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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 )

In today’s news, Carnegie Hall welcomes youngest ever concert series curator, new survey highlights public concern on secondary ticketing sites, UK music venues are still not being inclusive enough for less able performers, audience members and staff. Making music in urban spaces, and musicians envisage a borderless world post-Brexit.

The Guardian

UK music venues still exclude disabled performers, audience members and staff

Why are so many disabled staff, performers and guests having to fight for access to music venues? The sector and the government needs to do more.

Music Week

New survey ‘highlights public concern on secondary ticketing’

A new consumer survey has found that 80% of the British public consider secondary ticketing to be a “rip-off”.

Classic FM

Cecilia Bartoli becomes first woman to record with the Sistine Chapel Choir

“Being the first woman to sing with the choir, and to record in the Sistine Chapel, is an immense privilege, I am at a loss for words. I am in seventh heaven, may I say that?” said Cecilia.

Varsity

Car park concerts, balcony bands and subway singing 

Thea Sands charts the social implications of music making in urban spaces.

Broadway World

Daniil Trifonov to Offer Seven-Concert Perspectives Series at Carnegie Hall

At 26 years of age, Mr. Trifonov is the youngest artist ever to curate a Perspectives series at Carnegie Hall.

Süddeutsche Zeitung

Je spektakulärer der Bau, desto höher die Aufmerksamkeit

Allein um die beste Kunst geht es beim Konzertsaalbau nicht. Oft zählen nur Aussehen und Aufmerksamkeit. Dieser Wettlauf wird weitergehen.

Berliner Zeitung

Konzerthaus München Keine kulturelle Sensation

Das also soll der lang ersehnte neue Münchner Konzertsaal werden: Eine von dem aus Vorarlberg stammenden Büro Cukrowicz Nachbaur entworfene, im Grundriss nach Vorgabe des Grundstücks streng rechteckige, steil, glatt und weich geschwungen ansteigende Glashaube, unter der die drei Säle, die Foyers und Probenräume, Restaurants und Tiefgaragen aufgestapelt sind.

Pizzicato

Eröffnung eines Gamelan-Ausbildungszentrums in der Schweiz

Zehn Jahre nach der Gründung einer aus jungen Studenten bestehenden Gruppe von javanesischen Gamelan-Musikern, wird die von Nicole Coppey gegründete und geleitete Pädagogische Schule für Musikalische Kunst ‘Un, Deux, Trois, Musiques …’ in Sion im November dieses Jahres ein Ausbildungs- und Leistungszentrum für Gamelan eröffnen.

Musicians against Brexit

With viola player Timothy Ridout and cellist Jacob Shaw, two excellent British musicians proudly took part in Alpenarte’s European Journey, representing their country in this exciting international ride through a border-less music world.

Le Figaro

Dans les pas de Stravinsky à l’Opéra Garnier

Soirée Royale. Le ballet de l’Opéra de Paris interprète Agon et Le sacre du Printemps, tandis que Teshigawara signe une création sur une partition de Salonen.

Twitter

@StevenIsserlis: When as a boy I refused to practice, my parents used to insist, adding: “Some day you’ll thank us.’ And the annoying thing is – I do!

@STNMC1 This from @PrivateEyeNews, doesn’t look good for Diocese of London: ‘Staggering vacuity’

© Burkhard Bartsch (c): Governatorato SCV – Direzione dei Musei

(Written on October 30, 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 )

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 )

Mit dem 3. Oktober hätte sich die Staatsoper Unter den Linden für die Wiedereröffnung keinen geschichtsträchtigeren Tag aussuchen können. Aber warum auch nicht? Schließlich ist dieses Datum fest mit Berlin und dem Tag der Deutschen Einheit verbunden und steht somit symbolisch für frische Neuanfänge. Nun ist Berlin aber auch eine Stadt der nicht enden wollenden Baustellen und es ist kein großes Geheimnis, dass die Renovierungsarbeiten der Staatsoper länger als geplant dauern – stolze vier Jahre länger, um genau zu sein. Doch diese lang erwartete Wiedereröffnung bringt gleich zu Beginn einen kleinen Dämpfer mit sich: Das Opernhaus eröffnet, um sofort wieder zu schließen. Wer nun verwirrt ist, ist dies zurecht, weswegen inhaltliche Ordnung in diesem buchstäblichen Chaos angebracht ist.

