The Sound Post » Videos

Schumanns Set to Save Classical Music

Colin Oettle — Thu, 14 Apr 2011 16:59:08 +0000

Pianists Elizabeth and Sonya Schumann are spearheading a project that will bring engaging musical experiences to children. The project is based at kickstarter.com, a web platform for funding creative projects.

The sisters believe exposing children to high quality classical performances in a relatable context will create a new generation of classical music lovers. So, they created a children’s CD by carefully pairing short works with an exciting narrative about a girl who adventures overnight in a zoo. Their contribution to music education could simultaneously combat declining classical audiences and enrich the lives of a new generation. Watch the video for a more in depth explanation of the project!

Take a look at their project homepage for a complete rundown. They could use your support!

Whitacre’s Virtual Choir of 2052 Voices Performs “Sleep”

Colin Oettle — Wed, 13 Apr 2011 02:02:08 +0000

A year and a half after Eric Whitacre created a recording of “Lux Aurumque” from videos uploaded to YouTube by 52 separate singers, he and his team set out to create a more massive virtual performance of his work “Sleep.”

Whitacre gave a TED talk in March explaining his vision for these projects, which began when a young woman posted herself singing the soprano line to one of his pieces on YouTube. He posted a video of him conducting Lux Aurumque and invited submissions for the collaboration.

52 uploads later, he created a virtual choir by syncing all the audio tracks together for a unique choral performance. This second effort, however, dwarfs the first project by incorporating the audio and video tracks of 2052 different singers. Read on for the video.

YouTube performance of “Sleep” by Virtual Choir 2.0

Eric Whitacre’s TED talk about the Virtual Choir project.

Singer Belts Nine Months After Lung Transplant

Colin Oettle — Wed, 23 Jun 2010 20:23:02 +0000

Charity Tillemann-Dick is a world class soprano with a world class story. Just nine months after undergoing a double lung transplant in tandem with open heart surgery, the tenacious diva regaled her doctor’s with a performance of Puccini’s aria O mio babbino caro.

Before her surgery, Tillemann-Dick battled her condition for 4 years on and off the stage. She continued to perform despite failing health, afraid that a hiatus from singing would stall her momentum. Read on for the CNN video of her performance and link to the original article.

See the CNN article here.

Follow Up: Fleming Goes Pop

Colin Oettle — Wed, 23 Jun 2010 05:57:35 +0000

Renée Fleming recently talked with CNN about her newest album, Dark Hope, which was released on June 8 in the US. Dark Hope is an all-pop cover album that represents a departure from the operatic prima donna role that earned Fleming international fame. Inspired by new, edgy and eccentric lyrics, Fleming created not only a new image, but also a new voice for her popular debut.

See The Sound Post’s review of the single Endlessly here, and click through to watch both the CNN and WQXR interviews with Ms. Fleming.

WQXR Podcast:

Exclusive Interview With Bridgid Bibbens

Ian — Sat, 28 Nov 2009 05:26:51 +0000

WOW! What a fun interview. I have got to say that it was truly a blast to shoot this one! As soon as I walked into the Wood Violin workshop and saw Bridgid sporting a Whitesnake t-shirt, and a spiked belt with a Viper axe under her arm, I knew this was going to be a trip.

In this Sound Post exclusive interview, “Go-To-Girl” of Wood Violins, Bridgid Bibbens, sits down with Ian to talk about how she transformed from being a school strings teacher to violin-rockstar and spokesperson for the Electrify Your Strings program. EYS is a string education initiative founded by Mark Wood, and it is quickly sweeping the nation.

Bridgid also details the process of making one of Mark Wood’s famous Viper instruments (and then proceeds to rock out with a familiar tune from Liverpool, England).

Be sure to check out the pictures and video below. Once the cameras stopped rolling we had a chance to play some of Wood’s instruments, and what a rush that was! It was undoubtedly some of the most fun I’ve had in a long… long time.

Exclusive Interview with Bridgid Bibbens from Ian Salmon on Vimeo.

For more information about Bridgid, check out her websites:

BridgidBibbens.com (MySpace redirect)
Facebook Fan Page
YouTube Channel

And be sure to visit the official pages for Wood Violins and the Electrify Your Strings program!

Official Website of Wood Violins
Electrify Your Strings!

