The Fidelio Podcast covers different topics in the arts. Host, Marie Ross interviews artists who might not necessarily be household names, but are all known and respected in their disciplines.

Marie Ross is one of the most innovative leaders of the next generation of early music performers. She specializes in historical clarinets and works as an arranger. Marie is the Associate Principal Clarinetist with Ensemble Matheus and performs regularly with orchestras like Concerto Köln, Musica Aeterna, and Akademie für Alte Music Berlin.

 



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Ep. 25: Miki Kekenj and the Concerto Köln Speak! Project

Hip-hop artist and classical violinist, Miki Kekenj, joins the podcast to discuss the Concerto Köln education project, Speak!. For this project, the period-instrument orchestra, Concerto Köln combined to play the Mozart Requiem with the period-instrument youth orchestra, Jugendbarockorchester Rheinland, and the choir of the famous Cologne Cathedral, the Judgendchor am Kölner Dom. As well as playing the complete original piece, in between several movements, they also performed rap versions with classes of 8th grade students, taught and coached by Miki. He arranged the raps himself, while he taught the students to write the rap lyrics themselves. Miki taught these students about Mozart, the song-writing process, and bigger lessons of creativity and how to work together.

We also talk about Miki’s musical life, which is split between what many people would think to be two opposite types of music. Miki is the concert master of the Bergische Symphoniker and discusses how he got into hip-hop as a teen, how these two types of music have shaped him into the musician he is today, and how he can use rap to bring a new audience to classical music.

Direct download: _The_Fidelio_Podcast_Ep._25_Miki_Kekenj.mp3
Category:Early Music -- posted at: 6:07pm CEST
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Episode 24: Josh Salsbury

Josh Salsbury was a trombonist in the freelance scene in LA. He had his own ensemble and was starting to play Hollywood blockbuster movie soundtracks when he decided to give up the trombone and pursue his new dream of woodworking. Josh now works full time designing and buliding custom furniture by hand.

Josh talks very honestly and openly about his journey, and the inner doubts and struggles he battled with along the way to finally having the realization that being a musician just wasn’t for him. Luckily for Josh, his passion for woodworking fulfilled all the creative aspects of being a musician that he loved, while being a better fit for him as a profession overall. 

Josh talks about his experiences as a trombonist, and especially the incredible experience of playing the soundtrack for Spiderman 3. He chats with Marie about the LA freelance scene and what it’s like when you finally get called to play the big movie soundtracks.

We also talk about Josh’s life now – how he considers making his customized and individual pieces of furniture as a creative art like music, and how interestingly enough, the same challenges he faced as a trombonist carried over into woodworking as well.

Josh works as a freelance and independent furniture maker – but he also a member working at the Offerman woodshop, a workshop owned a run by the television actor, Nick Offerman.

Direct download: _The_Fidelio_Podcast_Ep._24_Josh_Salsbury.mp3
Category:Music -- posted at: 8:50pm CEST
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Episode 23: Mark Kirkland's The Moving Picture Company 1914

In the second part of the interview with award-winning director, Mark Kirkland, he discusses his artistic life outside of his work for The Simpsons. He takes us inside his latest project, a silent film called The Moving Picture Company 1914. Mark wrote, directed, and produced the film (together with his wife, Letty), and shares his experiences of the film making process from the first conception of the idea through the final intricate editing and photography work that went into giving the film its silent era look.

Mark is also a clarinetist, and recorded the soundtrack for the film together with composer and pianist, Greg Kellogg. Mark tells the story of how he became inspired to take up the clarinet as a teenager, what it was like to go back to it as an adult student years later - and ultimately how he got talked into recording the largely improvised clarinet part of the silent film soundtrack. Mark played period clarinets from the early jazz era and immersed himself in early jazz recordings to capture the sound of the time. He takes us through each instrument in his arsenal - from metal clarinets to sirens and slide whistles - and shares clips of his playing from the soundtrack. Mark talks about how he envisioned his clarinet playing becoming a part of the film characters.