young conductor


The concert will make Matthew the world’s youngest ever conductor!

Matthew’s performance will form part of NSO’s ‘Animal Magic!’ show which will also feature Swan Lake by Tchaikovsky and Peter and the Wolf by Prokofiev.

Neil Bennison, music programme manager at the Royal Concert Hall, said young conductors like Matthew are rare.

Successful conductors have to be team managers, leaders, motivators and diplomats, and these people skills take time to develop and require a level of maturity that only comes with years of experience.Orchestras can be pretty merciless to conductors for whom they have no respect, so you’d have to be a supremely confident young maestro to win over a lot of hardened professional musicians.

Derek Williams, NSO conductor and Matthew’s music teacher, added: 

I spotted Matthew’s musical talent very early on in his musical tuition as I’ve been teaching him violin for five years. There aren’t many children who have the ability to conduct a 75-strong orchestra from memory and it’s a really incredible thing to witness.

Can we be honest for a moment and say that it’s rare to hear anything positive on the news, especially when it comes to black children? Matthew Smith is definitely making history. This young man is talented. I hope he does well and goes far.

About the Young Conductor 

“I guess, in a word, she's… ‘beautiful’? She was wearing this black dress. I’d have to say, there was something mysterious about her. But the thing is, I’ve never seen anyone with such a shadow cast over her face. It almost looked like she hadn’t smiled once in her entire life. So as the conductor, I’d like to see her smile at least once before we arrive at New York. Personally, I think she’d look gorgeous when she smiles. That’s why I’m going to work twice as hard today!”

Hibike! Euphonium AU

Ok but I always see in future AUs Reina staying in music but not kumiko but like

•Kumiko becoming a conductor and getting a call from Taki-sensei asking her to take up the job at Kitauji High School
°Her becoming conductor and having old band members coming over for sectionals

•Reina being in an orchestra/band
°She helps the trumpets

•Kumiko and Reina are actually living together and have been dating/married for a while now

•No one knows because they
A) Don’t wear the rings at all/sometimes
B) They wear them like on a necklace thing
C) Only one wears it

• The students trying to figure out if Kumiko or any instructors are married
°Trying to figure out to who
°They figure out Kumiko and Reina live together, think they are just roommates at first

•At first they also think Shuichi and Kumiko are dating/married and all the adults(including Taki), especially Kumiko, Reina, and Suichi are like “god damnit not this again” and they(*cough*Reina*cough*) quickly shoot it down

•Hashi makes multiple appearances and turns out he mentored Knuckle in teaching percussion

•Kumiko actually having the same thing as Taki and being the “good locking, young conductor who’s married to someone but no one aside from her friends really know”
°Kumiko making fun of Reina and saying she has a type
°Reina laughing and brushing it off but inside she’s like (◎_◎;)“FUCK”

•Kumiko, Reina, and Shuichi actually being on good terms

•Taki-sensei being a cool grandpa to the students( and a father figure to Kumiko in this like pls)
°Just imagine “Taki-sensei, I’m having trouble with someone being rude to m-” “Call them out lol” Not really but just imagine

•Comedy but some good tea too

I might actually write this and draw some parts.
Add some stuff too if you want

There are many recordings of Mozart’s The Marriage of Figaro. Do we need another? In the case of this new recording by young Greek conductor Teodor Currentzis, Fresh Air classical music critic Lloyd Schwartz says, “Absolutely.”

Currentzis calls Mozart the most contemporary composer and the greatest musician in history, someone with a deep understanding of good and evil, a composer who could create the most perfect musical architecture and also “put the snake in the middle of the temple.” Currentzis isn’t trying to prove any historical or musicological point. His orchestra, MusicAeterna, uses period instruments because, Currenztis says, they sound better. “If I thought that this music sounds better on electric guitars,” he says, “I would perform it on electric guitars.” This Figaro is not just a farce. It’s all about human feeling. And Currentzis achieves this through a kind of instinct that intuits the most expressive tempos and nuanced dynamics.

Photo : The conductor Teodor Currentzis at the end of a performance in Perm, Russia, in 2012.

Credit:  James Hill via NYT

Character settings for As Time Goes By series- Part 1

I have to say I’m a bit nervous now…

For those who like to see this as DJ, just enjoy yourself, thank you for concerning, but pls, I beg you, dont change the name back. I have to say I was tired from those memories when I was in the fandom, but I cant tear myself away from these characters I recreated and the story I made. This might be the only way I can find peace without heart break.

Thank you for understanding.

For me and others who would like to see it as something origin, let’s party hard.

