Podcasts about european union youth orchestra

To niecodzienna orkiestra, którą tworzą muzycy pochodzący z 27 państw. The European Union Youth Orchestra zaprezentuje w Polsce monumentalną II Symfonię c-moll "Zmartwychwstanie" Gustava Mahlera. Jedną z pierwotnych inspiracji dzieła były "Dziady" Adama Mickiewicza. O szczegółach w Dwójce mówiła Dominika Olender z Narodowego Centrum Kultury. 

Music director of the National Symphony Orchestra, Gianandrea Noseda is also one of the world's most sought-after conductors, recognized equally for his artistry in  the concert hall and the opera house.Gianandrea's award-winning recordings are distributed by LSO Live, for whom he also records as principal guest conductor of the London Symphony Orchestra.  His discography spans over 80 recordings.He became general music director of the Zurich Opera House in September 2021 and he reached an important milestone in May 2024, conducting two highly praised complete Ring Cycles.In the summer of 2024, he led an international festival tour with European Union Youth Orchestra which took them to the Edinburgh Festival and the Lucerne Festival. In 2019, he was appointed the founding music director of the Tsinandali Festival and Pan-Caucasian Youth Orchestra in the village of Tsinandali, Georgia.A native of Milan, Gianandrea is Commendatore al Merito della Repubblica Italiana, marking his contribution to the artistic life of Italy. He has been honored as Musical America's Conductor of the Year (2015) and International Opera Awards Conductor of the Year (2016). In 2023, he received the Puccini Award, joining the likes of Maria Callas, Birgit Nilsson, and Luciano Pavarotti.

Send us a Text Message.Many Directors have positive intentions, want to leverage their experiences, support executives, and discuss the big picture in the boardroom. But many quickly become disillusioned, stuck in detail, ticking off boxes and agenda items rather than supporting executives and helping the organisation make a real mark.  In this podcast, Dr Sabine Dembkowski, Founder and Managing Partner of Better Boards www.better-boards.com, talks with Sir John Tusa. He is known as the main past presenter of BBC2's Newsnight programme. He was Managing Director of some of the most iconic media and cultural centres in the United Kingdom, such as the BBC World Service and the City of London's Barbican Arts Centre and chaired the boards of the European Union Youth Orchestra, University of the Arts London and Wigmore Hall.“We are here to help to make the organisation a better, more creative place"Sir John began by observing that a board that is too formal and strictly adheres to rules can stifle creativity.  While it is important to follow regulations, boards that only focus on minutes and compliance miss the mark.  “The practice of constant accountability prevents people from having ideas”Sir John explains that it presents a missed opportunity if a board does not make time for innovation. To avoid this, boards should ask if they focus more on responsibility or accountability.  He believes accountability often means constantly proving compliance to external parties, while responsibility involves making decisions and owning the outcomes, good or bad.  Boards should prioritise responsibility, embrace new ideas, and be willing to accept the consequences of their decisions. “Give yourself permission on a board not to be tied down by rule”Sir John wishes boardrooms would handle routine business swiftly and then dedicate the rest/bulk of the time to discussing big ideas.  These discussions do not always need conclusions but require an open-minded approach, and the chair and chief executive must foster this creative environment.  Board members are not there just for their specific skills; they are there as whole individuals.  “It's vital that boards spend time together”Spending time together outside formal meetings, as Sir John experienced on an American board, can significantly improve board dynamics because boards need to be enjoyable spaces.  So, as chair, focus on creating an open, fun, and collaborative environment while ensuring that the board members feel valued and heard.  This will foster an atmosphere where innovative ideas can thrive.  “You won't do it just by being stuck in the mud and saying, ‘We're observing the rules'”Sir John concludes by pointing out that as an individual non-executive director or trustee, you can influence and contribute to creating a vibrant board atmosphere, even if the chair is not taking the lead.  He suggests that boards thrive when members feel valued, heard, and motivated to contribute their best.  The three top takeaways for effective boards from our conversation are:1.      Remember that a board is there to help create and sustain a vision. The vision comes from the chief executive, but the board can contribute to that and needs to be forward-looking. 2.     Consider whether everybody contributes equally and is allowed to contribute. 3.     Be very careful how you deal with objectives. People think something has been done just because they've achieved the objective, but this might not mean value is added. 

