This year, International Classical Music Awards (ICMA) ceremony has been an acclaimed event on April 6, 2018 in Kattowice (Poland). Classical music scene is vibrant and alive, not only in Poland. Good video.
This year, International Classical Music Awards (ICMA) ceremony has been an acclaimed event on April 6, 2018 in Kattowice (Poland). Classical music scene is vibrant and alive, not only in Poland. Good video.
What’s happening in the international classical music world? There are a couple of upcoming events which should be observed carefully.
The most important international event of the classical music business in the next few months will be the Classical:Next conference in Rotterdam from May 16-19, 2018.
Another interesting national conference (for those who do speak German) will be the German Orchestra Conference (Deutsche Orchesterkonferenz) on April 24, 2018, in the birth city of George Frederic Haendel Halle (Saale). Some 200 musicians, orchestra managers, arts administrators etc. will show up. Attendance is free of charge. Main topic: music education on public radio and by radio ensembles, future strategies, quality management in orchestra business. Some 100 music educators from orchestras and concert halls from Germany, Austria, Switzerland and Luxembourg will join this conference, too. A keynote will be held by famous Berlin Philharmonic horn player and charming TV moderator Sarah Willis.
Arts education professionals, academics, teachers, artists, workshop facilitators or students shouldn’t miss RESEO’s 2018 Spring Conference in Bern (Switzerland) from April 19-21, 2018.
Finally, registration is open for the League of American Orchestras 73rd National Conference in Chicago, June 13-15, 2018, hosted by the Chicago Symphony Orchestra: „Creating the Greatest Impact“.
With the support of a National Endowment for the Arts (NEA) grant, the Detroit Symphony Orchestra (DSO) has created DSO Classroom, a new online hub for students, teachers, and schools at dso.org/classroom.
DSO Classroom features music curriculum guides for educators as well as on-demand video access to DSO educational concerts, artist interviews, behind-the-scenes content, and more. Meant to be an easy-to-use resource, the page unifies the content of several previous pages under the umbrella of the Wu Family Academy of Learning and Engagement, the DSO’s education wing.
Visitors can also use DSO Classroom to register for free Live from Orchestra Hall: Classroom Edition webcasts, get information about joining the DSO’s Civic Youth Ensembles, and learn more about upcoming Wu Family Academy programming.
The DSO worked with Troy, MI-based Media Genesis, a longtime web partner, to create the new pages, and used video-platform services designed by Brightcove, Inc.
Suntory Hall (Location: Minato-ku, Tokyo; President: Tsuyoshi Tsutsumi) celebrated its 30th anniversary in 2016. To mark this occasion, a major renovation has been carried out on the entire hall and the additional entrance has been constructed in a seven-month project that was launched in February 2017. Suntory Hall is scheduled to reopen its doors on 1 September.
The renovations were carried out under the basic concepts of “Tradition and Innovation” with focus on the three key points of “Inheriting Tradition–Acoustics and design”, “Designing Diversity – For all audiences”, and “Improving our facilities – Developing a next-generation performing space for music”.
In its pursuit of “the world’s most beautiful sound”, Suntory Hall will continue to take on challenges and engage in initiatives that can be achieved only by Suntory Hall. Initiatives are carried out based on the following guidelines:
1. Offering creative and high quality performances organized by the Hall
2. Engaging in educational programs aimed at the succession and development of music culture
3. Towards a more global Hall strengthening global services
Since opening its doors in 1986, Suntory Hall has continued to pursue “the world’s most beautiful sound”. The renovations were carried out in order to maintain the acoustics and atmosphere of the Hall.
The renovations focus on achieving universal design aimed at providing a comfortable environment to a wide range of visitors. The vineyard-style design dictates the need for slopes and other physical constraints, but every possible repair and improvement was carried out in several areas to ensure better accessibility.
Remarkable cutting-edge technological innovations in acoustics and lighting have been incorporated in renovations to enhance facilities. The stage and seating area lighting have been changed to LED, and equipment such as digital signage and laser projectors have been newly installed.
Please see the following link for details:
The main program of the Re-Opening Concert marking the new beginning of Suntory Hall after renovations will be Rossini’s “Messe solennelle (Missa Solemnis)”, performed using the critical edition by D. Daolmi/ Foundatione Rossini published in 2013 (Japan premiere).
Please come to enjoy the reopening of the new Suntory Hall featuring a full orchestra, mixed chorus, and the glorious sound of the organ that has undergone a full-scale overhaul by master craftsmen of the world-renowned Rieger Orgelbau of Austria.
