Have Horn, Will Travel
by Chris Castellanos
Hello, I’m Chris Castellanos, and I am a travelholic. Some call us road warriors, others call us crazy. I love the travelling aspect of my job just as much as I enjoy the playing. I love meeting new people, playing new venues, the air travel, car rides, the after-concert hangouts, and everything that comes with being a touring musician! Of course, it’s not always smooth sailing, and there’s a lot that goes into making your travel a better experience. With that, I’ll let you know the kinds of things that I personally do to make road life as good an experience as possible.
First, since we are all musicians, it should come as no surprise that my #1 rule for travel is to make sure that I am giving myself the best chance for success on stage at all costs. This means, whether it’s an audition, a one-time gig, or a full-blown tour, I make sure that my travel allows me to be punctual, comfortable, and as stress-free as possible. No, I don’t mean that every flight is first-class or that every hotel is the Four Seasons; but I do mean that taking a flight that departs at 6:00 a.m. and has a four-hour layover and which gets you to an engagement with only a few hours to spare is NOT worth saving a little bit of money. Why in the world would one jeopardize months of preparation for an audition? or sacrifice sounding anything less than their best on a rehearsal or show just to save some money on a flight?
It’s with this in mind that for a morning or early-evening engagement, if possible, I will almost always opt to fly in the night before. Even if this costs me a hotel for the night, I rest easier knowing that I am there already and don’t have to worry about unforeseen issues travelling on the day of the scheduled event. If my engagement is in the evening, I arrive as early as my schedule allows me that day. Since I live on the west coast, I almost always opt for a red-eye flight (an overnight flight usually leaving between 11:30 p.m. and 1:00 a.m.). I know that this is unpopular for many, but red-eye flights put you where you need to be early the next morning while building in time for any unexpected circumstances. I can get to my hotel, check in early, get some rest, and have plenty of time to get ready and prepare for whatever I’m there to do that night. Also, red-eye flights are almost always the last flight of the day, which means you can show up to the airport later and not worry about big lines and crowded terminals…and red-eye flights are almost always cheaper as well. Of course, if I’m flying east to west, there are no red-eye flights, so I’ll either take the last flight the night before (and bear the added hotel cost), or I’ll take the first flight the next morning.
I could write an entire article just on how to take advantage of airline frequent-flyer programs. As one who has flown around 150K miles annually for close to 20 years (and who is a proud charter member of Delta’s top-tier Diamond Medallion Program), one could say I’m a bit addicted. In short, I want to highly recommend that you join frequent flyer programs and start reaping the benefits that are available to you. If you take more than five round-trip flights per year, you should consider sticking to a dedicated airline and achieving status on that airline. Apply for a credit card that entitles you to benefits with the airline of your choice, such as free TSA PreCheck or Clear memberships, free checked bags, companion tickets, bonus airline miles, and maybe even airline lounges. If you have even the lowest tier status on most airlines, you are entitled to perks such as free first-class upgrades, priority seating, and access to a dedicated phone line that will put you well ahead of the general masses when it comes to getting anything solved if something goes wrong with your flight. For me, these conveniences are crucial on any trip.
Hotels, on the other hand, are somewhat less of a priority for me, where I am not quite as loyal. When booking a place to stay, I almost always opt for a website like Priceline or Kayak. I did have top-tier status with a major hotel chain for a few years, and while it was nice to accrue points towards stays, get a few free bottles of water and the (very) occasional room upgrade, the extra price just wasn’t worth it to me. The bottom line is that while a flight delay, a luggage faux pas, or an insanely long layover can totally derail a travel day, once I’m at the hotel, I have no need for extra perks. If the hotel is clean and the bed is decent, I am satisfied. I usually choose 3-star and above with at least a 7.5 rating on Priceline. On occasions that I need more room or more privacy than a hotel offers, I’ll look at Airbnb.
The last thing I’ll say about travel is regarding car rental. I absolutely loathe car rental facilities and hate arriving somewhere after a long flight just to get on the crowded bus to the rental agencies and wait in a long line to be upsold on insurance and have hundreds of dollars put on hold on my credit card all for a strange-smelling, overpriced car. Now, I only rent cars on Turo. On my last trip, I got a brand new fully-loaded Audi Q5 SUV for the same price as regular SUVs from the car rental companies. I worked directly from the Turo app, chose the insurance rate (purchasing insurance not required), and was in direct contact with the person from whom I rented. I appreciate that I just showed up at passenger pick-up where someone met me, looked at my license, and gave me the key . . . and I was on my way. The process is the same for returning the car: I just set up a time to meet them at passenger drop-off and handed them the keys. I even get 500 Delta miles per rental!
