Piedmont Arts Podcast

The Charlotte Symphony Orchestra is producing an immersive event called "Merge" that combines modern symphonic music with electronic dance music and synchronized visual projections. Resident Conductor Christopher James Lees talks about the symphony's foray into new territory and the collaboration that brought it to life. Learn more about the MERGE: Symphonic x Electronic event Pictured: Christopher James Lees courtesy of Charlotte Symphony.

Charlotteans Lorne Lassiter and Gary Ferraro helped found the former Mint Museum of Craft and Design in uptown. They've also donated dozens of pieces from their own collection. The exhibit "Craft Across Continents" features many of those works in glass, wood, ceramics, and textiles. On this edition of the Piedmont Arts podcast, we tour the exhibit and talk with the couple about their passion for collecting. Charlotte collectors Gary Ferraro and Lorne Lassiter (l-r) in their uptown Charlotte apartment. Work from their collection is featured in the show "Craft Across Continents" at the Mint Museum in Charlotte. Photo courtesy Mint Museum. "Smok," which means dragon in Polish, is a glass sculpture by the Polish artist Anna Skibska. Lorne Lassiter and Gary Ferraro have donated it to the Mint Museum, along with other works in the show "Craft Across Continents."

Kalena Bovell, a candidate for Salisbury Symphony Music Director, will lead the orchestra in a program called "Musical Inspirations." Bovell made her professional debut as the Chicago Sinfonietta's Assistant Conductor in 2015 and has led performances at the BBC Proms and the Kennedy Center. She also recently had her opera debut at Volcano Theatre where she led a reimagined production of Scott Joplin's Treemonisha making her the first black woman to conduct opera in Canada. On this episode of Piedmont Arts, Bovell talks about discovering her love of conducting and about becoming a poet. Learn more about Salisbury Symphony's Musical Inspirations Pictured: Kalena Bovell by Jamie Pratt Photos.

The Charlotte Symphony Orchestra (CSO) shared news that the organization has raised more than $40 million toward a goal of $50 million for its endowment. CSO President and CEO David Fisk discusses why having a significant endowment makes the orchestra stronger, and he provides details about the vital programs the endowment campaign will enable in the future.

Charlotte's nonprofit Blumenthal Arts hosts touring Broadway shows, symphony concerts and the ballet, among other things. But it's also branching out to other kinds of events, like the Immersive Van Gogh exhibit a couple of years ago. David Boraks talks with Blumenthal Arts CEO Tom Gabbard about another big immersive exhibit coming to Charlotte and how the organization is evolving. Pictured: Tom Gabbard photo by Chris Edwards.

The Charlotte Shout! festival is produced by Charlotte Center City Partners and showcases Charlotte's creativity, innovation, diversity, and resilience. It includes music acts, art installations, community conversations, culinary events, and more. We talk to Rick Thurmond from Charlotte Center City Partners about the festival's importance to our cultural eco-system. He also gives tips for getting the most out of Charlotte Shout!, especially if you've never been before. Learn more about Charlotte Shout!

Traditionally, composers have written music with a group of musicians in mind, painstakingly transcribing or notating their ideas as sheet music. But these days, many work on a computer loaded with a digital library of instruments and sounds. That’s the case for the next generation of composers in training at Davidson College. We visit with music professor Jennifer Stasack and some of her students who talk about using digital tools to bring their ideas to life. We also hear some of their compositions. Pictured: Davidson College professor and composer Jennifer Stasack teaches digital composition. She spoke at a recent New Music Davidson showcase of student work. Credit: Josh Matushak/Davidson College WDAV · Davidson’s Digital Composers Video : Watch New Music Davidson - A Student Composer Showcase

One Voice Chorus was founded in Charlotte in 1990 to bring together lesbian, gay, bisexual, transgender, and LGBTQIA+ affirming people to celebrate their lives through song. Since that time the chorus has grown in membership from 25 to more than 90 singers. Executive Director Micah Deer fills us in on the organization's history, purpose, and program called "Mindful Music". Learn more about One Voice Chorus’ Mindful Music Pictured:  Micah Deer, Executive Director/onevoicechorus.com

The Marriage of Figaro considered one of the greatest operas of all time, is billed as a comic opera but addresses serious themes such as tension between the social classes. Find out more about this masterpiece, and its important place in history by listening to a conversation with Dr. Scott MacLeod, associate professor of music and director of High Point University's vocal division, who is singing the role of Bartolo. Learn more about Piedmont Opera’s performance of The Marriage of Figaro Pictured: Dr. Scott MacLeod/Facebook

Thorgy Thor, a classically trained musician who first came to national prominence on the television series RuPaul’s Drag Race , is the guest on this episode of Piedmont Arts. After a recent appearance at Davidson College, she spoke to us about how she developed the concert program Thorgy and the Thorchestra which has been performed with orchestras in Canada and the U.S. including the Charlotte Symphony Orchestra last season. She has also performed as an instrumentalist at Carnegie Hall and Lincoln Center in New York City.

The Salisbury Symphony is auditioning candidates for music director. Michelle Di Russo, a candidate for the position, will conduct their "Enchanting Sounds" concert in Keppel Auditorium. She'll lead a program of music by Piazzola, Saint-Saens, and Rimsky-Korsakov. Di Russo is from Argentina, and currently the Associate Conductor in her second season with the North Carolina Symphony. She talks about the music on the program and shares her approach to working with an orchestra for the first time. Learn more about "Enchanting Sounds" with the Salisbury Symphony Pictured: Michelle Di Russo by Roy Cox

Each year, Charlotte Master Chorale presents a "Unity Concert" with the goal of building bridges in the community through the shared experience of choral music. This year's concert is called "Unity: Earth" and is Saturday, March 9 at 4pm at First United Methodist Church in Charlotte. The ensemble will perform the North Carolina premiere of Jake Runestad's EMMY® Award winning Earth Symphony which presents a view of humanity from the point of view of Mother Earth. Jake Runestad and Charlotte Master Chorale Artistic Director Kenney Potter are guests on this episode of the Piedmont Arts podcast where they talk about the composer's work and the aspirations of the "Unity" concerts. Learn more about the Charlotte Master Chorale "Unity Concert" Pictured: Jake Runestad photo by Michael Markowski. Jake Runestad , composer Kenney Potter , Artistic Director

One of the most extraordinary figures in American classical music is someone you may never have heard of. Mary Cardwell Dawson, born in 1894 in Madison, NC, was a musician, teacher, and founding director of the National Negro Opera Company, the longest-running, all-Black opera company which helped launch the careers of many singers. Now her story is being told in a 'play with music', The Passion of Mary Cardwell Dawson , which is being produced by Opera Carolina and stars internationally acclaimed mezzo-soprano Denyce Graves. In this episode, she tells us about Dawson’s determination and accomplishments. Learn more about Opera Carolina's production of The Passion of Mary Cardwell Dawson Pictured: Denyce Graves; by Devon Cass/IMG Artists.

Research suggests there are significant neurological and academic benefits to children who learn to play a musical instrument. However, most school systems wait until 6th grade to offer band or orchestra programs, and many kids simply do not have access to instrumental instruction until it's offered at school. Cornelius Youth Orchestras wants to change that and has launched “Musical Pathways Initiative,” a groundbreaking program designed to provide access and opportunities for elementary aged students in the Lake Norman region to learn an instrument. Cornelius Youth Orchestras executive director Eric Boruff talks about the Initiative and how kids in the area can benefit. Learn more about the Musical Pathways Initiative

The Charlotte Master Chorale's Chamber Singers will present concerts called "Art & Science" at Christ Episcopal Church in Charlotte and Davidson College Presbyterian Church in Davidson. The centerpiece of the concerts is a multi-media symphony, The Notebooks of Leonardo da Vinci , by composer Jocelyn Hagen. The work uses the latest video syncing technology to bring Leonardo's words and drawings to life and provides an immersive, multi-sensory experience very different from a typical concert performance. In this episode, hear Hagen talk about her creation and its inspiration. Charlotte Master Chorale artistic director Kenney Potter joins her. Learn more about the Charlotte Master Chorale's Chamber Singers Art & Science Concerts Jocelyn Hagen , composer Kenney Potter , Artistic Director

Burnt Reeds is a reed quintet of local professional instrumentalists. Their concert called "Homegrown Melodies" features newly commissioned works by local composers. It's a project that brings together not only composers but also music producers, local independent mixed media artists, and of course musicians -- from a variety of backgrounds. Three members of Burnt Reeds—Dr. Dylan Lloyd, Dr. Jessica Lindsey, and Teil Taliesin—talk about their interest in creating opportunities for local artists to collaborate and share their creations with the community. Learn more about the Burnt Reeds "Homegrown Melodies" Concert at Free Range Brewery Pictured: Burnt Reeds after their Providence Chamber Music Series concert./Facebook

North Carolina Baroque Orchestra will perform concerts called "Splendid Music from the Time of King George III and Queen Charlotte" in locations across the Charlotte region. The program includes works by Chevalier de Saint Georges, Handel, Mozart, Avison, and others. Frances Blaker, the ensemble's artistic director and conductor, explains how the concerts' theme ties into the history of Charlotte. And she talks about the research she and the other musicians did to present the music the way it would have been heard in Queen Charlotte's time. Learn more about the Splendid Music from the Time of King George III and Queen Charlotte Concert

The inaugural Black Notes Project Music Festival makes it debut at Charlotte's Knight Theater. The two-day festival celebrates and amplifies Black music and artistry and will honor the classical orchestral tradition while situating it alongside contemporary musical innovation. Nationally known artists such as harpist Brandee Younger and opera singer Tunde are featured along with musicians from the Charlotte community including members of the Charlotte Strings collective and the Charlotte Symphony Youth Orchestra. On a new Piedmont Arts episode, festival organizers Michael L. Kitchen and Dr. Amy Carleton talk about the origins of the Black Notes Project Music Festival and their hopes for its future. Learn more about the Black Notes Project Music Festival

The Metropolitan Opera's Eric and Dominique Laffont Competition has auditions across the country. The competition is designed to discover promising young opera singers and assist the development of their careers. The North Carolina District holds auditions and approximately 25 singers will compete to move on to Regionals in Atlanta. The event is open to the public. Steven LaCosse, Auditions Director for the Met Competition in North Carolina, explains why the competition is such an important opportunity for young artists to grow and why it’s a great event to attend. Learn more about The Metropolitan Opera's Eric and Dominique Laffont Competition --

Caritas a Cappella ensemble presents a concert of Christmas and holiday music in Charlotte. The set will include settings of familiar carols as well as beautiful motets written by modern and Renaissance composers. And this time, the ensemble will be led by their new artistic director, Dr. Jeremy Mims. By day, Jeremy is Associate Professor and Director of Choral Activities at Wintrhop University, but he recently stepped in to take the helm from Caritas founder, Cathy Youngblood. He talks with WDAV about the unique qualities of the group which specializes in a cappella singing and about the music on their Christmas with Caritas: A Season of Light program. Learn more about Christmas with Caritas: A Season of Light

After a search that has lasted more than two years, the Charlotte Symphony has announced their next Music Director: Kwamé Ryan. Originally from Trinidad, Ryan has an impressive resume and has worked around the globe. He was General Music Director of the Freiburg Opera from 1999 to 2003 and Musical and Artistic Director of the National Orchestra of Bordeaux Aquitaine between 2007 and 2013. His most recent appointment is Director of the Academy for the Performing Arts at the University of Trinidad and Tobago.  Ryan will start his tenure with the Charlotte Symphony in the 2024 - 2025 season. On this edition of Piedmont Arts, we talk with Kwamé Ryan about his new appointment. He talks about why he wanted to come to Charlotte, what to expect in the coming season, and how he approaches life and work in general. Pictured: Kwamé Ryan/courtesy Charlotte Symphony.

