We hear that the Belgian early-music orchestra Anima Eterna has sacked its founder Jos Van Immerseel for ‘persistent aggressive behavior’.
Immerseel, 78, is one of the leaders of the period-instrument movement. He founded the orchestra in 1987 and was regarded, along with John Eliot Gardiner and one or two others as one of the more charismatic figures in a scholarly field. Today, however, the board of his orchestra in Bruges issued a statement that ‘Jos van Immerseel has repeatedly ignored the values he has shared with Anima Eterna for years.’
The statement continues: ‘After numerous fruitless attempts to enable Jos van Immerseel to continue his story with the orchestra and to pass on his knowledge and know-how in a spirit of respect, the board of directors unfortunately sees no other way out than to terminate the working relationship due to persistent aggressive behavior and regular breaches of contractual obligations.’
There has been no immediate response from the conductor.
Gardiner, 81, is presently trying to put together an ensemble that will compete with his former group.
The winner of the Hummel Piano Competition, Russia’s Anastasiia Kliuchereva, studies at the Mozarteum in Salzburg with Gililov. So does one of the two runners-up.
The Hummel Competition takes place in Slovakia, one of the more corrupt members of the EU, so nobody’s really bothered. But the presiding body is the International Federation of Music Competitions, and they really ought to pay more attention. Slippedisc has been tracking this so-called impartial judge for 11 years.
The peripatetic pianist, presently on tour with the London Symphony Orchestra, has erased her global management Intermusica from her website.
Intermusica, who have yet to remove her from their artists list, are not responding to inquiries.
Yuja, on the whole, never stays more than 2-3 years with any management.
At Intermusica she seemed to be happy with day-to-day management by Kirsten Mackay, but Kirsten left two months ago and Yuja, insiders say, has not been satisfied since.
Before Intermusica she was with Dudamel’s management Fidelio Arts and before them with Earl Blackburn at his boutique, called Kanzen.
When its founders retired last year it looked like Dots Music Camden would be lost forever. Dots is one of about five music shops in London that sell a full range of instruments and sheet music.
Today, Lindsay and Ian Douglas stepped forward as the new owners.
They say: ‘London can’t lose a music shop as iconic and important to Camden’s musical heritage as Dots Music. This shop is loved right down to South London because general music shops are so rare.
‘Dots’ expert musicians, luthiers and brass repairers, that give so much essential help to the public, are all happily staying on as part of the team. Dots staff are so friendly and non judgmental. You will never be patronised, for example, for knowing almost nothing about your kid’s school instruments. It’s a safe place to come as a learner and be respected as much as any professional.”
‘Music shops are needed because you can’t get expertise and friendly help from mass importers. Even a violin of the same brand will sound better if you buy it here. Dots’ luthier improves the hand-made violins to create better instruments that are completely unique to Dots. You can’t sound like this by ordering on Amazon.’
HarrisonParrott has just announced the acquisition of Paris boutique agency Solea Management.
Solea’s founder Romain Blondel and his team will move immediately to the HarrisonParrott Paris office.
The artists affected are:
Jonathan Fournel
Lucie Horsch
Simone Lamsma
Olivier Latry (pictured)
Eric Lu
Liya Petrova
Beatrice Rana
Lucienne Renaudin Vary
Justin Taylor
Shaken up by the departure of Mark Messenger as head of strings, the Royal College of Music has revamped its violin teaching for the new school year.
Soloist Jennifer Pike has joined as full professor, alongside Peter Manning, former leader of the Royal Opera House Orchestra. Also collecting new mortarboards are violinists Mathilde Milwidsky and Alexander Gilman.
And Richard Harwood, lately principal cellist of the Royal Philharmonic Orchestra, has been appointed cello professor. James Williams, incoming Director of the Royal College of Music, was CEO of the RPO where Harwood played.
The 23 year-old Russian Maria Zaytseva took first prize at the important ARD competition in Munich.
Second was Krzysztof Michalski from Poland, third the Dutchman Alexander Warenberg.
Other category winners were the Korean baritone Samueol Park and the Russian oboist Leonid Surkov.
After a childhood in Soviet Estonia, Viljar Puu Weimann won a place at the Cleveland Institute of Music and went on to play violin and, eventually, to become a conductor.
In 2014, Weimann founded Orchestra Sul Ponticello in the city of Decatur, Alabama.
He said: ‘”As humans, we live lives we are accustomed to. You go hunting because your dad took you hunting. You go fishing and to football games for the same reason. You like certain foods because you grew up eating them. The same is true with music. People will listen to what they are familiar with. Sadly, not many people are familiar with classical music, but we are going to change that.’
Weimann died this weekend, aged 63.
US astronaut Sarah Gillis took her violin into outer space, beyond the pull of gravity.
So how does she play weightless?
Report here:
He sat down for his first ‘exclusive’ interview since quitting the San Francisco Symphony and made no reference to its board and CEO with whom he has terminally fallen out.
He said nothing about his frustrations, his future plans, his regrets.
There’s an art in that and he has perfected it.
