If you’ve never heard of the group SINFONIA SALT LAKE, there’s a reason for that—they are brand new on the scene, and we have them in studio today for their premier broadcast performance!The philosopher, Goethe once described chamber music—especially a string quartet—as “four rational people conversing.” We’ll find out in a few moments whether our guests are rational, but we do know for certain they know how to have a musical conversation.A chamber orchestra can be most any combination of about 50 instrumentalist or less. Chamber music was originally performed in a large salon or hall in your palace if you happened to be the king or duke who commissioned the work for the entertainment of your friends. Or you might have heard it in the homes of hobby plays who rushed out to by the latest opus of Haydn or Bach to play for their own enjoyment.Our music today will include all 7 movements of Johann Sebastian Bach’s Orchestral Suite No. 2 in b minor, interspersed with solo performances and conversation with our most excellent players, who are:ROBERT BALDWIN: conductorLESLIE HENRIE AND MICAH FLEMING: violinLESLIE RICHARDS: violaBRITTANY GARDNER: celloTINA CASTELLANOS: fluteSolo performances of: Bach's G minor Adagio; Sir Elgar's Salut D'Amor; Debussy's SyrinxFollow Highway 89 on twitter @byuh89

If you’ve never heard of the group SINFONIA SALT LAKE, there’s a reason for that—they are brand new on the scene, and we have them in studio today for their premier broadcast performance! The philosopher, Goethe once described chamber music—especially a string quartet—as “four rational people conversing.” We’ll find out in a few moments whether our guests are rational, but we do know for certain they know how to have a musical conversation. A chamber orchestra can be most any combination of about 50 instrumentalist or less. Chamber music was originally performed in a large salon or hall in your palace if you happened to be the king or duke who commissioned the work for the entertainment of your friends. Or you might have heard it in the homes of hobby plays who rushed out to by the latest opus of Haydn or Bach to play for their own enjoyment. Our music today will include all 7 movements of Johann Sebastian Bach’s Orchestral Suite No. 2 in b minor, interspersed with solo performances and conversation with our most excellent players, who are: ROBERT BALDWIN: conductor LESLIE HENRIE AND MICAH FLEMING: violin LESLIE RICHARDS: viola BRITTANY GARDNER: cello TINA CASTELLANOS: flute Solo performances of: Bach's G minor Adagio; Sir Elgar's Salut D'Amor; Debussy's Syrinx Follow Highway 89 on twitter @byuh89

Sinfonia Salt Lake

Aubrey Smith

Jayne Galloway

Aubrey Smith on Violin, Jayne Galloway on Piano.Repertoire: Violin Sonata in G minor - Claude Debussy; Spiegel im Spiegel - Arvo Paert;Follow Highway 89 on twitter: @byuh89 and on instagram: @byuh89

Aubrey Smith on Violin, Jayne Galloway on Piano. Repertoire: Violin Sonata in G minor - Claude Debussy; Spiegel im Spiegel - Arvo Paert; Follow Highway 89 on twitter: @byuh89 and on instagram: @byuh89

Aubrey Smith and Jayne Galloway

Samuel Adler

An exclusive interview of American Composer Samuel Adler, famous for his song cycles and instrumental works. Hosted by Steven Kapp Perry.Transcript:SKP: You have a long and storied career. 65 years of teaching music. So you know a lot about music in the US, I wonder if we can just start off in general. Compared with when you began teaching, and as you look at music education in universities and public schools now, what changes do you see in that time?SA: Well in the first place we have to say that I get around the world a great deal.  And we, in America, have the finest higher education music system in our schools that exists in the world. That’s why so many people from all over the world, especially now from Asia, are coming here to study. Our standards are the highest in the world and I must say from a compositional point of view we have such great talent in our universities and colleges. I’ve never seen anything like it. But people don’t realize that because we push our popular music so much throughout the world that people think that’s the only thing we have, when the actuality is that we have in this country the highest standards of musical composition among our young people. I’m sorry to say that’s sort of kept as a wonderful secret—SA: --nobody knows about it and people care less about it. And that’s too bad because what they would find is a treasure-trove of wonderful music being written by young composers today.SKP: Are there places where communities are beginning to hear some of the current composition?SA: Yes of course. Colleges are the places to hear them. For instance, here at BYU you have a New Music group, \[and there are others] all over the place. I had a few stops on the way here. I was at Indian University where they have a huge New Music program.SKP: The Jacob’s School of Music.SA: And I was down at the University of Texas in Austin, they have a big New Music program \[too]. The problem is that it has been so anaesthetized from the mainstream. For instance, I would rather have a piece of mine played between Beethoven and Mozart or Beethoven and Brahms or Mozart and Rossini than between Joe Blow and Mary Doe. Because in the 60s we started to put music by contemporary composers, by living composers let’s put it that way, in a different category from dead composers. Dead composers are okay, living composers are suspect.SA: Because of the difference between music of the 20th century, which does not have one style prevailing, when you hear a piece by Mozart and you suddenly find out it’s Haydn, well you weren’t far from wrong. They have one style. It’s great, it’s wonderful music. And so it could be by either one or it could be by Paisiello or Salieri or anybody else living in those times. You can’t do that with the 20th century because there \[were] so many different styles coexisting.SKP: Is that because there were so many conventions at the time, of how it was to be done?SA: Correct.SKP: Have we let go of those conventions?SA: Well it broke down with the breaking down of authority generally. I mean you have that in literature, you have it in art, you have it in every form of artistic endeavor these days because, you see, we don’t have a prevailing one-fits-all anymore. Which actually is very good because that happened in the late 19th century. Look at the difference between Debussy and Hindemith, or Debussy and Strauss who lived exactly at the same time. There was the Rhine in-between them \[but] there is no explaining this. You have in the late 19th century a preponderance of nationalism and the rise of the nationalistic composer and we had that in America. As soon as our young men and women came back from France after the first World War they wanted to write American music. In my youth, since I studied with \[him] Aaron Copeland for instance or Walter Piston, we wanted to write American music. It was supposed to sound like Aaron Copeland and Piston and people who used the vocabulary of American folk music as a basis.SKP: And some of them had gone to study in Europe because that was what you did back then.SA: Of course.SKP: But what were they defining American music as? They were exploring to try and find that.SA: Let’s take a man like Dvorak. The difference between Dvorak and Brahms is that Dvorak was wedded to his Bohemian heritage and wanted to incorporate that in every piece that he wrote. Brahms was wedded to his German ancestry \[and] he wrote a lot of arrangements of German folk songs. I think there are 200 in a volume of Brahms songs that are folk song arrangements, but he did not use those except in one piece, the Academic Festival Overture, and he did not use \[them] in his symphonic work. And that’s the difference between Dvorak and Brahms. \[This is how you] take someone like Copeland who used vernacular, American work, especially in his great ballets.SKP: Yes.SA: Also in the 3rd Symphony which is, I think, one of the great masterpieces of the 20th century.SKP: Where are the outlets for composers today? I’m aware of people being specific enough to say that they’re going into writing music for video games and some are going into music for film scoring. Where are the opportunities?SA: Well there are lots of them. You just mentioned two outlets. The most important thing is that they learn the craft of composition. After that they can do whatever they want. The big outlet of course for composers is to teach at a university or college, and get the music played there, and also orchestras and chamber groups are very interested these days in playing New Music. Happily that is going on all over the world. You go to Europe or you go to Asia, I mean I’ve been in China four times and Korea and of course I had a course in Berlin every year for the past 11 years, and there’s New Music played all over the place. The audiences may be small, but many of the mainstream organizations are now featuring one piece of New Music with other pieces of the canon which is the way it should be done.SKP: Just this year with the Utah Symphony’s 75th anniversary, I think I’ve heard three different pieces this year that were commissioned.SA: And you see that’s an outlet for composers, and we have so many. People say “Well uh, there are so few” \[but] that’s not true. There are hundreds and hundreds of composers. I started my career in Texas, and when I went to Dallas after serving in the US Army I was one of two composers in Dallas, Texas. Now I’m sure there are over a hundred there. There is this explosion of creativity all over the world and that, I think, is the most wonderful thing.SKP: As we were sitting down and setting up the microphones and chatting, you mentioned people having a fear of New Music. Will you tell me about that?SA: Yes. You see, our audiences are not educated like the audiences were in the 18th and 19th century. First of all, these people that went to concerts were the “upper crust” and they were also amateur musicians. Most of the people that went to concerts, by let’s say Beethoven, these people were also amateur musicians. So when he did something they didn’t understand, they loved it because it was something new. What happened is \[that] they wanted something new. Today’s audiences that are not musicians themselves but are music lovers, which I think is wonderful, they expect to hear what they already know. And the fear is to be bored, or to be somehow aggressively…against their sensitivity \[made to] hear something that shakes them up. I think people go to a concert to sort of be lulled into a nice euphoric state, which is the wrong way to go to a concert. You want to be moved to do something! And that is what I would expect from an audience that would hear music of mine. There’s a wonderful story I can tell: Aaron Copeland was the moderator for the Sunday concerts when I was a student in Tanglewood. And there was always a question period at the end. Of course they didn’t want to ask us questions, they wanted to ask him questions. A lady got up and said, “You know Mr. Copeland, I love music. I live in York and I come home at 5 o’clock and I lie down but I want to snooze a little so I put on \[the local radio station] and they play Mozart and Haydn and Debussy and I can snooze. But when they play your music I get very jangled and very nervous and I can’t snooze.” And he \[Copeland] said, “Madame, I’m very happy about that because I wasn’t snoozing when I wrote \[it].”SA: So, you know, it’s that way. Today we want to talk about our situation, the way we live. Well we live in a very, very powerful world. We live in a world that has terrific things happening scientifically, medically, technologically, and on the other hand we have the Bomb which could destroy the whole world. We have pollution that could destroy us. That’s what we’re dealing with. We cannot write music like Schubert who was living in a different age. He wrote the most wonderful music, but it’s different because he was talking about his age as we have to talk about ours.SKP: You work with students so much, of varying ages, and even the very youngest. Talk about how we could educate our younger children so they could be open to all kinds of music.SA: You’d be surprised. Younger children have no prejudice. When they hear a piece by Stravinsky, or by Schonberg, they don’t say “Oh I don’t like 12-tone music.” They don’t know! They just love it because it’s music. And if it’s done right, if it’s not put upon the like “you’ve got to listen to this,” it’s new for them. They don’t care if it’s Bach or Ligeti, for them it’s an experience. I have never found children who dislike contemporary music. They take it like all other music. Unfortunately we don’t expose them enough to it, and that’s why this program that they have started here \[at BYU], the Systema Type Program, is so important. It shows these kids that music is all the same. It isn’t just one period of music, that you’ve got to love Schubert or Beethoven or Brahms or something like that, of course you should love them but it’s much easier because that’s the kind of music that they’re used to and they’re very excited about hearing something new. Especially when, and I always recommend \[this], you let them write their own music. “That’s my song” is a very important part of it.SKP: Samuel Adler is Professor Emeritus of the Eastman School of Music, retired in 2014 from Julliard although still teaching there until May. He’s in Utah right now working with students at the University of Utah, also here today on the BYU campus, and will be at Utah Valley University. You really have a passion for teaching and reaching students, don’t you.SA: Yes I do, because I think that’s my mission in life.Highway 89 is a live music performance program distributed nationally on Sirius XM 143 BYU Radio with classical format shows airing in Utah on Classical 89. Produced in BYU Broadcasting’s state-of-the-art recording studios in Provo, just 45 minutes south of Salt Lake City, Highway 89 features professional musicians in all genres. You can follow the show on Twitter @byuh89 and @byuradio. And you can contact the show producers by email.

