Wintercircus Ghent’s Post

Communication is key in any project, from building a software solution to playing a classical concert. A single misunderstanding can be catastrophic. I recall a case where knowledge and great talent solved a misunderstanding in music. A great pianist, Maria João Pires, was invited to play a concert at the last moment because the original pianist was not able to do it. Without rehearsal, she was scheduled to play a Mozart piano concerto. The confusion arose because she understood the concert was for the Piano Concerto No. 23, K488, but the orchestra had prepared for the Piano Concerto No. 20, K466. It was a shocking moment during the concert, in front of the audience, when she heard the first notes played by the orchestra and realized the misunderstanding. Fortunately, she had also performed the Piano Concerto No. 20, K466 several months earlier and was able to overcome this problematic situation. In this case, I want to highlight: - The bravery and skills of this great pianist in successfully facing this incredible challenge. - A great director with a kind, assertive, and supportive behavior during challenging times. Unless you belong to the elite of the best in your field worldwide and don't mind the upheavals, which could have been catastrophic, you should avoid misunderstandings. You can see a video about these difficult moments and an interview with the pianist too. #communicationskills #projectmanagement #problemsolving #teamwork #leadership #music #classicalmusic https://lnkd.in/dasWfzSC https://lnkd.in/dgUEeaem

Best quotes from ICO Advice. 🎶 - Don't focus on the small stuff. - When your body feels great, then your playing sounds better. - By doing small steps every day, little by little and being patient, you can achieve a lot in a small amount of time. - The more I fought the anxiety, the worse it would get. So I would say to myself 'Of course I feel nervous, bring it on!' - ICO is like-minded people in a room. Everyone is friends and passionate about the same thing. We have a sense of adventure, it's a wonderful and rare thing. Discover more advice here: https://lnkd.in/dfxdEgDS #musiceducation #musicalinstrument #education #chamberorchestra #irishchamberorchestra #ireland #orchestra #learningmusic #icoadvice

Rhapsody In Blue Merrick Chamber Orchestra  Richard Gilley Piano  (No. 37 No. 38)  Agitato mf Molto marcato  Analysis This section starts out at (No. 37) marked agitato, with the same melodic motif that was introduced the first time that the piano played at the beginning of the Rhapsody. This melody was also developed in the poco agitato section earlier. It consists of a 16th rest followed by three 16th notes and two eights. This familiar theme is used a different places throughout the Rhapsody, but in this section, it is developed with great speed and intensity, as it is actually a recap of the poco agitato section. At (No. 38) the music progresses with greater intensity and keeps building, and leads us to the molto marcato section which is six measures long. Molto means much or very, and Marcato means to perform with emphasis. Here, the orchestra plays a chromatic scale in contrary motion. Half of the orchestra ascends, while the other half of the orchestra descends chromatically. As the orchestra plays the chromatic scale with each note accented, as the scale continues it dramatically slows down to a final B-flat chord followed by a fermata before the last section of the Rhapsody.

Here's our review of the #SalzburgWindPhilharmonic's latest #Beethoven recording: The Symphony of Fate "is performed less dramatically than what one has become accustomed to. Despite the obvious absence of strings, the orchestra’s sound is clear, yet the symphony is fully complete. This in itself requires significant musical mastery, which Conductor Hansjörg Angerer displays as his recording demonstrates absolute fidelity to the composer’s vision...The recording of the Pastoral Symphony is equally true to Beethoven’s vision." https://lnkd.in/dex3egVS

For orchestra directors and concert planners. I've been doing some research. I don't have an enormous amount of data to go on, but, of the concert programmes I've managed to get hold of, which have included "Serenata" (the first movement of my Sinfonietta No.1 ("Silver")), more than 78% have used this piece as their concert opener. Some have included "Serenata" as a stand-alone work, some have paired it with the second movement, most have included the whole Sinfonietta. But so many have made it the first thing their audience hears. That tells me one of two things:- (a) they can't think where else to put it, or (b) it makes a great concert opener I know which I think! I'll put some links in the comments below for those not aware of the work. Check it out if you're looking for the ideal way to start your concert! #orchestra #youngaudience #classicalmusic

Here's something that will clear out the cobwebs, from the other side of the earth, originated in Italy, the international brotherhood of classical music, peace on earth can be attained: https://lnkd.in/eQGqqC5s

How about the basic woodwind in the symphony orchestra, the recorder? They can be very basic or quite sophisticated; you may have played one in public or private school. The recorder has been around for ages, one of the earliest instruments. The recorder is a family of woodwind musical instruments in the group known as internal duct flutes: flutes with a whistle mouthpiece, also known as fipple flutes. A recorder can be distinguished from other duct flutes by the presence of a thumb-hole for the upper hand and seven finger-holes: three for the upper hand and four for the lower. It is the most prominent duct flute in the western classical tradition. Here is a Vivaldi Concerto that will blow your socks off, how a recorder can be the star of the symphony orchestra: https://lnkd.in/eAXKqKFB

IN IT TO WIN IT

#classic #classicalmusic #piano #playlist #chopin #scherzo #ballad Frederick Chopin's Four Scherches is a single-movement piece for a solo piano composed between 1833 and 1843. They are often connected with Chopin's four ballads composed around the same time. These works are examples of large-scale autonomous music that is constructed within a classical framework but goes beyond the existing expressive and technical limitations. Unlike the classical model, the musical form adopted by Chopin uses a lot of "gestures of despair and demonic energy," not elements of humor or surprise.

Rhapsody In Blue Merrick Chamber Orchestra  Richard Gilley Piano  (No. 33) Leggiero (No. 33 G) Agitato e misterioso sempre staccato Analysis This section is marked: Agitato e misterioso, which means very quick with excitement, and mysteriously. The articulation marking says sempre staccato, which means short and detached throughout. There is also a making that says (Start slowly and gradually increase in speed) with a mf mezzo forte dynamic marking which means medium loud. Here we have a series of sixteenth notes, some which are chords and some that are single notes that are played with the left hand which have accent markings. Analysis: Musical markings: The section is marked "Agitato e misterioso," indicating a mood of excitement and mystery. The articulation marking "sempre staccato" instructs the performer to play the notes short and detached throughout. Additionally, the instruction to "Start slowly and gradually increase in speed" with a dynamic marking of mf (mezzo forte, or medium loud) suggests a gradual buildup of intensity and speed. Character: The combination of agitated and mysterious elements creates a sense of tension and intrigue in the music. The quick tempo and detached articulation contribute to the sense of urgency and excitement, while the mysterious quality adds depth and complexity to the mood. Rhythmic pattern: The section features a series of sixteenth notes, some of which are played as chords and others as single notes. The left hand plays these notes with accent markings, adding emphasis and rhythmic drive to the passage. The presence of chords and single notes creates a varied texture and adds interest to the rhythmic pattern. Dynamic and tempo changes: The instruction to start slowly and gradually increase in speed, along with the mezzo forte dynamic marking, suggests a dynamic and expressive performance. The gradual acceleration of tempo enhances the sense of excitement and tension, while the medium loud dynamic allows for dynamic contrast within the section. Overall, this section of "Rhapsody in Blue" showcases Gershwin's ability to create a sense of urgency and mystery through rhythmic complexity, dynamic contrast, and expressive performance markings. The combination of agitated rhythms, detached articulation, and gradual tempo acceleration adds depth and drama to the music, contributing to the overall narrative and emotional impact of the piece.