471 musicians back wounded BBC conductor
mainThe conductors Joshua Weilerstein and Sakari Oramo have put together a support petition:
This is an open letter decrying the appalling treatment received on social media and elsewhere by Dalia Stasevska, Principal Guest Conductor of the BBC Symphony Orchestra, regarding programming decisions for the Last Night of The BBC Proms. This letter is not meant to address the debate over whether certain music should or should not be included in the program. That is a healthy and necessary conversation to be had elsewhere, and opinions may differ. But there is no excuse for the abusive, threatening, and xenophobic language that has been directed at Ms. Stasevska over the course of this week.
We condemn in the strongest possible terms the disturbing threats of physical brutality made against Ms. Stasevska. We condemn the vulgar and sexist language used to address her. And we condemn the xenophobia, both casual and insidious, that marks these attacks, implying that a musician cannot advocate for artistic choices to be made in a country that they were not born in. As an international community of musicians, artists, and administrators, we feel it is important to stand up and speak out against this language, and to affirm our support of Ms. Stasevska.
We hope that this letter will reach those who engaged in such vitriol. We hope they will reflect on their decision to verbally abuse someone they’ve never met and/or to threaten them with physical harm. Music is a communal experience, and such experiences are all the more precious at a time when performances are necessarily few and far between. To attack a musician in this way is an attack on us all. We stand in solidarity with Dalia Stasevska, and we send her and the BBC Symphony our very best wishes for a wonderful performance.
Signed,
Joshua Weilerstein, Artistic Director, Orchestre de Chambre de Lausanne
Sakari Oramo, Chief Conductor, BBC Symphony Orchestra, Professor of Conducting and Orchestral Studies, Sibelius Academy
Anthony Marwood MBE, Violinist
Robert Gibbs, Leader, Royal Ballet Sinfonia
Thelma Handy, Leader, Royal Liverpool Philharmonic orchestra
Michael Atkinson, Cellist BBC Symphony Orchestra
Doug Hagerman, Chairman of the Board, League of American Orchestras
Maria Leino, First Concertmaster, Lahti Symphony
Martin Owen, Horn, BBC Symphony Orchestra
Jamie Campbell, Principal 2nd Violin, Aurora Orchestra, BBC Scottish Symphony Orchestra
Ryan Bancroft, Principal Conductor Designate, BBC National Orchestra of Wales
Korbinian Altenberger, Concertmaster Bavarian Radio Symphony, Professor Hochschule für Musik Würzburg
Noah Bendix-Balgley, First Concertmaster, Berliner Philharmoniker
Pekka Kuusisto, Violinist
Eva Ollikainen, Conductor
Tuula Sarotie, General Manager Finnish Radio Symphony Orchestra
Jari Valo, Concertmaster, Finnish Radio Symphony Orchestra
Richard Waters, Co-Principal Viola, London Philharmonic Orchestra
Harri Mäki, Professor of Woodwinds, Sibelius Academy of UniArts Helsinki
Matthew Hunt, Clarinetist, Deutsche Kammerphilharmonie Bremen
Solange Joggi, Orchestre de Chambre de Lausanne
Suzy Perelman, Broadway Violinist
Marianna Shirinyan, Concert pianist, Professor, Norwegian Academy of Music
Aram Demirjian, Music Director, Knoxville Symphony Orchestra
Anja Manthey, Deutsche Kammerphilharmonie Bremen
Emily Davis-Robb, Associate Leader, Royal Scottish National Orchestra
Prof. Dr. Rainer Manthey
Elena Urioste, Violinist, Co-Founder of Intermission
Tom Poster, Pianist, Director of Kaleidoscope Chamber Collective
Liisa Koivuranta, Violinist
Lotta Poijärvi, Violist, Helsinki Philharmonic Orchestra
Lea Tuuri, Doctoral student, Sibelius Academy
Anna Göckel, Violinist
Vivian Hornik Weilerstein, Pianist, New England Conservatory
Donald Weilerstein, Violinist, New England Conservatory, Juilliard School
Ben Palmer, Chief Conductor, Deutsche Philharmonie Merck, Artistic Director, Covent Garden Sinfonia
Helmi Horttana-Suoranta, Finnish Radio Symphony Orchestra
Wendy Richman, Founding Violist, International Contemporary Ensemble
Dr. Yotam Baruch, Chamber Musician
Søren Nils Eichberg, Composer
Gwendolyn Cawdron, Associate Principal Viola, Royal Liverpool Philharmonic
Paula Muldoon, Leader, Cambridge Philharmonic and Cambridge String Quartet
Dr. Yundu Wang, Pianist
Eva Thorarinsdottir, Associate Leader, Royal Liverpool Philharmonic
Cecily Ward, Violinist
Alisa Weilerstein, Cellist
Denitza Kucera, Violin, Luzerner Sinfonieorchester, Founder and First Violinist, Vector String Quartet
