Anthony Plog on Music

Imagine being a multi-talented artist, a composer who has crafted scores for TV and iconic films like Jeremiah Johnson and The Candidate. Now, imagine you're also an acclaimed actor, having graced countless movies and winning a Tony Award for Children of a Lesser God Picture collaborating with legendary directors such as Bob Fosse, Mike Nichols, and Stephen Sondheim. Oh, and did I mention your father was the renowned pianist Artur Rubinstein? Growing up, you played for distinguished guests like Stravinsky, Milhaud, and Lawrence Olivier. With that incredible background, you can only imagine how thrilling it was for me to chat with the extraordinary John Rubenstein!

In Part 1, we delve into John's fascinating childhood and his initial steps into the world of composing. He began by writing for school projects and eventually transitioned into film scoring. John shares how the movie Chinatown influenced him and his special connection with trumpeter Uan Rasey, whose haunting solos left a lasting impact. We also explore the art of writing scores in Hollywood, discussing the nuances between composing for TV series and films. Then, we shift to John's acting career, highlighting his lead role in Pippin under the direction of the legendary Bob Fosse. We wrap up this segment by discussing the challenges of dealing with nerves and taking auditions.

In Part 2, we take a detour to discuss a memorable evening when John starred in Children of a Lesser God at the Mark Taper Forum in Los Angeles, while his father performed at the Music Center. John reminisces about playing for George Szell and shares insights into his father's experience recording with Fritz Reiner. We conclude with a wide-ranging conversation covering John's favorite books and composers.

Called "one of the biggest talents of his generation," Elias David Moncado, at a very young age, has already had an exceptional career. After winning his first competition at the age of 6, then his first international competition at the age of 8, he went on to win four major competitions after that (the Sendai Violin Competition in 2019, the International Karol Lipinski Violin Competition in 2019 (first grand prize and ten special prizes), the Valesia Musica Competition in 2021, and the Vladimir Spivakov Competition in 2021). His debut album was released in 2022 with works by Hindemith, Poulenc, and Bartok. Equally involved in different types of chamber music, he is a well-established international artist who is still just at the beginning of his career.

We begin with my asking Elias about his very early beginnings as a violinist, his early studies with Professor Latica Honda-Rosenberg, and then his phenomenal success at international competitions. I asked about his mental outlook during those competitions, and his answer was both a surprise and revealing to me. We then speak about interpretation and memorization (and how he is able to memorize so many major concerti), and his thoughts about concentration.

(Part 2 for Subscribers): During Covid, when he had no in-person performance opportunities, Elias learned the fiendishly difficult Bartok solo sonata as a way of using his free time to challenge himself. In 2022 he released his first solo album, and we talk about why he didn't record standard repertoire for his first recording. Because Elias is also deeply involved in playing chamber music, we talk about time management, and managing a career... "you need to create a full package as an artist." I then ask about the two 18th-century violins he plays, and we end with Elias talking about his special musical relationship with Anne Sophie Mutter.

Frederica von Stade has had a fabulous career as an opera singer, recitalist, and concert artist. In her long career, she has performed and recorded internationally, working with major conductors around the world (Karajan, Bernstein, Abbado, to name just a few.) In addition, she has championed the works of many contemporary composers, most notably Jake Heggie, with whom she has a strong friendship. Known as Flicka, she is both unassuming and gracious, and it was a highlight to have the opportunity to speak with her about her life and career.

We begin our conversation by talking about her connection with composer Jake Heggie, how they met, how she was instantly attracted to his music, and how Heggie's first and most popular opera, Dead Man Walking, came into being. Using that as a springboard, I then ask how an opera is put together from a singer's point of view. She then talks about how to maintain a healthy voice, working with nerves, and we end Part 1 discussing two of her favorite composers - Mahler and Debussy.

[Part 2 for Subscribers]: As a young girl, Frederica von Stade was first drawn to musicals and only later became involved in opera, and so she speaks of some of her early experiences with musical theater. I ask if she feels that she has been influenced as a singer by any instrument, and (no spoiler alert) her answer came as a total surprise! We end with a discussion of the charitable work she has done, specifically with the Young Musicians Choral Orchestra.

