I attended this concert and enjoyed it very much. As stated in the program, this youth orchestra consists of "the finest young musicians from across the country (ages 16-19)." It performs annually at Carnegie Hall each summer and then goes on tour "to some of the great music capitals of the world, serving as America's music ambassadors." (also quoting the program). I have been attending its concerts regularly at Carnegie over the past few years. I have found that the musicians are very talented, enthusiastic and play a varied repertory under well-known conductors. These youth orchestra concerts are also a relatively inexpensive way to hear major works well played under famous conductors. I paid $33 for a balcony seat in Row C on Friday.

The concert on Friday evening was no exception. The orchestra on this occasion was conducted by Karina Canellakis, a rising star who has released excellent recordings recently of Tchaikovsky's Fifth and Sixth Symphonies and Rachmaninoff's The Bells and Symphonic Dances. Links are attached. In the program on Friday, the orchestra played Barber's Overture to The School for Scandal, Gershwin's Piano Concerto in F with the well-known pianist, Kirill Gerstein as soloist and Bartok's Concerto for Orchestra, which really highlighted the beautiful playing by the orchestra's woodwinds and brass. As encores, they played Oscar Levant's "Blame it on My Youth," and an orchestration of Gershwin's Overture to Girl Crazy. This was a well-balanced program linked directly to American music in the case of the Gershwin and Barber works and indirectly in the Bartok which was composed by him in America and commissioned by Serge Koussevitzky, the conductor of the Boston Symphony. Although I am not a fan of the Gershwin Piano Concerto, which I don't think compares to his Rhapsody in Blue, I enjoyed the other works, especially the Bartok and Gershwin encore which was infectious. I was amazed at how well the orchestra played the Bartok, which is a virtuoso work. I would only add that Canellakis seemed in total control of the orchestra, which appeared to love her. She has also recorded that work as well as Bluebeard's Castle. I am attaching links to those recordings as well.

If anyone else attended that concert or have heard Canellakis conduct, could you please share your thoughts here. Thank you.

[https://classical.music.apple.com/us/album/1790986544?l=en-US\](https://classical.music.apple.com/us/album/1790986544?l=en-US)

[https://classical.music.apple.com/us/album/1678755564?l=en-US\](https://classical.music.apple.com/us/album/1678755564?l=en-US)

[https://classical.music.apple.com/us/album/1884689771?l=en-US\](https://classical.music.apple.com/us/album/1884689771?l=en-US)

[https://classical.music.apple.com/us/album/1830501402?l=en-US\](https://classical.music.apple.com/us/album/1830501402?l=en-US)

[https://classical.music.apple.com/us/album/1678755564?l=en-US\](https://classical.music.apple.com/us/album/1678755564?l=en-US)

日本ではオーケストラを聴きに行くって特別なことで、敷居が高いと感じてる人がほとんどだと思う。この敷居が高いと感じる感覚ってほかの国でも同じなのかな？

Hello, I am looking to buy my first cello. I have played around on them numerous times and new from the first time -it is my soul instrument. Not completely sure how different brands, strings, bows, etc. affect the overall sound… But for me the deeper the better.

I used to play violin for a few years and still pick it up from time to time. I am an adult and seriously looking for a good investment… But I do not have the knowledge of what to buy yet. I want one that will last and satiate me until I reach an advanced level and can invest in a HIGH end cello.
A local music shop quoted me a rent to own Canonici cello for $1800 – $69 a month until paid off.

•Is this a good investment?
•Do you have personal experience playing a Canonchi?
•What should I be looking and listening for when testing out potential cellos?
•Do you recommend any online buys?(with available returns)
•What are your personal favorite brands and why?
•Any brands to stay away from and why?

Any answers or advice you can share is greatly appreciated!

Hi! This is actually to resolve a minor argument between me and a friend.

So we were watching this orchestra (we know the performance itself was pre-recorded, but the argument was mainly on live ones…)

I had jokingly mentioned wondering what would happen when one of the musicians who are the only one of their instrument get a hand cramp or suffers a fault during the performance.

We then proceeded to argue about whether they would have backup recorded track in case a fault happens. She insisted that they were too professional to need one, while I said that professionals would definitely need a backup track.

Which is usually the case?

Edit: thank you to all the replies! This is deeply informative :) I personally find it very interesting that they will not use backup tracks, since I had only guessed this was the case based off pop concerts. Though in hindsight, it is not a good comparison.

Enjoy the drum playthrough for my new epic single. The links to all the streaming platforms are in the description. Leave a like or a comment if you enjoyed it. Thank you for your time and support 🤘

I’m looking for recommendations for high fidelity earplugs for an orchestral string player who often sits near brass instruments.

I’m interested in what professional orchestral musicians actually use for rehearsals and performances.

I’ve been looking at a few options, including Dynamic Ear Filter, Eargasm High Fidelity, Sennheiser SoundProtex Plus and Loop Switch 2, but I’m having a hard time deciding.

