WildKat PR is delighted to welcome composer-pianist Alina K to our portfolio of artists.

Lithuanian-born Alina K came to London with the intention of developing and building on her piano playing skills, and with a dream that one day she might perhaps be able to turn her passion for music into a full-time career. Having recognised her talent early on, Alina K’s friends and family encouraged her to continue with her piano playing, but since she was working full-time in high-end retail concessions, she found very little time to devote to her true passion. However, encouraged by a close friend to compose her own music, Alina K discovered that she had the ability to compose, and this re-ignited her passion and her determination.

After a chance meeting in London with the founder of Vancouver Fashion Week who heard her music, Alina K was twice invited to perform at the opening ceremony of this prestigious event in Canada. With fashion being her second passion, she was delighted to accept this invitation and even more so when, on both occasions, she was unexpectedly asked to model on the catwalk for leading fashion designers.

Encouraged by this and championed and supported by friends and esteemed names across the music industry who recognised the immense potential that she had, Alina K threw herself into composing her own breathtakingly beautiful and emotionally engaging music. With the right people behind her, she became more determined than ever to pursue her dream of making music her full time occupation and of having her compositions used in films and on television. With this in mind, in early 2017 she made the brave and bold decision to leave her full-time day job in order to devote more time to her music.

The risk paid off because in February 2018, Alina K will release her debut EP ‘Awakening’, comprising four original tracks recorded in Studio Two at the world-famous Abbey Road Studios in North West London. With her refreshingly edgy, stylish demeanour and engaging personality, Alina K really is set to breathe fresh air into the contemporary music world with the launch of her groundbreaking debut EP.

(Written on November 17, 2017 )

We’re delighted to welcome to our roster Damian Iorio, conductor, who we will be working with over the coming months.  Damian’s reputation as a formidable conductor continues to grow thanks to highly-acclaimed performances with leading orchestras and opera companies around the world including London Philharmonic, Philharmonia, Royal Philharmonic, Glyndebourne Festival Opera, Opéra National de Paris, Detroit Symphony, BBC Symphony, San Francisco Symphony Orchestra, Netherlands Radio Philharmonic, St Petersburg Philharmonic, and Oper Bonn.

Damian has been Music Director of the Milton Keynes City Orchestra since 2014, and has led the orchestra to new heights, whilst successfully attracting an ever-growing audience for classical music in the region.  This season he welcomes a raft of star soloists, including Stephen Hough and Chloe Hanslip.

In June and July 2018, he will be making a much-anticipated return to the Opéra National de Paris, where he will conduct performances of Mussorgsky’s “Boris Godunov”.  His pedigree as a fine conductor of opera has been established after performances of Smetana’s “The Bartered Bride” at Opéra National de Paris and Verdi’s “Macbeth” at Glyndebourne. He conducted the Russian premiere of Nyman’s “The Man Who Mistook His Wife for a Hat” in Moscow, which was subsequently nominated for Best Opera Production at the Golden Mask Festival.

His recent recording of Ghedini and Casella on Naxos was highly acclaimed, with “fine live performances scrupulously conducted by Damian Iorio” (The Guardian), and was awarded the prestigious “Choc” by Le Monde de la Musique.  Iorio is a champion of new music, and has worked closely with Tan Dun, Huw Watkins, Silvia Colasanti and Michael Nyman.

Iorio studied in the UK and USA, and began his musical career as a violinist with the Danish National Radio Symphony Orchestra, before studying conducting in St Petersburg and embarking on a life on the podium.

You can keep up to date with Damian at his website, or on Facebook and Twitter.

(Written on November 15, 2017 )

 

Wer wir sind:

WildKat PR ist eine dynamisch und äußerst innovativ arbeitende PR-Agentur mit Sitzen in London, Berlin und New York, die auf die Betreuung von Künstlern, Orchestern, Labels und Institutionen der klassischen und zeitgenössischen Musikszene spezialisiert ist. Unser Servicespektrum umfasst unter anderem PR-Betreuung, Öffentlichkeitsarbeit, Marketing, Social Media, künstlerische Beratung und Event-Management. Für unsere Kunden entwickeln wir individuelle Kampagnen und stehen für eine stets maßgeschneiderte und zukunftsorientierte PR-Betreuung.

