European Union Youth Orchestra’s Post

Today’s German expression: Da steppt der Bär! (That’s where the bear dances.) Meaning: a lively and wild party or event, indicating that there's a lot of fun and excitement happening. Example: Da steppt der Bär auf dem Festival! Die Musik ist großartig, und alle tanzen bis zum Morgengrauen. (The bear is dancing at the festival! The music is fantastic, and everyone is dancing until dawn.) #AmiableLanguageServices #learninglanguages #learninggerman #Germanfun #germanexpressions

The #EuropeanAnthem not only inspires people across 27 EU countries but 46, the countries that are part of the Conseil de l'Europe! And surely this anthem also inspires the people of Belarus and the Russian Federation, not members of the #CouncilofEurope, who hope their countries will apply the #democraticstandards we apply ourselves. Indeed, this anthem identifies the #Europeanidentity. The one considered as the great #democraticEurope that we have been building more consciously since the end of World War II. 🎶 More #versions of this anthem can be heard at this link: https://lnkd.in/dNwC7SpM

🎼 SWEDEN has chosen its song and performers for the 68th Eurovision Song Contest. 🎼 Norwegian twins Marcus and Martinus will represent Sweden with the song “Unforgettable”. This is quite a surprising choice. Imagine France having two Spaniards representing the nation, or viceversa. Or imagine Italy having two Germans represent the country, or viceversa; or Greece having to Danes representing them at this year’s European song contest - Unthinkable. Forgettable. Why Sweden admitted two non-Swedish citizens (unless I’m misinformed here) is a mystery and not only to me but to all the people I spoke about it outside Sweden. Having two Norwegian citizens (no matter how good they are) representing Sweden: is it a sign of openness or a sign of self-denial? Two Norwegian singers; singing a song in English & who are already established within the European music industry - and zero Swedish. An interesting mix or a sad mix? Does it prove that Sweden’s sense of nation and cohesive country is a remote feeling and a dwindling reality? Has modern Sweden always been so international as to care little, or not at all, about who represents it? 🤦♀️ Are they so “free” hmmm… free of themselves? Or has the sense of nation/country always been weak, or was it made weak particularly during Sweden’s long isolation under one-party tenure and prior to joining the EU? But perhaps the majority of Swedes don’t care about the Melodifestivalen and the European Song Contest. It’s not like NATO - where the whole nation was behind it. Isn’t it? Interesting question, eh?! Melodifestivalen 2024: Good luck to the Norwegian winners. And commiseration to the Swedish losers. https://lnkd.in/e9-A_Zkz

Rachael Kohn today writes in the Australian, following her piece last year protesting at a  ‘statement read out by an orchestra musician that the SSO supported the Uluru Statement from the Heart and the Yes vote’ - Kohn interpreted this as ‘blatant politicking’ and ‘breach of contract’ and links political statements by orchestras to the historical instrumentalisation of the arts by regimes to promote propaganda. In her latest piece, after providing examples of political commentary from artists in the 1960s and 1970s, she then makes a case that the 'rarefied' environment of classical is not the place for such statements. She returns to a point from her earlier piece: that classical music audiences should somehow be protected or sheltered from any form of discourse that may challenge or offend: 'many of whom support classical musicians as generous patrons, and by way of competitions and prizes that keep this notoriously demanding and financially tenuous profession afloat' She views performers as 'these privileged musicians [who] are entrusted with a repertoire of music that has been handed down for generations, centuries in fact, for the one purpose of presenting it to devoted audiences who wish to hear it played to the highest standard.' In other words, in Kohn's view, musicians are simply carriers of repertoire, recreating it to 'the highest standard'. This disregards both the artist's agency, influence, and capacity to move, transform, and effect through performance and the—often—overt social and political context or message of the original works. In other words, art for art's sake. See a fantastic piece by Professor Peter Tregear OAM in The Conversation Australia + NZ for extensive examples that contradict this belief. In my view, viewing classical and orchestral music as 'rarefied' and protecting its audiences like this is one of the key challenges of audience development in heritage performing arts, and it stands in the way of these artforms being living, breathing components of our society - rather than quaint museum pieces. #culturalleadership

Yesterday marked the 200th anniversary of Beethoven's Ninth Symphony's premiere - you know, the Ode to Joy, that also became the official anthem of the European Union. I have long found creative industries very inspirational about how novelties can break through and touch a wider audience. Movies introduced test screenings, iterations and conscious team castings long before any MVPs or startup building methods were introduced. Music is also a lot of things from cooperation through reaching out to applying technology. The creation process is often hindsight obvious to result in a great result. Classical music is (or should be) a very interesting case: Europe (yes, in that case we can say Europe) produced a lot of masterpieces. Pieces that engage either the "micro audiences" of many different cultures within Europe and also far beyond. But why? And how? Well, let's have a look at Beethoven's 9th: - Beethoven himself is German, with Flemish roots but moving to Vienna - interestingly, international cooperation was quite natural: authors and composers of different nations were not only exposed to eachothers' work, but also actively looking for cooperations (just think about Opera premiers and the criss-crossing travels of many artists) - for example, the particular symphony was commissioned by the London Philharmonics, Beethoven planned the premiere to take place in Berlin (that version was dedicated to the king of Prussia) - at the end, the first performance happened in Vienna. So for classical music, Europe worked well even in a highly fragmented and war-torn state (and still works to some degree). It's interesting how difficult it is for us to replicate a similar attitude in basically any other industries. To move, to scout inspiration and co- beyond borders and to see markets appropriately. Anyway, the inspiration has been with us for 200 years now :)

