Digital musicians in an isolated world

Some tips for classical musicians about how to maximise their digital presence during COVID19

Picture credit: Fenella Humphreys

Nearly four weeks after lockdown in the UK, classical music in the digital space has taken on a range of different appearances, and prompted a range of responses about its success, its value, and its pitfalls.

I’m of the mind that this period of time is a useful opportunity for individual performers, small-scale organisations and ensembles, and sundry other creatives.

This is not to downplay the catastrophic impact COVID19 lockdown has had on the livelihoods of musicians. Nor is it to suggest that everyone should now be being using this time to be creative. Different people respond in different ways.

But multiple conversations with different people have reminded me of something I had overlooked – something me and a pal laughed about earlier on: how classical musicians choose to explore this moment in time in the digital space is something I have an opinion on (and its one based on some professional experience too – always a boon).

So with that, and the fact that ACE are currently inviting applications for its Emergency Fund both in mind (and without wishing to limit my own chances for future consultancy work), I figured it might be worth sharing some observations, thoughts and insights about the digital musician in an isolated world.

Note, if you’re looking for technical assistance, be sure to read over David Taylor’s blog posts on kit.

Digital endeavours are good for purpose, brand awareness, and building a network

I’ve seen a lot of negative talk about musicians and organisations giving away content for free right now. I’ve even seen one defend their decision to provide live streams. This seems contrary to what this period really represents to people like me and to the musicians and their output I celebrate and advocate.

At this challenging time we need a sense of purpose. That purpose may necessarily come without a revenue stream. In freelance terms that’s the equivalent of a marketing opportunity. Traditionally, marketing has sucked all the figures out of budgets, and its been phenomenally difficult to measure a tangible return on that investment.

The reason for producing digital content right now is to maintain brand awareness of yourself or your ensemble, build a network (which might in time be something you can monetise). The happy(ish) consequence of that is to provide the individual with purpose and therefore motivation.

None of it is easy. And there’s no quick-way to a revenue stream in the digital space. But if you look at it as a marketing strategy, then that should be enough to justify dabbling at the very least.

Isolated musicians need to think of themselves as content producers

Not only is a performer providing the core content (ie the music), they’re making the entire package – presence ‘on stage’, curator, presenter, performer and self-publisher.

If you’re a performer embarking on a digital strategy for the first time, you’re best thinking of yourself like a blogger (see below). You’re no longer the talent who just turns up to play. You’re responsible for all of it – from having the idea to, realising it, and getting the finished product distributed to as far and wide as you can.

(Well, in truth there are some of us who can help with most stages of that creative workflow. Do get in touch if so at thoroughlygood@gmail.com).

Isolated musicians need think of themselves like bloggers

Any blogger worth their salt – the ones who’ve done it for years – will tell you that they don’t create for traffic nor money. They aren’t bothered by the number of likes. They create because it provides them with a sense of purpose.

And, contrary to what you might think, blogging isn’t an overnight thing. It’s a very slow burn. It’s the same with creating video content. Creating video content is no different from writing a regular blog. You need to be consistent, regular, reasonably frequent. Keep plugging away.

This is a marathon not a sprint.

Be distinctive

There’s a lot of solo performances at the moment – that’s not in itself a bad thing, but it does put a greater emphasis on making something distinctive. Being distinctive makes it more possible to gain cut-through in a very noisy digital space.

And as digital is a visual medium first, one way to be distinctive is to look for ways to make the view in your video distinctive – an outdoor location perhaps, a strong backdrop with shelves, ornaments or plants etc. Or it might be about making sure your content is carefully curated, themed, or topical content which builds over time.

By aligning your name or your ensembles name with something distinctive, you’ll gain cut through, raise awareness and build a network.

Worth stressing again: this is a marathon, not a sprint.

Editorial decisions about what to play need to come from the self

Don’t play something on camera because someone else has told you to. It will be obvious (because digital exposes contrivance) to all that your heart’s not in it just as a live performance sometimes doesn’t connect with the audience.

So, curate your digital programme according to your emotional need at that moment in time. Something you’ve agreed with a digital marketer on a Tuesday may not feel quite right for a Wednesday. We live in moments in time which shift at an alarming rate. So play what feels right for you. That connection with the self in the moment will make any introduction, you give for it and the subsequent performance of it, all the more authentic and compelling.

Tell a story about the music you play that is authentic

Now is not the time to regurgitate programme notes – tell us why this music is important to you and pull in any personal stories you can in order to do so. Put this music in your own personal context.

Digital is a medium that enhances personal authenticity. Be genuine, sincere and authentic.

Be confident on camera

This is a biggy because viewers see before they hear.

Confident doesn’t mean being a TV host with an auto-cue. It means presence.

