And the winners are: Haitink and Gergiev

First blog poll clearly points out two favorite conductors

1. Bernard Haitink/Valery Gergiev
3. Claudio Abbado/Gustavo Dudamel
5. Mariss Jansons How nice to see that so many people voted on my first poll. Very interesting to see who you chose as your favorite conductor. No surprises to be honest. With both 21% of the total votes the great old master Bernard Haitink and my own favorite Russian maestro Valery Gergiev took the first position. With 13% Claudio Abbado and Gustavo Dudamel are at position 3/4 followed by Mariss Jansons on 5.

This week’s poll: Orchestras!

A tricky one. You may remember the painful reactions that came from Berlin, Vienna and Chicago when Gramophone Magazine published their poll (international music critics) last December with the Royal Concertgebouw Orchestra on ONE. As an Amsterdam based music lover I was of course very pleased and not really surprised by this news. And also nice for me was that almost 100.000 fans visited the special website we at MontVerdi.tv created for this orchestra.

But I have to admit that the result of the poll is arbitrary. Choose another magazine from a different country and the results might be different. Although, I believe that Amsterdam, Berlin and Vienna will always fight for the first three positions.

I am curious to see what comes out of this music lovers poll: make your choice and I will publish the results next week.

Classical Hope in Venezuela: Yes, they did!

Dudamel, Abreu & the Musical Fruits of El Sistema!

Venezuelan conductor Gustavo Dudamel , Esa Pekka Salonen’s talented successor at the Los Angeles Philharmonic, is a growing star. But to tell you the truth, I hardly realized just how much of a star he is, and didn’t know how he came to be surrounded by an inspired orchestra of young, extremely gifted Venezuela musicians. Before reading on, why not check out Dudamel conducting the Teresa Carreño Youth Orchestra. Click here and be amazed.

Young kids (under 20?), a high school orchestra, playing Shostakovich’ 10th Symphony like this? It’s simply beyond belief! Wonderful! After the Shostakovich performance Dudamel expressed the desire: ‘to have orchestras like this in all the countries of the world.’

So revolution and hope in Classical Music from Caracas, Venezuela. But why Venezuela? What on earth has happened here? I’m sure we’ve all heard of Dudamel’s sensational results with his Simón Bolívar Youth Orchestra of Venezuela. Just a couple of weeks ago we (MonteVerdi.tv that is) broadcast a stunning concert by this orchestra on Dutch TV. Amazing. But there are many great youth orchestras like this was my second thought. But here you hear an adolescent orchestra playing like little devils.

Thanks to a colleague (cheers Casper Vogel!) who sent me some news, I suddenly understand that there is a charismatic hero behind these Venezuelan success stories: José Antonio Abreu. Back in 1975 Abreu founded ‘El Sistema’: a youth orchestra system that has transformed the lives of thousands of kids in Venezuela. 

Thanks to the prestigious TED Prize Abreu has just won, we now have the opportunity to learn about the story of the ‘El Sistema’. In a fascinating interview with Abreu we find out the background of El Sistema, his own goals, and much more. Abreu believes that “music has to be recognized as an…agent of social development in the highest sense, because it transmits the highest values – solidarity, harmony, mutual compassion.” Truly, an inspiration. Click for his remarkable story/interview here.

The Recorder is Alive & Kicking

Erik Bosgraaf wins the Borletti-Buitoni Trust Award 2009

The recorder has never been my favorite instrument. Not that I never listened to recorder concerts: I have reviewed Utrecht's 'Early Music Festival’ for years and heard many impressive concerts. But my ears just never perked up when I heard the recorder. Needless to say, I have no recorder cds.

This changed dramatically when I recently heard a short recital in the fairy-tale-like Bethanien Monestry in the heart of Amsterdam by Erik Bosgraaf.

I almost forgot about it this concert until I read the news this morning that Erik is one of the two winners of the Borletti-Buitoni Trust Award 2009. Quite an achievement, with this tough professional jury and many other talented candidates.

Nice for Erik to win this prestigious young musician award and to add £ 20.000 to his bank account - even though, being a great talent, he is born for success anyway.

As a true musician of the 21st Century Erik Bosgraaf understands that music is much more than only a good concert. He understands that the contemporary music fan is looking for special events: music to watch, music to experience, music for fun. And for this a recorder is – I must admit - a perfect instrument. Bosgraaf plays the full range of recorders from a tiny sopranino to a massive tree trunk. He runs from one corner of the venue to the other, grabs his instruments on his way, jumps towards his fellow musicians or accompanists, playing his heart out when reading his 2 meters wide score hang on the wall of an Amsterdam church.