This is a long story about classical musicians and the classical music world. Perhaps some of you have noticed, I’ve been a big big big fan of classic for a long time. I cant boast I’m a professional about this, but after looking into this industry for over ten yeas, after talking to many ppl from different sections of this world, I felt like I want to try to write something to record a part of this things I’ve witnessed. (So I said it’s way too important for me…) Even though what I’m doing here can only show a tip of the iceberg, even though this is more or less prettified or exaggerated.  And hope this story will bring you guys some fun.

That’s all. 

P.s. some institutions in the story are real, real in our world, some are not. I’ll explain one by one if necessary, when all that 40 characters were introduced along with a character map… as soon as I separate time from my dolls-making work =_=||||||||

P.s.p.s, the numbers beside the names are the ages the person in the picture and the year of the picture (or “photo”) was taken

Javier Rodriguez (35, 2008) was born in Venezuela, grown up in Chicago and now working in both America and Austria. His parents were died when he was 9, then his piano teacher adopted him and bring this boy back to the US. Javier was a conductor. He had been a pianist in his teens, while a horrible car accident stopped him from playing any instrument since 1990.
According to his colleagues, despite being a true genius among the all-talented classical musicians, he was an approachable master with patience, easy to working with. However, not so many ppl know that, this man was in fact a vey picky and diplomatic person, with a bit melancholy under certain circumstances, who was pretty good at cooking too. Javier was the chief conductor/general manager at the Hamburg State Opera when the story begins. Later, he took the post of artistic director in the Vienna State Opera.

Allen Eilert (28, 2013) was born in a small city at the border of Germany and France. He’s mother was a well-known cellist in 1970 s. She was diagnosed as Multiple sclerosis and left when her own son was 16, so the kid experienced an emotional hard time in his early life.
Allen was an independent lad, with a sunny disposition and strong in mind. On the other hand, he can be impulsive, selfish and extremely pernickety too. He also had the character that every outstanding artist has: the nature of occupational sentimental and sensitive. By the end of the story, Allen built a successful career as a concert pianist. He was appointed by the United Nations’ Children’s Fund (UNICEF) as an International Goodwill Ambassador in 2013. This was the first time a classical musician was given the title.

He and Javier got married 3 years later.

Olivia Resetarits (29, 2002) was a Hungarian - born US violinist. She was the ex-girl friend of Javier Rodriguez and the two grew up together. They break up peacefully for some reason before Javier left to Europe. Olivia had been a gentle and soft girl when she was little, while many years later, when the story begins, she was known as an outstanding musician and a strong woman who acted as a bright shining star in the classical music world.

Harper Janson-McGinness (33, 2005) was born in Australia. Her family was running the biggest airline company in the southern hemisphere. However, Harper gave away her inheritance to her little sister and stay out of the family business. She’d been working as a composer and conductor for years since her graduation from Julliard School. She was one of the best friends of Javier from their college time. These two were roommates back in the days. She’s a much more caring person than meets the eye.

Harper was close to a teacher in the Julliard. (Guess whom) Not many ppl know that she had experienced a very short-lived marriage with that guy.

Alex Adelstein (25, 2011) was from Hamburg, a long line of musicians. His grandfather was a Soviet Jewish violinist who resettled in Germany in 1950 s. By the beginning of the story, Alex had been studied in the same academy in Hamburg as Allen. He was quite popular in the college for his helpful, kindness and good looking. On the contrary, the real Alex was pretty good at calculating and a true schemer. After graduation, he entered the North German Philharmonic Orchestra (NDPO) directed by Javier Rodriguez in Hamburg, and then become a member of Vienna Philharmonic Orchestra in the end.

Anastasia Misato Nesmeyanoff (23, 2008) was born of Russian-Japanese parentage. Her grandfather was a famous piano teacher as well as a social activist. He had abandoned his wife and young son, fleeing all alone from USSR to America. Due to what this man had done, Misato’s dad resolutely banned her from learning everything relating to music. By the story begins, Misato just finished her law study in a German University, getting a job in the administration department of the Hamburg State Opera, aka the very house Javier Rodriguez working as the conductor for.
As a girl has a good voice, Misato kept on taking vocal lessons unbeknown to her father. After several years working in Hamburg, fortune awarded her a chance to sing on the stage as the understudy. She started her journey as a professional mezzo-soprano since then.

Her vocal cords were slightly damaged by wrong way of exercises, so the doctor prophesied she could only sing for about ten years as a full-time opera singer.

