Classical Music Futures Summit: Quick Points

I spent today (July 12) at the Sydney Conservatorium of Music at an event importantly titled the Classical Music Futures Summit, having scored a lucky last-minute invitation to be part of the talkfest. So lately invited was I (somewhere between 6 and 2 weeks ago, depending on how you interpret the invitation) that the sheet listing the participants, explaining who they worked with/for, what they did/had done, along with their email addresses, didn’t include me. Which was fine – I’m very well-accustomed to people asking me who on earth I am. This was my first experience at an event run by a professional facilitator, and I’ve come away from the day with a sense of awe at the quick-witted skillfulness displayed throughout the event, quickly sifting ideas into themes, managing the time-ego tug-of-war, and working to deliver both forward momentum and a sense of ownership to the participants. Truly inspiring work. I’ve also come away from the day thrilled to

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ISCM Thursday May 6 lunchtime (a belated commentary)

Much delayed: my review of the fabulous (but not so fabulously named) “Young and the Restless” concert given by Ensemble Offspring as part of the ISCM World New Music Days. Middle of the day, middle of the metropolis, this concert was programmed at the Riverside Theatre complex in the smaller sized of the two theatres. This meant that the quite large (by contemporary music standards) crowd really did fill the space, and one found oneself making both eye contact and conversation with fellow audience members – not the norm, by any means, at a new music concert. The concert was a sampling of music by composers under the age of 35. Once upon a time someone the age of 35 would consider themselves far from young, but for at least the last decade youth has been bureaucratically bestowed upon anyone under the age of 40, so this representation was certainly youthful by these standards. The first work Item 1, 2,

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ISCM Sydney/2010 Part I

Last Friday night I attended the opening night of this year’s ISCM World New Music Days, held in Sydney (and Australia, and the Southern Hemisphere for that matter) for the first time. It’s been a while since I attended a wholly ‘new music’ event, so I was prepared for a gear-shifting sensation as I eased back into the particular mode of being that best copes with presentations of entirely new (but frequently not entirely fabulous) music in the classical/art music tradition.  In fact, it’s been a while since I attended a chamber music event of any kind, so the gear shifting involved both genre and tradition. Added to this, I was scooting off at the conclusion to join my husband at the Walkley Press Freedom dinner (Qantas had invited the 2UE breakfast hosts to their table, both immediate past – Mike Carlton – and present – my husband, John, and Sandy Aloisi) so I was slightly too dressed up for

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