An exclusive interview of American Composer Samuel Adler, famous for his song cycles and instrumental works. Hosted by Steven Kapp Perry. Transcript: SKP: You have a long and storied career. 65 years of teaching music. So you know a lot about music in the US, I wonder if we can just start off in general. Compared with when you began teaching, and as you look at music education in universities and public schools now, what changes do you see in that time? SA: Well in the first place we have to say that I get around the world a great deal.  And we, in America, have the finest higher education music system in our schools that exists in the world. That’s why so many people from all over the world, especially now from Asia, are coming here to study. Our standards are the highest in the world and I must say from a compositional point of view we have such great talent in our universities and colleges. I’ve never seen anything like it. But people don’t realize that because we push our popular music so much throughout the world that people think that’s the only thing we have, when the actuality is that we have in this country the highest standards of musical composition among our young people. I’m sorry to say that’s sort of kept as a wonderful secret— SA: --nobody knows about it and people care less about it. And that’s too bad because what they would find is a treasure-trove of wonderful music being written by young composers today. SKP: Are there places where communities are beginning to hear some of the current composition? SA: Yes of course. Colleges are the places to hear them. For instance, here at BYU you have a New Music group, \[and there are others] all over the place. I had a few stops on the way here. I was at Indian University where they have a huge New Music program. SKP: The Jacob’s School of Music. SA: And I was down at the University of Texas in Austin, they have a big New Music program \[too]. The problem is that it has been so anaesthetized from the mainstream. For instance, I would rather have a piece of mine played between Beethoven and Mozart or Beethoven and Brahms or Mozart and Rossini than between Joe Blow and Mary Doe. Because in the 60s we started to put music by contemporary composers, by living composers let’s put it that way, in a different category from dead composers. Dead composers are okay, living composers are suspect. SA: Because of the difference between music of the 20th century, which does not have one style prevailing, when you hear a piece by Mozart and you suddenly find out it’s Haydn, well you weren’t far from wrong. They have one style. It’s great, it’s wonderful music. And so it could be by either one or it could be by Paisiello or Salieri or anybody else living in those times. You can’t do that with the 20th century because there \[were] so many different styles coexisting. SKP: Is that because there were so many conventions at the time, of how it was to be done? SA: Correct. SKP: Have we let go of those conventions? SA: Well it broke down with the breaking down of authority generally. I mean you have that in literature, you have it in art, you have it in every form of artistic endeavor these days because, you see, we don’t have a prevailing one-fits-all anymore. Which actually is very good because that happened in the late 19th century. Look at the difference between Debussy and Hindemith, or Debussy and Strauss who lived exactly at the same time. There was the Rhine in-between them \[but] there is no explaining this. You have in the late 19th century a preponderance of nationalism and the rise of the nationalistic composer and we had that in America. As soon as our young men and women came back from France after the first World War they wanted to write American music. In my youth, since I studied with \[him] Aaron Copeland for instance or Walter Piston, we wanted to write American music. It was supposed to sound like Aaron Copeland and Piston and people who used the vocabulary of American folk music as a basis. SKP: And some of them had gone to study in Europe because that was what you did back then. SA: Of course. SKP: But what were they defining American music as? They were exploring to try and find that. SA: Let’s take a man like Dvorak. The difference between Dvorak and Brahms is that Dvorak was wedded to his Bohemian heritage and wanted to incorporate that in every piece that he wrote. Brahms was wedded to his German ancestry \[and] he wrote a lot of arrangements of German folk songs. I think there are 200 in a volume of Brahms songs that are folk song arrangements, but he did not use those except in one piece, the Academic Festival Overture, and he did not use \[them] in his symphonic work. And that’s the difference between Dvorak and Brahms. \[This is how you] take someone like Copeland who used vernacular, American work, especially in his great ballets. SKP: Yes. SA: Also in the 3rd Symphony which is, I think, one of the great masterpieces of the 20th century. SKP: Where are the outlets for composers today? I’m aware of people being specific enough to say that they’re going into writing music for video games and some are going into music for film scoring. Where are the opportunities? SA: Well there are lots of them. You just mentioned two outlets. The most important thing is that they learn the craft of composition. After that they can do whatever they want. The big outlet of course for composers is to teach at a university or college, and get the music played there, and also orchestras and chamber groups are very interested these days in playing New Music. Happily that is going on all over the world. You go to Europe or you go to Asia, I mean I’ve been in China four times and Korea and of course I had a course in Berlin every year for the past 11 years, and there’s New Music played all over the place. The audiences may be small, but many of the mainstream organizations are now featuring one piece of New Music with other pieces of the canon which is the way it should be done. SKP: Just this year with the Utah Symphony’s 75th anniversary, I think I’ve heard three different pieces this year that were commissioned. SA: And you see that’s an outlet for composers, and we have so many. People say “Well uh, there are so few” \[but] that’s not true. There are hundreds and hundreds of composers. I started my career in Texas, and when I went to Dallas after serving in the US Army I was one of two composers in Dallas, Texas. Now I’m sure there are over a hundred there. There is this explosion of creativity all over the world and that, I think, is the most wonderful thing. SKP: As we were sitting down and setting up the microphones and chatting, you mentioned people having a fear of New Music. Will you tell me about that? SA: Yes. You see, our audiences are not educated like the audiences were in the 18th and 19th century. First of all, these people that went to concerts were the “upper crust” and they were also amateur musicians. Most of the people that went to concerts, by let’s say Beethoven, these people were also amateur musicians. So when he did something they didn’t understand, they loved it because it was something new. What happened is \[that] they wanted something new. Today’s audiences that are not musicians themselves but are music lovers, which I think is wonderful, they expect to hear what they already know. And the fear is to be bored, or to be somehow aggressively…against their sensitivity \[made to] hear something that shakes them up. I think people go to a concert to sort of be lulled into a nice euphoric state, which is the wrong way to go to a concert. You want to be moved to do something! And that is what I would expect from an audience that would hear music of mine. There’s a wonderful story I can tell: Aaron Copeland was the moderator for the Sunday concerts when I was a student in Tanglewood. And there was always a question period at the end. Of course they didn’t want to ask us questions, they wanted to ask him questions. A lady got up and said, “You know Mr. Copeland, I love music. I live in York and I come home at 5 o’clock and I lie down but I want to snooze a little so I put on \[the local radio station] and they play Mozart and Haydn and Debussy and I can snooze. But when they play your music I get very jangled and very nervous and I can’t snooze.” And he \[Copeland] said, “Madame, I’m very happy about that because I wasn’t snoozing when I wrote \[it].” SA: So, you know, it’s that way. Today we want to talk about our situation, the way we live. Well we live in a very, very powerful world. We live in a world that has terrific things happening scientifically, medically, technologically, and on the other hand we have the Bomb which could destroy the whole world. We have pollution that could destroy us. That’s what we’re dealing with. We cannot write music like Schubert who was living in a different age. He wrote the most wonderful music, but it’s different because he was talking about his age as we have to talk about ours. SKP: You work with students so much, of varying ages, and even the very youngest. Talk about how we could educate our younger children so they could be open to all kinds of music. SA: You’d be surprised. Younger children have no prejudice. When they hear a piece by Stravinsky, or by Schonberg, they don’t say “Oh I don’t like 12-tone music.” They don’t know! They just love it because it’s music. And if it’s done right, if it’s not put upon the like “you’ve got to listen to this,” it’s new for them. They don’t care if it’s Bach or Ligeti, for them it’s an experience. I have never found children who dislike contemporary music. They take it like all other music. Unfortunately we don’t expose them enough to it, and that’s why this program that they have started here \[at BYU], the Systema Type Program, is so important. It shows these kids that music is all the same. It isn’t just one period of music, that you’ve got to love Schubert or Beethoven or Brahms or something like that, of course you should love them but it’s much easier because that’s the kind of music that they’re used to and they’re very excited about hearing something new. Especially when, and I always recommend \[this], you let them write their own music. “That’s my song” is a very important part of it. SKP: Samuel Adler is Professor Emeritus of the Eastman School of Music, retired in 2014 from Julliard although still teaching there until May. He’s in Utah right now working with students at the University of Utah, also here today on the BYU campus, and will be at Utah Valley University. You really have a passion for teaching and reaching students, don’t you. SA: Yes I do, because I think that’s my mission in life. Highway 89 is a live music performance program distributed nationally on Sirius XM 143 BYU Radio with classical format shows airing in Utah on Classical 89. Produced in BYU Broadcasting’s state-of-the-art recording studios in Provo, just 45 minutes south of Salt Lake City, Highway 89 features professional musicians in all genres. You can follow the show on Twitter @byuh89 and @byuradio. And you can contact the show producers by email.

