Anthony Plog on Music: Recent Episodes
Anthony Plog (host), Eddie Ludema (Producer)
Conversations with performers, composers, and entrepreneurs. Join Tony and some of the world’s great musicians in interviews that are fascinating, illuminating, and funny (well, most of the time).
Karl Schagerl is a leading figure in the world of instrument making since he joined his family's business in 1976. Based in Mank, Austria, Karl has worked and collaborated with a long list of world-class artists, a few of which include Hans and Thomas Gansch, James Morrison, Gabor Tarkovi, and Selina Ott.
Dr. Jack Burt, is a distinguished professor of trumpet and performing artist who has contributed extensively to the trumpet community, both as an educator and a performer. Jack's connection to Karl began with a chance introduction through mutual musical interests, leading to a lasting collaboration.
In this conversation, we'll explore the fascinating story of how Karl and Jack first connected, sparked by a shared love for Austrian folk flugelhorn duets and a chance recommendation from jazz legend Peter Erskine. Jack talks about how he first reached out to Karl for some music and CDs, which eventually led to their meeting at a brass concert years later. Karl shares how this initial interaction grew into a professional friendship with plenty of stories and impactful insights along the way.
[Subscriber Content] In the remainder of the discussion, Karl reveals more about the business side of Schagerl Instruments, discussing their global outreach and how they've continued to innovate in response to evolving musical demands.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!
In episode number one of SEASON 6 (!), we are joined by two remarkable figures in the world of music and cherished in the brass community: Chris Gekker and Eric Ewazen. Chris is a celebrated trumpet professor at the University of Maryland and has performed as a soloist at prestigious venues like Carnegie Hall. His rich career includes collaborations with many composers, showcasing his dedication to both performance and new works. Eric, a prolific composer and educator, has a long history of writing for brass instruments, with works performed worldwide. He has taught at Juilliard and has garnered numerous awards for his compositions.
In this first part of our conversation, Chris and Eric share their memorable experiences from their time at the Eastman School of Music, where they first crossed paths. They discuss their early influences, the importance of collaboration, and the creative processes that shape their work. As Chris reflects about Eric's writing, "When he writes a piece, he creates a dialogue, and it’s a very creative process."
[Subscriber Content] In the second part, we dive deeper into their collaboration on various pieces, including the intricacies of composing and performing. They’ll share insights about their teachers, including a few key lessons learned from significant figures in their musical journeys. Eric’s experience with writer’s block and their approach to revising works are enlightening. Chris notes concerning writing specifically for trumpet, "We’re not babies. We can handle difficult music, but you need to give us a break," emphasizing the unique physical challenges trumpet players face. Stay tuned for their engaging discussions about the future of their collaborations and how their friendship continues to flourish through music.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!
Today, we welcome two remarkable guests: composer Amy Scurria and Dr. Ryan Gardner, Associate Professor of Trumpet at the University of Colorado Boulder. Amy, a multi-award-winning composer, has seen her work performed worldwide, including at Carnegie Hall. With a unique perspective shaped by her late autism diagnosis, she began composing at just eight years old, using music as a language to explore her emotions. Ryan, originally from Santa Monica, California, has spent over a decade teaching trumpet and is known for his innovative approaches to performance psychology. He also serves as the artistic director for Music for Autism, a program that creates inclusive concert experiences for autistic individuals and their families.
In this first part of our conversation, we dive into the intersections of music and autism. Amy shares her insights on neurodiversity and how it shapes her approach to composing, while Ryan discusses the transformative power of music for autistic audiences. As Amy poignantly states, "Neurodiversity means we’re just scratching the surface of what the human brain is capable of and how it works." Their stories and perspectives promise to offer enlightening views on how music can bridge differences and create connections.
[Subscriber Content] In the subscriber section, we delve deeper into Amy's journey as a composer and her educational experiences. She reflects on her influences, including her composition teachers at Rice University and Duke University, and shares thoughts on how improvisation has played a role in her creative process. Ryan also discusses the impactful training he received and the importance of understanding individual learning styles in music education. Their shared wisdom is sure to resonate and inspire anyone interested in the rich tapestry of music education and neurodiversity.
Dorico
Professional music notation and composition software from Steinberg. Download a free 30-trial today!
Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!
Dan Locklair is an esteemed American composer and educator, known for his contributions to sacred music and his long tenure at Wake Forest University in North Carolina. Born in Charlotte, he began his career as a professional organist at just 14 and has since crafted a diverse body of work, which includes orchestral pieces and choral compositions. Locklair's notable achievements include being the Composer-in-Residence at Wake Forest and composing pieces for significant events, such as 'The Peace may be exchanged' for Ronald Reagan's funeral. In this episode, we explore the transition from a full-time teaching career to dedicating more time to composition, his experiences with students, and insights into the evolving world of classical music.
In Part 1 of the conversation, Dan shares his reflections on retirement after 43 years in academia, emphasizing the joy of having time solely for composition. He recounts humorous anecdotes from his teaching days and discusses the balance between commissioned works and personal projects. "If someone truly wants to be a composer, they’ll find their way, regardless of the challenges," he notes, illustrating his passion for music and teaching.
[Subscriber Content] In Part 2, we dive deeper into Dan's creative process, discussing the importance of crafting music while also addressing frustrations that come with it. He highlights key influences from his education, including his mentors and the impact of major works he's composed. Expect to hear about his relationship with significant figures in music education, like Sam Adler, and how these experiences have shaped his journey. Dan’s stories reveal the human side of being a composer and educator, showcasing the emotional depth behind his music and the lessons he's learned along the way.
Dorico
Professional music notation and composition software from Steinberg. Download a free 30-trial today!
Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!
Tony welcomes two remarkable trumpet players and educators, Ryan Gardner and Tomislav Špoljar. Ryan is the Associate Professor of Trumpet at the University of Colorado Boulder, where he combines a wealth of experience with a passion for fostering community among trumpet players. Tomislav, based in Croatia, not only performs but also organizes significant music festivals, including the upcoming International Trumpet Guild conference, which seeks to unite trumpet players from around the globe. Together, they share insights into their journeys as trumpet entrepreneurs, their teaching philosophies, and the importance of building a vibrant, international trumpet community.
In Part 1, Ryan and Tomislav dive into the motivations behind organizing the upcoming ITG conference in Croatia. Ryan emphasizes the need to bring the ITG back to Europe, while Tomislav shares the excitement of connecting with musicians and creating lasting memories. One of the standout quotes comes from Ryan, who says, “The community of trumpet players is what keeps me engaged and motivated.” They discuss the challenges and rewards of their roles within the ITG and reflect on their personal journeys in music and education.
In Part 2 [Subscriber Content], Ryan opens up about the profound impact his teachers had on him, including Mark Gould and Vince Penzarella, and how their philosophies shape his teaching today. Tomislav shares his experiences with legendary figures like Maurice André and Pierre Thibault, highlighting the unique lessons learned from each. They also offer insights into their teaching approaches, emphasizing the importance of understanding individual student needs. For those interested in more personal anecdotes and valuable lessons from their mentors, this section is not to be missed. We wrap up by celebrating the exciting future of the trumpet community, with Ryan voicing the hope that, "Our love for the trumpet and music bonds us together."
Dorico
Professional music notation and composition software from Steinberg. Download a free 30-trial today!
Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!
Jan Swafford is a distinguished American author and composer, known for his insightful biographies of great composers like Charles Ives, Ludwig van Beethoven, and Wolfgang Amadeus Mozart. With degrees from Harvard and Yale, he's made significant contributions to classical music literature. His works, including the Vintage Guide to Classical Music and "Language of the Spirit," reveal the rich narratives behind the music we love. His unique insights and deep understanding of these composers illuminate their artistic journeys in a way that resonates with both music lovers and scholars alike.
In our conversation, we explore the fascinating lives of Haydn and Mozart, delving into their prolific output and the support systems that fueled their creativity. Jan highlights how Haydn composed to commission, leading to his astonishing catalog of works, while debunking myths about Mozart's talent and lifestyle. “He worked himself to death because his body couldn’t handle it anymore,” Jan reflects on Mozart’s relentless pursuit of excellence.
[Subscriber Content] In the subscriber section, Jan shares his thoughts on Tchaikovsky and Brahms, revealing personal preferences and insights about their contrasting styles. He also reflects on the evolution of music through the lens of history, discussing how composers like Schoenberg and Stravinsky marked a shift in musical innovation. Jan emphasizes the importance of authenticity in composition, stating, "It has to come from your core; otherwise, it’s no good." Prepare for a warm exploration of music’s profound connections to the human experience, as Jan shares his unique perspective on these influential figures.
Dorico
Professional music notation and composition software from Steinberg. Download a free 30-trial today!
Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!
Trumpeter Chris Gekker has done just about everything a brass player can do—and done it at the highest level. A longtime member of the American Brass Quintet (18 years) and now Professor of Trumpet at the University of Maryland, Chris has also taught at Juilliard, Manhattan School of Music, and Columbia University. His career spans recording Bach’s Brandenburg Concerto No. 2 to sharing the stage with Sting, all grounded by a reflective artistic life shaped by literature and poetry.
In Part 1, we talk about the books that feed his imagination, his father and early upbringing, the interpretive world of the Hindemith Sonata, trumpet mentors from Gerard Schwarz to Thomas Stevens, and the winding arc of a career that prizes curiosity over categories.
[Subscriber Content] In Part 2, Chris reflects on the transition to full-time teaching at Maryland and takes us deep into his approach to trumpet playing and musicianship—drawing on insights from his writing, especially Trumpet Talk.
Dorico
Professional music notation and composition software from Steinberg. Download a free 30-trial today!
Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!
In his second appearance on Anthony Plog on Music, celebrated biographer and composer Jan Swafford returns for an expansive two-part conversation that dives deep into the very soul of classical music. In his previous interview from 2021, Jan discussed his monumental biographies of Mozart, Beethoven, Brahms, and Ives. But his intellectual and creative output extends far beyond those volumes, and this new set of interviews explores more of his wide-ranging contributions to the world of music.
In Part 1, the focus turns to Jan’s book Language of the Spirit: An Introduction to Classical Music, a refreshingly vivid and often personal guide to the history of Western music. The discussion begins with a few select quotes that set the tone for Swafford’s engaging style—an approach that never shies away from humor, insight, or imagination. Along the way, Tony and Jan take an unexpected detour into a blog post imagining a conversation between Mozart and Picasso’s Guernica. As the conversation returns to the content of Language of the Spirit, the two explore key aspects of the Baroque period, including figured bass and the challenges of intonation. The episode concludes with a discussion of three of Jan’s own compositions—They That Mourn, Late August - First Snow, and River—offering a glimpse into his creative voice as a composer.
Part 2 picks up right where they left off, continuing the discussion of the Baroque with special attention to the genius of Bach and the dramatic flair of Händel. This naturally leads into a thoughtful debate on performance practice, particularly the tension between historically informed performances (HIP) and modern approaches. Jan brings his signature candor and wit to the conversation, questioning what authenticity really means and whether the HIP movement sometimes overreaches. The episode closes on a memorable note, as Jan describes the extraordinary experience of holding the original manuscripts of Mozart’s Marriage of Figaro and Brahms’s German Requiem in his hands. And in true Swafford fashion, he promises to return again—next time, to tackle the Classical era through to the present day.
Dorico
Professional music notation and composition software from Steinberg. Download a free 30-trial today!
Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!
Norwegian hornist Frøydis Wekre has had a remarkable and influential career as both performer and teacher. She joined the Oslo Philharmonic at the age of 20, at a time when there were only two women in the orchestra, and went on to establish herself as a highly respected chamber musician, soloist, and educator. For many years, she served as a professor at the Norwegian Academy of Music, and her reach has extended far beyond Norway through the countless masterclasses she’s given around the world. Widely regarded as one of the leading brass pedagogues of her generation, Frøydis has inspired students and professionals alike with her wisdom, insight, and artistry.
In Part 1 of our conversation, we begin by discussing a metaphor from her book Collected Writings, in which she compares two types of teachers to a family doctor and a specialist—one who works with a student long-term, and another who is brought in to address a specific need. It's a concept that resonates deeply in the teaching world, and Frøydis shares how it has shaped her own approach to working with students. We also talk about her experience playing natural horn and explore the different national and cultural styles of horn playing that she has encountered throughout her career. The first part concludes with reflections on her studies with several legendary figures in the brass world: Vitali Bujanovsky, Wilhelm Lanzky-Otto, and James Stamp.
[Subscriber Content] In Part 2, Froydis shares her perspective on international competitions, including thoughts on fairness and how such events might be improved. This leads into a broader conversation about women in music and how the landscape has changed—and in some ways, still needs to change—over the course of her career. We wrap up with a few light, miscellaneous questions, giving Frøydis the chance to reflect on her life and work with both humor and depth.
It was a privilege to speak with someone who has not only shaped the horn world but continues to influence generations of musicians through her teaching, writing, and example.
Dorico
Professional music notation and composition software from Steinberg. Download a free 30-trial today!
Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!
For those looking for an example of a life lived with both artistic excellence and personal richness, oboist Christoph Hartmann is an inspiring model. A member of the Berlin Philharmonic since 1992, Christoph is not only a world-class orchestral musician but also a sought-after soloist and chamber player. He teaches at the Freiburg Musikhochschule, where he now lives, regularly commuting to Berlin for performances with the Philharmonic.
Outside of his musical career, Christoph is deeply involved in endurance sports—he has run around 40 marathons and is an avid cyclist. His passion for biking even led him to create his own line of bicycles, Pasulli bikes, as well as open a bike shop. With a schedule this full and diverse, Tony was eager to learn how Christoph balances it all—and that’s exactly what this wide-ranging conversation explores.
In Part 1, Christoph reflects on his time with the Berlin Philharmonic, sharing how the orchestra has evolved over the decades and offering insight into the leadership and influence of conductors Claudio Abbado, Simon Rattle, and Kirill Petrenko. He also talks about the experience of performing for the Philharmonic’s Digital Concert Hall and whether those streamed performances come with added pressure. The conversation turns to the ever-present topic of reeds and their impact on oboe playing, as well as how he manages his time between teaching in Freiburg and performing in Berlin. Christoph also shares how his interest in long-distance running and biking fits into his musical life, and we wrap up the first part with a look at the Mozart Oboe Concerto video he recorded for the YouTube Symphony.
[Subscriber Content] Part 2 begins with a thoughtful discussion about Christoph’s personal motto—“live your dreams”—and how he balances that ideal with the practical demands of his life. Given how many passions he juggles, Tony asks how he determines his priorities and maintains focus. Christoph also offers his perspective on the differences between German and American styles of oboe playing. The conversation then travels back to his early days on the instrument, culminating in the story of his audition for the Berlin Philharmonic. The episode concludes with his reflections on why the Mozart Oboe Concerto continues to be an ideal first-round audition piece for aspiring orchestral players.
Dorico
Professional music notation and composition software from Steinberg. Download a free 30-trial today!
Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!
In the world of arts administration, few careers can rival the breadth and impact of Deborah Rutter’s. Her journey began with an early role working under the legendary Ernest Fleischmann at the Los Angeles Philharmonic and evolved into a series of leadership positions at some of the most prominent institutions in the United States. She has served as executive director of the Los Angeles Chamber Orchestra, the Seattle Symphony, the Chicago Symphony Orchestra, and, most recently, as president of the Kennedy Center. Her influence has reached far beyond the walls of any one organization, shaping the national conversation around the arts and the role of cultural institutions in American life.
In Part 1 of our conversation, Deborah reflects on her lifelong connection to music, which began in the third grade when she picked up the violin. We follow her path through her youth, her studies at Stanford, and a formative year in Vienna. She shares insights from her early years at the Los Angeles Philharmonic and walks us through her progression into major leadership roles across the country. Along the way, we explore what it takes to guide large arts organizations—everything from working with music directors and guest artists to day-to-day responsibilities, strategic planning, and the ongoing challenges of funding and development.
