A musician and art advocate that focuses on grant writing. For the modern musician, this ability to do both is not only a benefit but often required. In today’s episode Celine talks about her music journey and how she was able to carve out her own career as a flutist and a grant writing consultant. (http://www.advanceyourart.com/wp-content/uploads/2016/12/Celine-Thackston-Flute.jpg) MEET CELINE: Celine Thackston is a musician and arts advocate based in Nashville, Tennessee. Currently, she serves as the founder and artistic director for chatterbird, an alternative classical chamber music ensemble. Celine is a flutist, freelancing regularly in the region with orchestras, recording artists, and chamber groups. In addition to her musical life, Celine is a skilled grant writing consultant. She coordinates grant writing efforts for clients in Nashville and around the world. Her portfolio is diverse, ranging from major cultural institutions to individual artists. Celine has performed often with a wide array of ensembles from traditional to the avant-garde, including the New York New Music Ensemble, Pocket Opera Players, Opera Theater Oregon, Nashville Symphony, Alabama Symphony, Memphis Symphony, Vancouver Symphony, Classical Revolution, Filmusik, and Salem Chamber Orchestra, among many others. She has a special interest in creating musical experiences that emphasize the accessibility and vitality of both contemporary and traditional classical music. In addition to her work as a performer, she has served on the faculty of Middle Tennessee State University and Fisk University, and has been a teaching artist and clinician for workshops around the United States. As a student of comedy improvisation, Celine developed workshops using improvisational theatre games, and has presented classes in free improvisation, theatre games, and creative musicianship throughout the United States. Hailed for her unconventional, fun approach to learning, she has maintained a competitive private studio for many years. Celine completed her doctorate at the University of Oregon, with specializations in Flute Performance and Arts Administration along with a Professional Certificate in Non-Profit Management. While at the University of Oregon, Celine was a student of Grammy-winning flutist Molly Barth, a founding member of eighth blackbird. Celine holds a Master’s degree in Flute Performance with an emphasis in experimental music from the Steinhardt School at New York University. While at NYU, she studied extended techniques for the flute, as well as traditional and contemporary flute literature with flutist and composer, Robert Dick. Celine received her Bachelor’s degree with honors in Flute Performance from the University of Arkansas, where she was a student of Dr. Ronda Mains. She started her college career at the University of Alabama, where she was a student of Liana Tyson and Sheryl Cohen. BOOKS: Beyond Talent: Creating a Successful Career in Musicby Angela Myles Beeching (http://amzn.to/2hbbi59) LINKS: http://celinethackston.com/ (http://celinethackston.com/) http://www.chatterbird.org/ (http://www.chatterbird.org/) BONUS: This podcast is brought to you by Audible. I have used Audible for years, and I love audiobooks. Click on the link to get a 30-day free trial, complete with a credit for a free audiobook download Audible.com (http://www.audibletrial.com/Yuri) QUESTION(S) OF THE DAY: What was your favorite quote or lesson from this episode? Please let me know in the comments.

VERONIKA KRAUSAS Of Lithuanian heritage, composer Veronika Krausas was born in Australia, raised in Canada, and lives in Los Angeles. She has directed, composed for, and produced multi-media events that incorporate her works with dance, acrobatics and video. The Globe & Mail (Toronto) writes "her works, whose organic, lyrical sense of storytelling are supported by a rigid formal elegance, give her audiences a sense that nature's frozen objects are springing to life." Mark Swed of the Los Angeles Times said of her chamber opera The Mortal Thoughts of Lady Macbeth “Something novel this way comes.” Performances ?include Ensemble musikFabrik (at the Darmstadt Music Festival), The Los Angeles Philharmonic, New York City Opera, Fort Worth Opera, Esprit Orchestra, The Vancouver Symphony, San Francisco Choral Artists, Alexander String Quartet, Fort Worth Opera, Motion Music, and the Penderecki String Quartet. Her work was an official selection of the US for the 2012 World Music Days in Belgium and she was the featured composer at the 2013 Céret Music Festival. She was one of the composers for The Industry’s mobile opera project Hopscotch. The Los Angeles Philharmonic has commissioned a work for 5 basses to be performed in a tent designed by artist Ana Prvacki in the fall of 2016. Krausas has music composition degrees from ?the University of Toronto, McGill University in Montreal, and a doctorate from the Thornton School of Music at the University of Southern California in Los Angeles, where she is currently on faculty. www.veronikakrausas.com