American Composer Samuel Adler: Special Interview

Abby Clough Tippets

Abby Clough Tippets on clarinet and Forrest Howell on piano share an Aaron Copeland favorite.Repertoire: Concerto for Clarinet and String Orchestra - COPELANDFollow Highway 89 on twitter: @byuh89 and on instagram: @byuh89

Abby Clough Tippets on clarinet and Forrest Howell on piano share an Aaron Copeland favorite. Repertoire: Concerto for Clarinet and String Orchestra - COPELAND Follow Highway 89 on twitter: @byuh89 and on instagram: @byuh89

Abby Clough Tippets and Forrest Howell

The Salt Lake Vocal Artists was formed in 2010, providing an opportunity for those in the organization who have professional-level capability to rehearse and perform at the highest level.  SLVA’s inaugural season began with a tour of Spain’s Basque region where the group competed in an international competition, earning first prize awards in every category and a special Audience Favorite award.  This recognition led to invitations for 2011, including an appearance as the only United States choir at the World Choral Symposium in Argentina. In September 2011, SLVA traveled to Italy for another competition, where they once again earned five first prizes.  SLVA performs several times each year throughout the Salt Lake Valley and has released four CD recordings.Repertoire: WILBERG Light Dawns on a Weary World; CONTE The Waking; DICKAU A Song of Joys; NESTOR Peace Prayer of Saint Francis; FINZI My Spirit Sang All Day; LOUNSBROUGH Invocation; STOPFORD The Beatitudes; DAVISON Ritmo; RUNESTAD The Peace of Wild Things; JOHNSON I Love You/What a Wonderful World; Follow Highway 89 on twitter: @byuh89 and on instagram: @byuh89

The Salt Lake Vocal Artists was formed in 2010, providing an opportunity for those in the organization who have professional-level capability to rehearse and perform at the highest level.  SLVA’s inaugural season began with a tour of Spain’s Basque region where the group competed in an international competition, earning first prize awards in every category and a special Audience Favorite award.  This recognition led to invitations for 2011, including an appearance as the only United States choir at the World Choral Symposium in Argentina. In September 2011, SLVA traveled to Italy for another competition, where they once again earned five first prizes.  SLVA performs several times each year throughout the Salt Lake Valley and has released four CD recordings. Repertoire: WILBERG Light Dawns on a Weary World; CONTE The Waking; DICKAU A Song of Joys; NESTOR Peace Prayer of Saint Francis; FINZI My Spirit Sang All Day; LOUNSBROUGH Invocation; STOPFORD The Beatitudes; DAVISON Ritmo; RUNESTAD The Peace of Wild Things; JOHNSON I Love You/What a Wonderful World;  Follow Highway 89 on twitter: @byuh89 and on instagram: @byuh89

Salt Lake Vocal Artists

John Gorka

John Gorka is a modern-day travelling troubadour: A one-man show of honest, folk-style tunes that, as one fan said, "have a way of working on you long after you thought you had them figured out." While in Utah to play at Salt Lake City's Arts Festival and teach a songwriting workshop for the Intermountain Acoustic Music Association he stopped by our studio to play songs from his 12th and latest album release: "Bright Side of Down." Stick around for the end where he plays a special encore of an original song from the documentary Every War Has Two Losers.Songs featured: I'm From New Jersey; Bright Side of Down; Outnumbered; Thirstier Wind; Stranger with Your Hair; Where No Monuments Stand;Follow Highway 89 on twitter: @byuh89 and on instagram: @byuh89.

