Beitrag von Jugend- & Kulturprojekt e.V. (JKPeV)

Gerade in der frühen Country Music findest Du die besten Ideen, wie Du alleine mit Deiner Gitarre Lieder ausgestalten kannst. Ich zeige Dir hier die Spielweise, die Jimmie Rodgers schon 1927 entwickelte und die Dir bis heute Ideen für Deine Lieder geben kann. https://lnkd.in/dTEVKhG8

In my tenure at the German National Theater I was also the responsible director of the Staatskapelle Weimar, an important A- Orchestra in the German East. Both worked together in the same organization. In a period of 10 years I had to work with three different Chief Conductors, all of who had at least two to three engagements as Chief Conductors with different orchestras and/or theaters on different continents. The problem was that the orchestra, as well as the choir and the singers were very dissatisfied and urged us, the management of the theater, to terminate the contract. Why? If you lead two or three orchestras, which is unfortunately encouraged by the agencies, you can no longer concentrate on any of the orchestras. I experienced tired, uncommitted and completely uninspired conductors whose musical quality continued to decline. Their assistants/ 2nd conductors often conducted the operas, which were actually supposed to be conducted by the chiefs. The reason was that we didn't get enough appointments of the chief conductors for the contractually foreseen opera performances from their agencies. The contracts foresee usually 2 (of 6 to 8) operas à 6 performances each, and 3-4 (of 15 and more) concerts in a season. That is the normal situation in theaters, where Chief conductors work less than 1/3 of a whole season and less than 1/4 of the whole musical program. It was no secret, but nobody talked about this situation openly. This must be changed. It is necessary that conductors invest their time and life into an orchestra - not two or three. Of course she or he has to work with other orchestras too, but s/he can only have one home base. You can't coach Bavaria Munich and Real Madrid at the same time. Whoever started these bad habits did not understand the essence of arts. One Chief + one contract = one orchestra. We have to fix this situation and bring it back to the roots We should really think about reforming the orchestra structures to open them up to teams of conductors and new contracts for chief conductors, if we cannot stop this habits. If a conductor can lead two orchestras, then an orchestra shouldn't have to settle for half a conductor only who doesn't have time to do the administrative work he's contractually obligated to do.

#tbt Unterwegs als Musical Director an den Keys mit Cassandra Steen (Vocals), Max Grund (Git), Michi Hubert (Drums), und Mr. Rawdriguez (DJ) von Düsseldorf nach Amsterdam auf einem Corporate Event organisiert von der Power-Frau Vera-Irina Fuhrmann. 😀

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Ein, wie ich finde, treffender Kommentar von Georg Leyrer (Kurier, Österreich) zu den vielfach tobenden Meinungskämpfen. Georg Leyrer (Kurier, Austria) wrote an, as I find, apt commentary on the so many raging battles of opinions. #society #conflicts #opinionation #manipulation #populism English (shortened) Populism: 12 points – The Song Contest was politically poisoned this year. For the first time in its history, it taught us something about the world. – This time not Austria but the Song Contest was the "small world in which the big one holds its rehearsal", as Friedrich Hebbel said 1862 in the Vienna opera theatre. Grand opera the Song Contest usually is, a musical theatre spectacle that takes itself far less seriously than those who criticise it with zeal. This year, the mostly trivial "shit" (Andi Knoll) was bitterly serious. The small world rehearsed in Malmö was oppressively simple: Israel is evil, and it's okay to threaten, persecute and mob a 20yo singer on stage. When artists put each other down. When you shout "Shame on you" at the audience, even though shame is one of those ancient instruments of power that the Song Contest played a leading role in abolishing. Dutchman Joost Klein, on the other hand, is good in this small world. The fact that he is said to have aggressively attacked a camerawoman is suddenly not a problem in the "peace and tolerance" circus. They insist on jurisdiction: as long as Klein is not arrested, he should perform, was suggested after his disqualification. As if criminal law were the only boundary that determines how we live together. This is outdated nonsense. The song contest thus showed how principles that have already been conquered are immediately dropped when it suits the situation. How easy it is to enter a spiral of destructiveness, how much encouragement destruction receives if it only happens ideologically on the "right" side. And that is always the own. The song contest, of all things, showed what is going wrong in Western democracies: More and more people are getting caught up in the destructive view that they have figured out the world. The politicians? All bad (except the ones I vote for). The media? All bought (unless they write what I think). The young? All spoilt! The old people? All problem bears and problem women. Everyone has long had their opinion on Israel and Palestine and Russia and Ukraine and gender and identity, neighbours and new arrivers, which they don't question but have confirmed on the internet all the time. The democratic population lapses into a poisonous complacency that believes it has all the answers. To see the shades of grey and ambivalence is a sign of weakness. But the world is not that simple. Anyone who indulges in simple answers will only find them in political populism. And one can see where this leads everywhere. This was particularly evident in Malmö recently.

