One Symphony with Devin Patrick Hughes – Details, episodes & analysis

In this episode of One Symphony, Devin Patrick Hughes interviews Lucas Richman, a Grammy winning composer and conductor, exploring his career and insightful perspectives on music and its role in society. 

Richman recounts his early exposure to music through composer biographies, sharing an anecdote about writing to Aaron Copland and receiving an encouraging postcard in return, which served as an early inspiration.

The discussion moves to Richman's experiences with Leonard Bernstein, highlighting a masterclass on the Academic Festival Overture and the profound impact Bernstein had on his understanding of music and life. Richman emphasizes Bernstein's ability to infuse everything with love and teaching, noting his preference for discussing music with doctors rather than musicians due to their focus on the art rather than business. 

Richman discusses his approach to composition, emphasizing his commitment to bringing social issues and awareness into the concert hall. He describes his symphony inspired by Bernstein's words, "This will be our reply to violence is to make music more intensely, more beautifully, more devotedly than ever before," with movements embodying intensity, beauty, and devotion. He also discusses "The Warming Sea," a piece addressing climate change, and Paths to Dignity, a violin concerto inspired by the issue of homelessness. In Paths to Dignity, Richman musically portrays the word "dignity" using specific notes, aiming to create a conversation and raise awareness. He collaborated with Mitchell Newman, a violinist and advocate for the unsheltered community, to bring attention to the human stories behind homelessness. 

Richman reflects on his time as an assistant conductor, which instilled in him the importance of clarity and efficiency. He describes his experience conducting film scores for movies such as Seven and The Village, noting the collaborative nature of the work. Richman also shares his perspective on conducting his own music, expressing that others often bring fresh interpretations that he appreciates.

Transitioning to the evolution of the conducting field, Richman acknowledges the influence of mentors like Daniel Lewis and Herbert Blomstedt, emphasizing the significance of respect, intent, and honesty. He expresses concern that some contemporary conductors prioritize showmanship over serving the music and fostering leadership skills.

Turning to the role of a music director, Richman underscores the importance of community engagement, fundraising, and collaboration with the board and staff. He highlights initiatives such as streaming concerts, expanding educational programs, and forging relationships with local organizations. He also touches on his involvement in music education, including his piece Behold the Bold Umbrellaphant, which introduces children to classical music through imaginative characters.

Thank you for joining us on One Symphony. Special thanks to Lucas Richman for sharing his music and story.

Musical selections from today’s episode:

• Brahms: Academic Festival Overture, Op. 80 (Live). Lucas Richman conducting.
• The Warming Sea composed by Lucas Richman. Performed by the Bangor Symphony Orchestra, Divisi Women’s Choir, and the Bangor Area Youth Choir. Conducted by Jayce Ogren. Commissioned by the Maine Science Festival.
• Excerpts from Concerto for Violin: Paths to Dignity composed and conducted by Lucas Richman. Featuring Mitchell Newman on violin and the Bangor Symphony Orchestra.
• “The Gravel Road” from the film The Village. Composed by James Newton-Howard and conducted by Lucas Richman featuring Hillary Hahn on violin.
• “Tikkun Olam (Heal the World)” from Symphony: This Will Be Our Reply. Text and music by Lucas Richman. Performed by the Bangor Symphony Orchestra, conducted by Richman. Featuring the Oratorio Society and University of Maine Singers under the direction of Francis John Voight.

For more information on Lucas, see www.lucasrichman.com. You can always find more info at OneSymphony.podbean.com or DevinPatrickHughes.com, including a virtual tip jar if you’d like to support the show. Please feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music.

In this interview with Tom Morris, a veteran of orchestra management whose career included leadership roles with the Boston Symphony and the Cleveland Orchestra, conductor Devin Patrick Hughes provides a comprehensive look at the inner workings of orchestral institutions, the evolution of their management, and the crucial role of music in their success. Morris's journey from a percussionist to a top-level administrator offers a unique perspective, and his reflections provide valuable lessons for anyone interested in the performing arts.