Contact the following for interviews, inquiries or requests for photos or documents:
Public Relations Department, Suntory Hall
Tel.: +81-(0)3-3505-1002 Fax: +81-(0)3-3505-1007
1-13-1 Akasaka, Minato-ku, Tokyo, 107-8403
Study Finds Growth in Number of EdCE Program Participants, Diversity of Participants, School and Community Partnerships, and More. Almost Two Thirds of Participants Took Part in EdCE Programming Free of Charge, and 85% of all EdCE Sessions Took Place Outside of the Concert Hall.
New York, NY (August 15, 2017) – For the first time, the League of American Orchestras has issued a detailed report on the scope and scale of orchestras’ education and community engagement (EdCE) work.
Of and For the Community examines the purpose and scope of these activities, reporting on topics including EdCE programming, participant diversity, community partnerships, investments in professional development, and income and expenditure for EdCE concerts and events. While the League last surveyed member orchestras on EdCE programming in 2008, the report is the first to investigate current field interests such as diversification of orchestra EdCE programming and artistic costs associated with this work.
Orchestras reported growth over the period 2009-14 on each of the following measures:
Almost two thirds of participants took part in EdCE programming free of charge, and 85% of all EdCE sessions took place outside of the concert hall.
“More than ever before, education and community engagement programming is central to orchestras’ organizational visions, as they actively seek out new opportunities for creative expression and connection,” said League of American Orchestras President and CEO Jesse Rosen. “The League has been a catalyst for addressing this profound shift in our field’s focus, and we’re seeing increases in the scope of this work and a greater acknowledgement of its importance.”
Making use of the League’s field-wide data and drawing on a dedicated survey of League of American Orchestras’ member orchestras, the study looks at both the current landscape and longitudinal trends from the five-year period between 2009 and 2014. The 98 survey respondents included adult orchestras with and without affiliated youth orchestras, as well as independent youth orchestras. U.S. orchestras of all sizes from across the country took part.
Key findings from Of and For the Community:
82% of orchestras surveyed stated that the number of EdCE participants in their programs had increased over the five-year period 2009-2014.
70% of all EdCE participants were believed to be 18 years old or younger.
61% of orchestras reported that their EdCE participant base was more diverse in 2014 than it had been in 2009.
38% of EdCE participants were believed to be African American, Hispanic/Latino, Asian/Pacific Islander, or American Indian/Alaskan Native, and 62% were believed to be white.
69% of survey respondents confidently reported a greater range of program types in 2014 than in 2009.
Almost half of the survey cohort reported that the number of EdCE concerts they performed had increased during the five-year period 2009-2014.
Two thirds of all responding orchestras reported that the extent of their partnership work had increased during the five-year period 2009-14.
79% of orchestras surveyed reported working with schools.
63% reported working with community (non-school) partner organizations.
34% had worked with (non-school) community partners focused on youth engagement.
26% had worked with health and wellness organizations.
24% had worked with senior services providers.
17% had worked with organizations focused on racial diversity and inclusion.
13% had partnered with organizations working to address poverty in their communities.
Orchestras also reported having worked with organizations dedicated to homelessness (10%), mental health (8.2%), domestic violence and abuse (4.1%), criminal justice (3.1%), bullying (3.1%), young people in the foster care system (3.1%), and school drop outs (3.1%).
Almost half (47%) of the 85 orchestras in our cohort of adult orchestras (and their affiliated youth orchestras) stated definitively that the budget available for EdCE programming increased in the period 2009-14, relative to their overall budget.
Almost two thirds of participants took part in EdCE programming free of charge.
85% of all EdCE sessions (incorporating both concerts and other musical activities and events) took place outside of the concert hall.
83% of orchestras surveyed offer the opportunity to meet musicians and/or explore orchestral instruments.
Over 80% offer performances by smaller professional groups of orchestral musicians, which enables this work to take place in a wider range of community venues.
73% offer in-person lectures or talks.
73% of community-based EdCE sessions took place in schools.
68% of orchestras surveyed present family or school concerts, making the unique cultural experience of the full symphony orchestra welcoming and accessible to a large community audience.
61%* offer the opportunity for amateur musicians to rehearse and perform alongside orchestra musicians (*percentage does not include independent youth orchestras).
51%* offer individual instrumental instruction (*percentage does not include independent youth orchestras).
34%* run a community orchestra for adults, and 30%* run an adult community choir (*percentages do not include independent youth orchestras).
27% of community-based EdCE sessions took place in non-school venues including:
Download Of and For the Community: The Education and Community Engagement Work of Orchestras here.