John Gorka is a modern-day travelling troubadour: A one-man show of honest, folk-style tunes that, as one fan said, "have a way of working on you long after you thought you had them figured out." While in Utah to play at Salt Lake City's Arts Festival and teach a songwriting workshop for the Intermountain Acoustic Music Association he stopped by our studio to play songs from his 12th and latest album release: "Bright Side of Down." Stick around for the end where he plays a special encore of an original song from the documentary Every War Has Two Losers. Songs featured: I'm From New Jersey; Bright Side of Down; Outnumbered; Thirstier Wind; Stranger with Your Hair; Where No Monuments Stand; Follow Highway 89 on twitter: @byuh89 and on instagram: @byuh89.

Richard Elliott

Mormon Tabernacle Choir organist Richard Elliott performs Bach's Passacaglia and Fugue in c minor at the University of Utah's Libby Gardner Hall.Follow Highway 89 on twitter: @byuh89 and on instagram: @byuh89

Mormon Tabernacle Choir organist Richard Elliott performs Bach's Passacaglia and Fugue in c minor at the University of Utah's Libby Gardner Hall. Follow Highway 89 on twitter: @byuh89 and on instagram: @byuh89

Jon Yerby

Jon Yerby had his own drum set when he was five years old and grew up in a musical home listening to his Dad play country western, blues, rock ‘n roll and folk music. When he was ten he started electric guitar lessons which went well until the day he heard music unlike anything he’d heard before. He tried to describe the sound to his teacher calling it “Spanish” music—and he really hoped his teacher would start teaching him it immediately! Puzzled, his teacher eventually brought a nylon string guitar to one of their lessons and played it a bit. When Jon told his teacher that “that was it! That was the sound he’d heard!” His teacher kindly told him that what he wanted to play was classical guitar and he’d need a new instructor! Today, Jon Yerby is the president of the Utah Classical Guitar Society and director of the guitar department at Salt Lake’s Gifted Music School. He’s also a professor at Utah Valley University. In this episode he plays An Malvina, La Catedral, Una Limosna por el amor de Dios, Grande Overture Op. 61 and Rondena Follow Highway 89 on twitter @byuH89 and on instagram @byuh89

Jon Yerby had his own drum set when he was five years old and grew up in a musical home listening to his Dad play country western, blues, rock ‘n roll and folk music. When he was ten he started electric guitar lessons which went well until the day he heard music unlike anything he’d heard before.  He tried to describe the sound to his teacher calling it “Spanish” music—and he really hoped his teacher would start teaching him it immediately! Puzzled, his teacher eventually brought a nylon string guitar to one of their lessons and played it a bit. When Jon told his teacher that “that was it! That was the sound he’d heard!” His teacher kindly told him that what he wanted to play was classical guitar and he’d need a new instructor!  Today, Jon Yerby is the president of the Utah Classical Guitar Society and director of the guitar department at Salt Lake’s Gifted Music School. He’s also a professor at Utah Valley University.  In this episode he plays An Malvina, La Catedral, Una Limosna por el amor de Dios, Grande Overture Op. 61 and Rondena  Follow Highway 89 on twitter @byuH89 and on instagram @byuh89

David Tolk

I heard the bells on Christmas day, their old familiar carols play! Be of good cheer gentle listeners because THE UTAH VALLEY HANDBELL RINGERS are here. And be of even “gooder” cheer because pianist, composer, arranger, extraordinaire DAVID TOLK is in studio too. I couldn’t be more thrilled. There is no sound that invokes the season of Christmas (my absolute favorite season by the way) like the sound of a choir playing English handbells.THE UTAH VALLEY HANDBELL RINGERS was founded in 1993 by KAREN-ESKEW-WYLLIE, who has been ringing bells and devoted to handbell music for as long as she can remember. She owns the bells, selects the music, trains the ringers and books the concerts. And just in case one of her ringers runs into serious trouble, KAREN is also a surgical nurse. There are 56 bells in her collection, each tuned to a single note and each cast in bronze or aluminum. The ensemble also plays 6 octaves of chimes.THE UTAH VALLEY HANDBELL RINGERS have performed in a variety of stunning sacred venues, including: the Crystal Cathedral in Garden Grove, California, the Cathedral of the Madeleine in Salt Lake City and the Provo Tabernacle. They’ve performed at Disneyland, the Con Brio Music Festival, the SCERA Center for the Arts, and have rung their bells more than once while marching in parades—an impressive feat. THE UTAH VALLEY HANDBELL RINGERS have collaborated with the Utah Baroque Ensemble and Nebo Chorale and Orchestra and also frequently perform to packed crowds at civic and community centers (libraries, schools, hospitals and art museums)—in many instances providing the concerts free of charge.Also, DAVID TOLK is our pianist this hour. He’s released 8 CDs, two of which are Christmas albums and feature the pieces that we’re hearing today. One of his albums “David Tolk Christmas” reached #8 on Billboard’s New Age Chart in 2010. And DAVID also regularly performs on-stage in the “Big Parade” with his good friend singer/songwriter Peter Breinholt.MERRY CHRISTMAS!

I heard the bells on Christmas day, their old familiar carols play! Be of good cheer gentle listeners because THE UTAH VALLEY HANDBELL RINGERS are here. And be of even “gooder” cheer because pianist, composer, arranger, extraordinaire DAVID TOLK is in studio too. I couldn’t be more thrilled.  There is no sound that invokes the season of Christmas (my absolute favorite season by the way) like the sound of a choir playing English handbells. THE UTAH VALLEY HANDBELL RINGERS was founded in 1993 by KAREN-ESKEW-WYLLIE, who has been ringing bells and devoted to handbell music for as long as she can remember. She owns the bells, selects the music, trains the ringers and books the concerts. And just in case one of her ringers runs into serious trouble, KAREN is also a surgical nurse. There are 56 bells in her collection, each tuned to a single note and each cast in bronze or aluminum. The ensemble also plays 6 octaves of chimes. THE UTAH VALLEY HANDBELL RINGERS have performed in a variety of stunning sacred venues, including: the Crystal Cathedral in Garden Grove, California, the Cathedral of the Madeleine in Salt Lake City and the Provo Tabernacle. They’ve performed at Disneyland, the Con Brio Music Festival, the SCERA Center for the Arts, and have rung their bells more than once while marching in parades—an impressive feat. THE UTAH VALLEY HANDBELL RINGERS have collaborated with the Utah Baroque Ensemble and Nebo Chorale and Orchestra and also frequently perform to packed crowds at civic and community centers (libraries, schools, hospitals and art museums)—in many instances providing the concerts free of charge. Also, DAVID TOLK is our pianist this hour. He’s released 8 CDs, two of which are Christmas albums and feature the pieces that we’re hearing today. One of his albums “David Tolk Christmas” reached #8 on Billboard’s New Age Chart in 2010. And DAVID also regularly performs on-stage in the “Big Parade” with his good friend singer/songwriter Peter Breinholt. MERRY CHRISTMAS!

