Talking Classical Podcast

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Subscription-based, boutique Italian recording series 19'40" release their latest album, "At The Gates Of The Twilight Zone," on 12 August 2020. This release is a live recording from the ContempoRarities Festival in Milan. It pays homage to the iconic music of Bernard Hermann, written for Rod Serling's science-fiction anthology TV series The Twilight Zone. The music on this recording is arranged by Enrico Gabrieli, while staying true to Hermann's unique writing. I talked to Francesco Fusaro and Sebastiano De Gennaro from 19'40" a few weeks ago to talk about the album. This led to some interesting discussions about orchestration and instrumentation; for example, the vibraphone and theramin are two important instruments that contribute to Hermann's other-worldly scores and science fiction music. Indeed, Francesco suggests that listening to his atmospheric and mysterious soundscapes takes on a new dimension during this lockdown period, where people are inhabiting their own "twilight zones." We also discussed notions around the classical canon as 19'40" describe themselves as "anti-classical" - that their premise is to break down some of the traditional conventions surrounding the canon. They aim to endorse music (e.g., contemporary music, film music) that could form a new way we view the historical (or historicised) canon of works. We discuss the future of music distribution. The model 19'40" presents to their audience/customer base is innovative within the constantly changing music industry as it combines traditional and digital modes of dissemination and promotion. Although their subscriptions have increased during the pandemic, the crisis has been a reminder that the concert experience needs the physical presence and interaction of an audience. We'll also hear about the current lockdown situation in Italy and some other fascinating projects the members of 19'40" have been involved in, more recently, in light of the easing of restrictions. Many thanks to: Robert Shone at WildKat PR for bringing this thought-provoking and emotive project to my attention. Francesco and Sebastiano for talking to me. https://www.19m40s.com Purchase "At The Gates Of The Twilight Zone" here: https://19m40s.bandcamp.com/album/at-the-gates-of-the-twilight-zone Music used in this podcast: Music by audionautix.com. "Alla What (parody)," Creative Commons Music by Jason Shaw on Audionautix.com. Used in full and edited forms for the podcast. "Where Are You?" by Bernard Hermann, arr. Enrico Gabrieli Music from "Little Girl Lost" (1962) Esecutori di Metallo su Carta Carlotta Raponi, flute, piccolo Enrico Gabrielli, B clarinet, bass clarinet, G flute, synth Yoko Morimyo, violin, viola Paolo Raineri, trumpet Francesco Bucci, trombone, euphonium Stefano Bertoni, french horn Damiano Afrifa, piano Ethel Colella, harp Sebastiano De Gennaro, percussion Giuseppe Gagliardi, percussion Marcello Corti, conductor Live recording at ContempoRarities Festival, Santeria Social Club, Milano on 3 December 2017. Recording and mixing by Carlo Zollo at "Terribile Studio" (Milan - IT) Mastering by Roberto Rettura at "Lo Studio Spaziale" (Bologna - IT) Podcast published 12 August 2020; interview recorded 22 July 2020.

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In this podcast, we'll be talking to jazz saxophonist and composer Quinsin Nachoff. His new album Pivotal Arc is released today on Whirlwind Recordings. Quinsin's music has been well-known for its unpredictability and innovation, for crossing boundaries between different musical genres and pushing the performers' barriers. The album is based around three main works. Firstly, a violin concerto features virtuoso soloist Nathalie Bonin, and a jazz-tinged unit comprising two giants of the New York scene (bassist Mark Helias and drummer Satoshi Takeishi), vibraphone player Michael Davidson, and a wind and string ensemble conducted by JC Sanford. The first movement is written as "an imaginary deconstructed and reconstructed Tango." The second movement is a ballad that combines both written and improvised sections and the third is inspired by Balkan folk music. The String Quartet (performed by the Molinari String Quartet) "represents some of Nachoff’s most intricate writing to date, allowing him to explore his deep attachment to the tradition and his engagement with contemporary iterations." As he recalls, "I like to keep up with what's happening now in quartet writing and this gave me the opportunity to explore some of those ideas – pitch axis, using quarter tones, etc., but still keeping a jazz influence because that’s a large part of my background.." The final work, Pivotal Arc, has been described as "Nachoff's extended reflection on the critical position we currently find ourselves in regarding climate change." It's perhaps the most traditional jazz-sounding work on the album with ample opportunity for interplay between the jazz unit and solos from bassist Helias, drummer Satoshi Takeishi, and Nachoff's tenor saxophone. With broad influences ranging from Strayhorn to Mancini, Bartók to Berg, this is a unique album that's refreshing and innovative to listen to from both the classical and jazz perspectives. Many thanks to: Quinsin for talking to me and his permission to use some extracts from the album in this podcast. Ann Braithwaite for bringing this really interesting project to my attention. CREDITS Music used in this podcast: 1 &2. Violin Concerto - Movement 1 3. Violin Concerto - Movement 2 4. String Quartet - Movement 1 5 & 6. Pivotal Arc Nathalie Bonin - violin soloist Molinari String Quartet: Olga Ranzenhofer - violin I, Antoine Bareil - violin II Frédéric Lambert - viola, Pierre-Alain Bouvrette - cello Quinsin Nachoff - tenor saxophone JC Sanford - conductor Michael Davidson - vibraphone Mark Helias - bass Satoshi Takeishi - drums, percussion Jean-Pierre Zanella - piccolo, flute, clarinet, soprano sax Yvan Belleau - clarinet, tenor saxophone Brent Besner - bass clarinet Jocelyn Couture - trumpet I Bill Mahar - trumpet II David Grott - trombone Bob Ellis - bass trombone Recorded at Studios Piccolo, Montreal, Canada Recording Engineer - David Travers Smith Assistant Engineer - Patrice Pruneau Edited, mixed and mastered by David Travers Smith Produced by Quinsin Nachoff, David Travers-Smith Executive Producer - Michael Janisch Pivotal Arc released 7 August, 2020 Podcast published 7 August 2020; interview with Quinsin recorded 31 July 2020. Quinsin's bio: http://quinsin.com/bio. Purchase Pivotal Arc here: https://quinsinnachoff.bandcamp.com. Citations taken from "About the Album," Pivotal Arc, https://quinsinnachoff.bandcamp.com (accessed 7 August 2020). 