Sample quote of E-P Salonen saying nothing:
There are giant trees that are pillars of what we do, that have been able to survive all the storms and earthquakes and all that. There are the younger trees, budding trees. And there are things that are not trees but all this other kind of vegetation. It’s constantly changing and growing. But it’s still a forest. When you go to a beautiful forest, it makes you a better human being. We all know this. The smells and the sounds, besides just giving you pleasure, somehow make you connect with something that we sometimes forget we have. The best-case scenario when people come to concerts is they connect with something they feel is bigger than any one individual.
The best music connects us with things and people who have existed before us and also people and ideas that don’t exist yet. Because the history of this kind of art music is one of continuity. It’s an unbroken chain of works being created on the shoulders of other previous works. So what we’re witnessing and experiencing when we go through a season is that some very old ideas that keep coming back in different ways and forms, and new material built upon those old ideas takes them further, and finally comes to our time and music that is still being written. This is what I meant by the forest analogy. I see myself more as a gardener than a bookkeeper.
Chauncy Gardner?
This message has been posted by the Komische Oper Berlin, some of whose musicians are freelance school teachers:
As one of the most important cultural institutions in Berlin, the Komische Oper Berlin has been committed to promoting culture and musical education for children and young people for many years through a very extensive education program that has now become an essential part of our repertoire. In particular, through our educational offerings in the area of children’s operas and children’s concerts for schools, we also reach children who would be denied access to cultural education and integration for various reasons if it were not for the support of such projects and institutions in Berlin. These children are our future, not only as guests in our house and in other cultural institutions, but also as potential new talent for our wonderful profession.
We all know that education is the key to a peaceful future, that music can connect cultures without any barriers and overcome borders. Our entire society and the survival of all cultures depends on these being lived and practiced, that children must have the opportunity, even if they come from poorer families, to learn instruments themselves and thus become part of those who continue to live and pass on our colorful culture.
As an essential part of education, our lecturers and freelance staff at music schools and music colleges lay the foundation for this. There are now also many intercultural offerings that reflect our society, build bridges and create a connection between the most diverse cultures. The impending loss of freelance staff in the musical and artistic fields would deprive many children, young people and adults of affordable lessons and targeted support. The consequences for our society would be unforeseeable. It is a significant investment in the future of our families, our children, our culture, society and democratic participation and a sign against exclusion.
We reject the idea that artistic education should be made dependent on the financial situation of the parents and thus become a privilege for the “higher earners”. Of course, we are in favor of permanent employment of the current freelancers in order to provide them with social security and better pay. However, if it becomes apparent that this cannot be financed to the extent necessary, a way must be found to retain the freelancers anyway.
We therefore urgently ask all decision-makers to find a solution to maintain the offerings at the music schools.
The Orchestra of the Komische Oper Berlin.
The Labour Government has green-lighted a ready-made scheme giving disadvantaged children access to music in schools. Tory ministers had dithered for two years over giving it priority. Labour has, naturally, taken full credit for the implementation.
Here’s the Whitehall statement:
Pupils from disadvantaged backgrounds or with SEND (special educational need and disabilities) will get targeted support to unlock their musical potential, thanks to a new scheme designed to break down the barriers to opportunity and advance their talents.
The government’s Music Opportunities Pilot will expand on Young Sounds UK’s existing programme – Young Sounds Connect – which offers pupils across primary and secondary schools the opportunity to learn to play an instrument of their choice or how to sing to a high standard by providing free lessons and supporting young people to progress, including taking music exams.
Backed by £5.8million, co-funded by the government and partners including Young Sounds UK, Arts Council England and Youth Music, the programme aims to inspire the next generation of British musicians across 12 areas including Sunderland, Bury, Bradford and Stoke on Trent to help ensure the arts remain a cornerstone of the nation’s identity.
School Standards Minister, Catherine McKinnell said:
The arts are one of the most important ways to help children and young people to develop creativity and find their voice. Music opportunities should be available to all pupils – no matter their background or circumstance.
Following a summer filled with vibrant festivals and creative acts that filled the streets with energy, it’s clear the role music plays in enriching lives. By investing in our young people we not only nurture individual talent, but also secure the future of the UK’s rich music scene by fostering a deep appreciation for music from an early age.
Alongside our Curriculum and Assessment Review, the Music Opportunities pilot will help break down the barriers to opportunity by widening access to the arts for more young people across the country.
Arts Minister Sir Chris Bryant said:
Music should never be the preserve of a privileged few. I want everyone to have a chance to realise their talent regardless of their background.
This support will help to make sure that every child has access to high-quality creative education, with the opportunity to learn musical skills that may become the foundation of a lifelong passion or a future star of the UK arts scene.
Supporting young people to become musicians is invaluable in various creative and other industries. It fuels innovation and excellence in the broader creative landscape, contributing to the UK’s world class reputation as a global hub for the arts.
The pilot scheme will run over 4 years and is jointly funded by a £2 million investment from the Department for Education and £3.85 million funding from Young Sounds UK and its partners. Young Sounds UK will work in collaboration with local Music Hub partners that support and enable access to music education for children and young people in England in order to deliver the programme.
