Carol Jantsch, Part 1: The Inspirational and History Making Orchestral and Solo Tubist

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.

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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."

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I first met pianist Katharina Kegler in 1992 when I auditioned for the position of trumpet professor at the Freiburg Musik Hochschule. Katharina was assigned to me as the accompanist for the short concert I would have to play and, unbeknownst to me, it was her first service since being hired at the Hochschule. So over many year we have not only taught together, but also performed together, both in Germany and in Japan. During our many years together, I can't recall a time where I disagreed with any of her ideas on musicality or phrasing. Her judgement always just seemed so logical and deep. So in this interview I ask her a number of questions about musicality and phrasing, and was both surprised and delighted with her answers.

We begin Part 1 with my asking Katharina about her studies with Tibor Hazay (Freiburg Musik Hochschule) and John Perry (Rice University), two very different personalities and both very deep musicians. We then discuss the steps that Katharina goes through to learn a piece by Brahms (as an example), discussing how she builds her interpretation over time. She also explains why she's against students learning a piece by first listening to recordings.

For Contributing Listeners (Part 2): Katharina has spent a great many years not only playing chamber and solo literature, but also accompanying students. She has also worked at the Munich ARD competition, perhaps the world's most highly recognized solo competition, and so I ask her about the difference between accompanying college level students, the top players at the Munich competition, and finally, top professionals. We talk about her work with students, and end the conversation with Katharina as an entrepreneur with the work she put in to start the concert series, Musikfest Ebringen.

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Trumpeter Dave Bilger has had a stellar career as both a performer and also as an educator. He was principal trumpet with the Dallas Symphony, and following that, principal trumpet with the Philadelphia Orchestra for many years. In addition to the 27 years he's taught at the Curtis Institute of Music, he's also Professor of Trumpet at the Northwestern University Bienen School of Music and has given master classes around the world.

As an example of how music can have a profound influence on a person’s, and even a family’s, life, we begin our conversation with my asking Dave about how he was able raise funds in order to bring Baset Azizi from Afghanistan to the United States and how that impacted not only Baset, but his family as well. Dave continues by talking about his two main teachers and their different approaches to teaching, David Hickman and Mark Gould... in addition to his week of study with Tom Stevens. As a student, Dave was a member of the summer student orchestra, the Colorado Philharmonic, and talks about what it was like to have Michael Sachs (principal trumpet, Cleveland Orchestra) and Doug Prosser (principal trumpet, Rochester Philharmonic) as room-mates during his second year. We end part one with an extended discussion of auditions, including musical preparation, mental approaches, and some current issues with the orchestral audition process.

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Andreas Neubronner is a record producer and engineer who has won 8 Grammy awards. He has recorded great orchestras around the world and is known for his recordings of the Mahler Symphonies with the San Francisco Symphony Orchestra conducted by Michael Tilson Thomas, his work with Baroque and Renaissance ensembles, and piano soloists Murray Perahia and Igor Levit.

Andreas begins Part 1 talking about how he first came to work with Michael Tilson Thomas in London and his recordings of the Mahler cycle with the San Francisco Symphony. Using those sessions, Andreas gives an overview of how recordings are made, from the initial shipping of equipment and set-up, how live concerts are recorded, what a patch session is and how they're run (...and how much money each minute of the session costs!) Andreas also mentions some background of recording tech specifics, including how the human mind perceives stereo sound (and the difficulty of implementing 5.1 surround sound in an orchestral setting.) We end Part 1 with a discussion of Baroque music, and how performance practice has changed over the last 30-40 years.

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In his thirty-eight years with the Utah Symphony, Nick Norton experienced all aspects of what it means to be an orchestral trumpet player. He began his career with the orchestra as second trumpet and after nine years auditioned for, and won, the newly vacated position of principal trumpet. Towards the end of his tenure with the orchestra, he moved to become a sort of roving section player. But in addition to his life as a trumpet player, Nick has also had a very full life outside of music which, among other things, involved preserving City Creek Canyon in Salt Lake City in its pristine state for the future. He is not only a good friend of mine, he is also a hero to me, a person with great integrity and honor (and also a great sense of humor... I can't recall a phone conversation with him where I didn't laugh.)

We begin our conversation with Nick talking about his audition for second trumpet in the Utah Symphony, his experience in that position, and then his audition for principal trumpet nine years later. Nick did about nine mock auditions for friends beforehand, and he speaks about how his poor showing in his last mock audition, and what he learned from it, helped him win the position with the Utah Symphony. Since he has played all positions in the trumpet section, I asked him about the different roles or goals of each trumpet seat in the orchestra and how to work well with a section. Nick also played principal trumpet with the Malmö Symphony in Sweden for a short period of time, so we talk about the differences in brass playing between an American and Swedish orchestra.

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Bill Williams is a musician who has had a stellar career as a symphony musician, chamber musician, and soloist. But in addition to his performing, he is also a consultant with a wide range of clients, including elite performers and institutions, focusing on the tools needed to perform well consistently. On his website The Path to Optimal Performance, Bill deals with subjects such as stress and performance, practice, centering, and mental rehearsal. A great deal of our conversation revolves around the concept of how to deal with the vitally important mental aspects of 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!

As a Contributing Listener of "Anthony Plog on Music," you'll have access to extra premium content and benefits including:

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In the Bonus Room we discuss Chad's book, "You Earned a Music Degree. Now What?" This is a book that offers many practical and usable suggestions for students graduating from college and wanting to pursue a career in music. It is indeed a working musicians field guide, and we cover many areas of the book. Students will find this part of the interview not only inspiring but very practical as well.

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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We begin Part 2 by talking about his time with the San Francisco Ballet and how conducting ballet is so different from conducting orchestras. From there we move on to the New World Symphony and the studying of scores in preparation for rehearsals and concerts, how much time is involved, and the strategy he has for score analysis.

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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Chad Goodman is, to quote Christina Wallace from Forbes Magazine, "an entrepreneur bringing innovation to classical music." In his young life, Chad has started his own ensemble, the Elevate Ensemble, worked with the San Francisco Symphony and San Francisco Ballet as a conductor, is a Conducting Fellow of the New World Symphony, and has recently been appointed as Music Director of the Elgin Symphony Orchestra. So how did he do all of this at such a young age? He gives a lot of clues and practical advice in his book: "You Earned a Music Degree. Now What?" It was a pleasure to speak with him about the many aspects of his career and life.

We begin by going back to the start of Chad's career, learning music and also learning the business of music. At a very young age, he founded the Elevate Ensemble. He talks about many of the different aspects of planning concerts, paying musicians, arranging concert venues, and the like. We trace his career to working with the San Francisco Symphony, assisting guest conductors, and how Manfred Honeck was such a profound influence on him.

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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• 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!