Valentin Uryupin
Guido Houben, Director, Megève Festival
Matilda Kaul, Violinist, Daedalus Quartet
Tomas Djupsjöbacka, Conductor/Cellist, Meta4 Quartet
Erika Maalismaa, Violinist
Ruth Reinhardt, Conductor
Perry Tal, Violinist, West-Eastern Divan Orchestra
Tomoko Fujita, Cello Faculty, Montclair State University and Hofstra University
Lina Gonzalez Granados, Artistic Director Unitas Ensemble, Boston MA
Elinor Gow, BBC Philharmonic
Caroline Pether, Manchester Camerata
Anna Stuart, Royal Liverpool Philharmonic Orchestra
Rosemary Attree, Hallé Orchestra
Anya Muston, BBC Philharmonic
Rakhi Sing, Manchester Collective
Rachel Meerloo, Hallé Orchestra
Tom Beer, Bournemouth Symphony Orchestra
Jennifer Langridge, Freelance Cellist
Nick Cartledge, Freelance Flautist
Linton Stephen, Freelance Bassoonist
Steven Proctor, Hallé Orchestra
Ben Gilmore, Philharmonia Orchestra
Alison ‘Mynx’ Wood, Freelance Musician
Christina Bouey Violinist, Ulysses Quartet, Concertmaster, Cayuga Chamber Orchestra
Paul Biss, Violinist, New England Conservatory
Jennifer Elowitch, Director of Music, Walnut Hill School for the Arts (MA)
Daniel Kidane, Composer
Paulette Bayley, Hallé Orchestra
Ruth Chinyere Gibson, Aurora Orchestra, Ensemble 360, and City of London Sinfonia
Steven Burnard, BBC Philharmonic
Greta Mutlu, Freelance Violinist
Eugene Nakamura, Munich Radio Orchestra
Christine Anderson, Hallé Orchestra
Mark Heron, Royal Northern College of Music
Steven Copes, Concertmaster, St. Paul Chamber Orchestra
Amy Jolly, Freelance Cellist
Sarah Masters, Freelance Clarinetist
Ross Snyder, Tesla Quartet
Maya Jacobs, Violist and Administrator
Felix Thiedemann, Artistic Director, Vielklang Festival, Professor, Stuttgart Musik Hochschule
Felix Umansky, Cellist, Harlem Quartet
Michael Winer, Concertmaster, Farmington Valley Symphony Orchestra
Drew Comstock, Cellist
Lisa Barksdale, Resident Musician at Community MusicWorks
Dr. Molly Gebrian, University of Arizona
Päivi Pousar, Violinist, Secretary General
Päivi Severeide, Principal Harpist, Turku Philharmonic Orchestra
Salla Savolainen, Violinist, Finnish Radio Symphony Orchestra
Terhi Mali, violinist
Antti Suoranta, Percussionist and Teacher
Alex Taylor, Head of Artistic Planning, Oslo Philharmonic
Barbora Hilpo, Violist
Matti Kyllönen, Concert Piano Technician
Cecilia Oinas, Lecturer Of Music Theory, Pianist, Music Researcher, Sibelius Academy
Petri Sainio, Guitarist & Teacher
Miika Vintturi, Pianist
Riikka Sintonen, Violinist, Helsinki
Marika Tulivuori, Freelance Clarinetist, Executive Producer
Marko Hilpo, Pianist, Theatre Music Director, Arranger, Orchestrator
Juliana Pöyry, Violinist
Ivaylo Dechkoff, Violinist, Arranger, Teacher, Producer
Elisabet Skaar Sijpkens, Stavanger Symphony Orchestra
Tumoas Pulakka, Violinist, Finnish Radio Symphony Orchestra
Stephanie Block, Violist, New World Symphony
Victoria Ford
Lizzie Burns, Freelance Bassist
Carrie Kourkoumelis, Director, Classic Harps of New England
Emily Mowbray, Royal Liverpool Philharmonic Orchestra
Taru Kircher, Finnish Radio Symphony Orchestra
Tuomas Ikonen, Finnish National Opera and Ballet Orchestra
Jaakko Kuusisto, conductor/composer
Daniel Mitnitsky, Cellist, Aviv Quartet, Orchestre de Chambre de Lausanne
Mika Kapuri, Stage Manager
Silja Salorinne, Violist, Finnish National Opera and Ballet
Pirta Pöllänen, Violinist
Terhi Dostal, Pianist
Alexander Sitkovetsky, Violinist
Maria Puusaari, violinist Finnish Radio Symphony Orchestra
Ankush Kumar Bahl, Music Director Desígnate, Omaha Symphony
Pauliina Valtasaari, Researcher/Coach/Violinist
Elina Vähälä, Violinist, Professor, MDW Wien
Mirka Malmi, Violinist Finnish Radio Symphony Orchestra
Hjalmar Kvam, Stavanger Symphony Orchestra
Colin Rockson, Former Bassoonist, Commercial Real Estate Professional
Anne Francis Bayless, Cellist, the Fry Street Quartet
Antti Rissanen, Trombonist, Freelance Conductor
Emma Mali, Violinist
Anna Lapwood, Organist, Conductor, Broadcaster
Lucy Baker, Norrlandsoperan Symphony Orchestra, Sweden
Cristina Ocaña Rosado, Opera North
Carol Ella, London Symphony Orchestra
Bea Schirmer Hallé Orchestra
Ilana Gothoni, Violinist
Ingerine Dahl, Violinist
Anu Holländer, Pianist
Liisa Karikuusi Finnish National Opera and Ballet Orchestra
Matthew Szymanski, Executive Director, Phoenix Orchestra Boston
Frank Braafhart, Stavanger Symphony Orchestra
Michelle Abraham, Associate Concertmaster, Tucson Symphony Orchestra