The Charlotte Civic Orchestra presents its annual Christmas Extravaganza at the Halton Theater at CPCC’s Uptown Campus. The program features a sixty-piece orchestra, performances by the Charlotte Youth Ballet and Diamond Elite Dancers, the Holiday Singers, and soloists, plus the combined choirs of the Marvin Ridge and Porter Ridge High Schools. Dr. Geoffrey Whitehead, the music director of the Charlotte Civic Orchestra, and Jeff Andler, a member of the Holiday Singers, speak about the challenges and the extraordinary rewards of this yearly labor of love. Learn more about the Charlotte Civic Orchestra's Christmas Extravaganza

Composer, pianist, and social justice activist Margaret Bonds is one of the twentieth century's more remarkable American artists, and her reputation is growing in stature among twenty-first century music lovers. There's a terrific opportunity to learn more about this remarkable woman and her music when Queens University hosts the Margaret Bonds Symposium . Learn more about her by listening to guests Dr. John Michael Cooper, an expert on Bonds' life and music; Dr. Sequina Dubose, who will perform during symposium concerts; and Dr. Justin Smith of Queens who helped organize the Margaret Bonds Symposium. Learn more about the Margaret Bonds Symposium at Queens University

Piedmont Opera in Winston-Salem is opening their new season with Verdi's Il Trovatore and they're welcoming home Grammy-winning mezzo-soprano Tichina Vaughn. Vaughn was raised in Winston-Salem, and she is a graduate of UNC School of the Arts. After getting her start with the Metropolitan Opera, she went on to international acclaim performing many years with Staatstheater Stuttgart as principal artist. She talks about how it feels to perform in her hometown, when she discovered she was meant to sing opera, and why she believes anyone can sing with the right training. Learn more about Piedmont Opera's Il Trovatore Pictured: Tichina Vaughn by Bashstint - Own work, CC BY-SA 4.0 .

In the month of October, Davidson College will present several great concerts. Renowned vocal group Stile Antico performs a program celebrating William Byrd. And the Amerigo Trio, whose members are all internationally acclaimed musicians, is in concert. And later in the month, Davidson faculty members will present a benefit tribute to Burt Bacharach. On this episode of Piedmont Arts, we talk to artists who will be appearing in two of those concerts. Amerigo Trio members Glenn Dicterow, former concertmaster of the New York Philharmonic, and Karen Dreyfus, Grammy-nominated violist, tell us about the unique experience of playing in a string trio.  And emeritus Davidson faculty members Cynthia and Bill Lawing talk about why they wanted to honor legendary songwriter Burt Bacharach. Learn more about the concerts : Davidson College Choirs & Stile Antico: The Byrd & The Bees Davidson College Concert Series: Amerigo Trio with Glenn Dicterow, Karen Dreyfus, and Inbal Segev What the World Needs Now: A Tribute to Burt Bacharach

The Charlotte Master Chorale comes to the Cain Center in Cornelius and Queens University in Charlotte respectively this fall. The theme of the concerts is freedom and oppression across communities and features the North Carolina premiere of R. Nathaniel Dett's The Ordering of Mose s as well as Bernstein's Chichester Psalms. Dr. Marques L.A. Garrett, associate professor of choral studies at the University of North Texas and an expert in the music of Nathaniel Dett, a Black Canadian-American composer from the late 19th and early 20th centuries. Garrett will give pre-concert talks at both events. He's the guest on this episode of the Piedmont Arts podcast where he explains Dett's importance and legacy. Pictured: Dr. Marques L.A. Garrett by Justin S. Robinson.

Heartland Baroque is an ensemble specializing in music of the 17th and 18th centuries. They perform regularly in our region and will give a concert at St. Alban's Episcopal Church in Davidson. Violinist Martie Perry is founder and artistic director of Heartland Baroque. She explains how Heartland Baroque's historically informed performances provide context around the music and give modern audiences insight into the music-making of the past. Learn more about Heartland Baroque at the Music at St. Alban's

Charlotte Ballet is gearing up for the 2023-2024 season which will be the first one fully curated by artistic director Alejandro Cerrudo. Several world premieres by notable choreographers are highlights, and the season kicks off with a performance in Toronto, the first time since 1981 Charlotte Ballet is traveling abroad. Cerrudo describes some of the innovative and traditional works audiences can expect to see as well as why he is passionate about the artform of dance. Learn more about the Charlotte Ballet season . Pictured: Alejandro Cerrudo by Richard Israel.

The Rock Hill Symphony welcomes a new music director this season -- Christopher James Lees. Lees is already known to the area's classical audiences through his work as the Charlotte Symphony's Resident Conductor. Now he's poised to lead the region's newest orchestra in its next chapter. Lees talks about the symphony's future aspirations and their first concert of the 2023-2024 season in Rock Hill. Learn more about the Rock Hill Symphony Orchestra's upcoming events

In the coming year, the Salisbury Symphony will be looking for a new music director. One of their candidates, Peter Askim, will lead the first concert of the season at Catawba College. Askim is on the faculty at N.C. State University, leads the Raleigh Civic Symphony and Chamber Orchestra, and is a composer and bassist as well as a conductor. He talks about what attracts him to the Salisbury position; his passion for creating initiatives that connect an orchestra to its local community; and the theme of the concert he will conduct. Learn more about the Salisbury Symphony's A River Runs Through It program

The Winston-Salem Symphony recently announced their new music director -- Michelle Merrill. Merrill served four years with the Detroit Symphony Orchestra as assistant then associate conductor under Leonard Slatkin. She will be the Winston-Salem Symphony's first female music director and the only woman to lead a professional orchestra in the Carolinas. She talks about her priorities, one of which is music education, as she takes on this new role.

Opera Carolina is going international this summer through a new partnership with International Lyric Academy. More than 100 opera singers and musicians from across the globe have arrived in the Queen City for three weeks of immersive mentorship, followed by two weeks in Vicenza, Italy. Part of the experience is a summer festival of free and ticketed performances. We talk with Opera Carolina's director of education & community programs, Ashley Lam, and one of the singers participating in the academy, Luvo, who is from South Africa. Learn more about the International Lyric Academy Festival

The Charlotte Bach Festival returns to the Queen City with a full schedule of recitals, concerts, and educational opportunities, drawing talented musicians from across the country to celebrate the artistic legacy of J. S. Bach. On this episode, Aisslinn Nosky, Laura C. Atkinson, Margaret Carpenter Haigh and Derrick Miller provide insights into what makes the festival special. Learn more about the Charlotte Bach Festival

Kazem Abdullah leads the Charlotte Symphony in their final classics concerts of the season. Abdullah was General Music Director of the City of Aachen in Germany from 2012 to 2017. He has also served as an assistant conductor at the Metropolitan Opera, and has guest conducted around the country for both opera productions and orchestral concerts. He talks about the differences between opera and concert hall conducting and discusses the importance of cultivating diverse audiences for classical music. Learn more about the Charlotte Symphony's Classical Series .

Pianist/composer Kory Caudill is music director of “ The Concert for the Human Family,” performances which highlight themes of community and racial reconciliation. Caudill talks about the concert coming to Charlotte’s Holy Comforter Episcopal Church.

Conductor Lan Shui joins the Charlotte Symphony (CSO) for concerts at Belk Theatre in Charlotte. He gives us a rundown of the works on the CSO program, and he explains why he loves being a guest conductor. Pictured: Lan Shui by Singapore Symphony Orchestra

Two of the Charlotte region's choral ensembles team up for a concert of music by Black composers at First United Methodist Church of Charlotte. Caritas A Cappella Ensemble and Charlotte Contemporary Ensemble will present a program called " HEHLEHLOOYUH: A Celebration of Choral Music by Black Composers" which features a wide variety of classically based selections by composers from several eras. Cathy Youngblood, artistic director of Caritas, and JoVan Adams, director of Charlotte Contemporary Ensemble, talk about some of the works they'll perform including the poignant "Seven Last Words of the Unarmed" by Dr. Joel Thompson.

Uptown Charlotte hosts the multi-week festival known as Charlotte Shout! The festival is produced by Charlotte Center City Partners and includes music performances, art installations, community conversations, culinary events, and more. The idea is to showcase and celebrate Charlotte's creativity, innovation, and diversity. Robert Krumbine, Chief Creative Officer and Senior Vice President of Events at Charlotte Center City Partners, describes several of the of the festival's unique offerings and talks about Charlotte Shout's importance to our region. Learn more about Charlotte Shout! Pictured: Robert Krumbine/ Charlottecentercity.org

Christ Episcopal Church in Charlotte welcomes the Choir of New College, Oxford for a concert that includes classic English choral works. The Choir of New College has been around since 1379 and is one of the most celebrated choral groups in the world. It is also the oldest choir of its kind in Oxford and Cambridge. Robert Quinney, Director of the Choir of New College, Oxford talks about the choir's important history and the significant role it plays in contemporary university life. He's joined by Ben Outen, Director of Music at Christ Church, and Murray Somerville, graduate of New College, Oxford. Learn more about the Choir of New College Oxford in Concert

The Charlotte Symphony (CSO) has just announced its 2023-24 season, and it's filled with variety and diversity across all the series: Classics, Pops, Movie, and Family. The season features several big names (like Renee Fleming), puts some Charlotte Symphony musicians in the spotlight, blurs genre boundaries, and provides lots of opportunities for members of our community to access the music. CSO President and CEO David Fisk is the guest on a new Piedmont Arts podcast episode where he talks about many of the exciting concerts that are in store as well as the importance of creating programming that appeals to diverse members of our community. Learn more about the Charlotte Symphony 2023 - 2024 Season Read Why The New Charlotte Symphony Season Matters Next Year More Than Ever Pictured: David Fisk; photo by Keitaro-Harada.