Sir John Tusa is a British arts administrator, author, journalist and former presenter of BBC's Newsnight. He is the co-chairman of the European Union Youth Orchestra and was formerly the managing director of the BBC World Service and the Barbican Arts Centre. Since 2014, he has been co-chairman of the European Union Youth Orchestra. Tusa received an honorary doctorate from Heriot-Watt University in 1993, and was awarded a knighthood in the Queen's birthday honours list in June 2003.Sir John Tusa biographyJohn Tusa was born in Zlín, Czechoslovakia, in March 1936. In 1939, when he was just a child, he relocated to England with his family. His father, John Tusa Sr., also known as Jan Tůša, held the position of managing director at British Bata Shoes. This company was an extension of the Czechoslovak shoe company, known for its innovative approach, which included the establishment of a pioneering work-living community around its factory located in East Tilbury, Essex.John received his early education at Gresham's School in Norfolk before furthering his studies at Trinity College, Cambridge, where he pursued a degree in history.Tusa commenced his career in broadcasting in 1960 when he joined the British Broadcasting Corporation (BBC) as a trainee.Most notably, John hosted "24 Hours," a current affairs television program that provided in-depth analysis and commentary on key events. Tusa's influential presence in media expanded even further when he became the inaugural presenter of "Newsnight" in 1979, a flagship BBC current affairs television program. John was also the newsreader on BBC's "One O'Clock News" for two years in the mid-1990s. His responsibilities as a newsreader reinforced his position as a trusted source of information for the public. His notable anchoring of the BBC's coverage of the D-Day 50th anniversary celebrations in June 1995 and the momentous Hong Kong handover on June 30, 1997, further underscored his role as a respected news presenter.Beyond his broadcast career, John ventured into arts and culture administration, further establishing his mark on the British cultural landscape. From 1995 to 2007, he served as the managing director of the Barbican Arts Centre in the City of London. John also served as the chair of the Clore Leadership Programme from January 2009 to 2014. This program played a pivotal role in nurturing future leaders in the arts and culture sector, providing training and support to individuals with the potential to shape the future of the industry.In February 2010, he took on the role of honorary chairman of theartsdesk.com, an influential online platform dedicated to arts and cultural criticism and analysis. In this capacity, Tusa continued to support and promote the arts in a digital landscape.Learn more about Sir John Tusa on https://www.openbusinesscouncil.org/wiki/john-tusaLinks & Resourceshttps://www.bloomsbury.com/uk/author/john-tusa/ https://www.stfaiths.co.uk/profile/sir-john-tusa/ https://www.npg.org.uk/collections/search/person/mp58526/sir-john-tusa https://www.amazon.com/Board-Insiders-Guide-Surviving-Boardroom/dp/1472975995https://www.advance-he.ac.uk/person/sir-john-tusahttps://www.theguardian.com/profile/johntusa https://www.imdb.com/name/nm0878204/ https://www.bbc.co.uk/programmes/p00nb1n3 About citiesabc.comhttps://www.citiesabc.com/​​​​​​​​​​​  About openbusinesscouncil.orghttps://www.openbusinesscouncil.org/  About fashionabc.orghttps://www.fashionabc.org/  About Dinis Guardahttps://www.dinisguarda.com/Support the show

Anna Kuk is a Polish violinist based in Paris, with the exceptional, international experience in orchestral and chamber music. She has performed in more than nineteen countries across the continents with the most prominent conductors and orchestras, including European Union Youth Orchestra. With her string quartet ReVerb Ensemble, introduces new formats of the classical concerts: as a walking gallery or musical sculpture: improvisation to the art installation (Biennale in Japan). Apart from her musical profession, she is an award-winning poet, having her poems commissioned by composers and festivals. She is the author of the philosophical concept of URKLANG.    @theatreartlife Thank you to our sponsor @clear-com The TheatreArtLife Podcast is a branch of our larger TheatreArtLife Community. Come visit us at www.theatreartlife.com

Anna Kuk is a Polish violinist based in Paris, with the exceptional, international experience in orchestral and chamber music. She has performed in more than nineteen countries across the continents with the most prominent conductors and orchestras, including European Union Youth Orchestra. With her string quartet ReVerb Ensemble, introduces new formats of the classical concerts: as a walking gallery or musical sculpture: improvisation to the art installation (Biennale in Japan). Apart from her musical profession, she is an award-winning poet, having her poems commissioned by composers and festivals. She is the author of the philosophical concept of URKLANG.    “ATTENTION SPOTIFY LISTENERS: IF you want to WATCH this with VIDEO, you can also subscribe to our video version: https://open.spotify.com/show/5e9KnBRZdjUTXTvCe6Nrqm?si=6639537c61044396” @theatreartlife Thank you to our sponsor @clear-com The TheatreArtLife Podcast is a branch of our larger TheatreArtLife Community. Come visit us at www.theatreartlife.com

Das European Union Youth Orchestra ist im Kurhaus Wiesbaden zu Gast. Helen Leitner ist im Management des Orchesters tätig und begleitet die jungen Musiker*innen aus den 27 EU-Ländern auf ihrer Konzertreise: „Wir stehen für die Werte des europäischen Projektes.“ Über die Identität des Orchesters und seine Musiker*innen spricht sie in SWR2.