 

Wen wir suchen:

WildKat PR sucht ab dem 1. Februar 2018 eine/n Account Manager/in für Presse- und Öffentlichkeitsarbeit am Standort Berlin. Du begeisterst Dich für klassische Musik und Kulturprojekte und hast Lust, Deine Kunden durch kreative Kampagnen zum Erfolg zu bringen? Du denkst vorausschauend, kannst den Überblick über unterschiedliche, parallel laufende Projekte behalten und hast den Mut, auch mal ins kalte Wasser zu springen? Dann bist Du bei uns genau richtig!

 

Deine Aufgaben:

  • Betreuung eines eigenen Kundenstammes mit der Verantwortung, die individuell abgesteckten PR-Ziele zu erreichen, u.a. Betreuung von CD-Veröffentlichungen, Erreichen neuer Zielgruppen, Organisation von Events und Konzerten, Suche nach Künstlermanagements
  • Entwicklung und Umsetzung internationaler, kreativer PR-Kampagnen, hierbei Ausarbeitung von Strategien und Zeitplänen, Aufsetzen von Presselisten, Korrespondenz und Treffen mit Kunden und Journalisten
  • Erstellung von Pressetexten und effiziente Verbreitung von Pressematerialien
  • Betreuung eines eigenen Twitter-Accounts sowie agenturinterner weiterer Social-Media-Kanäle wie Facebook und Instagram
  • Content-Betreuung der Webinhalte auf den Kundenwebseiten und der Agenturwebseite

 

Was Du auf jeden Fall mitbringen solltest:

  • 1-2 Jahre Berufserfahrung in der Presse- und Öffentlichkeitsarbeit
  • Hervorragende mündliche und schriftliche Kommunikationsfähigkeiten in deutsch und englisch, weitere Fremdsprachen von Vorteil
  • Sehr gute organisatorische Fähigkeiten und Detailbewusstsein
  • Fähigkeit zum selbstmotivierten und eigenverantwortlichen Arbeiten
  • Zuverlässige und flexible Arbeitsweise
  • Fähigkeit auch unter hohem Zeitdruck zu arbeiten
  • Ausgeprägte Teamfähigkeit
  • Beherrschung von Social-Media-Kanälen (u.a. Twitter, Facebook, Instagram)
  • Sichere Computer-Kenntnisse (MS Word, Excel, WordPress)

 

Was wir bieten:

  • Selbstständige Arbeit in einem kleinen, jungen und musikbegeisterten Team
  • Tägliche Zusammenarbeit und Austausch mit dem Londoner Büro
  • Besuch von Kundenkonzerten und –veranstaltungen auch außerhalb Deutschlands
  • Möglichkeit, sich kreativ einzubringen und seine Ideen umzusetzen
  • Nach Abschluss einer erfolgreichen Probezeit ist eine Anstellung mit Festvertrag möglich
  • Staff benefits, u.a. 6 Stunden Tage für eine bessere Life-Work-Balance, Weiterbildungsmöglichkeiten, kreative Workshops und ein wöchentlicher Obstkorb

 

So bewirbst Du Dich:

Da wir uns in unserer täglichen Arbeit kurz und präzise ausdrücken müssen, erwarten wir dies auch bei Deiner Bewerbung! Bitte schicke ein aussagekräftiges Anschreiben auf deutsch und mit einem Umfang von maximal einer Seite und Deinem Lebenslauf bis zum 27. November 2017 mit dem Betreff „Account ManagerIn” an Carolin Denz, berlin@wildkatpr.com. Bitte vergiss nicht, Deine Gehaltsvorstellung anzugeben. Die Vorstellunggespräche finden in der Woche ab dem 4. Dezember statt.

 

(Written on November 10, 2017 )

We love to see artists returning to us with new projects, and we’re really excited about this one! Six years ago, Matthew Sharp joined the WildKat family for the very first time. Matthew Sharp is not only an exceptional cellist, who has worked with the best British Orchestras including the LPO and RPO, and recorded for labels such as Sony, EMI and Decca, but he is also an internationally-recognised baritone, director… and actor!

‘Extraordinary cellist, virile baritone, compelling actor – Matthew Sharp’s astonishingly comprehensive versatility.’ The Daily Telegraph

Matthew Sharp © Raphael Klatzko

Matthew Sharp is known as an artist who is not afraid of taking risks and exploring new artistic paths. So it is no surprise that his new recording project reflects this pioneering spirit: 2018 will see the world premiere recording of Hans Gál’s “Concertino for Cello and Strings”, played by Matthew Sharp and the English Symphony Orchestra, conducted by Kenneth Woods.