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In this podcast, we'll be "zooming in" with Sir Simon Keenlyside, one of the most distinguished baritones, maintaining a top-level career in the major opera houses and concert halls around the world. We start off by talking about what Simon and his family have been doing during this lockdown period. We then share some thoughts about the importance of supporting and financing the arts during this current pandemic (in this podcast, we're talking about the present situation in Great Britain). Alongside his intense passion for music and opera, Simon talks about his deep love of nature and some of his other interests including art and poetry. We also find about his journey into music (and experience as an ex-runner), which leads to an interesting discussion on some of the challenges of being a top-level performer. For him, this includes the difference between being a singer and an artist. He reflects on the highs and lows of an elite performing musician, and offers some invaluable advice on navigating these. Additionally, Simon shares some of his thoughts on attention and personality among performers; that some artists enjoy the limelight but someone like him wants to be focused on the work. However, he recognises that he can be extremely different on stage and this is not the person he is in real life. The facets of a person that can be moulded over time contribute to who performers are. He feels that being left-handed has influenced his artistry and creativity (a distinct characteristic of left-handed people)but he tries not to read too much into this! Finally, I ask that question...what it was like getting the knighthood? Many thanks to Simon for taking the time to talk especially for this podcast and his team at Askonas Holt (Joel Thomas, Sophie Dand and Imogen Taylor) for helping to arrange this recording! Podcast published 31 July 2020; interview recorded 27 July 2020. Simon's bio: https://www.askonasholt.com/artists/simon-keenlyside Music by audionautix.com. "Alla What (parody)," Creative Commons Music by Jason Shaw on Audionautix.com. Used in full and edited forms for the podcast. *Amended - The marmots can be found in the Whipsnade Downs at Whipsnade Zoo, which is near Dunstable.*

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In this episode, we'll be talking to Clare Southworth. Clare enjoyed a distinguished career as a professional flautist and educator, teaching as a Professor at the UK conservatoires, specialist music schools and junior music colleges. She has now turned her attention to writing books on learning the flute, aimed at a variety of ages and abilities. She also co-hosts the Talking Flutes podcast, created in association with Trevor James Flutes. We discuss Clare's journey into music, her time studying at the Royal Northern College of Music and how this compared to today. This is especially the case in light of the current pandemic, where practising in isolation is somewhat different in comparison to previous years. Clare also shares some valuable advice on practising and teaching music, especially the notion that one should be teaching the person and not the instrument. Having been diagnosed with Ménière's disease, we talk about how to navigate a performer's identity especially when things do not always go to plan. Clare has successfully been able to channel this in new ways through a range of exciting projects. As we'll hear, they include her books, the Talking Flutes podcast and her continued teaching, not necessarily of flute performance but other topics such as career development, the art of practice and having a positive mental attitude. Many thanks to Clare for talking to me! Podcast published 24 July 2020; interview recorded 18 June 2020. Clare's website: claresouthworthflute.com Kickstart Flute: kickstartflute.com Talking Flutes: flute.podbean.com Music by audionautix.com. "Alla What (parody)," Creative Commons Music by Jason Shaw on Audionautix.com. Used in full and edited forms for the podcast.