This report was made possible by the generous support of The Andrew W. Mellon Foundation and the National Endowment for the Arts, and by public funds from the New York City Department of Cultural Affairs in partnership with the City Council.
Max M. and Marjorie S. Fisher Music Center
Tuesday, June 6, 2017 4:00pm-5:30pm Eastern
Economics, race, immigration, urban versus suburban, arts and culture, and of course transportation – this being the Motor City – all converge in a story about transformation and how to lead in the face of tremendous adversity.
Watch and listen to the Opening Plenary of the League’s 2017 Conference as civic, business, and cultural leaders reveal the powerful interplay of their paths and how they’ve become change agents in building a new Detroit for all.
Mark Davidoff, board chairman, Detroit Symphony Orchestra
Anne Parsons, president and CEO, Detroit Symphony Orchestra
Jesse Rosen, president and CEO, League of American Orchestras
Patricia Richards, board chair, League of American Orchestras
Welcome from Ford Motor Company
James G. Vella, president, Ford Motor Company Fund and Community Services
Gold Baton Award Presentation
Ann Hobson Pilot, former principal harp of the Boston Symphony Orchestra, will receive the League’s 2017 Gold Baton Award, the League of American Orchestras’ highest honor, given annually for distinguished service to America’s orchestras.
Panel Discussion, Detroit Rising: Stories of Renewal
Matt Cullen, principal, Rock Ventures LLC; CEO, JACK Entertainment LLC
Hassan Jaber, executive director, Arab Community Center for Economic and Social Services (ACCESS)
Mariam Noland, president, Community Foundation for Southeast Michigan
Shirley Stancato, president and CEO, New Detroit
Moderator: Mark Stryker, arts reporter and music critic, Detroit Free Press (1995-2016)
The world’s biggest classical music meeting, Classical:NEXT, has opened its doors for its sixth edition. Four days of Expo, Conference and the new ‘Seriously – Adventures in Music’ Showcase Festival lie ahead for the expected 1,200 music professionals, who are coming to Rotterdam, the Netherlands, from all over the world and all branches of the classical and contemporary music scenes. Due to the continuing success of the meeting, with a growing expo and programme, organisers Piranha Arts and Rotterdam’s de Doelen Concert Hall and Congress Centre, have announced today that they will continue their cooperation for another three years.
The global meeting for all art music innovators Classical:NEXT started its sixth edition today with a break from tradition: for the first time, the Opening was not produced by a single country, but instead was based around the positive answers to the question ‘what’s the point?’. After a music theatre performance ‘Have a Good Day’ as part of associated event Operadagen Rotterdam, the celebratory Classical:NEXT Opening in de Doelen featured the mainland European premiere of the UK’s Chineke! Orchestra, and words from Chineke’s Chi-chi Nwanoku MBE and Afa S. Dworkin of Sphinx Foundation, as well as conductor Marin Alsop and Ahmed Aboutaleb, the popular mayor of Rotterdam, via video.
Growing Expo, Widening Range
Classical:NEXT 2017 is the third time the event is held in the renowned de Doelen Concert Hall and Congress Centre, and it sees music professionals from 44 countries across the world gather to discover, debate and decipher the current, emerging and future trends in classical and art music and beyond across a packed programme including conference sessions, showcase performances, video project pitches and more.
An important part of the meeting is the unique opportunity to network across branches and with colleagues in the growing Expo in de Doelen. This year, the Expo is the biggest yet with 80 stands and almost 300 exhibiting companies and institutions, which amounts to more than a 15% growth compared to last year’s numbers. Classical:NEXT organisers, Berlin-based Piranha Arts, confirmed that delegate registration numbers are already set to match last year’s record number of approximately 1,200 professionals.
Music is Better When We Play It Together
In a marked change from previous editions, the Classical:NEXT 2017 Opening Ceremony was presented not as a spotlight of the musical output of a particular nation, but instead asked the question of ‘what’s the point?’ Building upon a prominent topic of last year’s Opening keynotes – the need for continuing relevance – this year, the gala performance was a celebration of just how relevant the classical and contemporary scene can be.
The main performers of the first night were Chineke! Orchestra – Britain’s first black and minority ethnic (BME) orchestra – joined by the resident Doelen Ensemble and musicians and students from Codarts University for the Arts. The concert marked the orchestra’s mainland European debut and featured a selection of pieces by contemporary composers Sarah Kirkland Snider and Errollyn Wallen, as well as Edward Elgar’s Serenade for Strings.