Gál’s style is rooted in the Austro-German musical tradition to which he remained true throughout his long career. He never followed prevailing twelve-tone fashions, nor abandoned his belief in the importance of tonality. This work, the “Concertino for Cello and Strings”, which was written by the Austrian-British composer in the mid 60s, never reached the level of popularity it deserved, despite its incredible music: fragile, rigorous, powerful and sensitive at the same time.

Matthew was approached by Kenneth Woods, conductor of the English Symphony Orchestra, to play the piece in 2013. The concert received such great acclaim – not only from the press but also from a descendant of Hans Gal himself – that they simply had to record the piece. While preparing for this first modern performance, Matthew shared his thoughts in a series of YouTube videos, under the name “Gal Concertino Diary”. Check this out, it is worth a watch!

WildKat PR is now working on spreading the word through Germany and Austria, ahead of the album release by Avie, which will take place in February 2018.

(Written on November 8, 2017 )

WildKat PR is delighted to welcome Philharmonix to our roster! Philharmonix is an all-star ensemble, which brings together 3 members of the Vienna Philharmonic, 2 Berlin Philharmonic soloists, one of the most versatile Austrian pianists, and an improvising and singing violinist. They play and rearrange pieces for a deliciously heady cocktail of classical, klezmer, folk, jazz, Latin, and even pop – the kind of repertoire one would never see on the playbill of the legendary orchestras. The common link between all of the pieces? The quality of the music and the sense of fun, for both the players and the audience.

Photo: Philharmonix © Max Parovsky

Having lost and gained new members in 2017, Philharmonix is now presenting a brand new image to the audience, along with their new album, to be published by Deutsche Grammophon / Universal Music Austria at the end of February 2018. To accompany this new start, they’ll be giving a concert at the Berlin Philharmonie on 14th February.

Watch here their brand new video:

The musicians:

– Noah Bendix-Balgley, violin (1st concertmaster Berlin Philharmonic)
– Sebastian Gürtler, violin (former concertmaster Wiener Volksoper)
– Thilo Fechner, viola (Vienna Philharmonic)
– Stephan Koncz, cello (Berlin Philharmonic)
– Ödön Rácz, bass (principal, Vienna Philharmonic)
– Daniel Ottensamer, clarinet (principal, Vienna Philharmonic)
– Christoph Traxler, piano

The Golden Rule of the Philharmonix’ programmes: “Anything goes, as long as it’s fun“!

WildKat is looking forward to promoting this great ensemble through this new album and the Berlin concert, across German-speaking countries and the UK. Stay tuned, there is definitely more to come soon!

(Written on November 2, 2017 )

Inclusive Creativity began with a conference at Ulster University in Derry/Londonderry as part of the UK City of Culture celebrations in 2013, when collaborators including Drake Music, Share Music Sweden and Walled City Music were brought together with leading academics and practitioners in the music and education field.

With significant funding from the Calouste Gulbenkian Foundation, PRSF’s ‘Beyond Borders’ and the British Council, organisers were able to make their goal of levelling the playing field in professional music a reality for a group of local disabled and non-disabled musicians.

Professor Frank Lyons was instrumental in this vision of inclusive and accessible music-making, and through research and development created a bespoke commission for the group, titled ‘NonZeroSum’. The name derives from video game theory whereby the wins and losses of each gamer do not impact on anyone else – in essence, it is a ‘win-win’ situation for all involved. Inclusive Creativity has identified and implemented the need to develop new repertoire for inclusive ensembles, leading to a range of innovative methods to train emerging and established composers in specific techniques.

“The high artistic quality of the performances of new repertoire, given in renowned mainstream venues to appreciative international audiences has meant successful realisation of a number of key Inclusive Creativity goals. Taking the ensemble on tour has been logistically challenging but has provided positive life-changing experiences for musicians, carers and the broader support team behind the operation.” – Frank Lyons

Tonight at University College Dublin’s Gerald Manley Hopkins Centre, Acoustronic will be joined by the Benyounes Quartet to perform Lyons’ piece, alongside works by postgraduate students at Ulster University who work closely with the ensemble on research into accessible music technology and composition. By creating high-quality music in a genuinely inclusive setting, the project highlights ways in which other organisations can become more attuned to the needs of less able performers. With plans to perform in Portugal in 2018, Inclusive Creativity is primed to go from strength to strength and continue to positively impact the lives of those involved.

(Written on November 1, 2017 )

The digital revolution is still proceeding and affecting nearly every aspect of our everyday life. Talking about music industry, we consider streaming, podcasting concerts and interviews, social media campaigns and online music magazines. The majority of our generation is used to Spotify, Youtube, Instagram and Snapchat.