More news, reviews and our thoughts from the pages webpages of www.slipedisc.com on the weeks classical music stories. Is it ever Ok to boo at the opera? The European Union Youth Orchestra moves home again and we bemoan another Brexit loss to UK culture,, was it OK to show Seiji Ozawa conducting Beethoven‘s Egmont overture from a wheelchair and can anyone beat the Welsh football team's anthem? Become a member at https://plus.acast.com/s/slipped-disc-backchat. Hosted on Acast. See acast.com/privacy for more information.

Hello and welcome to Bittersweet Symphony, a podcast where classical musicians share the bitter, the sweet and the bittersweet of life when the concert halls shut their doors and the music stopped. I'm Cliodhna Ryan, violinist, member of the Irish Chamber Orchestra and freelancer. In this episode, I'm chatting to Cormac Ó hAodáin, principal horn with the RTE Concert Orchestra. He shares the bitter experience of his Mum being ill, becoming a carer overnight, and the burnout that followed. His sweet memory is of regular meetups on Zoom with a community of musicians and composers, facilitated by the Contemporary Music Centre in Dublin. His bittersweet is while isolation was challenging, he felt equipped to handle it after a decade of living alone. Between 1993-1996, Cormac represented Ireland in the European Union Youth Orchestra, working with such eminent maestros as Carlo Maria Giulini, Bernard Haitink, Mstislav Rostropovich and Vladimir Ashkenazy. In 1997 he joined the Royal Philharmonic Orchestra and in 1999 became a member of the Philharmonia Orchestra. Cormac moved back to Ireland in 2009 to join the RTÉ Concert Orchestra as principal horn. Since his return to Ireland, he has established the Cassiopeia Wind Quintet and joined the teaching staff of the Royal Irish Academy of Music. He is currently doing a Masters in Conducting at TU Dublin, under the mentorship of David Brophy. CREDITS Thumbnail Art || Colm MacAthlaoith Songwriters || Mick Jagger, Richard Ashcroft, Keith Richards Violin || Cliodhna Ryan Production || Cliodhna Ryan Mastering || Patrick Stefan Groenland GET IN TOUCH WITH CORMAC/LINKS Cassiopeia Winds Contemporary Music Centre Norah Walsh GET IN TOUCH WITH BITTERSWEET SYMPHONY Instagram Twitter Facebook #bittersweetsymphony

This time on Things Musicians Don't Talk About, we meet Ellie Consta, the founder of Her Ensemble. We talk about the struggles of lockdown, life as a musician, and her growing discomfort with the classical music world as it stands today. These issues together lead her to set up Her Ensemble, the UK's first women and non-binary orchestra, which is taking the classical music scene by storm.Thank you to Ellie for all of the incredibly important work that she is doing, and for speaking to us so honestly and openly.London based violinist, arranger and director Ellie Consta leads an exciting and varied musical career performing in a range of musical genres. Ellie's versatility and diverse range of interests and influences means she appears regularly with world renowned orchestras, ensembles and chamber groups, as well as world class artists and bands. Recent highlights include performing for Louis Tomlinson, Pixie Lott, Tom Walker, Laura Marling, and Jack Savoretti, as well as arranging music for Wilma Archer, Flyte, Litany and Caitlyn Scarlett. Since graduating from the Royal College of Music with a first class Honours MPerf degree, Ellie has been offered contracts with the CBSO and ESO, as well as working regularly with the LPO, Spira Mirabilis, Britten Sinfonia, the 12 Ensemble, United Strings of Europe and leading Guy Barker's Big Band. She was also a member of the European Union Youth Orchestra for four years and is currently on trial for a sub-principal position with the BBC Symphony Orchestra. Most recently, Ellie founded Her Ensemble, the UK's first women and non-binary orchestra who made their debut this month at Battersea Arts Centre. Since forming in November 2020, the group have already recorded a feature film score for BBC Scotland, performed alongside Pixie Lott and LITANY and been featured by The Strad, Scala Radio and Help Musician's UK. 