[Subscriber Content] In Part 2, we turn our focus to Deborah’s time at the Kennedy Center. She discusses the complexities of overseeing high-profile initiatives like the Kennedy Center Honors, leading the institution through the challenges of the COVID-19 pandemic (during which she took a 95% pay cut), launching the REACH expansion program, and bringing hip-hop into the Center’s programming. We also touch on the events of February 2025, when she was dismissed from her role by President Donald Trump, and hear her candid reflections on the future of the Kennedy Center. We close with a powerful quote that captures the heart of her life's work: “Quite simply, the artist holds a mirror to who we are as a people and nation and compels us to be better.”
Dorico
Professional music notation and composition software from Steinberg. Download a free 30-trial today!
Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!
“Seventeen was that age when we were realizing… we have to do something about this.” That poignant reflection echoes the emotional heart of SEVENTEEN, a powerful narrative work for orchestra created in response to the tragic 2018 high school shooting in Parkland, Florida—an event that claimed the lives of seventeen students. Composer Ron Ramin was moved to begin work on this piece soon after, eventually collaborating with librettist Portia Kamons, and later joined by Jamie Bernstein. Together, they crafted a deeply human and artistically compelling response to an American tragedy.
In this two-part conversation, I sit down with Portia and Ron to talk about the creation of SEVENTEEN and the many layers involved in bringing it to life.
In Part 1, we begin with an overview of the piece itself, followed by a deeper dive into each of its four movements. Portia shares how the libretto was built from the actual words of young people, giving voice to a generation affected by gun violence. We also discuss how Ron and Portia came together to write the piece, the collaborative process behind their work, and how their shared vision took shape. We wrap up the first half of our conversation with the story of how the premiere performance came about, thanks to the support of the Orlando Philharmonic and its music director, Eric Jacobsen.
[Subscriber Content] Part 2 opens with a look at the practical challenges behind producing a project of this magnitude, especially the complexities of securing funding. This leads to a conversation about future performance opportunities and what lies ahead for SEVENTEEN. From there, we step back to learn more about Portia and Ron’s individual careers, and I pose a classic creative question: do artists need to feel inspired to do meaningful work, or can the work happen without inspiration? Their answers are thoughtful and revealing. And finally, we close with a broader reflection as I ask both of them how hopeful they feel about the future.
This episode offers a moving and thoughtful exploration of how art can respond to tragedy—and how music can become a powerful form of activism, remembrance, and healing.
Dorico
Professional music notation and composition software from Steinberg. Download a free 30-trial today!
Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
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In 2018, Austrian trumpeter Selina Ott made history by becoming the first woman to win first prize in the 70-year history of the prestigious ARD International Music Competition in Munich. That landmark achievement launched a remarkable career that has taken her to concert halls around the world, performing both as a soloist and with major orchestras. Her debut album, Trumpet Concertos, was honored with the Opus Klassik Award in 2021, and she has since released two more acclaimed solo recordings. Though still early in her musical journey, Selina has already established herself as one of the leading voices of her generation.
In this conversation, I had the great pleasure of speaking with Selina about some of the defining moments in her life and career so far. In part one, we begin with her recent experience performing Wynton Marsalis’s Trumpet Concerto with the ORF Vienna Radio Symphony Orchestra under the baton of Marin Alsop. She shares what it was like to collaborate with Marsalis himself and how that experience left a lasting impact. We then reflect on her preparation for, and participation in, the ARD Munich competition—what it took to succeed, and how her life changed overnight following her win. From there, we rewind even further to talk about her early beginnings on the trumpet as a young girl, and the important influence of legendary trumpeter Håkan Hardenberger.
[Subscriber Content] In part two, we shift our focus to the balance between orchestral and solo playing, and what it really means to be a well-rounded soloist in today’s musical world. We also touch on Selina’s relationship with social media and why she chooses to keep a relatively low profile online. One of the more unique aspects of her life outside of music is her passion for horses—she owns several—and we explore how that love for animals complements her musical life. Selina also gives us insight into how she chooses her concert repertoire, both for solo recitals and orchestral performances. And finally, I ask her what advice she would give to a 10-year-old girl dreaming of becoming a musician one day.
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Bob Malone has quite literally helped shape the sound of modern trumpet playing around the world. He's been designing trumpets for nearly 40 years and is widely recognized as one of the premier trumpet designers in the world. His instruments are played in major orchestras across the globe, and his influence can be heard through the artistry of many of the finest trumpet players of our time.
I’ve had the privilege of knowing Bob for almost 50 years, and watching his evolution—from passionate trumpet player to visionary instrument designer—has been nothing short of inspiring. So it was a real pleasure to sit down with him and explore the journey that has defined his life’s work.
In Part 1, we kick off our conversation by diving into how Bob has applied the Japanese concept of Kaizen—the philosophy of continuous improvement—to his work over the years. From there, we go back to his early days as a trumpet player and explore how his passion for the instrument led him to the world of design and craftsmanship. He shares how key figures like Larry Minick and Tom Stevens mentored him and helped shape his path, leading to the founding of Bob Malone’s Brass Technology, and eventually, his pivotal role at Yamaha Corporation.
Bob also recounts his first major design collaboration with trumpeter Bobby Shew—a project made possible through the support of his close friend, Kenzo Kawasaki.
In Part 2 [Subscriber Content], we get into some of Bob’s experiences working with a remarkable roster of trumpet luminaries, including Håkan Hardenberger, John Hagstrom, Allen Vizzutti, David Bilger, Chris Martin, Tom Rolfs, Wayne Bergeron, Bo Nilsson, and conductor Andris Nelsons. His stories are a fascinating glimpse into the minds of these incredible musicians and the collaborative process behind great instrument design.
And since Bob has spent so much of his career on the road, we also talk about his favorite travel destinations, memorable meals, and how he manages the inevitable jet lag that comes with a global career.
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In this conversation, we dive into the extraordinary creative partnership between two of the most celebrated figures in contemporary opera—librettist Gene Scheer and composer Jake Heggie. Together, Gene and Jake have brought to life some of the most powerful operatic works of our time, including Moby-Dick, Three Decembers, and It’s a Wonderful Life. Their collaboration is not only rooted in artistic brilliance but also in a deep, long-standing friendship.
Individually, their accomplishments are equally impressive. Gene Scheer has worked with a range of renowned composers, including Jennifer Higdon on Cold Mountain and Tobias Picker on An American Tragedy. He’s also an accomplished composer in his own right—his song American Anthem was featured in Ken Burns’ Emmy Award-winning documentary on World War II.
Jake Heggie’s groundbreaking first opera, Dead Man Walking, with a libretto by Terrence McNally, launched him into the spotlight. Since then, his work in art song and opera has made a lasting impact, earning him the title of Musical America’s 2025 Composer of the Year. So who better to explore the dynamic between a librettist and a composer? In this two-part conversation, we unpack what makes a successful collaboration and how words and music come together to create something truly unforgettable.
Part One's conversation took place during a particularly exciting time—Moby-Dick was being performed at the Metropolitan Opera. Throughout our discussion, the opera serves as a touchstone for understanding the creative process. We begin with a fundamental question: how do they do it? Specifically, how do hard work and patience shape their creative journey?
We get into the nuts and bolts of collaboration—how they challenge and inspire each other to reach new heights. Gene shares insights into the stages of researching and writing a libretto, including the story of how saving $100 unexpectedly launched his career. And in his own words, Gene describes his role simply and powerfully: “My job is to write a libretto that inspires music.”
[Subscriber Content]: In Part Two, we step back and learn more about Gene’s early experiences—his time studying and singing in Vienna (including the month he saw 27 operas!). Jake opens up about the legendary Stephen Sondheim, a mentor and inspiration, and how Sweeney Todd changed his life. In fact, Jake dedicated Moby-Dick to Sondheim.
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I had the pleasure of speaking with John Gibson, a distinguished expert in electronic music who has had a fascinating journey through many aspects of the musical world. As someone who didn’t know much about electronic music going into this, I was pleasantly surprised by how accessible and engaging the discussion turned out to be. That’s thanks to John’s depth of knowledge and, just as importantly, his approachable nature and great sense of humor.
With the help of our intrepid producer and tech guru, Eddie Ludema, we navigated some foundational concepts in electronic music, and Eddie took us deeper into the subject in the second part of the conversation. Whether you’re a dedicated electronic music fan or someone who’s still wrapping their head around it, I think you’ll find this discussion both fascinating and enlightening.
John’s professional background is impressive—he’s an Associate Professor of Music and the Director of the Center for Electronic and Computer Music at the Indiana University Jacobs School of Music. But beyond his credentials, what truly stands out is his passion for the intersection of music, technology, and creative expression.
In Part 1 of our conversation, we explore John’s musical background, starting with his early work as a guitarist and acoustic composer before transitioning into electronic music. We dive into his approach to teaching, get into a deep discussion on one of his recent pieces, Air Traffic (written for our very own Eddie Ludema), and insights into his unique writing process. We also discuss the different ways we listen to music—narrative versus meditative—and how these approaches can evoke emotions or engage intellect.
[Subscriber Content] In Part 2, we get even deeper into the world of electronic music where we talk more about the emotional potential of electronic compositions and the relation of artificial intelligence with music in general, and how that relation might differ with experimental music. We also briefly discuss how programming languages can be used to create sounds and music, share tips on introducing kids to the electronic music world, and explore how acoustic musicians can begin experimenting with electronics. We wrap up with a few real-world stories about the unpredictable nature of technology—especially in live performances—where things don’t always go according to plan!
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Tom Morris is the author of Always the Music, a book I consider a must-read for anyone looking to understand the ins and outs of the classical music business—how it operates, its challenges, and the fascinating personalities involved. Tom has had an extraordinary journey in the world of music, having experienced it all from multiple perspectives. He started as a percussionist, performing with the Boston Symphony Orchestra, and eventually became the General Manager of the same institution. Later, he served as the Executive Director of the Cleveland Orchestra for 17 years, where he made a lasting impact. Most recently, he was the Artistic Director of the renowned Ojai Music Festival, a position he held from 2004 to 2019. In our conversation, we delve into many aspects of his book and his life, a life filled with passion, dedication, and invaluable insights into the classical music world.
In Part 1, we explore Tom’s early musical journey, beginning as a percussion student and the significant influence of Vic Firth, the legendary timpanist of the Boston Symphony. From there, Tom moved into a pivotal role as the General Manager of the BSO. Along the way, he formed lasting friendships with some of the most influential figures in classical music, including composer Oliver Knussen, conductor John Williams—who joined the Boston Pops in 1980—and the visionary Pierre Boulez. We also discuss Tom’s time at the Cleveland Orchestra, where he made a lasting impact, especially through successful European tours and innovative programming that helped elevate the orchestra’s profile.
In Part 2 [Subscriber Content], we turn to an influential figure who shaped Tom's approach to leadership and problem-solving: author Jim Collins, best known for his book Good to Great. Tom shares how he brought Collins in to help refine the Cleveland Orchestra's strategy, offering a fascinating insight into his thinking on organizational development. We also discuss a significant shift in how conductors approach programming, with many now focusing on the concert as a whole rather than simply selecting individual pieces. Finally, we wrap up with Tom reflecting on his time as Artistic Director of the Ojai Music Festival, where his leadership left a lasting legacy.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
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Jerry Hey is a Grammy Award-winning arranger, composer, and trumpeter with an incredible career that spans decades. His work as an arranger has brought him into close collaboration with legends like Quincy Jones, and he's crafted arrangements for some of the most iconic artists in music. If you've ever listened to major hits, chances are you've heard his brilliant work. As a trumpet player, Jerry's journey began with the group Sea Wind in Hawaii and later led him to become a top player in the Hollywood studios. His life is full of remarkable experiences and unforgettable stories, and I had the privilege of sitting down with him to hear all about it.
In Part 1, we kick things off by diving into how Jerry approaches the art of arranging, using three classic songs as examples: "In the Stone" by Earth, Wind & Fire, "Don’t Stop 'Til You Get Enough" by Michael Jackson, and "Rosanna" by Toto. Jerry takes us step-by-step through the magic behind these arrangements. Then, Jerry shares his own unique process for crafting his arrangements—it's an art form that’s both meticulous and inspired, and he walks us through his creative approach. We also chat about Jerry’s close working relationship with Quincy Jones. I couldn’t resist asking Jerry what made Quincy such a remarkable force in music. Jerry’s studies at Indiana University were a key part of his musical journey, particularly his time under the mentorship of the legendary Bill Adam. It was also at IU that he met Larry Hall, a friend who would remain by his side for life. After leaving IU, Jerry’s career took him to Hawaii, where he joined the group Sea Wind, before eventually making his way to Los Angeles, where he became a sought-after player in the studios. To wrap up this section, Jerry shares an unforgettable story from his time recording with the incredible Al Jarreau. Picture this: four intense days of recording from 11:00 PM to 6:00 AM, followed by more studio sessions during the day—surviving on just 13 hours of sleep in four days. It’s a wild story, and you don’t want to miss it.
[Part 2, Subscriber Content] Throughout his career, Jerry has had the privilege of playing alongside some of the world’s greatest musicians. I ask him to reflect on four of his close friends and musical partners: Larry Hall, Gary Grant, Chuck Findley, and Wayne Bergeron, each of whom has had a significant impact on his life and career. We also explore the differences between recording in New York City versus Los Angeles, especially when it comes to the use of headphones in the studio—a fascinating detail that highlights the unique studio culture in each city. Jerry is also a huge admirer of Sergei Nakariakov, and he shares a h
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- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
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Ashley Hall-Tighe is a superb trumpeter, musician, educator, and certified life coach. Ashley has an impressive career, having served on the faculties of several universities, including the Longy School of Music of Bard College, and she currently teaches at the Cincinnati Conservatory of Music. But that’s not all – Ashley also works as a coach, helping individuals and groups combine wellness and music. What’s particularly remarkable is her ability to combine her professional life with her personal life. In this episode, we’ll dive into many aspects of her career and her wellness coaching.
We begin our conversation in Part 1 by discussing the many chamber music groups Ashley has performed with throughout her career. She shares what she’s learned from these experiences, including the challenge of balancing touring with her family life. From there, we shift our focus to the challenges facing women in music. We also talk about her personal philosophy of living, touching on the importance of balance and setting priorities. One exciting highlight of Ashley’s career is her debut album, Upcycle, and we spend some time discussing the inspiration behind the project. We then take a step back to explore Ashley’s beginnings, specifically how she worked to refine her approach to playing, ultimately becoming more effective as a musician. As our conversation continues, we transition into her wellness training, starting with her work at the Longy School of Music.
In Part 2 [Subscriber Content], we take a closer look at Ashley’s expertise and coaching training. She walks us through the services she offers on her website, offering insight into her unique approach to combining wellness and music. We also talk about the courses she teaches, including a 16-hour course that’s designed to help musicians and artists thrive. To wrap up, Ashley shares a glimpse into her daily routine, telling us how each morning begins with a cup of coffee and some time for journaling. And for those of you who are curious about where she calls home, she lives in a beautiful log cabin outside of Cincinnati!
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
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- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
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General Introduction:
Louise Pollock is currently the Professor of Trombone at the Hochschule für Musik Hanns Eisler in Berlin. Before that, she served as the principal trombone of the Göteborg Opera while also teaching at the University of Göteborg Academy of Music and Drama. Alongside her orchestral work, Louise has earned several prestigious awards, including the First Prize and Audience Prize at the International Aeolus Competition for Wind Instruments in 2016.
But what really makes this conversation special isn’t just her impressive resume—it's the journey she’s taken to get to where she is today. For anyone who has dreams and is willing to put in the work to achieve them, this episode will be especially inspiring.
