Lynne Morris的动态

Don’t underestimate the careful planning and creativity when crafting meaningful classical music events for kids! Soprano Olivia Boen’s reflections help reveal the planning that makes these children’s outreach initiatives by the LSO so impactful. 1. Community First: Focused on serving, not just audience growth. 2. Ready to Engage: Kids learn about the music beforehand, making them active participants. 3. Kid-Friendly Content: Tailored to young attention spans with plenty of clever interactive moments. 4. Creative Themes: Uses relatable metaphors like puzzles and mechanics to explain music. 5. Live Composer Interaction: Kids meet the minds behind the music, adding a layer of excitement. 6. Inclusivity: Ensuring every child feels welcomed in the grand concert halls. 7. Educational Richness: Beyond listening, these programs teach musical fundamentals in fun ways. 8. Beyond Performance: Musicians engage directly, enhancing the connection. Engaging kids around music takes much careful planning, and is one of the most rewarding ways to build connection and community around classical music. #MusicEducation #CommunityEngagement #LSO #ClassicalMusic #OutreachPrograms ??????

When Bradley Cooper needed to learn how to look authentic in "Maestro" of course he tapped The Metropolitan Opera's own maestro to teach him! Check out the below info on how you can attend an interview with them both :) #maestro #moves #conductor #actor

Prescriptive rules vs guided adaptability. Guided adaptability isn’t about having NO rules. But it is about not having an insane amount of bureaucracy and overly complex requirements. It is based on the assumption with a decent, uncomplicated, basic level of compliance humans will come through using their adaptability, agility and resilience. Case in point. I wrote the following piece of music about a month ago. It’s for a full symphony orchestra (plus some extra instruments) and even if you can’t read music, you can see (and hear) all hell breaking loose around the midpoint from all the black notes on the screen. The thing is, I have only a high school music education and nothing like that compared with John Williams or Hans Zimmer, for example. I can’t name the chords and largely built the piece from imagination and by ear (listening). The outcome, I think, is quite good, if not better. In this case 40 years of playing instruments and observing those around me coupled with my basic theory in music provided me the guided adaptability for the exact outcome I desired. I though this may be a useful example - here’s the piece, enjoy and happy Sunday! #sms #newviewsafety #guidedadaptability #resilience #safetyresilience #complexity #music #composer #musicalcomposition

SYMPHONY NO. 1 My first full symphony, in four movements, composed from 2022-2024. The second movement is the only movement that is subtitled (as "Heubad"), and it is for divided strings. The rest of the symphony is for full orchestra, although percussion parts (aside from timpani) were deliberately not included in the work. The first movement is inspired by a number of things, with the central climax meant to represent the motion of the Zweih?nder. The third movement is a scherzo, and the final movement provides closure on some of the thematic motions throughout. There was a work also known as a "Symphony" composed for wind ensemble; this has been changed to a sinfonietta, as it in its entirety was smaller in formal scope. I plan to eventually make a score video so that you are welcome to follow along with the music. https://lnkd.in/eCVCRFhw

Leadership Lessons from a Maestro Ever thought how a musical score played by so many different musicians (each a virtuoso in their own right), gets blended into a flawlessly flowing melody of sheer perfection. Have you ever focused on how engrossed every single musician is in performing their own role and understand their contribution to the overall score? Ofcourse this would take years, months, days and hours of practice, because it is a widely understood fact that there is zero room for error. But in all this, comes the Maestro. It takes a lot of knowledge, experience and diligence to become a Maestro. And so, it is worth extracting some lessons of leadership from merely what we see at that concert. Next time you watch a symphony orchestra play, just focus on what the Maestro does.

Manifesting the subconscious through 10 million strokes of a quill pen... George Lloyd's magnum opus, the ?????????????????????? ??????????????, stands as his most ambitious composition, scored for a large orchestra, soprano and tenor soloists and choir. Written meticulously with a fountain or quill pen, the nibs personally trimmed for optimal balance between firmness and softness, Lloyd's scores were remarkable achievements in the context of his war injuries, his need to earn a living, and the establishment rejection of his late-romantic style. With each page of the full score bearing approximately 2000 precise pen strokes, totalling half a million for this singular work, Lloyd music was not mere manipulation of notes. His music emanated from his subconscious mind, cultivated and channelled through the conventions of formal harmony and counterpoint. His dedication and independence extended to proofreading the orchestral parts himself. His compositions, spanning operas, choral works, symphonies, concertos, and more, were all orchestrated by his own hand, totalling well over 10 million pen strokes throughout his lifetime. This is one reason the forthcoming 'Signature Edition' of his manuscripts from Lyrita is a milestone in the roller coaster that is the George Lloyd story. These manuscripts, the originals of which are now all held in the British Library, are a testimony to an indomitable musical spirit. www.georgelloyd.com

The Search is On #season2425

"Così fan tutte" director Christine Brandes discusses the unique challenges of modernizing Mozart's most controversial opera. Read to learn more about Wolf Trap Opera's upcoming production!

Music Performance Evaluation Guide Directions: 1. Observe the opera in full:?La