Themen im Podcast: - Aufbau einer Karriere im Orchester - soziale Kompetenzen als wichtigste Fähigkeit - Aufstiegsmöglichkeiten eines Orchestermusikers Marc Gruber ist Solohornist beim hr-Sinfonieorchester und gewann 2016 beim internationalen Musikwettbewerb der ARD den 2. Preis, sowie den Brüder-Busch Sonderpreis und den Publikumspreis. Auch solistisch hat er zahlreiche Auftritte, unter anderem mit dem Sinfonieorchester des bayerischen Rundfunks, dem DSO Berlin, dem NDR Symphonieorchester, dem London Symphony Orchestra, den Düsseldorfer Symphonikern, dem Orchesterzentrum Dortmund und der Würtembergischen Philharmonie Reutlingen. Mit letzterem Orchester brachte er auch 2014 seine Debut-CD als Solist heraus, auf welcher die Sinfonia Concertante von Wolfgang Amadeus Mozart für vier Solobläser und Orchester zu hören ist. Als Kammermusik-Partner ist Marc Gruber mit namhaften Ensembles und Solisten wie dem Schumann-Quartett, dem Linos Ensemble, dem Mannheimer Streichquartett, HR-Brass und als festes Mitglied des Monet-Bläserquintetts im Rahmen nationaler und internationaler Festivals aufgetreten. Dies tat er unter anderem bei den Ludwigsburger Schlossfestspielen und den Festspielen Mecklenburg-Vorpommern. Mit dem Monet-Bläserquintett wurde er 2016 Stipendiat und Sonderpreisträger des Deutschen Musikwettbewerbs. Schon früh sammelte Marc Gruber Orchestererfahrung in verschiedenen Jugendorchestern, wie dem Landesjugendorchester NRW, dem Bundesjugendorchester, der Jungen Deutschen Philharmonie und dem European Union Youth Orchestra. Hier führten in Tourneen durch China, Japan, Korea und ganz Europa. Von 2014 bis 2016 war er der bisher jüngste Solohornist des Bonner Beethovenorchesters und ist seit April 2016 in dieser Position beim Sinfonieorchester des hessischen Rundfunks angestellt. Weitere Engagements erhielt er bereits beim Königlichen Concertgebouworkest Amsterdam, dem WDR Sinfonieorchester, beim Radio Filharmonisch Orkest Hilversum, den Bochumer Sinfonikern und dem Gürzenich Orchester Köln. Das alles in dieser Episode von Careers of Classical Musicians! Diese Folge wird präsentiert von Dreher.Media

«NOTEN & SCHLÜSSEL»Konzerteinführungen aus Grafenegg, die Ohren öffnenEmilia Pelliccia über  das Programm des Konzerts in Grafenegg am 24. Oktober. InterpretenEUROPEAN UNION YOUTH ORCHESTRAHÅKAN HARDENBERGER, TrompeteMARIN ALSOP, Dirigentin   ProgrammAARON COPLAND«Fanfare for the Common Man»JOAN TOWER«Fanfare for the Uncommon Woman»HK GRUBER«Aerial» Konzert für Trompete und OrchesterIGOR STRAWINSKISuite aus dem Ballett «Der Feuervogel» (Fassung 1919) grafenegg.com/podcast

This episode marks the start of a new series, Classical Music and Low Incomes- Do They Match?, exploring issues around money and financial background in the classical music world. I speak to three musicians with very different experiences of the music education system within the UK. We speak about the ways in which their financial background has been both a barrier between and an aid towards their place in the music world.In this first episode I chat to Northern Irish pianist and violinist, Fionnuala Ward. Fionnuala is a recent graduate of the Royal College of Music, where she studied piano with Ashley Wass. She enjoys a diverse musical career and is in demand as a chamber musician, accompanist and orchestral pianist for the European Union Youth Orchestra. Most recently, Fionnuala has been awarded a place on the Foyle Future Firsts development programme from the London Philharmonic Orchestra.