One of the most compelling aspects of the interview is Morris's discussion of how his musical background shaped his management philosophy. He emphasizes his deep understanding of musicians' lives, having experienced firsthand the challenges and demands of performing in an orchestra. This empathy enabled him to build trust with musicians and approach labor negotiations with a unique perspective. Morris’s belief that "ultimately these institutions are about the music" underscores the importance of passion and artistic integrity in organizational leadership.

The episode also explores the historical evolution of orchestra management, particularly the Boston Symphony Orchestra. Morris recounts how, before the 1970s, the orchestra relied on simple postcards for subscription renewals. He explains that over the seventies and eighties, the percentage of the budget earned from ticket sales gradually fell. This shift necessitated the development of marketing and fundraising departments, leading to a significant increase in administrative staff. 

Morris shares fascinating insights about the Boston Pops, emphasizing that it was founded in 1885, before Arthur Fiedler became its 17th conductor in 1929. The Boston Symphony created the Pops to provide more employment for musicians and to perform lighter music for a broader audience. He discusses how the Boston Symphony transformed Symphony Hall into a "beer hall" to accommodate a more informal setting for the Pops concerts. He explains that in the early days the Pops sold blocks of tickets to community groups and did not have to focus on individual ticket sales. He also recounts how the popularity of Arthur Fiedler was enhanced even further by the "Evening at Pops" television series. Morris details the process of selecting John Williams as Fiedler's successor, explaining that Williams was chosen for his musical integrity and knowledge of the symphony orchestra.

Furthermore, the interview addresses the crucial dynamic between management, the music director, and the board of directors, which Morris refers to as the "Bermuda Triangle.” Morris suggests that this structure can function perfectly if the right people are in those roles and are bound by a common vision. He also emphasizes that having a collaborative culture is essential, but that collaborative decision-making should be avoided. Morris stresses the importance of clear lines of authority and not settling for "good enough" when hiring. He also shares that when hiring he uses Jim Collins' three C's: competence, character, and chemistry. These points underscore the need for strong leadership and a shared vision in any successful organization.

Morris also touches on the importance of thoughtful programming. He humorously mentions his collection of "dumb programs" and emphasizes the importance of carefully considering the combination of pieces in a concert. He contrasts examples of bad programming with one of his favorites, a concert he organized with Christoph von Dohnányi, which combined pieces by Ligeti, Wagner, and Bruckner. This conversation highlights that thoughtful artistic direction is an essential element in the success of an orchestra.

Thank you for joining us on One Symphony. Special thanks to Thomas Morris for sharing his life and leadership. You can pick up a copy of Always the Music: How a Lifelong Passion Framed a Future for Orchestras wherever you get your books.

For a list of recordings played on today’s episode, please check out our show notes. You can always find more info at OneSymphony.podbean.com or DevinPatrickHughes.com, including a virtual tip jar if you’d like to support the show. Please feel free to rate, review, or share the podcast! Until next time, thank you for being part of the music.

https://www.alwaysthemusic.com

Featured Music

All music selections for this episode feature the Boston Pops. 

Tchaikovsky’s Serenade for Strings in C Major, Op. 48: Waltz. Conducted by Arthur Fiedler, from the album Fiedler: Greatest Hits. 

L'Arlésienne Suite No. 2: Farandole. Composed by Georges Bizet. Conducted by Arthur Fielder, from the album Fiedler: Greatest Hits.

“Manhattan Skyline.” From the album Disco Inferno / Manhattan Skyline. Conducted by Arthur Fiedler. 

“I Got Rhythm, Embraceable You.” From the album Boston Pops Salutes Astaire, Kelly, Garland. Composed by George and Ira Gershwin. Conducted by John Williams. 

“Flying Theme” from E. T. Composed by John Williams. Performed live by John Williams conducting the Boston Pops in 2002. 