Mélissa Cornett (22, 2009) was born in a chef family in Paris. Her parents were running a time-honored restaurant in 9th arrondissement of the city. Mélissa had been taken French horn lessons in Hannover since she was 15. After graduation, she passed the audition and joined in the North German Philharmonic Orchestra (NDPO) in 2009, then she was in a relationship with Allen Eilert for about ten month.
Though Mélissa was a quiet girl and timid in some respect, she could be very brave when awful things happened to the ppl she cared.

Leslie Vivi Annen (27, 2015) was a Finlander. She (yes) and Allen became friends when they both took part in the 15th Chopin Piano Competition in Warsaw, 2005. Vivi was found a genius in both piano and cello in her childhood. She had been given concerts for piano concertos with orchestra since ten. Due to some reason, she finally stopped piano playing and specialized in cello. In the story, Vivi was a rock cellist who also very active on the classic stage.
In public, she didn’t talk much. This may give a wrong impression of inarticulate, while only friends and family know she can play hard.

Jean (28, 2013) was born in small town in South France. He’s been the roommate of Allen after the later back to school in 2007. Small squabble always happened between these two until Jean fell in love to Misato at first sight… Later, he tried his best to pass the audition and eventually took a seat in the orchestra pit of NDPO. In chapter 4 of the story, Olivia, the already famous violinist, told him he would be successful in the future.

Robert Lane (39, 2010), born and resided in Brussels, was a playwright, actor and a stage director, one of Europe’s most honored theatre artists. In the story, he was invited to direct the new production of Der Ring des Nibelungen by Richard Wagner for the Hamburg State Opera in Chapter 7.

Erich Shaw (44, 2006) had been the agent of Javier since the latter was 17. He came from Switzerland while working and living in the US for more than a decade. Since he had offered a marvelous help after the car accident, this man might be the only weak spot of the young conductor. Mr. Shaw had a unique scent for talent. There was hardly unsuccessful case in the young, unheralded musicians who was found by him. In his early age, Shaw had admitted a music school while he wasn’t able to continue his study. Instead, he went to America to begin his agent career right after high school. Now he owns one the most successful artist management company in Europe by the end of the story.

Nelson Piccirillo (46, 2008) was an Italian. He was a former close friend of Erich Shaw in their high school. Nelson had learned to play trumpet for many years but finally failed the examination of his ideal academy. This made him change the plan and became a sound engineer. In the story, Nelson occupied an important post in the biggest recording company. He and Shaw had never in contact with each other for quite a long time by a certain reason. (Or let’s say because of a certain person.)

Rénee Piccirillo (46, 2008) was from Switzerland too. She was awarded as the “one of the greatest dramatic sopranos in out time” by the medias. She was invited to take the leading role in the new production of Der Ring des Nibelungen for the Hamburg State Opera in Chapter 7, conducted by Javier Rodriguez.

Talking about her personal life, Rénee was the girl friend of Nelson from their high-school time. But their early relationship was not going that well as many ppl heard. Fortunately, after something unspoken affair, these two got married at last.

Angela von Schimmelmann (75, 2015) was the widow of the late maestro Karl von Schimmelmann. She used to be a model as well as a social activist when she was young. Beyond that, she was the muse of many artists at that time. Due to the wonderful time she spend with her husband in Hamburg when the maestro was working here, Mrs. Schimmelmann had special feelings with this city. Plus, her taste of music was good too. And she was the very person, who nominated Javier as the principal conductor, after accepted as a new member of the board of directors of the opera house.
She’s an energic and elegant old lady who loved to joke to young ppl, especially to Javier. Like “Maestro, you remind me my husband, when he was young he…”

Sorry I haven’t figured out the name of our board chairman. (69, 2005)
This is the president of the board of directors for Hamburg State Opera. He called himself an amateur who loves classic and “can only spend less than a morning on the managing work of the house everyday”, while the fact was that this man put all the energy he could in this opera. Besides, as a successful entrepreneur, he was running a marine equipment company.
Comparing with Mrs. Schimmelmann, he was more conservative and steady. On the other hand, he would change his attitude towards those things he against, once he found they were truly beneficial for the opera.