Utah Valley Handbell Ringers and David Tolk

Christopher Holmes

Larry Gee

In this Highway 89 episode Christopher Holmes (baritone) and Larry Gee (piano) regale us with Rodgers and Hammerstein show tunes! In the early 1940s Richard Rodgers was trying to find someone to turn “Green Grow the Lilacs” into a musical with him. He asked around. He asked Lorenz Hart (who he’d created “A Connecticut Yankee” and “Babes in Arms” with) but Hart and everyone else said no. Who could he get?As fate would have it, across town, Oscar Hammerstein II was also trying to get someone to co-write a musical version of “Green Grow the Lilacs.” He’d asked Jerome Kern (since they’d written Showboat together and that’d been a hit) but Jerome wasn’t interested. He kept asking around. Who could he get?Well, as you know, the rest is history. Eventually Richard Rodgers and Oscar Hammerstein connected, and the greatest theater collaboration of the 20th century formed. They ushered in the “Golden Age” of musical theater with Carousel, South Pacific, The King and I and The Sound of Music. Oh and their “Green Grow the Lilacs” project they renamed Oklahoma!Together they netted 34 Tony Awards, 15 Academy Awards, 2 Grammy Awards and the Pulitzer Prize! Because of their outstanding contributions to the City of New York they were honored with the Gold Medal Award by The Hundred Year Association and the United States Postal Service put their faces on a stamp! Christopher Holmes is the Executive Director of Utah Lyric Opera. Locally he’s sung with Utah Symphony and Opera, Ballet West, and the Mormon Tabernacle Choir. Upcoming engagements include the role of Jesus in St. John’s Passion with the Salt Lake Choral Artists and Renato in Un ballo in mashera with Miami Lyric Opera. He’s also adjunct faculty at Utah Valley University.Follow Highway 89 on twitter @byuH89

In this Highway 89 episode Christopher Holmes (baritone) and Larry Gee (piano) regale us with Rodgers and Hammerstein show tunes!  In the early 1940s Richard Rodgers was trying to find someone to turn “Green Grow the Lilacs” into a musical with him. He asked around. He asked Lorenz Hart (who he’d created “A Connecticut Yankee” and “Babes in Arms” with) but Hart and everyone else said no. Who could he get? As fate would have it, across town, Oscar Hammerstein II was also trying to get someone to co-write a musical version of “Green Grow the Lilacs.” He’d asked Jerome Kern (since they’d written Showboat together and that’d been a hit) but Jerome wasn’t interested. He kept asking around. Who could he get? Well, as you know, the rest is history. Eventually Richard Rodgers and Oscar Hammerstein connected, and the greatest theater collaboration of the 20th century formed. They ushered in the “Golden Age” of musical theater with Carousel, South Pacific, The King and I and The Sound of Music. Oh and their “Green Grow the Lilacs” project they renamed Oklahoma! Together they netted 34 Tony Awards, 15 Academy Awards, 2 Grammy Awards and the Pulitzer Prize! Because of their outstanding contributions to the City of New York they were honored with the Gold Medal Award by The Hundred Year Association and the United States Postal Service put their faces on a stamp!  Christopher Holmes is the Executive Director of Utah Lyric Opera. Locally he’s sung with Utah Symphony and Opera, Ballet West, and the Mormon Tabernacle Choir. Upcoming engagements include the role of Jesus in St. John’s Passion with the Salt Lake Choral Artists and Renato in Un ballo in mashera with Miami Lyric Opera. He’s also adjunct faculty at Utah Valley University. Follow Highway 89 on twitter @byuH89

Christopher Holmes and Larry Gee

Highway 89 is a live performance and interview program that originates in BYUradio’s state-of-the-art recording studio. International, national, and local artists from a wide range of musical genres are featured.

Sam Bigney

The tale of our guests today begins, perhaps, in a home in which the father, a painter, exchanged some of his paintings for musical instruments. His sons, soon to be a harpist, a fiddler, and a guitarist, grew up to be Kirkmount, a Celtic band that, when the boys were still very young, kept up a rigorous schedule performing at festivals and in concert halls, making recordings, and they even won A Prairie Home Companion's "Talent from Towns Under Two Thousand" contest. Two of those brothers, Harpist Alex Bigney and fiddler Sam Bigney join us in the studio for an hour of medleys featuring traditional tunes and original pieces.Songs featured: Late Summer Aire, Home on the Columbia, Homecoming, Jerry's Jigs, Rosey's Waltz, Wandering.

The tale of our guests today begins, perhaps, in a home in which the father, a painter, exchanged some of his paintings for musical instruments. His sons, soon to be a harpist, a fiddler, and a guitarist, grew up to be Kirkmount, a Celtic band that, when the boys were still very young, kept up a rigorous schedule performing at festivals and in concert halls, making recordings, and they even won A Prairie Home Companion's "Talent from Towns Under Two Thousand" contest. Two of those brothers, Harpist Alex Bigney and fiddler Sam Bigney join us in the studio for an hour of medleys featuring traditional tunes and original pieces. Songs featured: Late Summer Aire, Home on the Columbia, Homecoming, Jerry's Jigs, Rosey's Waltz, Wandering.

Alex and Sam Bigney

Anton Nel

Anton Nel enjoys a remarkable and multifaceted career that has taken him to North and South America, Europe, Asia, and South Africa. Following an auspicious debut at the age of twelve with Beethoven’s C Major Concerto after only two years of study, the Johannesburg native captured first prizes in all the major South African competitions while still in his teens, toured his native country extensively and became a well-known radio and television personality.As recitalist he has appeared at Carnegie Hall, Lincoln Center, the Metropolitan Museum and the Frick Collection in New York, at the Ambassador Auditorium in Pasadena, Davies Hall in San Francisco, and the Library of Congress in Washington, DC. Eager to pursue dual careers in teaching and performing he was appointed to the faculty of the University of Texas at Austin in his early twenties, followed by professorships at the Eastman School of Music, and the University of Michigan, where he was chairman of the piano department. In September 2000, Anton Nel was appointed as the Priscilla Pond Flawn Regents  Professor of Piano and Chamber music at the University of Texas at Austin, where he teaches an international class of students and now heads the Division of Keyboard Studies. For the past two years he has been presenting a series of masterclasses in piano and chamber music at the Manhattan School of Music in New York as Visiting Professor, and also teaches regularly at the Glenn Gould School in Toronto. He is a Steinway artist.Repertoire: HANDEL Air and Variations from Suite No. 5 "Harmonious Blacksmith"; DEBUSSY Suite Bergamasque (Prelude, Menuet, Clair de lune, Passepied); SCHUMANN Faschingsschwank aus Wien, Op. 26, Mvt. 1 "Allegro"; SIBELIUS Romance in D-Flat, Op. 24, No. 9; BEETHOVEN Sonata in C major, Op. 53 "Waldstein", Mvt. 1 - Allegro con brio.

Anton Nel enjoys a remarkable and multifaceted career that has taken him to North and South America, Europe, Asia, and South Africa. Following an auspicious debut at the age of twelve with Beethoven’s C Major Concerto after only two years of study, the Johannesburg native captured first prizes in all the major South African competitions while still in his teens, toured his native country extensively and became a well-known radio and television personality. As recitalist he has appeared at Carnegie Hall, Lincoln Center, the Metropolitan Museum and the Frick Collection in New York, at the Ambassador Auditorium in Pasadena, Davies Hall in San Francisco, and the Library of Congress in Washington, DC. Eager to pursue dual careers in teaching and performing he was appointed to the faculty of the University of Texas at Austin in his early twenties, followed by professorships at the Eastman School of Music, and the University of Michigan, where he was chairman of the piano department. In September 2000, Anton Nel was appointed as the Priscilla Pond Flawn Regents Professor of Piano and Chamber music at the University of Texas at Austin, where he teaches an international class of students and now heads the Division of Keyboard Studies. For the past two years he has been presenting a series of masterclasses in piano and chamber music at the Manhattan School of Music in New York as Visiting Professor, and also teaches regularly at the Glenn Gould School in Toronto. He is a Steinway artist. Repertoire: HANDEL Air and Variations from Suite No. 5 "Harmonious Blacksmith"; DEBUSSY Suite Bergamasque (Prelude, Menuet, Clair de lune, Passepied); SCHUMANN Faschingsschwank aus Wien, Op. 26, Mvt. 1 "Allegro"; SIBELIUS Romance in D-Flat, Op. 24, No. 9; BEETHOVEN Sonata in C major, Op. 53 "Waldstein", Mvt. 1 - Allegro con brio.