The compositions and recordings of American fiddler, violinist, and composer Mark O'Connor are heard often on WDAV. His career which has seen him work across genres – country, folk, classical, and jazz – began as a child when he showed astonishing musical talent at an early age. His memoir, "Crossing Bridges," chronicles the ups and downs of life as a child prodigy. He recounts the adventures and challenges he and his family faced as they struggled to build his career. Pictured: Mark O'Connor by John David Pittman

The Charlotte Symphony welcomes guest conductor Vinay Parameswaran to the podium to lead a program of twentieth and twenty-first century music by Sibelius, Britten, Still, and up-and-coming American composer Gabriella Smith. He shares the story of how he became a conductor instead of a lawyer and gives in depth insights into all the works on the symphony program. Learn more about the Charlotte Symphony's Classical Series . Pictured: Vinay Parameswaran; credit Roger Mastroianni.

Trio Gaia, winners of the 2022 WDAV Young Chamber Musicians Competition, return to Davidson for a concert at Tyler Tallman Hall. Learn how these young musicians, who are New England Conservatory’s piano trio in residence, formed their ensemble and why they enjoy playing chamber music together. Learn more about Trio Gaia in the Davidson College Concert Series Pictured: Members of Trio Gaia (from left to right) Grant Houston, violin, Andrew Barnwell, piano, and Yi-Mei Templeman, cello.

The Charlotte Symphony will perform a concert called "Together We Rise" at the Sarah Belk Gambrell Center at Queens University. It will explore themes of freedom, strength, and justice through works by a diverse range of composers. One of the works on the program is by Queens University Composer-in-Residence, Malek Jandali. He talks about his compositions, the responsibility he feels to preserve his Syrian heritage through music, and the unique role music can play in furthering humanitarian and educational objectives. Learn more about Together We Rise

WDAV and the Fair Play Music Equity Initiative continues its NoteWorthy concert series, which teams local pop musicians of color with classically-trained musicians. Music producer and recording artist YUNG Citizen, classical musicians Casey Mink, violin and Suzanne Polak, piano, and bassist David Vergato speak about their approaches to this genre-blending concert, and what made their collaboration memorable. Watch YUNG Citizen with Casey Mink, Suzanne Polak, and David Vergato on Noteworthy

Guest conductor Erina Yashima leads the Charlotte Symphony in a program that includes Beethoven's Triple Concerto and Berlioz's Symphonie Fantastique . Yashima recently finished her tenure as Assistant Conductor of the Philadelphia Orchestra. And she recently started in her new position as First Kapellmeister at the Komische Oper Berlin. She talks about the works on the orchestra program, the differences between American and European orchestras, and the importance of music education in her native Germany. Pictured: Erina Yashima by Todd Rosenberg Photography/ Askonas Holt .

The Carolina Brass Quintet will present a fun and challenging virtuosic recital as part of Music at St. Alban's in Davidson, NC. The recital will celebrate the contributions and talents of trumpeter and quintet founder Bill Lawing who will retire from the quintet in December 2022. Besides his long service in Carolina Brass Quintet, Lawing is the Estes Millner Professor of Music Emeritus at Davidson College having retired after teaching there for 46 years. He talks about his long career and his many contributions to Davidson College, and the cultural life of our region. Learn more about Music at St. Alban's

WDAV and the Fair Play Music Equity Initiative launch another video in the NoteWorthy concert series, which teams local pop musicians of color with classically-trained musicians. Singer/songwriter Nathan Kam talks about his approach to performing his songs, and how it felt to collaborate with classical musicians Alice Silva, violin, Mira Frisch, cello, and arranger Madison Bush. His collaborators also speak about the ease of working with Nathan and blending musical genres. Nathan Kam, Alice Silva, Mira Frisch on Noteworthy Nathan Kam Mira Frisch Alice Silva

The Mint Museum Uptown in Charlotte is hosting an exhibition called "American Made: Paintings and Sculpture from the DeMell Jacobsen Collection." The collection features more than 100 paintings and sculptures from the Thomas H. and Diane DeMell Jacobsen PhD Foundation. And it surveys more than two centuries of American art. Listen to Dr. Diane Jacobsen describe the collection she has been painstakingly building for many years. She explains why she is so passionate about putting a spotlight on American creations and how they help us understand our history and culture. Pictured: "School's Out" by By Allan Crite - Smithsonian American Art Museum , Public Domain . Learn more about " American Made: Paintings and Sculpture from the DeMell Jacobsen Collection "

Conductor Marcelo Lehninger will return to the Charlotte podium to lead the Charlotte Symphony in a program of music by Beethoven, Lili Boulanger, and Manuel da Falla. Lehninger explains how the works on the program relate to one another. Plus, he talks about finding his own interpretation of a familiar work like Beethoven's "Pastoral" Symphony which has been interpreted hundreds of times before. Pictured: Marcelo Lehninger. Photo by Andy Terzes.

The UNC School of the Arts Chamber Music Festival is led by artistic directors and faculty members violinist Ida Bieler and pianist Dmitri Vorobiev. The two talk about why they founded the festival which will bring students together with faculty members and special guests for several days of focused music making and learning. Learn more about UNC School of the Arts Chamber Music Festival Pictured (l-r): Ida Bieler and Dmitri Vorobiev. Ida Bieler , violin Dmitri Vorobiev , piano

The Charlotte Symphony Orchestra (CSO) season opens with concerts featuring Elgar's Cello Concerto, Strauss's symphonic poem Aus Italien , and Anna Clyne's Pivot . Inbal Segev will be the soloist for the Cello Concerto, and the performances will be led by Andrew Grams who has been guest conductor with the CSO on a couple of occasions. Grams talks about the works on the upcoming program which he says are all built around the creators' impressions of a place, time, or life in general. He also talks about how he approaches the role of guest conductor. Learn more about the Charlotte Symphony Orchestra's Classical Series Pictured: Andrew Grams by Masataka Suemitsu/courtesy of Charlotte Symphony.

This winter the Lake Norman area will see the opening of a new cultural arts facility that promises to enrich the cultural life of the region. The Cain Center for the Arts in Cornelius will house a 400-seat theater, two visual arts classrooms, a dance studio, gallery space and more. Although the building isn't quite finished, the Cain Center has already begun offering art and music classes, and this fall it launches an inaugural season of performances. Justin Dionne, the center's executive director, gives us a look at the year to come and talks about ways the Cain Center plans to serve the community including providing access to all regardless of financial means.

This season marks the 75th anniversary of the Charlotte chapter of the American Guild of Organists. To celebrate they are teaming with the Charlotte Symphony Orchestra to present concerts that include Saint-Saëns’ beloved “Organ” Symphony, as well as a solo organ recital, all featuring Grammy-winning organist Paul Jacobs. He and Mark Johanson, Dean of the Charlotte AGO chapter, talk about the celebratory events. Learn more about the AGO Organ Concerts

As Charlotte’s music scene grows, musicians are finding new ways to connect. We talk with Justin Honigstein, the general manager of Jambox, a “co-musicing space” where musicians can find rehearsal space and be part of a diverse music community. Justin shares his observations on the current state of music-making in the Charlotte area and the types of cross-pollination he sees happening across genres from rock to hip hop to classical and jazz. Pictured: Justin Honigstein; photo courtesy of Justin Honigstein.

The Rock Hill Symphony Orchestra is one of the newer professional music ensembles in our region having been established in 2017. It kicks off its new season with a concert called "A Musical Tapestry of Folk & Classical Traditions" with guest conductor and Rock Hill native Kellen Gray. Gray currently serves as Assistant Conductor of the Royal Scottish National Orchestra and Associate Conductor of the Charleston Symphony. He talks about the music on the program and the opportunity to conduct in his hometown. He also reflects on his journey as a Black conductor and the importance of diversity, equity, and inclusion in the classical music world.

The Charlotte Master Chorale was founded in 1951 as the Oratorio Singers of Charlotte, and they are the resident chorus of the Charlotte Symphony. They announced their 2022-23 season which includes a performance of Bach's B Minor Mass and an appearance at Carnegie Hall. Artistic Director Kenney Potter talks about season highlights and reflects on the important role Charlotte Master Chorale plays in our community.