“America Medley: America.” From the album Salute to America. Composed by Leonard Bernstein. Lyrics by Stephen Sondheim. Conducted by John Williams. 

“None But The Lonely Heart.” From the album Pops a la Russe. Composed by Pyotr Ilyich Tchaikovsky. Conducted by John Williams. 

The Snow Maiden - Suite - Danse des Bouffons. Composed by Nikolai Rimsky-Korsakov. From the album Pops a la Russe. Conducted by John Williams. 

Holst: The Planets, op.32: 3. Mercury, The Winged Messenger. From the album Boston Pops Orchestra: John Williams. Conducted by John Williams.

Overture from The Merry Wives of Windsor. From the album Fiedler: Greatest Hits. Conducted by Arthur Fiedler. 

“Pizzicato Polka.” From the album 100 Fiedler Favorites. Conducted by Arthur Fiedler. 

“Funeral March of a Marionette.” From the album 100 Fiedler Favorites. Conducted by Arthur Fiedler.

In this episode of One Symphony, conductor Devin Patrick Hughes sits down with renowned composer Pierre Jalbert to explore Jalbert’s musical journey, creative process, and the spiritual influences that shape his work. Jalbert shares intimate stories about his childhood in Vermont, his collaborations with world-class musicians, and the importance of resonance and reverberation in his compositions. He also pays tribute to his mentor, the late Larry Rachleff, and discusses his genre-bending project with the Apollo Chamber Players. Throughout the interview, Jalbert offers insights into the challenges and rewards of writing for both chamber groups and large ensembles and reveals how he strives to create music that serves the audience. Join us for a fascinating glimpse into the mind of one of today's best composers.

Earning widespread notice for his richly colored and superbly crafted scores, Pierre Jalbert’s music has been described as “immediately captures one’s attention with its strong gesture and vitality” by the American Academy of Arts and Letters.  Among his many honors are the Rome Prize, the BBC Masterprize, a Guggenheim Fellowship, and the Fromm Foundation commission.

Jalbert’s music has been performed worldwide in such venues as Carnegie Hall, Wigmore Hall, Lincoln Center, the Kennedy Center, and the Barbican.  Recent orchestral performances include those by the Boston Symphony, the National Symphony, the Houston Symphony, the Cabrillo Festival Orchestra, and the Cincinnati Symphony Orchestra. 

He has served as Composer-in-Residence with the Los Angeles Chamber Orchestra, the California Symphony, and Music in the Loft in Chicago. Select chamber music commissions and performances include those of the Ying, Borromeo, Maia, Enso, Chiara, Escher, Del Sol, and Emerson String Quartets, as well as violinist Midori.  Three new CDs of his music have been recently released:  Violin Concerto, Piano Quintet and Secret Alchemy, and Piano Trio No. 2.

Jalbert is Professor of Music at Rice University's Shepherd School of Music in Houston, and he is a co-founder of Musiqa, a Houston-based new music collective.  His music is published by Schott Helicon Music Corporation, New York.

Thank you for joining us on One Symphony. Thanks to Pierre Jalbert for sharing her music and stories. You can find more info at https://www.pierrejalbert.com.

Pierre Jalbert composed all music featured in this episode, with one exception.

String Theory was performed live by the Kaleidoscope Chamber Orchestra.

Mystical and With Great Energy, from Secret Alchemy, from the album Music From Copland House performed by Curtis Macomber, Danielle Farina, Alexis Pia Gerlach and Michael Boriskin.

The first movement from From Dusk to Starry Night “The Night in Silence” on a text by Walt Whitman features Sasha Cooke and the River Oaks Chamber Orchestra.

Violin Concerto, featuring Steven Copes on violin. Performed by The Saint Paul Chamber Orchestra with Thomas Zehetmair as the conductor. 

“Fiddle Dance” from L’espirit du nord. Performed by the Apollo Chamber Players. 