Playing (and speaking) on camera is phenomenally unnatural because it’s calling on the person in front of the camera to create a persona. This comes from practise and from a sense of self-belief (even if you’re standing in your kitchen and thinking you look like an idiot).

The quicker you become more comfortable with this bizarre set up the quicker the audience will believe in you too.

The audience is adjusting too

We’re all collectively in a process of adjusting to a new visual grammar. That’s why the likes of Have I Got News For You produced in isolation, or the Graham Norton Show appear clunky right now but will in a few weeks time appear quite normal. We’re all adjusting to a new way of consuming our favourite things. That means that in addition to getting comfortable ourselves with a lack of quality in the way we present ourselves, so too the audience is adjusting too. In time those two worlds will meet in the middle just as they do in the concert hall. Once the audience gets accustomed to your way of presenting your content, they’ll feel more at ease and will keep coming back. That’s why consistency in content production is really valuable.

Beginnings and Endings

There is an exception to the rule for me. In the slightly unnatural setup we’re all getting used to, beginnings and endings are really important. They are bookends to a performance – either bookends for the actual video (eg fades up and down) or within a video (pausing between finishing talking to prepare before performing, and pausing before shifting to a non-performance state at the end of playing a piece). These contrived beginnings and endings will feel like unnecessary detail or possibly even unnatural, but they will unwittingly guide the viewer and make them feel more at ease with what they’re watching.

Audio equipment is the way to go

To my mind, a decent stereo ambient recording (by which I don’t mean a studio recording) or a live performance will more than compensate for relatively shitty iPhone video. So, invest in a digital recorder like a Zoom with a directional mic, or a TASCAM (or an Zoom attachment for your iPhone).

If you go for a separate recording device like a Zoom, record a decent stereo capture of your performance at the same time as the video, then sync the two in Adobe Premiere or Adobe Rush (for iPhone/Android).

This will transform a home-shot video in an instant. Get in contact if you’d like me to do with the syncing for you – its a quick job – at thoroughlygood [at] gmail.com.

Now is the time to bring the audience closer to the classical music performer

I’ve spent years trying to reduce the gap between audience and performer in the stuff I talk about and the stuff I write. I totally understand that this is a shitty time for musicians because of the complete lack of income. But now is the time when classical musicians are able to advocate the genre. What we’re asking of your is counter-intuitive given what you actually need most right now. But I am of the mind that it could pay dividends further down the line when some kind of normality returns (whenever that is), or when technological solutions make a collective live music experience more of a content production possibliity.

If you think I can help with your digital content during the COVID19 crisis – advice, consultancy or production – be sure to get in touch for a no-obligation conversation. Email me at thoroughlygood [ at ] gmail.com.

On managing the empathy gland

Saying ‘there’s someone worse off’ isn’t helping you or them. It’s not empathy. It’s not being mindful. It’s just denying the permission you need to acknowledge the challenges of this situation. We’re all allowed to be finding this a struggle. And we should do that. By acknowledging our own situation we’re more likely to be help others with theirs.

I’ve been trying to work out why these past few weeks have drained my energy. It’s not that I’ve taken on more work necessarily. My ‘slate’ is the same it was two months ago. My working environment hasn’t changed either. I’m working at home just as I was last year and the year before that.

What has changed in the space of three weeks are the number of conversations I’m having with people on the phone. And, importantly, the number of people I’ve actively sought out to have a conversation with.

More real conversations more less energy

This is a marked change from a month ago, where most exchanges were conducted over WhatsApp messages, SMS, email or Messenger. I’ve gone from interacting with people via digital messaging (with all of the mental processing that demands) to shifting to an entirely different style of interacting: one far more real and present. And therefore exhausting.

Just last night, as I was texting a handful of pals to see how they were doing, I began to wonder whether my motivation was right: was I messaging those people for their benefit (so that those people knew I was thinking of them) or for mine? And if it was the latter, was that the right reason? After all, just because I’m wobbling a bit that doesn’t means the people I’m messaging are. Maybe they’re coping just fine without me fussing all around them.

Stop taking on so and start toughening up?

Was I just someone who wanted to ‘glom on’ to someone else’s troubles or challenges? Did I need to butt out? And, given my energy levels right now, did I need to just care a whole lot less? Was I just being a pain in the arse (even though I was trying to be thoughtful? Instead of ‘taking on so’, did I need to ‘toughen up’? I fell asleep on the sofa soon after.

Waking up this morning feeling flat, I immediately recalled two stories from my childhood.

The first was way back when I was in my pre-prep school. Park Croft School was based in Risby but regularly made use of the nearby Culford School’s swimming pool on a Wednesday afternoon. During one such session – lots of small blobs arm-banded up, looking nervously towards the water from the wooden bench at the side – what appeared like a medical emergency ensued.