Fangen wir am besten am Anfang an und holen Friedrich den Großen mit ins (musikalische) Boot. Berlins ältestes Opernhaus wurde vom Alten Fritz im Jahre 1740 an den Architekten von Knobelsdorf in Auftrag gegeben und am 7. Dezember 1742 vor seiner eigentlichen Fertigstellung eröffnet, um dann im Jahre 1743 komplett fertiggestellt zu werden. In seiner langen Geschichte wurde das Opernhaus bereits sieben Mal umgebaut und baustilistisch stets verändert. Durch den zweiten Weltkrieg fast vollständig zerstört, fand der letzte große Um- beziehungsweise Wiederaufbau in den 50’er Jahren durch den Architekten Richard Paulick statt. Dabei orientierte er sich stark an von Knobelsdorf ursprünglichem Design. Seitdem sind viele Dirigenten ins Berliner Opernland gezogen, weswegen nach der Jahrtausendwende Pläne für einen lang angebrachten Umbau des nach dem Krieg zusammengeflickten Gebäudes ins Visier genommen wurden. So sahen die ersten Baupläne von Klaus Roth beispielsweise eine komplette Umgestaltung des Zuschauerraumes vor, wogegen viele Künstler von nationaler und internationaler Größe mit Protest begegneten, da der Denkmalschutz des Gebäudes missachtet worden wäre. 2008 wurde der Bauauftrag letztendlich an das Architekturbüro HG Merz vergeben, welches sich mehr an der Linie Paulicks/von Knobelsdorfs orientieren sollte. Mit einem beauftragten Büro an der Hand konnten nun die Bauarbeiten im September 2010 beginnen. Theoretisch hätte die Staatsoper bereits ab 2013 wieder spielbereit sein sollen, doch aufgrund von Fehlplanungen und daraus resultierenden Pannen, ziehen sich die Arbeiten bis zum heutigen Tage hin. Wolfgang Brauer, Politiker und ehemaliges Mitglied des Untersuchungsausschusses “Staatsoper” beschreibt die Sanierungsarbeiten wie folgt:

“Man räumte die Stühle raus und fing an mit der Baustelle. Ohne abgeschlossene Bauplanung, ohne solide Bauwerksanalyse, ohne solide Bestandsanalyse und das fiel dann natürlich auf die Füße. Man hatte die Vision entwickelt, dass man baubegleitend planen kann. Und das ist die eigentliche Katastrophe gewesen.” *

Bauarbeiten im Zuschauerraum, ©dpa

Doch bald sollen all die Fehlkalkulationen vergessen sein, wenn das Orchester unter Dirigent und Langzeitwegbegleiter Daniel Barenboim in die musikalische Heimat unter den Linden zurückkehrt. Besonders viel Wert wurde auf eine verbesserte Akustik im Zuschauerraum gelegt: So wurde beispielsweise für die 1.356 Sitzplätze ein dünneres Polster verwendet, damit der Klang nicht zu stark abgefedert wird. Zudem war Daniel Barenboim ein längerer Nachhall ein besonderes Anliegen. Der Zuschauerraum wurde durch die um fünf Meter angehobene Decke so konzipiert, dass nun ein Nachhall von 1,6 Sekunden statt ursprünglich 1,1 Sekunden gegeben sein soll. Außerdem soll auf mehr Beinfreiheit geachtet worden sein und dass man von jedem Platz aus einen guten Blick auf das Bühnengeschehen hat.

Allmählich zeichnet sich auch ein regeres Geschehen in der Staatsoper ab, wo sich seit dem 1. August die Mitarbeiter*innen aufhalten, die bis zum 3. Oktober noch den letzten Feinschliff anlegen. Feierlich eröffnen werden Schumanns “Faust-Szenen” das frisch herausgeputzte Opernhaus  bis zum 7. Oktober. Danach ist erstmal für weitere zwei Monate Schluss. Diesen Zeitraum wolle man zum Nachjustieren der Technik nutzen, nachdem man erste Erfahrungen im neuen, alten Theater gesammelt habe.

Zur endgültigen Normalität soll es schließlich am 7. Dezember kommen, wo der reguläre Spielbetrieb wieder aufgenommen wird auf den Tag genau zum 275. Jubiläum des Opernhauses. Fast so, als ob man von Anfang an auf diesen Tag hingearbeitet hätte.