I first met Louise when I was teaching at the Musik Hochschule in Freiburg, and she came in as a first-year student. She was quiet, a little shy, but what really stood out was her work ethic. She practiced more than anyone else at the school. Even back then, I could tell she had something special and was destined for a great career because she was willing to outwork everyone around her, but always in a smart, thoughtful way.
And to give you a little spoiler, when I asked Louise what advice she would give to young students, her answer was powerful: "If I can do it, you can do it too."
Part 1:
In the first part of our conversation, we dive deep into the topic of auditions and the preparation that goes into them. Louise shares her experiences, both as a student auditioning for music schools and later, as a professional auditioning for orchestras and competitions. From there, we shift to discuss teaching—Louise reflects on her journey from a new teacher in Göteborg to her current role as a professor in Berlin. We also talk about her experiences playing in an orchestra, and Louise opens up about the incredible sense of community she feels within the brass world.
Part 2: [Subscriber Content]
In this segment, we focus almost entirely on Louise’s time studying with Branimir Slokar. She shares what she learned from him and why she holds him in such high regard as a teacher. We also touch on her unparalleled work ethic, particularly during her time at the Freiburg Musik Hochschule, a period I can personally vouch for as being one of intense dedication and hard work.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
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- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
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I was delighted to have the opportunity to sit down with Anne Midgette and Greg Sandow together. Both are influential thinkers and leaders in the world of music, each boasting remarkable careers. Anne served as the music critic for The Washington Post for 12 years, following her tenure at The New York Times. She has co-authored two captivating but distinctly different books: My Nine Lives: A Memoir of Many Careers in Music with Leon Fleisher, and The King and I: The Uncensored Tale of Luciano Pavarotti with Herbert Breslin. Currently, she is working on an exciting new project—a book about Nanette Streicher, the innovative woman who built pianos for Beethoven.
Greg Sandow has an equally impressive background, having taught at Juilliard for 25 years and currently teaching at the Peabody Conservatory. His courses at Juilliard included "How to Talk About Music" and "Classical Music in an Age of Pop." Greg has written for a range of prestigious publications, such as The Village Voice, The New York Times Book Review, Opera News, and The Wall Street Journal. Notably, he was the first music critic for Entertainment Weekly and spent three years as the chief pop critic for The Los Angeles Herald Examiner. And here’s an interesting detail—Anne Midgette and Greg Sandow are married!
In Part 1, we begin by exploring how Anne and Greg first met. From there, the conversation shifts to pop music with Greg offering his unique perspective, including why he believes Taylor Swift holds such significant cultural importance. This leads us into a thoughtful discussion on the relationship between art and commerce. A substantial segment of this part of the interview is devoted to their insights on how orchestras, opera companies, and musicians have evolved over the years and what orchestras can do to build and engage their audiences effectively.
[Subscriber Content] In Part 2, we delve into the demanding schedules of successful conductors and musicians, touching on how the greatest artists need space and time to mature their interpretations. Following that, Anne and Greg share their individual writing habits, providing a glimpse into their creative processes. We conclude our conversation by examining revealing differences in how classical music is critiqued compared to pop and rock music.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
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Imogen Whitehead is a true trailblazer in the world of trumpet performance. Currently the principal trumpet of the Britten Sinfonia, Imogen has performed as principal trumpet with some of the world's most prestigious orchestras, including the London Symphony Orchestra and the Aurora Orchestra. Alongside her orchestral work, she has also carved out a dynamic solo career, commissioning and premiering new trumpet and flugelhorn music, and championing contemporary compositions.
In this interview, we explore the wide-ranging facets of Imogen's career and the personal and professional steps she's taken to build her impressive path. We begin in Part 1 by talking about her recent experience touring with the London Symphony Orchestra, where she reflects on both her audition and the challenges and rewards of playing with such a renowned ensemble.
We then move on to discuss her time with the Aurora Orchestra, an ensemble that performs much of its repertoire entirely from memory—a fascinating approach that Imogen describes in detail. She also shares insights into her experience premiering Anibal Vidal’s Trumpet Concerto with the Britten Sinfonia, and how this commissioning project came to life.
Throughout our conversation, we explore the career strategies Imogen has employed, including the importance of building personal connections and the role that social media has played in expanding her reach. Imogen also takes us back to her time as a student at the Royal Academy of Music, where she recalls a transformative lesson with the legendary Jim Watson.
In the second part of our conversation [Subscriber Content], Imogen discusses further studies with Norwegian soloist Tine Thing Helseth in Oslo, shedding light on how brief but impactful experiences can shape a musician’s growth. She also provides an inside look at the commissioning process for To Stay Open, a piece by Charlotte Harding inspired by the work of psychologist Pippa Grange.
We end on a fun note, as Imogen shares the unique experience of playing in the recording and filming of Mahler's 2nd Symphony for the 2023 Film "Maestro", an American biographical romantic drama about Leonard Bernstein..
Whether you’re a young player, a seasoned professional, or simply a fan of music, this episode with Imogen Whitehead is sure to inspire you to take chances, put in the work, and grow both as a musician and a person.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
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- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
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- Cancel at anytime and easily resubscribe when you want all that extra content again.
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Few musicians have left as profound a mark on their instrument as Friedemann Immer has on the Baroque trumpet. Renowned for his ability to effortlessly tackle some of the most demanding works in the repertoire, Friedemann has recorded Bach’s iconic Brandenburg Concerto No. 2 an incredible ten times. In 2021, his contributions were recognized with the Christopher Monk Award from the Historic Brass Society. His career includes performances under legendary conductors and collaborations with esteemed ensembles like the Freiburger Baroqueorchester, Concentus Musicus Wien, and the Academy of Ancient Music in London. But his artistry doesn’t stop at the trumpet. Friedemann was the first to record Haydn’s Trumpet Concerto on the keyed trumpet, and as the founder and leader of the Trompeten-Consort Friedemann Immer, he continues to push the boundaries of historical performance practice. With over 200 publications through Editions Immer, he’s also a driving force in preserving and expanding the repertoire.
In Part 1, we begin with a great story about one of his performances of Bach’s Brandenburg Concerto No. 2. This leads us into a discussion about the challenges of playing high notes and how the text of a piece informs his interpretation, using the bass aria from Bach’s Christmas Oratorio as an example. We then dive into how Friedemann discovers “new” Baroque music, before moving to the topic of the keyed trumpet and his interpretive ideas regarding Haydn’s and Hummel’s trumpet concertos. The segment concludes with Friedemann sharing his deep admiration for conductor Nikolaus Harnoncourt and what it meant to perform under his baton.
Part 2 [Subscriber Content] continues with an exploration of the differences between the Baroque trumpet and the piccolo trumpet, followed by a look at the Brandenburg Concerto No. 2, including stories and concepts that bring the music to life. We then ask Friedemann to reflect on the similarities and differences among some of the legendary conductors he has worked with throughout his career. Finally, we discuss his Editions Immer series, delving into his invaluable contributions to the Baroque repertoire and its performance.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
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- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
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- Cancel at anytime and easily resubscribe when you want all that extra content again.
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Jennifer Hamady is a remarkable blend of singer, teacher, writer, and psychologist. As an author, she has penned three insightful books: The Art of Singing: Discovering and Developing Your True Voice, The Art of Singing Onstage and in the Studio, and Learning to Sing. She is also a regular contributor to Psychology Today, where she shares her expertise on the psychological and emotional aspects of singing. As a performer, Jennifer has graced the stage alongside iconic artists like Stevie Wonder and Def Leppard. In this conversation, we dive into the many facets of her career and how she helps singers develop their voices by addressing both technical and psychological aspects of their artistry.
Part 1
We begin with Jennifer's early journey as a singing student, exploring the lessons she took from both challenging and positive experiences. She reflects on how these formative experiences shaped her understanding of the voice and her approach to teaching. From there, we trace the beginnings of her singing career, starting with her first years after college and leading up to her breakthrough moment—when she joined the ranks of backup singers for top pop artists. We conclude Part 1 with a deep dive into her philosophies on vocal technique, artistry, and teaching.
Part 2 [Subscriber Content]
In addition to performing, Jennifer is a highly sought-after teacher who works with students in person and online. She explains how her career evolved by her willingness to embrace new opportunities and “say yes to everything.” I ask how she balances this busy schedule, fits in her writing, and manages her ongoing creative projects. Jennifer also shares her plans for future books, giving us a glimpse into what’s next for her as a writer.
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Mark Scatterday is the Professor of Conducting at the Eastman School of Music and the esteemed conductor of the legendary Eastman Wind Ensemble. Since taking the baton in 2002 as only the fourth conductor in the ensemble’s storied history, Mark has continued the rich legacy of his predecessors, especially Frederick Fennell and Donald Hunsberger. Under his direction, the ensemble has toured the world, performing in Japan, China, Taiwan, Europe, Canada, and across the United States. As a passionate advocate for contemporary music, Mark has premiered numerous works, making his mark as a visionary leader. It was a real pleasure to sit down with Mark to talk about his unique approach to conducting, his philosophy on teaching, and how he keeps the Eastman tradition alive.
We start by diving into Mark's early training as a trombonist, where he studied under the great Ed Anderson and Dennis Smith. He shares how studying scores during rehearsal breaks helped shape his understanding of music. Mark also talks about his early steps into conducting and how a fateful meeting with Donald Hunsberger led him to pursue his doctorate at Eastman. As we wrap up Part 1, we explore his "three-pronged recipe for success" and the role of fate in his career.
In Part 2 (Exclusive Subscriber Content), we get into Mark's approach to rehearsals and auditions, especially for the Eastman Wind Ensemble’s tours and recordings. We also delve into the fascinating history of the ensemble, starting with its founder, Frederick Fennell, and continuing through the influence of Mark’s mentor, Donald Hunsberger. Finally, Mark reflects on his close friendship with renowned composer Karel Husa and their creative collaborations.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
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- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
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On June 9, 1974, the legendary singer Frederica von Stade and the brilliant pianist Martin Katz performed their first concert together—a partnership that continues to captivate audiences to this day. Few musical collaborations have endured for so many years or produced such iconic work. It was an incredible honor to sit down with both of them to discuss their journey, their deep insights on music-making, and their lasting bond as friends and colleagues. Their love and affection for each other shine through every moment of this conversation, offering a window into the human side of their remarkable relationship. I personally learned so much from this discussion, and I hope you will too. And yes, we shared plenty of laughs along the way!
In Part 1 of our conversation, Frederica von Stade and Martin Katz share the story of how they first met and began their extraordinary musical partnership. They talk about how they choose repertoire, with "Jenny Rebecca" serving as a perfect example of a song that has matured and evolved over the years. We also explore the differences between recording and live performances, the importance of staying loyal to the text, and the fascinating contrast between how singers and instrumentalists approach breathing. To top it off, we discuss their experiences working with modern composers, offering insights into both collaboration and creativity.
In Part 2 (for Subscribers), we dive into more personal and professional aspects of their careers, including the role of agents and how those relationships have shaped their journeys. Martin shares his thoughts on the differences between working with instrumentalists and singers, and both of them reflect on the various stages of talent development. We also talk about their favorite composers, and Martin offers a thoughtful perspective on teaching, explaining that it's less about providing answers and more about asking the right questions. Throughout, Frederica and Martin’s deep connection shines through, with plenty of laughter sprinkled along the way.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
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In this deeply insightful interview, host Tony Plog chats with Wes Nance, trumpet with the Rochester Philharmonic, about the often-overlooked artistry behind Sleigh Ride's iconic horse whinny. Wes reflects on his time at the Eastman School of Music, his unconventional teaching methods, and the annual Horse Whinny Challenge — a competition as fun as it is fierce. Along the way, they explore what really resonates with audiences, proving that a well-timed whinny can steal the show!
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Jeffrey Biegel is a pianist who has dazzled audiences across the globe, performing with major orchestras from a young age. But his contributions go far beyond the concert stage — He's commissioned over 25 new works from living composers, leaving a lasting mark on contemporary piano music. Always pushing the boundaries, Jeffrey has performed weekly online concerts during the Covid pandemic and even pioneered the first-ever live audio/visual recital on the internet in 1997, broadcasting from Steinway Hall in New York. We explore Jeffrey’s extraordinary journey—from his early challenges with being unable to hear to his studies at Juilliard, and his deep passion for bringing new music into the world. Along the way, we discuss his creative process, his experiences as a performer and teacher, and even a futuristic story he’s written, which you can find on his website.
Part 1 dives into Jeffrey’s early life, starting with the incredible story of overcoming hearing issues before discovering his musical gift. By age 10, he was already performing concerti! We talk about his time at Juilliard and the lessons he learned from that transformative period. Since Jeffrey has brought so many new works into the piano repertoire, I ask him to walk me through the fascinating process of commissioning new music. We wrap up with a fun, hypothetical set of questions based on one of his creative stories.
Part 2 [Subscriber Content] turns to another key part of Jeffrey’s career — teaching. We also dig into a question that musicians often grapple with: how much freedom should a performer take when interpreting a composer’s work? Finally, we end on a high note, discussing two unique pieces Jeffrey has been closely involved with: Leroy Anderson’s Concerto in C and Peter Schickele’s Concerto for Very Grand Piano (you might know him as Mr. PDQ Bach).
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
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- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
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Ed's career in music has been nothing short of remarkable, spanning multiple roles including trumpeter, teacher, conductor, and entrepreneur. His deep involvement in so many facets of the musical world has made him a leading voice not just in the trumpet community, but in the broader world of music.
In Part 1 of our conversation, Ed takes us back to his early days, sharing stories from his time studying with two of the most iconic trumpet teachers of his era—Vincent Cichowitz and William Vacchiano. We’ll dive into his experiences at Juilliard and hear about his early days in New York, including what it was like to work with legendary conductors like Leonard Bernstein and Pierre Boulez. Ed also shares fascinating anecdotes about some of the great orchestral trumpet players he’s encountered, such as Tom Stevens, Morris Murphy, and John Wilbraham, and their unique approaches to working with conductors. Plus, he’ll give us an inside look at his teaching philosophy, particularly his thoughts on preparation methodology.
[Subscriber Content] In Part 2, I ask Ed a thought-provoking question: if he were a student today, knowing what he knows now, what would he do differently? His answer leads us into a rich discussion about music and interpretation that goes beyond the trumpet. We wrap up our conversation by delving into Ed’s significant contribution to the trumpet community—Chosen Vale, a project that has left a lasting impact on musicians everywhere.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
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Clayton Haslop's journey as a violinist has been nothing short of extraordinary. At just 18, he joined the Los Angeles Chamber Orchestra and rose to become its concertmaster. Over the years, he also served as concertmaster for the Los Angeles Opera Orchestra and contributed his talents to numerous iconic film scores, including Titanic, The Matrix, and many others. But Clayton's path wasn't always smooth. In his forties, he faced a daunting challenge when he was diagnosed with Focal Dystonia in his left hand. Despite years of struggle and bouts of depression, Clayton made a remarkable comeback by relearning to play the violin using only two fingers on his left hand. I'm especially honored to have this conversation with Clayton, as we were roommates in Santa Monica in the early 1980s. Although I was ten years his senior, I learned so much from him during those years. Speaking with him on this podcast is truly a privilege.
In Part 1 of our conversation, we delve into what it’s like to be a concertmaster for some of the top studio orchestras, the experience of working on blockbuster films like Titanic and The Matrix, and collaborating with renowned film composers, each with their unique personalities and approaches to recording sessions. We also explore Clayton’s early years, including his studies with the legendary violinist Nathan Milstein, and discuss the beginnings of his career along with some key concepts from his Violin Mastery Course.
In Part 2 [Subscriber Content], Clayton delves into the profound challenges he faced after being diagnosed with Focal Dystonia. Drawing inspiration from the legendary guitarist Django Reinhardt, who famously played with only two fingers on his left hand, Clayton reimagined his own technique to continue playing the violin at an exceptional level. He shares the physical and mental strategies that enabled him to overcome this seemingly insurmountable obstacle. Beyond the technical adjustments, Clayton talks about his deep musical connection with the members of an assisted living community.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
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Pianist Claar ter Horst is a renowned expert on German Lieder, with a special focus on the music of Robert Schumann and Hugo Wolf. Her impressive career includes collaborations with legendary German singers like Dietrich Fischer-Dieskau and Elisabeth Schwarzkopf. Who better to delve into the rich tradition of German Lieder than Claar ter Horst?