Mozart Piano Concerto K488 in A major, first movement improvised cadenza performed by Robert Levin with the Cluj-Nacopa Philharmonic in Romania with Nicole Moldovenau as the conductor. 

“Chanson de Lisette” from Le’spirit du nord. Performed by the Apollo Chamber Players.

“Music of air and fire” performed by the Houston Youth Symphony conducted by Michael Isadore.

You can always find more info at OneSymphony.org including a virtual tip jar if you’d like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

In this episode of One Symphony, Juhi Bansal discusses her diverse cultural influences, from Hindustani classical to Western styles, and how she weaves them together to create powerful narratives through sound. Bansal delves into the inspiration behind several of her striking works, including "Songs From the Deep," "Waves of Change," and "Aurora," which explore themes of women's resilience, environmental conservation, and the beauty of natural phenomena. Bansal also reflects on the role of artists in driving change and her personal growth as a composer over the past 15 years. Join us for an engaging conversation that celebrates the power of music to create narratives that combine spirituality and nature.

Thank you for joining us on One Symphony. Thanks to Juhi Bansal for sharing her music and stories. You can find more info at https://juhibansal.com.

Juhi Bansal composed all music featured in this episode.

Songs from the Deep commissioned by the Oregon Mozart Players for the 2022 Sound Investment Commission.

Waves of Change (music, surfing and identity) inspired by the Bangladesh Girls Surf Club in Cox’s Bazaar region of Bangladesh. Performed by Ranjana Ghatak. Featuring Kathryn Shuman singing soprano and Timothy Loo on cello.

Flash, Glimmer, Glow, Spark. Performed by the Dusseldorf Symphony.

Aurora (for SATB chorus). Performed by the LA Choral Lab. Featured soloists are Kathryn Shuman, Molly Pease, Rothan Ramanan, and Zachary Zaret.

Love, Lose, Exile for Soprano, Cello, and Piano. Featuring Abigail Sinclair on soprano, Yu-Hsin Teng on piano, and Evan Kahn on piano.

Wings for Violin, Cello, and Piano. Performed by Pasha Tseitlin on violin, David Meyer on cello, and Nic Gerpe on piano.

You can always find more info at OneSymphony.org including a virtual tip jar if you’d like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

In this episode of One Symphony, host Devin Patrick Hughes sits down with Ralph Patrick, a former pastor and Alzheimer's Association collaborator, to explore the profound impact of music on individuals living with dementia. Patrick shares his personal experiences and insights, discussing how live musical performances can engage, stimulate, and connect with those affected by this challenging disease. Discover the steps musical organizations can take to create dementia-friendly programs and learn about the cognitive benefits of music for individuals with dementia. Don't miss this thought-provoking discussion on the transformative power of music and its ability to reach the deeper, inner self beyond cognition.

Ralph Patrick, a former pastor and Alzheimer’s Association collaborator is the son of Jean who died of Alzheimer's in 2012.  Her diagnosis in 2001 led him to join the Colorado Chapter of the Alzheimer's Association.  He has presented hundreds of education classes, as well as providing consultationg services for both caregivers and those living with dementia, and has been a collaborator and presenter with Boulder Symphony creating Sensory Friendly concert series, reaching thousands in Colorado and beyond.  

00:00 Introduction to the Power of Music in Dementia Care

00:14 Early Experiences and Realizations

01:59 The Impact of Music on Dementia: Recorded vs. Live

04:31 Advancements and Community Engagement in Music Therapy

07:08 Orchestras and Ensembles: Engaging with Dementia Programs

09:56 Tailoring Music Programs for Different Stages of Dementia

16:59 The Therapeutic Benefits of Music for Dementia

18:51 The Role of Orchestras in Supporting Dementia Communities

22:10 The Deep Connection Between Music and Memory

23:28 Preventative and Therapeutic Benefits of Music

25:08 Closing Thoughts and Encouragement

Thank you for joining us on One Symphony. Thanks to Ralph Patrick for sharing his expertise and stories. You can find more info at https://www.alz.org or https://bouldersymphony.org/outreach/ or linkedin.com/in/ralph-patrick-69734215