Panic in the swimming pool

James Waters – by my recollections one of the tough boys in the pack – seemed to be thrashing around in the water. There was an agonised face. Two teachers bent over the side of the pool looking concerned.

Everyone around me seemed to be laughing. I wasn’t entirely sure what they were laughing at. I was curious. I watched as both teachers knelt down at the side of the pool, issued soothing words and a long arm out to James and plucked him out of the water. More laughing ensued as James shivered in a towel looking frightened but relieved.

I don’t really remember what I said out loud. It probably took everyone else by surprise. It usually does. Its usually at that point when I end up feeling guilty, remorseful or regretful. I often end up apologising at that point.

Weirdo

On this occasion, I remember feeling embarrassed afterwards. It must have been something like, “Why are you all laughing? He was in pain.” I can’t believe it would have been as eloquent as that, but the meaning was that. Undoubtedly. My memory is clear on one thing: at that one moment in time, I was consumed by being concerned about the kid in the pool. Once the shivering James had been attended to, the teacher then turned her attention to the laughing crowd of kids on the bench, and me. “It was nothing,” she said. “It’s just something called ‘a cramp’. Everyone gets it every now and again.” Cue more laughter.

Stupid angry maths teacher

The second story relates to something that happened six or seven years later. At Culford School. After a Maths lesson. I’ve written about this before on the blog (though that post has now succumbed to a database hack) so regular readers may remember this. It bears telling again.

The Upper Fifth C Set Maths had a new teacher leading them through towards their GCSE Maths exam. Mr Woodliffe. A man with a big nose, a receeding hairline, and a problem asserting authority. His methodology was to use the first lesson we had together to trash his predecessors achievements, and then outline how regular (and incessant) testing combined with uncompromising mid-term reports to our parents would, whether we liked it or not, increase our comprehension, retention and, ultimately, our grades.

Compared to the last teacher – affable, persuasive, compelling and utterly adorable – Mr Woodliffe lacked any kind of charisma whatsoever. There was even a question as to whether he wanted to teach at all.

Confronting the shouty-man

Whilst we were all obedient, it seemed pretty obvious to me that if you wanted us to engage with the product you were going to have go a whole lot further at building rapport with us, and doing that should start with not trashing what’s gone before. Also, that mid-term reporting thing? Was that actually allowed?

I and a pal hung around at his desk at the end of the lesson. “It’s not fair you talking about the previous teacher like that,” I piped up, “We all really liked him. He was really popular.” Mr Woodliffe said nothing. “And we’ve never had mid-term reports before and none of the other teachers are doing them. They would have said to us.”

Even writing it down now, my words (if I’ve recalled them correctly) seem perfectly reasonable. Bold, yes, but not rude. Mr Woodliffe didn’t agree. In fact, Mr Woodliffe went fucking wild. His face went red. His wirey hair appear to spark into life. His nose expanded. And he shouted loud. And pointed. In fact, he screamed in my face. I felt my legs wobble, then my shoulders. Then I turned to my pal standing next to me to discover that he seemed to have disappeared already. I left the room in a hurry, passing the sixth formers queuing up outside for the next lesson.

Later that same day when I was stood in the lunch queue, the Head of the Maths department impressed on me the need for respecting one’s elders, insisting that it would be in everybody’s best interests if I extended an apology and remembered what the teacher-pupil dynamic was really about. I did as I was told. The apology wasn’t especially heartfelt. I might as well have phoned it in. Mr Woodliffe left his post at the end of that term.

These stories now have different interpretations

On those occasions when I’ve revisited both of those events my interpretation of them has changed.

The first at the swimming pool is about me being concerned about what was happening to someone else. My peers obviously thought I was a bit weird to be so concerned and, to a certain extent, I’ve long thought that too. An early signal to every one that I was a bit weird, probably effeminate, almost certainly gay, and fair game for the rest of his schooldays. The die was caste early.

The second story – me confronting the teacher – I’ve long seen as uncharacteristic bravery. Foolhardiness. Idiocy. Perhaps even sport. As though I seek out those opportunities to be different from everyone else, opportunities when I can ‘poke the bear’. TV dramas would cast these individuals as troublemakers, desperate to get a reaction and giggling when they get it. But my reaction was fear. Though, interestingly not so much fear that it made me step back from such opportunities in the future.

Me me me

Both stories have long been interpreted by me as me obsessing about me. Evidence of my continued self-absorbedness. Yet more reasons of why I should stop thinking of myself and start thinking of others more. Start thinking of the team instead of responding to how you’ve experienced something.

But how I interpret both of those stories has changed in the past week. That’s partly because I’ve noticed I’ve spent a significant amount of time over the past three weeks speaking to people on the phone. I’ve wanted to see people in video. I’ve wanted to check in to see how they’re doing. And at the end of every day I’ve felt exhausted by that. And I’m beginning to wonder whether that is a bit strange.

