The New York City Council was instrumental in making Excellence In Music possible

Acclaimed 21-year old Japanese-American violinist and native New Yorker Ryu Goto , currently majoring in physics at Harvard University (Class of 2010), created the Excellence In Music initiative to give back to New York by transforming the lives of NYC students through the power of music.

Goto Explains, “Through Excellence In Music, in cooperation of the New York City Council, S&R Technology Holdings, LLC and the NYC Department Of Education, I can give back to the city that has given me so much as an artist and a person. I’m excited to provide opportunities for NYC students to develop their talent and appreciation of classical music.”

The New York City Council was instrumental in making Excellence In Music possible.

NYC Council Speaker Christine C. Quinn states, “ The New York City Council has long been committed to providing public school students with an arts education. We’re pleased Ryu Goto is working with the Department Of Education to provide opportunities and assistance to deserving student musicians as well as the chance for students across the city to experience and appreciate classical music. It’s our hope that Ryu’s “Excellence In Music” initiative will both support and encourage NYC students to recognize their talent and realize their goals.”

NYC Council Education Committee Chair Robert Jackson added, “I am delighted an artist of Ryu Goto’s caliber is bringing deserving NY students new ways to learn about and enjoy classical music, and to realize their aspirations as student musicians, and thank S&R Technology Holdings for making the Award possible.” He adds, “Such an opportunity (the concert, and open rehearsal) is possible ONLY in New York because of the concentration of cultural institutions that we have here and I hope Ryu’s example will inspire other artists to share their time and talent with public school students throughout the city.”

Excellence In Music begins with two far-reaching efforts: the presentation of the Ryu Goto Excellence In Music Award, Sponsored by S&R Technology Holdings, LLC, on May 4, 2010, and an Open Rehearsal performance of his Carnegie Hall debut with Orpheus Chamber Orchestra, taking place on April 30, 2010 at Stuyvesant High School. Future efforts include collaboration with the All-City Orchestra, master classes and one-on-one workshops.

States Paul King, Executive Director of the Department of Education’s Office of the Arts and Special Projects, The Department of Education thanks S&R Technology Holdings, LLC for their generous grant, and we are delighted to partner with a musician of Ryu’s caliber. The Excellence in Music Award is a significant step toward fostering the development of musical talent and the study of classical music in New York City schools.”

The Ryu Goto Excellence In Music Award, an annual 00 scholarship awarded to an exceptional student musician in the All-City Orchestra, will be presented at NYU’s Skirball Center, on May 4, 2010. The Award provides practical support to talented student musicians.

S&R Founders and Managing Members Dr. Kuno and Dr. Ueno state, “S&R Technology Holdings is pleased to have the opportunity to work with Ryu Goto, the NYC Council and the NYC Department Of Education to create the Excellent In Music Award, and we look forward to a long and fruitful relationship that allows us to provide assistance to talented NYC student musicians.”

The April 30th Open Rehearsal of Ryu Goto’s Carnegie Hall concert at Stuyvesant High School, in collaboration with Orpheus Chamber Orchestra, giving students an opportunity to see the creative process in action and enjoy some of the world’s finest musical talent.

Orpheus Executive Director Graham Parker affirms “The opportunity for the Orpheus Chamber Orchestra to collaborate with Ryu Goto, the NYC Council and the Department Of Education on this Open Rehearsal not only gives our musicians an opportunity to provide NYC students a view of the creative process, but helps to foster a love and understanding of classical music in general, and we are delighted to take part.”

Hindustani song is dependent on any raga product

Of india normal song is certainly defined in several makes. Most are Hindustani together with Carnatic. Greatly discussing, Carnatic song engineered during the southwest within the united states, despite the fact that Hindustani is certainly native into the northern.

Hindustani song is dependent on any raga product. A good raga may be a melodic weighing machine, which includes insights within the common 6 also known as sa, re, ga, ma pa, dha, together with ni. Above and beyond sa together with pa that can be persistent, and the second insights may very well be during serious or simply slight shade, all this delivers grow that will immeasurable products. 12 common sizes or simply thaats happen to be established, together with other ragas are thought to be of having grown with those. A good raga will need to possess around your five insights.

Dependant upon the insights found in it all, every one raga gets a distinct individuality. The shape within the raga is contingent on the layout for ascent together with lineage within the insights, which unfortunately are probably not rigorously linear. Tune is created away by just improvising together with elaborating while in the specified weighing machine. Any improvisation has reached circumstances habit always going together with for many other circumstances without all overt habit.

Formalised compositions (records or simply a key player compositions from a permanent meter) happen to be juxtaposed when using the improvised chunk. Khyal together with Dhrupad happen to be several serious different kinds of compositions while in the Hindustani sort. Within the several, Dhrupad is definitely aged mode together with entails rigourous information on habit deal with and even tone society. Khyal engineered as the most common solution simply because it incorporates together impede together with vivid compositions, despite the fact that it all continues a thoroughly normal individuality.

Placido Domingo’s young man, Placido Jnr., shown the sunday any severity within the pestering fresh been through seeing that exiting any School for Scientology.