The New Time Ensemble plays traditional Irish tunes on unconventional instruments with porch-jamming earthiness. Leslie Ann Harrison (flutes), Frederic Pouille (guitar, banjo, vocals) and Liz Davis Maxfield (cello) met while studying music at the University of Limerick in Ireland. They recorded an album “A Year in Ireland” at the end of their studies and have toured in Ireland, Scotland, England and the United States.

The New Time Ensemble: Celtic Trio

Paul Jacobsen

Singer/Songwriter Paul Jacobsen has performed with Sheryl Crow, the Jayhawks, John Hiatt, and many others. He’s been a finalist in both the Telluride Bluegrass Troubadour and Rocky Mountain Folks Fest Songwriter contests, is a regular member of The Lower Lights, and has release 2 solo albums with one on the way.Tonight he plays all original music, including multiple tracks from his yet-unreleased new album, and chats with host Steven Kapp Perry about twins, Neil Young benefit concerts, and spontaneous Wyoming meteor showers.Songs featured: Two Headed Heart, Some Amazing Grace, Western Skies, You're the Song, The Same Night's Waiting for us All, Muslin Dress, and Time.

Singer/Songwriter Paul Jacobsen has performed with Sheryl Crow, the Jayhawks, John Hiatt, and many others. He’s been a finalist in both the Telluride Bluegrass Troubadour and Rocky Mountain Folks Fest Songwriter contests, is a regular member of The Lower Lights, and has release 2 solo albums with one on the way. Tonight he plays all original music, including multiple tracks from his yet-unreleased new album, and chats with host Steven Kapp Perry about twins, Neil Young benefit concerts, and spontaneous Wyoming meteor showers. Songs featured: Two Headed Heart, Some Amazing Grace, Western Skies, You're the Song, The Same Night's Waiting for us All, Muslin Dress, and Time.

From the Sawtooth mountains of Stanley, Idaho to downtown Nashville, Tennessee to the city limits of Austin Texas, Micky and the Motorcars spend 200 days a year jamming in every nook of the nation. They've released 7 full-length records so far, their latest of which is "Hearts from Above."Micky and the Motorcars is normally a five-man group, but today we got a special unplugged three-man performance. Tour bus malfunctions can't keep the music down! Brothers Micky and Gary Braun and guitarist Dustin "Sunshine" Shaefer perform acoustic versions of some of the band's top hits, including the title track from their newest album.Host: Steven Kapp Perry Songs featured: "Hearts from Above," "Carolina Morning," "Long Road to Nowhere," "Led Me the Wrong Way," "Long and Lonely Highway," "Fall Apart," "Casino."

From the Sawtooth mountains of Stanley, Idaho to downtown Nashville, Tennessee to the city limits of Austin Texas, Micky and the Motorcars spend 200 days a year jamming in every nook of the nation. They've released 7 full-length records so far, their latest of which is "Hearts from Above." Micky and the Motorcars is normally a five-man group, but today we got a special unplugged three-man performance. Tour bus malfunctions can't keep the music down! Brothers Micky and Gary Braun and guitarist Dustin "Sunshine" Shaefer perform acoustic versions of some of the band's top hits, including the title track from their newest album. Host: Steven Kapp Perry Songs featured: "Hearts from Above," "Carolina Morning," "Long Road to Nowhere," "Led Me the Wrong Way," "Long and Lonely Highway," "Fall Apart," "Casino."

Micky and the Motorcars

Camille Nelson

We didn’t make Camille Nelson bring all of the instruments she plays into the studio today, which is a good thing – there may not have been room for them all. Camille Nelson is a classically trained artist whose new album, "Lead Me Home," can be found near the top of a number of different Billboard charts. For Camille, studying violin at age 6 was the doorway through which she stepped to develop a close relationship with the guitar, and then piano, banjo, mandolin, and more. All of that have given her the ability to experiment with classical, folk, pop, and new age sounds, and all of those influences have found a comfortable home in her recordings. She has distinguished herself as an athlete, a public speaker, an educator, an author, and more.Camille has lived in South Africa, Germany, Switzerland, and Italy, and she speaks German and Italian fluently. She received her bachelor's and master's degrees from the University of Utah and her Ph.D. from Gonzaga University. She currently teaches MBA courses in management, communication, and leadership. She is also the sister of Steven Sharp Nelson, the cellist in The Piano Guys.Songs Featured: Amazing Grace, How Great Thou Art, Be Thou My Vision, Be Still My Soul, Israel Israel God Is Calling, Come Come Ye Saints, Lead Me Home, Come Thou Fount of Every Blessing, Count Your Many Blessings.

We didn’t make Camille Nelson bring all of the instruments she plays into the studio today, which is a good thing – there may not have been room for them all. Camille Nelson is a classically trained artist whose new album, "Lead Me Home," can be found near the top of a number of different Billboard charts. For Camille, studying violin at age 6 was the doorway through which she stepped to develop a close relationship with the guitar, and then piano, banjo, mandolin, and more. All of that have given her the ability to experiment with classical, folk, pop, and new age sounds, and all of those influences have found a comfortable home in her recordings. She has distinguished herself as an athlete, a public speaker, an educator, an author, and more. Camille has lived in South Africa, Germany, Switzerland, and Italy, and she speaks German and Italian fluently. She received her bachelor's and master's degrees from the University of Utah and her Ph.D. from Gonzaga University. She currently teaches MBA courses in management, communication, and leadership. She is also the sister of Steven Sharp Nelson, the cellist in The Piano Guys. Songs Featured: Amazing Grace, How Great Thou Art, Be Thou My Vision, Be Still My Soul, Israel Israel God Is Calling, Come Come Ye Saints, Lead Me Home, Come Thou Fount of Every Blessing, Count Your Many Blessings.

Ben Reneer

Ben Reneer is a singer-songwriter from Alpine, Utah. According to the man himself, Ben “is determined to tell stories in the best way he knows how: through the universal language of music.”  Songs featured: Off My Mind, Emma, I Should Be Getting More Sleep, 25 Years (What's it Gonna Take?), Orange Avenue, Senseless, Swallow, Songbird

Ben Reneer is a singer-songwriter from Alpine, Utah. According to the man himself, Ben “is determined to tell stories in the best way he knows how: through the universal language of music.” Songs featured: Off My Mind, Emma, I Should Be Getting More Sleep, 25 Years (What's it Gonna Take?), Orange Avenue, Senseless, Swallow, Songbird

Susan Facer

Jerry Steichen

Susan Facer and Jerry Steichen became good friends when they performed on Broadway together in Andrew Lloyd Webber's The Phantom of the Opera. Susan was singing the lead, Christine Daae, and Jerry was conducting. But when the show ended their paths diverged and they lost contact. A decade later they serendipitously bumped into each other in the Salt Lake airport. Susan was moving to Utah from New Jersey and Jerry had become Principal Pops Conductor of Utah Symphony. Today they perform Broadway tunes together including “Think of Me” from Phantom for the grand finale!Eric Glissmeyer chats with Susan about stage mishaps, touring with her young family and landing the big role. He also chats with Jerry Steichen about his Oklahoma roots and current projects.