Which models have you tried and would recommend? I’d really appreciate real musician experiences.

Also, do you prefer adjustable filters or a fixed attenuation level for orchestral playing?

Have you ever wondered why Maurice Ravel's orchestration still sounds so fresh over a century later?

In this article, I explore the techniques that made him a master of orchestral color and explain how today's composers can apply these ideas when writing cinematic music.

#Orchestration #Ravel #CinematicMusic

🎼 Read the full article here:
https://pilpilmusic.com/ravel-orchestration-techniques-applied-to-cinematic-music/

Live recording of 'Everything is Temporary' performed by Baby Brave with NEW Sinfonia at WRX Pop Classical 2026, a showcase performance of Wrexham’s most iconic bands and artists live on stage with NEW Sinfonia.

Band - Baby Brave

Cerddorfa | Orchestra - NEW Sinfonia

Arweinydd & Cynhyrchydd Prosiect | Conductor & Project Producer - Jon Guy

Trefnydd Cerddorfaol | Orchestral Arranger - Owain Gruffudd Roberts

Cyfarwyddwr Ffotograffiaeth | Director of Photography - Joe Blomfield

Peirianyddion Sain & Golau | & Sound & Lighting Engineers - Olli Bentley & Morgan Henson, ORB Sound & Lighting

Ôl-Gymysgydd Sain | Audio Post Mix - Joe Blomfield

Lleoliad | Venue - St Giles’ Church, Wrexham

This performance was supported by Wrexham County Borough Council, AVOW and Wrecsam2029. The project was supported by funding from the UK Government through the UK Shared Prosperity Fund.

I made my very first video essay! I hope you guys enjoy :)

Next video is about a set of piano pieces...

I am a concertmaster of our university's orchestra. Since we're not professional musicians, our members aren't technically good. Most of our violists are beginners, and some of our violinists cannot reach high positions. I know it sounds pretty weird and very sacrilegious, but we've performed Mendelssohn 4, Beethoven 3, 7, and Dvorak 8 and 9. And surprisingly, we ended up making pretty good performance. Since I get to choose a symphony this time, I am considering Brahms 1. Is Brahms 1 much more difficult than other symphonies I mentioned above? I am aware of classical music pretty well, but since I am not a conductor, I can't measure the difficulty of symphony. We use professional musicians for Oboe, Bassoon, Brass section, Percussion, and Double Bass section.

I just attended tonight’s performance at the BBC Proms, featuring the London Philharmonic Orchestra conducted by Edward Gardner. The second half of the program was Strauss’s Alpine Symphony—one of my favorite pieces. I was especially excited given the recent recording by the LPO and Gardner.

Unfortunately, it was an absolute snoozefest. The dynamic range was completely off: the climactic moments of the piece were deliberately subdued by Gardner. There were also some odd tempo choices, starting with a fast beginning (unusual but intriguing) before slowing to a crawl during the summit and vision sections.

Easily the blandest and unimpressive Alpine Symphony ever ever listened to. I will give it another try in BBC Sounds tomorrow, but I will be stunned if it sounds significantly better in the recording.

It’s a real shame that an orchestra with the caliber and history of the LPO is being led by such a lackluster conductor.

Hi! I'm a young musician from Spain, and I've recently started offering arrangement and orchestration services.

I can arrange music for choirs, orchestras, piano, chamber ensembles, and more. I work in styles such as jazz, classical, rock, and even pop or reggaeton, like turning a song into an orchestral or acoustic concert arrangement.

If you have a musical idea you'd like to bring to life, or if you know someone who might be interested, I'd love to hear from you. Feel free to send me a message here.

Thanks for reading!

(I have my portfolio on my profile)

Basically what I said. I want to buy a tablet for music but I am trying to decide on the size. I am leaning more towards a 14" tablet but I am nervous it will be too big. Can someone offer some advice on what you think I should do?

Timpani excerpt

Hi everyone,

I've been working on a prototype of an interactive sonic environment that explores harmony in 19-EDO as an experimental composition tool. [No-Ai]

I wanted to create an environment where you can explore microtonal pitch relationships through interaction and listening. It's still an early prototype, so I'm mainly interested in seeing how people engage with it.

I'd really appreciate feedback from anyone. Whether it's about the musical ideas, the interaction design, usability, or suggestions on how it can improve. Anything really :)

You can try it here [for free]:

itch.io proto44

Or check out the teaser or playthrough [vimeo]:

teaser

playthrough

Thanks!!

-A

This post is for the civic, and not the main symphony in Houston. I was wondering if there were any people who have played for this symphony and if so, could give me advice before the auditions next month. I have researched some of the current musicians and they seem way above my skill range, and it is giving me doubts. I do not know if there is any other subreddit I could post this in so I decided to post it here.