Dr. Micah Killion is a trumpeter who has devoted the past several years to better understanding what constitutes effective practice and learning. Formerly a member of the Air Force Band, he has also been an arts administrator. In addition to his performing and research, he has also been involved in helping underprivileged populations through the power of music, his latest effort including a journey to Nepal. Currently he is the coordinator for the Center for Music Learning's new "Musical Lives Initiative."

We begin the conversation with Micah talking about his doctoral thesis research, where he studied the practice routines of six high-level trumpet players: Chris Coletti, Louis Hanslick, Justin Emmerich, Amy McCabe, Billy Hunter, and Gareth Flowers. His research aimed to identify commonalities in their practice approaches. We then talk in-depth about several practice concepts discussed on his website: "Give it a rest", "Interleave it", and "Get motivated."

In Part 2, to get Micah's feedback, I gave him an example of how I practiced when I was in college, which led us to more practice talk, and "what's your target." We wrap up the interview with Micah talking about his three week visit to Nepal, and how he used music and the trumpet to work with youth experiencing homelessness.

Miguel Harth Bedoya has been the Music Director of the Fort Worth Symphony Orchestra for 20 years and is now their Music Director Laureate. In addition to other Music Director positions he has held, he has also guest conducted major orchestras around the world such as the New York Philharmonic, the Philadelphia Orchestra, the Cleveland Orchestra, and the Chicago Symphony - to name only a few. He is currently the Mary Franks Thompson Director of Orchestral Studies at Baylor University.

We begin by asking Miguel about the differences in conducting various levels of orchestras, ranging from student orchestras to the top orchestras in the world... and his main thought is, "The love of music is very important." I also ask him about score study, to which he explains why a piece sounds different to him each time he reads and studies its score. (He also mentions how reading Cervantes' Don Quixote three times over the years gave him a different understanding of the book each time he read it.) Miguel was the conductor for the premiere and recording of Jennifer Higdon’s Cold Mountain, and he talks about the process of bringing a new opera to life. We end with an explanation of why an orchestra is like a research laboratory.

[Subscriber content] In Part 2, we begin by talking about Miguel's background. He was born in Peru, and we trace his journey as a student from Peru to Chile to the Curtis Institute and finally to Juilliard. He was an assistant conductor for the New York Philharmonic when Leonard Slatkin was delayed in getting to a concert, and he talks about jumping in at the last moment. He also talks about a later experience conducting Copland’s Appalachian Spring with that great orchestra. We finally turn to his career as a teacher, and his belief that building a foundation is critical to becoming a conductor. We end on a non-musical note... his helping with the disposal of garbage in Fort Worth... known as the "Cowboy Compost"... while he was Music Director of the Fort Worth Symphony.

Kevin Mayse is the wind ensemble conductor, trumpet teacher, and chair of the Department of Music at Riverside City College. Even though RCC is a two year college, what Kevin has been able to accomplish has been exceptional. His wind ensemble not only performs major works but also has a vibrant commissioning program, top flight soloists, and performs to sold out, standing room audiences. So, who better to ask about how to build a strong and thriving college performing program than Kevin?

We begin with a discussion of a concert I was involved in as a composer, where a piece of mine for trumpet and wind ensemble was given its premiere by Tom Hooten (principal trumpet of the Los Angeles Philharmonic Orchestra) and the RCC Wind Ensemble. We use this concert to discuss in depth how Kevin has been able to create such a strong program. This is followed by Kevin talking about his early trumpet studies, how he gradually got into conducting, being hired at RCC, and eventually becoming department chair (and his take on the role of that position.)

Be sure to join us in Part 2 (Subscribers Only Content) where Kevin discusses some of his inspirations and mentors - Dave Evans, Malcolm McNab, and Bobby Shew for trumpet and Professor Jerry Junkin for conducting (specifically the four straight years that he attended a life-changing conductor's workshop in Texas.) I then ask Kevin a question that is always interesting for me: What makes a great student? We end with a story from a concert where Karel Husa's "Music for Prague 1968" was performed, and the emotional impact that great music can have.

Jon Armstrong is an amazingly versatile performer, composer, educator and thinker. Perhaps that should come as no surprise, since as a young man in his home town in Oregon, Jon not only played in a Buddhist marching band but also worked 12 hour shifts in a diaper factory! After a highly successful career in LA, he now teaches at Idaho State University, where he's established a fantastic commercial music program, while still performing and composing and at an extremely high level.