Here's to that

“New means change the method; new methods change the experience, and new experiences change man." —Karlheinz Stockhausen, Four Criteria of Electronic Music In the spring of 1972, the inventor of sound synthesis Karlheinz Stockhausen gave a lecture on human evolution at the Oxford Union. Stockhausen was a wildly eccentric artist and philosopher of music whose 1956 piece 'Gesang Der Junglinge' is considered the first ever composed piece of electronic music. His opera Licht (Light) which lasts nearly 30 hours took him 25 years to compose. His approach to sound-creation was deeply esoteric. Stockhausen embraced the audio technologies emerging in the latter half of the 20th century to push the boundaries of how we understand and engage with music today. Artists like The Beatles, Pink Floyd, Radiohead, Portishead, Bjoerk or Aphex Twin credited his work amongst their top influences. In the Oxford lecture, when challenged by a student who suggested that his electronic music is dehumaning, Stockhausen replied by referring to the Indian sage Sri Aurobindo's view on the evolution of human consciousness: "We are in a state, as human beings, of multiplying with an enormous speed and I doubt if the most illuminated people will multiply with the highest speed, which means that in a very necessary and healthy way subconsciousness is exploding." Then he moved on to Sri Aurobindo's interpretation of human evolution as 'involution' which according to him is a new terrestrial mutation of human beings. This transformation causes fear in the majority of humanity who might feel increasingly anxious in the face of the imminent inflection point which marks an evolutionary phase shift. "This, naturally, is the moment of extreme crisis which is that truthful moment that comes very rarely in the world of ages, where consciousness switches on a new level but not in large numbers." This mass fear of the unknown creates "antagonism, and wars, and fights, discussions, and god knows what... extermination, fascist systems, all sorts of things. It's a sign of rebirth of humanity." Link to the lecture in the first comment.

ThrowbackThursday: Celebrating the rich traditions and folk influences that have woven their way into classical music! Today, let's shine a spotlight on two legendary violinists who have left an indelible mark on the world of music. Nathan Milstein's legacy is as timeless as the melodies he played. His refined technique and interpretations of classical repertoire transported audiences to ethereal realms. Yet, what truly sets Milstein apart is his profound advocacy for preserving and promoting Jewish folk music. Through his performances, he illuminated the beauty and resilience of his cultural heritage, bridging the past with the present. Gidon Kremer, a virtuoso beyond compare, dared to tread uncharted musical territories. His exploration of Eastern European folk music breathed new life into age-old melodies, infusing them with passion and vitality. Kremer fearlessly challenged traditional boundaries of classical music, venturing into bold collaborations with contemporary composers. In his hands, the violin became a vessel for cultural exchange, uniting diverse traditions in a harmonious symphony of humanity. As we reflect on the legacies of Milstein and Kremer, let's remember the power of music to break barriers, transcend boundaries and connect hearts. Their unwavering dedication to preserving and innovating within the confines of folk influences continues to inspire generations of musicians worldwide. Here's to honoring tradition while embracing the endless possibilities of artistic expression! #CnjAssociates #ClassicalMusic #FolkInfluences #MusicalLegends

Carin Leon Set To Open For Rolling Stones in Arizona Concert Carin Leon, the famed Mexican singer from Sonora, is set to open for the Rolling Stones in their next concert in Arizona. You can buy tickets here: Rolling Stone & Carin Leon. We learned of this via Noreste, a #Mexican publication based in the northern region from where Carin Leon originates. The concert will take place on May 7th, 2024 in Glendale Arizona at the State Farm Stadium. Mexican Regional Is Hard To Ignore No British band is more iconic than the Rolling Stones short of the Beatles, but the key difference is that the group has never stopped touring which makes them a brand that lives on far from being memorabilia. Mick Jagger who is hovering near his 80’s is hard pressed to need an introduction anywhere, but while his youth has faded, nothing about the music’s quality has changed For some, it’s tough to conceptualize that The Rolling Stones even need to approach a different audience. Or, do the they? The band and their business managers may be noting the sea change in how much Mexican culture is being exported across the world. Hoping to cash in on the eventual European arrival, why not cross-promote may be the reasoning. The look, the feel and content of Mexican regional is unique and distinctive. This makes for easy selling and increases cross promotion profitability, and, as was noted in ‘Rockonomics’, a book detailing the intricacies of winners and losers in the music business, the most famous artist in the world will always be ‘featuring’ so who knows if this is simply a prelude for more to come. https://lnkd.in/emnexUxi

For some, it's tough to conceptualize that The Rolling Stones even need to approach a different audience. However, the band and their business managers may be noting the sea change in how much Mexican culture is being exported and monetized across the world. Hoping to cash in on the eventual European arrival, 'why not cross-promote' may be the reasoning. The look, the feel, and content of Mexican regional music are unique and distinctive. This makes for easy selling and increases cross-promotion profitability, and, as was noted in '#Rockonomics', a book detailing the intricacies of winners and losers in the music business, e.g., the most famous artist in the world will always be 'featuring', so, who knows if this is simply a prelude for more to come.