VERONIKA KRAUSAS Of Lithuanian heritage, composer Veronika Krausas was born in Australia, raised in Canada, and lives in Los Angeles. She has directed, composed for, and produced multi-media events that incorporate her works with dance, acrobatics and video. The Globe & Mail (Toronto) writes "her works, whose organic, lyrical sense of storytelling are supported by a rigid formal elegance, give her audiences a sense that nature's frozen objects are springing to life." Mark Swed of the Los Angeles Times said of her chamber opera The Mortal Thoughts of Lady Macbeth “Something novel this way comes.” Performances ?include Ensemble musikFabrik (at the Darmstadt Music Festival), The Los Angeles Philharmonic, New York City Opera, Fort Worth Opera, Esprit Orchestra, The Vancouver Symphony, San Francisco Choral Artists, Alexander String Quartet, Fort Worth Opera, Motion Music, and the Penderecki String Quartet. Her work was an official selection of the US for the 2012 World Music Days in Belgium and she was the featured composer at the 2013 Céret Music Festival. She was one of the composers for The Industry’s mobile opera project Hopscotch. The Los Angeles Philharmonic has commissioned a work for 5 basses to be performed in a tent designed by artist Ana Prvacki in the fall of 2016. Krausas has music composition degrees from ?the University of Toronto, McGill University in Montreal, and a doctorate from the Thornton School of Music at the University of Southern California in Los Angeles, where she is currently on faculty. www.veronikakrausas.com

Today’s show features Brandon McLean, who just won the associate principal bass position for the Pittsburgh Symphony.  Brandon has most recently served as principal bass of the Colorado Symphony, and prior to that he held positions in the Vancouver Symphony and the Florida Orchestra.  Originally from Seattle, Brandon did his undergrad at the University of North Texas, his masters at the Boston Conservatory, and studied at Carnegie Mellon after that with Pittsburgh Symphony principal bassist Jeff Turner.  He played in the New World Symphony before landing his first gig with the Florida Orchestra. We dig into the details of the audition process, like how Brandon starts preparing long-term for the audition and how that preparation changes as the audition approaches, Brandon’s technique routine, which he keeps up throughout the audition process, the benefits of getting to practice in a large space like a concert hall, and routines in the days prior to the audition.  We also feature excerpts of Brandon performing the Dave Anderson Duets with Brendan Kane.   Books mentioned: Audition Success by Don Greene Performance Success by Don Greene Interview Highlights Audition Preparation Strategies the process starts right after finding out what the list is looks at what are the more problematic excerpts for him and begins by spending time on those about 5 weeks out, he starts to get more disciplined  for a long time did the system of ranking what the more difficult excerpts are and spending the most time on those, but he found that then the audition would come up and they’d ask for the excerpts that he didn’t spend as much time on breaks up practice session into 10 minute increments; practices for an hour or an hour-and-a-half in a couple of different segments in the day keeps himself disciplined to no more than 10 minutes on a specific excerpt breaks up the last as many ways as possible: top to bottom bottom to top skip and do every 3rd excerpt 2-3 weeks out, he shortens that 10 minutes per excerpt to 3-4 minutes per except so that he’s hitting everything briefly just about every day Brandon generally runs things at 75% tempo most of the time he can generally play this under tempo—it’s getting them up to tempo that’s the real issue there’s some point between that 75% and 100% tempo that he can usually solve most of the technical problems problems associated with fast excerpts were dealt with away from those excerpts - dealing with technical studies that helped  during audition prep, Brandon still spends at least 30-45 minutes still doing scales and technical exercises he cuts that down when getting really close to the audition Brandon’s Technique Routine pick a scale slow bow practice (whole notes) using Intonia software then does a different scale with half notes, quarter notes, etc - gets himself playing pretty quickly do something similar with arpeggios after that right hand practice string crossings spiccato exercises to get his right hand moving a little quicker Playing in a Large Space and Recording the benefits of getting to practice in a large space (concert hall) - he didn’t get this until later in life getting over the idea that he doesn’t really know what he sounds like objectively (similar to getting over the way your voice sounds when you play back a recording) the angle that you play the bass - no one else will ever hear your bass playing from that angle—it’s such a specific thing things started to turn on the audition front for Brandon when he started to get really serious about recording himself Brandon had a pretty steady path of progress in auditioning - not advancing, then getting to semis, then making finals, then runner-up for a bunch of auditions Brandon realized at a certain point that he just wasn’t a very natural audition taker had to start treat audition taking as his job dealing with the mental discipline of audition taking was something that took him a while to get a grasp of Don Greene books helpful in terms of centering, etc. Brandon has gotten away from thinking that he just needed to have a really good day to win an audition after teaching students and observing them nervous and not nervous, he has concluded that there isn’t nearly as much difference in the two states as the students think When he wasn’t doing well in auditions, he had actually lost those auditions months in advance Routines as the Audition Approaches usually flies in the day before - flying in too early usually psyched him out it’s amazing what tiny things can seep into your mind during an audition  when he goes, he generally doesn’t talk to people at the audition running is helpful doesn’t try to change anything lifestyle-wise coming up to the audition - changes only cause problems Links from Listener Feedback: Summer Camps for Bassists The Low Down by Danny Ziemann Paul Ellison Interview Todd Coolman Interview I Found a Dead Body

