New York Philharmonic’s Post

Please have a read of a blog I wrote recently!

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 🎵👧👦

On World Music Day, let's explore the profound elements of Indian classical music. Understand the magic of Raga, the essence of Shruti, the melody of Swara, the rhythm of Tala, and the grace of Alankar. #music #traditionalmusic #musicians #indianculture #indoscots #IndoScotsGlobalSchool #IndoScotsGlobalSchoolThane

More than just melodies: Learn, understand, and appreciate the beauty of classical music with Abhijeet Ghoshal.😍 Comment below what are your thoughts on this? . . . #abhijeetghoshal #musicians #musicindustry #bollywood #classicalmusic #MusicLover #singing #journey #bollywoodsongs #viralreels #singerslife #hit #recordingmusic

What if we invested the same resources on "excellence in workplace emotional regulation and trust" as we do on "excellence from the stage"... I have developed a beta set of training workshops for orchestras on this and your input is the next step. If you'd like to share your thoughts on what's most needed (and why!) please let me know, we can jump on a Zoom. If you work or play in any part of the classical music sector, your insight would be invaluable. Drop me a DM or an email [email protected] #classicalmusic #orchestra #opera #organisationalpsychology #performance #psychologicalsafety #emotionalintelligence

A recent post from the Sydney Symphony Orchestra: ‘Do you know why orchestral musicians usually wear black formal wear⁉’ provides the following reasons: ‘In the 18th century, orchestras were usually part of the household staff of famous noble families …The musicians would perform at lavish events and would need to be dressed to match the occasion - and the tradition has stuck with us ever since.’ While I appreciate this is an explainer piece of content designed to give more context to an established convention, doesn’t this rationale provide the perfect reason why orchestras should be more innovative in all aspects of their concert presentation? In general, orchestras hold on to too many rules, conventions and behaviours - when to clap, what the musicians should wear, what the audience should wear, conductors not talking from the stage etc. The traditions, whilst part of the heritage of orchestras, can have the net effect of turning away new audience members. Threshold anxiety is a very real phenomenon for orchestras - uninitiated concertgoers tend to feel inferior and intimidated; consequently, this can contribute to them not going - simple as that; people will, unsurprisingly, avoid feeling uncomfortable and inadequate. Not to say that a sense of occasion and the heritage of the orchestral concert should be thrown away; this is part of the richness and depth of the art form. But - as a sector -  can we try and think more proactively about how and why we present our artform in a way that gives as many people as a chance to experience it? At a time when orchestras should be relentlessly building new audiences, we need to break down as many barriers as possible. #culturalleadership #futureorchestras

Let's appreciate music! It can give us a lot! Jazz changed lots of lives. Maybe you are the one who needs changes this very moment! Listen to jazz & see what will happen! #jazz #latinjazz #music #lifechanging #musicinfluence #marketingtips

You can find two of my most recent articles in the newest issue of Spotlight on Business Magazine where I cover Waves End RV Park and the Ship's Company Theatre!

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?"