Have a look at his site to see the unbelievable list of performances: from solo with the Dallas Symphony to performances at the Barcelona Early Music Festival to the charming Castle concerts in the middle-of-nowhere Ammerzoden in Holland (Night watch program).

For a preview on the masterly playing of Erik Bosgraafs see my YouTube artist of the week below my blog page and the one I selected here (no theatre performance but just excellent playing on Dutch Television):


I wonder why am I writing this post about the recorder? Do I suddenly like the recorder? Actually, it’s the incredible myth of a great musician that does not allow you to step away from his playing: what a great talent.

NB: quote from the jury report: “Hailed as one of the most gifted and versatile recorder players of his generation, Erik Bosgraaf has a colourful past in a rock band and as an oboe player. He believes that good music is irrespective of style and feels equally at home in early and contemporary music…. His début recording, a 3-CD box with music by Dutch composer Jacob van Eyck, was No 1 in the Dutch classical music charts in 2007.”

Trombone Band of Brothers

Rotterdam's Amazing Trombone Class

My good old colleague Ben van Dijk (renowned bass trombone player) told his Facebook friends: “our Rotterdam CODARTS Conservatory trombone-class is the winner of this year’s ITA Emory Remington Competition.” That's two first prizes in two appearances!

This Conservatory Class produces some the best trombone players in the world. During my orchestra years managing three Top Dutch orchestras I got to know many of these master trombonists. But what I didn't realise was that they all had the same background, all studied at the same school. It's only when I did some work for the conservatory that the secrets of these players came into view.

The simple reason for this unrivalled quality is that the class is a ‘band of brothers’. The six teachers (all considered among the ‘best in the world’) seem to work even harder on the group process than on individual progress. The students learn most from their ‘brothers’, and are incredible inspiration to each other.

Their regime is not typical of brass players who are often more fond of a few good beers and late night gigs than an early start. Every morning, they gather at 9 for their daily warm-up. Every week they spend 2 hours in a trombone-ensemble led by one of the masters. Every week they attend a 4 hours class playing solo pieces together with piano. Every month these classical players have a jazz masterclass and the tenor players have an option to have lessons from the famous bass trombone teacher Ben van Dijk.

It’s all about doing it together.

If you are lucky enough to pass the auditions it’s almost impossible not to become a top trombone player.

The masters of this CODARTS class are Jörgen van Rijen (1st trombone Royal Concertgebouw Orchestra), Pierre Volders (1st trombone Rotterdam Philharmonic Orchestra), Remko de Jager (2nd trombone Rotterdam Philharmonic Orchestra), Ben van Dijk (bass trombone Rotterdam Philharmonic Orchestra), and the two virtuoso jazz trombonists Bart van Lier and Ilja Reijngoud.

Have a look at their website

Amsterdam St. Matthew cancellation - bad sign

Ton Koopman's misery maybe first signal of EU classical music recession

"It's a disaster, the worst that has ever happened to all the musicians involved and also to many music lovers." Some days after the cancelled European tour of the St. Matthew Passion, this desperate scream of the great Baroque conductor Ton Koopman is more than telling about the danger European music life is facing. What’s happening?












While the US is now stoic about cancellations and cuts in classical music, Europe seemed pretty safe until now because of the subsidy system: but things are changing.

The first signs are there with a dozen of the best ensembles in heavy weather. In the Netherlands we have subsidy cuts for Ton Koopmans famous Amsterdam Baroque Orchestra, the contemporary music specialists of ASKO/Schönberg Ensemble, the renowned Netherlands Chamber Choir and my old band Orkest de Volharding (I was their manager until 1993).

The latest news comes from Belgium. I received the following statement on LinkedIn: "Last week, the famous baroque orchestra La Petite Bande got a letter from the government in Belgium with the warning that the Committee that advises the Minister of Arts had given them a negative advice about the new round of subventions" (for 2010-2012). Can you imagine it???? This Committee clearly has NO idea about music, or culture in general. This orchestra is a top-class ensemble, as you know, and one of the most renewing groups in the baroque world (this was one of the critic points..."not renewing enough"...such stupidity!!! Did they ever hear of a Viola da Spalla, for example?! So, as you can feel, I was really upset about it. I think Belgium should be proud even to have this orchestra in its residence. But, like in Holland, governmental 'advice' committees have very strange standards nowadays and seem not to have any background in culture."

