Musical Ecologies – The Grainger Wind Symphony

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In Melbourne, the capital of the State of Victoria, there are a number of community concert bands, brass bands, symphony orchestras, community choirs, numerous small ensembles including jazz, rock, and world music groups. Some are in geographical locations around Melbourne, some are attached to City Councils or to churches and religious communities. Many perform or present themselves in public mainly in their local area. No doubt the same variety is in other capital cities of Australia.

A new publication Musical Ecologies: Instrumental Music Ensembles Around The World explores the role community music plays out around the world and how various instrumentally based music-making communities operate as ecologies that allow notions of social, political and cultural agency and identity/ies. From the Abstract for Musical Ecologies: instrumental Music Around the World ed. Leon de Bruin, Jane Southcott 1st edition 2022 London: Routledge also taylorfrancis.com

The Grainger Wind Symphony was selected as one community instrumental ensemble of focus and the research findings make up Chapter 10 Training and Retaining Traditions: The Grainger Wind Symphony by Jane Southcott and Leon de Bruin click here.

The Grainger Wind Symphony formed in 1985 with the Inaugural Music Director George Logie-Smith, an icon in the Melbourne music scene, particularly in community choral and instrumental music. Roland was on the founding committee holding the position of Associate Conductor. It was approved as an Incorporated Association under the Act legislated by the Victorian Government in 1986. At the time, the primary reason for seeking this level of formality in the organisation was to protect the organising committee members. As the Incorporated Associations Act was updated in 2014, there was event greater clarification of processes, amongst other, to ensure members rights were articulated. In addition, The GWS has a number of other policies that protect the individual members. They include privacy Policy, Child Safety, and Policies for Code of Conduct, in particular Australian Live Performance Industry Code of Practice to Prevent Workplace Discrimination, Harassment, Sexual Harassment and Bullying. For more information about the GWS policies click here. These factors illustrate that The GWS was established as an ongoing community that clearly stated the purposes, goals and codes of conduct for all members.

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La Maestra: Alondra de la Parra

Take a look at this Youtube documentary of this dynamic Mexican conductor. I celebrate videos like these that show us the attitude and personality of women conductors in action. A wonderful model not only for my conducting students, but for all conductors in the 21st Century. Enjoy!

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Roland presenting at Australian National Band and Orchestra Conference WA 2021 ‘Music Moves Us’

Roland Yeung, long time ABODA contributor and life member, presented as part of ANBOC 2021 hosted in Western Australia. He presented two sessions which were recorded on video. ANBOC 21 was an on-line only conference.

ANBOC 2021 Music Moves Us presented by ABODA WA

Presentation One: The Creativity of Percy Grainger. This provides an update on new and exciting resources related to ‘Understanding the Creativity of Percy Grainger’ including the new Grainger Journal and discussions on Grainger’s folk song studies.

List of Resources click here to download

Presentation Two: In The Beginning – Then What Happened!! Roland will be exploring how young teacher-conductors can use conducting strategies and techniques to ensure excellent performances at festivals and competitions. The conducting techniques demonstrated use the principles of the Saito Conducting Method.

List of conducting resources click here.

Four slides from the video showing: 1. Shakui, 2. Tataki, 3. Heikin Undo, 4. 3 Saito Conducting Techniques, 5. Commencing

Link to Facebook page for ANBOC21 https://www.facebook.com/vic.aboda/photos/a.3731577733609931/3731577620276609

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Simon Rattle “Conducting Is Hard”

‘Conducting is hard – it doesn’t get easier’: Simon Rattle’s top conducting tips18 Classic FM September 2017

Simon Rattle explains the complex role of the conductor. This sheds light on how and what a conductor does in rehearsal to ensure the best experience for everyone.

https://www.classicfm.com/artists/sir-simon-rattle/conducting-is-hard-advice-tips/

Click here to watch video

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Conductor Herbert von Karajan: controversy in 8 quotes

http://www.classical-music.com/article/controversy-karajan-eight-quotes

http://www.classical-music.com/article/controversy-karajan-eight-quotes

The controversy of Karajan in eight quotes

What have critics and performers said about the formidable Austrian conductor over the years?

3 December 2014 – 12:34pm

The controversy of Karajan in eight quotes

Nearly 30 years after the death of Austrian conductor Herbert von Karajan, his affiliation with Nazi Germany and his dictatorial approach to conducting still cause controversy. We take look at eight things critics and performers have said about the controversial conductor over the years…

• Read more: The trouble with Karajan

Conductor Wilhelm Furtwängler reacts to positive Karajan reviews in 1940

‘If they [the critics] overrate material qualities such as the technique of conducting from memory, they are prizing hard work instead of artistic practice. They are aligning themselves with the stupid people who never seem to be in short supply, and who feel nostalgic for the circus when they are in the concert hall.’

Joseph Goebbels, 1940

‘The Führer has a very low opinion of Karajan and his conducting’

Walter Legge on Karajan contract negotiations, 1958

‘Now proudly conscious of his unique eminence, and having more power and authority than any conductor ever had, [he] is out for his last ounce of flesh, both in conditions and for the satisfaction of his ego.’

Critic Neville Cardus, 1960

‘All over the world, people go in herds to see and hear him. He is undoubtedly a master of the orchestra, and he has some hypnotic power, though he often conducts with closed eyes…’

 

Violinist and conductor Yehudi Menuhin

‘To the very end, he was accustomed to exercising authority, perhaps without compassion. I don’t know to what extent he was a compassionate man.’

Conductor John Eliot Gardiner

‘I got the impression from the concerts I attended towards the end of his life that there was something almost evil in the way he exerted the power, and that that was to the detriment of the music.’

Conductor Mariss Jansons

‘Often in rehearsal Karajan didn’t conduct. The art was to make the orchestra listen to itself. Critics sniped but, for musicians, what he did bordered on the miraculous.’

Mezzo-soprano Frederica von Stade describes Karajan recording Debussy’s Pelléas et Mélisande

‘Karajan had been all concentration. All the normal things you associate with recording – time, money, the worries you have – had simply vanished. The music was so important to him, the real world seemed to fall away.’

 

Read more…

Blog: John Bridcut on Karajan’s Magic and Myth

Karajan conducting: five fantastic Karajan moments

The trouble with Karajan

 

 

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