4 Vipers ready to rock!

Joe, the man behind the construction of Wood Violins!

When the camera stopped rolling, I got a chance to rock on a Viper, I know what I'm asking Santa for Christmas

Ian, with members of the Wood Violin family, Bridgid and Joe

A great example of the custom artwork available with Vipers

Camera (wo)man Aimee, Ian, and Bridgid

Exclusive: Interview with Susan Waterbury

Ian — Thu, 29 Oct 2009 02:06:05 +0000

I had the pleasure of sitting down today with Susan Waterbury, Associate Professor of Violin at Ithaca College. In this Sound Post exclusive interview, Ms. Waterbury talks about the inspiration for her upcoming recital, the experience of collaborating with Jeffery Meyer, and the importance of musicians reaching out into their communities to spread their talent.

Susan Waterbury is Associate Professor of Violin at Ithaca College and a former member of the renowned Cavani Quartet. Waterbury has given masterclasses and recitals in major conservatories both in the US and abroad. She studied with Donald Weilerstein.

Check out her recital on Sunday November 1 at 4pm in Hockett Recital Hall at Ithaca College. Video after the link.

Exclusive Interview with Susan Waterbury from Ian Salmon on Vimeo.

Exclusive Interview: August Kleinzahler on Music I-LXXIV

Ian — Tue, 27 Oct 2009 01:14:44 +0000

Here it is! My exclusive interview with August Kleinzahler. If you aren’t familiar with this man, you soon will be.

Fighting jet lag from his recent trip to Birmingham, England, Augie sat down with The Sound Post for a midnight interview about his latest book, Music I-LXXIV. A collection of essays from his weekly column in the San Diego Reader and other publications, the New York Times praises the book, “The battered, roomy, intellectual charm of his poetry floods these music pieces; they’re offhanded and penetrating at the same time.”

In this Sound Post exclusive interview he discusses everything from the day he cut study hall and first tried his hand at poetry, to his hatred of iPods. This lighthearted interview really captures the man behind the words.

Augie won the 2008 National Book Critics Circle Award in Poetry. He has published ten poetry books, including “Sleeping It Off in Rapid City”, which the Times calls “one of the decades best collections.” Music I-LXXIV is his first venture outside of the genre. His essays range from 2-10 pages in length and are full of hilarity, history, and at times, downright absurdity. It represents the perfect bathroom or bedside read for musicians. And at the least, you will come out with a new list of recording to hear – and some to avoid (San Francisco Chronicle).

For more information about August Kleinzahler, explore the links below!

Poets.org profile, including extended professional biography

New York Times review of Music I-LXXIV

San Francisco Chronicle review

Purchase Music I-LXXIV

Video: Vivaldi, Tchaikovsky, Wieniawski on Accordion

Colin Oettle — Wed, 07 Oct 2009 21:18:08 +0000

The first video shows an impressive accordion transcription of “Summer,” from Vivaldi’s Four Seasons. While it may not require a critical review, I encourage you to enjoy this impressive and entertaining performance.

The other two videos are even more impressive, and have have been around the internet for about a year. They include the final movement of the Tchaikovsky Violin Concerto (both solo and orchestra parts), and Wieniawski’s Scherzo and Tarantelle for violin and piano.

VLOG #1: ICSO Wrap Up

Ian — Mon, 05 Oct 2009 04:36:03 +0000

Again, we would like to thank Steven Stucky and Jeffery Meyer for speaking with us this past week. And thank you to OUR VIEWERS! Thank you so much for spreading the word about The Sound Post. We love you all and will continue to bring you somewhat scholarly articles from the world of classical music everyday. We have a special interview with Sanford Reuning next week. Please send all questions or comments to Ian@soundpostnews.com, or find me on twitter at twitter.com/iansalmon. Video after the jump.

Exclusive: Interview With Conductor Jeffery Meyer

Colin Oettle — Fri, 02 Oct 2009 15:57:13 +0000

Today’s interview is with Dr. Jeffery Meyer. He is the Director of Orchestras at Ithaca College, Artistic Director of the St. Petersburg Chamber Philharmonic, and Artistic Director of the Water City Chamber Orchestra. Meyer will lead the opening performance of Ithaca College’s 09-10 season tomorrow night, Saturday October 3rd. One of the works on the program is Jeu de Timbres by Steven Stucky, who we interviewed yesterday (see his interview here).