Now that we’ve got travel issues out of the way, there is that little thing called practice. I live by the 12-hour rule on the road: I don’t let 12 hours go by without putting the horn to my face. Though this may seem a little obsessive, especially on long travel days, it’s doable and, more importantly, necessary to keep in shape for my shows with Boston Brass (which are particularly taxing). I’ll admit that I am not a huge fan of practice mutes, but they are a necessity on the road (although I use them primarily as a last resort). I own no fewer than 7 different brands of practice mutes, but I have 3 favorites. First, I prefer to play with my Balu practice mute. It is quiet and more in tune than most of the others. But it is so beautiful that I can’t just throw it in my luggage and not worry about it being damaged like I can with my Yamaha Silent Brass. For longer tours, I will almost always have the Silent Brass with me because it is quiet, fairly well in tune outside of the extreme registers, and as durable as a tank (so I can just toss it in my checked luggage if I want). If luggage space is my concern for a short trip, I will bring my Okura practice mute. It’s not the same quality as the Balu or the Silent Brass, but it fits in my bell (even with the bell detached in the case) and is a real space saver that gets the job done for short practice sessions. While I use practice mutes in hotel rooms, in airports, and even on airplanes, I do everything in my power to practice without them. Most of the time, I will ask to use the conference room at a hotel, but if it is not an option, I will often practice in my rental car. It may be a bit cramped and uncomfortable, but I can still get time in on the horn with no mute.
While travel is a huge part of my life—and I wouldn’t trade my job with Boston Brass for any job in the world—it would be hard on home life if I wasn’t careful. For this reason, my colleagues and I have a rule of no more than ten days in a row on the road (unless we are out of the country). Typically, we are out for three days to one week at a time and then home for the same amount of time. At home, I want to spend as much time with my wife and two kids as possible, and I feel unbelievably lucky to make a living doing what I love and then to come home to give an equal amount of undivided attention to my family. This means that my daily practice sessions and arranging work happen before the kids are up, while they are at school, or after everyone is asleep so that I don’t take away from family time. On the occasion that I do take work outside of the Boston Brass, I make sure that it is something that is either very musically satisfying or something that I am performing with my wife (who is also a very busy musician). My serious advice here is that if you intend to travel or already do travel for a living, having a partner who is understanding of what it is that you do and why it’s important to you is incredibly important. They must realize, and you must be upfront about the fact, that there will be holidays missed and special occasions apart. In turn, it’s your duty to do everything you can to turn those into small bumps instead of large ones. For me, this means that if I’ve got to spend extra money on a flight to get home for a day or two between performances and see my wife, even if it would be easier and cheaper to just stay out on the road, I do it. If I’m leaving for a week and my 8-year-old has school the next morning, we stay up for a special night of movies and snacks and let him be a little late the next day. If I must burn some miles or cash to buy an extra plane ticket and a bigger hotel room to bring my 16-year-old daughter on the road so we can spend extra time together, I do it!
I’ll leave you with this in closing: being a musician for a living is a privilege. It’s a privilege that we earn with hard work and sacrifice. It’s difficult enough to put all the blood, sweat, and tears into winning a job, performing at your highest level, and rounding it all out by being a good colleague. Do yourself a favor and don’t make things harder by taking terrible flights, staying at poor-quality hotels, and being miserable in your travels just to save money. Life is about more than just the performance. At the end of the day, you will be much happier, play better, and have more memorable experiences if you travel right!
Simple Gifts, Boston Brass
Allemande from Partita no. 1, J.S. Bach
Greeting - June 2022
Greetings, and welcome to the June 2022 issue of Horn and More!
As always, Mike Harcrow and his editorial team at Horn and More have assembled a world-class collection of horn knowledge, delivered to your inbox for free! In a world where everyone seems to be selling something, it is heartening to know that this e-newsletter has been created for the sole purpose of sharing information about the horn and horn playing across the globe. If you are a regular reader of Horn and More and/or frequently visit other resources on hornsociety.org, you may be wondering how best to support these initiatives. It’s simple: Join the IHS! In thinking over the various benefits of membership in the IHS, I brainstormed the following list. There are certainly more, but these are some of the big ones for me:
- The International Horn Society Website: The official online home of the IHS, www.hornsociety.org, is a wonderful resource, with lots of great content available to everyone. Whether you peruse the classified ads and job listings, search The Horn Call Index, prepare for auditions using Horn Excerpts, or shop for music using the Online Music Sales page, there is a wealth of information on this site. However, the best content in my opinion is available only to IHS members, including electronic copies of The Horn Call going all the way back to the first issue, and a variety of video content. If you are a frequent visitor to the site but have not yet joined the IHS, consider supporting it through your membership. Organizing, maintaining, and updating a website is no small task, and your membership would help defray some of the costs.