Bald kann sich die Staatsoper ohne Baugerüst zeigen. ©Hufner

*Zitat aus: Arnt, Susanne: Berliner Staatsoper. Schwere Fehler bei der Sanierung, in: Deutschlandfunk Kultur. 22.06.2016.

 

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(Written on August 24, 2017 )

WildKat PR are thrilled to announce that we will be working with Cowbridge Music Festival (CMF)!

The festival, now in its eighth year, will once again take place in the bucolic village of Cowbridge, South Wales, and feature internationally-acclaimed artists and performers. The varied programme of concerts will include performances by The King’s Singers, Jamie Smith’s Mabon, Misha Mullov-Abbado, Veronika Eberle and the festival’s first ever Artist-in-Residence Llŷr Williams. Nicola Benedetti MBE retains her role as patron of CMF, having first performed an unforgettable solo concert in 2011.

The festival’s founders, Mary Elliot-Rose and Sam Edwards, have been welcoming musicians to CMF since 2010. They saw the town, with its picturesque churches and vibrant community, as the perfect setting to showcase the finest chamber, vocal and instrumental music.

CMF places significant emphasis on education and outreach, education and the community, with a range of programmes and accessible activities including an interactive concert for children aged 12 and under, schools’ samba workshops and CMF Chamber Music Seminar .

A full programme can be viewed here.

© CMF

Website | Facebook | Twitter

(Written on July 31, 2017 )

“Wellness”, “wellbeing”, “work-life balance” – these buzzwords have been entering the business world more regularly over the past few years. As we as a society begin to focus more on our health, our time, our personal development, so have the companies that we work for. Especially in PR companies and creative agencies, where working over-time is almost expected and in the arts where there are concerts, launches, and networking events to attend, it’s important to ensure that you are able to enjoy your personal life wherever possible.

IMG_6174

 

WildKat began to explore techniques to reward colleagues and staff back in 2011, when Kat brought her yoga instructor into the office. We began having weekly classes for 1 hour on a Wednesday afternoon. Berlin’s Victoria Mattinson says, “Taking an hour out to do yoga is a really effective way of clearing the mind and stretching out.  I always come back to my desk feeling refreshed and with new ideas.”

Screen Shot 2017-01-31 at 16.09.07

In 2014, we also cemented the annual WildKat ski trip for the team who have been in the company for over 1 year. This is the perfect retreat for our colleagues to relax and unwind (off the slopes, of course!), spend time with the full global team, and try some new experiences together. London’s Victoria Cappelletti went on her first trip this year, explaining, “The annual WildKat PR ski trip is a great way to get to know the members of the team better and actually become friends, so that we are all like a little family. It totally lines up with the general company mood, ethic and atmosphere, giving people the opportunity to have fun and discuss topics beyond work.”

walking-wildkat-pr-ski-trip

Our perks continued to build in 2015, when Sweden began to initiate 6-hour working days to create a balance between work and personal life, Kat decided to trial the scheme in our Berlin office. We were quite skeptical at first that 2 hours would make a huge difference to our work-life balance, and that it wouldn’t compromise our work, but we were ready for the challenge. After a transitional phase, our Berlin team was working more efficiently – so much that our clients did not notice! – completing tasks and moving on without procrastination, feeling more happy and healthy at work, and also attending more events out-of-hours without free time or energy being compromised.  You can read our full feedback here.

However, one journalist asked: if we love our jobs why would we want to work less? Although this was not the point of our experiment, the hardest aspect was the need to be constantly productive. There was less time to read articles and be active on social media – two activities which are crucial to PR. We also lost out on occasional small talk, which does help to break up the day. Therefore, from now on, instead of a full-blown overhaul of our working day, every employee has ten six-hour days per month at their disposal.

Last year, we decided that we would fully integrate our perks into WildKat’s ethos and policy. Our in-house design team at Classical Music Design created a poster for us, that would have a central place in our office and would remind us that being happy in our lives and at work will allow us to live a more balanced life.

wildkat-pr-perks-poster-work-life

Kat explains, “I felt that my staff deserve the best that my company could possibly offer. I divided the benefits up into monetary, educational, and well-being. Mostly, I am weary that money is a big deciding factor so of course we wanted to increase perks and financial rewards but actually focusing on well-being and one’s own personal development is a hot topic that almost comes equal to financial gain. 