WDAV and the Fair Play Music Equity Initiative continue the second season of NoteWorthy virtual concerts with R&B artist Nia J joined by flutist Jill O’Neill and violist Ben Geller. We speak to the trio about how well they bonded as a group, and how the addition of the classical instruments helped “breathe some life back” into the singer-songwriter’s music. Watch Nia J with Ben Geller and Jill O’Neill Nia J Ben Geller Jill O'Neill Transcript Frank Dominguez : This is Frank Dominguez for WDAV’s Piedmont Arts. On Wednesday, August 24 at 7:30 PM, WDAV continues its second season of NoteWorthy virtual concerts presented in partnership with the FAIR PLAY Music Equity Initiative. The series brings together gifted Black and brown artists from the Charlotte music scene with classical musicians for some genre blending and community building. This time, we’re teaming R&B singer-songwriter Nia J with flutist Jill O’Neill and violist Ben Geller. The trio joins me now via Zoom. Thanks, everyone! Jill O’Neill : Thanks for having us. Nia J : Yeah, excited to be here. Frank : Nia, R&B is a category of music that's really as broad and varied as classical music in terms of its range of sounds and artists. So who are some of the musicians, from R&B or otherwise, who have had an influence on your music? Nia : I would say Jhené Aiko comes to mind. I really like her harmonies and the really melodic tunes that she is able to achieve. And just that it’s really peaceful. I like for my music to be tranquil and have that really peaceful state. I really like Daniel Caesar as well. Same thing as far as harmonies - I really like the way that he writes. Both completely different artists, but those are two that come to mind when I think of R&B artists that inspire me. Frank : And if I were asking you to describe what R&B means to you, how would you talk about that? Nia : I don’t know, it's kind of limitless right now! There's no sound that is unique to it at the moment, everyone's taking their own direction with it. I think it gets back to the lyrics. The lyrics are really soulful, I think the message is usually pretty powerful. And I like the contemporary stance that a lot of artists are taking, where we're fusing different genres into it. Frank : Jill, you are a flute professor at Winthrop University and you teach Music Appreciation, but in addition, your resume also includes the Charlotte School of Rock and courses in the History of Rock and Roll. How did you come by this eclectic streak? Jill : It actually doesn't seem eclectic to me, I don't know why it does to everybody else. (Laughs) You know, I grew up listening to heavy metal and punk and being a kid in the 80’s. Yes, I play a very… solit(ary), shall I say, girly instrument. Most of my teachers were men when I was a kid. (The flute) is seen as that frilly, fluffy, pretty, very vocal instrument, but that actually is very unlike me as a human and as a musician.  When I have to play flute, I really have to bring myself into Nia’s way of thinking. I really have to calm myself down and try to contain it. Because that’s not the kind of music I really listen to and the two bands that I played with, it’s not pretty flute music. It’s kind of heavy, loud, grinding… and that’s just the kind of person I am. So, when I’m playing drums, I actually sometimes feel more like myself.  But the flute is my life. I started playing piccolo when I was six, so of course, everybody insisted that I gravitate towards the flute as well, so I played both. And alto flute and bass flute. But that’s just one very small part of me. I think as a teacher, that’s what I bring to the table, because I make sure that all my students can do everything. I always say, “the more you do, the more marketable you are, so don’t pigeonhole yourself!” Frank : Great point. Ben, most of WDAV’s listeners are used to seeing you in evening wear at concerts by the Charlotte Symphony Orchestra. What is the appeal for you personally about stepping outside your usual circle and collaborating with Nia J on this project? Ben Geller : Well, it's… that pigeonholing that Jill was talking about, that’s more of my life. I think when I was younger, I had broader interests, and as I got older, I wanted to focus more and more, and eventually orchestral viola kind of took over my life. Not to say I don't love it, but I miss doing more out of the box stuff. And playing in the orchestra does get you a decent amount of variety. We play all kinds of classical music and modern stuff. But being a directly contributing partner to a project like this was… I mean, I love that. Nia’s got such a unique voice, a beautiful voice, and great songwriting. And working with another colleague in Jill, who brings this whole varied background… this was so much fun. I wish we could do this all of the time, always. Jill : Hear that, Nia? (Laughs) Hint! Ben : Stand by. Nia : Taking the hint. Frank : That's really great to see the obvious bond that has formed between the three of you. Nia, I'm interested in your creative process for writing songs. Are you thinking about the audience and their expectations of you, or are you perhaps more driven by your own experiences and emotions? How does it work for you? Nia : I think anytime I try to start with the audience, it just doesn't work. So usually, it's best if I think about how I'm feeling and experiences that I'd like to share, and usually I get lucky and those experiences can be related to by others and people who are listening. So I just try to be authentic in why I'm writing and taking from my experiences and then just hoping that people will connect. Frank : Jill, I have another question for you. And given that you demonstrated you're not the stereotypical flutist that some people might have in mind, how did you go about working with Nia? What form did the collaboration take? Jill : You know what, it was really easy. She had sent Ben and I her music quite some time before we got together, and Ben and I just kind of had - immediately, I mean, we’ve known each other and played with each other for a long time - we just had a sense of what each song needed from us.  So that's why I ended up just grabbing a whole bunch of different instruments before I left because we had no idea what was going to come of rehearsals. It was a neat kind of hodgepodge of listen to a tune, grab a different instrument, try something… substitute one instrument for another, until we just found it. I don't think that's a secret. I think that's the way most people write music. So it was fun for us to have that beautiful base of stuff that she had already written. It made our jobs really easy, don’t you think, Ben? (Laughs)  It really wasn’t taxing for us. We did have to decide a few times, and Nia was really prominent in the conversations, about how much of the music do we keep and add us on to, versus trying to have us recreate that. It wasn’t an easy task when Ben and I felt like, “Oh my God, we have to play flute and viola. How are we going to make her music sound (right)?” That was really scary. Until she had this look on her face, like “No, you don’t have to do that. You can do anything you want.” And as soon as we realized that, it was on. I mean, we just kind of went crazy. And when Ben got out his mandolin, Nia just looked at me like, “Yeah. This is going. This is what we want.” Frank : Ben, how about you? What was the transition to playing music in this sort of milieu? Easy, or difficult, or how did you manage it? Ben : You know, viola is a backup instrument. We don’t… it's not always “spotlight” for us, for sure. So thinking about it in this vein was a little bit (of) where I live, in how to best support a good clear melody. And viola didn’t always make sense, so I happen to have this wonderful mandolin that I love and don't play enough of, and it seemed to fit on a few of Nia’s songs, so we kept using it. Frank : One definite message I'm getting from this is that there's a lot more to the contemporary classical musician than first meets the eye and than I think the average audience member might realize, not only in terms of your training and background but your interests and the ways you express yourself. Nia, when you were getting ready for this NoteWorthy concert, did you have any role in playing… in terms of choosing the instruments or the musicians who would be performing with you? Nia : I wasn't really picky. They asked what types of instruments (I’d like), and I’m like, “I don’t know!” It’s been a while since I’ve worked with classical musicians. I did choir, and we always performed alongside classical musicians, but that was in high school, so I’m like, “Whatever you think sounds like it will fit with my music.” I was randomly paired with Jill and Ben, and it was great because Jill… the first day that we rehearsed, she brought like fifty different instruments. So it was nice that we could experiment, as they were saying, and just play around to see what worked and what didn’t. I had no idea what route I would take with it. Frank : I’m going to give you the last word, Nia, and ask you what stands out for you as the most memorable part of working with Jill and Ben specifically as classically trained musicians? What did that combination bring to the songs you had written and have been performing? Nia : I think they definitely helped breathe some life back into the music. After performing the same songs over and over again, sometimes you lose touch with them. So working with Jill and Ben helped me reconnect with them in a way that I hope the audience will see when they watch the performance. And just who they are as people, too. I’ve grown really fond of you guys, and getting to work together was awesome. I’m just really grateful to have gotten to meet both of them. Frank : My guests have been R&B singer-songwriter Nia J and flutist Jill O’Neill, as well as violist Ben Geller. On Wednesday, August 24th at 7:30 PM, you can hear them perform when WDAV continues the second season of NoteWorthy virtual concerts, presented in partnership with the FAIR PLAY Music Equity Initiative. The series brings together gifted Black and brown artists from the Charlotte music scene with classical musicians for some genre blending and community building music. And you can watch WDAV’s YouTube channel to catch the video or WDAV’s Facebook page. You can also get more information about the artists and the series from noteworthyclassical.org. Thank you, everyone, for speaking with me. Jill : Thanks, Frank. Ben : Thanks for having us, Frank. Nia : Thanks! Frank : For WDAV’s Piedmont Arts, I’m Frank Dominguez.

In 1984, John Tosco began hosting music parties as informal gatherings in his home. Over the years, these Tosco Music Parties, as they are known, have grown into popular community concerts where nationally recognized acts share the stage with undiscovered artists. The Tosco Music organization is presenting FabFest: Charlotte's Beatles Festival which will celebrate all things Beatles. Founder John Tosco talks about the festival as well as how his organization is helping support Charlotte's burgeoning music scene. Learn more about FabFest: Charlotte's Beatles Festival

For 61 years, the nationally recognized Eastern Music Festival (EMF) in Greensboro has been providing first rate educational opportunities to hundreds of young musicians from across the country and around the world. The festival also includes top notch performances featuring faculty, students, and internationally renowned soloists. Conductor Gerard Schwarz, who is the Eastern Music Festival music director, talks about this year's festival, the educational opportunities it provides young musicians, and the Adolphus Hailstork work the EMF Orchestra will premiere. He also talks about why he keeps coming back to Greensboro year after year. Learn more about the Eastern Music Festival Pictured: Gerard Schwarz; photo by Ben VanHouten

WDAV and the Fair Play Music Equity Alliance launch the second season of NoteWorthy virtual concerts with the experimental electro-pop group Bravo Pueblo collaborating with classical cellist Marlene Ballena and Kania Mills playing clarinet and saxophone. Siblings Claudio and Liza Ortiz of Bravo Pueblo describe the regenerative effect of their Latin rhythms combined with empowering Spanish language lyrics. Learn more about the event, here .

The talents of Charlotte composers and musicians will be on display at Carnegie Hall in New York City. James Kevin Gray and Rick Bean have written a Jazz Mass that will be performed at Carnegie Hall in New York City by many musicians and singers from the Charlotte area including renowned vocalist Dawn Anthony. Gray, Bean, Anthony, and conductor Sonja Sepulveda talk about the origins of the Jazz Mass , what it means for the Charlotte music community to have this work performed in New York, and how this work brings people from different backgrounds together. Pictured: Carnegie Hall by Ajay Suresh from New York, NY, USA - Carnegie Hall, CC BY 2.0 .

The Schiele Museum in Gastonia will open a brand-new exhibit called "Carolina 'Cue" which tells the story of the Carolinas most famous food tradition. The exhibit explores the history, culture, and science around this culinary institution. Tony Pasour, Head of Interpretation at the Schiele, talks about creating the exhibit and some of the barbecue traditions of Gaston County and the Southern Piedmont. Learn more about the "Carolina 'Que" exhibit Photo by Katerina Jerabkova on Unsplash

After a two-year hiatus, the Charlotte Bach Festival is back. The festival promises concerts of Bach masterworks, recitals, and several educational experiences which are central to the festival’s mission. Festival artistic director Scott Allen Jarrett talks about the festival generally and shares information about some exciting new additions this year including the inaugural appearance of the Bach Akademie Orchestra. Learn more about the Charlotte Bach Festival

Caritas A Cappella Ensemble will perform the premiere of North Carolina composer Dan Locklair's "Sing to the World: A Choral Celebration of Music." Caritas commissioned Locklair's new work in 2019, but because of the pandemic, they have not been able to hold the premiere until now. Caritas’ artistic director Cathy Youngblood and Dan Locklair talk about how they worked together to create this new work and what a composer must consider when writing music for the human voice. Learn more about the "Sing to the World: A Choral Celebration of Music" premiere

For several decades Israeli luthier Amnon Weinstein has been lovingly restoring violins with Holocaust histories, preserving their stories and those of their owners. These violins are known as the Violins of Hope, and they will be featured in concerts at the Stan Greenspon Center at UNC-Charlotte (UNCC). A new work written specifically for these instruments, "Intonations: Songs from the Violins of Hope," by renowned composer Jake Heggie will receive its East Coast premiere at these concerts. The music is based on stories from UNCC professor Heggie and Grymes' book "Violins of Hope: Instruments of Hope and Liberation in Mankind's Darkest Hour." Heggie and Grymes talk about the importance of capturing these histories in word and music for future generations.

Karen Kamensek is the guest conductor for Charlotte Symphony (CSO) and leads a program with Sibelius' Symphony No. 2 and Shostakovich's Violin Concerto No. 1 featuring CSO concertmaster Calin Lupanu. Kamensek is in demand around the world as a guest conductor for both opera productions and symphonic concerts. Her recording of Philip Glass's Akhnaten with the Metropolitan Opera Orchestra and Chorus recently won the Grammy for Best Opera Recording. She talks about what she's learned from Philip Glass, what it's like to work with a brand-new orchestra, and how conducting operas and concerts are different. Pictured: Conductor Karen Kamensek by Denise Biffar.