In Part 1, we explore what sets the German singing tradition apart from those of other countries, using France as a point of comparison. Claar shares her experiences working with Fischer-Dieskau and Schwarzkopf, discussing their unique perspectives on music, singing, and their work ethic. She highlights both the similarities and differences between these iconic artists, offering insights into what it was like to collaborate with them. We also dive into Claar's deep passion for the songs of Robert Schumann, a composer whose work she holds dear. Finally, we unpack a profound quote from Claar's website: “In my view, the creative process is essential: working diligently, refining like a diamond, achieving freedom like a bird, listening with all your senses, and, above all, being amazed like a child.”
[For Subscribers] Part 2 opens with a fascinating family anecdote: Claar's grandfather attended the premiere of Mahler’s 5th Symphony, where conductor Willem Mengelberg asked him to delay the train to allow the Concertgebouw Orchestra to play an encore. What a remarkable family legacy! We then continue our discussion on teaching and learning, with Claar emphasizing her belief that dedication and hard work can help students overcome any lack of innate talent or instinct for phrasing.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
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Described by Broadway World as a "richly powerful singing actress," Nina is redefining what it means to be an opera singer. Beyond her international singing career, she is the Artistic Director at the Boston Lyric Opera and the co-founder and President of the Asian Opera Alliance. Nina is someone who not only talks the talk but walks the walk, using her career to expand the boundaries of the opera world. It was a true pleasure and honor to speak with Nina about her journey as an artist, administrator, and advocate.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
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In Part 1, Maestro Slatkin shares stories from his musical upbringing in Los Angeles, enriched by his family's deep musical roots. He reflects on his formative years studying under renowned mentors Jean Morel and Walter Susskind. We explore his process for learning new pieces and his insights on the unique approaches and sounds of various orchestras. The episode concludes with a poignant recollection of a moving performance of Barber's Adagio for Strings at the BBC Proms on September 15, 2001, just days after the tragic events of 9/11 (see links below).
In Part 2 (Subscriber Content), we highlight a significant aspect of Leonard Slatkin's legacy: his dedication to promoting and premiering contemporary composers. His extensive contributions to the discovery and revival of earlier American music are equally impressive. We wrap up our conversation with delightful anecdotes about his love for baseball and his friendship with trumpet legend Bud Herseth, complete with a tale of how they pranked each other!
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
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Imagine being a multi-talented artist, a composer who has crafted scores for TV and iconic films like Jeremiah Johnson and The Candidate. Now, imagine you're also an acclaimed actor, having graced countless movies and winning a Tony Award for Children of a Lesser God Picture collaborating with legendary directors such as Bob Fosse, Mike Nichols, and Stephen Sondheim. Oh, and did I mention your father was the renowned pianist Artur Rubinstein? Growing up, you played for distinguished guests like Stravinsky, Milhaud, and Lawrence Olivier. With that incredible background, you can only imagine how thrilling it was for me to chat with the extraordinary John Rubenstein!
In Part 1, we delve into John's fascinating childhood and his initial steps into the world of composing. He began by writing for school projects and eventually transitioned into film scoring. John shares how the movie Chinatown influenced him and his special connection with trumpeter Uan Rasey, whose haunting solos left a lasting impact. We also explore the art of writing scores in Hollywood, discussing the nuances between composing for TV series and films. Then, we shift to John's acting career, highlighting his lead role in Pippin under the direction of the legendary Bob Fosse. We wrap up this segment by discussing the challenges of dealing with nerves and taking auditions.
In Part 2, we take a detour to discuss a memorable evening when John starred in Children of a Lesser God at the Mark Taper Forum in Los Angeles, while his father performed at the Music Center. John reminisces about playing for George Szell and shares insights into his father's experience recording with Fritz Reiner. We conclude with a wide-ranging conversation covering John's favorite books and composers.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
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- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
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Called "one of the biggest talents of his generation," Elias David Moncado, at a very young age, has already had an exceptional career. After winning his first competition at the age of 6, then his first international competition at the age of 8, he went on to win four major competitions after that (the Sendai Violin Competition in 2019, the International Karol Lipinski Violin Competition in 2019 (first grand prize and ten special prizes), the Valesia Musica Competition in 2021, and the Vladimir Spivakov Competition in 2021). His debut album was released in 2022 with works by Hindemith, Poulenc, and Bartok. Equally involved in different types of chamber music, he is a well-established international artist who is still just at the beginning of his career.
We begin with my asking Elias about his very early beginnings as a violinist, his early studies with Professor Latica Honda-Rosenberg, and then his phenomenal success at international competitions. I asked about his mental outlook during those competitions, and his answer was both a surprise and revealing to me. We then speak about interpretation and memorization (and how he is able to memorize so many major concerti), and his thoughts about concentration.
(Part 2 for Subscribers): During Covid, when he had no in-person performance opportunities, Elias learned the fiendishly difficult Bartok solo sonata as a way of using his free time to challenge himself. In 2022 he released his first solo album, and we talk about why he didn't record standard repertoire for his first recording. Because Elias is also deeply involved in playing chamber music, we talk about time management, and managing a career... "you need to create a full package as an artist." I then ask about the two 18th-century violins he plays, and we end with Elias talking about his special musical relationship with Anne Sophie Mutter.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
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Frederica von Stade has had a fabulous career as an opera singer, recitalist, and concert artist. In her long career, she has performed and recorded internationally, working with major conductors around the world (Karajan, Bernstein, Abbado, to name just a few.) In addition, she has championed the works of many contemporary composers, most notably Jake Heggie, with whom she has a strong friendship. Known as Flicka, she is both unassuming and gracious, and it was a highlight to have the opportunity to speak with her about her life and career.
We begin our conversation by talking about her connection with composer Jake Heggie, how they met, how she was instantly attracted to his music, and how Heggie's first and most popular opera, Dead Man Walking, came into being. Using that as a springboard, I then ask how an opera is put together from a singer's point of view. She then talks about how to maintain a healthy voice, working with nerves, and we end Part 1 discussing two of her favorite composers - Mahler and Debussy.
[Part 2 for Subscribers]: As a young girl, Frederica von Stade was first drawn to musicals and only later became involved in opera, and so she speaks of some of her early experiences with musical theater. I ask if she feels that she has been influenced as a singer by any instrument, and (no spoiler alert) her answer came as a total surprise! We end with a discussion of the charitable work she has done, specifically with the Young Musicians Choral Orchestra.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
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Dr. Micah Killion is a trumpeter who has devoted the past several years to better understanding what constitutes effective practice and learning. Formerly a member of the Air Force Band, he has also been an arts administrator. In addition to his performing and research, he has also been involved in helping underprivileged populations through the power of music, his latest effort including a journey to Nepal. Currently he is the coordinator for the Center for Music Learning's new "Musical Lives Initiative."
We begin the conversation with Micah talking about his doctoral thesis research, where he studied the practice routines of six high-level trumpet players: Chris Coletti, Louis Hanslick, Justin Emmerich, Amy McCabe, Billy Hunter, and Gareth Flowers. His research aimed to identify commonalities in their practice approaches. We then talk in-depth about several practice concepts discussed on his website: "Give it a rest", "Interleave it", and "Get motivated."
In Part 2, to get Micah's feedback, I gave him an example of how I practiced when I was in college, which led us to more practice talk, and "what's your target." We wrap up the interview with Micah talking about his three week visit to Nepal, and how he used music and the trumpet to work with youth experiencing homelessness.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
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Miguel Harth Bedoya has been the Music Director of the Fort Worth Symphony Orchestra for 20 years and is now their Music Director Laureate. In addition to other Music Director positions he has held, he has also guest conducted major orchestras around the world such as the New York Philharmonic, the Philadelphia Orchestra, the Cleveland Orchestra, and the Chicago Symphony - to name only a few. He is currently the Mary Franks Thompson Director of Orchestral Studies at Baylor University.
We begin by asking Miguel about the differences in conducting various levels of orchestras, ranging from student orchestras to the top orchestras in the world... and his main thought is, "The love of music is very important." I also ask him about score study, to which he explains why a piece sounds different to him each time he reads and studies its score. (He also mentions how reading Cervantes' Don Quixote three times over the years gave him a different understanding of the book each time he read it.) Miguel was the conductor for the premiere and recording of Jennifer Higdon’s Cold Mountain, and he talks about the process of bringing a new opera to life. We end with an explanation of why an orchestra is like a research laboratory.
[Subscriber content] In Part 2, we begin by talking about Miguel's background. He was born in Peru, and we trace his journey as a student from Peru to Chile to the Curtis Institute and finally to Juilliard. He was an assistant conductor for the New York Philharmonic when Leonard Slatkin was delayed in getting to a concert, and he talks about jumping in at the last moment. He also talks about a later experience conducting Copland’s Appalachian Spring with that great orchestra. We finally turn to his career as a teacher, and his belief that building a foundation is critical to becoming a conductor. We end on a non-musical note... his helping with the disposal of garbage in Fort Worth... known as the "Cowboy Compost"... while he was Music Director of the Fort Worth Symphony.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
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- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
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Kevin Mayse is the wind ensemble conductor, trumpet teacher, and chair of the Department of Music at Riverside City College. Even though RCC is a two year college, what Kevin has been able to accomplish has been exceptional. His wind ensemble not only performs major works but also has a vibrant commissioning program, top flight soloists, and performs to sold out, standing room audiences. So, who better to ask about how to build a strong and thriving college performing program than Kevin?
We begin with a discussion of a concert I was involved in as a composer, where a piece of mine for trumpet and wind ensemble was given its premiere by Tom Hooten (principal trumpet of the Los Angeles Philharmonic Orchestra) and the RCC Wind Ensemble. We use this concert to discuss in depth how Kevin has been able to create such a strong program. This is followed by Kevin talking about his early trumpet studies, how he gradually got into conducting, being hired at RCC, and eventually becoming department chair (and his take on the role of that position.)
Be sure to join us in Part 2 (Subscribers Only Content) where Kevin discusses some of his inspirations and mentors - Dave Evans, Malcolm McNab, and Bobby Shew for trumpet and Professor Jerry Junkin for conducting (specifically the four straight years that he attended a life-changing conductor's workshop in Texas.) I then ask Kevin a question that is always interesting for me: What makes a great student? We end with a story from a concert where Karel Husa's "Music for Prague 1968" was performed, and the emotional impact that great music can have.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
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Jon Armstrong is an amazingly versatile performer, composer, educator and thinker. Perhaps that should come as no surprise, since as a young man in his home town in Oregon, Jon not only played in a Buddhist marching band but also worked 12 hour shifts in a diaper factory! After a highly successful career in LA, he now teaches at Idaho State University, where he's established a fantastic commercial music program, while still performing and composing and at an extremely high level.
Jon grew up in Corvallis, Oregon, and at a very young age was already deeply involved in music, learning any instrument he could get his hands on and playing in a variety of groups. His studies at the California Institute for the Arts were followed by seven years in Los Angeles, where he worked as a freelancer, band-leader and composer... and also founded three educational jazz programs! He moved to Pocatello to become Director of Jazz Studies at Idaho State University in 2015, which he has evolved into the new Commercial Music Program. Much of our discussion centers around his thoughts on pedagogy and building the commercial music program.
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Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
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Matilda Lloyd has already had an exceptional career at a very young age. Her first album, Casta Diva, released on Chandos Records, was BBC Music Magazine's Recording of the Month in June of 2023. She will also be a European Concert Hall Organization "Rising Star" for the 2024/2025 season. But in addition to being an international trumpet soloist, she also has her own podcast, Musical Roots, and is an Ambassador for the charity "Brass in Africa."
The conversation begins with Matilda tracing her path to where she is now, from when she began playing trumpet, on through her studies with Mark David and Hakan Hardenberger. She talks about the specific teaching styles of these two great players and teachers, and then moves on to the beginning of her solo career. Although it may seem as though she had a smooth path to a successful career, that hasn't always been the case, including a time during the pandemic when she worked a job outside of music in order to put food on the table. Her take on that time shows resilience, strength, and motivation. Part 1 wraps up with Matilda talking about moving forward with her career after the pandemic, and how her practicing has changed over time.
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As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
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During the series of conversations I've had with people in the music business over the past 3 1/2 year, I've spoken with guests representing many aspects of music. But I haven't spoken with anybody about the give and take between orchestra management and musicians. So, who better to have on the podcast than Lynn Larsen? Lynn has been Personnel Manager (since 1988) and Orchestra Manager (since 2017) of the Boston Symphony Orchestra. Formerly, he was a fellow in the American Symphony Orchestra League management program and worked for a year with the Denver, Albuquerque, and St. Louis Symphonies. But he began his career as a horn player with the Utah Symphony, was the head of the orchestra committee, and later was also president of ICSOM (International Conference of Symphony and Opera Musicians) for two years, representing over 4,000 players across the United States. Lynn has a huge amount of insight into both sides of the management/player relationship, and so this is a conversation that I think will be interesting to many players (and hopefully people in management as well!)
Lynn began his life as a musician by playing second horn with the Utah Symphony for 17 years. During his time with the orchestra, he was head of the orchestra committee, so he takes us behind the scenes to show us what happens during a strike, and some potential ways of resolving one. I then ask Lynn about his time as a fellow in the American Symphony Orchestra League program, and what he learned from working with the orchestras of Denver, Albuquerque, and St. Louis. We end Part 1 with Lynn talking about his two years with ICSOM.
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As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
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Richard Antoine White (RAW Tuba) is principal tubist with the New Mexico Philharmonic, principal tuba of the Santa Fe Symphony, and a full professor of tuba at the University of New Mexico. But for more reasons than those, he has been an inspiration for those of us familiar with his life and work. For the first four years of his life, he was homeless and living on the streets of Baltimore, yet today his life is one of success and giving. If you don't know of him, I think you will find his story incredibly inspirational.
In Part 1, I ask Richard to speak of his early life, first growing up on the streets of Baltimore, then being adopted by his grandparents at the age of four, learning the tuba and entering the Baltimore School for the Arts, and finally studying with David Federle at the Peabody Institute, followed by studies with Daniel Perantoni at the Jacobs School of Music at Indiana University, where he was the first African American tubist to earn a doctorate.
[Subscriber Content] In Part 2, we follow Richard's journey as he won a spot with the New Mexico Symphony and then, when the orchestra failed, helped to found the New Mexico Philharmonic, of which he is still a member. I ask him about his amazing project, the RAW Tuba Ranch, which will be open for people from the age of 5 to 100. I also ask him about his participation in the Slavery Reenactment project, which changed his view on life. Throughout our conversation, Richard talks about his philosophy of life and his appreciation of hard work. "The best part about every day is that you're not done yet."
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As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
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I first met pianist Katharina Kegler in 1992 when I auditioned for the position of trumpet professor at the Freiburg Musik Hochschule. Katharina was assigned to me as the accompanist for the short concert I would have to play and, unbeknownst to me, it was her first service since being hired at the Hochschule. So over many year we have not only taught together, but also performed together, both in Germany and in Japan. During our many years together, I can't recall a time where I disagreed with any of her ideas on musicality or phrasing. Her judgement always just seemed so logical and deep. So in this interview I ask her a number of questions about musicality and phrasing, and was both surprised and delighted with her answers.
We begin Part 1 with my asking Katharina about her studies with Tibor Hazay (Freiburg Musik Hochschule) and John Perry (Rice University), two very different personalities and both very deep musicians. We then discuss the steps that Katharina goes through to learn a piece by Brahms (as an example), discussing how she builds her interpretation over time. She also explains why she's against students learning a piece by first listening to recordings.
