I’m sure that many of you may have seen this elsewhere, but for those of you who have not, here is the video:
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January 2008
Bill Eddins, music director of the Edmonton Symphony Orchestra, wrote a post a few weeks back about the mixed experience that is being on an orchestral audition committee. He wrote about the process and frustrations of being on the principal trumpet audition committee in Edmonton. He got a lot of feedback – some good, some
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Photo credit: Charles Noble Oregon Symphony cellist Adam Esbensen, a native of Corvallis, and a member of the Oregon Symphony since 2004 (he’s also the cellist with local new music ensemble fEARnoMUSIC), has won what is considered the Holy Grail of orchestral jobs, a position in a Big Five orchestra, in this case the Boston
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The Columbus Symphony musicians have issued a formal response to the planned cuts of both season and personnel by the Columbus Symphony Association.
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UPDATE 1/31: see the article in the Seattle Times Joshua Roman, the young (age 24) principal cellist hired by the Seattle Symphony in 2006, has informed the orchestra that he will not be returning to his position after the current season ends.
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The good news is in – the Oregon Symphony has significantly improved its earned income over the previous season. Why is this news so good? Let me ask this question: if you were a major prospective donor, would you rather give to an organization improving its earnings on its own, or to one that is
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The Seattle Chamber Players presented their fourth Icebreaker Festival of contemporary classical music this past weekend in Seattle. Present was current classical music writer/rockstar Alex Ross, who curated a concert of works by seven young New York composers who’d caught his ear (including five premieres).
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Alex Ross, classical music critic for the New Yorker, and critically-acclaimed author of the critically-acclaimed book The Rest is Noise, and bloggie-nominated-finalist blogger, will appear on the Colbert Report tonight, Tuesday January 29, 2008 (guest subject to change, would be the required caveat). Go figure!
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I was thinking about Brahms this morning as I was getting ready to go to a rehearsal of his Piano Quintet (with pianist Cary Lewis and the Arnica String Quartet – we’ll be performing it on Wednesday, February 6 at Noon in the Old Church, Portland).
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Frank Almond, concertmaster of the Milwaukee Symphony (and partial concertmaster of the Seattle Symphony), writes a very interesting entry in his blog about the recent search process that ended up with the surprise hiring of Edo de Waart as their next music director.
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I just got an advance heads-up that there will be some positive information forthcoming from the Oregon Symphony this week. I’ll share it with you as soon as it’s kosher to do so, but it is nice to hear some good news, and I can’t wait to share it with you!
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It’s not often that one takes the time, as a professional musician, to just sit and take a look at one’s instrument. I don’t mean actually looking at the instrument – that happens all the time. Inspecting for damage, polishing the varnish, making sure the bridge is straight, etc. What I mean is looking at
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A San Francisco Chronicle article about the Central California freelance orchestra scene. Courtesy oboeinsight.
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Thanks to James Bash who spotted this first. A personal injury suit brought by violinist Peter Kaman against the Seattle Symphony was dismissed Friday in King County Superior Court. Kaman is a member of the Symphony’s first violin section. Immediately after Judge Catherine Shaffer granted the symphony’s motion for summary judgment, Kaman’s lawyer, Brenda Little,
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Composer John Adams Photo credit: Deborah O’Grady. I read a few months ago that John Adams had written a sequel to his Chamber Symphony (1992) called Son of Chamber Symphony (2007). The monster movie allusions seem to be proving correct if you listen to all the chatter flying around the back hallways of the concert
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