Musical selections on this episode today include 

1. Bach - Air from Orchestral Suite no. 3 in D major BWV 1068 Performed by the Netherlands Bach Society
2. Pyotr Ilyich Tchaikovsky – Symphony No 5 in E minor op. 64 Sergiu Celibidache conducts the Munich Philharmonic Orchestra
3. Mozart Divertimento in D Major, K. 136 "Salzburg Symphony No. 1": II. Andante · Ton Koopman conducts the Amsterdam Baroque Orchestra 
4. The Syncopated Clock · Leroy Anderson, conducted by Leroy Anderson
5. Shostakovich: Jazz Suite No. 2 - VI. Waltz II Riccardo Chailly conducts the Royal Concertgebouw Orchestra 
6. Beethoven: Symphony No. 6 In F, Op. 68 -"Pastoral" – First movement --   Herbert von Karajan  conducts the Berliner Philharmonic 

You can always find more info at OneSymphony.org including a virtual tip jar if you’d like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

In this episode of One Symphony, host Devin Patrick Hughes welcomes rising star composer, performer, and educator Brittany Green to discuss her boundary-pushing work and perspective on the future of classical music in the 21st century.

Green, who started out in music education before pivoting to composition in her 20s, brings a multifaceted approach to her practice. Through projects like the Young Composers Project, she blends her interests in composing and teaching, working with K-5 students to collaboratively create music using tools like Max MSP. During the pandemic shutdowns, Green delved further into live electronics and narration as a form of performance, drawing inspiration from artists in the black arts and poetry space to bring fresh aesthetics to her classical compositions.

A major theme in Green's music is the "construction, displacement and rupturing of systems." She sees composers throughout history, from Beethoven onwards, as mold-breakers who redefined expectations. Green explores concepts like building and dismantling rhythmic structures, and cutting through established textures and timbres, to allow new musical ideas to emerge from the breakage and slippage. Pieces like "Against Sharp" express this through incessant repeated notes that slowly erode into legato lines and expanded harmonic material. Intellectually, Green relates this to the ideas of cultural scholars like Bell Hooks and José Muñoz around disrupting systems of domination from the margins.

When it comes to expanding classical music's reach, Green emphasized the importance of authentic community engagement. Through her "community engaged residencies" with orchestras around the country, she aims to have genuine dialogue with communities about their interests and needs, rather than just bestowing a pre-packaged experience upon them. Finding collaborators within communities and among outside artists doing impactful work elsewhere allows for rich cross-pollination of ideas. Regional orchestras especially are well-positioned to connect with local institutions and build meaningful, reverberating programming.

Green sees opportunities to lead audiences to appreciate new musical experiences they "don't know they don't know." While some may assume anything written recently is inaccessibly avant-garde, the reality is new classical music spans a wide range of genres and aesthetics. With creative programming that makes unexpected connections between old and new works, and provides helpful context, orchestras can open listeners' minds and excite their curiosity to discover fresh voices.

Even as artificial intelligence emerges as a tool for music creation, Green believes the most vital qualities of composition will remain the domain of humans. AI may be able to generate music that is theoretically "correct," but it is the element of surprise, of flouting expectations in ways only a human can anticipate, that makes music truly interesting. Moreover, the physically and emotionally resonant experience of making and sharing live music, and literally feeling sound together in community, is not something AI can replicate.

Incorporating interdisciplinary storytelling is another way Green seeks to connect on a deep level. Her piece "Garden On Green Street" features recorded interviews with her mother and aunt musically manipulated to form an intergenerational dialogue with ancestors. The multimedia work "Thresh and Hold" transforms sounds like chains and rocks collected from her family's land into instruments channeling memories of slavery and freedom.