Empathy – it’s a bastard

Here’s what I think now about those two incidents: they show empathy.

On both occasions, I was responding to how I perceived others to be feeling. The act of being mindful about them – the first about the kid with cramp, and the other about how everyone felt betrayed by the new teacher’s view of his predecessor’s effectiveness – wasn’t a weakness but a strength.

(Well, OK. You might also look at both stories as me perceiving or assuming the feelings of others, or worse projecting my feelings onto them. But, for the purposes of this, let’s press on as we were.)

And that same strength is what I and loads of other similarly minded people are drawing on right at this moment in time. And I write this not to big myself up (I quite understand if, like the kids on the bench at the swimming pool you think I really am bigging myself up), but to pose a question.

How do we manage ourselves at this moment in time? This question extends further than the obvious sources of stress like the health of a loved one, where one’s income is going to come from, or the state of the economy. It’s about the additional energy required to think about our own network.

What’s going on in your network?

My network extends across professional and personal contacts. It is about my work, their work, and their circumstances. It’s to do with the underlying health issues of the man who signs off my monthly invoices, just as it is about the lifelong pal whose sailing business is (excuse the pun) dead in the water because no one is allowed to go out. My network contains NHS workers (one of whom has contracted the virus), octogenarian relatives with significant health concerns, and a former music teacher who is currently undergoing chemotherapy for stage four cancer. And it contains people half my age grappling with the possibility of losing their jobs and their sense of purpose.

Thinking of all of those different stories across my network is enough to drag me down. It’s not my drama I’m thinking about, but theirs. And – feel free to throw spears at me for this – I can’t help but think of them and reach out to them so they know they’re in my thoughts.

At what point is it OK to say to yourself, “Enough with the empathy. Take the rest of the week off? They’re quite capable of looking after themselves. They don’t need you fussing around them?” Who knows.

It’s a marathon not a sprint

Not everybody demonstrates thoughtfulness. I see plenty of people trot out the ‘unprecedent times’ and ‘exceptional circumstances’ in emails, as though that’s sufficient to refer to the situation without getting in too deep. There’s a superficiality to that approach I find. A near insincerity. Lip service. Coldness.

Similarly, we are at a stage in this crisis when I’m already hearing people qualify their own feelings with “But there are people far worse off than me.” That’s saddening in itself – a reflection of the way society denies us the chance to truly acknowledge how all of this is making us feel, replacing the horror with a sense of guilt.

I would rather think about others and the situation they might be facing and have them know that I’m there for them, than think that value that has been with me for years – empathy – is something of a problem. What I need to do right now is find a way of managing the energy needed for empathy and the after effects.

Not everybody can cope with empathy – being on the receiving end of it, I mean. But I think we need to recognise its importance right now. And to find a way of sitting with it. For all of our sakes. By doing so we’ll develop our own levels of mental resilience in a meaningful and sustainable way both for ourselves and for others.

And by resilience – let’s knock this one on the head – I’m not saying we need to ‘toughen up’. Resilience is not mental ‘toughness’ like I’ve seen on one email.

Resilience is about being able to spring back from a situation: being able to identify what is going on in the mind at any given time and deploy the appropriate methodology to help get it back on track. And that in itself demands being able to acknowledge the challenges we face and others face without fear. Now seems exactly the right time to be empathetic. Or at least trying to be.

Having valuable conversations in a remote-working world

Like many people I’ve been having a lot more video conferencing and telephone calls over the the past two weeks.

Some thoughts have arisen about how they’re supporting me, how they might be supporting others, and how best to manage them and get the best out of them. I’ve listed them below.

Please get in touch at thoroughlygood@gmail.com if there are any others to add to the list.

1. Seeing is believing

I’ve benefited from the presence of others in my working day. The positive impact of actually seeing someone else when you’re in isolation cannot be underestimated. Merely seeing someone else in video jolts you out of your majority (and often negative) thinking space. If you’re thinking of emailing someone, then stop to consider whether a telephone call might be quicker first. Look for ways of using video calls to help others in their day.

2. Look for the everyday

Seeing other people’s bookshelves, curtains and light fittings reveals an everyday-ness about the perception of challenging people and helps take the sting out of situations.

3. Always communicate with positive intent

Heading into a video conference call has to be done with rigorous attention to maintaining a sense of positive intent.

This is our personal responsibility to one another now: to make sure our conversations are future-focussed, built with clean language, and ultimately ensuring that we want the best for the other party.

4. Don’t broadcast what you’re doing

Gone are the days of reciting what we’re doing to one another during a call. I’ve often seen this in meetings; I’ve become immune to it.