Iman Khosrowpour, Conductor, Irvine Valley College Symphony Orchestra, Founder and Artistic Director, Irvine Music Festival
Ed Yim, President, American Composers Orchestra
Lara Secord-Haid, Soloist
Sondre Fjose Sandberg, Stavanger Symphony Orchestra
Tim Kantor
Henry Kramer, Chair of Piano, Schwob School of Music
Deborah Schlenther, 1st Violin, Royal Ballet Sinfonia
Eero Munter, Bassist
Tuukka Haapaniemi, Voice Artist, Bass Singer, Helsinki
Andreas Helling, Turku Philharmonic Orchestra
Martina Simola, Trumpet, Lohja City Orchestra
Anna-Leena Haikola, Violinist, Helsinki Philharmonic Orchestra
Kaarina Ikonen, violist, Helsinki Philharmonic Orchestra
Jenni Lättilä, Head of Voice department, Sibelius Academy
Becky Gould, Royal Liverpool Philharmonic Orchestra
Laurent Zufferey, Conductor
Becky Steventon, Royal Liverpool Philharmonic Orchestra
Tiberiu Buta, Hallé Orchestra
Minn Major, London Philharmonic Orchestra
Aleksi Trygg, Violinist
Eero Lehtimäki, Conductor
Anna Oramo, Doctor of Music, Espoo Finland
John Devlin, Music Director, Wheeling Symphony Orchestra
Indira Rahmatulla, Cellist, Orchestre de Chambre de Lausanne
David Friend, Pianist
Lara St John, Violinist
Mark Levy, Circles Around the Sun
Tito Munoz, Music Director, The Phoenix Symphony
Helene Koerver, Brussels Philharmonic
Maria Badstue, Conductor
Elina Raijas, Flutist, Helsinki Philharmonic Orchestra
Anna Angervo, Violinist, Tampere Filharmonia
Hanna Kosonen, Music administrator, Pianist
Ritva Kaukola, Violist, Finnish Radio Symphony Orchestra
Raúl Gómez-Rojas, Music Director, Metropolitan Youth Symphony (Portland, OR)
Martta Wahlberg, Violist, Finnish Radio Symphony Orchestra
Jussi Tuhkanen, Violist, Tapiola Sinfonietta
Niklas Pokki, DMus, Pianist, Artistic director, Mänttä Music Festival
Riikka Repo, Violist
Kati Paajanen, Violinist, Orquesta Filarmónica de Gran Canaria
Laura Arpiainen, Violinist
Catherine Cosbey, Cavani String Quartet
Ilmari Hopkins, co-principal cello, Stavanger Symphony Orchestra
Merry Cadence Peckham, Chair, Chamber Music at the New England Conservatory of Music
Ande Niemi, Orchestra Attendant, Finnish National Opera Orchestra
Giuseppe Gentile, Clarinetist, Finnish Radio Symphony Orchestra
Minna Pensola, Violinist
Anna Gebert, Violinist, Professor, Zürich Hochschule der Künste
Minna Linnove-Pulakka, Violist, Finland Opera Orchestra
Esther Harriott, Freelance Cellist
Kate Suthers, City of Birmingham Symphony Orchestra
Richard Blake, City of Birmingham Symphony Orchestra
Christina Knox, BBC Philharmonic
Rebecca Whettam, Freelance Cellist
Lily Whitehurst, BBC Philharmonic
Peter Nagle, Composer/Sound Artist
Rowena Kennally, Freelance Violinist
Antti Tikkanen, Violinist
Dr. Hilary Glen, Cellist
Matti Tähkävuori, Stage Manager, Helsinki Philharmonic Orchestra
Annie Fullard, Violinist, Cavani String Quartet
Taija Angervo, Violinist, Concertmaster Finnish Radio Symphony Orchestra
Anna Rinta-Rahko, Bass, Lahti Symphony Orchestra
Terhi Ignatius, Violinist
Eva Trygg, Flutist, Lahti Symphony Orchestra
Mari Järvi, Pianist, Accompanist
Kirill Kozlovski, Pianist
Ilkka Ilari Angervo, Principal Viola, Finnish Radio Symphony Orchestra, New Helsinki Quartet
Henriikka Teerikangas, French Horn
Tuuli Talvitie, Violinist, Finnish National Opera Orchestra
Saara Nisonen Öman, Violinist, SRSO
Tanja Nisonen, French Horn, Turku Philharmonic Orchestra
Bridget Allaire-Mäki, Bassoon, Tapiola Sinfonietta
Katariina Ruokonen, Violist, Lahti Symphony Orchestra
Heljä Räty ,Tapiola Sinfonietta Finland
Taru Lehto, Violist, Lapland Chamber Orchestra
Ivan Zavgorodniy, Co-principal Solo Double Bass, Stavanger Symphony Orchestra
Sanna Palas-Lassila, Cellist, Lahti Symphony Orchestra
Nils Schweckendiek, Conductor; Professor, Sibelius Academy
Linda Suolahti, Violinist
Jaakko Ilves Violin Department, Sibelius Academy
Hannah Holsten, Violinist
Laura Åkerlund, CEO & Artistic Director, Comic Opera Helsinki
Seppo Santeri Heikkinen, Docent, University of Helsinki
Tapio Lokki, Professor, Aalto University
Elisar Riddelin, Conductor, Composer
Anniina Ahlström, Producer
Hannu Perttilä, Principal Oboe, Helsinki Philharmonic
Matthew Whittall, Composer, Instructor, Sibelius Academy
Aliisa Neige Barrière, Violinist, Conductor
Maria Itkonen, Musician
Julia Wallin, Pianist
Kanerva Mannermaa, Violinist
Niklas Hagmark, Cellist, Arranger
Yana Deshkova, VIolinist
Ivan Zecevic, Violist
Sebastian Silén, Violinist
Sini Repo-Hagmark, Oboist
Olli Kilpiö, Violist, Finnish Radio Symphony Orchestra
Liv Opdal, Cellist, SSO
Iryna Gorkun-Silen, Flutist