In this episode of Small Business Snippets, I chat to John Tusa, author, journalist and one of the founding presenters of BBC’s Newsnight.  He shares his experiences of the boardroom and how risk analysis and cumbersome objectives can overshadow your organisation's core purpose.  You can also visit smallbusiness.co.uk for more on leadership and creativity in business. Remember to like us on Facebook @SmallBusinessExperts and follow us on Twitter @smallbusinessuk, all lower case. Here's the transcript of John Tusa's podcast interview Hello and welcome to Small Business Snippets, the podcast from SmallBusiness.co.uk. I’m your host, Anna Jordan. Today we have John Tusa, author, journalist and one of the founding presenters of BBC’s Newsnight. He’s served on several boards including The British Museum, the Clore Leadership Programme and, since 2014, the European Union Youth Orchestra. On top of that, John was the managing director of the BBC World Service and London’s Barbican Centre. Today we’re going to be talking about the secrets of the boardroom, as outlined in his latest book, On Board: The Insider’s Guide to Surviving Life in the Boardroom. Anna: Hi John. John: Hi Anna. Anna: How are you doing? John: Pretty well, thank you. Looking forward to this, looking forward to talking to you. Great. So as mentioned in the intro, I’m going to start with your latest book, On Board: The Insider’s Guide to Surviving Life in the Boardroom. In the book, you talk about the importance of having a plurality of expertise, but at the same time make clear that artistic institutions and not-for-profits are very different from businesses. Are there any transferrable lessons from these types of boardroom to the business boardroom?   John: Well actually, my guru around governance, who was a major American businessman called Kenneth Dayton from Minneapolis, and he said that there is no difference between arts boards and cultural boards and corporate boards and, if anything, my British contacts said that cultural boards are much more complicated than business boards because they have so many different layers of accountability. There aren’t two worlds, there’s only one world and that is governance and the relationship between the supervisory board and the executive board. And, if anything, arts and culture boards are more complicated than the others. That’s not me saying it; that’s businesspeople saying it.   Ahh, that is interesting. I understand that, at times, the CEO of a company can also be the chairman [of the company board], but they can be very different roles. How do they differ, exactly? John: The CEO, managing director – call them what you want – are responsible for management, for actually running the place. And they are also responsible for devising the strategic direction of the organisation. The supervisory board are there to advise, help, encourage, monitor, warn and, if necessary, get rid of the chief executive. Again, my great American guru, Kenneth Dayton, said that governance is governance, that is, you look after the overall organisation, and management is management – and you mustn’t confuse them. And that is why anyone who thinks they can be a chairman and managing director, is riding readily, and speedily, for trouble. They’re separate functions. Somebody defined the role between the chairman and the chief executive as partnership, but separation. That is close partnership until the time that you have to sack them. That is an absolutely essential relationship – and a tension – but a constructive tension, at the heart of the governance management business. Right – so this is typically one of the most turbulent relationships you’d find in the boardroom? John: They can be. But on the other hand, I had at least two, maybe three, very good relationships with either the chairman when I was chief executive or the chief executive when I was chairman. And when you get it right, it is extremely productive, it’s very enjoyable and it’s very good for the organisation concerned. Let’s be quite clear – any organisation which has a bad relationship between the chair and the chief executive is in real trouble – and I saw several of those. You can’t take too much trouble over getting that relationship right and making sure the relationship is right. One of the key things about it is absolute openness and transparency. I said to my chief executive at the University of the Arts London, ‘You will always hear it from me first. You will never hear rumours and you will never hear gossip. If there’s anything to deal with, you and I will deal with it first – alone and properly.’ If you do it that way, you have trust, you have openness, you have transparency – and you can have a terrific and successful relationship. For a business owner or director who is fairly new, who isn’t used to the boardroom environment, perhaps is intimidated by it, what advice do you have for them in terms of survival? John: It shouldn’t be survival, in the sense that it is a key part of the relationship. If you are whatever size of enterprise and you have a supervisory board, the assumption is that it is a constructive partnership. But, as I mentioned before, the supervisory board mustn’t interfere in management. And also, a chief executive must make sure that the supervisory board doesn’t interfere in governance. It may be necessary sometimes to say ‘look, this is an executive decision’ or ‘this is part of management’ but it ought not to be a relationship of fear and, in any case, the chief executive should always have some idea of who the chair will be bringing on to the supervisory board. The really important thing is that the chair has to make sure that members of the trustee board are there to provide their individual skills, yes, but also to give good overall advice, but not to interfere. On that basis, it should be positive, harmonious, constructive and lead to the success of the organisation. How about managing tensions that come up between member of the board – what’s the best way to go about resolving those? John: It all depends what they are, but if there are tensions between individual members, you might have to decide that one of them is in due course invited to step down. Or it’s very important for the chair to make it clear if a member is overstepping their mark, being too intrusive, taking up too much time or being too unnecessarily dominant. The chair is responsible for the way the board works and they have to make it clear. I had one case at the University of the Arts London where I was chairman of the court of governors and one of the members of the court was the trade union representative and he refused to understand that he was there to look after the interests of the university as a whole and not just the trade union members. He would stand up and he would harangue the court as if we were a trade union meeting. I put up with this for two meetings and then I had a huge row with him and told him that this was not an acceptable way of behaving. It was a big public row, I didn’t enjoy it and in a way I regretted it but it made it clear to him and to everybody that that was not how the court was going to run and it worked very much better afterwards.    Anna: In the book you talk about managing egos. I suppose it’s just a case of reading the situation and on balance knowing how to deal with different types of personality in the boardroom. John: Yes, in general and overwhelmingly, the people I sat on boards with, who are people with real authority and substance and responsibility in the areas they came from, overwhelmingly understood that they were there to support the organisation. You are holding in trust for others. It’s not something where you play individual games with it. And overwhelmingly, the people I sat on boards with understood that very well and left their egos at the door. Absolutely. In the past I knew you’ve spoken about having ‘the wrong ambition’. Tell me a little more about what you mean by that and how it can affect your standing as a leader. John: I think that sometimes in life, and this is nothing to do directly with governance, that you may misjudge what your abilities are or what you might be doing. If you want this example, the worst one was when I decided to accept the offer to be head of a Cambridge college and I did that for all the wrong reasons. I did that because it seemed a posh thing to do, which it was. It seemed a good address, which it was. It was absolutely the wrong job for me. I shouldn’t have touched it and I lasted around six or seven months. There’s a sense of what can I do, what can I do well and when am I being prodded by a false ambition and false vanity? That’s an important part of self-preservation. There may also be some times when you shouldn’t accept a chairmanship. For a very short time, I had the post of chairman of the Victoria and Albert Museum and chairman of the University of the Arts London. That was, in retrospect, very unwise. Fortunately, the people at the University of the Arts London thought, ‘well, if he’s going to be chairman of the V&A as well, it’s obvious that that will be his first priority’ and at a very early stage said, ‘look, we’re worried about this, and we don’t think it will work. Would you like to think about it?’ And when I thought about it, I realised that they were absolutely right. It won’t work and once again, I’ve gone into that for the wrong kind of ambition. There will be a clash, and because I’d said yes to the University of the Arts London first, I stood down from the chair of the V&A. So that was the wrong kind of ambition and thank goodness, I was saved from getting into, what could have been, a very confused situation. Talking more about the board as a whole, in terms of chaos and crises, there’s possibly no bigger than what we’ve been experiencing over the past months. How do you manage difficulties in the boardroom when you’re going through something like a global pandemic?       John: With difficulty, and I think I’d try to go back to the basic principles of management and governance. Say, if I were chair of some organisation, I would expect the board of management to come up with a strategy – six months, one year, eighteen months, two years – first a strategy for survival, then a strategy for development then a longer term strategy. That would be put to the supervisory board, we would look at what the financial implications were, decide whether it was doable or not doable and then there would be a process of the supervisory board reviewing what management suggested, sometimes suggesting less, sometimes suggesting more, sometimes suggesting that they should be more ambitious in these times. You can’t, for example, because there’s a pandemic, just say ‘we’ll stop doing anything’ because actually, the implications are too great. So the times are tough but the way that people behave in them makes it even more important that they behave as a good board and executive together should behave. The behaviour shouldn’t change.    I’d like to go a little bit off-piste here. You’ve said that the BBC increasingly exercises ‘business dogma over creative values.’ What do you mean by that and how do you maintain creative values in a growing business? John: I come back without apology to ‘why are we here? Why are you here? Why is the organisation here? Why is the new organisation starting up?’ Because somebody wants to do something.   Business tools are just that: they’re a set of tools. If you are observing them and that’s all you’re doing, I don’t think that you’ll ever succeed. There are toolkits to help you succeed. What worries me about the BBC is to, too often, they go into forms of business behaviour which lose sight of the nature and the purposes of broadcasting and programmes and the needs of the audience. I’ll give you one example which I think may help. That is the whole business of risk analysis. Everyone says you need risk analysis and you’ve got to be very serious, you’ve got to know what’s coming over the hill. On one occasion we were looking at risk analysis for the university at the University of the Arts London. By the time the centre had listed its risks, every one of the six colleges had listed their risks and different faculties had listed their risks, it was about six or seven pages and, as I recall, about 130 risks. It’s ludicrous. And it was the chair of the audit committee, who’s an accountant, who said ‘I can’t deal with this, nobody can deal with this’. He said ‘let’s have eight, ten, a dozen, maybe – a dozen main strategic risks. He said let’s get rid of the rest. This becomes a separate activity in its own right, dreaming up risks. It’s ludicrous. And he also said, ‘if you’re going to have a risk register, why not have an opportunity register?’ He said that risk and opportunity are different sides of the same coin. Anna: Yeah, I understand. And I think it’s a good exercise for business owners to have this opportunity register. John: Can I also say about objectives? A good colleague of mine, actually he was the chair of the British Museum and he used to run Unilever. On one occasion, he was at the gathering of chairs of the major cultural institutions, had a meeting organised by the department of culture, media and sport. They were discussing – the chairs and the department, ministers and so on, the whole business of objectives. This man who used to chair Unilever said, ‘ you know, in my years of chairing Unilever, we would set about seven or eight objectives, and if I got most of the people, most of the time, to work to half a dozen of them, I thought we were doing very well.’ And he noticed that the secretary of state looked a little pale. Afterwards a senior civil servant came up to him and said, ‘you know when you said you could work to eight objectives and if six were observed, you were doing very well? He said that we in the department set 48 objectives this morning.’ That again is an example of a management tool becoming something completely useless. And by the by, the man who invented objectives said, ‘if an objective isn’t being met, you may have the wrong one. Ditch it, think of another one.’ That’s not a great use of your resources. I guess my final question is what advice do you have about setting objectives in the boardroom? John: I’ve always had a, what some would regard as an over-light view of objectives. I was managing director of the Barbican Centre for 12 years. In general, I say this without false modesty, it was a much better organisation at the end of 12 years than it was at the beginning. It wasn’t just me, of course, that was my team. And from time to time, people would say to me ‘did the corporation of London set you strict objectives, what you had to do? And I said no, they never said anything, but I knew that I worked to four objectives: 1) run a good arts centre 2) run it within the financial limits that you have 3) bring credit to the corporation of London so that everyone can say ‘isn’t the corporation of London wonderful? They fund the Barbican and 4) don’t insult the Lord Mayor. In 12 years, we didn’t need any other objectives. I would say strip yourself of these things and say,‘are they helping me do the things that I want to do, what the organisation needs done or are they a substitute for making sure the organisation works properly?’ And if you can shed all that and keep things clear, then the governance will work better and the management will certainly work better. What about critics that would say that you need SMART goals that are measurable and based on precise numbers? John: The answer to that is measures measure what measures measure. Measures hardly ever get to the heart of what an organisation is about. You look at the finances the whole time, of course you do. In the case of the BBC World Service, you looked at the audiences. You’re aware of numbers, you use them, but you don’t say that such and such a number is a success, and if we don’t it must be a failure. It’s much more complicated than that. They may be a guide, but they are not the most important thing which determines the success or failure of an organisation. Anna: Absolutely. I think in business today we do have a way of getting caught up in it and it causes a lot of tension and anxiety. Where, as you say, remembering what you’re doing, what people need and what keeps it going should be at the heart of it. Well, that seems like an ideal place to finish. Thanks ever so much for coming on the podcast, John. John: Thank you very much, Anna. Nice to talk to you. John’s latest book, On Board: The Insider’s Guide to Surviving Life in the Boardroom, has been published by Bloomsbury and is available now from Amazon and all other major book retailers. You can also visit smallbusiness.co.uk for more articles on leadership and creativity in business. Remember to like us on Facebook @SmallBusinessExperts and follow us on Twitter @smallbusinessuk, all lower case. Until next time, thank you for listening. 

