A contemporary phrase about flamboyant jewelry? An overused hip-hop reference?  Further proof that language is in a constant state of flux?  Yes, to all of the above, and also the title of composer Michael Daugherty’s most recent piece entitled Bling Bling for Full Orchestra and Break Dancers.  You can catch a short video excerpt of this work at www.thecereallist.com

Ah, technology!  It seems that the National Symphony Orchestra’s conductor, Emil de Cou, has prepared real-time program notes to Beethoven’s Sixth that will be beamed via Twitter to people sitting on the lawn of Wolf Trap on July 30. According to an NSO press release, “The messages will begin during intermission and provide facts about Beethoven’s life and work. Once the concert begins, the tweets will be sent at specific points in the score, becoming streaming program notes that mark musical signposts depicting Beethoven’s symphonic tribute to a day in the country.”
 

Since the League of American Orchestras changed how they sent out their weekly media and industry updates, I don’t get to read them as often as I used to.  Too bad because it was a nice, easy way to quickly see what was happening with other orchestras.  I had a few moments today to visit The Hub (where they keep this info nowadays) and stumbled across an article I found interesting and amusing.  It’s about branding - a topic I think about fairly regularly.
 

The Los Angeles Times recently published a great article by Chloe Veitman about female conductors.  This seems especially relevant to me because the Chicago Sinfonietta has recently begun search to find a successor to our Founder and Music Director, Paul Freeman.  While I won’t go into any details about our search process, we have definitely become aware of some extremely talented female candidates, two of whom – Mei-Ann Chen and Alondra de la Parra - will be guest conducting our orchestra next season.

Wanted ads for full time music directors do not often grace the music scene. So now that a music director is needed for the Chicago Sinfonietta - it will be interesting to see who comes on board. The strengths and interests of the director shapes the orchestra's direction dramatically. The director creates its identity.

So I wonder whether the complete identity of the Sinfonietta will change or stay the same.

Currently programing staight-forward classical chamber works and works married with folk and world music (Kiran Ahluwahlia on Concert IV for example) the Sinfonietta tries to include everyone and every genre in concerts. But will that shift? Will that grow to include contemporary modern works?