For Contributing Listeners (Part 2): Katharina has spent a great many years not only playing chamber and solo literature, but also accompanying students. She has also worked at the Munich ARD competition, perhaps the world's most highly recognized solo competition, and so I ask her about the difference between accompanying college level students, the top players at the Munich competition, and finally, top professionals. We talk about her work with students, and end the conversation with Katharina as an entrepreneur with the work she put in to start the concert series, Musikfest Ebringen.
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As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
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Trumpeter Dave Bilger has had a stellar career as both a performer and also as an educator. He was principal trumpet with the Dallas Symphony, and following that, principal trumpet with the Philadelphia Orchestra for many years. In addition to the 27 years he's taught at the Curtis Institute of Music, he's also Professor of Trumpet at the Northwestern University Bienen School of Music and has given master classes around the world.
As an example of how music can have a profound influence on a person’s, and even a family’s, life, we begin our conversation with my asking Dave about how he was able raise funds in order to bring Baset Azizi from Afghanistan to the United States and how that impacted not only Baset, but his family as well. Dave continues by talking about his two main teachers and their different approaches to teaching, David Hickman and Mark Gould... in addition to his week of study with Tom Stevens. As a student, Dave was a member of the summer student orchestra, the Colorado Philharmonic, and talks about what it was like to have Michael Sachs (principal trumpet, Cleveland Orchestra) and Doug Prosser (principal trumpet, Rochester Philharmonic) as room-mates during his second year. We end part one with an extended discussion of auditions, including musical preparation, mental approaches, and some current issues with the orchestral audition process.
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Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
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Andreas Neubronner is a record producer and engineer who has won 8 Grammy awards. He has recorded great orchestras around the world and is known for his recordings of the Mahler Symphonies with the San Francisco Symphony Orchestra conducted by Michael Tilson Thomas, his work with Baroque and Renaissance ensembles, and piano soloists Murray Perahia and Igor Levit.
Andreas begins Part 1 talking about how he first came to work with Michael Tilson Thomas in London and his recordings of the Mahler cycle with the San Francisco Symphony. Using those sessions, Andreas gives an overview of how recordings are made, from the initial shipping of equipment and set-up, how live concerts are recorded, what a patch session is and how they're run (...and how much money each minute of the session costs!) Andreas also mentions some background of recording tech specifics, including how the human mind perceives stereo sound (and the difficulty of implementing 5.1 surround sound in an orchestral setting.) We end Part 1 with a discussion of Baroque music, and how performance practice has changed over the last 30-40 years.
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Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
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In his thirty-eight years with the Utah Symphony, Nick Norton experienced all aspects of what it means to be an orchestral trumpet player. He began his career with the orchestra as second trumpet and after nine years auditioned for, and won, the newly vacated position of principal trumpet. Towards the end of his tenure with the orchestra, he moved to become a sort of roving section player. But in addition to his life as a trumpet player, Nick has also had a very full life outside of music which, among other things, involved preserving City Creek Canyon in Salt Lake City in its pristine state for the future. He is not only a good friend of mine, he is also a hero to me, a person with great integrity and honor (and also a great sense of humor... I can't recall a phone conversation with him where I didn't laugh.)
We begin our conversation with Nick talking about his audition for second trumpet in the Utah Symphony, his experience in that position, and then his audition for principal trumpet nine years later. Nick did about nine mock auditions for friends beforehand, and he speaks about how his poor showing in his last mock audition, and what he learned from it, helped him win the position with the Utah Symphony. Since he has played all positions in the trumpet section, I asked him about the different roles or goals of each trumpet seat in the orchestra and how to work well with a section. Nick also played principal trumpet with the Malmö Symphony in Sweden for a short period of time, so we talk about the differences in brass playing between an American and Swedish orchestra.
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As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
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Bill Williams is a musician who has had a stellar career as a symphony musician, chamber musician, and soloist. But in addition to his performing, he is also a consultant with a wide range of clients, including elite performers and institutions, focusing on the tools needed to perform well consistently. On his website The Path to Optimal Performance, Bill deals with subjects such as stress and performance, practice, centering, and mental rehearsal. A great deal of our conversation revolves around the concept of how to deal with the vitally important mental aspects of performance.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
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We begin Part 2 by talking about his time with the San Francisco Ballet and how conducting ballet is so different from conducting orchestras. From there we move on to the New World Symphony and the studying of scores in preparation for rehearsals and concerts, how much time is involved, and the strategy he has for score analysis.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
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In the Bonus Room we discuss Chad's book, "You Earned a Music Degree. Now What?" This is a book that offers many practical and usable suggestions for students graduating from college and wanting to pursue a career in music. It is indeed a working musicians field guide, and we cover many areas of the book. Students will find this part of the interview not only inspiring but very practical as well.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
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Chad Goodman is, to quote Christina Wallace from Forbes Magazine, "an entrepreneur bringing innovation to classical music." In his young life, Chad has started his own ensemble, the Elevate Ensemble, worked with the San Francisco Symphony and San Francisco Ballet as a conductor, is a Conducting Fellow of the New World Symphony, and has recently been appointed as Music Director of the Elgin Symphony Orchestra. So how did he do all of this at such a young age? He gives a lot of clues and practical advice in his book: "You Earned a Music Degree. Now What?" It was a pleasure to speak with him about the many aspects of his career and life.
We begin by going back to the start of Chad's career, learning music and also learning the business of music. At a very young age, he founded the Elevate Ensemble. He talks about many of the different aspects of planning concerts, paying musicians, arranging concert venues, and the like. We trace his career to working with the San Francisco Symphony, assisting guest conductors, and how Manfred Honeck was such a profound influence on him.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
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In addition to their new jobs, Will and Carlos have had experiences performing with other major orchestras, such as the New York Philharmonic, the Philadelphia Orchestra, the St. Louis Symphony, and the London Symphony. Our talk then turns to the future, with Will talking about his work with the Vennture Mouthpiece company, and Carlos about training to become an Alexander Technique teacher.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
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We continue our conversation about experiences at Juilliard and then move on to their current jobs: Principal Trumpet with the Nashville Symphony and Principal Trombone with the New York City Ballet, and specifically what they experienced in their auditions for those two orchestras.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
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Trombonist Carlos Jiménez Fernández and Trumpeter William Leathers have already had exceptional lives as musicians, even though they just recently graduated with a Bachelor's degree from Juilliard. They already have great jobs as principal players (Will with the Nashville Symphony and Carlos with the New York City Ballet) and have also performed with groups such as the New York Philharmonic, Philadelphia Orchestra, and London Symphony. It was a joy to speak with them about their journey at this early stage of their career.
In Part 1, we begin our conversation by talking about how Will and Carlos got to Juilliard. Will started a GoFundMe project in Canada, raising over $70,000 to help pay for his tuition, and Carlos was able to get a scholarship. I ask about their audition to get into the school (an audition where very few people are accepted) and then we talk about their studies with their main teachers, Joe Alessi for Carlos and Chris Martin and Ray Mase for Will.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!
In addition to the classical jobs she plays, Amy has also done some very interesting non-classical jobs, so we go behind the scenes of her recording sessions for Kendrick Lamar and Dave Matthews. Amy also talks about what it was like to be on the session that was a tribute to Henry Mancini, which included session musicians such as John Williams, Herbie Hancock and Quincy Jones. I also ask her what it was like to record in India for a Bollywood film!
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We begin the Bonus Room with Amy talking about her 99-day trip around the United States visiting and photographing all the national parks during the first year of the Covid pandemic. Her life outside of music is as varied as her freelance life in Los Angeles, so we discuss other projects she's been involved in. We end this fascinating conversation with Amy talking about the house she bought in Sitka, Alaska... not a usual purchase for an LA freelancer!
Dorico
Professional music notation and composition software from Steinberg. Download a free 30-trial today!
Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!
Hornist Amy Sanchez is a very successful and very busy freelancer living in Los Angeles. But she is so much more than that. In addition to all her various activities as a musician, she has also done a 99 day trip around the United States visiting all the National Parks, has become involved with NkombeRhino, a South African organization that focuses on the protection of endangered species (and in the process founded Horns for Rhino), has a pilot's license, and is probably the only freelancer in Los Angeles to have bought a house in Sitka, Alaska!
During the week of our conversation, Amy had a VERY busy week, flying to San Francisco to play offstage in a Vienna Philharmonic concert, playing on a Thomas Newman session for a Pixar animated movie, playing Sondheim's Sunday in the Park with George, and also teaching 12+ lessons at UCLA. So we begin by talking about that week and what the life of a freelancer is like. We end with Amy talking about the beginning of her career, studying at Ithaca College and the University of Southern California and touring with Blast.
Dorico
Professional music notation and composition software from Steinberg. Download a free 30-trial today!
Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.
Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!
As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:
- Extra Audio Content: Only available to Contributing Listeners.
- Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
- Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
- The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
- Can I just donate instead of subscribing? Absolutely!
- Cancel at anytime and easily resubscribe when you want all that extra content again.
Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!
A large portion of this second part of our conversation deals with performance psychology and dealing with Covid and the groundbreaking research Aaron is doing at the Royal College. In discussing that research we do a deep dive into distributed simulation, where students can perform before a simulated situation of either a performance or audition, a unique lab that I hope can eventually be used by a large number of schools around the world.
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In the Bonus Room, we first discuss the difference between stress and distress. And then we discuss how to relieve distress in performance situations, with Jason talking about “flipping the script.”
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Aaron Williamon is Professor of Performance Science at the Royal College of Music in London and is joined in our conversation by Jason Evans, who is head of the brass faculty at the Royal College and also principal trumpet with the Philharmonia Orchestra. Together we tackle the subject of performance psychology and specifically, performance anxiety. This is a very far ranging, open, and revealing conversation. I think it will be of interest to student and professional alike.
We begin our conversation with Jason talking about the road he traveled to become the youngest person to be appointed principal trumpet in a major UK orchestra and his experiences dealing with nerves during his early playing years. Aaron follows up by speaking about his research at the Royal College of Music and the projects he is currently working on. We end with Jason discussing the pressures of a high level performance job.
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In the Bonus Room, Daniel talks about the tight-knit nature of his team and how he views the success of a product. He discusses balancing priorities while still keeping an eye toward the future and what he thinks about the potential of tech advancements on the future of notation software. He briefly talks about his friendship with the prolific composer Derek Bourgeois, and finally, Daniel and Eddie geek out about a beloved style of Digital Audio Workstation from 1990s.
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In Part 2, Daniel talks about the beginnings of working for Steinberg and their culture. He then goes over the initial years of building Dorico from the ground up and the shift in focus once the product was available to the world. He discusses innovation and the goal of not just "building a faster horse." Finally, he talks about a day in his life as a product marketing manager.
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When I first began the podcast, producer Eddie Ludema and I thought our main goal would be to dig deeply into what makes a great musician, and we had many fascinating interviews in that vein. But as time progressed, we noticed that our interviews were with subjects that didn’t concern themselves directly with performance and practice techniques (Hamido Fujita on A.I. and music, biographer Jan Swafford, Anne Midgette on music criticism), and so we have been expanding our interviews to explore as many different aspects of music as possible. And since I am a composer who uses an engraving system (first Sibelius and now Dorico, which sponsors the podcast), who better to ask about behind the scenes of working on engraving systems than Daniel Spreadbury?
Daniel is product marketing manager for the Dorico Music Notation System (Music and Composition Software for macOS, Windows, and iPad). After graduating from Oxford, he worked for around 12 1/2 years at Sibelius, and when he and his team were let go by Avid, most of them moved to Steinberg and started work on Dorico. In Part 1 of our conversation, Daniel first talks about his beginnings in music and tech, and how that eventually led him to Oxford University, which then eventually led him to Sibelius. We end Part 1 with Daniel talking about his team leaving Avid and their move to Steinberg.
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An important aspect of any chamber music group is repertoire, so we talk about how Seraph Brass chooses theirs and how they go about rehearsing before and during a tour. We end with a discussion of a concert done the night before our conversation... a work by Anthony DiLorenzo (Chimera) performed with the U.S. Army Band, Pershing's Own.
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The members of Seraph Brass are entrepreneurs in addition to being musicians, and we begin Part 2 by discussing the workshops they give on entrepreneurship. We then move on to touring and what it is like to play in different countries with varying cultures. We close this part with a discussion of how the group goes about commissioning works.
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Seraph Brass is in its ninth season and began as a group dedicated to "elevating and showcasing the excellence of female brass players and highlighting musicians from marginalized groups both in personnel and in programming." It is a group consisting of five to six core artists, along with a group of guests who also perform with the group. My conversation today was with founder and trumpeter Mary Elizabeth Bowden, trumpeter Raquel Samayoa, hornist Rachel Velvikis, trombonist Victoria Garcia, and tubist Christina Cutts Dougherty. It was very inspiring for me to speak with a group that is so dedicated to its ideals.
We begin our conversation with an introduction of the players and what they do when they're not on stage with Seraph Brass. Then Mary speaks about how she founded the group, how the group began to grow, and how the current players joined the group. We end Part 1 with a discussion of the role social media has played in the success of the group, and Vicki's story of how to deal with social media trolls.
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In Part 2, we continue our discussion about composition, including aspects such as revision, notation, writing in bursts rather than with a regular schedule (and why composing for very long hours is a joy), separating composing from clarinet and conducting, dealing with being writer's block, and working with Pierre Boulez. We end Part 2 by talking about his conducting career... how he got started, and his work with the Irish Chamber Orchestra.
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Jörg Widmann is also recognized as an internationally acclaimed clarinet soloist, so we begin the Bonus Room by talking about that aspect of his career. We also discuss further how he balances his schedule between composing, clarinet, and conducting (spoiler alert... he really doesn't!), and then we talking about a number of different subjects, such as different national styles of composing, poetry and literature, and performing on period instruments. We conclude our discussion by going back to the beginning of it... combining curiosity with doubt, as they both can point to the future.
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Jörg Widmann is one of the most versatile and fascinating classical artists in the world today. He is one of the world's most recognized modern composers, with premiers by major orchestras around the world. He has also appeared as a clarinet soloist with many of the world's top ensembles. As a conductor, he was the Music Director of the Irish Chamber Orchestra for ten years. His body of work is amazing, so I wanted to find out... how has he been able to accomplish so much in such a short time? He was gracious enough to take time out of his very busy schedule to speak with me.
A defining quality for Jörg is his curiosity. He talks about how this curiosity began in his childhood. While discussing his curiosity and studies at Juilliard, we fall into the subject of German vs. French clarinet systems. We then use three pieces to discuss in depth how he approaches composition: His massive oratorio ARCHE, his Ad Absurdum, written for trumpeter Sergei Nakariakov, and finally, the Trumpet Concerto he wrote for Håkan Hardenberger. Jörg also talks about the similarities in his mind between Miles Davis... and Pierre Boulez.
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In the Bonus Room we discuss the idea of using social media to build a career in music, and from there we move on to the subject of the interpretation of Baroque music... authentic instruments and phrasing vs. modern instruments and phrasing. And we end with Anne's optimistic take on the future of classical music... "The music is just fine."
Part 2 of our discussion deals with the books "The King and I", and "My Nine Lives". We talk about what it was like to work with Herbert Breslin and Leon Fleisher, both towering but very different figures in the music business. This leads to a short discussion about interpretation, and we end with Anne talking about her current project, a book of historical fiction about the person who built pianos for Beethoven, Nanette Streicher.
Anne Midgette was the music critic for the Washington Post for eleven years, and for seven years before that was a regular contributor to the New York Times. She is the author of two books on music, The King and I, about the relationship between Luciano Pavarotti and his manager, Herbert Breslin, and My Nine Lives, with the pianist Leon Fleisher. She is currently working on a historical novel about Nanette Streicher, the woman who built pianos for Beethoven. Oh, and she has also written some travel books! So who better to ask about what it is like to be a music critic and her life in the arts?