Gestern ging das Festival Young Euro Classic mit dem „European Union Youth Orchestra“ zu Ende. Auf dem Programm der Spätromantiker Nikolai Tscherepnin und Beethoven. Clemens Goldberg war im Konzerthaus dabei.

Charlotte Hamilton is one of the most inspiring person I have ever met. She was working as a fundraiser for European Union Youth Orchestra when I was a member of the orchestra. We became friends and until now we are supporting each other and exchange ideas. She was working for the most vibrant companies and … Czytaj dalej „I am shifting my moment to you.” →

Featuring singer/songwriter Kitty Macfarlane, violinist Emily Davis and Nashville-based singer Lindsay Lou. Become a patron of the podcast and all we create as Twelfth Day Kitty Links Kitty's website Kitty's essay on The Lamb by John Tavener from BBC Radio 3's ‘My Life in Music' series Kitty playing live as part of the 'Folk on Foot' Front Room Festival Kitty's album 'Namer of Clouds' on Spotify Emily Links Emily's Website Emily's recent live stream for Chamber Music Scotland. Also featuring Andrew Robb on bass. Video of Emily directing the European Union Youth Orchestra at a recent performance in Cuba Lindsay Lou links Lindsay Lou's Website Lindsay and her band playing 'Everything Changed' live Lindsay's latest album 'Southland' on Spotify The Sweet Water Warblers new album 'The Dream that Holds this Child' on Spotify Other Links Esther and Leon's live stream One of our favourite podcasts 'The High Low' 's Anti-Racism episode. Packed full of education resources. Reni Eddo-Lodge's podcast 'About Race' Peter Longworth - the composer of the new piece Emily played New Twelfth Day video DEEP DARK BEAST Twelfth Day Patreon Instagram handles @kittymacfarlane @emilydavisviolin @lindsayloumusic @twelfthdaymusic