Susan Facer and Jerry Steichen became good friends when they performed on Broadway together in Andrew Lloyd Webber's The Phantom of the Opera. Susan was singing the lead, Christine Daae, and Jerry was conducting. But when the show ended their paths diverged and they lost contact. A decade later they serendipitously bumped into each other in the Salt Lake airport. Susan was moving to Utah from New Jersey and Jerry had become Principal Pops Conductor of Utah Symphony. Today they perform Broadway tunes together including “Think of Me” from Phantom for the grand finale! Eric Glissmeyer chats with Susan about stage mishaps, touring with her young family and landing the big role. He also chats with Jerry Steichen about his Oklahoma roots and current projects.

Susan Facer and Jerry Steichen

Debra Fotheringham

When Debra Fotheringham was a kid, the music from her father’s collection of jazz albums filled up the house, and filled up Debra’s heart. With a heart full of jazz, it’s no wonder that art began to make its way out of her heart and into the world.  Debra began to make her mark as a fiction writer, getting invited to writers’ conferences even as a first grader. In Junior High, she discovered the versatility of the acoustic guitar and the rhythms of hand percussion. Marrying her love of writing with her love of making music on those instruments, Debra has been a staple in not only the songwriting scene, but also as a key contributor to the albums of other songwriters in one of the most vibrant independent songwriting communities in the country. Debra's first homemade CD sold more than a thousand copies from the merch tables at local shows, and her 2007 self-titled album and her 2010 EP, “Time,” are respected and loved by fans and fellow musicians alike. Audiences have seen her most often on stage as a part of the hymn-singing supergroup The Lower Lights, as well as the frontwoman for the Americana cover act the Blue Heart Revue.  2017 marks the release of another Debra Fotheringham album, called “The Darkness and the Sun.”Songs featured: White Bird, Stranger in a Strange Land, The Darkness and the Sun, Sometimes the Wolf, Drive Across the Desert, Dan's Song, Summer Rain, Odd-Shaped Pieces, Winter That Will Never Come

When Debra Fotheringham was a kid, the music from her father’s collection of jazz albums filled up the house, and filled up Debra’s heart. With a heart full of jazz, it’s no wonder that art began to make its way out of her heart and into the world. Debra began to make her mark as a fiction writer, getting invited to writers’ conferences even as a first grader. In Junior High, she discovered the versatility of the acoustic guitar and the rhythms of hand percussion. Marrying her love of writing with her love of making music on those instruments, Debra has been a staple in not only the songwriting scene, but also as a key contributor to the albums of other songwriters in one of the most vibrant independent songwriting communities in the country. Debra's first homemade CD sold more than a thousand copies from the merch tables at local shows, and her 2007 self-titled album and her 2010 EP, “Time,” are respected and loved by fans and fellow musicians alike. Audiences have seen her most often on stage as a part of the hymn-singing supergroup The Lower Lights, as well as the frontwoman for the Americana cover act the Blue Heart Revue. 2017 marks the release of another Debra Fotheringham album, called “The Darkness and the Sun.” Songs featured: White Bird, Stranger in a Strange Land, The Darkness and the Sun, Sometimes the Wolf, Drive Across the Desert, Dan's Song, Summer Rain, Odd-Shaped Pieces, Winter That Will Never Come

John Davis

Together they're sometimes a duo, and sometimes the're a 5-piece band, but Morgan Snow and John Davis are always called "Triggers and Slips". Morgan recently summed up what they do when he tweeted: "I write original songs and sing my guts out when necessary"! Currently split between Nashville (Morgan) and Utah (John) they're back together to play the Utah Arts festival and other concerts.Today Morgan is on acoustic guitar, harmonica and lead vocals while John takes acoustic guitar, dobro, lap steel and back-up vocals.Songs featured: Modern Age, 4 Letters, Erastus, Stars, Phoebe Snow, Come Down, Future Variations.

Together they're sometimes a duo, and sometimes the're a 5-piece band, but Morgan Snow and John Davis are always called "Triggers and Slips". Morgan recently summed up what they do when he tweeted: "I write original songs and sing my guts out when necessary"! Currently split between Nashville (Morgan) and Utah (John) they're back together to play the Utah Arts festival and other concerts. Today Morgan is on acoustic guitar, harmonica and lead vocals while John takes acoustic guitar, dobro, lap steel and back-up vocals. Songs featured: Modern Age, 4 Letters, Erastus, Stars, Phoebe Snow, Come Down, Future Variations.

Morgan Snow and John Davis: Triggers and Slips

Clara Hurtado Lee

Isaac Hurtado

Accomplished Italian concert pianist, Antonio d’Abramo is joined by the brother and sister opera duo of Clara Hurtado Lee and Isaac Hurtado. They perform a variety of classical pieces, including piano solos from Antonio, solo pieces from both Clara and Isaac, as well as some duets. Songs featured: Rachmaninov: Etude-Tableau op. 39 Nº 4, Pozzoli: Etude Nº 30, Puccini: Donna non vidi mai from Manon Lescaut, Mascagni: The Cherry Duet from L'amico Fritz, Gounod: Je Veux Vivre from Romeo et Juliette, Donizetti: Larala...Caro Elisir, sei mid from Elisir D'amore, Puccini: Quando m'en vo from La Boheme, Cilea: Lamento di Federico from Arlesiana, Chopin: Etude op. 25 Nº 25, Sibelius: Etude op. 76 Nº 2

Accomplished Italian concert pianist, Antonio d’Abramo is joined by the brother and sister opera duo of Clara Hurtado Lee and Isaac Hurtado. They perform a variety of classical pieces, including piano solos from Antonio, solo pieces from both Clara and Isaac, as well as some duets.  Songs featured: Rachmaninov: Etude-Tableau op. 39 Nº 4, Pozzoli: Etude Nº 30, Puccini: Donna non vidi mai from Manon Lescaut, Mascagni: The Cherry Duet from L'amico Fritz, Gounod: Je Veux Vivre from Romeo et Juliette, Donizetti: Larala...Caro Elisir, sei mid from Elisir D'amore, Puccini: Quando m'en vo from La Boheme, Cilea: Lamento di Federico from Arlesiana, Chopin: Etude op. 25 Nº 25, Sibelius: Etude op. 76 Nº 2

Antonio d'Abramo, Clara Hurtado Lee, Isaac Hurtado

Beethoven Festival

Joining us on this episode are Leslie Harlow, Pamela Palmer Jones, and Russel Harlow. They are a trio from The Beethoven Festival. This is a non-profit organization and is the longest running classical music festival in Utah.Pieces featured: Telemann Trio Sonata, Faure Trio Op 120 Mvt 1, Max Bruch Acht Stucke Op 83 Mvts 2 &amp; 3, Beethoven Trio Op 1 #1 Mvt 1Learn more about the Beethoven Festival here: http://www.pcmusicfestival.com/

Joining us on this episode are Leslie Harlow, Pamela Palmer Jones, and Russel Harlow. They are a trio from The Beethoven Festival. This is a non-profit organization and is the longest running classical music festival in Utah. Pieces featured: Telemann Trio Sonata, Faure Trio Op 120 Mvt 1, Max Bruch Acht Stucke Op 83 Mvts 2 &amp; 3, Beethoven Trio Op 1 #1 Mvt 1 Learn more about the Beethoven Festival here: <a href="http://www.pcmusicfestival.com/" rel="nofollow" target="_blank">http://www.pcmusicfestival.com/</a>

Beethoven Festival Trio

Michael Barrow

Michael Barrow and the Tourists is a folk rock band from Provo, Utah that has been together since the Spring of 2016. Their music has been praised by reviewers as full of “melodic beauty” and “narrative complexity”. Listen to hear some of their signature songs and the story behind their first album, Juneau!Songs Featured: “Sing Me Something New”, “Sweet Honey”, “Hey, Hey, Hey”, “What Is It For?”, “12 Bar”, “Something New”, “All I’ll See Is You”, “What Are We Gonna Do?”, and “Clover”Learn more about them here: https://michaelbarrowandthetourists.com/

Michael Barrow and the Tourists is a folk rock band from Provo, Utah that has been together since the Spring of 2016. Their music has been praised by reviewers as full of “melodic beauty” and “narrative complexity”. Listen to hear some of their signature songs and the story behind their first album, Juneau! Songs Featured: “Sing Me Something New”, “Sweet Honey”, “Hey, Hey, Hey”, “What Is It For?”, “12 Bar”, “Something New”, “All I’ll See Is You”, “What Are We Gonna Do?”, and “Clover” Learn more about them here: <a href="https://michaelbarrowandthetourists.com/" rel="nofollow" target="_blank">https://michaelbarrowandthetourists.com/</a>

Michael Barrow and the Tourists

Live music performances from Studio 6 at BYU Radio.