Green's compositions often explore themes of constructing, displacing, and disrupting systems. Drawing inspiration from composers throughout history who defied conventions, she employs techniques like developing and dismantling rhythmic structures, and allowing new musical ideas to emerge from ruptured textures and timbres. Works such as "Against Sharp" exemplify this approach, while engaging with cultural theories around subverting dominant paradigms from the margins. As Green eloquently stated, "I find a lot of excitement in that for me, that unfolds in looking at rhythmic structures that I can build over time and then slowly dismantle or maybe quickly dismantle and completely break and explore what music comes out of that breakage in that slippage of rupture."

Composer Dan Visconti joins host Devin Patrick Hughes on One Symphony to discuss his innovative approaches to engaging new audiences with classical music. In this in-depth interview, Visconti shares valuable lessons from his wide-ranging collaborations, including projects with incarcerated youth, refugees, and interactive opera productions. He delves into his concept of "civic practice," which involves directly engaging communities in the artistic process to address social issues. Visconti also provides insight into his own boundary-pushing compositions, such as "Low Country Haze" and "Living Language," and the intricacies of cross-genre collaboration. Throughout the conversation, Visconti's deep commitment to expanding the reach and relevance of classical music is evident. He offers thought-provoking perspectives and practical strategies for how orchestras can adapt to the needs and interests of 21st-century audiences. This interview is essential viewing for anyone passionate about the future of classical music and its capacity to inspire positive social change.

00:00 Introduction and Visconti's Early Musical Influences

00:30 The Importance of Play and Discovery in Musical Development

01:47 Visconti's Transition from Violin Performance to Composition

03:30 The Impact of The Beatles and Classical Music on Visconti's Style

04:33 Strategies for Audience Engagement and Defying Conventions

05:02 Visconti's Projects and Experiences in Music and Social Impact

07:39 Harnessing the Power of Music in Civic Practice

08:53 A Case Study: Music Programs for Incarcerated Youth

17:18 The Significance of Music in Community Engagement Efforts

17:34 Designing Interactive Concert Experiences for Modern Audiences

32:43 Balancing Artistic Vision and Practicality in Composition

33:00 "Low Country Haze": A Musical Interpretation of the American Road Trip

38:03 The Dynamics of Collaboration in Music from a Composer's Perspective

42:58 Conclusion: Visconti's Vision for the Future of Music and Collaboration

Thank you for joining us on One Symphony. Thanks to Dan Visconti for sharing his music and wealth of knowledge.  You can find more info and connect with Dan at https://www.danvisconti.com

Musical selections on this episode today include

Music Box (River Silver)

Fifth House Ensemble

December 1952

Composed by Earle Brown

David Tudor

Deep Listening - Ione

Pauline Oliveros, Stuart Dempster & Panaiotis

Low Country Haze (Version for Chamber Orchestra)

Scharoun Ensemble Berlin

Drift of Rainbows

Humble Pie

Composed by Dan Visconti

You can always find more info at OneSymphony.org including a virtual tip jar if you’d like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

On this episode of One Symphony, conductor Devin Patrick Hughes interviews Henry Fogel, a prominent figure in the orchestral music field. Fogel discusses his early life in music, his exciting journey in radio, and his passion for making symphonic music more accessible. They also delve into Fogel's contribution to orchestras as a director and a manager. From his beginnings in a home where Broadway musicals were the high end of musical taste, to his rise as a key figure in the world of orchestral music, Fogel’s insights on board members and anecdotes about conductors provide a unique window into the business side of the symphony orchestra.

Henry Fogel has served as President and CEO of the League of American Orchestras, where he significantly impacted the orchestral landscape by supporting and consulting with over 190 orchestras during his tenure. His leadership as President of the Chicago Symphony for 18 years saw substantial growth in the organization's endowment and community engagement efforts. Henry’s extensive career also includes leadership positions at the National Symphony Orchestra of Washington, D.C., and the New York Philharmonic. He is actively involved in various nonprofit boards and serves as Chair of the Chicago Classical Music Recording Foundation. Henry’s contributions to the American symphonic landscape have been recognized through honorary doctorate degrees and many awards, including the League of American Orchestras' Gold Baton Award. Beyond his professional achievements, Fogel is an accomplished narrator and producer, sharing his passion for classical music over the radio waves for 5 decades. Henry enjoys spending time with his children, grandchildren, and pursuing his interest in Chinese cuisine.