After 35 years, Alan Black is retiring as principal cello of the Charlotte Symphony. Before he transitions to his new role as cello section player, he’ll be in the spotlight at the Charlotte Symphony’s “Music and Healing” concert at Queens University. He’ll be the soloist for the premiere of a work written for him by South Carolina composer Leonard Mark Lewis called “I Will Wade Out.” Black talks about his collaboration with Lewis. And he reflects on his long career in Charlotte explaining why this is a good time for him to pass the baton to new leadership in the cello section.

Joshua Gerson, guest conductor for a series of Charlotte Symphony concerts, talks about his work with youth orchestras as well as his approach to conducting an unfamiliar orchestra. He also shares why he’s interested in conducting new compositions.

North Carolina Baroque Orchestra’s (NCBO) spring concert is called "Biber to Bach: Captivating Concertos for Strings." NCBO founders Frances Blaker and Barbara Blaker Krumdieck talk about the history of the orchestra and its special role in the musical life of the Charlotte region.

Guest conductor Paolo Bortolameolli will lead the Charlotte Symphony Orchestra (CSO) in Kabalevsky's Cello Concerto No. 1 , featuring cellist Christine Lamprea plus works by Corigliano and Gabriela Ortiz. Bortolameolli is a strong advocate for bringing new compositions and new audiences to classical music. He describes some of his novel approaches to this challenge. He also talks about the music on the program for the upcoming CSO concerts. Pictured: Paolo Bortolameolli photo by Michiko Tierney. Paolo Bortolameolli , conductor

The Ivalas Quartet took first place at the 2019 WDAV Young Chamber Musicians Competition. Since that time, they've been building a career for themselves focusing on their mission of “enhancing the classical music world with voices less known and sometimes unheard.” They spoke with WDAV about their love of chamber music and their joy in sharing classical music with young people and other audiences who are new to it.

Based in New York, the Harlem Quartet was founded in 2006 by The Sphinx Organization, a national non-profit devoted to building diversity in classical music and providing educational access for underserved communities. The quartet will perform in a local concert presented by Chamber Music Raleigh and WDAV . Harlem Quartet violinist Ilmar Gavilán talks about their mission to advance diversity in classical music by exploring new repertoire and reaching new audiences. Learn more about the Charlotte Masters: Harlem Quartet Concert Pictured: Ilmar Gavilán; credit Amy Schroeder

Charlotte Master Chorale brings back Considering Matthew Shepard, a “fusion oratorio” that examines the notorious 1998 hate crime that triggered a new era of activism. Acclaimed choral conductor Craig Hella Johnson talks about the work.

Black Violin brings their unique blend of classical and hip-hop to the Blumenthal Performing Arts Center in Charlotte. The genre-defying duo of violinist Kev Marcus and violist Wil B. is known for its artistry and high energy performances. On this episode, Wil B. talks about breaking down cultural barriers through music and thinking about musical genres in a more fluid way. He also explains Black Violin's commitment to music education and providing opportunities for young people that allow them to explore their musical interests. Pictured: Wil B. from Black Violin; photo by Albert Manduca. Wil B. of Black Violin  

The Western Piedmont Symphony's next Masterworks concert on features baritone Sidney Outlaw who performs Wagner's "O You, My Fair Evening Star" and Mahler's "Songs of a Wayfarer". Hear Outlaw and Western Piedmont music director Matthew Troy chat about everything from Mahler's intent when he wrote "Songs of a Wayfarer" to the preparation necessary for performing such a work to their best practices as musicians for surviving the pandemic. Sidney Outlaw , baritone Matthew Troy , conductor

Jessica Cottis will be the guest conductor for concerts by the Charlotte Symphony. The program will feature Kurt Weill's The Seven Deadly Sins with soprano Lindsay Kesselman, Ravel's Piano Concerto in G with pianist Stewart Goodyear, and works by Stravinsky and Jessie Montgomery. Cottis talks about how this program of 20th and 21st century works came together and why they make a compelling grouping. She also talks about her passion for sharing classical music with young listeners and mentoring the next generation of women conductors. Learn more about the Charlotte Symphony's Ravel Piano Concerto Concert Pictured: Jessica Cottis by Kaupo Kikkas/courtesy of jessicacottis.com Jessica Cottis, conductor

The Winston-Salem Symphony is kicking off its 75th anniversary year with concerts called "Celebrate!" Sharing conducting duties are Karen Ni Bhroin, the symphony’s Assistant Conductor, and Grammy winner JoAnn Falletta, one of the most renowned conductors working in the world today. The two talk about the environment for women in classical music today compared to the past. They also talk about the importance and benefits of expanding the concert repertoire to include works by lesser-known composers. Learn more about "Celebrate" Pictured JoAnn Falletta (photo by Heather Bellini) and Karen Ni Bhroin. JoAnn Falletta Karen Ni Bhroin

Seventy years ago, a group of Charlotte singers founded the Oratorio Singers of Charlotte to perform great choral masterpieces. Today that organization is known as Charlotte Master Chorale, but regardless of name, they remain an important institution in the cultural life of our region performing often throughout the year. Artistic director Dr. Kenney Potter talks about celebrating this important milestone with a season of concert repertoire that ranges from beloved classics to newer, diverse works, some written specifically for Charlotte Master Chorale. And he talks about the organization’s mission to inspire unity in our community through music. Learn more about Christmas with the Charlotte Master Chorale

Cellist Tanja Bechtler and arranger Adam Watkins speak about their concert of Beatles tunes arranged as chamber music. The two also discuss the collaborative process that resulted in the arrangements they perform, as well as the enduring appeal of The Beatles’ music to multiple generations. Learn more about the Beatles with the Bechtler Ensemble concert at Queens University

Guest conductor Roderick Cox talks about how he chose the music for his program with the Charlotte Symphony, and why the Brahms Serenade No. 2 is particularly close to his heart. He also describes the Roderick Cox Music Initiative, a project that provides scholarships for young musicians of color from underrepresented communities. In only two years, the Initiative has been able to award thousands of dollars to help young artists pursue their dreams. Pictured: Roderick Cox; photo by Susie Knoll. Roderick Cox , conductor

The NoteWorthy concert series is presented by WDAV in partnership with the FAIR PLAY Music Equity Alliance . The series brings together gifted Black and brown artists from the Charlotte music scene with classical musicians for some genre-blending, community building music. Charlotte composer and musician Harvey Cummings II is featured in the series. He talks with WDAV about his enjoyment of arranging string parts for his jazz compositions and about the value of collaborating with musicians from other genres. Harvey Cummings II

The Sacred Veil , a relatively new work by acclaimed American composer Eric Whitacre and librettist Charles Anthony Silvestri, explores the loss of a loved one to cancer. Caritas Artistic Director, Cathy Youngblood, explains why Caritas A Capella Ensemble of Charlotte chose to present this work. She walks us through the composition providing insight into ways the music addresses human grief and love.

Deanna Tham is the music director of the Union Symphony Orchestra. The Symphony is kicking off its 2021 - 2022 season with an in-person concert featuring Juilliard trained soprano Gina Gutierrez in a program called “The Symphonic Voice.” Maestro Tham talks about the upcoming season and the important role the orchestra plays in the cultural fabric of Union County.

In 2018, Opera Carolina stepped out of its comfort zone to present the powerful rhythm & blues opera I Dream , a fictional chronicle of the final days of the Reverend Dr. Martin Luther King’s life. Now I Dream returns for performances at the Belk Theatre in Charlotte. We revisit an interview before the premier with James Meena, general director and principal conductor of Opera Carolina. He talks about his aspirations for this new work. You’ll also hear from composer Douglas Tappin about how his musical hybrid is ideal for telling the story of the life and work of Dr. Martin Luther King.

Chamber Music For All, founded by violinists Monica Boboc and Calin Lupanu, launches their Fall season with an in person concert – their first since February 2020 – featuring piano trios by Brahms and Arensky. Calin Lupanu talks about what life has been like for musicians during the pandemic, and about his anticipation of returning to live in-person performances.

Theatre Charlotte suffered a catastrophic fire in their building on Queens Road at the end of 2020. After nearly two years of renovations and plenty of challenges, they are anticipating their grand reopening with Something Rotten . Artistic Director and Acting Executive Director Chris shares the ups and downs of rebuilding during the pandemic, tells us about the renovation itself, and talks about this spring's season highlights. Learn more about Theatre Charlotte's Something Rotten!