Laura Heikinheimo, Executive Recording Producer, Finnish Radio Symphony Orchestra
Riitta Parviainen, Retired Music Teacher
Synnøve Gustavsson, Violinist
Kristian Sallinen, Violist
Pauline Fleming-Unelius, Violinist, Finnish Radio Symphony Orchestra
Kaisa Kallinen, Violinist, Finnish Radio Symphony Orchestra
Luukas Hiltunen, Musician
Esko Heikkinen, Freelancer
Ilya Ram, Conductor
Camilla Vilkman Co-Principal viola, Finnish Radio Symphony Orchestra
Minna Lindgren, Writer and Journalist
Joel Ward, Singer and Recording & Mixing Engineer
Riitta-Liisa Ristiluoma, Solo Violist, Finnish National Opera
Ilya Gringolts, Violinist
Jarkko Launonen, Cellist
Anna-Maria Helsing, Conductor
Marjukka Päivärinne, Pianist, Lecturer in Piano
Eija Kankaanranta, Kantele Musician, Doctor of Music
Annukka Nevalainen-Lius, Violinist
Aku Sorensen, Conductor and Violinist
Niamh McKenna, Principal Flutist, Helsinki Philharmonic Orchestra
Lauri Kilpiö Composer, Lecturer in Composition, Sibelius Academy
Mari Palo, Opera Singer
Tuulikki Närhinsalo, General Manager, Retired
Tatu Pohjola, Producer, Aalto University
Tatu-Pekka Paukkunen, Freelancer Horn Player
Ilkka Uurtimo, Cellist, Lahti Symphony Orchestra
Anna Tanskanen, Violinist
Vuokko Ahtila, Harpist
Kristina Bogataj, Choral Conductor, Finland/Slovenia
Merit Palas, Violinist
Heidi Ketola, General Manager
Rea Nyholm, Music Librarian
Sheila Lowe, Retired Music Teacher, Singer
Rachel Robson, Freelance Violist
Alex Dunn, Royal Liverpool Philharmonic
Jennifer Johnston, Mezzo Soprano
Karen Mainwaring, BBC Philharmonic
Claire Sledd, BBC Philharmonic
Liisa Lankila, violinist
Tiina Aho-Erola, Violinist, FIBO
Virpi Saraluoto, Violinist, Lahti Symphony Orchestra
Eija Huhtala-Krapu, Cellist, Turku Philharmonic Orchestra
Carmen Moggach, Violist, Helsinki Philharmonic Orchestra
Sari Deshayes, violinist, Tapiola Sinfonietta
Maria Ala-Hannula, Pianist, Rovaniemi, Finland
Niina Keitel, Opera Singer
Richard Wallace, Royal Liverpool Philharmonic Orchestra
Catherine Guy, Opera North Manchester Camerata
Kathryn Stott, Pianist
Lawrence Kershaw, Director The Music Partnership
Kirsty Lovie, City of Birmingham Symphony Orchestra
Nick Howson, BBC Philharmonic Orchestra
Phil Jones
Dania Alzapiedi Freelancer, Ex BBC Symphony, Royal Liverpool Philharmonic Orchestra
Zoë Beyers, BBC Philharmonic
Petja Wagoner, Double Bass, Finnish National Opera and Ballet
Lilli Paasikivi, Artistic Director of Opera, Finnish National Opera and Ballet
Joel Marosi, Principal Cello, Orchestre de Chambre de Lausanne, Prof. Neuchåtel/ Geneva
Francesco Dego, Concert Violinist
Rosy Williams, Freelance Violinist
Peter Liang, Hallé Orchestra
Anne Trygstad, Opera North
Daria Fussl, Freelance Cellist
Judith Cowdy
Sarah Hill, Royal Liverpool Philharmonic Orchestra
Paul Gould
Matthew Compton, BBC Philharmonic Orchestra
Julian Gregory, BBC Philharmonic Orchestra
Amy Hark, Freelance Musician
Alan Williams, Composer, Professor, University of Salford
Hannah Padmore, Freelance Violinist
Sandra Parr Roberts, Royal Liverpool Philharmonic Orchestra
James Thomas, Manchester Camerata
Rebecca Leyton-Smith, Freelance Cellist
Tracey Redfern, Manchester Camerata
Sian Harrison
Mary Rose, Zermatt Music Festival & Academy
Kate Musker, Freelance Violist
Anna Flodmark, Music Student
Paul Grennan, Hallé
Abby Hayward, Freelance Cellist
Anna Christensen Freelance Harpist
Lucy Arch, Freelance Cellist
Beth Woodford, Freelance Viola
Alex Swift, Royal Liverpool Philharmonic Orchestra
Ed Cervenka, Freelance Percussionist
Steve Joyce, Conductor
Maximilian Krome, The Deutsche Kammerphilharmonie Bremen
Eira Lynn Jones, Freelance Harpist
Graham Stroud, Horn
Natalie Purton Freelance Violinist
Laufey Jensdóttir, Violinist, Iceland Symphony Orchestra
Steve Smith, Guitarist
Michal Kaznowski, Cellist, Maggini Quartet
John Byron
Helena Summerfield, Saxophonist
Róisín Walters, Britten Sinfonia
Viv Campbell, Viola, Orchestra of Opera North
David Benfield, Freelance Oboist
Ruth Spargo, Freelance Cellist
Ilana Gothoni, Violinist
Ingerine Dahl, Violinist
Tuukka Haapaniemi, Voice Artist, Bass, Entrepreneur, Helsinki
Andreas Helling, Turku Philharmonic Orchestra
Mikaela Palmu, Alternate Concertmaster, Lahti Symphony Orchestra
Jussi Aalto, Violist, The Finnish National Opera
Reetta Ristimäki, Music Theatre Artist, Opera Singer
Taija Kangaskokko, Violinist, Teacher
Jani Pensola, Double Bass, LSO
Takuya Takashima, Oboist, Turku Philharmonic Orchestra, Sibelius Academy
Jaani Helander, Cellist
Klaus-Peter Haav, Violinist