We begin with my asking Anne Midgette about her (at least to me) unique view on the purpose of a music critic. We then talk about what a normal day might look like and about the pressure of writing music reviews with incredibly quick publishing deadlines. Ms. Midgette is well known for her articles having to do with the #MeToo problem in classical music, which we discuss in depth toward the end of this episode.
In the Bonus Room, I ask Jock about perhaps the most unusual aspect of his career ... doing voice overs for commercials, cartoons, and the like. And Jock was happy to give me some examples of what different cartoon characters might sound like. So this Bonus Room is quite different from Bonus Rooms of the past! Enjoy!
Jock transitioned to jazz and rock and moved to San Francisco during the height of the hippie movement. We talk about improvisation and the difference between "playing licks" and "riding the crest of the wave." Part 2 ends with Jock talking about two of the iconic band leaders he played with ... Don Ellis and Frank Zappa.
Jock Ellis has had a remarkably diversified musical (and non-musical) life. I first met Jock while we were in our teens playing in the American Youth Symphony and we have been friends to this day. But we have gone in different musical directions, with me staying in classical and Jock going in the direction of jazz, rock, and ... voice overs!
In Part 1 of our conversation, Jock talks about growing up in the 1950’s with parents who were famous Hollywood radio actors, and what it was like to go to a number of their live sessions. Starting to play the trombone at a relatively young age, Jock was mentored in high school and then joined the American Youth Orchestra, which had a profound effect on him. We end Part 1 with Jock talking about his experiences playing with the National Guard Band and how crazy those times were!
In addition to being an orchestral musician and soloist, Carol also teaches at Yale University, so I ask about her thoughts on teaching and practicing. In addition to everything else, she is an entrepreneur, having founded an organization called Tubas for Good, which supplies tubas and euphoniums to underfunded school arts programs.
In the second part of our conversation, I ask Carol about the role of the tuba in the brass section and also the orchestra, and how her interpretation changes when playing with the different brass instruments, and how she adapts for different styles. Carol has premiered solo works by Michael Daugherty and Wynton Marsalis, both written for her, so I ask her to take us through the process of working with two different composers and the give-and-take process of bringing a new work to life.
Carol Jantsch made history in 2006 when she won the position of principal tuba with the Philadelphia Orchestra, becoming the first woman to win such a position in a major American orchestra. But even more impressive is that she won the chair while she was still in her senior year at the University of Michigan. Noted not only for her orchestral playing, she is a brilliant soloist, and in addition to her solo recitals has appeared with numerous orchestras, including the Philadelphia Orchestra. Her career serves as an inspiration to young women throughout the world.
When she was 14 years old, Carol was third tuba in the band at the Interlocken Arts Academy, but by the age of 18 was in the semi-finals for the principal tuba position of the New York Philharmonic and two years later won the principal position with the Philadelphia Orchestra, a position she still holds. So in Part 1, we discuss in depth her transition from being a student to becoming a professional.
It is easy to focus on times when things don't go well with the playing, and so Eddie Ludema and I ask about times when things worked really well. I tell the story of Joe Alessi's perfect note, and we end our conversation by talking about the future.
In Part 2 of our conversation, Mal and Mari talk about how they are able to combine free-lancing while being in school and studying. We also talk about auditions ... and the difficulty of taking a compliment (!).
In the course of this podcast, it has been both a pleasure and also an honor to interview some of the most iconic people in various areas of music. I think it is very easy to think of those people as being incredibly gifted (which of course they are). But what about students who are on their way to a successful career - what is the path they have chosen, what are the obstacles they might face, and what are the doubts that they must deal with?
Meet Mari Tyvand, trumpet, and Mal Layne, trombone, who are now masters students at the Frankfurt Musik Hochschule and the Juilliard School of Music. They have had to overcome huge obstacles (Mari had to deal with chronic acute hand tendonitis over a ten year period that at one point was so bad that her parents had to brush her teeth), and make life changing decisions (in high school Mal had to decide between a life of financial security and a life that would make her happy). But in overcoming these obstacles both Mari and Mal have also had their successes: Mal released her first CD (Integration by Parts) in 2022 and Mari has performed with orchestras such as the Swedish Chamber Orchestra, the Arctic Philharmonic, and the Stavanger Symphony. These two women are very inspiring, and I hope you will enjoy their story.
In Part 1, I begin by asking Mari and Mal how they got started playing and the path that eventually brought them to where they are now as masters students. Along the way, you will hear of Mari’s struggle with acute hand tendonitis which kept her from playing for a number of years, and Mal’s hair-raising story of what happened on the way to her first lesson with Joe Alessi.
The Bonus Room is devoted mainly to Gábor's ideas about teaching. We begin with him speaking of his two main teachers, György Geiger and Hans Gansch, what he learned from them and their different styles of teaching. And since this was recorded before the World Cup was completed, I ask Gábor to predict who he thought would be the eventual winner!
As a member of the Berlin Philharmonic, Gábor Tarkövi has performed under many great conductors, and so I ask him to talk about how he thinks the Berlin Philharmonic has changed from the time of Herbert von Karajan to the present. Then, using Andris Nelsons as an example, Gábor talks about what he thinks makes a conductor great. Having played first with the Bayerische Rundfunk (Munich Radio) Orchestra and then the Berlin Philharmonic I ask Gábor about the changes he had to make in his playing when he first got to Berlin. And finally, Gábor speaks about his final concert.
Gábor Tarkövi is one of the most revered and respected trumpet players of his generation. He began his career as co-principal trumpet with the Württemberg Philharmonic, then was principal trumpet of the Berlin Symphony Orchestra, followed by principal trumpet with the Bayern Radio Symphony Orchestra. Finally, from 2004-2019 he was principal trumpet with the Berliner Philharmoniker. In addition to his solo and chamber music appearances around the world, he is Professor of Trumpet at the Berlin University of the Arts.
In order to find out more about the mindset of such a great orchestral musician, I ask Gábor about how he approaches four of the main excerpts in the orchestral literature for trumpet... the openings for both the Mahler Fifth Symphony and Mussorgsky/Ravel’s Pictures at an Exhibition, the Ballerina’s Dance from Petroushka, and Bartok’s Concerto for Orchestra. We end part one with a discussion of the Berlin Philharmonic’s Digital Concert Hall, and how he deals with nerves for those broadcast concerts.
In addition to his orchestral career, Gene is also an accomplished soloist and chamber player, and I ask him about this aspect of his career. Finally, a huge influence on Gene and his thinking is the author Stephen Covey and his book "The Seven Habits of Highly Effective People." And, as always with Gene, there is a lot of laughter!
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Gene Porkorny has had a truly illustrious career as an orchestral musician. In Part 2 we talk about his many experiences with great orchestras of which he has been a member. Beginning with his joining the Israel Philharmonic at the age of 22, Gene talks about his learning curve, what it was like to work with different orchestras and their principal trumpet players, and the reasons why he will play different instruments for different composers and works.
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Many people believe Gene Porkorny is the greatest orchestral tubist of his generation. A member of the Chicago Symphony Orchestra since 1989, he has also been a member of the Israel Philharmonic, the Utah Symphony, the St. Louis Symphony, and the Los Angeles Philharmonic. But in addition to his orchestral playing, Gene is an exceptional solo artist and chamber musician.
As a young man Gene studied with many of the great brass players of our time. In Part 1 of our discussion, he talks about what he learned from each of his teachers (Jeff Reynolds, Roger Bobo, Larry Johanson, Tommy Johnson, and Arnold Jacobs and what made each of those teachers so special. He also talks about a concert in May of 1973 that changed the course of his life.
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Over the past 2 1/2 years, Professor Lauridsen has had an epic battle with cancer, and he was willing to share aspects of this battle and his moving insights with the hope that it might inspire others who are struggling with health issues. We end by discussing what it was like to receive the National Medal of Arts in 2007.
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In Part 2 we continue our discussion of composition, why he is so inspired by poetry, and how it has led him to write so many works for chorus. We talk about the writing process, and his willingness to struggle to generate his best work. Morten Lauridsen is not only a composer but also a teacher, so we spend a lot of this episode discussing his ideas about teaching.
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Morten Lauridsen has written choral music that has deeply moved people around the world. As one of America’s most beloved and also most performed composers, he received the National Medal of Arts in 2007. His works O Magnum Mysterium, Dirat-on, O Nata Lux, and Sure On This Shining Night have become the all-time best selling choral octavos distributed by Theodore Presser Music. Not only a composer but also a teacher, he taught at the University of Southern California Thornton School of Music for 52 years (!), was head of the composition department from 1990-2002, and founded the school's Advanced Studies in Film Scoring program, now one of the most important film scoring programs in the world.
Early in his life, Morten Lauridsen was a fire fighter in the Pacific Northwest, so I ask him how his 10 weeks alone in a lookout tower pointed him in the direction of music. From there he discusses his studies at the University of Southern California under the tutelage of Halsey Stevens and Ingolf Dahl, two giants in the world of music. And then we begin our discussion of his composing career with a deep dive into perhaps his most famous work, O Magnum Mysterium.
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In the Bonus Room, I ask Professor Holtmeier a number of questions about music in general... Is tonality dead? What is the future of music? What was musical training like during the time of Franz Liszt? And finally, comic books!
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A Rector of a Musik Hochschule has many challenges, but perhaps the biggest that Ludwig Holtmeier had to face was the Covid crisis. Our interview was recorded in 2021, and a large portion of our conversation deals with the steps taken that allowed the Freiburg Musik Hochschule to be the only Hochschule that consistently remained open during that difficult time. But first we begin our conversation by continuing our discussion of the differences between German and American schools.
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Ludwig Holtmeier has been Rector at the Freiburg Musik Hochschule since October 2017. Before taking the job as Rector, he taught theory at the Hochschule and earlier was a musicologist at the Hans Eisler Musik Hochschule in Berlin. He also taught at the Schola Cantorum Basiliensis in Basel, Switzerland. In addition, he is an accomplished pianist and theorist, so he has a broad and deep understanding of music and teaching.
In Part 1 of our conversation, I ask Professor Holtmeier to discuss some of the differences between the Musik Hochschule in Freiburg and music schools and conservatories in the United States. He also talks about some of his duties as Rector and how faculty mindsets can vary depending on the instrument involved.
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Rex Richardson is a true international soloist, which means a lot of international travel. It also means some great stories! In the Bonus Room we talk about some cultural differences that Rex has learned from, and how those cultures influence styles of jazz.
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An important part of Rex Richardson’s early career was playing with the group Rhythm and Brass, so we begin this part of our conversation talking about that time in Rex’s life. Most of Part 2 is a deep-dive into One Hundred Days of Trumpet Practice, Rex’s magnum opus. Every ten days in the book, Rex introduces a new topic, and we cover them all!
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Called "One of the finest virtuosos of our time," Rex Richardson is equally comfortable in many diverse areas of music. He has recordings in the areas of both jazz and classical music and is very active in bringing new music into the repertoire. In addition to his international performing career, Rex is also a published composer. He is a dedicated teacher, and in addition to his position at Virginia Commonwealth University, he has given master classes around the world. His recently released book, One Hundred Days of Trumpet Practice, is a major addition to the trumpet literature.
In Part 1 of our conversation, I ask Rex about his beginnings as a trumpet player and how he overcame his bad habits as a student. We talk jazz, specifically improvisation, and get into the nuts and bolts of how he approaches the art of improvising as both a player and also as a teacher.
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In the Bonus Room, our conversation turns towards Yolanda's teaching career, her approach to teaching, and why she will have students write a review of an imaginary concert they have given. We end our conversation by talking about balancing the life of a soloist with that of a wife and mother.
The music scene is quite different today from when Yolanda began her career, so we discuss some of the challenges facing a young musician today embarking on a solo career. A current project of Yolanda's is "Five Minutes for Earth," a series of pieces lasting five minutes which deal with environmental themes. Other subjects also discussed include the importance of Snickers during long recording sessions!
Yolanda Kondonassis is one of the world’s premier classical harpists, and is widely regarded as today’s most recorded classical harpist. She has won a Grammy Award for her recording of the Jennifer Higdon Harp Concerto (which she commissioned) and has appeared as a soloist with many top orchestras. In addition, she has published several books, including a children’s book. She is the head of the harp department at the Cleveland Institute of Music.
In Part 1, I first ask Yolanda to talk about her experience of soloing with the New York Philharmonic at the age of 18. We then discuss her beginnings as a musician and how she has managed her career through the years. To finish up Part 1, we use the Jennifer Higdon Harp Concerto commission as an example of how a major commission is brought to life.
We continue our discussion about teaching with John talking about the importance of sound and concept along with the importance of singing. I then ask John about the question, should the school be there for the student, or should the student be there for the school (spoiler alert: John sees this as a black and white question!). We talk about why so few great trumpet players are great musicians, and what the quality is that makes a great trumpet player a great musician.
In the Bonus Room we begin by talking about what auditions are like at Indiana University, and what John looks for in a student that is auditioning. We end our conversation by talking about John’s playing career.
John Rommel is Professor of Trumpet at the Jacobs School of Music at Indiana University. Early in his playing career he was a member of the Nashville Symphony and principal trumpet of the Louisville Orchestra, and recently he has performed with both the Cleveland Orchestra and the Cincinnati Symphony. He is also known as one of the premier teachers in the U.S., and it was a pleasure to speak with him in depth about his philosophy on teaching.
We begin our conversation with my asking John to talk about how both students and also his teaching have changed over the 30 years he has been at the Jacobs School of Music. Drawing on a wide variety of influences, from his lessons with Bill Adam to an interview with Hall of Fame football player Walter Peyton to John Wooden and his Pyramid of Success, John discusses the problems facing music students in universities today, and how a student can strive to move forward in spite of difficulties and struggles.
A number of top professionals have come to Thomas Heyer for help with technical problems which leads us to a further discussion of technique in singing. As a teacher he was first opposed to teaching on Zoom, but now is comfortable with using this method of teaching. Other ideas discussed are how seeing a particular graffiti in Minnesota spoke directly to him, how he works on passaggio passages with his students, and finally, he gives his take on the theme of talent vs. hard work.
In the Bonus Room, Thomas talks about how a voice student can best use his/her time to improve, the concept of singing naturally, aging and the voice, and finally, interpreting different styles of music.
Thomas Heyer is a Professor of Voice at the Hochschule für Musik und Darstellende Kunst Frankfurt am Main. Recognized as one of the top voice teachers in Europe, his students sing in major opera houses throughout Europe. As a tenor he has sung throughout Europe, in addition to North America and Africa.
In the first part of our conversation, I ask Thomas about the arc of his career, first as a singer and then as a teacher, the beginning of which was different from that of most singers and teachers. We then discuss in depth his approach to teaching and the main areas where he focuses his concentration... vocal cords, resonance, and support, and how to bring these into balance.
In order to get an idea of exactly how Música para Respirar works, Bruno describes how he would give a typical concert online for a person who has requested one. Camila also describes an actual concert she gave very early in the morning and the positive effect it had. And finally, I ask about the future of Música para Respirar, and their goal of making "classical music performances available to anyone at any time anywhere."
Although both Camila and Bruno come from South America, they met in the United States, where they were both studying (Camila was studying clarinet at the Manhattan School of Music and Bruno studied trumpet at the Jacobs School of Music at Indiana University). We talk about their individual careers as working professional musicians and the arc of their careers.
Bruno Lourensetto and Camila Barrientos are the founders of Música para Respirar, an organization that is bringing classical music to people in need around the world. Begun as a response to the COVID-19 pandemic, 3,902 live online concerts have been presented at the time of this interview.
In Part 1 of our discussion, we talk about how and why Música para Respirar was started, the deep emotional impact it has on the listener (and the participating musicians), and how they built the organization.
In Part 2 of our conversation, I ask Jake about how he composes, his thoughts on composing, being in "the zone" while composing, orchestration, and being authentic as a composer and human being.
