Yo comencé con la música desde que estaba en el vientre de mi mamá, me gusta mucho, siempre ha sido así  y nunca lo de dejara de ser. ¿Les digo algo?,  ¡La música es maravillosa!, cuando la escucho  siento ganas de hacer una canción, se  que lleva mucho trabajo y  no me impedirá alcanzar mi sueño, el de ser músico.

Entré a la Escuela de musica del Sistema de Orquestas Infantiles del Maestro José Antonio Abreu ubicada en una de las sedes del estado Aragua. hasta ahora ha sido una experiencia fascinante, estoy aprendiendo teoría y solfeo con la prof. Rosana Chacón, Cantoría con la Prof. María Isabel Eulate y Flauta con la Prof. Norwis Pérez, todas ellas excelentes profesoras me han enseñado mucho y que bueno porque tengo mucho por aprender en esta extraordinaria profesión.

Mi mamá y mi papá no tuvieron la oportunidad de aprender música, pero yo les estoy enseñando y yo se que aprenderán rápido. Bueno amigos este es mi primer post sobre mis vivencias con la música, espero poder continuar transmitiendoselas en lo sucesivo.

A couple of weeks back, when I heard that Kristi Fuoco was going to Arts Reach in LA, I was insanely jealous. I immediately emailed her and asked her if she could take some notes and share some of her learning with us. She kindly agreed to do so.

So, without further ado, here’s Kristi…

From October 8^th to 10^th I attended Arts Reach (http://www.artsreach.com/conference.html), an annual National Arts Marketing and Fundraising conference that was held in Los Angeles this year. The theme of the conference was appropriately, Are you Ready for the Wave of Change? The first day of the conference was dedicated to Internet Marketing and I couldn’t wait to fill my mind with endless new ideas for social media marketing. The sessions on email marketing and websites were great, and inspired me to make sure that our website and our emails are relevant, interesting, engaging and capture the experience of what it is we’re trying to do whether we are a concert hall, theatre or dance troupe or a museum.

The social media session, “Fans, Friends and Followers: Facebook & Social Media”, was more basic than I’d hoped, but did bring up some ideas from other arts organizations in the US who are using social media in innovative ways.

Here are some of the most creative examples that I want to share:

The National Symphony Orchestra (http://www.kennedy-center.org/nso/) experimented with tweeting programme notes during the Beethoven Pastoral Symphony. The notes were written in advance by the conductor and then sent out throughout the concert at the appropriate moments and included interesting, sometimes funny bits of information about the composition, composer and any other random facts. Apparently they had a certain section on the lawn designated for those interested in receiving the tweets, so that they wouldn’t distract the other non-tweeting audience members. Here is an article discussing how it went from the Washington Post: http://www.washingtonpost.com/wp-dyn/content/article/2009/07/31/AR2009073100006.html)

Another phenomenon is the use of IPhone applications by arts organizations. They used the example of the LA Philharmonic (http://www.laphil.com/) and their new sensation, the Venezuelan 28-year-old conductor, Gustavo Dudamel. I was lucky enough to see one of his opening concerts with LA Phil that weekend, and with this new IPhone app you can actually conduct along with Dudamel and as you wave your arm in the air the music plays. They’ve launched an entire microsite (http://www.laphil.com/gustavo/bravo.html) in honour of Dudamel that allows you to download the IPhone app, play a Gustavo game where you can match your conducting skills with his, watch videos of him, listen to his music, and much more. It’s a whole new level of experience, and of feeling connected to a conductor. Is this the way of the future for orchestras? Can other arts organizations use these tools in similar ways?

The third example was the Brooklyn Museum (http://www.brooklynmuseum.org/), one of the first “socially networked” museums, who now have an IPhone app that allows you to visit the museum virtually, and to learn about different works as you move through the museum as well. Here are some interesting blog posts about it: http://www.brooklynmuseum.org/community/blogosphere/bloggers/2009/05/31/brooklyn-museum-api-the-iphone-app-released-on-itunes/

The general trend from this session was for arts organizations to see social media for what it is: SOCIAL. We are moving back to connecting with people one on one, and arts organizations need to use their creativity and resources in order to keep up with this new way of connecting.

Kristi Fuoco currently works at the Chan Centre for the Performing Arts at the University of British Columbia as the Marketing and Communications Assistant Coordinator. She holds a Bachelor of Music from Mt. Allison University and a Master of Arts in Ethnomusicology from UBC. She is a lover and supporter of arts and culture and a social media enthusiast. You can find her on twitter @kristifuoco

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A few days ago, Oct 27th to be exact, the Wall Street Journal published an article by Barbara Jepson concerning the sudden move by many orchestras around the wold to younger, thirty-something conductors.  And these are large, world-class organizations like the Los Angeles Phil, NY Phil, Swedish Radio, La Verdi in Milan, Scottish Chamber Orchestra and the London Philharmonic, to name a few.  I think this article presents what many consider a sudden shift to a younger generation of Orchestra members…hopefully this will also translate into a younger generation of symphony concert-goers as many of the above-mentioned organizations are hoping.  And thus stated in the article “relative youthfulness is an especially appealing quality at a time when symphony orchestras are desperately seeking ways to replenish their aging audiences.”

