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?

The Eubo Playlist

Our first tour has involved quite a bit of time on the road. Over the course of the past week we have travelled to various places in Catalonia, Andorra, and Croatia and we are now on the highway to Bruges from Köln airport. Naturally, one has to find some distraction to pass the time and therefore I have compiled a playlist of Eubo's music picks for July/August 2013. Unfortunately, I couldn't find everything on YouTube, but you can see the full list below. Take a look.

Andrew: Christophe Rousset plays Louis Couperin

Roldán: Ella Fitzgerald

Hilla: Comedian Harmonists' Schöne Lisa

Yotam: Groundation

Guillermo: El partido de las 12 (sports podcast)

Nicola: Per quail he Dollarp In Più (film)

Lars Ulrik: Keith Jarrett

Ala, Clara, and Jamiang prefer silence

Daphne: Joao Gilberto (eu vim da Bahia)

Rafael: Soundtrack of "The Boat That Rocked", some of you may know the film as "Pirate Radio"

Antonio: Sigur Rós, Takk (Saeglopur)

Sarina: Rachel Podger plays Vivaldi Opus 4

Saron: She forgot her Music

Andrea: Swedish radio programs including "The High Price of Cheap Clothes".

Paul: "The joyful chatter of Young Musicians"

Emma: "Just enjoying the music that Eubo makes!" 

Johannes: J.S Bach Bwv 10 no. 6. "It's a beautiful tenor recitativo."

Lisa: "World music, African music, something other than Baroque music."

Marianna: Melody Gardot

Detox

Following our concert last Saturday in Brugge, Eubo dispersed. After 21 days in tour the group was in desperate need of a rest as well as a fresh change of clothes. Fortunately, this tour was our longest one and, since we all managed to make it through, the following ones will be a piece of cake. Or so I am told.

Eubo's Big Bash in Bruges

After completing our second full day of rehearsals in Bruges towards our biggest program of the year, Handel: A Royal Celebration, the hotels in Bruges are especially full. The program includes Handel's four coronation anthems (1727), the Birthday ode for Queen Anne (1713), as well as the Op. 3, no. 2 concerto grosso. To perform with us comes the Choir of Clare College Cambridge and the Eubo brass and percussionist, who arrived yesterday. To see the whole group performing together is quite an impressive sight, especially in Sint Warburgakerk.

The church where we will be performing tomorrow night is an impressive display of baroque architecture. With a white and black marble floor, the interior masonry is beautifully ornamented from floor to ceiling and the walls are covered in various 17th and 18th century oil paintings depicting biblical scenes. You can take a look at the facade and the east end interior below.

Early in our first rehearsal with the choir this morning we worked on The King Shall Rejoice, the third of Handel's 1727 coronation anthems. In the beginning of the second fugal movement, the orchestra plays the first note and then leaves the choir to sing four and a half bars before returning, guns a'blazing. For the orchestra, this was our first moment where we gave the singers our full attention. As the introduction progressed, a couple of heads turned towards the choir and smiles appeared on other's faces. I remember my first thought being "Shit, these guys can sing." The Clare College choir is, hands down, the best choir I've ever worked with and I look forward to seeing our polished performances together.

As you may have noticed, to the right of this column (on the proper webpage, not the mobile site) I've added the kickstarter widget. If you're reading this blog then it is 98% likely you know we've been fundraising to record the above-mentioned program September at St. John Smith's square, London. We're now only 9 days away and still have about £400 to go and I heartily encourage you to help out. I'm not usually very bothered about these sorts of things, but we're so close as it is (the total goal is £2,800) that it would be quite disappointing if we were not to make our target.

For those of you who don't know about kickstarter you can read all about it on a previous post I wrote about the dynamic bassoon quartet, the Breaking Winds. Essentially though, if we don't make our target by the deadline, all of the money pledged does not get transferred to EUBO. We can only collect if we have met or exceeded the target. Think about it!