Here's the rough guide to our interview.00:00 - 02:35 Building the All-Star Orchestra02:36 - 03:45 Following Bernstein's tradition of music education05:45 - 09:28 Working without rehearsals09:30 - 13:09 Digital broadcasts and local shows15:50 - 16:57 Making the Symphony part of the community16:58 - 18:29 Navigating compensation questions18:30 - 27:10 MN Orchestra, music economics, and the role of conductors27:12 - 29:07 Life since retiring at the Seattle Symphony29:10 - 32:00 This weekend's program at the VSO

Kristine has performed in theatre houses, symphony halls, and cabaret venues all across North America. She is best known for playing Nessarose in the hit Broadway musical, Wicked. Kristine joined the First National Tour of the musical in 2008 and assumed the role of Nessarose in November of that year in her childhood hometown of Minneapolis, MN. She then went on to originate the role on the Second National Tour, which opened in March 2009 and performed it over 1,000 times. Kristine also toured with Mamma Mia!, understudying the role of Sophie, and made her Broadway debut in the recent revival of Les Miserables at the Broadhurst Theatre. Other favorite regional credits include: The Mystery of Edwin Drood (Rosa Bud), Brigadoon (Fiona), Grease! at the St. Louis MUNY (Frenchie) and Footloose (Ariel). A BFA graduate in Musical Theatre from the Cincinnati College-Conservatory of Music, Kristine has performed in concert with over a dozen Symphonic and Pops Orchestras, including the Cincinnati Pops, the Indianapolis, Baltimore, Detroit, Toronto, Modesto, Vancouver, Naples and Cleveland Symphony Orchestras, and the National Symphony Orchestra in Ottawa, ON. She continues to work and create new concerts with Maestro Jack Everly of the Indianapolis Symphony and Maestro Steve Reineke of the New York Pops. Away from the stage, Kristine also works as a sports writer and radio host. Her work, which ranges from football analysis to pop culture commentary, has been published in various online magazines, blogs and websites, including NJ.com. Kristine and her husband, fellow actor and CCM alum Billy Harrigan Tighe, were engaged onstage with the Vancouver Symphony in November 2009. They were married in October 2010 and currently reside in New York City with their Boston Terrier, Buster.