A couple notes of interest for me from the article:

- It seems the article is hinting that musical institutions overseas are more apt to hire a younger conductor/music director than institutions in the US.  Why?

I think one of the reasons may be the overall popularity of current classical music compared to that of the US.  As stated in the article: “Music by living composers is more typically a vital part of their repertoire.”  Dudamel, with the Los Angeles Symphony, is premiering nine new works this season alone.  The first was ‘City Noir’ by John Adams on Dudamel’s inaugural concert.  By the way, this was an awesome piece of music!  (Major props to saxophonist Timothy McAllister on playing a crazy-difficult saxophone part).
- Jesse Rosen, president of the League of American Orchestras, was interviewed for the article and stated “Orchestras today are defining their artistic roles more broadly than simply delivering concerts and rehearsals at a high level.”

This is great news!  More conductors are becoming more proactive with the educational arm of their institutions.  These young conductors “are more approachable and visible in the communities.” (from the article) What could be a better way to connect to the community than being present within the community when it is not expected? The article even notes Mr. Gilbert, 42 y.o. conductor of the NY Phil, greeted ticket buyers before the concert and addressed audiences from the stage.  PERFECT!

All of this is important to Indianapolis as it begins a search for their new conductor of the Indianapolis Symphony Orchestra.  Would it not behoove the ISO higher-ups to take the WSJ article to heart and hire a younger conductor?  I feel it would be a breath of new life into the orchestra…you know, create a buzz to an organization that needs the buzz in these trying economic times.  The way this city is set up, I feel a younger conductor instituting new education initiatives, connecting with a larger fan-base around the city and its suburbs, and being the “face” of Indy Arts would become a major superstar and the ISO would see a rise in support for the organization.  Look at the frenzied craze that has started with Dudamel in Los Angeles.  It can happen in Indy too.  We just need the right person leading the orchestra for years to come.

What are your thoughts?

~mda

 Dopo il concerto dell’orchestra Simón Bolívar a La Scala, il maestro José Antonio Abreu ha invitato la prima cittadina di Milano e la duchessa di York a recarsi in Venezuela per conoscere il Sistema di orchestre infantili e giovanili (Fesnojiv). Così Abreu, il fondatore del Fesnojiv, ha aperto il concerto: “Ai poveri non bisogna dare una cultura povera”.

L'orchestra Simón Bolívar diretta da Gustavo Dudamel

MILANO – Forse la sindaco di Milano, Letizia Moratti, e la duchessa di York, Sarah Ferguson, presidente onorario di ‘Children in crisis’, si recheranno in Venezuela per conoscere il Sistema di orchestre infantili e giovanili (Fesnojiv). E’ stato infatti il maestro José Antonio Abreu a invitarle, visto che il proposito di Moratti è proprio creare un’orchestra giovanile nella città di Milano che mutuerà principi ed obiettivi della venezolana.

“Ai poveri non bisogna dare una cultura povera”, ha detto Abreu aprendo il concerto dell’orchestra Sinfonica de la Juventud Venezolana Simón Bolívar tenutosi lunedì a La Scala di Milano. Dopo aver spiegato l’obiettivo di riscattare i bambini dei ‘barrios’ disagiati attraverso il sistema di orchestre, ha sottolineato l’importanza del progetto musicale ‘Mani bianchi’ che include i disabili attivo dal 1995.

L’orchestra di giovani talenti diretta da Gustavo Dudamel, giovanissimo maestro fra i più quotati negli ambienti della musica internazionale, si è esibita per celebrare i primi 10 anni di attività dell’associazione ‘Children in Crisis’ Italy Onlus. Per l’occasione La Scala ha aperto le porte al giovane pubblico, riservando agli under 18 cento biglietti low cost (20 euro) per dei posti in platea.

Dudamel ha diretto l’orchestra venezolana eseguendo ‘Sensemayà’ di Silvestre Revueltas, ‘Mediodìa en el Llano’ de Antonio Estevez e ‘Santa Cruz’ di Pacairigua. Nella seconda parte, invece, è stata presentata la Sinfonica n.4 in Fa minore opera 36, di Tchaikovsky e in chiusura la ‘Marcia Radetzky’ di Johann Strauss e ‘Mambo’ di Bernstain.

A seguito del concerto è stato organizzato un cocktail in cui hanno partecipato la duchessa di York, Letizia Moratti, il maestro Abreu, Dudamel, il console del Venezuela a Milano, Vidal Falcòn e l’Ambasciatore del Venezuela in Italia, Luis Josè Berroteràn.

“La musica latino-americana è differente – ha sostenuto dopo l’esecuzione Letizia Moratti -, piena di allegria”.

La duchessa di York riferendosi a Abreu ha detto semplicemente:

“Maestro, lei è un genio”.