“We want to feel valued on many levels and that our development is encouraged along the way so I wanted to offer training funds, 6 hour working days, yoga sessions, sabbatical, etc. Rewarding my staff doesn’t always have to cost the company a lot but it does mean that the teams are better balanced. Quite frankly, the older I get, the more I think that time is the most valuable commodity, so I want to enhance my staff’s time when at work but also give them more off time out of the office.” 

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Director of the Berlin office, Carolin Denz, was one of the first to utilise her training fund, purchasing a few books on leadership and communication: “As the Berlin team has grown a lot and we all know how important it is to build up a great and solid working team, we are always focusing on improving the team spirit and motivation. I began to learn some tips and advice from a few books about different ways to lead groups, so we can build on it with individual and more intense workshops during 2017. The books give an insight into how groups of different characters and opinions work, how to lead them best and motivate them to build up the team we need for our campaigns – creative thinking, responsibility and being a good team-player.”

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As well as the “official” #WildKatPerks, we still encourage our team to network in the industry, and step into the wider world to gain knowledge and make introductions on behalf of the company. For example, Junior Account Manager & Office Manager James Hardie attended #ABO17. He said, “I was very excited to have the chance to attend the Association of British Orchestras conference in Bournemouth, especially at such an early stage in my career.  The focus this year was Disruption, and I had the privilege of listening to some of the industry’s leading figures, including Hannah Kendall, Mel Larsen, James Murphy, and Chi-Chi Nwanoku talk about what this meant to them.  A strong feeling of community pervaded every session, and it was heartening to be surrounded by so many like-minded people, all of whom want to see classical music engage with new and diverse audiences.”

As civil servants face curbs on office ‘cake culture’, here at WildKat we know that everything works well in moderation and with plenty of balance. Are you considering some new perks for your company? How do you manage to balance work and life as a freelance? Feel free to send us your thoughts at @WildKatPR or comment below!

(Written on January 31, 2017 )

WildKat PR is very happy to announce that Matt Brinkworth is our newest Account Manager to join the team in the London office.

Matt’s career within the Music PR industry has been as varied as his own personal tastes, working on projects that have ranged from electronic music giants such as Claptone and Axwell & Ingrosso to South Korea’s largest rock band YB, taking him from the front rows of London Fashion Week to the backstage of Reading Festival.

At WildKat, Matt will join the already talented team of London Account Managers, working closely with the Berlin and New York offices, bringing with him his unique brand of creative and engaging press relations.

Kathleen Alder, Founder and Director of WildKat PR commented:

“WildKat is known to push the boundaries in both our approach and our results for our clients. We are so excited to have Matt join us and his experience in mainstream and celebrity PR bring a whole new perspective to our team.”

Matt Brinkworth commented:

“When it came to looking for a new challenge to inspire me, after meeting with Founder Kathleen and Head of Creative Strategy & Marketing Olivia Brown, WildKat stood out immediately. The company’s culture and ethos of forward thinking, outside of the box, promotional campaigns coupled with the office’s organically exciting energy is in complete synergy with my own style. Add in the quality of their client roster and it was impossible to see myself joining anywhere else. I couldn’t be more excited to join a team that has already carved its own lane in this industry and contribute to that further with our clients.”

Very happy to have you on board!

(Written on October 31, 2016 )

WildKat PR is delighted to share news of our continuing collaboration with pianist Sunwook Kim.

Sunwook Kim is a South Korean pianist living in London. He came to international recognition aged just eighteen, when he won the prestigious Leeds International Piano Competition in 2006, becoming the youngest winner for 40 years. Since then, he has established a reputation as one of the finest pianists of his generation, appearing as a concerto soloist in the subscription series of some of the world’s leading orchestras, including the London Symphony Orchestra (John Eliot Gardiner, Daniel Harding), Berlin Radio Symphony Orchestra (Marek Janowski), and Tokyo Philharmonic.  

wildkat-pr-sunwook-kim

WildKat PR has worked with label Accentus Music for over 5 years. Earlier in 2016, we were asked to promote Sunwook’s second solo album (Franck & Brahms), released on Accentus Music, which was praised for its ‘pristine clarity’ and ‘emotional resonance’ (Gramophone, March 17, 2016). We also launched his Facebook page, and continue to manage his social media channels.  