The NoteWorthy concert series is presented by WDAV in partnership with the FAIR PLAY Music Equity Alliance . The series brings together gifted Black and brown artists from the Charlotte music scene with classical musicians for some genre-blending, community building music. Karen Poole, a singer/songwriter and contemporary gospel artist, is joined by trumpeter Keenan Harmon, one of the classical musicians who perform with her in the  NoteWorthy  concert series. They speak about their different musical backgrounds and what it was like to come together to perform Karen’s original songs. Karen Poole Keenan Harmon Transcript: Frank Dominguez : This is Frank Dominguez for WDAV’s Piedmont Arts. On Wednesday, September 1st at 7:30 p.m., WDAV continues the NoteWorthy virtual concert series presented in partnership with the FAIR PLAY Music Equity (Initiative). The series brings together gifted Black and brown artists from the Charlotte music scene with classical musicians for some genre-blending, community-building music. Next in the series, we feature singer-songwriter and contemporary gospel artist Karen Poole and joining in support of her terrific talents are a trio of classical musicians including violinist Alice Silva, trombonist Brent Ballard, and trumpeter Keenan Harmon, who joins me now via Zoom along with Karen to talk about the concert and their own musical journey. Welcome, Karen and Keenan. Karen Poole : Thank you.  Frank : Karen, I noticed from the bio information at your website that like a lot of gifted musicians, you were born into a musical family, so tell me a little bit about them and what you learned from them.  Karen : Yeah, absolutely. I was the baby of the family, so I got the opportunity to watch my parents as soloists and some of my older siblings just navigate, moreso in the gospel of church scene. So we were very, very heavy into the music department of our church, and I just had the opportunity to learn just standing up on people’s shoulders and looking, watching. (I’m) very blessed to have a front seat experience into this. (On a) typical day in our home, you’d hear about three or four songs singing at once. (Laughs) That’s what that was like. Born into it.  Frank : And what about a formal education in music of any kind? What was it like for you? Were you exposed to that? Karen : I did some... I want to say not formal, but more so informal training. I’ve had very great mentors throughout the years who’d sit down with me (and) teach me theory and things of that nature. I actually don’t - I’m not very fluent at reading charted music, but I have very strong ear training, and I can read some chord charts as well. But in that regard, no, I never had formal training, it’s all natural giftings that I had.  Frank : And that’s nothing to be sneezed at, of course. You know, one of the things that I've discovered over and over again in these conversations, whether it's about NoteWorthy or if I'm interviewing Black classical artists who are singers or instrumentalists, is just the amazing conservatory that's provided by the Black church music tradition. There’s so much inspiration there.  Keenan, what about you? What was your coming up like? Did it include a lot of music? Keenan Harmon : My family - I wouldn't say that my family is very musical, but [they’re] music lovers. And that’s, to me, part of the human condition. So, I rarely run into people that don’t have some affiliation with music or some love for it. But in all reality, I kind of discovered or felt that I was heeding this call from a very young age, and my parents had kind of a little bit of a diverse music taste. I mean it was kind of old school eclecticism, so I grew up around Motown, church music… I, too, am the youngest like Karen, so my brothers were really into popular music at the time, which was kind of the early hip hop scene.  And what ended up happening is [that] I felt really drawn to being a trumpet player, and then more or less, I stumbled on some recordings at a very young age that impacted my life. When I was about eleven and I started playing, I was able to hear a classical CD, it was a mostly Baroque type of thing and had a lot of trumpet on it, and likewise my mother had bought this Miles Davis CD, and at the time I knew nothing too much about it.  You know, she had been familiar with Miles. And it was actually the Live at Montreux album that was done in the last year of his life. And not knowing any of that, I asked her could I open the CD and listen to it, and here I am listening to the CD, and I thought, “My goodness, as a trumpet player I could play something like this. Something Baroque, and I could play something like this, something that’s jazz.” And so that’s kind of how… that spearheaded what I’ve been drawn to in my career as a musician.  Frank : Karen, talking about those wide ranges in sound, your sound is a good example of how eclectic contemporary gospel music can be. I think people hear that and assume it’s going to sound a certain way, but you have a very eclectic and versatile sound. What are the sources and the elements that go into your music?  Karen : First of all, I'm glad you recognize that. The best way I can describe my music is gumbo: it’s like a little bit of everything. I would say I listened to a lot of traditional gospel growing up, but definitely (was) introduced to more of a jazzy sound probably in my late teens. I started being introduced to Herbie Hancock, Chick Corea, that kind of sound, Yellowjackets… and I’m somewhat of a late bloomer because we had a very strict household growing up, so it was only gospel music that I was allowed to listen to. So I was a late bloomer being introduced to other styles. And still to this day, I’m still grasping a lot of the classic tunes out there. I’m still evolving musically because of that, so I’m actually grateful for it.  And then I’d listen to more of the contemporary Christian music, like Matthew West and Lady Antebellum, stuff like that, just kind of listen to those songs, and they’re very pure sounding. And I love, actually, country music - just the way it tells a story, and the sounds from the violins and strings, all those things. Alice actually played on that (in) the performance we did, she played the violin parts for (one of my) song(s). And it was just amazing to be able to partner with (the classical musicians) and have a range of sounds that they could dig into with me, so I was excited about that.  Frank : I really noticed that, in the little bit of the sessions that I've been able to hear, that it was just incredibly eclectic. And your description of gumbo, I don’t think could be more apt. As a former Louisiana resident, that takes us to the tastiness of gumbo and the tastiness of your sounds, because I really hear that country and all of those various influences in there. It's really wonderful.  Keenan, as a working musician, versatility is pretty much a requirement for you. I mean you've been able to play all sorts of music, and you have to in order to put together enough gigs to make a living. So what are some of the disparate events that you play regularly - the kinds of places where you bring your talent to bear?  Keenan : I’ve done a lot of shows. There was a time where I'd done quite a bit of opera orchestra stuff for a while. Shows tend to run longer and pay more, so I would do that.  Frank : By shows, you mean Broadway shows? Keenan : Musicals and such, yes. On top of that, a lot of chamber music stuff. Some friends of mine and I started to do a lot of collaborations and just be on each other’s radar always to at least be available for performances and various things, and then there’s also recording work that I’ve been known to do. There was a short time - well, I say short, it was about four and a half years - [when] I worked with some guys out of Nashville. They had been in this area and they were bringing a lot of musicians in from the Nashville area, and so I got to work and collaborate and do concerts with them as well. It’s kind of like Karen had said, it’s an evolution on a continuum, and so you try to stay ahead of that and you make sure you’ve got a good namesake, you’ve got a good reputation and like you had said, versatility is the key.  I’ll put it to you like this. I tell people oftentimes that musicians, particularly in the freelance community, have to practice music like an attorney practices law, like a doctor practices medicine. I am continually studying, because authenticity is very important to me. Being genuine. Whenever I’m playing something, if we go back to Baroque or classical, [making sure] that my ornaments are proper when I’m ornamenting the music. And similarly, that I’m very fresh on ideas if I’m doing something that’s jazz.  The pandemic put a different dynamic on that, but what I found more or less is that I worked. You know, I look at last year and I worked fruitfully. One show got cancelled, one musical. Other than that, some of the concerts that I would normally do at certain times a year, like towards the holidays, they went on. So it’s a testament that people really wanted to experience some normalcy, so live music was a part of that. And then on top of that, it was just the fact that it was the determination of the musical community to try to make that happen. And so that's really how you can make (a) living. You’ve just got to persevere through it and stay fresh.  Frank : Karen, you touched on this in one of your answers earlier, but I want you to go a little deeper into what it was like collaborating with the musicians in this NoteWorthy session that folks will be seeing on September 1st. What was it like working with them, and what did they bring to your songs that you had already written and created to give them a different sound or a different life, if you will?  Karen : It was inspiring in a lot of ways. For example... the first song we did that night, “High Praise,” when I produced the music, I had recorded keyboard horns on it and while they sound good, it’s nothing like having a real horn player on it. So, I sent the music and I let [the classical musicians] know, “Hey. I don’t actually have this charted out, but if you can try to follow this pattern, that would be great.” And Keenan was so, so easy to work with. He said, “Okay, we’ll get it. We’ll figure it out.” At our first rehearsal, he had it charted out for him and Brent [Ballard], and they nailed it. It was just very minor little things that we had to adjust here and there, little nuances like something is staccato, not legato, but very, very minor.  They brought my song to life, and it was amazing to hear music that I had created live that way. It was just amazing. And then on top of that, to build a relationship with them to where even beyond this NoteWorthy performance, we can still collaborate on some other things, I can refer him for some things and vice versa, and bring him on for other shows that I might have. And now it’s forced me to have my music officially charted out. So, moving forward, I will always have this thanks to NoteWorthy. I’m grateful - amazing experience working with them.  Frank : I have a last question for the both of you, and that's what would you like to see more of in the Charlotte live music scene? What's missing right now that you think would take it up a notch and make it a better scene for both musicians and audiences? Keenan : For Charlotte, it’s really that connectivity of having people both aware of what goes on musically in Charlotte, because that’s not always the case, and then on top of it, it's to build that culture. Right before the pandemic, I was in Chicago, and I’d gone to see a couple of different performances while I was there and what amazed me - because it had been a long time since I had been to Chicago - it was just being an audience member. That was the most awe-inspiring thing was to watch how audiences were connected and interacted with various music, whether it was a classical or a jazz thing. You just had that community. So in the Charlotte area, there’s a thirst for it, I think. It’s just a matter of that connection that’s there. Having Charlotte have enough room for music is kind of the big goal because we’re making room for a lot of things in this area. Lots of things. And music, I feel like, has always been here. It’s just the awareness is the thing, I would say.  Frank : Karen, you’re here a little more recently. What have you observed in your time here? Karen : My answer may not be what you expect, but honestly, in my time here - it's been about four and a half years - I’m actually quite pleased, because the first couple of years of me being here, I was not very well-known. I made some connections with some individuals in the music scene here, like I met Tim Scott, Jr. once on a show, I think it’s called the Soulful Noel, that they do at Christmas time every year, put on by Quentin Talley. I met some folks who said, “Hey, we need an extra background singer, can you come on.” So, by me being there, I made some small networks there, and just earning my place, if I can say that. They got a chance to see how I flowed in the background.  And somewhere around the middle of 2019, I was offered an opportunity to do my own show. I had my own set. It was just a small acoustic session put on by Arsena Schroeder, and that was really exciting for me because I hadn’t performed my music at all since I’d moved to Charlotte. I’d put out a couple of singles working with a great producer, Johnny Abraham, who was also playing keys on the NoteWorthy performance.  When I did that show, people were like, “Wow, we need to see more of this.” And so that really opened up opportunities for more performances. I didn’t do very many, but the ones I got were impactful. I think that was in July of 2019, and somewhere in September, I had the opportunity to open for a major artist, Tweet, and then from there, it built the energy to say hey, I’m going to go ahead and try to finish my album. I had never put out a full length album. Yes, the pandemic hit in 2020, and I had plans to do a small live recording... we did it in February of 2020. The plan was to do that and then work on a few more, and I was going to have an album done, ready to release it on Easter of 2020. But we shut down.  Even despite that, though, I’ve just got to say it catapulted me, because I got all the tools I needed to finish recording at home. Folks around here in the music community were very much on board to work with me, and we got the album done, and I put it out in February of this year. So, even in the course of that time, I was able to do a few virtual shows, we did some shows with John Tosco. Although we were shut down, I think Charlotte did a great job of keeping us busy. As a newcomer, I’m impressed.  Frank : Well, I'm impressed with both of you, and I'm so excited from these conversations that I've had with NoteWorthy artists to see what this music scene’s going to be like when we get back to being able to comfortably perform in person, and it just seems to me like the talent that's going to be showcased is going to surprise a lot of people. So I'm looking forward to seeing where it goes. My guests have been two of the performers of the next virtual concert in the NoteWorthy series from WDAV and FAIR PLAY Music Equity Initiative, singer-songwriter and contemporary gospel artist Karen Poole and trumpeter Keenan Harmon. The concert streams on Wednesday, September 1st at 7:30 p.m., and it will also feature violinist Alice Silva and trombonist Brent Ballard. You can get more information and find a link to the Facebook Live and YouTube event at NoteWorthyClassical.org . Thank you so much, Karen and Keenan, for speaking with me. Karen : Thank you.  Keenan : Thank you.  Frank : For WDAV’s Piedmont Arts, I’m Frank Dominguez. 

The NoteWorthy concert series   is presented by WDAV in partnership with the   FAIR PLAY Music Equity Alliance . The series brings together gifted Black and brown artists from the Charlotte music scene with classical musicians for some genre-blending, community building music. Singer, songwriter, guitarist and community organizer, Quisol and Charlotte Symphony musicians Kari Giles (violin) and Jeremy Lamb (cello) speak about the pleasures of collaborating across genres, and how creativity is linked to activism. Quisol Kari Giles Jeremy Lamb

Since 1958, the Arts and Science Council (ASC) has been a driving force in the cultural life of the city and Mecklenburg County. In recent years, in an effort to live up to its promise of “Culture for All,” the ASC put together a Cultural Equity Report that is drawing attention. ASC President Krista Terrell speaks about the importance of cultural equity, and how the ASC is working to assure it. Related: Arts & Science Council Cultural Equity Report Blog: The Uncomfortable Truth ( Americans for the Arts ) Video: Beyond the Sound Bites Pictured: Krista Terrell, President, Arts and Science Council.