- Thesis Lending Library: This repository of horn-related knowledge and research is one of the most extensive collections available outside of a major university library, and is free for IHS members. A refundable deposit is required to borrow from this library, but it is well worth it.
- Commissions and Competitions: The IHS regularly supports the creation of new works for the horn through its Meir Rimon Commissioning Assistance Fund. If you’ve ever wanted to take part in commissioning new music for the horn but couldn’t acquire the funds, consider joining the IHS and applying for an award from the Meir Rimon Fund. In addition to commissioning assistance, the IHS also hosts a Composition Contest, as well as several scholarship competitions.
- Membership is Relatively Inexpensive: IHS dues are very affordable, especially considering the variety of programs that the organization supports. A student electronic membership is $25 USD annually, which amounts to $2.08 USD a month. I tell my students that if money is keeping them from joining the IHS, consider that forgoing one cup of premium coffee (or other small luxury purchase) per month would more than cover the cost. The IHS Friendship Project offers adjusted one-year regular and electronic memberships to residents of countries based on the United Nations Inequality-adjusted Human Development Index (IHDI). To view the adjusted rates and see if you qualify for a Friendship Project adjustment, visit The Friendship Project page. A Club Membership discount is available for groups of eight or more members joining together. For more information, contact Membership Coordinator Elaine Braun at membership-coor@hornsociety.org.
- The Horn Call: Published tri-annually in print and electronic format, this is the official journal of the IHS and a great resource and companion to Horn and More. Each issue contains news and reports from around the world, feature articles, recording and music reviews, and fantastic columns. If you aren’t reading The Horn Call, you are missing out!
- Networking/Collegiality/Friendship: Last but not least is the opportunity to meet new colleagues and friends at the annual international symposium, various regional events, and other in-person and virtual interactions. As with any organization of its kind, the IHS brings together numerous backgrounds, interests, and experience levels, with a common thread being a love of the horn. It should also be noted that IHS-affiliated events – festivals, workshops, masterclasses, etc. – do not have to pay for online or print promotion, so long as quality materials are provided. And, in my experience, the IHS is a friendly and welcoming organization, with a history of strong leadership.
I hope this has given you some food for thought, and I encourage all horn players of any level to support our official organization.
James Boldin
IHS Publications Editor
Práctica Diaria: Ejercicios Técnicos para el aprendizaje del Corno Francés
Por Orlando Afanador Florez
Los materiales didácticos y pedagógicos para la enseñanza del corno francés son diversos y con diferentes contenidos, de acuerdo con el nivel técnico para el cual fueron
desarrollados. El presente texto describe como el libro “Práctica Diaria: Ejercicios Técnicos para el aprendizaje del Corno Francés” fue realizado y aplicado como material pedagógico en la enseñanza del instrumento dentro del programa Núcleos Estaduales de Orquestas Juveniles e Infantiles de Bahía NEOJIBA, en la ciudad de Salvador, en Brasil, y como él ha sido usado para definir aspectos técnicos como: desarrollo del sonido, articulación, centralización del sonido, flexibilidad y diferentes modelos rítmicos de escalas mayores, que permiten la unificación de criterios de enseñanza para los cornistas del programa.
Este libro define ejercicios técnicos específicos para los niveles: inicial e intermedio; que pueden ser articulados junto a otros métodos de reconocidos autores para permitir el avance técnico-instrumental de los alumnos que hacen parte del programa en las diferentes orquestas y núcleos de formación.
Desde mi llegada al programa, estoy trabajando en el desarrollo de la escuela de Corno Francés, uno de los objetivos es que más niños y jóvenes conozcan y ejecuten el instrumento. Por eso, surge la idea de tener un material pedagógico que pudiera ser referencia en las diferentes clases de técnica instrumental, en los diferentes niveles del
programa, lo que unificaría los criterios de enseñanza del instrumento.