Things are a bit different now: we are actively striking up a conversation when we participate in a video call. We have to look for ways to actively engage in conversation for the benefit of the other party.

5. Avoid manufactured group fun

This may well be more of an introvert thing. I’m finding I’m benefitting more from one-to-one time with colleagues and peers. Group conversation tends to feel like a battle for attention. There also needs to be a clear purpose for the interaction. This doesn’t need to be explicitly stated so long as one party has a reason or a desired outcome for the conversation.

Video calls of more than 5 people are mostly but not exclusively a waste of time. Manufacturing group fun on a video call is enough to make me claw at the walls.

6. Be wary of the interruption to productivity

This new normal style of communication comes at a cost. The positive energy which stems as a result of such interactions can act as a distraction from the priorities of the day. Managing when to have those conversations during the day is key. I rate morning over afternoon.

7. Use contracting methods to manage challenging conversations

It is possible to have challenging conversations over a video call, though both parties will need to be up for it. The conversation also has to follow a basic formal structure, one that is probably more instinctive and therefore natural in style given the inherent latency issues with live video exchanges.

Contracting how those conversations are had is key.

One very effective method is both of you agreeing that each party talks for three minutes at a time uninterrupted. Listen intently, reflect what you’ve heard back to the other party, then proceed. Conclude the conversation with an exploration of what you both need to do to work more effectively in future.

8. Staring at the camera can be a little offputting

Being present on a video call doesn’t mean one has to look at the camera all the time. I often have to take my glasses off so that I avoid looking at the inset image of me all the time. I’m not sure how I feel about not looking straight at the camera (ie making it possible for the other party to know they being given attention); I suspect I’ll change my thinking in the next few weeks.

9. Zoom isn’t the best solution

WhatsApp is better for one-to-one video calls. I’m not 100% convinced about Zoom’s quality personally; WhatsApp has more of an immediate feel and a sharper image too. Such seemingly small points are important for conveying presence and solidity in remote conversation.

10. Ask open questions always

Asking open questions of the other party is vital in these troubled times. Open question-words like ‘what’, ‘who’ ‘when’, ‘how’ or ‘tell me more’, will trigger the other party into reflecting a little more deeply on their own thoughts such that they feel more engaged in the conversation. Avoid ‘why’ at all costs – in isolation the word why sounds even more judgmental and accusatory than it does in real life. Always make a point of summarising what you’ve heard back in conversation – that lets the other party know they’ve been listened to.

If you’ve enjoyed this post, please consider supporting the Thoroughly Good Blog at Patreon for as little as $2 per month.

London Philharmonic Orchestra announce their digital content in response to COVID-19

The London Philharmonic Orchestra is responding to the COVID-19 crisis with a wide variety of free interactive digital initiatives via a new website LPOnline – Connecting through music.

Three strands feed into the website: a performance ‘space’ featuring live or ‘as live’ performances including short performances from members of the orchestra and the LPO’s Foyle Future Firsts Development Programme and the LPO Junior Artists.  

The first performance event is detailed below.

Thursday 26th March, 7.30pm

Anne-Sophie Mutter (violin)
Pieter Schoeman (violin)
Richard Waters (viola)
Kristina Blaumane (cello)

Beethoven ‘Harp’ Quartet (excerpt)
(originally scheduled for performance this week in the QEH)

The LPO are also planning to release playlists of the concert repertoire they were originally planning on playing – each concert will be introduced by a member of the orchestra giving a personal take on what listeners can hear. Audiences will then be able to interact with LPO musicians and staff on the LPO’s social media channels. 

On Saturday 28th March at 7.30pm Edward Gardner, the LPO’s Principal Conductor Designate, will introduce the first concert in this series.

The LPO’s Education & Community department offers a range of learning and experiential resources and activities for audiences, supporting instrumental and creative music learning, plus materials for schools, families and disability settings.

And, as you’d expect, the orchestra will also tap into the specialist knowledge and experience of its musicians, and provide behind the scenes insights of the experience of musicians responding and reacting to the COVID-19 pandemic.

Amid the grimness of the current lockdown (lightened in Lewisham, London by the blue skies and warm spring sunshine) it is good to see orchestras (those with the resources) responding so resolutely to the crisis everyone is experiencing.

One wonders whether there will at the end of it be a greater appreciation of the role that orchestras and musicians play in the cultural life of this country, not just because so much content has been made freely available so readily and so swiftly. Such efforts also serve to remind us of the hole that could be left if that community – especially the self-employed musicians that are a part of it – was no longer supported.

Live streams, bespoke video, and archive content from arts organisations and performers during COVID19

London Philharmonic Orchestra

On Thursday 26 March the London Philharmonic Orchestra announced its digital response to the COVID-19 crisis – LPOnline – including unique performances filmed remotely in the homes of orchestra members, concert playlists, and a range of online resources for schools, home learning, and social care projects.