🎶 Mein Soundtrack der Woche? Musicals "Hamilton" und das Lied "Defying Gravity" aus "Wicked" Warum ich das hier teile? Arbeit geht mir oftmals mit der richtigen Musik leichter von der Hand. Die Musicals machen einfach gute Laune und spornen zur Arbeit an. ❔ Welche Musik steht bei dir gerade hoch im Kurs und hat dich diese (Arbeits-) Woche begleitet? Dies ist die dieswöchige Frage des #reflectandlearn

Erfahrt in meinem neuesten Blogbeitrag "Almhochzeiten in Tirol: Tipps für die perfekte musikalische Begleitung", wie ihr mit der richtigen Musik eure Traumhochzeit in den malerischen Alpen unvergesslich macht. https://wix.to/tuEiQ6J

2024, many wishes, peace first 1940 "Charlie Chaplin - Final Speech from The Great Dictator" (english - german) https://lnkd.in/e8g4_WYP or the version of "Berge" 2015 https://lnkd.in/ebv8QERJ Mit welchem Lied gehst Du ins 2024? Welche Musik, welcher Klang, welches Summen begleitet Dich? https://lnkd.in/ejs-3y9m

Vgl. die Reinheit und Klarheit ihrer Stimme.

State Theater Kassel: Disputes and Power Disputes between an artistic director/CEO and an orchestra are always a sign that serious conflicts are emerging beneath the outwardly "feel-good" surface. This is what happened in Kassel, the city of Documenta, which also has a state theater that is financed by the state of Hesse and the city. The recently established General Director (Generalintendant) still is the only and last decider. But of course he has to respect the established democratic bodies. This includes maintaining good contact with the orchestra's board in order to show his efforts that he is capable of managing a large house with many artists and artistic collectives. In my view, the main problem is that the desire for unrestricted power on the one side, and the legitimate control of this power on the other is no longer guaranteed when letters are dictated from top to bottom, problems emerge in the public and conflicts are resolved before the court. Trust and loyalty have gone. They are the major lubricants for each organization. If they are gone, there will be no peace between the former partners. "By statute, we are a hierarchical company that needs correctives," is the main comment of the General. Unfortunately, this was true, but it is no longer. Theater is a place of the commons. Empathy and participation are two pillars of the kind of new theater organizations of the 21. century. Why do we lose time in the transformation process? This happens in so many cultural places, with every single man announced for an artistic CEO position, who will take on this new function without a doubt. Every director has the right to reorganize a theater and turn a "General" position into a team of leaders. It's impossible for a house this big to be run by one single artist because either the leadership suffers or the art. In this interview, in the words spoken, I see the complete unwillingness to share power. But a lot has changed in the last 10 years. In the Wiesbaden State Theater, the same federal state b.t.w., in contrary, they have done it much better: two women will share the function and direct the State theater together. Why is there not a single example of a successful men's team in Germany, and why can women do it so perfectly well? The only two men who succeeded, albeit in Switzerland, were chased away because they were supposedly too "woke" for the conservative media and city politics. It looks like, if politicians are still looking for the "strong male hand" (and genius), like the Cultural Director of the City of Cologne, who openly answered in a round table discussion, in wich I asked for a higher rate of women in the selection process: "There is no single woman who can do it, to be a good director of the Cologne Dramatic Theater." https://lnkd.in/eiQfYCjj