Under the baton of Mortimer Fruber Prize-winning conductor Shaun Matthew, featured soloists included pianist Isata Kanneh-Mason, violinist Tai Murray, soprano Nicole Jordan, and double bassist and founder of Chineke! Chi-chi Nwanoku. Nwanoku, who was also a co-director of the Opening, was one of the speakers of the night together with Afa S. Dworkin, president and artistic director of the US-based Sphinx Organization, who enthused:
“I am thrilled to be able to participate in Classical:NEXT this year: particularly, during such a turbulent time for our global society, I am eager to learn from and with colleagues around the globe and explore the immense power of the arts to unite, connect and erase barriers”
As well as those on stage, Classical:NEXT delegates were also joined by speakers via video messages. In this manner, Marin Alsop spoke of the bright future ahead for classical music and asked the pertinent questions: “What can we do to demonstrate our common humanity? What we can we do – individually and collectively – to make positive change?”. Rotterdam mayor Ahmed Aboutaleb used his message to explore connections in classical music, from personal, to city-wide, to world-wide.
Throughout the concert were also introductions to projects that epitomise the relevance and change that classical music can stir in communities around the world. The projects included 3 Thousand Rivers from Colombia, the Refugee Orchestra Project from the US, Gondwana Choirs from Australia, Selam Opera! from Germany, Zohra Afghan Women’s Orchestra from Afghanistan and Buskaid Soweto String Project from South Africa.
Chi-chi Nwanoku summed up the atmosphere of the Opening Ceremony with her words: “There is absolutely no reason why people of all backgrounds cannot enjoy the depth, complexity and beauty of classical music.”
The Opening is a joint production of Chineke! Foundation, Sphinx Organization, de Doelen and Piranha Arts. Chineke! Orchestra appears with the kind support of the GREAT campaign of the United Kingdom Department for International Trade as well as the British Council and PRS for Music Foundation.
Programme Overview: Connecting with Audiences Worldwide
The live musical programme for Classical:NEXT is expanded this year, under the title of the ‘Seriously – Adventures in Music’ festival and fully open to the public. Over the span of the event, artists from twelve countries and four continents will grace the Classical:NEXT stages in a range of performance contexts. Performing artists span the scene from emerging stars to art music veterans, including Collectif9, Maarja Nuut and David Krakauer.
In addition to the international jury-selected Showcase programme presented in de Doelen, a fresh format for this Classical:NEXT 2017 will allow delegates and public audiences to explore contemporary classical music in the intimate and informal settings of two of Rotterdam’s hippest club venues, BIRD and WORM. These Club Showcases comprise four live performances curated by Classical:NEXT director Jennifer Dautermann and Nonclassical artistic director Gabriel Prokofiev. A mainstay of the live programme at Classical:NEXT in Rotterdam is Lunch with the Resident, providing audiences with an opportunity to discover the breadth of Dutch musical talent with short lunchtime concerts organised by local partners de Doelen.
Two projects are highlighted in bespoke off C:N showcases. The Nordic Music Days 2017 will be represented by Distractfold Ensemble, and MusMa (partnered with the European Festival Association and European Broadcasting Union) will present the first collected performance of five specially-commissioned 2017 works, performed by Amôn Quartet from Belgium. In a collaboration initiated in 2016, the Rotterdam Philharmonic Orchestra will perform as part of the official Classical:NEXT programme, with a concert entitled ‘The Sea, The Sea!’. The performance will feature pieces by Michael Gordon and John Luther Adams, the orchestra conducted by Bas Wiegers and piano by Tomoko Mukaiyama.
For the first time at Classical:NEXT, the EBU will also record the international showcases for national radio stations, as well as making them available for radio stations worldwide, giving performing artists the maximum opportunity for visibility.
Further highlights of Classical:NEXT will be the interactive conference – the core of many Classical:NEXT delegates’ experience – with a total of 59 sessions and representatives from respected companies including Boosey & Hawkes, Carnegie Hall, Naxos, London Symphony Orchestra and many more offering new perspectives and concrete take-home know-how for the delegates.
The event will conclude with Saturday’s Closing Ceremony featuring a showcase of Trip Trip Trip and centred around the third Classical:NEXT Innovation Award, the winning project or person of which is decided by online vote, open to all delegates, from a shortlist selected by industry experts and journalists from 18 countries.
Classical:NEXT at Home in Rotterdam for Three More Years
Having grown in both size and reputation in its three years being held in Rotterdam, organisers Piranha Arts and de Doelen Concert Hall and Congress Centre today announced that the Classical:NEXT event will return to Rotterdam for a further three editions. Also revealed were the dates of Classical:NEXT 2018, which will be held 16 – 19 May 2018.