1. Remember that you are making music not to amuse yourself, but to delight your audience.
2. You should not perspire when conducting: only the audience should get warm.
3. Conduct Salome and Elektra as if they were Mendelssohn: Fairy Music.
4. Never look encouragingly at the brass, except with a brief glance to give an important cue.
5. But never let the horns and woodwinds out of your sight. If you can hear them at all they are still too strong.
6. If you think that the brass is not blowing hard enough, tone it down another shade or two.
7. It is not enough that you yourself should hear every word the soloist sings. You should know it by heart anyway. The audience must be able to follow without effort. If they do not understand the words they will go to sleep.
8. Always accompany the singer in such a way that he can sing without effort.
9. When you think you have reached the limits of prestissimo, double the pace.
10. If you follow these rules carefully you will, with your fine gifts and your great accomplishments, always be the darling of your listeners.
—  Richard Strauss, Ten Golden Rules for the Album of a Young Conductor (1925)
What to wear to a gangbang.

There is a certain level of decorum and thought that should accompany every instance of life. While it certainly isn’t akin to the pomp and circumstance of trying or celebratory events, the course of your life is dictated by how well you encounter, adapt and execute in everyday interactions. Think of it as social respiration; an evolutionary response concocted through generations of half-apes fumbling through life.

You open doors for people. You say “Bless you” after someone sneezes. You decide when to text your crush back, or what questions you should ask in an interview. It’s all mundane and it’s all very reactionary; the sum of everything that has led up to that point.

But what do you wear to a gangbang?

The dynamic of a gangbang is somewhat odd. Here you have a group of (more than three, presumably) men standing shoulder-to-shoulder, awaiting the exact same fate. In terms of output, each man is expected to bring the same return on investment. And while a slower climb to maturation is generally appreciated, one falling stock will immediately be replaced by another on the rise. In short, each man is a commodity, cog in an assembly line.

So what does one do to stand out from that kind of marginalization? How does one move to the front of the line? After all, in times of all-else-equal, it pays to be the pace car.

A gangbang really starts in the closet. Because the woman of the evening is bound to be unimpressed by anything other than measurables, the only people left in the room to affect are other dudes. To stand out you must be equal parts confident and informed, while also appealing to some primal instinct of domination.

Let’s face it, only Patrick Bateman would wear a tie to an organized sex party. The amount of time and effort required to hone a polished, affluent look will certainly be greeted with grunts of disapproval. Best case scenario you’re a coked-out banker ready to disappoint. Worst case scenario you’re a confused dandy bound for a late boxcar in this train of masculinity. Ties are for weddings, funerals and hostile takeovers, not for flesh Jenga.

So it’s open-necked to be sure. Excellent. Progress. Button-down or spread collar is taster’s choice, but no collar-stays (there will be enough hard things in the room already). And don’t iron your shirt. You have better things to do than to worry about what dudes in this room think of your uptown drycleaner. Plus, these clothes are all a formality anyway. It’s who you are and what you can do that will snag you the first at-bat.

But should you wear a jacket? Ideally. A jacket shows some outward respect for the event, if not towards the young lady conductor. A standalone, wrinkly button-down is the mark of a slob. However, a wrinkly button-down paired with a lived-in sport coat? That’s what Berlusconi would wear. That’s where polish and comfort meet; an apex of confidence.

It should have texture and depth, a sample of what’s to come, without being too formal or imposing. No brass and navy at this shin-dig. You need a professorial tweed or slept-in linen blend, its soft silhouette, round edges and airy sensibility a beacon of aplomb. Perhaps you came from a lecture? Perhaps you fell asleep in your jacket during a late flight from Mykonos, half-drunk and borderline harassing the cute flight attendant on your private jet. The mystery is really the key here – even if you know nothing more than anyone else in the room, they have to all think you do.

Cotton is made for gangbangs. Machine washable, clingy and prone to exaggeration, it was no doubt Caligula’s toga material of choice. A pair of well-worn jeans would be nice. Perhaps some too-shabby-to-wear-to-the-office chinos? It doesn’t matter, really. You’re too comfortable in your own skin to be bothered with details in all of this. Just walking in your attire already has the edge on the rest of the room. All to do now is speak softly and carry a big stick.

But wait, one last crucial element – the shoes. All this thinking, planning and execution means nothing if you show up in a pair of Aldos. Act like you’ve been there before. These other assholes all showed up with square toes and cemented soles. But not you. You’re wearing shoes best-classified as art, yet treated like a three week-old edition of The Times. Worn suede and marred stacked leather completing the look of a man whose experience is only bested by his ability.

You’ll make small talk, your charm and assured superiority framed perfectly by a wardrobe acquired or commissioned with care, and maintained with a stifling sense of indifference. You have a few beers, each drink stoking the flames of a fire on the brink of slopover. Your dash and demeanor a siren song for the Madame of the evening. And then when the curtain drops you’re front-and-center. Head of the pack. Man of the hour.

If we’re all getting fucked, why not be the best-dressed one in the room?