But what is the impact of digitalisation on classical and contemporary music? One may think that the classical music domain is archaic, old fashioned and still follows old standards. It is undoubtedly a big challenge to apply new technologies to an established sector. Then again, we should consider that new technologies might also bring new opportunities and even encourage the creativity.

Streaming

Music streaming is immediately overtaking downloading as the favoured method of accessing music digitally. Streaming has changed the way the majority of people now listens to music but also the way musicians, agents and companies deliver music to their recipients. Nowadays one can find a big amount of classical and contemporary music on platforms like Spotify and Apple Music. On the other hand there are also services that specialise in classical music streaming only, including Primephonic.

The main challenge in classical music streaming is the correct use of metadata. This field of music industry has some of the most complex metadata regulations. The rules are sometimes not clearly defined. Although, the information tagged to each file, is important for searching, matching and allocating music.

Networking

We are facing diverse and connecting times. Internet and peer-to-peer technology is essential in sharing ideas and creating more perspectives. Everyone is talking about communities and peer-to-peer. Networking on this new level connects different types of music genres and also encourages collaborations between different types of musicians on an international level.

There are several networking platforms for musicians like Hello Stage and Reverbnation to help musicians to collaborate and unfold their potential and creativity.

Podcasting

One more way to reach an auditory is podcasting. Podcasting is a digital recording of music, news or other media that can be downloaded from the Internet to a portable media player.

A popular synonym for podcasting is audio-videoblogging. Spotify, Google Play and some major labels are already benefiting from music podcasts. Classical and other musicians are using podcasts to transmit concerts, interviews and music sessions to their auditory. The advantage of podcasting is building a closer relationship to recipients, appearing more personal providing a face-to-face connection. A popular classical music podcast is Sticky Notes.

There are many ways digitalisation affects classical music. Also disciplines like archiving, composing, teaching etc. are driven by computer-based methods nowadays. Increasing number of musicians is using iPads instead of music sheets and musicologists are digitally combining early editions and manuscripts to get to the bottom of composer’s intentions. Some of the tools can help musicians, teachers, researchers or agents to work more dynamic and efficient. Any other may confuse some people or even slow down the creative process. Nonetheless, it’s necessary to acknowledge that the world is different from even 20 years ago. The digital age is networked, global, and constantly changing. Digitalisation has a huge impact on society, culture and music culture in particular and the utilisation of digital tools and computer-based methods in classical music may bring challenges but also benefits for all the participants.

________________________

See some our clients using digital tools in their creative process:

Corre (a marriage of sounds and visuals)

Inclusive Creativity (performance and composition for less able musicians through the development of new technologies and methodologies)

(Written on October 25, 2017 )

WildKat PR is excited to welcome Lizzie Ball to our roster. A truly gifted artist, Lizzie Ball is a classical trained violinist and vocalist. She is known for creating Classical Kicks, a series of shows that was established at London’s famous Ronnie Scott’s, as well as a number of other exciting collaborations. The series centres on broadening peoples’horizons for classical music by combining classical music performances at the highest level with a down-to -earth approach that allows everyone to engage with the genre.

This sums up what Lizzie is all about: She thinks outside the box to create opportunities for people to listen to stunning music while looking past all the usual conventions. She is always open to fresh and different approaches and thus her performances are always one of a kind.

Her exceptional musical skills are paired with an exuberant energy that immediately captivates the audiences. Her sounds are a combination of jazz, world, folk, bluegrass, rock and, of course, classical music. She delivers a modern and creative touch, combining all the musical impacts in her life and sharing it with the audiences. Through this she is rejuvenating the fundamentals of the classical genre. Her skills, her improvisation, her expression are the driving factors of finding a new sound, and a new perception. To quote Lizzie:

“I love creating an experience. It’s about connecting the music with the audience always. Whether it’s through my violin, my singing or when producing concert performance formats.”

Lately she has been working on a new show Viva la Vidacon Frida. This multi-media presentation is a musical journey through the life, times, art of Frida Kahlo which consists of part-concert, part talk, part imagery. Together with Mexican guitarist Morgan Szymanski, the duo play Mexican folk songs, jazz songs and classical compositions, that relate to the life of Frida Kahlo. The show also includes a live specially curated film that shows Frida Kahlo’s art, and images of the female icon aswell as Mexican imagery and illustration.