Aleksi Saraskari, Tuba
Anna Hugadóttir, Freelance Violist
Susannah Simmons, Violin, Orchestra of Opera North
Marianne Beevor, Admin, Hallé Orchestra
Mary Rose, Cowbridge Music Festival
Douglas F. Rosenthal, Assistant Principal Trombone, Kennedy Center Opera House Orchestra
Anna-Liisa Bezrodny, Violinist, Professor at GSMD, Purcell, Karlsruhe Hochschule für Musik
Juha Hemanus, Creative Director, Opera director, City of Tampere
Markus Fagerudd, Composer, Lovisa
Xiaobo Hu, Conudctor
Kyösti Varis, Trumpetist, Joensuu City Orchestra
Tommi Hyytinen, Horn, Finnish Radio Symphony Orchestra, Sibelius Academy
Petteri Poijärvi, Helsinki Philharmonic
Liz Wyly, Orchestra of Opera North
Zoe Glossop, Freelance Oboist
Andrew Sparling, Freelance Clarinetist
David Aspin, Principal Viola, Orchestra of Opera North
Andrew Mason, Clarinet, Orchestra of Opera North
Jukka-Pekka Peltoniemi, Trumpetist, Oulu Symphony
Patrik Stenström, Clarinet/FNOB orchestra, Vice President/Musicians´ Union
Marleena Olli, Violinist
Ninni Poijärvi, Musician
Sophie Gledhill, Freelance cellist
Eric Wolfe-Gordon, Freelance oboist
Naomi Thomas, Freelance clarinettist
Victoria Harrild, Freelance cellist
Natalee Jeremic, Freelance violinist
Tom Greed, Freelance violinist
Kate Hainsworth, Freelance horn player
Will Buchanan, Singer/songwriter
Deborah Schlenther, First Violin, Royal Ballet Sinfonia
Michael Solomon Williams, Founder & Artistic Director, Common and Kind
Kate Price, Cellist
Sophie Barrett Roper, Freelance Double Bassist
Romana Szczepaniak, Freelance Violinist
Jess Murphy, Freelance Violinist
Alice Purton, Freelance Cellist
Sarah Yelland, Freelance Stage Manager
Dagfinn Krogsrud, Orchestral Manager, Trondheim Symphony Orchestra
Patrick Tapio Johnson, Freelance Cellist
Hannah Thomas, Freelance Cellist
Danyal Dhondy, Composer
Jaga Klimaszewska, Freelance Biolinist
Amy Goodwin, Freelance Cellist
Shana Douglas, Violin, Royal Philharmonic Orchestra
Abi Hyde-Smith, Freelance Cellist
Alba Merchant, Freelance Cellist
Fraser Russell, Freelance Tuba player
Samara Ginsberg, Freelance Cellist
Anna Brigham, Freelance Violinist
Dave Cuthbert, Freelance Flautist
Lisa Nelsen, Flautist
Louise Parker, Freelance Violist
Salomé Rateau, Freelance Violinist, Teacher, Entrepreneur
Toby Purser, Conductor
George Hoult, Freelance Cellist
Alison Holford, Freelance Cellist, Teacher
Mark Lipski, Freelance Double Bassist
Alexandra Fletcher, Freelance cellist
Fran McGuinness Gilbert, Freelance Violist
Alice Kent, Freelance Double Bassist
Yana Borisova, Pianist and Harpsichordist
Jane Dixon-Wayne, Freelance Flautist
Paul Cott, Freelance Hornist
Nick Newland, Conductor
Léon Charles, Freelance Keyboard/Pianist
Davina Shum, Freelance Cellist
Willemijn Steenbakkers, Freelance Violinist
Paul Barrett, Freelance Violinist
Katy Cox, Freelance Cellist
Verity Simmons, Freelance Cellist
Helen Mills, Pianist
Olivia Jarvis, Freelance Violinist
Eamonn Dougan, Associate Conductor of the Sixteen
Colin Alexander, Freelance Cellist
Nicholas Ellis, Freelance Clarinettist
Matt Rogers, Conductor
George English, Freelance Percussionist
Richard Knights, Freelance Trumpeter
Katie Sharp, Freelance violinist, Director at Icon Strings
Lully Lythgoe-Bathurst, Freelance Bassoonist
Patrick Savage, Violinist
Rosie Tompsett, Freelance Ciolinist
Will Hillman, Freelance Violinist
Laura Vincent, Freelance Bassoonist
Graham Ross, Director of Music, Clare College, Cambridge
Sam Coates, Musical Director
Theo Bently Curtin, Music Student
Claire Constable, Freelance Cellist
Julian Azkoul, Artistic Director, United Strings of Europe
Rosie Taylor, Clarinettist & General Manager, Orpheus Sinfonia
Sam Rice, Freelance Double Bassist
Jessica Dannheisser, Composer
Philip Collingham, Cello, Bournemouth Symphony Orchestra
Peter Cigleris, Freelance Cellist
Tina Jacobs-Lim, Freelance Violinist
Hannah Quinn, Freelance Pianist and Conductor
Kirsten Jenson, Freelance Cellist
Kate Lindon, Freelance Violinist
Clare Bennett, Flautist
Elise Harper, Freelance Violinist
Abbie Burrows, Freelance Flautist
Gillon Cameron, Freelance Violinist
Charis Jenson, Freelance Violinist
Tom Fleming, Guitarist, Producer
Rebecca Jordan, Freelance Cellist
Anita Mackenzie Mills, Singer
Sergio Serra, Freelance Cellist
Keith Price, Freelance Percussionist
Amy Shackloth, Musical Director
Jenny Ames, Freelance Violist
Mike Turnbull, Musical director
Clare Dixon, BBC Philharmonic
A voice for civility and respect even when the subject of discussion is so emotive. Well done!
