Delaware Symphony Orchestra的动态

STANLEY tells it all: studying Sousa – style/6 ? There is one influence from within which is an integrated part in both development of the European national styles of the 19th century and their respective national schools of performing: musical instruments. Looking at the instrument manufacturers and their role in the equation, we see a very close relationship. ? 1770 brought the invention of the Wind Orchestra a.k.a. Wind Band by using a similar approach as the Philharmonic Orchestra as invented in 1740. The voices were divided along the lines of the Choir: soprano, alto, tenor and bass. This step in the evolution of music gave rise to the rapid development of wind instruments. These were used in both types of orchestras, enabling growth of the Philharmonic into the Symphony Orchestra as we know it today. ? Development of the woodwinds (flute, oboe, clarinet, bassoon) went into overdrive with the introduction of the B?hm system late 18th century. This gave rise to diversification with smaller and larger models (a.o. piccolo flute, alto oboe a.k.a. English horn, bass-clarinet, contra-bassoon). The brass (trumpet, cornet, bugle, French Horn) went into overdrive with the invention of the valve in 1815. This enabled their development into fully chromatic instruments (the trombone was like that from day one). Both lead to the invention of new types of wind instruments: tuba, saxhorn and saxophone. There were more, most ending up in the museum, with the exception of the sousaphone. ? Interesting is the relationship between the European national styles, their schools and instrument manufacturers. Each of the European countries was complete in this regard. Next to composers, conductors and musicians, the manufacturers played their own part in the overall sound of the orchestras. How? ? The most stricking element of any musical instrument is it’s sound. In John Philip Sousa’s day and age, a trumpet player from France sounded different from his colleague in Germany. Why? The answer lies in the combination of bore, material and thickness of the instruments. ? Generally speaking, the narrow bore creates a small and fragile sound and the large bore a big and robust sound. In this example of France versus Germany, it’s small versus large. The first is best in elegant music and the second in powerful music. Left is the material and thickness of the wind instrument, wood or brass. Generally speaking, the thinner the lighter and the thicker the darker. Dependent on the performing techniques, this is supported by a bright and open versus dark and muffled sound. We can hear these differences even to this day, since remnants are still around. ? All of this has much to do with sound, not with style. Or are these two somehow connected? ? To be continued. ? Stanley E. van Wel MM – Music Director ? Photo: public domain (Sousa Band 1893). ? #JohnPhilipSousa #Music #Sousa #March #SousaTributeBand #WindBand

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?"

There are no rules on how to enjoy or interpret music! No wrong answers! At all! "There is a desire to follow perceived rules, to be correct and proper, and assume that program notes are the key to enlightenment and acceptance. However, people learn and listen differently so there is always a good percentage of people who feel a disconnect to a concert. Program notes, pre-concert talks, and educational videos cater to some, but certainly aren’t for everyone. The fact that so many people seek rules to attend a concert is restricting the very art that should be freeing them." READ MORE:

The latest analysis from DONNE | Women in Music shows us that, that somewhat baffling?classical music diversity is regressing? The latest report reveals 89% of orchestral works by white men. Of the Four Australian Orchestras included, Queensland Symphony Orchestra?is the Australian orchestra with the least diverse programming. Its 2023 season program comprised 96 percent male works and 4 percent female works. The?Adelaide?and?Melbourne Symphony Orchestra’s 2023-4 season both featured a program made up of 15.3 percent women.?The MSO saw a decrease in both gender and racial diversity, while ASO saw an increase in works by women but a decrease in works by non-white composers rounding out with Sydney Symphony Orchestra, with a split of 92.6 percent men and 7.4 percent women, showed a 1 percent increase in both gender and racial diversity this year.

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.

“BINI CONCERT TICKETS - OA SA MAHAL” Do you agree that Bini's tickets are overpriced? Are the Bini girls not worth the money? (Bini is a P-Pop group dubbed as the "Philippines' Girl Group") Not a Bini fan, but I have an ongoing LSS with their music. Hearing the news about their concert tickets reminded me of an example I frequently use in my training, coaching, and professional life. Heard of the Joshua Bell Subway experiment? The gist: he is a world-famous violinist disguised as a street performer at a subway station. He played classical pieces on his Stradivarius violin (OA DIN SA MAHAL). A few stopped to listen, and only made $52.17- opposite to what he earns PER MINUTE when performing in concert halls. The experiment describes how people may overlook value in certain settings which we may relate to our every day events: A different industry offers higher pay than your current company for the same job description, A graphic designer is paid more for the same skills by a customer, An Olympian transferred and represented another country due to better support, Could Bini thrive and grow better on an international stage? Should we check the definition of “Nationalism” while we support foreign bands? Or wait for another nation to clap first before saying 'Proud Pinoy'? Value is not determined by those who set the price. Value is determined by those who choose to pay it. If we are big fans of these girls and believe in their music, shouldn’t we pay full and not discount their talent? Borrowing the wise words of Bini Colet, “Here’s my two cents, and keep the change”

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

What else if the software crashes during a performance? Let's say you are a member of Berliner Philharmoniker or Wiener Philharmoniker or Wiener Symphoniker or Toronto Symphony Orchestra or Orchestre symphonique de Montréal or Chicago Symphony Orchestra or Münchner Philharmoniker or CAMERATA Salzburg or London Symphonic Orchestra or Los Angeles Philharmonic or Koninklijk Concertgebouworkest or Teatro alla Scala orchestra or Wiener Staatsoper orchestra or Melbourne Symphony Orchestra or New York Philharmonic or forgive me if can't name them all... and suddenly your software, whatever it is, music reader, music performer..., crashes while you are performing: Nothing more on the screen except sometimes a warning with a blue page full of hexadecimal figures... Or just quitting the app without any information or warning... In all cases the score which was in front of you is no more rendered. Except one case: ADiS MUSIC GmbH! Our solution thanks to the hardware watchdog implemented on our motherboard immediately detects the crash and resets the device. We know that professional musicians are demanding and fear such situation with digital systems. Particularly that's one of the main reasons they do not go digital. We have been continuously working on BIOS optimization to make the reentering the shortest. We are speaking in seconds to make you able to recover from this situation and the software will be automatically relaunched. Now, guess what? The score will be rendered exactly at the location as if the crash had not occured! The trick is that we continuously record what you do and since we know with precision the time induced by the reset, we are able to compute the count of bars that elapsed! Paper scores also have crash, it is called in every day language "wind blast". The score falls on the floor and there is no way to pick it up automatically. We'll make crashes your friends! We'll make you fond of digital solutions developed by ADiS MUSIC GmbH. Let's dive into digital world for classical music!

Orchestras are moving even further away from equal representation, as shown by the latest analysis from DONNE | Women in Music. Why is it that classical music diversity Regressing? The latest report reveals 89% of orchestral works by white men.