EUBO's Back, and This Time We've Got Nametags

So after three weeks of downtime (or 'up' time for some), EUBO is back at it, this time in Milano. Though much shorter than our tour in July/August, this one will see us performing three separate programs in six concerts(!). The new program, centered around Handel's Utrecht Te Deum and Jubilate, is currently 'under construction' in Santa maria della passione, Milan. After four concerts of this program, we're then off to debut the season at St. John Smith's Square in London. We'll then say our goodbyes to the choir of Clare College Cambridge before heading to Logroño to finish off the Lure of London program.

Doubtless it will be a bit hectic. I'm sure well make it happen.

Absolutely Ridiculous Approach by Management

The article quoted below, which I highly recommend you read, has to do with the continuing dispute following a lockout of the musicians at the Minnesota Orchestra. Though I've never seen this before in Arts-related disputes, I do remember seeing this technique used when Vancouver was bidding for the 2010 Olympic games. At that time, the city purchased hundreds of domain names which might otherwise be used for those protesting the bid. I can't seem to find an article online about it, but while I look for it take a look at Emily Hogstad's post.

"So. While you were attending the last show in the old Orchestra Hall – earnestly cutting checks for the Building for the Future campaign – flipping through your shiny brochures for the 2012-13 season – the Minnesota Orchestra was spending money (presumably, your money) in a concerted attempt to buy a domain name relating to “saving the orchestra.” (Implication: they knew a big persuasive chunk of people in the future would view their actions as destructive, and they knew they had to guard against those people.)
Oh, but wait, you say. Yes, this sounds awful, initially, but maybe the MOA wanted to keep the name on hand for a fundraising effort!
Nope. Wasn’t done for a fundraising effort. Want to know why I know?" Read More

Emily's most important accusation, in my mind, is that the management's move to purchase possible pro-labour web domains might have come from discussions with the Detroit Symphony management in the spring of 2012. Although impossible to prove, even the possibility of a cabal of executives within arts organizations willing to conspire to get the upper hand in labour disputes is shocking to me.

Dulcian Gold

Thanks to Martin Chiang for this great video.

Practific in Review

Since returning home a few weeks ago I decided that it was time to catch up on my practicing. By the beginning of the month I had tracked 253 hours of individual practice time in 2013 - far less than I had this time last year. Therefore I made a vow to practice a minimum of 2.5 hours a day everyday that I was't on tour until the end of the year in order to beat 2012's record of 480 hours. How have I been keeping track of all this, anyway?