Jennifer Hamady is a remarkable blend of singer, teacher, writer, and psychologist. As an author, she has penned three insightful books: The Art of Singing: Discovering and Developing Your True Voice, The Art of Singing Onstage and in the Studio, and Learning to Sing. She is also a regular contributor to Psychology Today, where she shares her expertise on the psychological and emotional aspects of singing. As a performer, Jennifer has graced the stage alongside iconic artists like Stevie Wonder and Def Leppard. In this conversation, we dive into the many facets of her career and how she helps singers develop their voices by addressing both technical and psychological aspects of their artistry.

Part 1

We begin with Jennifer's early journey as a singing student, exploring the lessons she took from both challenging and positive experiences. She reflects on how these formative experiences shaped her understanding of the voice and her approach to teaching. From there, we trace the beginnings of her singing career, starting with her first years after college and leading up to her breakthrough moment—when she joined the ranks of backup singers for top pop artists. We conclude Part 1 with a deep dive into her philosophies on vocal technique, artistry, and teaching.

Part 2 [Subscriber Content]

In addition to performing, Jennifer is a highly sought-after teacher who works with students in person and online. She explains how her career evolved by her willingness to embrace new opportunities and “say yes to everything.” I ask how she balances this busy schedule, fits in her writing, and manages her ongoing creative projects. Jennifer also shares her plans for future books, giving us a glimpse into what’s next for her as a writer.

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Mark Scatterday is the Professor of Conducting at the Eastman School of Music and the esteemed conductor of the legendary Eastman Wind Ensemble. Since taking the baton in 2002 as only the fourth conductor in the ensemble’s storied history, Mark has continued the rich legacy of his predecessors, especially Frederick Fennell and Donald Hunsberger. Under his direction, the ensemble has toured the world, performing in Japan, China, Taiwan, Europe, Canada, and across the United States. As a passionate advocate for contemporary music, Mark has premiered numerous works, making his mark as a visionary leader. It was a real pleasure to sit down with Mark to talk about his unique approach to conducting, his philosophy on teaching, and how he keeps the Eastman tradition alive.

We start by diving into Mark's early training as a trombonist, where he studied under the great Ed Anderson and Dennis Smith. He shares how studying scores during rehearsal breaks helped shape his understanding of music. Mark also talks about his early steps into conducting and how a fateful meeting with Donald Hunsberger led him to pursue his doctorate at Eastman. As we wrap up Part 1, we explore his "three-pronged recipe for success" and the role of fate in his career.

In Part 2 (Exclusive Subscriber Content), we get into Mark's approach to rehearsals and auditions, especially for the Eastman Wind Ensemble’s tours and recordings. We also delve into the fascinating history of the ensemble, starting with its founder, Frederick Fennell, and continuing through the influence of Mark’s mentor, Donald Hunsberger. Finally, Mark reflects on his close friendship with renowned composer Karel Husa and their creative collaborations.

Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!

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

• Extra Audio Content: Only available to Contributing Listeners.
• Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
• Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
• The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
• Can I just donate instead of subscribing? Absolutely!
• Cancel at anytime and easily resubscribe when you want all that extra content again.

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On June 9, 1974, the legendary singer Frederica von Stade and the brilliant pianist Martin Katz performed their first concert together—a partnership that continues to captivate audiences to this day. Few musical collaborations have endured for so many years or produced such iconic work. It was an incredible honor to sit down with both of them to discuss their journey, their deep insights on music-making, and their lasting bond as friends and colleagues. Their love and affection for each other shine through every moment of this conversation, offering a window into the human side of their remarkable relationship. I personally learned so much from this discussion, and I hope you will too. And yes, we shared plenty of laughs along the way!

In Part 1 of our conversation, Frederica von Stade and Martin Katz share the story of how they first met and began their extraordinary musical partnership. They talk about how they choose repertoire, with "Jenny Rebecca" serving as a perfect example of a song that has matured and evolved over the years. We also explore the differences between recording and live performances, the importance of staying loyal to the text, and the fascinating contrast between how singers and instrumentalists approach breathing. To top it off, we discuss their experiences working with modern composers, offering insights into both collaboration and creativity.