‘implying that a musician cannot advocate for artistic choices to be made in a country that they were not born in’
Very disingenuous. It was reported initially as an attack on a popular tradition consisting of merely half a concert, performed once a year. It’s effectively an end-of-term party. It was not a question of ‘artistic choice’ , there was far more to it than that. A large number of people were encouraged to believe that it was unreasonable interference from someone who was not demonstrating any understanding of the circumstances.
Only later was it revealed that the BBC was mainly or wholly responsible for this.
So 471 musicians are offended? Too bad, write to the BBC.
Her comments were based in her political beliefs ! Misrepresentation of the words to songs ! Some of you woke cancel culture brigade find it convenient to forget !
That social media is a cesspool should come as a surprise to no one. What is extraordinary is that Ms. Stasevska’s artist management allowed her to be drawn into something which goes beyond purely ‘artistic choice’, particularly when her purported reasoning against the words of ‘Rule, Britannia’ has no basis in the true historical context of its composition. Even more reprehensible is the BBC’s dereliction of a duty of care to its young employee. Whether Ms. Stasevska was the catalyst for the BBC to attempt to drop ‘Rule, Britannia’ and ‘Land of Hope and Glory’ from the Last Night, or whether she has been manipulated as a ‘stalking horse’ by BBC management is not clear to me.
The way I see it, it was her pal Josh Weilerstein who did her a well-intended disfavour by writing about her as a feminist hardcore BLM activist who fights “ultranationalism”, “colonialism” and “racism” and all that “Rule, Britannia” stood for etc. When all hell broke loose, he erased his (first) comment.
Now I see he’s collecting “charity” for Biden’s campaign. The way I see it, conductors should stick to conducting and to studying their scores instead. But hey, that’s the internet.
Literally none of this is true, but hey, that’s the internet.
Joshua, I stand corrected. The FB text was by some Daniel Mitnitsky (on your behalf). Needless to say, it’s unavailable by now. Who cares anyway, now the BBC gets the blame…
Bravo to all these musicians – standing up to be counted in their own names.
Whatever one’s views on Rule, Britannia et al, there is no place for the kind of deeply personal insults and xenophobia that we seem to be cursed with online, mostly from cowards who hide behind pseudonyms.
Please. I should care what a lot of “freelance bassoonists” think? She deserved it all and more. Shouldn’t open your mouth if you can’t take the heat. Or get off the podium, which if actual talent counted for anything, she already would be. She’s a feminist hire and should be glad she’s getting some PR; it’s more than she would have gotten otherwise.
Your comment, Arthur, is like a school-book example of the dark side of social media: Full of hate, full of personal insults and totally empty of rational or factual arguments.
Nonsense. That is not the “dark side” of social media. That IS social media. She should have kept her mouth shut – perhaps you could take a lesson.
One comment called her an “anti-British Bitch.” One called her a “cunt.” That’s the tip of the iceberg. There were also more violent threats, and threats to her family as well. I shudder to think what “more” she deserved.
Oh, a few people said mean words? Gee. How about that internet? Actually, she deserves more – fortunately, thanks to the internet, she’ll get it.
Well another comment said her baton should be shoved up her backside (needless to say this is not the word that was used). Is that the “more” you think she deserves? You’re slowly but surely slipping into the actual endorsement of sexual violence. I suggest you take a break from the internet and take a long look in the mirror.
Just to add to the corrections already offered to Arthur – in the UK a lot of the very best players remain freelance. It’s always been this way. It’s revealing that you require someone to have a position before you’ll listen to their opinion.
You’re wrong on this, as you are on just about everything else in your post.
Unknown is unknown.
… much like yourself.
Do us all a favor and — assuming “Arthur” is your actual first name — don’t supply us with your last name.
He wouldn’t have the guts, anyway.
Arthur, the once and future twit.
We should care if just ONE person objects, never mind a myriad of them (including freelance Bassoonists!).
The very fact that she has been subject to threats and xenophobic comments is disgusting to say the least.
I think it is amazing that the whole musical community has come together to support her.
In such uncertain times, that is exactly what we need, not more derision and negativity.
Get your head out of your backside Arthur, and just hope that people will be kind to you, should you need them to be one day.
But the “whole musical community” hasn’t “come together to support her”. If they had, that would be news; instead, we get a lot of “freelancers”. Like yourself. Again, unknown is unknown.
Just in the interests of accuracy, many of the musicians listed are not freelance (or even bassoonists).
471 musicians discover that social media can be an unpleasant place – wow, who knew?
Large numbers of people are in dire financial straits, or heading that way. Famous businesses in NY are boarded up. Stop being so self righteous and put your precious names to something that matters.
British traditions are none of my damn business and, looking at the list, mostly none of yours either.
None of your business?
Why comment then?
You Americans have enough – real – problems of your own, it seems to me, a mere “Brit”.
Reading difficulties? He isn’t offering an opinion on the Last Night, he is keeping out of it on the basis that such traditions are nobody else’s business, which is correct.
And he fully accepts in his comment that the US has problems of its own.
Rule, Britannia! Britannia, rule all the things!
Britons really, really, really wish they had another Turing.
And?
Yes!