I’m pleased to be able to share this interview with Robert Meyer, one of our most experienced and interesting members of the double bass community. Robert has had a long and illustrious career on the double bass, working for over 50 years in most of the major orchestras in London (including the London Symphony, London Philharmonic, and BBC Symphony), as Principal Bass of the Vancouver Symphony, and has taught at the Universities of British Columbia and Victoria. Robert writes a blog called Musical Reminiscences, and it is a must-read for any bassist… or any musician, for that matter! About Robert Meyer Robert Meyer’s accomplishments as a double bass player and concert artist could fill several pages, as Benjamin Britten was quoted as saying: “He has proved himself to be a considerable musician and a fine player.” His career, however, extends beyond his notable achievements as a performer and includes distinctions as both an artist (he is a Chinese Watercolourist of repute) and an educator (He currently assists the Victoria Youth Orchestra, freelances in the Pacific Northwest and frequently gives solo lectures “All you ever wanted to know about the Double Bass but were afraid to ask”). However, here is a brief synopsis of his career: Graduated as a double bass soloist from the Royal College of Music, London, England. Respectively a member of the London Philharmonic, London Symphony, Philharmonia and BBC Symphony Orchestras. (Conductors include Furtwangler, de Sabata, von Karajan, Klemperer, Giulini, Bruno Walter, Koussevitsky, Stokowski, Rhozdesdensvky, Stravinsky, Khatchaturian, etc.) Principal Bass, Sadlers Wells Opera, Principal Bass, San Carlo Opera, Naples, Covent Garden Ballet Orchestra, Principal/co Principal Bass English Chamber Orchestra, Moscow Chamber Orchestra (Barshoi), Principal Bass, Bolshoi Ballet. Commanded by HRH Queen Elizabeth II to perform at her Coronation. Founding Member, Solo Bass and librarian to Benjamin Britten’s English Opera Group and Aldeburgh Festival. Invited to come to Canada as Principal Bass, Vancouver Symphony, Principal Bass CBC Vancouver Chamber Orchestra and Principal Bass Vancouver Opera. Robert Meyer has taught at the Universities of British Columbia and Victoria and played at most major festivals and concert halls in the world. Learn more at Robert’s blog Musical Reminiscences.  

This week's Contrabass Conversations episode features the conclusion of our chat with Minnesota Orchestra bassist Colin Corner.  Colin joined the orchestra in 2006 after being a member of the Vancouver Symphony and Louisiana Philharmonic.  In this episode we discuss the process of taking an audition for an ensemble like the Minnesota Orchestra--the various rounds, screen (or lack thereof), and repertoire.  We also discuss improvisation,  parallels between classical music and jazz, Colin's sources of musical inspiration, and his instrumental activities outside of the orchestral sphere. Check out episode 34 of the podcast for the first part of this interview. We also feature a recording of "Trioticism" from Chicago Symphony bassist and Contrabass Conversations interview guest Rob Kassinger.  Enjoy!

Colin Corner was appointed Principal Bass of Atlanta Symphony in 2015, after playing in the same position with the Rochester Philharmonic for seven seasons. He previously played with the Minnesota Orchestra, the Vancouver Symphony and the Louisiana Philharmonic. He received first place in the 2003 ISB Orchestral Competition, which led to a one week internship with the Detroit Symphony, and he received third place in the same competition in 2001. Mr. Corner was also a recipient of the Interlochen Double Bass Class Studio award in 1997, which has since been renamed The Colin Corner Bass Award in his honor. Mr. Corner is a graduate of the Interlochen Arts Academy, and he received his bachelor's degree from Indiana University, where he studied with Lawrence Hurst. While in Rochester, he served on the faculty at The Hochstein School and played with Chamber Music Rochester, The Rochester Chamber Orchestra, and The Finger Lakes Opera Festival. He has also served as Guest Principal Bass with the NAC Orchestra. Mr. Corner also enjoys playing electric bass and many different styles of music, mainly jazz. In Rochester, he played with The Shuffling Madness, a Jethro Tull tribute band, The Debbie Kendrick Quartet, a soulful acoustic blues group, The Greener Grass Band, a funky jam band, and various other groups. Mr. Corner is passionate about teaching and has presented masterclasses/recitals at ISB Conventions, Ithaca College, Interlochen Center for the Arts, Shenandoah Conservatory, and Palm Beach Atlantic University. In 2015, he joined the faculty at the Golden Gate Bass Camp in San Francisco, where he was a founding faculty member in the NorCal Orchestra Studies Academy. Proud of his instruments, he plays a bass made by Joseph Hill, c. 1780, and a bass made in Atlanta by Luthier Albert Jakstadt.