In Part 2 (for Subscribers), we dive into more personal and professional aspects of their careers, including the role of agents and how those relationships have shaped their journeys. Martin shares his thoughts on the differences between working with instrumentalists and singers, and both of them reflect on the various stages of talent development. We also talk about their favorite composers, and Martin offers a thoughtful perspective on teaching, explaining that it's less about providing answers and more about asking the right questions. Throughout, Frederica and Martin’s deep connection shines through, with plenty of laughter sprinkled along the way.

Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!

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

• Extra Audio Content: Only available to Contributing Listeners.
• Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
• Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
• The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
• Can I just donate instead of subscribing? Absolutely!
• Cancel at anytime and easily resubscribe when you want all that extra content again.

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In this deeply insightful interview, host Tony Plog chats with Wes Nance, trumpet with the Rochester Philharmonic, about the often-overlooked artistry behind Sleigh Ride's iconic horse whinny. Wes reflects on his time at the Eastman School of Music, his unconventional teaching methods, and the annual Horse Whinny Challenge — a competition as fun as it is fierce. Along the way, they explore what really resonates with audiences, proving that a well-timed whinny can steal the show!

Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!

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

• Extra Audio Content: Only available to Contributing Listeners.
• Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
• Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
• The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
• Can I just donate instead of subscribing? Absolutely!
• Cancel at anytime and easily resubscribe when you want all that extra content again.

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Jeffrey Biegel is a pianist who has dazzled audiences across the globe, performing with major orchestras from a young age. But his contributions go far beyond the concert stage — He's commissioned over 25 new works from living composers, leaving a lasting mark on contemporary piano music. Always pushing the boundaries, Jeffrey has performed weekly online concerts during the Covid pandemic and even pioneered the first-ever live audio/visual recital on the internet in 1997, broadcasting from Steinway Hall in New York. We explore Jeffrey’s extraordinary journey—from his early challenges with being unable to hear to his studies at Juilliard, and his deep passion for bringing new music into the world. Along the way, we discuss his creative process, his experiences as a performer and teacher, and even a futuristic story he’s written, which you can find on his website.

Part 1 dives into Jeffrey’s early life, starting with the incredible story of overcoming hearing issues before discovering his musical gift. By age 10, he was already performing concerti! We talk about his time at Juilliard and the lessons he learned from that transformative period. Since Jeffrey has brought so many new works into the piano repertoire, I ask him to walk me through the fascinating process of commissioning new music. We wrap up with a fun, hypothetical set of questions based on one of his creative stories.

Part 2 [Subscriber Content] turns to another key part of Jeffrey’s career — teaching. We also dig into a question that musicians often grapple with: how much freedom should a performer take when interpreting a composer’s work? Finally, we end on a high note, discussing two unique pieces Jeffrey has been closely involved with: Leroy Anderson’s Concerto in C and Peter Schickele’s Concerto for Very Grand Piano (you might know him as Mr. PDQ Bach).

Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!

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

• Extra Audio Content: Only available to Contributing Listeners.
• Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
• Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
• The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
• Can I just donate instead of subscribing? Absolutely!
• Cancel at anytime and easily resubscribe when you want all that extra content again.

Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Ed's career in music has been nothing short of remarkable, spanning multiple roles including trumpeter, teacher, conductor, and entrepreneur. His deep involvement in so many facets of the musical world has made him a leading voice not just in the trumpet community, but in the broader world of music.

In Part 1 of our conversation, Ed takes us back to his early days, sharing stories from his time studying with two of the most iconic trumpet teachers of his era—Vincent Cichowitz and William Vacchiano. We’ll dive into his experiences at Juilliard and hear about his early days in New York, including what it was like to work with legendary conductors like Leonard Bernstein and Pierre Boulez. Ed also shares fascinating anecdotes about some of the great orchestral trumpet players he’s encountered, such as Tom Stevens, Morris Murphy, and John Wilbraham, and their unique approaches to working with conductors. Plus, he’ll give us an inside look at his teaching philosophy, particularly his thoughts on preparation methodology.

[Subscriber Content] In Part 2, I ask Ed a thought-provoking question: if he were a student today, knowing what he knows now, what would he do differently? His answer leads us into a rich discussion about music and interpretation that goes beyond the trumpet. We wrap up our conversation by delving into Ed’s significant contribution to the trumpet community—Chosen Vale, a project that has left a lasting impact on musicians everywhere.

Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!