This time around, we are looking forward to promoting Sunwook’s upcoming solo recital in London’s Wigmore Hall on Tuesday 25th October.  His erudite approach to programming will be reflected in works by Mozart, Schubert and Beethoven, charting artistic creativity in Vienna from the arrival of Mozart to the death of Schubert.

At the moment Sunwook is on tour in Japan and South Korea, and prior to his Wigmore recital will perform Tchaikovsky’s 1st Piano Concerto with the Bournemouth Symphony. Keep up to date with all of Sunwook’s news through his Facebook, Twitter, and website.

(Written on September 5, 2016 )

Classical news

In our classical music news today: lots of firsts as Esa-Pekka Salonen takes up first position of artist-in-association at Finnish National Opera and Ballet, and Sound festival announces John De Simone as inaugural composer-in-residence. Also, Lionel Bringuier will leave Zurich Tonhalle at the end of 2017/2018 season.

Classical Music Magazine

Finnish National Opera and Ballet appoints Salonen as artist-in-association

Finnish National Opera and Ballet (FNOB) has appointed Esa-Pekka Salonen as its first artist-in-association. He will assume the newly created, five-year position with the 2016/17 season.

Sound festival announces inaugural composer-in-residence

John De Simone has been announced as Sound’s first composer-in-residence. The Scottish-Italian composer, who is director of Ensemble Thing, will create new work for the 2016, 2017 and 2018 festivals, beginning with a piece that will be premiered in a concert alongside Louis Andriessen’s De Staat.

Neue Zürcher Zeitung

Der Vertrag von Lionel Bringuier als Chefdirigent des Zürcher Tonhalle-Orchesters wird nicht verlängert. Was hinter dieser seit längerem erwarteten Entscheidung steckt.

Music Week

MCPS and PRS for Music back library music awards relaunch

The annual Library Music Awards has today relaunched as the Production Music Awards, in association with MCPS Production Music.

Broadwayworld

Simon Rattle to Conduct St. Thomas Choir of Men & Boys in Concert, 9/18

Sir Simon Rattle will conduct The Saint Thomas Choir of Men and Boys and Orchestra of St. Luke’s in a special benefit concert to include Gabriel Fauré’s Requiem, The Lark Ascending by Ralph Vaughn Williams and Edward Elgar’s Serenade for Strings on Sunday, September 18.

Die Zeit

Wie geht noch mal das “Magnificat”?

Daniel Barenboim startet seinen eigenen YouTube-Kanal.

Süddeutsche Zeitung

Traumberuf Musiker

Junge, talentierte Schüler bekommen in Hallbergmoos eine besondere Förderung. Initiiert hat dieses Programm der Pianist, Komponist und Pädagoge Vladimir Genin.

Der Tagesspiegel

Abenteuerreisen ins Altbekannte

Zum 17. Mal startet „Young Euro Classic“ in Berlin. Bei dem Festival überwindet Musik tatsächlich Grenzen – aber anders als in Sonntagsreden.

Die Welt

Ohne Schuhe auf der Jagd nach der Jugend

Die klassische Musik braucht Nachwuchs. Das Publikum wird immer älter. Neue Formate werden gesucht. In Berlin wurden zwei Modelle getestet. So richtig funktionieren sie allerdings beide nicht

El Mundo

Las grandes orquestas toman la partitura de la Quincena

Como para coger impulso, la Quincena Musical de San Sebastián se coge unos días de descanso coincidiendo con la Semana Grande.

wildkat-pr-photo-esa-pekka-salonen

Photo Credit: Benjamin Ealovega

Twitter

Help Musicians UK @HelpMusiciansUK Great to see the intro of the #NightTube, can only help the night time economy & access to music venues.

Ed Vaizey @EdVaizey New culture secretary to promote #diversity in #arts http://www.m-magazine.co.uk/news/new-culture-secretary-promote-diversity-arts/ … @M_magazinePRS

Darren Henley ‏@HENLEYDARREN New blog by our @ace_national Strategy Director @richardrussell1 on encouraging news for arts & culture post #Brexit http://www.artscouncil.org.uk/blog/post-brexit-funding-%E2%80%93-encouraging-news-arts-and-culture-sector

(Written on August 19, 2016 )