Inicialmente los ejercicios fueron explicados oralmente; sin embargo, la escritura de ellos, facilitó su comprensión por parte de los estudiantes. Conforme el desarrollo de las clases fue sucediendo, diferentes ejercicios cromáticos y de escalas mayores, junto con otros libros de práctica, se tornaron parte fundamental de las clases de instrumento en cada una de las orquestas.
Con la escritura, también los alumnos tienen su material de práctica personal y fue creada una guía técnica elemental dentro del programa, que permitió avances técnicos significativos en la ejecución del instrumento.
Así, surge el libro “Práctica Diaria: Ejercicios técnicos para el aprendizaje del Corno Francés” convirtiéndose en el principal método usado en el programa NEOJIBA para el instrumento.
Links en YouTube:
Sample of a class from NEOJIBA
Horn Ensemble from NEOJIBA
Horn Ensemble from NEOJIBA
PORTATA DEL LIBRO
EJERCICIO PARA EL DESENVOLVIMIENTO DEL SONIDO
EJERCICIO DE FLEXIBILIDAD Y PARA EL
DESARROLLO DEL REGISTRO
Daily Practice: Technical Exercises for the Learning of the French horn
By Orlando Afanador Florez
The diverse pedagogical and academic materials for the teaching of the French horn can be approached in several ways according to the technical level to which they have been developed. My work, "Daily Practice: Technical Exercises for the Learning of the French Horn" has been created for application as pedagogical material for teaching horn at the NEOJIBA State Youth Orchestras and Children’s Orchestral program in the city of Salvador, Brazil. The method has been used as an important improvement tool in many foundational areas, such as the development of a better, more-centered tone quality, articulation, flexibility, and different rhythmic patterns combined with major scales, all of which allow the unification of the teaching criteria used in the program.
This method features specific technical exercises, for both beginning and intermediate levels, which can be combined with other methods by well-known teachers to allow the students from NEOJIBA to achieve better technical advances on their instruments while performing in various orchestras and formation centers.
Since my arrival in the program, I have been working specifically on the development of the French horn school. One of the goals is for more children and young people to know and play the horn. To this end, the idea formed for having pedagogical materials which could be a reference in the different classes of instrumental technique, at the different levels of the program, thereby unifying the parameters and expectations for teaching the instrument.
Initially, the technical exercises were explained orally; however, writing these exercises helped with their understanding and practice by the students. As the classes developed, these exercises, Chromatic and Major Scales, along with other practice books, have become a fundamental part of the horn class.
Thanks to these written exercises, students have practical material as well as an elementary guide to technique created for the program which allows measurable progress in the playing of the instrument.
“Daily Practice: Technical Exercises for French horn learning” has become the primary method used in the NEOJIBA program for teaching the horn.
YouTube Links:
Sample of a class from NEOJIBA
Horn Ensemble from NEOJIBA
Horn Ensemble from NEOJIBA
Book Cover
Exercise for developing tone
Exercise for developing flexibility
Prática Diária: Exercícios Técnicos para o Aprendizado da Trompa
in English
en EspañolPor Orlando Afanador Florez
Os materiais didáticos e pedagógicos para o ensino da trompa são diversos e com diferentes abordagens, de acordo com o nível técnico para o qual foram desenvolvidos. O presente texto descreve como o livro “Prática Diária: Exercícios Técnicos para o Aprendizado da Trompa” foi concebido e aplicado como material pedagógico no ensino da Trompa dentro do programa Núcleos Estaduais de Orquestras Juvenis e Infantis da Bahia NEOJIBA, na cidade de Salvador, no Brasil, e como ele tem sido usado para definir aspectos técnicos como: desenvolvimento de som, articulação, centralização de som, flexibilidade e diferentes modelos rítmicos de escalas maiores, que permitem a unificação de critérios de ensino dentro do programa.
Este livro define exercícios técnicos específicos para os níveis: inicial e intermediário; que podem ser articulados junto a outros métodos de reconhecidos autores para permitir o avanço técnico-instrumental dos alunos que fazem parte do programa nas diferentes orquestras e núcleos de formação.
Desde a minha chegada ao programa, venho trabalhando no desenvolvimento da escola de trompa. Um dos objetivos é que mais crianças e jovens conheçam e executem o instrumento. Por conta disto, surgiu a ideia de ter um material pedagógico que pudesse ser referência nas diferentes aulas de técnica instrumental, nos diferentes níveis do programa, o que unificaria os critérios no ensino do instrumento.