The NoteWorthy concert series is presented by WDAV in partnership with the FAIR PLAY Music Equity Alliance . The series brings together gifted Black and brown artists from the Charlotte music scene with classical musicians for some genre-blending, community building music. Grammy Award winner Greg Cox, who blends hip-hop, R&B and Gospel in his music is joined by two veteran classical musicians from our area, violinist Jane Hart Brendle and violist Matt Darsey to talk about being a part of the concert series. Greg Cox Jane Hart Brendle Matt Darsey Transcript: Frank Dominguez : This is Frank Dominguez for WDAV’s Piedmont Arts. On Wednesday, May 26th at 7:30 p.m., WDAV continues the NoteWorthy virtual concert series presented in partnership with the FAIR PLAY Music Equity [Initiative]. The series brings together gifted Black and brown artists from the Charlotte music scene with classical musicians for some genre-blending, community-building music. Next up, we’re thrilled to offer a concert headlined by a GRAMMY Award winner and overall renaissance man. Greg Cox blends hip-hop, R&B, and gospel in his music and infuses it with his own Southern soul. He’ll have recording artist A$H. as his special guest, and they'll be joined by two veteran classical musicians from our area, violinist Jane Hart Brendle and violist Matthew Darsey. Greg, Jane, and Matthew are joining me now via Zoom to talk about their NoteWorthy program. Welcome, everybody! Greg Cox : Hey, Frank! Frank : Greg, I’ll start with you. We often distinguish classical musicians from artists in popular music like you by talking about the rigorous training classical musicians get in conservatories and the like, but then looking at your background, it strikes me that you came up in a fairly rigorous family conservatory of sorts and learned a lot from touring with some pretty top-notch gospel musicians. So, tell us a bit about your musical journey. Greg : Yeah, so starting in church is definitely something that I was fortunate to experience. Not much lesson - they just throw you in the fire there. When you’ve got musicians who are top notch since age 12, you're going into some proteges, some child legends. In Black church, you learn! You learn how to literally score what the preacher is preaching. It’s like scoring a movie as he’s going. And then touring with my dad, and touring with a few other artists, you bump into some of the best musicians in the world.  So I wouldn't say I'm up there with them, but what I would say is we can eat lunch at the same table and hang out. If there was anyone who - you don’t have the money to throw your kids into phenomenal teaching (or) rigorous training, just drop them off at church. They’ll be fine. Frank : And when you consider how many wonderful musicians have come from the Black church tradition in this country and the influence its had on all sorts of genres, there’s definitely something there. Greg : There’s something the water, man. There’s something in the atmosphere. Blends of jazz, blends of blues, blends of old Negro Spiritual songs - it’s very, very unique music to learn how to play, and I’m very, very fortunate. Some of the best ever, right? Aretha Franklin, Sam Cooke, Jennifer Hudson, the best vocalists ever come from the church. So it’s just something in the water and something in that community. Every week, it’s growing. So even if it's not as formal, you definitely learn things you can’t learn anywhere else. Frank : Jane, I've had the pleasure of hearing you play in a variety of concerts, including a Klezmer-infused program the Charlotte Symphony presented about music of the Holocaust, so I know you’re versatile, but I'm not sure I ever imagined you collaborating with a hip-hop artist like Greg Cox. What was that like? Jane Hart Brendle : It was so much fun! It was really way beyond what I imagined. I had so much fun, and Greg was so easy to work with. He just made it - it felt so natural to play. He just told us what he needed, and he had the parts written out, and it just felt great. Frank : And Matthew, even though you're a trained classical musician, I sort of expect you to be adventurous because I know you have a passion for contemporary music - and did that focus help you in any way for approaching this collaboration with Greg? Matthew Darsey : I think it does. You know, when you play a lot of contemporary classical music, your ears have to adjust to a different way of hearing music. And when you're playing in a genre that you're not really used to, your ears have to work fairly differently as well.  The harmonic language isn't necessarily the same as it is in Brahms. So, in a certain sense, I’ve even trained my ears out of the classical years because I'm used to playing atonal music or music that doesn't really fit in with what we’re used to from Western classical music. So, when you're coming to someone like Greg, who’s so intuitively exacting in what he wants, it was just incredible.  You sort of just - you almost lose control, or not lose control, but you let go of that really analytical part of your brain and just ride the wave that he gives to you, because it's such a powerful wave that if you just give in to it, then it sort of lays itself out there for you. Frank : Greg, talk about that a little bit. What was it like for you knowing the background of these musicians and coming together with them to work with them? Greg : Ah, man. Absolutely magical. So, classical musicians are literally like ninjas to me. Where do they hang out? Where do they, like... what do they eat?  It's like when you go to a Broadway show and you try to go down and talk to (the orchestra), they just disappear. Like it’s a smoke bomb, and they’re just gone, or they’re in the lobby in the hotel. So, I've always wanted to have friends who were in that world.  So, to be thrown into this environment, and to see that, “Oh, crap! They're human, they're just in different pockets.” It’s a different pocket. You figure out where they hang out at. “Oh, they’re at the Panera Bread!” “Oh, I need to go over to this side of town to see where they’re hanging out at.” So, it was beautiful to kind of pull back the curtain on that cultural demographic, and I was very fortunate to have the introduction that I did have through this organization. And they got it! I was very nervous going into it because I was like, “I hope I can speak their language.”   (I had to) be overprepared. We had a little funny story of - the printer didn’t work. And sheet music without a printer, forget that. But thankfully, they had iPads, and they understood my chicken scratch and my little notations of what I was trying to communicate to them. They weren’t hard to work with at all. They didn’t use their knowledge to puff up, to make me feel inferior. They welcomed me. They spoke my language, and it was a humbling, humbling experience that I wish more musicians would get to experience. Frank : You mentioned that you were a GRAMMY winner. How did that accolade come about? What were you involved with that resulted in that? Greg : There’s this icon by the name of Kirk Franklin who just decided - woke up one day with his team and decided to have me be a part of this amazing, phenomenal album Long Live Love. I’m on a song called “Strong God” that he wrote and produced and had me feature as a vocalist in 2020. That album won for Gospel Album of the Year; therefore, I'm a part of that album and contributed to it, so anyone who is a part of the album gets a GRAMMY. It’s like going to the NBA and playing with LeBron (James). You gotta know that if you’re on LeBron’s team, you’re going to get a ring. You know what I mean? So I got a ring because LeBron was in the game. And I might have shot a few 3’s, I might have passed LeBron the ball a couple times, but it definitely was, on the back, carried by the LeBron James, Kirk Franklin. Frank : Jane and Matthew, when we were talking about the attitude you you brought to this project, I couldn't help but think back, because I've been in this classical music radio business for so long, to times when classical musicians in orchestras were perhaps a little more unbending - you know, who weren’t quite as open to collaborations like this in the past - and that seems to have really changed in recent years, I guess because there's new generations of classical musicians in orchestras. Am I right about that? Would you confirm that perception? Matthew : I think that's a very big trend right now. Especially, you see it with a lot of the younger composers that are coming up. Caroline Shaw, for instance, does a lot of genre bending. She’s from Raleigh, I think, too. And I think it's a really beautiful thing for the field because, for so long, classical music has been so very structured within its Western European roots. And you of course see that with the music itself, in terms of the Classical era music, was obviously very, very structured within its own form, but then the social structures of it have been very narrow as well. And then there’s something that I think that we’re - it's almost like if we’re afraid if we expand that, then classical music disappears, which I think is a very paradoxical way of going about it, because if you build a wall up around something, then it's no longer - then it it does disappear, because there's nothing to let it thrive.  So I think that it's a really beautiful thing for Western European music to really open up itself to exploring what it can do with and for other genres, because if you don't grow, you're going to die. And so there’s a lot of really great younger performers that are breaking that mold, because we grew up with being very affected by music that wasn't necessarily, you know, classical music.  And then we're wanting to combine all of that into something that is more personal to us, maybe, and not so much meaningful to the older generation, or the ones that came before us, but it's still a very powerful way for us to express ourselves as a musician in the 21st century. Jane :  I think that we have definitely - in the recent years, we have started to branch out and look for many new ways to include all sorts of music, and it’s been a great adventure, and I’m so glad that it's finally open. It feels like it’s opening up, and it’s not just a token here and there: “Let’s play this piece by a woman composer because she's a woman composer.” It’s just opening up, and it doesn't matter anymore. We're just including all people and all types of music. That’s what it feels like. Frank : Greg, I'm going to give you the last word here. Hearing the three of you speak, I know I'm looking forward to hearing you all perform. What else can you tell listeners to this conversation to whet their appetites for the program you’ve prepared? What should they be expecting? Greg : They should be expecting White Sexual Chocolate. That's what they should expect. That's the name of the band that I gave them, and they put beautiful, sugary, milk white chocolate on my music, and it definitely embellished all the songs - every song that I perform normally. I feel really good about (the performance). They just added a different sauce. Frank : Do you think you'll - having done this now, do you think you'll consider doing something like it again, either in the recording studio or when in-person performing becomes commonplace again? Greg : I’m changed forever through this experience. I've always wanted to be involved with film, watching Disney growing up, (and) seeing Randy Newman, who is my favorite composer, just compose the crap out of string arrangements and provoke emotion in that way, I always wanted to be a part of it. So my next album actually is going to be very, very influenced by this experience (with) classical string playing throughout the entire album now. So it’s very much now a fiber, a part of who I am through this experience. I’m very affected by it, and very thankful for the organization again. Frank : I am so looking forward to hearing how that turns out, and I'm really excited for you. My guests are the performers for the next virtual concert in the new NoteWorthy series from WDAV and FAIR PLAY Music Equity Initiative, singer-songwriter and rapper Greg Cox, Charlotte Symphony violinist Jane Hart Brendle, and violist Matthew Darsey.  The concert streams on Wednesday, May 26th at 7:30 p.m. You can get more information and find a link to the Facebook Live event at noteworthyclassical.org . Thank you all for speaking with me. For WDAV’s Piedmont Arts, I’m Frank Dominguez.

Since 1950, the Symphony Guild of Charlotte has been supporting the Charlotte Symphony and Charlotte Symphony Youth Orchestras and promoting interest in symphonic music in the Charlotte region. Both the Symphony Guild and the CSO are working on strategic plans which prioritize inclusivity. Debbie Abels, president of the Symphony Guild, and David Fisk, CEO of the Charlotte Symphony, talk about their two organizations' symbiotic relationship and the ways they want to reach new audiences and serve all members of the community. Pictured: David Fisk, photo credit Keitaro Harada.