Brother.

Vann Moon

Roseburg takes its name from a small, green city in Oregon where the founding three band members, Zach Knell, Samuel Sheppard, and Keith Lambson met. They formed the band in early 2018, later adding bassist Soren Buchert. Since then, the young rockers have been busy working with producers like Scott Wiley and Nate Pyfer to perfect their Pacific Northwest boy band sound. Songs featured: Identity Prices, Be Good, Evergreen, Stay Golden, Travel Safely, Premonition, Wave Learn more about them here: www.roseburgband.comWatch selections from this episode on YouTube:

Roseburg takes its name from a small, green city in Oregon where the founding three band members, Zach Knell, Samuel Sheppard, and Keith Lambson met. They formed the band in early 2018, later adding bassist Soren Buchert. Since then, the young rockers have been busy working with producers like Scott Wiley and Nate Pyfer to perfect their Pacific Northwest boy band sound.  Songs featured: Identity Prices, Be Good, Evergreen, Stay Golden, Travel Safely, Premonition, Wave  Learn more about them here: <a href="http://www.roseburgband.com" rel="nofollow" target="_blank">www.roseburgband.com</a> Watch selections from this episode on YouTube:

Roseburg

The Tribeca Ensemble - a string quartet composed of Jesse Massey, Julie Beistline, Devan Freebairn an Audrey Hudgens - returns to Studio 6 to perform pieces exclusively by modern, Utah-based composers. Songs featured:“No. 11 op. 89” by Nicolet Singleton; “Cloudseeding 10” by Devin Maxwell; “String Quartet No. 3 ‘Sacred Spaces’” by Esther Megargel; “Small World Fantasies, II. ‘Beatle D’” by M. Ryan Taylor; “String Quartet No. 1, 1st mvt.” by Ashkan F. Tabatabaie; “Two Views of Eternity for string quartet, mvt. 2 ‘And Ever, Amen’” by Stephen Voorhees Learn more about them here: https://www.tribecaensemble.com/

The Tribeca Ensemble - a string quartet composed of Jesse Massey, Julie Beistline, Devan Freebairn an Audrey Hudgens - returns to Studio 6 to perform pieces exclusively by modern, Utah-based composers.  Songs featured:“No. 11 op. 89” by Nicolet Singleton; “Cloudseeding 10” by Devin Maxwell; “String Quartet No. 3 ‘Sacred Spaces’” by Esther Megargel; “Small World Fantasies, II. ‘Beatle D’” by M. Ryan Taylor; “String Quartet No. 1, 1st mvt.” by Ashkan F. Tabatabaie; “Two Views of Eternity for string quartet, mvt. 2 ‘And Ever, Amen’” by Stephen Voorhees  Learn more about them here: <a href="https://www.tribecaensemble.com/" rel="nofollow" target="_blank">https://www.tribecaensemble.com/</a>

Tribeca Ensemble

Image may contain: 2 people, guitarMythic Valley is an indie-folk duo made up of Tommy Gunn and Tony Aman. Their sound “finds its core within the neo-Americana genre.” Their musical influences include James Taylor and Fleet Foxes.Songs featured: Mythic Valley, Whole Again, Steeples, Closed Doors, Come Clean, Something Sweet, The Last One, Full Moon, Sadie, King at LastLearn more about them here: https://mythicvalley.com/Watch selections from this episode on YouTube:

Image may contain: 2 people, guitar Mythic Valley is an indie-folk duo made up of Tommy Gunn and Tony Aman. Their sound “finds its core within the neo-Americana genre.” Their musical influences include James Taylor and Fleet Foxes. Songs featured: Mythic Valley, Whole Again, Steeples, Closed Doors, Come Clean, Something Sweet, The Last One, Full Moon, Sadie, King at Last Learn more about them here: <a href="https://mythicvalley.com/" rel="nofollow" target="_blank">https://mythicvalley.com/</a> Watch selections from this episode on YouTube:

Mythic Valley

Peter Breinholt

Nancy Hanson

Craig Miner

Peter Breinholt, Nancy Hanson, David Tolk and Craig Miner are a talented group of musicians. They each have their own musical pursuits, but come together every now and again to work on special projects like the one recorded in Studio 6. Songs featured: “Dancing Queen” (ABBA); “Rocket Man” (Elton John); “Roll Away the Stone” (Mott the Hoople); “Only You” (Yaz); “So Lonely” (The Police); “Only in Your Heart” (America); “Give Me Love (Give Me Peace On Earth)” (George Harrison); “I Got You Babe” (Sonny and Cher); "Friday I'm In Love" (The Cure); “Heart of Glass” (Blondie)Learn more about them here: https://peterbreinholt.com/http://www.nancyhanson.com/https://www.davidtolk.com/http://www.craigminer.com/

Peter Breinholt, Nancy Hanson, David Tolk and Craig Miner are a talented group of musicians. They each have their own musical pursuits, but come together every now and again to work on special projects like the one recorded in Studio 6.  Songs featured: “Dancing Queen” (ABBA); “Rocket Man” (Elton John); “Roll Away the Stone” (Mott the Hoople); “Only You” (Yaz); “So Lonely” (The Police); “Only in Your Heart” (America); “Give Me Love (Give Me Peace On Earth)” (George Harrison); “I Got You Babe” (Sonny and Cher); "Friday I'm In Love" (The Cure); “Heart of Glass” (Blondie) Learn more about them here: <a href="https://peterbreinholt.com/" rel="nofollow" target="_blank">https://peterbreinholt.com/</a><a href="http://www.nancyhanson.com/" rel="nofollow" target="_blank">http://www.nancyhanson.com/</a><a href="https://www.davidtolk.com/" rel="nofollow" target="_blank">https://www.davidtolk.com/</a><a href="http://www.craigminer.com/" rel="nofollow" target="_blank">http://www.craigminer.com/</a>

Peter Breinholt, Nancy Hanson, David Tolk & Craig Miner

photo by Josh SiebertBen Reneer is a singer-songwriter from Alpine, Utah. According to the man himself, Ben “is determined to tell stories in the best way he knows how: through the universal language of music.” Songs featured: Off My Mind, Emma, I Should Be Getting More Sleep, 25 Years (What's it Gonna Take?), Orange Avenue, Senseless, Swallow, SongbirdLearn more about him here: https://www.benreneer.com/music/ Watch selections from this episode on YouTube:

photo by Josh Siebert Ben Reneer is a singer-songwriter from Alpine, Utah. According to the man himself, Ben “is determined to tell stories in the best way he knows how: through the universal language of music.”  Songs featured: Off My Mind, Emma, I Should Be Getting More Sleep, 25 Years (What's it Gonna Take?), Orange Avenue, Senseless, Swallow, Songbird Learn more about him here: <a href="https://www.benreneer.com/music/" rel="nofollow" target="_blank">https://www.benreneer.com/music/</a>  Watch selections from this episode on YouTube:

This show is fun! I like Steven Kapp Perry&#39;s way of interviewing the guests--smart questions, good information. The performances are very real &amp; in the moment.

Good Interviews

Highway 89

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