Thank you for joining us on One Symphony. Thanks to Henry Fogel for sharing his wealth of wisdom.

Musical selections on this episode today include

Mass in B Minor, BWV 232: I. Kyrie: No. 1, Kyrie eleison I (Chorus)[Music Download]

From the album Bach: Mass in B Minor, BWV 232

By: The Netherlands Bach Society & Jos van Veldhoven

Glagolitic Mass,

From the album Janáček: Glagolitic Mass - Martinů: Field Mass

By: Czech Philharmonic, Prague Philharmonic Choir, Václav Neumann, Josef Veselka, Jan Hora, Gabriela Beňačková, Věra Soukupová, František Livora, Karel Průša

Berwald: Symphony No. 4 in E flat major - I. Allegro risoluto[Music Download]

From the album Schubert: Symphony No.4 "Tragic" / Berwald: Symphonies Nos.3 "Singulière" & 4

By: Berliner Philharmoniker and Igor Markevitch

Symphony No. 9 in E-Flat Major, Op. 70: V. Allegretto[Music Download]

From the album Shostakovich: Symphony Nos. 5 & 9

By: Leonard Bernstein and the New York Philharmonic Orchestra

Corigliano: Symphony No. 1[Music Download]

Symphony No. 1: I. Apologue. Of Rage and Remembrance

By: Daniel Barenboim and the Chicago Symphony Orchestra

Nielsen: Symphonies Nos. 3 & 5[Music Download]

Symphony No. 5, Op. 50, FS 97, CNW 29: I. Tempo giusto - Adagio

By: Leonard Bernstein and the Royal Danish Orchestra

https://www.wfmt.com/programs/collectors-corner-with-henry-fogel/

https://devinpatrickhughes.com

You can always find more info at OneSymphony.org including a virtual tip jar if you’d like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

In an in-depth interview, Devin Patrick Hughes speaks with former ITN journalist, ClassicFM host, and biographer John Suchet discusses his transition from journalism to classical music as a career because of his connection to Tchaikovsky's music. He shares his initial love for Tchaikovsky's melodies, developing an understanding of music through learning jazz trombone, and his eventual passion for writing about classical music composers. John touches upon Tchaikovsky's struggle with his identity and homosexuality, and how it influenced his symphonic works. Additionally, he considers the debate about Tchaikovsky's dubious death and the bizarre relationship that Tchaikovsky had with Nadezhda von Meck, his best-known patroness. John believes his approach to understanding music is through the man and not the music, and shares never before heard anecdotes about Tchaikovsky’s relationships with other men. 

00:00 Introduction and Early Life

00:16 Transition into Classical Music

00:34 Tchaikovsky's Early Musical Journey

01:49 Tchaikovsky's Career in Journalism

02:57 Tchaikovsky's Love for Classical Music

03:43 Tchaikovsky's Writing Career

04:13 Tchaikovsky's Love for Other Composers

05:47 Tchaikovsky's Self Doubt

08:13 Tchaikovsky's Struggles with Homosexuality

10:27 Tchaikovsky's Marriage and its Impact

11:57 Tchaikovsky's Influence and Legacy

28:28 Tchaikovsky's Death and its Controversy

38:47 Conclusion: Tchaikovsky's Enduring Impact

As the host of The Classic FM Concert with John Suchet for 12 years, John Suchet is a household voice in classical music and broadcasting. Before his career at Classic FM, John was celebrated as one of the nation's foremost reporters and newscasters. At ITN, he covered pivotal global events such as the Iranian Revolution, the Soviet invasion of Afghanistan, and the Philippines Revolution. He has earned accolades including Television Reporter of the Year and Television Newscaster of the Year. In 2008, he received the Lifetime Achievement Award from the Royal Television Society, marking his remarkable career spanning nearly four decades in television news.