Barbara Meo Evoli

www.meoevoli.eu

dudamel

gool locks

grandel

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There isn’t much to say about Gustavo Dudamel that hasn’t already been said many times over–but there is something to be said about Thursday night’s live outdoor simulcast of his inaugural concert at the Music Center Plaza, just a stone’s throw from the Walt Disney Concert Hall.

Lately, it seems like things are a little different for the LA Philharmonic in terms of accessibility.  Yes, Dudamel’s inaugural concert was a black-tie event with the likes of Tom Hanks, Sidney Poitier, and Quincy Jones, along with a little over 2,000 other bow-tied and evening gowned patrons.  Yes, the rest of us sat on the ground outside watching TV screens, while being fed $9 hot dogs.  But the Disney Concert Hall can only hold so many folks, and this event opened it up to nearly double the amount of people who would normally be able to witness this truly unique concert.

Beginning with the free Hollywood Bowl Bienvenido Gustavo! show last week (which was also webcast live and kept online in its entirety for the next 24 hours), and looking at this free simulcast in the Music Center Plaza (which will air on PBS later in the month), it feels like the world of classical music in welcoming you in, even if you don’t necessarily have the means to frequently attend LA Philharmonic concerts.  And most of us don’t.

A liaison for the Music Center was wandering the plaza Thursday night gauging the audiences’ reactions, and said that this live simulcast was a new, experimental way of getting more people involved and allowing them to access this particular special event.  It seemed to go off beautifully–the plaza didn’t feel claustrophobic, the screens were easily visible from many places, getting there and getting in was a simple process, and there were no lines to buy food–most likely because people were allowed to bring along picnic baskets of their own, in the spirit of a Hollywood Bowl concert outdoors.

He was unsure whether or not they would do something like this again, but was taking careful notice of people’s reactions, stopping by different groups or families to see how they were liking it–and everyone had something positive to say.

Most surprising was the amount of children in the audience–there were more than a few families in the area around me, and none looked as though they had been dragged there against their will.  I was waiting for the cell phones or video games to come out before the first movement of John Adams‘ “City Noir” was through, but surprisingly, most of them sat quietly, and the only phones I saw were ones taking quick pictures.

Hopefully this new spirit of bringing the beauty of classical music to a wider audience will persevere.  While the outdoor plaza certainly doesn’t have the impeccable acoustics of the Disney Concert Hall, I’m not sure that I noticed.  And I’m also not sure that I didn’t have more fun with friends and a picnic basket outside on a beautiful night downtown, with the city visible around me and John Adam’s new orchestral piece making me feel like I was in a 1930’s moment from Chinatown (in the best way possible).

I don’t know much about the finer details of classical music, and though I spent many years of childhood forced to labor over music theory, not much has been retained.  But I do know that hearing this music performed live and being able to see someone like Dudamel lead so many world class musicians is a unique experience that allows you to connect in ways that are impossible to do otherwise–Mahler’s Symphony No. 1 isn’t quite the same when its played on an iPod.

The beauty of Dudamel’s new tenure with the LA Phil is largely his ability to connect with a wider audience and bring classical music to people who may have felt a distanced from it.  A nearly 10 minute long ovation at the conclusion of the concert said it all in regards to the warm way the city feels towards him already–it will be interesting to see if the welcoming and accessible spirit that has infiltrated classical music in LA will remain.

Landa = Literature & Art

October 3, 2009…

Gustavo Dudamel held the globe suspended on a string. For a moment the earth did not rotate. It stopped to listen to Beethoven’s 9th.

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Then the couple next to me started making out and whispering to each other, or rather making competing vibrations to the music. So I nudged the guy, who I’ve known for 13 years. Then she checked her text messages. I took her iPhone and kept it in my coat pocket for her. They listened intertwined.

“Ode to Joy” was nowhere in sight, or ear shot. The 9th is a long build-up to the finale of exuberant celebration. I knew it was coming. They didn’t. They were making their own Ode to Joy.

“If music be the food of Love, play on!”

Gustavo articulated every movement and vibration generated by his players and the organic instruments. Jumbo screens projected three enormous images of him in black tie throwing his bohemian bush of hair back and forth with ecstatic punctuations that matched his butterfly hands. All the musicians got screen time, too.

The making out continued without whispering vibrations…just smacking of lips, like library stacks kissing. Quiet as possible but still noticeable. For context, we had just finished a bottle of wine between the three of us and there was a full moon hanging in the comfortably cool autumn sky.

But here comes “Ode to Joy,” the deaf man’s revelation of sound to describe what my friend and his new girl were feeling.

They were feeling their own vibrations so much that they left early. They missed the fireworks!…the multi-lingual translation on the jumbo screen of the orchestra’s lyrics.

I had goosebumps during “Ode to Joy”–it is eternally mellifluous, and especially endowed with emotion when Dudamel conjures the old master’s work.

The Bowl was hooting and hollering afterwards. The Dude exited and came back three times to cheerful applause. It was a magical evening of love and beautiful music in Los Angeles, CA.

http://www.youtube.com/watch?v=hsU7CTLeV-c