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.

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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.

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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.

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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.”

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“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.

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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.

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.
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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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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.

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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• 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 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!

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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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!

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!