John's lifelong passion for classical music, particularly the works of Beethoven, has been a driving force in his life. He authored seven books focusing on the legendary composer, with his latest publication, a special 250th anniversary edition of "Beethoven — The Man Revealed," released in 2020. His dedication to promoting classical music earned him prestigious honors such as an Honorary Doctorate from the University of Dundee and an Honorary Fellowship from the Royal Academy of Music. He has also authored books on Verdi, the Strausses, Mozart, and Tchaikovsky, the Man Revealed, which is the subject of today’s discussion.

Thank you for joining us on One Symphony. Thanks to John Suchet for sharing his wealth of knowledge. You can find more info at JohnSuchet.co.uk  and pick up a copy of Tchaikovsky The Man Reveals, and other books by great composers of John’s wherever you get your books. Musical selections on this episode today include Tchaikovsky’s 4th Symphony by the Berlin Phil, Bruckner’s Seventh Symphony by Vienna Phil and Herbert von Karajan,, Strauss’s Blue Danube Waltz by the Vienna Phil and Willi Boskovsky, Sugar Rum Cherry (Dance of the Sugar Plum Fairy from Three Suites by Duke Ellington, Tchaikovsky’s First String Quartet by the Emerson String Quartet, and the Nutcracker by the Royal Philharmonic Orchestra.

You can always find more info at OneSymphony.org including a virtual tip jar if you’d like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

https://www.listennotes.com/podcasts/one-symphony-with-devin-patrick-hughes-_UBbpoivcA3/

https://www.audible.com/pd/One-Symphony-with-Devin-Patrick-Hughes-Podcast/B08K57VY49

In this insightful discussion, Devin Patrick Hughes is joined by Eric Booth, a lifelong teaching artist, elaborates on his experiences with teaching artistry and its importance in bridging the gap between classical music and broader audiences. Booth shares his perspective on what constitutes a teaching artist, emphasizing that their role extends beyond teaching a specific art form to activating the creative abilities in others. He also discusses the concept of “entry points,” which allows non-experts to make personally-relevant connections to musical pieces. Booth further explores the notion of open rehearsals, creating room for audience engagement, question-asking and building up appreciation for the technical skills of musicians. Furthermore, Booth touches upon the importance of celebrating mistakes as part of the creative process, fostering growth mindset and nurturing artist expression.

Eric Booth has been honored with The Arts Education Leadership Award from Americans for the Arts, and was named one of the “50 most influential people in the American arts.” After many years as a Broadway and classical actor, successful businessman, and author of The Everyday Work of Art and The Music Teaching Artist’s Bible, he launched his work in teaching artistry in 1979. He launched the teaching artist program at Juilliard, and has taught at Stanford University, NYU, Tanglewood and the Lincoln Center Institute where he now leads the Teaching Artist Development Labs.

He advises El Sistema programs in the U.S. and many countries; and consults with arts organizations, cities, states and national governments on arts learning. He gave the keynote address to UNESCO’s first ever worldwide arts education conference, and is widely called “the father of the teaching artist profession.”

Thank you for joining us on One Symphony. Thanks to Eric Booth for sharing his life’s worth and wealth of knowledge. You can find more info at www.teachingartistsmakingchange.com or www.ericbooth.net Musical selections on this episode today include Stravinsky’s Elégie for Viola Solo from the album Boulez Conducts Stravinsky and Deutsche Grammophon. You can always find more info at OneSymphony.org including a virtual tip jar if you’d like to support the show. Please feel free to rate, review, or share the show! Until next time, thank you for being part of the music!

www.ericbooth.net

https://www.soundespressivocompetition.com/judges-panel/devin-patrick-hughes