Besides her own projects, Lizzie has also been featured extensively as a classical performer with the BBC Proms, the Berliner Philharmonie and at Wigmore Hall. She has worked extensively with Nigel Kennedy, becoming the concertmaster of his orchestra of life. Her experiences in the world of rock and pop have earned her collaborations with artists, such as Jeff Beck and Brian Wilson. As a session musician, she has worked with a number of artists including Seal, Adele, Kylie Minogue and Kanye West.

She can transition between genres and styles like no other artist and through those abilities she is creating something new and exciting every step of the way.

Lizzie Ball ©Silvia Cruz

Merken

Merken

(Written on October 16, 2017 )

The ninth Planet Tree Music Festival kicks off tomorrow, running until 26th October in Hampstead, North London.


Founder and composer Lawrence Ball has curated the festival with the aim of creating an immersive experience for those wishing to connect to a higher sphere through deep engagement with classical music. Audiences are encouraged to lie down, meditate and experience the sound worlds presented, championing an alternative way of listening. The outdated rules employed in traditional concert halls are discarded in favour of a more accessible experience rooted in spirituality and relaxation. 

Similar in format to Max Richter’s sold-out ‘Sleep’, the 2017 Planet Tree Music Festival offers concert attendees the opportunity to lie down and relax into cosmic sound worlds, with a host of international musicians performing music specially written for this year’s programme.

 

The festival was opened by Terry Riley in 1996, establishing its ethos and reputation as one that showcases tonal, non-elitist contemporary music. The programme deals with the brighter side of contemporary classical music, featuring pieces by popular composers including Max Richter and Arvo Pärt.

Collaborator and performer James D’Angelo says: “The Planet Tree Music Festival has established a new forum for contemporary music that returns music to its spiritual roots and gets people in touch with their souls hungry for impressions of who and what they are… No composer could ask for anything more than the refined atmosphere that is the Planet Tree Music Festival.”

Tickets can be purchased on the door of each of the venues, namely the Rosslyn Hill Unitarian Chapel and All Hallows Church, Hampstead. Full concert details can be found here.

WildKat has, so far, secured coverage for Planet Tree Music Festival in PRS M Magazine, Culture Whisper, International Arts Manager, and local newspaper Camden New Journal. Stay tuned for more!

(Written on October 6, 2017 )

WildKat PR offers a training fund to all members of staff to help them learn new skills, develop their interests, and also to bring something new back to the team. James Hardie returned to his home city of Edinburgh last month to attend International Festival Encounters. Read about his experience below:

I used my WildKat training fund this year to attend International Festival Encounters.  It is a week-long course run by the Edinburgh International Festival in conjunction with the University of Edinburgh and the Royal Conservatoire of Scotland.  The aim is to bring together artistic entrepreneurs with leading industry members and academics from all over the world.

It was truly ‘international’.  Amongst the participants were producers, writers, actors, programmers, and performers from Australia, America, Russia, South Africa, Denmark, Hong Kong, Singapore, India, and the UK.  It was a wonderful melting pot of different perspectives and experiences from both young and old, all taking place under the watchful eye of Edinburgh Castle.

We were treated to five productions over the week, including dance, theatre, and opera.  My own highlight was seeing the Nederlands Dans Theater, who performed a show in three segments with scores by Max Richter and Philip Glass.  The middle segment—a haunting series of scenes as a dying man recalls his life’s regrets—was like watching a film; the way the dancers manipulated their bodies brought to mind ‘The Exorcist’.

After each performance, we were given the opportunity to reflect critically on what we had experienced.  After seeing Gianandrea Noseda conduct the Teatro Regio Torino in a somewhat confused production of Verdi’s Macbeth, Kate Molleson (music critic for the Guardian) guided us through our reactions, whilst also giving us a fascinating insight into the dual role of the music journalist as both critic and evangelist.

There were two ideas that have really stuck with me from the course.  Firstly, the idea that financial constraint inspires creativity.  This was most effectively expressed for me by a participant from Russia, who used the phrase, ‘the artist must be hungry’, encouraging enterprise from a position of deprivation.  The second idea concerned caring for and looking after an audience.  The creator of a particularly moving production called ‘Flight’ spoke about the audience leaving an incredibly intense and personal experience in the theatre, and re-joining the busy outside world, and the steps they took to ease this often difficult transition.

My fellow participants were a really inspiring bunch, and I learnt just as much from them as I did the experts.  I’m certain I will collaborate with them again in the future. The training fund is an amazing perk to have, available to us all here at WildKat once a year, and I’m very grateful to have been afforded this opportunity.

(Written on September 25, 2017 )