Inicialmente os exercícios técnicos foram explicados oralmente; porém, a escritura destes exercícios facilitou a sua compreensão e prática, por parte dos estudantes. Conforme o desenvolvimento das aulas foi acontecendo, estes exercícios cromáticos e de escalas maiores, junto com outros livros de prática, se tornaram parte fundamental das aulas de instrumento dos alunos do programa.
Com a escritura destes exercícios, os alunos tinham o material de prática pessoal e criou-se um guia de técnica elementar do programa, que permitiu avanço na execução do instrumento.
Desta forma, surgiu o livro “Prática diária: exercícios técnicos para o aprendizado da trompa”. Este se converte no principal método usado no programa NEOJIBA para o ensino do instrumento.
Link de YouTube:
Exemplo de Aula.
Ensemble de Trompas do NEOJIBA
Ensemble de Trompas do NEOJIBA
CAPA DO LIVRO
EXERCÍCIO DE DESENVOLVIMENTO DO SOM
EXERCÍCIO DE FLEXIBILIDADE
From Cambodia
by Rev. Vichet Khuon
Hello, my name is Vichet Khuon, and I am from Cambodia. I was born in 1980 to a large and happy Buddhist family; I have three brothers and two sisters. At that time, Cambodia was still involved in the civil war with the Khmer Rouge. Soon after my birth, my mother accidently consumed poison that caused her many difficulties. She was not able to talk or even dress herself, so my father decided to take her to one of the hospitals in Thailand. He had to sell our house and most of our possessions to afford this, but we went to Thailand together in 1981. When we arrived at the border, we learned that we could not get to the intended hospital; so instead, we went to a refugee camp and found a hospital there that was eventually able to cure my mother. We lived in the camp for about ten years.
In 1991, we were finally able to return to Phnom Penh; but in 1994, my family decided to send me to live with my uncle because we did not have enough food for us all. I became his house cleaner, car washer, cook—his servant, even though I was his nephew and only a boy. At age 15, he did enroll me in a Fine Arts school. There, I met a teacher named Naomi Sharp from England. She taught me how to play horn, and her Christian faith was a positive and powerful influence on me as well.
When my uncle learned that I had become a Christian, he would not allow me to live with him anymore, so I had to move to the school. From that point, my life became more difficult; I had no food, no room, no possessions of my own, but I tried hard to learn horn. Ms. Sharp continued to teach me, but she also gave me food each day. At first, I felt like I didn’t know anything about music…what is music? why music? I thought that the sounds of guns and mines that I had heard daily during the war and the sounds of the refugee camp were my music; but with the horn, everything changed for me—the beautiful sound which came through the horn comforted me and brought me hope for life.
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| Rev. Khuon with his teacher, Naomi Sharp |
In 2000, Ms. Sharp said she would return to England. In Cambodia, there was no horn teacher, so she recommended that I go to Vietnam for a bachelor’s degree in horn. While in Vietnam, I joined the Vietnamese International Orchestra. After two years there, I completed my degree, came back to Cambodia, and became a member of the Royal Orchestra which performs for our king.
In 2007, I married the most beautiful girl, Leakhena, the other half of my life story. We now have two sons, Andrew and Timothy. In 2008, I went to Bangkok to study at the Asian Baptist Theological Seminary for two years, but I have not been able to finish yet because of my family responsibilities.
Cambodia is poor in music, and, besides myself, very few people play the horn. I want to teach students to play, but we don't have instruments for them to use—our cost of living makes them very expensive—and the Fine Arts school does not focus on developing musicians for such things, so I play only for special events.
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| Rev. Khuon with his pupil, grandson of the King of Cambodia |
Leakhena and I have opened our home to students who come from rural areas to study at the University in Phnom Penh. I encourage them to study well, and we try to provide them some funds to help cover their school fees. Most of them are from the poorest families, and they often consider dropping out of school because of this. So, we take them in and help them. I teach them every Friday night: English, Bible, music, and life skills. (I want to teach some of them horn too!) Still, it is not easy for them, as it was not easy for me. Yet we love them and want to see Cambodian children and youth enjoy health, faith, hope, and success.
Thank you for taking the time to read our story.
With respect and gratitude,
Vichet Khuon
Idyll
Idyll
by Bob Rearden
National Symphony Orchestra hornist Robert Rearden has released his first solo recording, Idyll, available digitally on all streaming services as well as on CD. Rearden is joined on the album by friend and frequent collaborator Teddy Abrams, who not only accompanies Rearden but who composed a new piece for the project as well.