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In this podcast, we'll be talking to pianist, singer, musical arranger, director and producer Dominic Ferris. Dominic's credits include producing for well-known singers such as Michael Ball, Alfie Boe and, currently, the final studio album of Dame Shirley Bassey. His collaborations with the Royal Philharmonic Orchestra have sold over 3 million albums worldwide. He joined the Royal Philharmonic Concert Orchestra as assistant musical director and pianist for the Elvis Presley: If I Can Dream UK arena tour, and the Memphis Symphony Orchestra for the USA anniversary tour, ending at Graceland with Priscilla Presley for the Elvis 40th Anniversary Celebrations. Dominic also tours around the world with his piano duo The Piano Brothers. He is one half of musical theatre double act Ferris & Milnes, who have become known for their medleys of Stephen Sondheim, George Gershwin and Lord Andrew Lloyd Webber. Dominic is a classically-trained musician, having studied piano performance, singing and conducting at the Royal College of Music in London. In this podcast, we'll be hearing about his varied background in the classical, pop and musical theatre genres. We also discuss the crossover market and the process that goes into producing and creating a crossover album. In particular, he talks about working with Michael Ball and Alfie Boe. Interestingly, Dominic says that crossover albums are among the last that people listen to in full. This leads to a really fascinating discussion about the creation of music releases in an age of streaming and the current pop music market. Having exposure to many different genres of music, it seems, can contribute to one's musicianship and musicality and this is certainly the case in Dominic's work. Finally, we talk about a poignant video project he helped to produce: a performance of "We'll Meet Again," the iconic wartime song made famous by Dame Vera Lynn. It was given by some of the top names in the West End and entertainment to boost morale for the UK theatre industry. Many thanks to Dominic for taking the time to talk especially for this podcast! Podcast released 16 July 2020; interview recorded 29 June 2020. https://dominicferris.com Dame Vera Lynn with West End Stars perform We'll Meet Again 2020: https://www.youtube.com/watch?v=dTWy9jim7Mw Updated 14 August 2020 - Since this podcast was recorded, it has been announced that the current West End production of The Phantom of the Opera has closed until further notice due to the ongoing Coronavirus pandemic.

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In this episode, we'll be hearing from Michael Seal, Associate Conductor of the City of Birmingham Symphony Orchestra, and now, podcaster. Michael has been creating a new podcast over the lockdown period called A Mic on the Podium. This is a series of fascinating conversations with his conductor colleagues, in which they openly discuss their journey into music, the art of conducting and their experiences of the profession. Check it out! We discuss the inspiration behind Michael's podcast and what he's been doing during this free time. We also learn about his background as a violinist and conductor, and hear some of his thoughts on the craft of conducting. Michael offers some really useful advice to young conductors towards the end of this discussion. Many thanks to Michael for talking especially for this podcast! Published 7th July 2020; interview recorded 12th June 2020. michaelseal.com amiconthepodium.podbean.com 

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In this episode, we'll be hearing from violinist Anna Ovsyanikova. She partners with Julia Sinani for their new disc "Les Saisons Françaises," released on Stone Records on Friday 3rd July 2020. Soaring through the seasons, this album is a beautifully chosen programme of late 19th and early 20th-century French repertoire for solo violin and piano. The disc includes sonatas by Debussy and Ravel, and works by the first female composer to be awarded the Prix de Rome in 1913, Lili Boulanger. Additionally, the album features Poulenc's Violin Sonata, composed from 1942-43. Two versions of the last movement have been included - the original and a rewritten version as a tribute to soloist Ginette Neveu. In this podcast, we discuss how Anna and Julia programmed the album, the importance of collaboration and recording at the Petersburg Recording Studio. We also talk about their mutual love of French chamber music and the relevance of this music for today. In particular, Anna encourages the album's listeners to find an emotional connections to the works, what they get out of the music and why they should be feeling the music in that way. Anna was born in St. Petersburg and is a PhD student at the Royal College of Music. She is exploring the artistic legacies of Mathieu Crickboom so we started by finding out more about her research work. Russian-born pianist Julia Sinani is a recent graduate of the Royal Academy of Music. Both musicians enjoy busy performing careers. Many thanks to: Anna for taking the time to talk. Robert Shone at WildKat PR for bringing this wonderful album to my attention, and helping to facilitate the discussion. Podcast published on 2nd July 2020; interview recorded on 23rd June 2020. Find out more about Anna and Julia here: https://annalondonviolinist.com. https://juliasinani.com/about. Purchase their new album here: https://stonerecords.co.uk/album/les-saisons-francaises.