This is absurd. Clearly any hate or threat aimed at this conductor is vile. However, these signatures are disingenuous – particularly those from the ranks of the BBC. They are effectively petitioning against their own employer. Let’s not forget how this started – someone must be lying. The BBC have created such a mess. The reason that there is such discontent is because someone is lying to the tax payer and the short sighted musicians of the BBC are effectively confirming that their employer has lied to us all by signing this open letter.
Look forward to BBC symphony being disbanded in medium term anyway
She should definitely be allowed freedom of speech, but the responsibility of the BBC is to say ‘thank you for your opinion; don’t call us, we’ll call you’.
A long list of unknown people barring a couple are unhappy. The problem with Stasevska is that instead of doing music , she is doing politics. She the exposed herself to criticism while she gets a lot of notoriety not deserved by her mediocre conducting abilities. That was her choice to do provocative action and she must live with it, instead of whining.
Excellent letter. I totally support this too.
We are entitled to criticize this conductor for praising the decision to remove the words from music at last night of the proms and her ignorance of what they mean ! The fact that she isn’t British makes it all the more justified criticism ! If I allowed to be in the arena on the night I would also have make my views vocal at the time ! I don’t care what these other ‘musicians ‘ think or sign !
Your spelling and grammar reveal that you are not from London.
Best you got ? You pathetic loser
No, I could unload a lot more. But let’s start with you being a liar and misrepresenting yourself because you’re allowed to remain anonymous.
You’re funny! Tony the liar! London isnt totally a cesspit liberal leftwing woke bubble .. although has a fair junk of such!
My comment has nothing to do with London. Your spelling would automatically be corrected to the British version of words if you were, in fact, based in London. Here’s a hint: z vs. s. So I ask, why lie? Why pretend you have a dog in this fight and understand the situation? Why lie, “Mark” if not to mislead others and add fuel to the fire?
Not necessarily the case: the use of a ‘z’ rather than an ‘s’ is an acknowledged practice in academic writing in Britain. Take, for example and confirmation, Prof. Eric Ives’s biography of Anne Boleyn.
“Mark” is most definitely not an academic. His computer makes the same autocorrects as anyone’s. I can’t account for the missing apostrophes or odd spacing, either. I just want to know what type of troll he is.
Mark, if you don’t care what ” ‘musicians’ ” think, why the hell are you doing reading Slippedisc?!
Anyway, how stupid do you have to be to completely miss the point of this letter, which was not about the rights and wrongs of the ‘Rule Brittania” debate, but about the extremely abusive and threatening language some people have directed at this conductor. I don’t see how any socialised adult can find anything to disagree with there.
Well Norman, am I wrong in thinking you were among the ones who poured petrol on the fire?
Rude Britannia sums up everything that is wrong with Brexit Britain. The UK should apologise immediately for its dreadful colonial past, in which at least 1 million people were killed all over the world in the name of the “Empire”
The very title, “Rule Britannia” has more or less the same meaning as, “Deutschland über Alles” – the very verse that was thankfully killed off on May 8 1945.
Why does the UK think it is so exclusive?
Fine, so long as all countries around the world who did bad things also apologise – and that includes African countries who kept back huge numbers of slaves for themselves, but did nothing to abolish the trade.
But that is of no interest to you, is it? Just like the modern day slavery of an estimated 40 million* people is of no interest. What this is really about is your narcissistic opposition to Brexit, as your first sentence reveals.
And lastly, it was “Rule, Britannia! rule the waves” which made enforcement of the abolition of the Atlantic slave trade possible.
*www.antislavery.org
“Rule Britannia” is indeed typical of Brexit Britain. I find the following words particularly obnoxious:
“Do you hear, in the countryside,
The roar of those ferocious soldiers?
They’re coming right into your arms
To cut the throats of your sons, your women!”
Mischievous!
Britain ! No longer being told by these europhiles , either British or from some eastern European country, what’s right or wrong!
Well Brian, welcome to history class! Who’s next on the apology line? France? Spain, Portugal? Denmark? Germans and Austrians born 90 years ago? Serbs? Turks? etc etc etc? Let’s all apologise for our bad history, or simply bury it and erase it completely, cos that’s going to build a better world. We have enough “neo-liberal” nincompoops out there the way I see it.
Very well said and thanks to all who signed the open letter.
Tuukka Haapaniemi appears twice on the list, so replace one of them with me.
Indeed – the vitriol and hatred over a piece of music is despicable.
I might also recall that Rule Britannia was played, not sung under Leonard Slatkin from 2002-2007 (part of the Fantasia on British Sea Songs), and I don’t recall Slatkin receiving death threats. If it was acceptable back then, what changed?
https://www.youtube.com/watch?v=jrC1UbXXs1o
Yes. It was sung under Slatkin in 2002. Try from 24.20. Wrong again.
Indeed: Henry Wood’s Fantasia on British Sea Songs ends with a version of ‘Rule, Britannia’ with chorus but not verses for a singer. The tradition of a singer was introduced by Sargent – he made his own arrangement. The Henry Wood version without the verses has been performed at the Last Night more than once before Slatkin, for instance under the direction of James Loughran, and the late Ray Leppard.
I am appalled at what some people write on Social Media and sympathise with the unfortunate recipients. I am put off each year by the jingoistic flag waving to the two items in question and it doesn’t make me proud to be British ( although I try to think it’s just a bit of fun). The behaviour of these on-line abusers now makes me change my mind.
Astonishing that so far (14.30 on 29.08.2020) there have been NO comments at all! So, I will comment: Bravo to Weilerstein, Oramo plus 471 others!
===disturbing threats of physical brutality
My god, it really got that bad ?
Yes, it unfortunately did. The comments on Facebook and Twitter were particularly vile.