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

• Extra Audio Content: Only available to Contributing Listeners.
• Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
• Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
• The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
• Can I just donate instead of subscribing? Absolutely!
• Cancel at anytime and easily resubscribe when you want all that extra content again.

Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Clayton Haslop's journey as a violinist has been nothing short of extraordinary. At just 18, he joined the Los Angeles Chamber Orchestra and rose to become its concertmaster. Over the years, he also served as concertmaster for the Los Angeles Opera Orchestra and contributed his talents to numerous iconic film scores, including Titanic, The Matrix, and many others. But Clayton's path wasn't always smooth. In his forties, he faced a daunting challenge when he was diagnosed with Focal Dystonia in his left hand. Despite years of struggle and bouts of depression, Clayton made a remarkable comeback by relearning to play the violin using only two fingers on his left hand. I'm especially honored to have this conversation with Clayton, as we were roommates in Santa Monica in the early 1980s. Although I was ten years his senior, I learned so much from him during those years. Speaking with him on this podcast is truly a privilege.

In Part 1 of our conversation, we delve into what it’s like to be a concertmaster for some of the top studio orchestras, the experience of working on blockbuster films like Titanic and The Matrix, and collaborating with renowned film composers, each with their unique personalities and approaches to recording sessions. We also explore Clayton’s early years, including his studies with the legendary violinist Nathan Milstein, and discuss the beginnings of his career along with some key concepts from his Violin Mastery Course.

In Part 2 [Subscriber Content], Clayton delves into the profound challenges he faced after being diagnosed with Focal Dystonia. Drawing inspiration from the legendary guitarist Django Reinhardt, who famously played with only two fingers on his left hand, Clayton reimagined his own technique to continue playing the violin at an exceptional level. He shares the physical and mental strategies that enabled him to overcome this seemingly insurmountable obstacle. Beyond the technical adjustments, Clayton talks about his deep musical connection with the members of an assisted living community.

Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!

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

• Extra Audio Content: Only available to Contributing Listeners.
• Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
• Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
• The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
• Can I just donate instead of subscribing? Absolutely!
• Cancel at anytime and easily resubscribe when you want all that extra content again.

Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!

Pianist Claar ter Horst is a renowned expert on German Lieder, with a special focus on the music of Robert Schumann and Hugo Wolf. Her impressive career includes collaborations with legendary German singers like Dietrich Fischer-Dieskau and Elisabeth Schwarzkopf. Who better to delve into the rich tradition of German Lieder than Claar ter Horst?

In Part 1, we explore what sets the German singing tradition apart from those of other countries, using France as a point of comparison. Claar shares her experiences working with Fischer-Dieskau and Schwarzkopf, discussing their unique perspectives on music, singing, and their work ethic. She highlights both the similarities and differences between these iconic artists, offering insights into what it was like to collaborate with them. We also dive into Claar's deep passion for the songs of Robert Schumann, a composer whose work she holds dear. Finally, we unpack a profound quote from Claar's website: “In my view, the creative process is essential: working diligently, refining like a diamond, achieving freedom like a bird, listening with all your senses, and, above all, being amazed like a child.”

[For Subscribers] Part 2 opens with a fascinating family anecdote: Claar's grandfather attended the premiere of Mahler’s 5th Symphony, where conductor Willem Mengelberg asked him to delay the train to allow the Concertgebouw Orchestra to play an encore. What a remarkable family legacy! We then continue our discussion on teaching and learning, with Claar emphasizing her belief that dedication and hard work can help students overcome any lack of innate talent or instinct for phrasing.

Would you like more inspirational stories, suggestions, insights, and a place to continue the conversations with other listeners? Visit anthonyplog-on-music.supercast.com to learn more!

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

• Extra Audio Content: Only available to Contributing Listeners.
• Podcast Reflections: Tony's written recaps and thoughts on past interviews, including valuable tips and suggestions for students.
• Ask Me Anything: Both as written messages and occasional member-only Zoom sessions.
• The Show's Discord Server: Where conversations about interviews, show suggestions, and questions happen. It's a great place to meet other listeners and chat about all things music!
• Can I just donate instead of subscribing? Absolutely!
• Cancel at anytime and easily resubscribe when you want all that extra content again.

Learn more about becoming a Contributing Listener @ anthonyplog-on-music.supercast.com!