Placido Jnr., on his own a good vocalist together with songwriter, is a member of any school meant for 20 years. She connected with this lady, Samantha, from your school during 1994 and started of having a couple of children. Placido together with Samantha now are sonata recall, together with Samantha resides during Kent, they also remain on superior terms and conditions.

The difficulties meant for Placido set about anytime Samantha placed any school, together with set about receptive interaction utilizing Marty Rathbun, any church’s the majority influential critic. For that reason, any school used that will induce her that will “disconnect” together with old lady. Anytime she refused, any school set about implementing many different maneuvers that will ostracise her.

A good blog post sprang out counseling school participants that will unfriend Domingo regarding Facebook or twitter, together with approximately 120 without delay managed which means that. Information related to her at the same time sprang out regarding one other webpage, that will mainly attended with expected confidential auditing visits.

Domingo shows that he isn't an for a longer period an associate within the school, whilst she also provides a huge view to your philosophies for a owner D. Ron Hubbard. Fresh oral released related to this newly released challenges when using the school during pray that he will avert everybody other than them having difficulties in the same way. “If Allow me to get hold of some people don't fit into the retain, I’d get engaging in him or her a good like. ”.

But the classical music audience hasn’t always been graying

When I go to classical music concerts here in the U.S., I mostly find older listeners in attendance, even when the performers are college age.

But the classical music audience hasn’t always been graying. In the mid 20th century, classical music was hip in America, and young music lovers flocked to concerts.

What happened? And how can young classical musicians put on concerts that their peers will pay to hear?

In a powerful article in Symphony magazine, Greg Sandow contends that classical music institutions never underwent a 60’s-style revolution (as the film industry did), and this lack of transformation caused orchestras and other classical music presenters to become increasingly disconnected from young audiences.

Sandow also argues that a revolutionary tide is rising among young classical musicians.

He points out on his blog and in a 2009 piece for the Wall Street Journal that, at clubs like Le Poisson Rouge in New York, classical and non-classical traditions are cross-pollinating. The result is an alternative form of classical music that resonates with diverse listeners.

I’m in agreement with Sandow. And I’d like to see music schools catch up with the alt. classical movement such that music graduates can not only perform expertly in traditional contexts but also be at the forefront of this revolution.

Unfortunately, music schools are lagging. Most offer curricula that have changed little since the 19th century.

In my posts “Music education and entrepreneurship” and “Music: The practical career?” I propose ways in which music schools and aspiring musicians can update their visions. And I expect that the schools that embrace curricular innovations will produce more of the musical artists that we’ll be talking about decades from now.

By the way, if you’re wondering how much the change in audience demographics could be rooted in the decline in K-12 school music education, it’s hard to say.

But I believe that the effect isn’t as profound as we’d tend to predict. After all, young people worldwide – educated and otherwise – gobble up new classical music at the movies.

I’ve also learned in my 30 years in higher education that even classical music students don’t attend many traditional concerts. In fact, music schools are often forced to grade their students’ concert attendance to ensure that students catch a minimum of performances.

Again, I think Sandow is right.

So, whether you’re a veteran performer or a rising one, I encourage you to experiment with your concert programming and presentation. Explore recent models, as described in Sandow’s articles and elsewhere, and be fearless about sharing your music in formal concert halls and beyond.

SPCO in fine form for Finns

Musicians from Finland have never before had such a powerful influence on what's being presented in classical concert halls on both sides of the Atlantic. While Osmo Vanska's post at the helm of the Minnesota Orchestra has made the Twin Cities a North American epicenter of Finnish music, he's but one of several prominent conductors from that country. Not coincidentally, there's been a flood of Finnish music wending its way onto the programs of American orchestras.

The St. Paul Chamber Orchestra hasn't been resistant to the trend. This weekend's concerts were originally intended to feature a return visit by colorful and charismatic Finnish violinist Pekka Kuusisto, before illness forced him to cancel. But there are still plenty of Finns to go around. Conductor Dima Slobodeniouk is Russia-born, but has lived in Finland for the past two decades. And composer Magnus Lindberg is a hot commodity as composer-in-residence of the New York Philharmonic.

Oh, and...you rarely hear the SPCO tackle the music of Finland's national composer, Jean Sibelius, but his Third Symphony is the high point of this weekend's concerts. On Friday morning at St. Paul's Ordway Center, Slobodeniouk and the SPCO did something very special with one of Sibelius' most intimate and absorbing works. Evocative, emotional and ultimately transporting, it proved an inspiring performance, one that wept and whispered, both touching the heart and filling it with an empowering resolve that's uniquely Sibelius.

From the same land - but written about a century later - is Lindberg's Violin Concerto, which was given an arresting reading by Dutch violinist Simone Landsma. Making her Twin Cities debut, this international buzz artist was quite an impressive pinch hitter, bringing out all of the work's haunting hum and anxious tones. It's a piece that produces an atmosphere of dread, menace and trepidation, but it moved toward triumph, propelled by Lamsma's transfixing cadenza and a finale full of powerful strokes and intricate passagework.