Rearden: In the great symphonic and operatic works of Brahms, Mahler, Strauss, and Tchaikovsky, some of the most beautiful passages are written for the horn. However, the solo horn repertoire by these great masters is limited to the concerti and a few incidental pieces by Strauss in addition to the trio by Brahms. It is my hope that this compilation—featuring other works by these composers, as well as a piece by violinist and composer Fritz Kreisler, and works by two of the most important artists of our time, hornist and composer Félix Dervaux and conductor, pianist, clarinetist, and composer Teddy Abrams—will highlight welcome additions to the horn’s lyrical repertoire.
The horn parts from the works of Kreisler, Mahler, and Brahms are played from the original scores. However, Yuriy Leonovich and Nathaniel Hepler have expertly created transcriptions of the works of Strauss and Tchaikovsky, respectively.
Richard Strauss’ works explore the dramatic range and colors of the horn. The Emperor’s Monologue from Die Frau ohne Schatten features an extended solo (originally for cello) leading to a beautiful, lyrical section and a thrilling finish. Morgen! exploits the singing quality of the horn’s mid-low register. In Hab’ mir’s gelobt from Der Rosenkavalier, Leonovich brilliantly melds the vocal trio and Strauss’ heroic horn writing.
I have enjoyed a long friendship and history of collaborations in many settings with Teddy Abrams who composed Out of the Woods? especially for this album. Abrams writes, “The work is a surrealist fantasia, moving between romantic-style melodies and impressionistic haze. The work conjures both a fairytale magical quality and a feeling of the maze-like uncertainty of our own very real times.”
I chose Kreisler’s Tempo di Menuetto (originally for violin), Mahler’s Ich bin der Welt abhanden gekommen (originally for baritone), and Tchaikovsky’s Andante Cantabile (originally for cello) because they sit well on the horn and highlight the instrument’s rich sound—and because these three pieces have been on my list of “things I want to play” for some time.
Written while Félix Dervaux was a student and intended to be part of a compendium of new works for young horn players, Idyll proved too difficult to be included and was filed away. Dervaux says, “I composed the piece over two days while my girlfriend (now wife) Sophie was out of town; the piece is reflective of my mood at the time—peaceful and happily longing for her return.”
Brahms finished his Cello Sonata no. 1 in 1865, the same year in which he completed his Horn Trio, and the two pieces received their premieres within one month of each other. Although Brahms specified on the original manuscript of the Trio that it could be played by a cello instead of the horn, the limitations of the horn of the time would not have allowed a similar alternate instrumentation for the Cello Sonata, but the modern horn certainly makes this possible. As befitting a cello sonata but unidiomatic to horn repertoire, rests are few and far between, and the piece spans the entire range of the instrument—a real tour de force!
The cover art on the album is from an oil painting by my late grandmother Evelyn Wells.
The recording is dedicated to the memory of my producer and friend Thomas C. Moore, who died in October 2021 from an aggressive brain tumor.
Idyll is now available on CD and on all streaming platforms with links here: https://robertrearden.hearnow.com
About the Artists
Robert Rearden joined the National Symphony Orchestra in 2016 after having served as principal horn of the Florida Orchestra for six years and the New World Symphony for four. He has appeared regularly with the Cleveland Orchestra and as guest principal for the Saint Paul Chamber Orchestra. Rearden received his undergraduate degree at the University of South Carolina, his master’s degree and Artist Diploma at The Cleveland Institute of Music, and he was a fellow at both the Tanglewood and Aspen Music festivals. Rearden has performed with the Mainly Mozart, Britt, Artosphere, Steamboat Springs, Spoleto USA, and Eastern music festivals. He can be heard performing on recordings by the National Symphony Orchestra, the Cleveland Orchestra, and the Florida Orchestra.
A versatile musician, Teddy Abrams is the widely acclaimed music director of the Louisville Orchestra. Here, he has led the world premieres of his own piano concerto as well as of numerous interdisciplinary projects, including his rap-opera, The Greatest: Muhammed Ali. In recognition of his groundbreaking work, Abrams was named Musical America’s Conductor of the Year for 2022. In addition, Abrams serves as music director and conductor of the Britt Festival Orchestra, and he has guest-conducted many of the country’s most prominent orchestras, including the Los Angeles Philharmonic, the Chicago, San Francisco, National, Houston, and Milwaukee symphonies. He has also served as conducting fellow and assistant conductor of the New World Symphony.