Qui il podcast della diretta che domenica 12 aprile la European Union Youth Orchestra ha regalato alla città di Ferrara raccontandosi al pubblico. Ringraziamo l'EUYO per averci coinvolto. Qui trovate il podcast mentre sulla nostra pagina Facebook potrete trovare anche il video della diretta.

I'm thrilled to be chatting today with Alexandra Scott!  Alexandra plays bass in the Bavarian Radio Symphony Orchestra and teaches at the Hochschule für Musik in Karlsruhe, and she was a headliner for the 2017 International Society of Bassists Convention. More About Alexandra: Born in Somerset, England, Alexandra Scott began her studies at the Yehudi Menuhin School in London. Later, whilst studying at the Royal Academy of Music, she became a member of the European Union Youth Orchestra, the Mahler Youth Orchestra and the UBS Verbier Festival Orchestra. She completed her bachelor of music at the Guildhall School of Music and Drama with “First-Class Honours” under Rinat Ibragimov. In 2005 Alexandra moved to Berlin where she held a scholarship from the Berlin Philharmonic Karajan Academy. Among her teachers at this time were Klaus Stoll, Janne Saksala and Esko Laine. At the age of 23 she was appointed Principal Double Bass with the NRD Radio Philharmonic in Hanover. Alexandra is a dedicated chamber musician and appears regularly at leading international festivals in collaboration with artists such as Lisa Batiashvili, Gautier Capuçon, Reinhold Friedrich, Francois Leleux, Vilde Frang, Valeriy Sokolov, Eduard Brunner, Sergio Azzolini und Harriet Krijgh. She often plays with the Chamber Orchestra of Europe, the Mahler Chamber Orchestra and Amsterdam Sinfonietta, and is a founding member of the period instrument ensemble, L’accademia giocosa. Since May 2007, Alexandra holds the position of Sub-Principal Double Bass with the Bavarian Radio Symphony Orchestra, with whom she played as a soloist under Maris Jansons in 2015. Alexandra is also a passionate teacher. Since 2012 she has been Professor for Double Bass at the Hochschule für Musik in Karlsruhe. Alongside teaching the members of the Academy of the Bavarian Radio Symphony Orchestra, she also coaches the Gustav Mahler Academy, the German Youth Orchestra and the National Youth Orchestra of Great Britain. Links to Check Out: Alexandra's Website Interview (in German) with Alexandra Listen to Contrabass Conversations with our free app for iOS, Android, and Kindle! Contrabass Conversations is sponsored by: This episode is brought to you by D’Addario Strings! Check out their Zyex strings, which are synthetic core strings that produce an extremely warm, rich sound. Get the sound and feel of gut strings with more evenness, projection and stability than real gut. The Upton Bass String Instrument Company.  Upton's Karr Model Upton Double Bass represents an evolution of our popular first Karr model, refined and enhanced with further input from Gary Karr.  Since its introduction, the Karr Model with its combination of comfort and tone has gained a loyal following with jazz and roots players. The slim, long “Karr neck” has even become a favorite of crossover electric players. Check out this video of David Murray "auditioning" his Upton Bass! The Bass Violin Shop, which  offers the Southeast's largest inventory of laminate, hybrid and carved double basses. Whether you are in search of the best entry-level laminate, or a fine pedigree instrument, there is always a unique selection ready for you to try. Trade-ins and consignments welcome! Subscribe to the podcast to get these interviews delivered to you automatically!

Ärmel hochkrempeln heißt die Parole diesmal bei U21: Gegen die drohende Auflösung des European Union Youth Orchestra muss was getan werden - und wird auch! Und wie man als Medizinstudent mit Benefizkonzerten Studierende in Kriegs- und Krisengebieten unterstützt, verrät unser Studiogast Carl Firle.

Zsolt-Tihamér Visontay was appointed Joint Concert Master of the Philharmonia Orchestra in 2007. At only 24, he had already been Germany’s youngest Concert Master and leader of the European Union Youth Orchestra. In this film Zsolt talks about learning the violin, his decision to become a professional player and his feelings about living in London.