Two years ago two of my dear Tweeps @mcmvanbree and @laceyh started an awesome day of musical questioning. Including myself, Lorin Maazel, Sasha Makila, Vladimir Ashkenazy (through the Sydney Symphony Orchestra Twitter account) and a whole host of others, the general public got to ask us Conductors from all over the world… whatever they wanted!
It was challenging and exciting at the same time, yet experts such as Mike Seal and Kenneth Woods provided much insightful entertainment and I look forward to their participation again this year, too.
This year’s event will be on Wednesday, December 12 YOUR LOCAL TIME. That means, the ‘day’ could last up to 48 counted hours!
Anyway, click on this link to see details, including the specific link and hashtag to use when asking your questions:
Then spread the word, line up your questions, forward this page, and post, post, post the event everywhere. This really is your annual opportunity to drill us baton-wavers and ask some great or simple questions!
“I’m about to turn the orchestra world on its head and spin it around a few times.”
Stephen P Brown
The current state of orchestras in the USA is embarrassingly unsound, to say the least. The Western World’s orchestral industry has been decimated by highly inflated costs and drastically reduced public interest. Orchestras all over the world are exploring options for future survival, a few unsuccessfully. I believe the basic foundation blocks upon which the “Industry” or “Establishment” has been built have been cracked for some time and are now crumbling under the weight of so many bandages. Whilst in college some 20+ years ago, I warned of orchestras failing after the turn of the century. No-one wanted to hear it then.
Considering all the talk I’ve been witness to in the past five years, the Industry is simply re-redressing its wounds with dirty bandages. A few brave souls are applying ointment, which will not have much impact on a broken bone, but their efforts are recognized and truly appreciated. A handful of orchestras are re-experiencing momentary respite from their woes, again.
I believe we need a fundamentally new structured approach to the whole thing:
Any orchestra, service or product can only exist if it produces income.
Income comes only from those who appreciate what music does to us individually and socially.
We must educate future decision makers on how music affects humans directly.
We should approach such education through performance, as well as other media.
We must do what makes people feel good about themselves – all people.
The goal should be to share music with other humans, not sustain an orchestra, employ musicians, stroke our egos using a community resource, or worse: fearfully hanging on to the previous century’s way of life and expectations.
I believe it is time to start from scratch. I believe there is a sufficient pool of talent (administrative and musical) keen enough to try something brand new. I believe we should explore what that new approach should be, and implement it.
The World Orchestra Summit intends to bring together a carefully selected qualified population of those who have an existing interest in orchestral music to consider a defined model. Ideas will be shared that will greatly impact their lives and if they choose, the lives of their orchestras and audiences. A handful may want to jump on the new Orchestra train as it leaves the station on its inaugural journey.
It’s an arts conference like none before it.
It’s an opportunity to shake off readjusting, revamping, redoing, revisiting, reorganizing, regrouping, reconstructing, and re-anything.
It’s a safe testing ground to see if there is actual commitment to implement new options, or if the Establishment is so ingrained in the orchestra world’s mind that it is actually just trendy talking/ saying the right things.
It is an opportunity to begin with a blank sheet of paper and build a fresh, community- society- heart-based tool for reconnecting hard working, leisure seeking people with that inexplicable element of music that makes us laugh & cry and gives us goose bumps.
Are you ready for the World Orchestra Summit?
To get updates on its development via email, sign up at
There’s one video out there of him conducting with a toothpick! He has three cell phones and keeps a suitcase of clothing in five cities in the world – at least if his flight is delayed he doesn’t have to wait around for his luggage.
Find out what it’s like to be a truly international conductor:
If you could travel the world doing what you love most, what would it be?
There was recently an unscientific poll taken amongst office workers in the USA. Whilst a myriad of issues, concerns, quirks and considerations could be used to undermine the results, I’m not really caring. Instead, I’m choosing to see that classical music not only made it onto the list, but is way, way up there in third place.
My favorite relaxation technique is…
Walking or jogging – 47%
Meditating or deep breathing – 19%
Gardening – 12%
Doing yoga – 6%
Listening to classical music – 15%
Total votes: 1147
Apart from the momentary joy, doesn’t this bear thinking about?
We have lots of Garden Centers and garden sections of superstores, and many small yoga clubs and sports stores that sell yoga equipment (& CDs). Some of the superstores even have music/ entertainment sections. So I wonder why the range of classical music CDs is shrinking so much? According to this survey, we should be seeing more concerts and more options available for purchase! One of the problems (in my humble opinion) is that the classical music recordings available all seem to be the same.
Not to the trained ear, perhaps, but to the vast majority of people who might enjoy classical music, they only need one CD of Beethoven or Mozart, yet the industry DROWNS us with the same material over and over. Not sure there are many other genres that do that… perhaps Opera. One young professional was recently asked why they didn’t attend classical music concerts, to which his reply was “they’re all the same. There’s nothing new I like.”
The first family car I remember – a Ford Cortina (UK)
And ‘new’ doesn’t necessarily have to mean unpalatable Stockhausen or Birtwhistle (warning: link to audio dissonance), either. Think about it: Pop music primarily uses the same chord sequences over and over and over, yet there is still a ton of new music being produced on a daily basis, both by the commercial heavyweights (labels) as well as grass roots. To some of my non-Western friends who don’t get to hear much music at all, they thought Gaga could have been a breakaway soloist from Abba (warning: link to endless audio pleasure). Nice! Lyrics may change, but stories & topics don’t much. Tunes may alter slightly, but the beat and chord patterns don’t much.
So why does the classical music industry not encourage more ‘palatable’ new works, even if they sound similar to previous compositions? Even the experimental, advanced, high-tech, forward-thinking, slightly differing Formula 1 race cars still have four wheels, a couple of mirrors and the need for speed, just like my dad’s old family Ford Cortina of the 1970s.
I’m gonna change that… I’m going to join the rest of the composers who feel no shame in writing music that is ‘likable’ and ‘listenable’ and see what happens – see who attends my concerts and buys my CDs (when I get to make one). Hey, if one of my pieces can attract some 23,000 YouTube views………..!
The first of my two favorite movements in my latest composition. It also happens to be the last movement actually written. “Downtown.”
There are many downtowns in the Tampa Bay area that could be represented by music: Dunedin could display a Scottish or bagpipe influence – after all, even their high school marching band has pipers! Or we could look to the very edge of Tampa Bay at Tarpon Springs, and include a Greek music influence. Certainly fun. Hoopa!
Clearwater, Tampa itself, Bradenton, Seminole, St Petersburg, Ybor, Egypt Lake-Leto, all have cultural influences from around the world, so the decision became tough. In the end, I decided to simply title the work ‘downtown’ and not make obvious clichéd references to cultures.
The piece is busy. It starts with a piano and marimba duet and the structure grew very quickly from there – an ascending sequence (rising pattern that repeats itself) but with different instrumental colors. A lovely little piano phrase keeps interrupting until eventually, everyone’s gone home.
Or so it seems. A pulsating backbone pervades the area with Tampa Bay’s nightlife preparing for the regular onslaught of visitors and locals alike. Songs burst from every nightclub and many restaurants, and the crowds grow in size and energy.
Unfortunately, like most great nights out that suddenly come to an end, the marimba & piano remind us that it’s time to go back to work. The grand finale of this movement wraps up with a full stop traditional ‘The End’ ending. It’s a fun movement.