Also scheduled is Ravel’s Ma Mère l’Oye (Mother Goose Suite), and Berlioz’s Symphony Fantastique, op. 14. The concert takes place tomorrow night, Saturday October 3rd, at 8:15pm in Ford Hall, Ithaca College.

Please click on through for the video interview and full written transcript.

Sound Post News: Hi everyone this is Ian with another Sound Post News Video Blog.

Here with me today is Dr. Jeffery Meyer, Director of Orchestras at Ithaca College, also the Artistic Director of the St. Petersburg Chamber Philharmonic. Thank you Dr. Meyer for being with us today.

We’re here to talk about the Ithaca College Symphony Orchestra. Tomorrow night, Saturday October 3rd, opens the 2009-2010 season. On the program is Stucky, Ravel, and Berlioz. Could you tell us a little bit about this program and what inspired you to choose this repertoire?

Jeffery Meyer: Well, the Berlioz is the centerpiece of the program. It’s interesting—I don’t know if you were paying attention—both one of the early concerts with Dudamel and LA Phil was Berlioz’s Symphony Fantastique. There’s an incredible recording available on iTunes with that performance. And also the debut of Alan Gilbert with New York Phil was also Berlioz. It’s interesting—I didn’t know these things were going on, but I don’t think it’s just in the air. I think this piece is a showcase for both orchestras and conductors. So it’s been on my list to do with this orchestra for some time. It is such a virtuosic showpiece for everyone involved. So the program started with that germ. And then I spoke to Steve Stucky earlier in the spring I think, about a piece that would be appropriate to do here. I’m not sure if you know, but Steve is turning 60 this year—so it’s a big anniversary—and I thought it would be the right time to do something of Steve’s. So he suggested this as a possibility. And the program then is filled out with Ravel. And the whole program then falls within this kind of French orchestral idea, so there’s a real unity to the program which I like a lot.

SPN: If you haven’t caught it yet, Steven Stucky did a great interview with us yesterday (link). He talked about his piece Jeu de Timbres—as he said yesterday, lots of French moments and we’ll see it tying together. So tomorrow night, first concert of the season, what do you look forward to most in working with the Ithaca College Symphony Orchestra as compared to your experiences with the St. Petersburg Chamber Philharmonic?

JM: Well there’s a few things. The exciting part about working with younger musicians: the growth rate is fast but of course the rehearsal cycle is over a longer period of time. With a professional orchestra you come in, you conduct 3-4 rehearsals, have a concert, and it’s done. But there’s a development process that happens over 5 or 6 weeks of rehearsal which is very exciting to partake in. And as a conductor I get to dig into these works in a deeper way than I do in some ways working with professionals, because I have to take apart everything. Nothing happens by itself really. So I get to know the work in a really intimate way. And then to watch the students grow is pretty fascinating and exciting. This is a very large undertaking for a first concert, and there’s a lot of younger players in this orchestra because there was a big incoming class this year. I sort of feel like I took most of the players, especially the first year players, and threw them into the deep end of the orchestral waters to see if they would swim, and they are.

SPN: As Mr. Stucky said yesterday, his piece Jeu de Timbres is a showpiece designed for a professional caliber orchestra, and he seemed pleased with how the orchestra is doing—and we all know Berlioz is not a walk n the park either.

JM: No, it’s virtuosic for everybody. Everybody has something to do. I don’t think there’s an instrument that’s not called upon to do something difficult and extraordinary. It’s a great piece. And Steve’s piece, it quotes Ravel as you know—I watched the interview this morning—and then we play Ravel right after that, so the program has a really nice flow to it.

SPN: So for the most part it’s very high energy, very French.

JM: Yeah, although the Ravel is certainly the most calm of all the pieces. Steve’s piece is brilliant—it was written as an encore so we’re using it as an opener. It sort of fills the same function to either start or end something with great energy. And then the Ravel is mostly calm, beautiful wind solos. It calls on every instrument in the wind section, including a very difficult contrabassoon solo, which Noah is doing a very good job on. And that’s a little bit more calm. The whole Ravel piece inhabits a more quiet, fairy like role. And of course Berlioz is off the deep end.

SPN: Certainly a concert to catch. Again the concert is at 8:15pm tomorrow night, October 3rd in Ford Hall at Ithaca College.