Fenella Humphreys

Fenella is combining live streams with pre-records via her YouTube Channel
https://www.youtube.com/channel/UC_JlM05leyWyMXxUjiZBn6w

UPDATE: Pending her reaching the magic 1000 subscribers (at the time of writing she’s 90 off the target), she’s planning a live stream on Sunday 29 March 2020.

London Symphony Orchestra

The London Symphony Orchestra have a nifty offer. Streams on YouTube with accompanying digital programme notes, plus spotlights on movies where they feature in the soundtrack. Everything commenced on Thursday 26.

Royal Overseas League at Home

The annual music competition is publishing a series of home-based videos – charming personal pieces to camera with a performance – on its YouTube channel. 2019 ROSL Finalist Kris Garfitt’s touching arrangement of Portugal’s winning Eurovision song (above) from a couple of years back is the perfect tonic.

Royal Opera House

ROH and Royal Ballet announced plans to stream performances late last week. The first wave of content is scheduled for streaming is detailed below.

Peter and the Wolf, The Royal Ballet, 2010 – 27 March 2020, 7pm GMT
Acis and Galatea, The Royal Opera, 2009 – 3 April 2020, 7pm BST
Così fan tutte, The Royal Opera, 2010 – 10 April 2020, 7pm BST
The Metamorphosis, The Royal Ballet, 2013 – 17 April 2020, 7pm BST

Rotterdam Philharmonic Orchestra

Posted on 20 March, this cumulative video sequence of the Ode to Joy from Beethoven’s 9th is a bit of a tear-jerker. Beautifully put together. Heartfelt.

London Mozart Players

LMP have announced their ‘At Home with LMP‘ series featuring YouTube Premieres and Live Facebook Watch Parties. First concert on 28th March at 7pm.

7pm, Saturday 28th March
Craig Ogden guitar

Barrios Vals op.8 no.4
Scarlatti Sonata in E major, K.380
Excerpts from Rodrigo Concierto de Aranjuez

Belle Voci

Recorded in an empty church last week, The Voice participants Belle Voci release a pre-recorded concert on YouTube sometime this week. Subscribe to their YouTube Channel and Facebook page for more details and alerts.

Matthew Sharp

The ridiculously multi-talented cellist, actor, and now cook Matthew Sharp is reaching out to Chris Martin to get advocacy for change in the self-employment market mid-COVID19, and he’s offering #DinnerKaraoke. A good egg.

Garsington Opera #MondayMotivation

10am every Monday via Garsington’s YouTube Channel. Session from 23 March captured via Zoom embedded above.

Sean Shibe

Sean has plans to live stream, dates and times to follow
https://www.youtube.com/user/seanstshibe

Voces 8

The choir signed to Signum and Decca are releasing YouTube Premieres at different times on their channel.
https://www.youtube.com/user/vocescantabilesmusic

Support musicians affected by cancellations

Direct links to recordings by musicians, artists and composers affected by cancellations, from spring 2020 curated by the brilliant Adrian_Specs on Twitter.

London Mozart Players go virtual, launching ‘At Home with LMP’ in response to the COVID-19 outbreak

One week on and orchestras, opera houses and freelance musicians are looking to digital to help maintain awareness of their role, contribution and impact to society, and highlight the risks they are facing in uncertain times.

Much of their successes in the months to come will undoubtedly come down to, not only infrastructure availability, but familiarity with tech, editorial risk-taking and nerve.

Live Experience is highly prized

There’s an argument for saying that the Digital Concert Hall’s generosity to extend free access to its live streams and archives until the end of March caused an overload on its systems. One week later its worth trying again to see whether their infrastructure can withstand multiple concurrent connections. I hope it can, because the live experience is highly prized (though presumably Germany’s most recent ban on gatherings above two people may make that a non-starter from now on).

The infrastructure challenge may well be met by third-party platforms like Facebook and YouTube combined with more nimble flexible organisations like the London Mozart Players whose marketing team have the generalist skills now increasingly in demand to bring live content to their audiences.

LMP will be broadcasting an illuminating introduction from Howard Shelley – filmed from his own home – which will unpack Franz Xaver Mozart’s Piano Concerto No. 2 in E flat in Shelley’s usual charming fashion, with excerpts performed to camera. The broadcast is planned to go live via LMP’s Facebook page at 1.05pm on Wednesday 1 April. 