Classical Music News of the Week: Sept. 11, 2011

The USC Thornton School of Music and the L.A. Philharmonic in partnership with The Colburn School and the Los Angeles Chamber Orchestra bring together masters of the cello and young cellists from around the world for the inaugural Piatigorsky International Cello Festival, a unique celebration of the cello, its music and its musicians. Twenty-two outstanding artists, representing twelve countries, converge on Los Angeles for ten days, March 9 through 18, 2012, to share their artistry and teaching experience through orchestral concerts, chamber music performances, master classes and interactive events. The Festival is led by Artistic Director and USC Thornton School of Music Piatigorsky Chair, Ralph Kirshbaum, in honor of Gregor Piatigorsky , one of the legends of the cello whose tenure at USC heralded a period of incredible vibrancy in the cultural life of Los Angeles.

 The opening concert features the American premiere of Thomas Demenga's Double Concerto performed by the composer and his brother Patrick, and the appearance of 2011 Tchaikovsky Competition Gold Medalist Narek Hakhnazaryan performing Saint-Saëns' Cello Concerto No. 1 with the Festival Orchestra. In addition to the American premiere of Demenga's Double Concerto, the Festival presents the American premiere of Miklós Perényi's Scherzo with Introduction, continuing the tradition of great cellist/composers exemplified by Piatigorsky.

Other highlights include the unique opportunity to hear the six solo suites of Bach performed consecutively by six different cellists, and an evening of film and discussion celebrating the life and career of Gregor Piatigorsky enlivened by a panel that includes his grandson, Evan Drachman, and six of Piatigorsky's esteemed former students. Master Recital programs highlight an exciting diversity of works ranging from contemporary compositions to seldom performed masterpieces. Three of the Festival's concluding concerts, a Los Angeles Philharmonic subscription series conducted by Neeme Jä rvi, showcase outstanding soloists performing Dvorák, Shostakovich, and Tchaikovsky. The Festival's finale features over 100 cellists on the stage of Walt Disney Concert Hall for the West Coast premiere of Rapturedux by Christopher Rouse.

This ten day gathering of diverse musical values and points of view will strive to provide an inspirational showcase that will resonate throughout the world. The rich and varied kaleidoscope of master classes, recitals and concerts given by some of the greatest cellists of our time provides a unique opportunity to bring together the leading musical institutions of Los Angeles with representatives of the broader international music community.

Cellists will include Patrick Demenga, Thomas Demenga, Evan Drachman, Narek Hakhnazaryan,
Frans Helmerson, Gary Hoffman, Steven Isserlis, Terry King, Ralph Kirshbaum, Ronald Leonard, Laurence Lesser, Antonio Lysy, Mischa Maisky, Miklós Perényi, Jean-Guihen Queyras, Nathaniel Rosen, Andrew Shulman, Jeffrey Solow, Peter Stumpf, Raphael Wallfisch, Jian Wang, Alisa Weilerstein, and members of the L.A. Cello Society.

Pianists will include Ayke Agus, Bernadene Blaha, Rina Dokshitsky, Kevin Fitz-Gerald, Jeffrey Kahane, Antoinette Perry, and Connie Shih.  The narrator will be John Rubinstein, and the conductors
Neeme Järvi, Courtney Lewis, and Hugh Wolff.

--Nate Bachhuber, Kirshbaum Demler & Associates

Strathmore Announces Musicians in 2011-2012 Artists in Residence
AIR program expands with acceptance of first electronica, Gypsy jazz, R&B
North Bethesda, MD: Strathmore's burgeoning Artist in Residence (AIR) program continues to grow in its seventh season with the induction of its first electronica, Gypsy jazz and R&B musicians. Since its inception in 2005, Strathmore's AIR program has helped to support the local music community by nurturing the careers of 34 emerging musicians. 2011-2012 AIR participants are Gypsy Jazz vocalist Mary Alouette, singer-songwriter ellen cherry, soul electric guitarist Nate Foley, R&B vocalist Jay Hayden, electronica musician Yoko K and clarinetist Rob Patterson. AIR participants will be mentored by established local musicians Dan Hovey, Seth Kibel and Connaitre Miller.

AIR concerts in the Mansion begin on Wednesday, September 14, 2011 at 7:30 p.m. with clarinetist Rob Patterson in the Shapiro Music Room. All AIR concerts in the Mansion begin at 7:30 p.m. Admission to Artists in Residence concerts is $12 for the general public and $10.80 for Strathmore Stars. Admission to AIR mentor concerts is $15 for the general public and $13.50 for Strathmore Stars.

Strathmore's AIR program cultivates local musical talent in the Washington, D.C. area. Emerging talents hone their craft through intense mentor relationships with established performers. Artists in Residence build their business acumen through professional development workshops, create school outreach programs and perfect their stage presence and expand their audiences during live performances. Each Artist in Residence is a featured performer in the Mansion at Strathmore for one month, in which they present salon-style concerts. The AIR experience culminates in the premiere of a new work commissioned by Strathmore, reflecting each musician's growth during the program. AIR graduates include Grammy nominated hip hop artist Christylz Bacon, celebrity jazz harmonicist Frédéric Yonnet, Saddle Creek recording artist Laura Burhenn and her band, the mynabirds, and ukulele chanteuse Victoria Vox.