Haydn Seek

I've just moved to London, as I've just started at uni here. At our freshers' fair, I was given quite a few leaflets to do with cheap/free tickets, and I just thought I'd draw attention to the various schemes.

Obviously, it helps if you're a student, because just asking for a student discount at a concert or theatre makes you seem eager, intellectual and to be pitied. However, when a little more than flashing the NUS card is required, there's always the FreeB scheme at the Barbican - join up, (for free, naturally) and look around to see what they have free tickets for. It's for 16-25 year olds. (Much like the 'A Night Less Ordinary' setup for discounted theatre tickets - also worth a look.) The good thing about the Barbican, though, is that it's not just one medium or genre. There's film, theatre, music, dance etc.

Another ticket scheme worth a look is the Royal Opera House 'Student Standby'. Sign up, and you'll receive emails about tickets for the opera or ballet that are spare and are on sale for the heavily discounted price of £10. Student ID is required, but this is a great plan to get in some culture for cheaps!

As is my last leaflet, with the English National Opera. Called "Access All Arias", membership is once again free and fixes prices at £30 for stalls, £20 for the dress circle and £10 for the upper circle. Again, very discounted, but that's not all. You also get a discounted +1, and if that wasn't enough even the programmes are half price.

All of these things can be Googled, and if there are in fact any other students in here other than myself, can I just say - just because these things are in London doesn't mean there aren't other schemes in other areas. These are just examples. Apparently a huge number of theatres and concert venues are now offering last-chance tickets to students at ridiculous prices, as long as you're quick.

Check it out

I've been looking around the internet (albeit not very energetically) and I can't seem to find the answer to my question:
Is modern classical music defined by its 'unconventional' uses of tonality? Eg. is it possible to write a Neo-Classicist piece in functional harmony, and rely on other elements of the composition to make it modern, or is the use of tonality as a device rather than as a structural element essential?

Sorry this question is so specific! I just thought it'd be easier to ask than to spend my life trawling the web.

I'm not really sure if brass band music counts as exactly 'classical', but my old teacher/conductor has asked me to write a review for the local paper about a concert his band are doing. It's part of the 'Festivities' so there should be a good audience etc.

I was just wondering if anyone in this group knows anything about music jounalism? Any help is good, even if it's just an opinion. It's not going to be a long piece, obviously, and I don't have all the details yet, but any pointers anyone might have would be really useful. For example, what would be the best way to start/end such a review?

Thank you

Viola player asked why he learned to play the viola

"Could n't get a job on the Titanic"

This group is a little dead, isn't it? I think we should resurrect it.

I've always found Tchaikovsky's ballet music very nice and pretty but also fairly annoying, probably due to being made to play 'the famous ones,' the Nutcracker and Swan Lake, every single Christmas without fail since the age of 8 or so. There is other music that would be just as appropriate for the time of year, from Corelli's "Christmas Concerto" to John Rutter's choral works, Berlioz's "l'Enfance du Christ" and Messiaen's "Vingt Regards sur l'Enfant Jesus" for piano.
The London Philharmonic are currently collaborating with the Orchestra of the Age of Enlightenment in 'Revealing Tchaikovsky', a programme offering operatic, chamber and orchestral music by Tchaikovsky and his contemporaries.
So what is it about Tchaikovsky that makes him so irresistible, and returned to again and again? Though a Romantic composer, the origins of his style were Classical, probably the most accessible and 'easy listening' music for most people. But there are so many composers that this could be said of that it can't be the only reason.
What is it about Tchaikovsky?

Despite my terrible aural skills, I managed a merit in my grade 8. I know I should preferably have done better and a distinction would be good for music college, but I actually don't care. The relief still hasn't worn off. I got 27, 29 and 26 out of 30 for my 3 pieces - Mozart Horn Concerto 2 mvmt 1, Hunter's Moon by Vinter and Le Basquish by Alison Davies - and 16 for both scales and sightreading.

Phew.

The question now is, should I retake to get a better mark? Or in other words, are a uni/college likely to consider me a weaker candidate for getting just a merit?

Ahh! I have my Grade 8 exam on horn on Thursday. I'm still convinced I can't play the pieces/do all the assorted scaley things/do the aural tests. So I'm a bit sunk.

Anyone know any tips for the Grade 8 aural tests? I'm hopeless at them as my teacher *really* should have started them earlier than 4 lessons before the exam. I haven't done any relevant grades aural-wise before.

*gulp*

I got a message in my inbox asking if I could draw people's attention to a competition that EMI Classics are running. It's for anyone who
1. wants to win a load of CDs and
2. thinks they could do a better job of reviewing an album than "your average classical hack". (It's what the man said...honest!)

If anyone thinks they could have a go, go here

Please also pass this message on to anyone you think might be interested - people with music blogs for instance!

Cheers.

If that link doesn't work, it's www.emiclassics.co.uk/allnews.php#96

...but much more for Beethoven IX than Carmina Burana. Can't wait!

Here are some names to conjure with...

Gustav Mahler, Hans Richter, Arthur Nikisch, Arturo Toscanini, Bruno Walter, Wilhelm Furtwängler, Herbert von Karajan, Leopold Stokowski, Georg Solti, John Barbirolli, Otto Klemperer, George Szell and Leonard Bernstein.

Some of the most famous conductors today are: Claudio Abbado, Marin Alsop, Vladimir Ashkenazy, Sir Colin Davies, Sir Andrew Davis, Valery Gergiev and Bernard Haitink.

info courtesy of:

http://simple.wikipedia.org/wiki/Conducting