Vialma’s Post

Energy, vitality, power & surprising warmth: Shostakovich's Symphony No. 10 from Roderick Cox at Royal Academy of Music with Academy Symphony Orchestra. A performance to remember & treasure. My review: https://lnkd.in/et5tEy_m

Pipe organs have indeed played a significant role in the history and architecture of great symphony and major orchestral halls around the world. Their presence in these venues is both an homage to the rich history of classical music and a nod to the grandeur and versatility of the instrument. Here's a closer look at why pipe organs are so prominent in these settings: 1. **Historical Significance**: The pipe organ has a deep-rooted history in Western music, particularly in sacred and classical music traditions. Its incorporation into symphony halls reflects this historical importance. Organs have been central to Western musical performance since the Middle Ages, and their inclusion in modern concert halls bridges centuries of musical tradition. 2. **Acoustic Design**: Symphony halls are acoustically designed to enhance the sound of orchestras, and the powerful, dynamic range of pipe organs makes them a spectacular fit for such spaces. The organ’s capacity to produce both the softest and most overpowering sounds complements the acoustic capabilities of these halls. 3. **Versatility**: The pipe organ can mimic the sounds of several orchestral instruments, making it a highly versatile instrument for a variety of musical pieces. This versatility allows for a broad range of repertoire, including both solo organ works and pieces that feature the organ alongside an orchestra. 4. **Visual and Architectural Element**: Pipe organs often serve as a focal point in symphony halls due to their impressive size and ornate designs. They contribute significantly to the aesthetic appeal and grandeur of the space, enhancing the overall concert-going experience. 5. **Cultural and Symbolic Value**: The presence of a pipe organ is a symbol of commitment to the classical music tradition. It emphasizes the venue’s dedication to a comprehensive musical experience that honors the past while delivering a full spectrum of sound. Examples of renowned symphony halls with notable pipe organs include the Berlin Philharmonie, Boston Symphony Hall, and the Concertgebouw in Amsterdam. Each of these venues boasts a custom-built organ that is not only an instrument but also an integral part of the hall's identity and acoustics.

If we’re being honest, when it comes to marketing in the classical music industry we all look and sound the same. Whether it’s the same copy-and-paste “delighted to announce” text, unimaginative event posters, or slide show season announcement videos, very little differentiates us from each other. This is something that affects the entire industry, from music students to international soloists, from amateur groups to professional orchestras. It’s the same template-style promotion that fails to showcase who we are, why we do it, or why it would be of interest to anyone. https://lnkd.in/e5zurjXN #Classical #ClassicalMusic #Orchestra #Opera #Audiences #Marketing

I wrote this over 10 years ago. Probably time for an update! What are the things that alienate today's audiences....Audiences, Musicians, Music Directors, and Executives? #concerts #classicalmusic #orchestra #symphony #throwback #alienate #exclude #elite #musicians #music

I invite all my followers to please share this. Thanks! The Organization of Canadian Symphony Musicians has issued an excellent statement about the gimmicky 'Candlelight Concerts'. Please do not support in any shape or form the Candlelight Concerts. They are now seriously threatening local organizations struggling to recover in this post-pandemic period. We need to protect our local non-profits from this corporation based in New York. Your local orchestras can not compete with their super corporate marketing power. Here's an excerpt from the OCSM-OMOSC statement: "Candlelight Vivaldi’s Four Seasons & More is a poor facsimile of the transcendent three hundred-year-old concerto cycle for solo violin. The soloist in the Candlelight version is, in fact, the first violinist in the string quartet hired for the event, and the pay is not comparable to a typical soloist appearance. (Note: A sample contract between Listeso Music Group, Inc. and a performer states unequivocally that no part of the work rendered by the musician will be “subject to the rules or jurisdiction of a labor [sic] organization”.) The baroque orchestra is represented by another violinist, a violist, and a cellist. If it weren’t for “the magic of a live, multi-sensory experience” in an “awe-inspiring venue”, and approximately a thousand LED candles, even a very good string quartet performing an arrangement of Vivaldi’s Four Seasons might bring to mind the early days of cell phone ownership and the thrill of choosing a tuneful ringtone. Incredibly, it sells. The cost of admission to a one-hour Candlelight Concert is similar to a ticket to a Masterworks series symphonic concert, which is typically twice as long. While orchestras are unlikely to lose their core audience to Candlelight Concerts, what remains to be seen is how occasional and prospective attendees respond to such classical music-adjacent experiences: will it onboard new symphony subscribers for seasons to come, or seduce them with fool’s gold?"

Tasmanians: TSO wants to talk to your teenagers. If you know anyone who might be interested, send them our way!

Are you a concertgoer? Perhaps you’ve never been to an orchestra concert. As a cellist I may be a bit biased, but you really should try going once. And even if orchestra concerts aren’t your thing, perhaps you can visualize the analogy I’m presenting here. The ideal society should be organized like a symphony orchestra. An orchestra is made up of groups of instruments: a section of violins, a section of trumpets, etc. Each member within a section plays their part. Each instrumentalist has honed his or her craft and has prepared prior to the performance to effectively contribute to the section. A section functions together and plays in unison. The members listen to each other and balance each other out. When one member falters, another covers up for them. Taking that a step further, the various sections must also play together amongst themselves. The musicians listen across sections and adjust their playing balance accordingly. All of this juggling happens organically, in real-time, during a performance. And last but not least, an orchestra has a conductor. The conductor’s job is not to tell everybody what to do. That’s what the sheet music is for, the roadmap to the performance. The conductor is the necessary guide who serves to unite the ensemble and synchronize it with the beat. The conductor offers musical insights to shape and tailor the performance accordingly. The conductor is bound by the score and works with what they’ve got in front of them. An orchestra cannot play without order and structure. When all the members play in harmony, the music is beautiful and inspires greatness. The best orchestras play for the love of the music, not just for the money. And after a great performance even the musicians themselves are uplifted. ----- See me perform with the Avanti Orchestra of the Friday Morning Music Club this Saturday, Mar 9, 7:30 PM, at the Cultural Arts Center in Silver Spring, MD. Free admission, free parking. https://lnkd.in/eSZCwHYY (Event webpage) https://lnkd.in/ezZAiBp5 (Facebook event)

Beyond the Baton: The Conductor as the Heartbeat of the Orchestra by Adam Scull https://lnkd.in/eqfYcF74 An orchestral conductor stands as a pivotal figure in the realm of classical music, embodying the crucial link between the musical score and its execution by the orchestra. This essay delves into the multifaceted role of the conductor, focusing on how they maintain the pace and harmony of the orchestra through their profound understanding of the music and the deft use of their baton. At the core of a conductor’s role is the interpretation of the musical score. The conductor must not only understand the technical aspects of the score—such as tempo, dynamics, and articulation—but also grasp the emotional and historical contexts that influence the piece. This deep comprehension allows the conductor to make informed decisions about how the piece should sound, which in turn guides their interactions with the orchestra.

Is there elitism in classical music, and how does it affect the perception of symphony orchestras? In this excerpt from a thought-provoking conversation, I explore the evolving role of the modern symphony orchestra. I had the pleasure of interviewing Sam Chen, Principal Trombonist of the Knoxville Symphony, who shared insightful perspectives from within the industry. This discussion is part of a broader series where I engage with professionals across the classical music world, exploring both the challenges and opportunities facing the art form today. Let me know your thoughts on this important topic!