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!

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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.

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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!

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.
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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!

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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!

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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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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!

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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.

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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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!

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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