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In this podcast, we'll be hearing from internationally acclaimed double bassist Leon Bosch. For many people around the world, the last few weeks have not been easy to process not only with the current COVID-19 pandemic but also the tragic murdering of George Floyd, which has reawakened support of the #BlackLivesMatter movement. In this discussion, we'll be hearing Leon's views on this recent news. We'll also learn about his harrowing experiences of living, studying and working in apartheid South Africa, and his encounters of racism within the classical music business. Many thanks to Leon for generously taking the time to talk to us especially for the podcast about his experiences. Podcast released 28 June 2020; interview recorded 26 June 2020. http://leonbosch.co.uk For twenty years principal double bass with the Academy of St Martin in the Fields, Leon Bosch left the orchestra in 2014, devoting himself to his musical interests elsewhere: performing and recording as a soloist, setting up his chamber ensemble I Musicanti and teaching in the UK and internationally. Encouraged by his former colleague at the ASMF, Sir Neville Marriner, and having directed orchestras from the solo double bass many times, he also took up conducting and now appears regularly on the podium and as soloist/director. Born in Cape Town, although now a British citizen, he graduated from the University of Cape Town before completing his double bass studies at the Royal Northern College of Music. As soloist, Leon Bosch has so far recorded ten CDs, including the world premiere recording of music by the Catalan virtuoso Josep Cervera whose work he rediscovered and has been instrumental in reviving. He has commissioned dozens of works for the instrument. If you are affected by any of the issues in this podcast, please consult the following organisations and helplines: Runaway Helpline (a free 24/7, confidential helpline) Call or text for free on: 116000 https://www.runawayhelpline.org.uk/advice/racism-and-discrimination The Monitoring Group 24 hour helpline: 0800 374 618 http://www.tmg-uk.org CALM Nationwide helpline: 0800 58 58 58 (5pm-midnight, 365 days a year) https://www.thecalmzone.net/help/webchat https://www.thecalmzone.net/help/get-help/racism Citizens Advice https://www.citizensadvice.org.uk/law-and-courts/discrimination/protected-characteristics/race-discrimination Musicians' Union - Reflecting on #TheShowMustBePaused https://www.musiciansunion.org.uk/Home/News/2020/Jun/Reflecting-on-TheShowMustBePaused

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On this podcast, we'll be showcasing the mouthwatering Tasting Menus from leading cultural and music PR agency WildKat, as well as acclaimed composer, sound artist and performer Drum & Lace whose latest EP "Further" was released last week. WildKat Tasting Menus WildKat's Press Assistant Robert Shone writes: "It is well known that a careful combination of sound and taste can elevate the sensory experience of both parties. Back in 1997, Heston Blumenthal enhanced his fish dish 'Sounds of the Sea' through utilising an iPod of sea soundscapes to create 'sonic seasoning'. We here at WildKat are doing the reverse. Throughout the ongoing global COVID-19 pandemic, WildKat will be enhancing many virtual classical music experiences with a carefully paired item of food or drink. Every week, our team will create a brand new Menu of 14 livestreams, specially paired with 14 recipes. Each week, a member of the WildKat team will also provide a recommendation of a TV show, book, or a piece of art to help stimulate and inspire during this trying time." To sample these Tasting Menus, please visit wildkatpr.com/news or WildKat PR on socials. Drum & Lace Drum & Lace (also known as Sofia Hultquist) is an Italian-born composer, sound artist and performer that writes and creates music for film and media. Among her impressive credits include fashion documentary "The First Monday in May" (dir Andrew Rossi), the AppleTV+ Original Series "Dickinson" (created by Alena Smith) and season 3 of NBC “Good Girls” (created by Jenna Bans & Bill Krebs). Other notable collaborations include leading brands such as NARS, Always, Tanya Taylor, Girls Who Code, Squarespace, as well as theatre production company Saudade Theatre and contemporary dance company Heidi Duckler Dance. Drum & Lace's performance work often includes sound installation and spatial audio elements, at events such as Moogfest and National Sawdust. Her latest EP "Further" was originally commissioned as a new work for Heidi Duckler Dance that features field recordings, samples from Yellowstone National Park's online archive, electronics and strings performed by the London Contemporary Orchestra. Inspired by Emily Dickinson's poem "Further in Summer than the Birds," an ode to nature, the EP depicts the journey of a bird. I talked to Drum & Lace last week from her home studio in Los Angeles about the creative inspiration, research and compositional processes behind the release, as well as the broader ideas and issues arising from the EP. Most notably, this includes the importance of protecting, listening to and caring for nature, actions that many people having been reflecting on over these last few months. Many thanks to Hannah Goldshlack-Wolf for bringing this fascinating and thought-provoking listen to my attention and arranging this discussion, and to Drum & Lace for taking the time to talk especially for this podcast. Listen to "Further" here: https://soundcloud.com/drumandlace/sets/further. Learn more about Drum & Lace here: drumandlace.com. Podcast released 21st June 2020; interview recorded on 11th June 2020.