The NoteWorthy concert series is presented by WDAV in partnership with the FAIR PLAY Music Equity Alliance. The series brings together gifted Black and brown artists from the Charlotte music scene with classical musicians for some genre-blending, community building music. Singer-songwriter Arsena Schroeder talks about the concert and collaborating with pianist Leonard Mark Lewis, violinist Lenora Cox Legatt, and guitarist Chris Suter, who also join the conversation. Arsena Schroeder Lenora Cox Legatt Leonard Mark Lewis Chris Suter Transcript: Frank : This is Frank Dominguez for WDAV’s Piedmont Arts. On Wednesday, April 14 at 7:30 PM, the NoteWorthy concert series debuts on Facebook Live. It’s presented by WDAV in partnership with FAIR PLAY Music Equity [Initiative] and brings together gifted Black and brown artists from the Charlotte music scene with classical musicians for some genre-bending, community building music.  The first concert in the series features singer-songwriter Arsena Schroeder with musical guests pianist Leonard Mark Lewis, violinist Lenora Cox Leggatt, and guitarist Chris Suter. All of them are joining me now via Zoom to talk about the concert. Welcome, everybody. Great to have you all here!  Arsena, I'll start with you. Your music is influenced by R&B, pop, and folk, and it's been described as tackling topics of personal healing and empowerment. I’m curious about how you arrived at your sound in general and those particular themes. Arsena : That's a good question. Well, I actually started music kind of late in college. I had a friend who asked me to sing on a project of his, and I thought, “I don't sing.” That’s what I told him, and he said, “You do.” So, that was my first time writing and recording, and I fell in love with it. And then shortly after, I got a hold of Lauryn Hill's MTV Unplugged performance, and it was very ‘singer-songwriter’ - her, her guitar, and storytelling - and I thought, “Oh, if I can do it that way, then I do sing, and I can do music.” So, I kind of just pull from inspiration that is soulful, but still very simple and self-reflective in content. Frank : Mark, let me ask you about your work. You’re a composer as well as a pianist, and your works have been commissioned by orchestras such as the Charlotte Symphony. How did you get involved in this particular project, and what's the collaboration been like? Mark : I was super pumped, because initially I wasn't even going to be involved. I found out that I was going to be involved three hours before the first rehearsal. I was told, “Oh, you have to be at this rehearsal.” So I [thought], “Where’s a keyboard?” So I drove around trying to find a keyboard and drive to Arsena’s loft. I had heard her music before, and I probably got involved because I told the person in charge [of recruiting the classical artists], who happened to be my wife, “I love this music. I want to play with her.” And so, that’s probably how it happened. It’s been a wonderful experience. It’s so musical and lyrical and rhythmic and lush that it was easy - I just came in and did my thing, and [Arsena] was open to new ideas and all those things, and it’s been wonderful from start to finish. Frank : Lenora, let me ask you: you have ties to the Charlotte Symphony, too, as a violinist in the orchestra. Apart from the stylistic differences, how is working with Arsena in this concert different from the classical fare that you normally rehearse and perform? Lenora : I’m used to somebody writing my notes for me, and I work hard at that, and I’m good at that, so just having to go with my own instincts was a new experience. And it was really exciting and really fun and I really enjoyed it, mostly because Arsena just made it so easy and relaxed and she was open to any ideas I wanted to try, or not try, or just explore, and she just made it. Frank : Arsena, let me go back to you for a moment and ask if there was any kind of trepidation - especially now that I've learned that you came to music rather late in life - about heading into this project with classically trained musicians such as Mark and and Lenora. Arsena : Yeah, I mean, in the back of my mind, I’m like, “I don't know how this is going to work,” because we come from two different worlds. I come from the world of improv, just going with what feels good, just kind of playing it by ear, and then also just not having that formal training and being self-taught. And knowing from experience that it normally can take months or years for a band to gel well, I’m going to have to have chemistry, and so I think we kind of hit the jackpot and it worked. But I did think, “We’re really rolling the dice here. This could either go really good or really bad.” [laughs] Frank : Well, I saw a little bit of the rehearsal, so I can attest to the fact that it's going really well. Arsena : Yeah, it went really great.  Frank : Chris, let me bring you in on this and ask how you came to work with Arsena. Chris : I’ve known Arsena for a few years now. She worked with a friend of mine on, I think, one of her earlier EPs, and then long story short, he kind of stepped out of the engineering game and recommended me. We talked and seemed to have a good rapport and seemed to work together, and it just kind of all fell into place from there. Frank : It sounds as if many of our listeners might be surprised at just what an active music scene there is in Charlotte. Chris : I think you have to maybe look for it a little bit, but once you do discover it, you can find that there's a pretty lush community of musicians and artists all kind of working to help each other out. I think because it is a little bit it - it can be a little bit of a struggle, so you kind of find that when you do discover and break your way into the music scene, that everyone is really, really open to helping each other out and working together. Frank : That's great to know. This next question is really for all of you. I'd be interested in your individual thoughts on this. Genres, such as classical or pop or R&B, are handy things for recording labels (and for radio stations, I’ll admit). But what do you, as musicians and creatives, think of that term, “genre”? Arsena, let’s start with you. Arsena : I hate it, because I want to play them all, but I do understand, having a business mind, that marketing-wise, it’s helpful for the audience to know if they're going to be drawn or attracted to what you create. But I mean, I pull from so many different aspects, and one song could be one genre, and another song can be another genre when you’re creating freely, so I don't necessarily care for that label. Frank : Mark, how about you? Mark : I agree with Arsena. Postmodernism is alive and well, and I don’t think there’s any one particular music that stands above another, and it’s all there for the exact same reason. Frank : Lenora? Lenora : I don’t mind it. I like the idea of blending genres more than anything. Composers have always borrowed from each other, and I think exploring and being open to new genres is important. I have students that I was telling them - well, somehow it came up that they don’t think a violin would go in a rock band, and I said, “Actually, I’m playing in a rock band next week.” [Arsena   laughs] Lenora : They were so excited by that. And so I think exploring new genres is important, and I have experience with that, mostly because my husband’s a rock musician, and my son is 9 and he’s always showing me new things to listen to on YouTube. So it helps to explore. Frank : And Chris, what's your experience been with that term as a working musician here in town? Chris : It's kind of a love-hate relationship. I mean, it obviously works and it has its purpose, but one of the most frustrating things is when you're working on an original project and then someone asks you, “What kind of genre is it?,” and it's like, “I don't know, I haven't thought about it. Now let me try to force it into this box.” Into, “Oh, I guess it's rock, but it's also kind of pop,” and then it can give people the wrong or right idea. So it has its utility, but it definitely kind of forces you think in a weird way sometimes. Frank : Arsena, I’m going to give you the last word and ask you to tell me a little bit, or give the listeners a little bit of an expectation of what they can encounter when they tune in for this concert stream. What’s the program going to be like? Arsena : I feel relaxed. Kind of like Mark said, it’s pretty relaxed. I do some storytelling in between the songs. We’ve got some solos, everybody gets a little solo and a moment. I think it’s something that you might find interesting and pleasing to your ear, just because we’ve got the violin, which I’ve never had. Now I feel like I need violin on every single one of my songs moving forward, so Lenora, I’ll be hitting you up. And we’ve got Chris on electric, and I pulled Chris in because we’ve been playing together for years, and I felt like he could fill in some of the areas that I couldn’t. But I go from electric guitar to acoustic guitar to tambourine, Mark is on electric piano and grand piano, so we really get a really good palate of music for your ears, I think. Frank : That sounds very tempting, and I know hearing that, a lot of folks are going to be interested in checking it out. My guests have been the performers for the first virtual concert in the new NoteWorthy series from WDAV and FAIR PLAY Music Equity Initiative. Singer-songwriter Arsena Schroeder (whose latest release, [Unplugged+Live: Remixed & Remastered], is available for download at arsenamusic.com), pianist and composer Leonard Mark Lewis, violinist Lenora Cox Leggatt, and guitarist Chris Suter.  The concert streams on Wednesday, April 14 at 7:30 PM, and you can get more information and find a link to the Facebook Live event at noteworthyclassical.org. Everybody, thanks so much for speaking with me! Arsena : Thank you for having us. Frank : For WDAV’s Piedmont Arts, I’m Frank Dominguez.

Timothy Redmond, artistic director of the Winston-Salem Symphony, talks about the symphony’s new on-demand concert Center Stage . The concert features Lukas Foss's Renaissance Concerto and Edward Elgar's Cello Concerto . Redmond discusses the many ways the orchestra has had to adapt and change this year -- everything from producing videos to performing while keeping musicians six feet apart. Pictured: Tim Redmond; courtesy of the Winston-Salem Symphony.

Normally during the spring of the year, Charlotte Ballet would be presenting their Innovative Works series which brings in outside guest choreographers. Due to the ongoing pandemic, that wasn't possible this year. So instead, they're presenting the work of Charlotte Ballet staff and artists in a specially renamed series called Works: Direct from the Lab . Artistic director Hope Muir explains the personal nature of these locally created works and how they connect to the Charlotte community.

Cynthia and Bill Lawing have crafted a program spanning the centuries as part of the Music at St. Alban’s series in Davidson, NC. The husband and wife duo, which has extensive performing experience in the Charlotte area and around the country, has crafted a diverse program of music for trumpet and piano that ranges from Scarlatti to Ginastera. They talk about the concert, their year navigating COVID, and share the story of how they met as conservatory students many years ago. Learn more about Music @ St. Alban's and WDAV present Cynthia and William Lawing

The Charlotte Symphony will celebrate the arrival of 2021 with a New Year’s Day concert featuring Baroque music. Resident Conductor Christopher James Lees explains how the lively and joyful sounds of Baroque music may be the unexpected, but perfect, way to turn a new page after the tumult of 2020. He also reflects on what performing arts organizations have learned this year and what it means for them going forward. Learn more about A Baroque Celebration: Old World / New Year

In a Christmas season like no other, Bach Akademie Charlotte will be making merry on Zoom with their “Familie Christmas Partie”. The musical centerpiece of the gathering will be J.S. Bach’s Magnificat in D recorded during the 2019 Charlotte Bach Festival. Artistic Director Scott Allen Jarrett talks about Bach Akademie Charlotte’s unusual season and shares a personal reflection on what the isolation of the pandemic has meant to him as a musician. Learn more about “Familie Christmas Partie”

Opera Carolina teams up with D9 Brewing to bring holiday cheer with an event called Tinsel Town. The festivities happen throughout the day at D9 Brewing Company in Cornelius, NC, and will feature Opera Carolina Carolers with singers from the Opera Carolina Kids Academy. Hear Megan Miller talk about this event as well as how Opera Carolina and individual singers have been adjusting to pandemic restrictions this year. Learn more about Tinsel Town Pictured: Megan Miller/photo courtesy of Megan Miller.