Launching the first of LMP’s ‘Saturday Sessions’ is acclaimed classical guitarist Craig Ogden, who LMP are due to perform with in two concerts this Spring. Live-streamed from Craig’s home via the LMP’s Facebook page at 7pm on Saturday 28th March, Craig will bring the soothing sounds of the classical guitar right to your living room with a relaxing performance of much-loved classics from the guitar repertoire, including Scarlatti’s Sonata in E major and excerpts from Rodrigo’s Concierto de Aranjuez.

The full list of events this week and next are here on the LMP website and detailed below:

Monday 23rd March (Mozart Mondays)

LMP leader Simon Blendis gives an illuminating introduction to the first movement of Mozart’s Symphony No.40 in G minor.

Tuesday 24th March (Chamber Tuesdays) Bryony Gibson-Cornish introduces the Marmen Quartet and a performance of Schubert’s G Major Quartet (mvt I).

Thursday 26th March (Thursday Thoughts) ‘How Conductors Practice’ with LMP’s Associate Conductor Hilary Davan-Wetton.

Friday 27th March (Family Fridays) Musical treats for the kids with co-principal cellist Julia Desbruslais and violist Michael Posner.

Saturday 28th March (Saturday Sessions) Craig Ogden performs much-loved classics from the guitar repertoire, streamed live via LMP’s Facebook page.

As a charity with no core funding, the coming months of lockdown will have a huge impact on the orchestra and other arts organisations across the country. Freelance musicians and artists will struggle with no income sources for the foreseeable future. LMP’s initiative will work to combat some of the losses and help support its musicians through this difficult time. Viewers will be given the option to donate money towards the campaign so that the musicians involved are partially compensated for the loss of income they will inevitably face.

Over and above the technical requirements for live streaming (not as over-bearing as you might think), the greatest demand is the ability to move fast on digital ideas and commit. It’s great to see LMP doing this, along with a few others.

The next challenge is to create moments in the schedule which everyone in the audience coalesces around and which are also well-publicised.

Keep an eye on this blog later in the day for an update on who’s doing what when.

Half-an-hour to check in and right-yourself

For the foreseeable future we’re having to hunker down, keep our distance, and somehow carry on doing what we were doing a couple of weeks ago.

For some it’s a walk in the park. For others it’s an exciting adventure. For a great many others it’s stressful: the kind of experience that triggers challenging thoughts.

In my work as a leadership coach, I’ve supported many individuals as they transition into new roles, or adjust to new circumstances.

At this challenging time, I’m keen to offer my coaching skills to as many people that need them in a timely responsive way. I want to help people thrive (not survive).

Coaching is often seen as a luxury and ‘out of budget’. Not so. Speak to any coach worth their weight in gold and they’ll concur: what drives us all is seeing you succeed in challenging circumstances.

I’d like to help up to four people a week as they, like me, adjust to the shifting experience we’ve all been asked to embrace. I can’t do it for free – I recognise that people are on limited budgets. So I’m asking people to pay what they can afford.

So, if you’re blocked, challenged, at your wits end or you need someone to talk to who can help nudge you in the right direction, please get in touch.

Email me at jon.jacob@thoroughlygood.me or message me on WhatsApp at 0776864655 for a no-obligation chat.

Remember: all conversations are confidential. I’m a BBC-trained coach with seven years professional experience in the public service, higher education, and media industries. I adhere to the ICF Coaching Code of Ethics. References on request.

A quick way to avoid panic and refocus attention on now

I panic a lot. Panic for me is an extreme kind of worry, or rumination. It’s unhelpful thinking in fifth gear with a unrelentingly tight grip on the steering wheel. It brings about a tightening of the stomach. Seemingly innocuous low-level acts of kindness can bring about a watering of the eye. Like the train guard (who knew we had any of them any more?) on the South Eastern train into Charing Cross yesterday.

There is for some quite a lot to panic about right now. Especially if you’re someone like me who’s habit for catastrophic thinking (baked in since childhood ever since I ended up watching ‘Threads’ as a kid) has gone largely unchecked until well into my forties.

That catastrophic thinking often starts up again first thing in the morning. That’s when my mind is at its most vulnerable. That’s when the most unhelpful thinking can infiltrate otherwise normal thinking processes.

Being aware of this habit – especially at heightened times like this – is the first step for me. So too a little trick I learned during coaching training.

Instructions

  • Take a piece of paper – A4 will do – and draw a large circle on it. Big enough so that the edge of the circle touches the edge of the page.
  • Inside the circle draw another circle – equidistant between the centre of the page and the first circle you drew. There will be two rings created. These should be big enough to write in them.
  • In the outer ring – henceforth known as ‘The Circle of Influence’ – scribble down words or phrases that illustrate the specific things you’re worried about right now. I’ve included mine in the image further down this page – they’re representative of my world but are not meant to be representative of anyone else’s.
  • Next, I read out the statements out loud and with a pen highlight those statements which elicit a yes to the following question: is this something which is in my control?
  • If a statement has a ‘yes’ it’s moved to the inner circle – henceforth known as ‘The Circle of Control’.