Facebook and Twitter are cesspools.
First rank virtue signaling.
Luckily you are here to signal on behalf of vice.
‘Please do not send death threats over a piece of music’ is the kind of virtue everyone should be signalling, IMO. But you do you!
Bravo! I’m sure these 471 people speak on behalf of all of us who value the community of music and despise the cowardice of the trollers and bullies who seem to want to take us into a dark age of vicious intolerance and mindless bigotry.
No, they speak for themselves, and that’s enough. They don’t speak for me, or “all of us”. Stay in your lane.
To be fair, Arthur, I don’t think Tony Britten was referring to you in the “all of us who value the community of music” comment. Your earlier disparaging comment about “freelance basoonists” surely excludes you from that group of “all of us”.
Arthur – if that is your name, I have read your various comments on this and it would seem that you exemplify the trollers and bullies that I refer to. Shame you choose to remain anonymous.
No doubt Boris Johnson will be coming to her defence any day now
This is what happens when artists take public political positions. There’s even a Wikipedia page about the threats the Dixie Chicks received after publicly opposing the Iraq war. The abuse in this case doesn’t look nearly as bad as that. And it’s also not nearly as bad as what BLM supporters are doing to politicians here in the US. Protesters shouted death threats outside Mitch McConnell’s home last year. Rand Paul and his wife were surrounded by a threatening mob the other night. Now random people are being mobbed and bullied into raising their fists and chanting BLM support in restaurants. People should think twice before publicly supporting BLM.
Karl, you obviously don’t understand what BLM is about. Maintaining the status quo is horribly detrimental to people of color. Don’t demonize your fellow man with this BS, like white people are the ones who have to be afraid. You know nothing about fear.
Coming from Karl, everything in this comment is predictable. Can’t you surprise us sometime, and take a stand for decency? Just once?
Kyle Rittenhouse: most recent example of white supremacist targeting peaceful BLM protesters with semi-automatic rifle, protected by police.
Wanna just switch to that name, Karl? Don Jr. also tweeted support for Kyle, so all the right-wingers are on board.
These ‘peaceful protests’ have killed over 30 people so far, including retired police officer David Dorn who was killed by black ‘protesters’ who were looting a pawn shop. It was broadcast on Facebook live, as it happened.
Did you also realize David Dorn did not support your president and his daughters did not want his death politicized by their mother?
the Ukrainian nobody is a particular supporter of BLM and this has clearly influenced her lies and ignorance about the meaning of the words in songs at ‘last night’ . If she had any self respect she would withdraw but I doubt she has !
My understanding is that the conductor had no role in the decision not to sing the songs in question. It was the BBC’s decision. Interestingly Sir Simon Rattle said he has been ‘really uneasy’ with Rule Britannia, since the Falklands War. Is he the next one to be subjected to vitriol or is it reserved for foreigners?
Rattle has not been reported as trying to interfere with a popular tradition, so probably no vitriol, yet.
Doesn’t stop him making silly comments though. In the meantime, as he probably has relatively little to do, perhaps he should take a trip to the Falklands and explain his reservations about the war. I’m sure he’ll be well received.
Meanwhile Igor Levit is waiting to see what action will be best for his career.
Her comments were based on her political beliefs ! Misrepresentation of the words to songs ! Some of you woke cancel culture brigade find it convenient to forget !
Sorry but you shouldn’t have to be some woke warriors to understand that some subpar old song speaking about Britain’s superiority to all other nations needs to go. Excuse me for hurting your British sensibilities. And just to add that the conductor didn’t actually endorse this view, and still got brutal threats.
I will sign a petition to not throw insults.
I will not support Dalia Stasevska political views that sought removal the songs and Lyrics from the a tradition that goes to the fabric of being British.
The Lyrics are about all Britons of all creeds and ethnicities coming together at a time that invasion was feared. The words seek to unite and denounce Slavery – that was a precursor to Britain abolishing slavery in Britain and carrying that message around the World. The Naval song has taken on an important tradition and is uniquely sung only on the last Night of the Proms. Dalias extreme views have taken that away. Her lasting legacy will not be for her music. She will be remembered for destroying the Last night of the Proms forever.
It is unlikely it will ever be sung again.
I am very sad about that My Father who served in the Navy passed down his tradition of Last Night of the Proms to all of us his Children.
Your comment is so full of factual errors it is hard to know where to start. Ms. Stasevksa had nothing to do with the proposal to remove the songs, as per her statement. The BBC has already announced that the songs will be played in full with singing at next year’s Proms. You’re either misinformed or just making things up.
Ms. Stasevska has been used as a ‘stalking horse’ by BBC management. Do you really think the status quo will resume next year? The BBC has reached a half way house in 2020 from which it will now proceed to PC compliance and fulfilment of it’s objective to drop those British composed pieces against which anyone can possibly construe offence or hurt.
The problem with this petition of support is that it reflects a common tactic of the SJW left… implying that the people who write nasty things on the internet represent all of those who disagree.
honestly, I think many more insults come from the SJW left and from those who feel that their cultural life is becoming too destabilized bit it.
Dalia Stasevska should have been fired immediately !
There’s still time!
All of these professionals are naturally wishing to protect her, and it did seem that she had been thrown to the wolves. However, I hear that she DID raise the issue with the BBC and Proms management (not sure which first), and that it was the BBC’s (white) men in suits who turned tail and started running around in a blind panic, treating this like an unexploded bomb. Having tried to defuse said bomb, only to be engulfed in the explosion anyway, they did not then entirely protect her from the flak, as a result, when it all went south. She has now sought to limit the damage, both in her statement and in having others support her. No one emerges with much credit from this.