I ask Jake about the advice he would give his younger self, his heroes and influences, his piano playing, and how he tries to balance his schedule.
Jake Heggie is the composer of 9 operas, including Dead Man Walking and Moby Dick and has written nearly 300 art songs. In addition, he is a fine pianist who has worked with singers such as Joyce DiDonato, Renee Fleming, Frederica von Stade, and Jamie Barton, among others. In our conversation we talk about his life in opera, composing, the three ingredients of success, and even ... coffee and sleep!
Jake Heggie’s story is truly exceptional ... luck followed by exceptionally hard work and talent. So we begin by my asking him to recount how he came to write his first opera, Dead Man Walking, which has been called “the most celebrated opera of the 21st century,” with over 75 international productions, a truly exceptional story! We then use Dead Man Walking to talk about the process of getting an opera produced, beginning with the composition and collaboration with the librettist, followed by the numerous steps of workshopping and rehearsals.
In the Bonus Room, Ingrid talks about how she balances her life, both in terms of playing vs. composing, and also being a mother while being a performer. She talks about the influence Clark Terry has had on her, both in terms of inspiration and also her career. We end by talking about how Ingrid would teach jazz to a beginner.
In Part 2, we cover a wide range of subjects, and I ask Ingrid for her ideas about teaching, including the importance of listening (including what she gets from listening to composers such as Bach and Bartok), curiosity and investigation, feeling vs. counting rhythm, and how playing Monette trumpets has helped her career. Finally, she talks about how to use listening to correct course if things are not going well.
Ingrid Jensen is the 2019 recipient of the Jazz Journalists Trumpeter-of-the Year award. She is constantly in demand with tours internationally - both with her own groups and also with jazz orchestras such as Maria Schneider (1994-2012) and Darcy James Argue (2002-present). In addition to her accomplishments as a trumpeter and composer, she is also currently the Interim Associate Dean and Director of Jazz Arts at the Manhattan School of Music.
We begin our conversation by asking Ingrid to trace the arc of her career, from her beginnings in music and her musical family to studying at the Berkeley School of Music, moving to Copenhagen and then back to New York, eventually moving to Austria to teach at the Bruckner Conservatory in Linz, Austria. In the course of our conversation, she talks about how playing the same tune in a different country can be different.
In the Bonus Room, I ask Professor Fujita how he began studying artificial intelligence, which leads to his discussing some of the basic principles of A.I.
We begin Part 2 by discussing A.I. and music education but then move on to more basic and elemental subjects, at times not even dealing with music... A.I. and ethics, A.I. and its effect on the meaning of life, and concern about the negative potential of A.I. in the future.
Professor Hamido Fujita is an internationally noted expert in the area of artificial intelligence. He was kind enough to join us in this extremely wide-ranging interview not only about A.I. and music but also A.I. and life and what to expect in the future. I say “us” because I am also joined in this interview by my producer Eddie Ludema, who in addition to being a trumpeter, composer, and teacher is a programmer. So I hope you will enjoy this interview... it goes into many unexpected areas and has so many far reaching implications for the future.
In part one, Professor Fujita begins by describing how machine learning can be used for determining health problems and collecting data, and we quickly go down some interesting rabbit holes with possible musical implications. As in Part 2, many, many different things are discussed, including combining A.I with the humanities, data vs. rule based options for A.I and music, and the subject of mathematics, music, and human emotions ... and how they are connected.
In Part 2, Larry describes the process of having three brain surgeries (called deep brain surgery), all while staying in New York City during the onset of Covid, and then his subsequent road to recovery.
I ask Larry about his career as a trombonist, beginning with the marvelous teachers he had, his many years as principal trombone with the Utah Symphony, and then his current teaching position at the Eastman School of Music where he is Professor of Trombone.
Larry Zalkind has had an illustrious career as a world class trombonist. But what is even more impressive is how he fought through and survived an extreme case of dystonia (for woodwind and brass players it is called embouchure dystonia). Larry's dystonia was so extreme that for four years he was unable to play a note on the trombone, had severe problems speaking, and ultimately had three difficult and dangerous brain surgeries in New York City. So, although a few other topics are covered in our conversation, we zero in on the subject of dystonia, discussing both its physical and psychological effects.
In the first part of our conversation, Larry talks about how he first noticed symptoms of what became dystonia and his (very common) reaction at the time, followed by his being diagnosed. We trace his journey and his struggles, the issues he dealt with, and his point of no return - when he was unable to order a pizza on the phone and speak with his three children later that evening on Zoom.
In Part 2, we continue our discussion of the West-Eastern Divan Orchestra and how she got the idea to use individual stories to bring out the meaning and feeling of the orchestra and its members. I then ask Elena to talk about her career, which began at the age of 4 when she got a cello for Christmas, and later continued her studies at the Juilliard School of Music, first in pre-school and then as a bachelors student. Finally, she tells me why she decided to move to Germany after a summer at the Schleswig-Holstein Musik Festival... and why she does weight training!
We begin the Bonus Room by asking Elena about her first job, principal cello with the Deutsche Oper Berlin, which was followed by her principal position at the Staatskapelle Berlin... but not before a year in and out of Los Angeles playing electric cello in her brother's rock band! She now plays with the Hegel String Quartet and is Professor of Cello at the Freiburg Musik Hochschule, where in addition to teaching cello she also explores new ways of creative teaching.
Cellist Elena Cheah has had a marvelous and broad career. After graduating from Juilliard, she was appointed principal cello of the Deutsche Oper Berlin and later was principal of the Staatskapelle Berlin under Daniel Barenboim. She is currently a professor at the Freiburg Musik Hochschule in Germany and a member of the Hegel String Quartet. In addition, she was a member of the West-Eastern Divan Orchestra, an ensemble consisting of Israelis, Palestinians and people from other Arab countries. She has written a beautiful and moving book about the experiences and views of a number of the orchestra's members.
In Part 1 of our conversation, we discuss how she first entered the Divan orchestra and then focus on the experiences of several people in the orchestra.
In addition to having had a stellar career, Dan Perantoni is also regarded as one of the greatest tuba teachers in the world, with his students holding positions around the world. In Part 2 we take a deep dive into Dan's ideas about teaching, and how he works with his students at Indiana University.
A very early influence on Dan was his father, and then later on Donald Knaub at the Eastman School of Music. I ask Dan about his early experiences as a musician, and we end our conversation with Dan talking about his efforts to design and build better tubas.
Dan Perantoni, also known as “Mr. P", is known throughout the world as one of the great tubists and in addition, one of the great teachers. I feel lucky to say he is a good friend, and as a composer I have written a number of pieces for him. So it was a real pleasure to have a conversation with him. At times we talked about specifics of playing and teaching while at other times we just had fun talking!
Although Dan is known mostly as a player for his solo and chamber playing, he has also had vast experience as an orchestral player. In Part 1 of our conversation, I ask Dan to first talk about his orchestral career. Dan then talks about his other experiences as a player, including playing with the Summit Brass, St. Louis Brass Quintet, and the Matteson-Phillips Jazz Quartet.
In Part 2, I ask David to talk about three songs in particular - Maria, America, and Somewhere. We not only discuss Bernstein's use of the tritone - not only for Maria but throughout the score. In addition David talks about how the movie is different from the original musical production of 1957. Also fascinating was a discussion of Steven Spielberg's use of camera movement to compliment and flow with the music.
Here we discuss the famous Mambo scene, and how choreography can influence changes that must be made in the music. At the end of our conversation, we talk about Stephen Sondheim's genius for writing lyrics.
David Newman has written music for over 100 films. But in addition, he is a conductor and has conducted West Side Story with major orchestras around the world 40-50 times. So it makes sense that John Williams would recommend him to Steven Spielberg to oversee the music for his recent West Side Story film (and produce the album). I already interviewed David about the aspects of writing music for film, so this time we focused on West Side Story and what it was like to collaborate with some of the most revered people in the history of film and theater.
I first ask David how he first came to know West Side Story, how he was contacted to work on the film, and what exactly that work entailed. Of particular interest was the order of how things are put together for a film such as West Side Story, and how he and his collaborators needed to be flexible. Always remaining faithful to the score of Leonard Bernstein, David at times had to take the material from either the musical version, the 1961 movie, or Bernstein's Symphonic Dances. Since a lot of the post production occurred during the beginning of Covid, he explains why most of the recording was done with the New York Philharmonic, but also with the Los Angeles Philharmonic.
In an extended Bonus Room, Pasi and Valtteri talk about their friendship through the years after which we move on to discussing the Finnish language and the influence it has on brass articulation. We end our conversation with Pasi and Valtteri talking about their experience teaching at the Sibelius Academy, and how the system differs from American universities. Oh, and you won't want to miss Pasi's story about going onstage with his trumpet ... but forgetting his mouthpiece (and how his solution to the problem worked!)
In Part 2 of our conversation, Pasi talks about the reason he and his trumpet section in the Helsinki Philharmonic perform Sibelius on German trumpets, which sheds some light on Sibelius’ background and concepts of sound. In addition, we talk about interpreting Sibelius, the Finnish tradition of phrasing, how it can be different from the American approach, and what it is like for Pasi and Valtteri when playing Sibelius as substitutes in non-Finnish orchestras.
Trumpeter Pasi Pirinen and trombonist Valtteri Malmivirta have had a long and enduring friendship ever since they met as students auditioning for the Sibelius Academy. They now both teach at the Academy and, in addition to being members of the Helsinki Philharmonic, perform and teach around the world. So who better to ask about the great Finnish composer Jean Sibelius than two players who have performed his music for most of their lives?
In Part 1 of our conversation, we talk about Sibelius and his influence on Finnish culture. Pasi and Valtteri also discuss how Sibelius used nature and silence in a number of his works, specifically in the Fifth Symphony.
In the Bonus Room, Dan talks about the beginning of his career, how a chance audition for Cats got him into the field of musical theater, and the difference between acting for films, musicals and plays.
I continue my conversation with Dan by asking about the job of a music supervisor, and from there Dan then talks about why he ultimately left classical music. Since Dan is now the head of Musical Theater at the Royal Academy of Music in London, we discuss some of his ideas about teaching, method acting, and end this part of our conversation talking about his book "Auditions Undressed", and the various ways to approach taking an audition.
As the Head of Musical Theater at the Royal Academy of Music in London, Dan Bowling has worked with such musical luminaries as Andrew Lloyd Webber, Cameron Mackintosh, and Disney. He has several books to his credit and is sought after as a music supervisor, conductor and musical director. He has a vast and practical knowledge of musical theater and our conversation covers many areas of the musical theater scene.
In the Bonus Room, Madeline talks about Baroque performance practices and how she can use them in a modern-day orchestra. We end our conversation by talking about several of her impressive projects, the Haitian Orchestral Institute... and how she's rescued over 100 kittens!
Another aspect of being a concertmaster is the relationship with both a music director and guest conductors. Madeline talks about her beginnings as a student and her college experiences. She explains the "real struggle" of playing a pizzicato together, and we end by discussing the challenges of being a guest concertmaster.
What is the role of a concertmaster? Who better to ask than Madeline Adkins? Madeline is concertmaster of the Utah Symphony and the Grand Teton Music Festival and has served as guest concertmaster with the Pittsburgh and Houston symphonies, among others. In addition, she has also appeared as soloist with orchestras throughout the U.S., Europe, Asia, and Africa, and is equally at home as a chamber musician.
In Part 1, I ask Madeline to discuss the role of concertmaster in an orchestra, first in terms of auditions - specifically what her audition for the position of concertmaster of the Utah Symphony was like - and then auditions for section players. We then dig deeply into the various aspects of bowing, and bowing assignments for the violin section.
In the Bonus Room, Kevin talks about how social media has been a huge help for his career, and how posting a piece can sometimes immediately create a huge following. Kevin then talks about how he plans to give back in the future as a teacher.
Kevin and I continue our conversation by talking about several of his pieces and how they came to be written, and several other topics including why a speech impediment at a young age may have actually helped him as a composer. We end this part of our conversation with my asking him what he thinks the most difficult aspect of composing is.
Composer Kevin Day is currently earning his doctorate at the University of Miami Frost School of Music. But even at this early stage in his development, he has over 200 works to his credit, and his music has been performed by such eminent groups as the Boston Symphony, the Detroit Symphony, and the Houston Symphony. He is a composer to watch in the future!
In Part 1 of our conversation, I ask Kevin to talk about his early development as a musician and composer, how he has been able to be so prolific at such a young age, and the process he uses to write his music.
(Photo Credit: Sara Bill Photography/Karen Cubides Agency)
In the Bonus Room, Gail talks about how she tries to copy the way a singer would approach a phrase, and also how playing natural horn has influenced her interpretation of certain pieces. We end our conversation by talking about her concepts of teaching.
We continue our conversation with Gail talking about her time with the Chicago Symphony, and what it was like to sit next to Adolph Herseth and in front of Arnold Jacobs. I ask her to name some of her favorite conductors and why, and we end this section with Gail describing some of her chamber music experiences and being a founding member of both the Chicago Chamber Musicians and the Summit Brass.
Gail Williams has had a remarkable career as an orchestral musician, chamber musician, soloist and teacher. During the course of our conversation, we touch upon all of these creative aspects of her life and how her view of music and life is informed by these many experiences, both in music and in life.
In Part 1 of our conversation, I ask Gail about her life growing up on a farm and how that experience has influenced all aspects of her life. We then talk about her early experiences as a player, how she tries to think not only like a brass player, but like a string player and singer as well. We end Part 1 by talking about her first job, playing with the Chicago Lyric Opera Orchestra.
We begin Part 2 of our conversation with Rob Roy talking about how he transferred his company to Carl Fisher Publications. We then move on to how people and certain companies violate copyright laws, and finally Rob Roy tells how the best selling book on flexibility by Bai Lin came to be published.
In the Bonus Room, Rob Roy talks about his career as a trumpet player, beginning with his lessons with Clifford Llyla and ending with his position in the Los Angeles Philharmonic Orchestra.
Rob Roy was playing trumpet with the Los Angeles Philharmonic Orchestra when he founded Balquhidder Music, a music publishing firm that has brought out a number of very popular pieces and studies in the brass music genre.
In Part 1 of our conversation, Rob Roy talks about how and why he started Balquhidder Music and, since he wasn’t an entrepreneur before, how he set about learning to be a music publisher.
Every year, Kim flies to Kenya to be part of a teaching exchange program, and in the Bonus Room, she shares some of her experiences of working with students in Kenya.
In Part 2 of our conversation, Kim talks about her work with the Amity Trio and also how, as a teacher at Indiana University, she works with both the brass and vocal departments.
Simply put, Kim Carballo is a musician who uses her art to do good in the world, as an entrepreneur, performer, and teacher. She is the founder of Reimagining Opera for Kids (or ROK), a member of the Amity Trio, a teacher at the Jacobs School of Music at Indiana University, and is also involved in an exchange program in Kenya and the Dominican Republic.
In Part 1 of our conversation, I ask Kim to talk about Reimagining Opera for Kids, what it is, how it got started, and specifics such as the importance of grant writing.
In Part 2, David and Sarah speak about their playing careers, how they started, how they often bounce ideas back and forth and, among other topics, the difference between brass and string chamber music practice mentality.
In the Bonus Room, our focus moves to David and Sarah’s teaching ideas and philosophies.
Trumpeter David Collins and violinist Sarah Sew (pronounced See You) are a married couple who have done amazing work, both as players, teachers, and also entrepreneurs. The story of how and why they started the Dublin Brass Week with no previous experience is a story that is both inspiring and also informative.
In Part 1 of our conversation, we talk about why they founded the Dublin Brass Week, some challenges and hurdles they (sometimes unexpectedly) ran up against... yet overcame, and their process of gradually building the festival from the ground up.
In the Bonus Room, Al and I discuss certain aspects of his composing life and, using a piece on which he is currently working, how he enjoys composing under a deadline.