Jon grew up in Corvallis, Oregon, and at a very young age was already deeply involved in music, learning any instrument he could get his hands on and playing in a variety of groups. His studies at the California Institute for the Arts were followed by seven years in Los Angeles, where he worked as a freelancer, band-leader and composer... and also founded three educational jazz programs! He moved to Pocatello to become Director of Jazz Studies at Idaho State University in 2015, which he has evolved into the new Commercial Music Program. Much of our discussion centers around his thoughts on pedagogy and building the commercial music program.

Matilda Lloyd has already had an exceptional career at a very young age. Her first album, Casta Diva, released on Chandos Records, was BBC Music Magazine's Recording of the Month in June of 2023. She will also be a European Concert Hall Organization "Rising Star" for the 2024/2025 season. But in addition to being an international trumpet soloist, she also has her own podcast, Musical Roots, and is an Ambassador for the charity "Brass for Africa."

The conversation begins with Matilda tracing her path to where she is now, from when she began playing trumpet, on through her studies with Mark David and Håkan Hardenberger. She talks about the specific teaching styles of these two great players and teachers, and then moves on to the beginning of her solo career. Although it may seem as though she had a smooth path to a successful career, that hasn't always been the case, including a time during the pandemic when she worked a job outside of music in order to put food on the table. Her take on that time shows resilience, strength, and motivation. Part 1 wraps up with Matilda talking about moving forward with her career after the pandemic, and how her practicing has changed over time.

During the series of conversations I've had with people in the music business over the past 3 1/2 year, I've spoken with guests representing many aspects of music. But I haven't spoken with anybody about the give and take between orchestra management and musicians. So, who better to have on the podcast than Lynn Larsen? Lynn has been Personnel Manager (since 1988) and Orchestra Manager (since 2017) of the Boston Symphony Orchestra. Formerly, he was a fellow in the American Symphony Orchestra League management program and worked for a year with the Denver, Albuquerque, and St. Louis Symphonies. But he began his career as a horn player with the Utah Symphony, was the head of the orchestra committee, and later was also president of ICSOM (International Conference of Symphony and Opera Musicians) for two years, representing over 4,000 players across the United States. Lynn has a huge amount of insight into both sides of the management/player relationship, and so this is a conversation that I think will be interesting to many players (and hopefully people in management as well!)

Lynn began his life as a musician by playing second horn with the Utah Symphony for 17 years. During his time with the orchestra, he was head of the orchestra committee, so he takes us behind the scenes to show us what happens during a strike, and some potential ways of resolving one. I then ask Lynn about his time as a fellow in the American Symphony Orchestra League program, and what he learned from working with the orchestras of Denver, Albuquerque, and St. Louis. We end Part 1 with Lynn talking about his two years with ICSOM.

Richard Antoine White (RAW Tuba) is principal tubist with the New Mexico Philharmonic, principal tuba of the Santa Fe Symphony, and a full professor of tuba at the University of New Mexico. But for more reasons than those, he has been an inspiration for those of us familiar with his life and work. For the first four years of his life, he was homeless and living on the streets of Baltimore, yet today his life is one of success and giving. If you don't know of him, I think you will find his story incredibly inspirational.

In Part 1, I ask Richard to speak of his early life, first growing up on the streets of Baltimore, then being adopted by his grandparents at the age of four, learning the tuba and entering the Baltimore School for the Arts, and finally studying with David Federle at the Peabody Institute, followed by studies with Daniel Perantoni at the Jacobs School of Music at Indiana University, where he was the first African American tubist to earn a doctorate.

[Subscriber Content] In Part 2, we follow Richard's journey as he won a spot with the New Mexico Symphony and then, when the orchestra failed, helped to found the New Mexico Philharmonic, of which he is still a member. I ask him about his amazing project, the RAW Tuba Ranch, which will be open for people from the age of 5 to 100. I also ask him about his participation in the Slavery Reenactment project, which changed his view on life. Throughout our conversation, Richard talks about his philosophy of life and his appreciation of hard work. "The best part about every day is that you're not done yet."