    To do that I’ve taken the statements I originally put in the ‘Circle of Influence’ and rephrased (or rather, reframed) them as statements of positive intent. I’ve then written those positive statements inside the ‘Circle of Control’.

    For example, “Will I get sick?” becomes “Stay(ing) healthy”. Repeat this for every statement you’ve identified as being something which is in your control.
  • Revisit the remaining statements in the ‘Circle of Influence’. Are there any you missed? If not, no prizes for guessing that everything else in the ‘Circle of Influence’ isn’t in your control and isn’t worth your time picking over – because there’s nothing you can do to bring about any change in those scenarios.

    For example, as I much as I would like to do all I can to protect the economy, it is a much more complicated thing than I will ever be able to understand and, I was quite shit at maths at school (and geography too).

Happy Consequences

An interesting thing happens for me when I focus my thinking on the ‘Circle of Control’.

First, the mere process of writing things down and saying them out loud takes the sting out of them. Similarly, reframing each concern into something positive has a reassuring effect.

Second, the ‘Circle of Control’ helps me prioritise what’s important now. And if I’m focusing in on what’s important right now, it should limit rumination and trigger other thinking too. So, added to the list is “Take each day as it comes” and “Be kind”.

And … now I come to write that down, the thought of ‘Being in the now’ immediately springs to mind too. And when other most positive thinking starts springing to mind, so it feels like the mind has been put back into the right way of thinking and the day can get underway.

A few minutes documenting the process for this post and I’m already feeling ‘back in the saddle’, with a recalibrated sense of purpose, drive and motivation. And I recognise that’s my preferred state to be in right now.

Give it a go. Best of luck. Remember: the circles don’t have to be perfectly drawn.

On Schiff and the guilt of knowledge

News: Sir Andras Schiff has a book out. They’re memoirs. They’re published by Orion Books. He’s not written the book himself. He like a great many other non-writers has dictated his thoughts and feelings to a writer who has shaped them into a manuscript, and persuaded someone to publish them. After that, a PR has sought to get coverage for the forthcoming release by highlighting some of his key messages, those in particular most likely to curry favour, divide opinion, and entrench camps.

Schiff’s views aren’t new, nor are they especially radical: audiences don’t really understand what they’re listening to and a lot of that is down to music education being a pile of shit.

How you respond to his points denotes what side you’re on in the present cultural war. PRs and publishing houses know that – that’s the whole point of the ‘story’ in the Telegraph, that’s the reason its been published in the Telegraph, and that’s why I’m writing about it at 6.30am on the DLR into London.

I don’t especially care what Schiff thinks about whether or not me and others like me understand what a good performance or a poor performance is. The experience of listening to a live performance isn’t solely about ‘observing’ the instrumentalist as though they’re in a gilt frame hanging on a wall. Listening is about reflecting on how I respond in the moment to the music I’m listening to.

Music is art. The musician is an interlocutor. Musical experiences then depend not only on the music and musician, but the receptiveness of me the audience member. My knowledge or lack thereof is of little consequence. It’s my self-awareness in the moment that is important.

What saddens me is not what Schiff says nor the fact he said it. Rather, its the way a statement like this reminds me of the way classical music is weaponised. In Schiff’s case, its the judgment made about apparent the lack of classical music knowledge and the way it fuels the snobbery and superiority over those where knowledge is found to be lacking.

In other areas of my life, I see the reverse happening. Those with knowledge and experience of repertoire like me are regarded with suspicion. Expertise is sometimes seen by those who themslves recognise their own lack of knowledge, as a threat to the accessibility and universal appeal of the genre. Expertise is projected as barrier to universality. And anyone who points that out is regarded as a self-appointed gatekeeper who is part of the problem.

It’s tiresome. I end up feeling guilty for my ongoing fascination with a musical genre which helped reclaim me from depression and suicidal thoughts – a genre and sector which continues to surprise, delight and excite.

The very studies which might make Schiff nod with approval, are the very studies that make others regard me as ‘too Radio 3’ or, if you speak to some at Radio 3, ‘not Radio 3 enough’. I often feel as though I am caught in the middle where it feels surprisingly lonely, chewing at my nails hoping the sense of guilt will disappear a little more quickly this time around.

I don’t believe there will ever be a time when this argument – triggered by the digital utterances Schiff’s forthcoming memoir have provoked – will be a thing of the past. As long as that argument survives we will always need marketers and PRs to sell the thing we all care about so deeply.

I just hope I do eventually stop feeling guilty for knowing about classical music, and for not knowing enough about it.

Be sure to read Fran Wilson’s take on this for a different perspective.