In Part 2, Al and I continue our conversation by talking about his playing career, beginning with his joining the Woody Herman band to the present. And we have many enjoyable detours during this part of our conversation.
Allen Vizzutti is known worldwide as a phenomenal trumpet player and soloist. But he is equally at home as a teacher and composer, and over the course of our conversation we talk about all of these creative areas of his life. I’ve known Allen for a great many years and have always been impressed not only with his playing, but also with his humility... in addition, of course, to his great sense of humor.
In Part 1 of our conversation, we talk about Allen’s beginnings as a trumpet player, his very strange audition tape for the Eastman School of Music, and then move on to his concepts of teaching.
In the Bonus Room, Tony asks Marcus to talk about his youth, about the many places he has lived around the world, his beginnings as a singer and songwriter, and how he might just be the only country music song writer to both major in Islamic Studies in college and also be a sports jock.
In Part 2, Marcus and I continue our discussion about writing, and eventually we come to the concept of inspiration vs. simply doing the work (spoiler alert: it turns out we are both on the same page). Marcus also discusses how finances work these days for a song writer (which is a business model totally new to me).
Marcus Hummon is a songwriter, composer, singer, playwright, and author. As a songwriter he has had a number of #1 songs in the country music genre and a Grammy Award to his credit. He has also written for film and has also written six musicals, 2 operas, and several books.
In Part 2, David speaks on the subject of raising money for a music department and how to cultivate a donor. He also speaks of the importance of role models. And finally we discuss classical music in the world today and how to interest young people in coming to concerts.
In the Bonus Room, David speaks of his beginnings as a tuba player, studying in England (and living on two meals a day with his wife) and studying with Arnold Jacobs (and his almost... almost... meeting Frits Reiner). He also talks about mentoring and the idea that every student should consider having their very own Board of Directors.
David Kuehn has had a varied and rich career in music. He began his career as a tubist and teacher and then moved into administrative duties. Beginning as Assistant to the Dean/Assistant Dean at the University of North Texas, he then became Chairman of the Department of Music at California State University-Long Beach (CSULB), followed by the position of Dean at the University of Missouri-Kansas City Conservatory of Music and Dance (UMKC). Then from 1993 to 2004 he was President at the Music Academy of the West (MAW). From 2004 to the present he has been President Emeritus at the Music Academy of the West. It was fascinating to speak with David not only about his career, but what it means to be a top administrator and what that entails.
In Part 2, Mark and I discuss differing views of interpretation, specifically with the Hindemith Sonata for Trumpet and Piano. The question is always this: How faithful should the performer be to the exact text of the music? Mark, of course, has some very definite ideas! We also talk about his time with the Metropolitan Opera, and end this part of our conversation with a discussion of historical performance practice.
A section of Mark’s book, Gould on Music deals with music in a post pandemic world. Most of our time in the Bonus Room is spent on this subject, but we also talk about what it is like to teach as a player and also as a non/former player.
Mark Gould is one of the most interesting, controversial, and hilarious musicians on the classical (and jazz) musical scene today. His new book, Gould on Music, is a fascinating look into many aspects of music, especially teaching. So it was interesting to hear Mark’s thoughts on so many different aspects of music and the music business.
In Part 1 of our conversation, I ask Mark about a number of his ideas about teaching, how he approaches each individual student differently, and how using humor can be a help in teaching, including ways to make concepts memorable. I ask him how he would teach me as a young student, he talks about the sound and approach of Adolph Herseth, and we end with a few funny stories of his time with the Metropolitan Opera.
In the Bonus Room, I ask Justin about how a student might get started playing Baroque music on the natural trumpet. We talk about social media and how it has helped his career, and at the end of our conversation I ask him where he sees himself in ten years.
In Part 2 of our conversation, I ask Justin about the different instruments he plays, the effect tonal keys can have on the nature of the music and why composers choose certain keys. And at the end of Part 2 we get into the weeds when talking about interpretive possibilities of the Haydn Trumpet Concerto.
Justin Bland is a wonderful trumpet player currently living in Copenhagen, Denmark. Specializing in Baroque music on the natural trumpet, Justin is far more than just a specialist. In addition to the natural trumpet, he also plays the modern trumpet, the recorder, the keyed trumpet, and is even a counter-tenor. Oh, and he has also tuned harpsichords!
In Part 1 of our conversation, we talk about how Justin got started on the trumpet (and how he learned to play the trumpet without having a teacher by reading articles on the internet). And then we get into the first part of a conversation about Baroque music and its interpretation.
Part 2 is a continuation of our conversation about writing, creating, and the four composers covered in his biographies: Mozart, Brahms, Beethoven, and Ives.
Jan Swafford is known as both a composer and biographer. His compositions have been performed by orchestras such as the St. Louis Symphony, the Indianapolis Symphony, and the Dutch Radio Orchestra. His biographies of Ives, Brahms, Beethoven, and Mozart have received rave reviews, and so it was a total joy to have this conversation with Jan about all things musical (and a few things non-musical).
In Part 1 of our conversation, Jan talks about his beginnings in music, his ideas about writing, and how he has conveyed those ideas to students over the years. Then we begin our conversation about his four main biographies: Ives, Brahms, Beethoven, and Mozart.
I've always been impressed with the way Håkan has been able to achieve a great balance in his life, so we talk about what's important to him as both an artist and also as a husband and father. We end with Håkan talking about how he spends his time during the day of a performance.
In Part 2, we discuss Håkan’s most recent project, the recording of the 36 Études Transcendantes of Théo Charlier, which leads to a discussion of interpretation. At the end of Part 2, Håkan talks about his friendship with Andris Nelsons, the Music Director of the Boston Symphony, and how Håkan got him interested in playing the trumpet again.
Håkan Hardenberger has not only had an illustrious career as a trumpet soloist, he's also re-defined the role of the trumpet as an important solo instrument. Throughout his career, he's been responsible for the commissioning of major contemporary composers, which has had a profound effect on not only our generation, but future generations as well. I met Håkan early on when he was a student of Bo Nilsson, and a few years later he stayed with me for three of the weeks while he studied with Tom Stevens in Los Angeles. So it was a great pleasure and honor to have the chance to speak with him again.
In Part 1 of our conversation, I ask Håkan to talk about his three primary teachers - Bo Nilsson, Pierre Thibaud, and Thomas Stevens. We discuss what he learned from all three and the profound influence they had on him.
In the Bonus Room, I had to (of course) ask Roger about eating and some of his favorite cuisine! Roger has also been around some of the greatest performers of our time, including when he realized that Pavarotti stole his warm up (sort of). We end with a story of a concert he and I did at a beautiful castle in the mountains in Italy, and how someone in the audience asked us during intermission if we were sight reading... and Roger’s positive and hopeful answer!
Roger discusses his teaching career in Part 2, and what it has been like to teach in Switzerland, Italy, England, Japan and now Mexico. Some of the teaching was a study in contrasts, for example the difference between students in Japan and Italy!
Roger Bobo is a brass legend and is recognized as an orchestral tubist, soloist, and teacher. He was first a member of the Rochester Philharmonic, then the Concertgebouw Orchestra, and finally the Los Angeles Philharmonic Orchestra. As a soloist he has performed around the world and was a member of the famed Los Angeles Brass Quintet. At a time when tuba was not considered a solo instrument, he raised the level and standard to new heights.
In Part 1 of our conversation, Roger talks about his friendship with fellow tubist Tommy Johnson, playing with the Rochester, Concertgebouw, and Los Angeles Philharmonic Orchestras. We also talk about when he played with the Los Angeles Philharmonic Brass Quintet and why he turned down George Szell when Szell asked him to join the Cleveland Orchestra.
In the Bonus Room, Chris and Joe talk about how fitness is important to them, and what it was like to work with the musical geniuses John Williams and Chick Corea on solo pieces. And, as an aside, why Joe wants my son Jason to come to Canada to give him table tennis lessons (spoiler alert: he hates to lose to other NY Philharmonic players).
In Part 2 of our conversation, Joe and Chris discuss their own auditions and give insights that I think could be very valuable to students who will be taking auditions in the future. In addition, since both played with the Philadelphia Orchestra (at different times), they speak about how the principal players at the time, Glenn Dodson and David Bilger, became mentors for them. They also compare how they practiced as students compared to now and, finally, qualities that they see in great students.
Chris Martin and Joe Alessi hold the principal trumpet and trombone positions with the New York Philharmonic. In addition to being iconic musicians in the brass world, they both teach at the Juilliard School of Music and have active solo careers.
In Part 1 of our conversation, Chris and Joe talk in depth about how they work together in the New York Philharmonic Orchestra and discuss working with students on these concepts. We end this part of our conversation with Chris and Joe talking about methods they use to constantly critique their own playing.
In the Bonus Room, I ask Mark about the brass band culture in England and his involvement in extreme endurance sports, including the famed Marathon des Sables.
In Part 2 of our conversation, Mark discusses his beginnings as a trumpet player and what he learned from studying with John Wilbraham and Håkan Hardenberger. Also discussed is how to deal with “bumps in the road” and Mark’s concepts of teaching.
Mark David is the Artistic Director and the Head of Brass at the Royal Academy of Music in London, England. He was principal trumpet for over twenty years with the Philharmonia Orchestra, and he currently holds that position with the Academy of St. Martins in the Fields. In addition to his presence in the English musical scene, he is also a certified ski and mountain bike instructor and takes part in ultra endurance events.
In Part 1 of our conversation, Mark talks about his experience playing with four different orchestras in England (Opera North, the Bournemouth Symphony Orchestra, the Philharmonia Orchestra, and the Academy of St. Martins in the Fields.) And, in addition to relating his experiences of playing Mahler’s 5th Symphony under many different and great conductors, he delves into the politics of how orchestras in London are able to stay afloat.
In Part 2, we discuss some ways in which digitization has greatly changed how music sound tracks for films are recorded. We also discuss nerves, why it's crucial to be a confident player, getting started as a newly arrived player in Los Angeles, and what it is like to record with John Williams.
The life of a recording musician varies from day to day, so Jon and Bill talk about how they balance their schedules, how they work to be consistent players, and why "egos must be checked at the door."
Jon Lewis and Bill Booth are two of the top brass players in the Hollywood film recording scene. For many years, they have recorded with the top Hollywood film composers, and in our conversation we discuss the many aspects of what it means to be a first call player in the Hollywood studio scene.
In Part 1 of our conversation, Jon and Bill take us through the process of being a studio musician, including how sessions are arranged, finances managed, the importance of being a great sight reader, what a studio contractor does, and their experiences recording the Matrix movies.
After playing with the Chicago Symphony Orchestra, David moved to the Detroit Symphony where he was principal horn. During his time in Detroit, he was a founding member of the rock group, “Symphonic Metamorphosis”, had an interesting recording experience with Marvin Gay, and continued his interesting relationship with Arthur Fielder. He then won his dream job with the San Fransisco Symphony and worked with music directors Seiji Ozawa, Edo de Waart, Herbert Blomstedt, and Michael Tilson Thomas.
David Krehbiel has had an extraordinary career and life as one of the great horn players of his time. Joining the Chicago Symphony as associate first horn and sitting next to his teacher Phillip Farkas, he later became principal horn of the Detroit Symphony and ended his career as principal of the San Francisco Symphony. His autobiography, Through the Door: A Horn Player’s Journey, was recently released, and in our conversation David recounts many of the interesting (and funny) stories from the book. In addition to all of his experiences as an orchestral and chamber player, David was also Chair of the Brass Department at the San Francisco Conservatory of Music.
In the Bonus Room, Allan and Ray talk about their many years of teaching, primarily at Yale (Allan) and Juilliard (Ray) and the different approaches of those two great schools. They also offer their thoughts on today’s students versus students from when they first began teaching and what's changed and what hasn't.
Allan and Ray were there at the beginning of playing Renaissance and Baroque music on authentic instruments in the United States. Our conversation goes into the movement's history and then follows up with some thoughts about authentic and modern performance practices.
Ray Mase and Allan Dean are legends in the world of trumpet and brass. They are both foundational figures of the brass quintet genre, were part of the start of the early music scene in the United States performing on period instruments, and were both members of the astounding Summit Brass. Their teaching careers led them to the highly respected music schools at Yale (Allan) and Julliard (Ray).
In Part 1 of my conversation with Allan and Ray, we discuss the beginning of the brass quintet movement in the United States, and the role that the American and New York Brass Quintets played in this movement. We end by sharing some funny stories of our time together with the Summit Brass.
In the Bonus Room, we discuss major orchestras that David has conducted featuring film music. David also talks about his father Alfred Newman’s legacy at Fox Studios. To close up the session, we discuss his most recent project, a weekly Zoom seminar which takes a deep dive into Benjamin Britten’s Peter Grimes and Stephen Sondheim’s Sweeney Todd.
In Part 2 of our conversation, David speaks in detail about the process of writing music for film from the first contact with the director to the final recording session. He explains why he can't afford to be "mentally blocked" and why he has had to push himself mentally and physically to the limit to finish a score before the first recording session.
Hollywood film composer David Newman has written music for over 100 feature films, including movies as wide-ranging as Throw Momma from the Train, War of the Roses, American Beauty, Hoffa, and Ice Age. In addition, he has conducted major orchestras such as the New York Philharmonic, Chicago Symphony, Philadelphia Orchestra, and Los Angeles Philharmonic in concerts featuring a presentation of films such as Star Wars and West Side Story. He began his career as a violinist, and later switched to composing and conducting. His father was the legendary Hollywood composer Alfred Newman.
In Part 1 of our conversation, David tells how he went from being a violinist to a film composer and how that transition took place. He also describes his father, Alfred Newman, and how music was originally introduced into films. And finally, at the end of our conversation, we discuss recording sessions for three films: Throw Momma from the Train, Breaking Away, and Star Trek I.
Wiff discusses the concept of motivational learning, how he at times uses skits with his students and, among other topics, the practical uses of a... fart machine.
Wiff discusses his playing career from the Dallas and Houston Symphonies to risking it all to form Rhythm and Brass. He concludes by reflecting on trumpeter Ryan Anthony's life legacy as a musician and person.
We continue our conversation about Abbie’s experience in Munich, including her efforts to be paid a salary equal to the salaries of her male colleagues, and her determination to remain strong throughout the ordeal.
I ask Abbie what it was like to get a telephone call from the writer Malcolm Gladwell for his book Blink. We also discuss her primary teachers, her own teaching, and her thoughts on women in music today.
Abbie Conant is Professor of Trombone at the Musik Hochschule in Trossingen, Germany. She was principal trombone of the Royal Opera of Turin for a year, then principal trombone of the Munich Philharmonic for 13 years. Her fight against gender discrimination in Munich has been featured in Blink, the bestselling book by Malcolm Gladwell, and our conversation covers that period in detail. In addition, Abbie is active with her husband William in producing a new genre of works for musical theater featuring Abbie as trombonist and singer.
In the Bonus Room, Michael explores teaching, learning, and the influence of Tom Stevens. He describes how, when Michael was a young student of mine, I told him in a lesson, “Mike, it’s a trumpet, You blow on it, you don’t suck on it.”
In Part 2, Michael discusses trumpet lineage, his friend and mentor David Zauder, and his all-time favorite performance with the Cleveland Orchestra.
Michael Sachs is the iconic principal trumpet of the Cleveland Orchestra. But he is much more than that. Enjoy this far-ranging conversation, as Michael talks about his experiences playing in the Cleveland Orchestra, working with people such as John Williams, teaching brass students, and much more.
In Part 1, Michael talks in depth about auditioning with the Cleveland Orchestra, striving to be (in baseball terms) a five-tool guy, and premiering the John Williams Trumpet Concerto.
Wiff talks about:
- The lessons he learned from his teachers
- The concept of a vocation versus a job
- Building a great studio
- A new approach to recruiting
- The keystone habit of group warm-ups
- The importance of improvisation