I have been googling around for more news on subsidy cuts in Europe but could not find any. Did you?

Serious matters, don’t you think? First signs or the beginning of a structural change?

The big difference with the US situation is that the cuts have nothing to do with the financial crisis. They are the result of shifting opinions about what should be subsidized. I hate the fact that such specialist, great innovators are now under threat. But I also realize that if the subsidy budgets are always used for the established ensembles, there will never be room for the newcomers, for the young musicians with fresh ideas.

In this sense Europe could learn something from the US and the other way around. Europe could add a commercial drive to the artistic one. The save EU haven of subsidy will change anyhow, so let cherish our high artistic standards and at the same time work harder on marketing, on sales, on education and getting new audiences in, especially via the Social Media platforms. And of course in America they could be a bit more careful with their cultural heritage. Changes OK, but please do not let the arts down at the moment that we all need tons of entertainment to stay alive.

Haitink: the Greatest of all Dutch Conductors

The Myth of Age

It must have been around 1982. The music of Dmitri Shostakovich was hardly played by the major symphony orchestras. Me still being a music student, I only knew Shostakovich from history lessons, and had not yet heard one note: unbelievable! And then there was the 5th symphony by the Concertgebouw Orchestra under Bernard Haitink. As a Mahler fan I was totally shocked by this music. Such a tormented soul, a sharp voice, so dramatic, tapping the psyche. I was grabbed by the throat and sold forever and his music.

What a conductor. No show, only music. What has fascinated me most over the years is what age did to the career of Bernard Haitink. In his own words he in fact knew nothing and was too young for such a great orchestra when he became the RCO's chief aged 32. But this ensemble with its unbelievable tradition in Bruckner, Mahler and Strauss and surrounded by the great acoustics of the Concertgebouw, gave Haitink all credits to learn, to build repertoire.

Maybe the most impressive skill Haitink developed was to get the best out of an orchestra by just inspiring them to give their individual and collective best. I remember a rehearsal with the Rotterdam Philharmonic, Mahler 2 on the music stands. Haitink played the score over and over, listened to the musicians, never corrected, only complimented them with his eyes and noticably enjoyed their playing. It seemed like he followed the players instead of urging them to follow him. One of the musicians said to me: "he did nothing but it was getting better and better ending in the greatest Mahler interpretation I ever participated in": really, an inspiration.

A very odd example of this conducting style is the slow movement of Mahlers 6th he recorded with the Berlin Philharmonic. Never having heard it that slow, and with such rich and full sound, Haitink later simply declared that he was so impressed by this sound that he just did not want to interrupt them.

Haitink became increasingly better beyond 60. US critics described him as boring, but the greatest orchestras wanted to work with him. Chicago, Boston, Vienna, Berlin and others. His secret? Experience, knowledge, tradition, the ability to let them play. AGE!!

I am so proud that this Dutch conductor now finally received a Grammy Award for probably the best ever recorded interpretation of Shostakovich' tragic 4th symphony. I am lost for words.

American Classical Music in Real Trouble Now

Some ideas to bridge the audience industry gap!

It's really shocking to see how many American orchestras are in trouble due to the economy. The results of one day news:

• Shreveport Symphony cancels 08-09 season


• Charleston Symphony faces cuts


• Portland Symphony eliminates staff and concerts


• Cincinnati Symphony staff takes pay cut of 11%


• Philadelphia Orchestra a humbler 09-10 season

Even the some of the top 10 orchestras in the US are in trouble. Each day the list grows. It's also surprising that there is hardly any horrifying Classical Music news coming from Europe. The subsidy system now proves to be a safe haven for European music. But for how long?

To come back to my blog of earlier this week, there must be great opportunities in times of crisis. For me it's totally clear that classical music, being the most important western art form for ages, has to change itself. One of the key things is the way conductors, musicians and marketers of classical music engage with their fans. We must try to bridge the gap...in much the same way as pop and rock audiences already do.

Some ideas:

• Conductors, soloists and musicians should open themselves to their audience and fans after a live performance by being present after each concert in the foyers and lobbys for signatures and talks. Sounds obvious, but it happens all too rarely.


• Conductors, soloists and musicians should look after their fans on the web. Tell them what they are up to, share personal thoughts and opinions, tell them where are you are playing...close that gap!


• Artist managers really should inspire their artists to get much closer to their fans. Build good and interactive websites, supply the fans with daily news, good stories and wonderful photos and videos: give them the opportunity to directly communicate with their heros!


• And finally marketing departments should really get a grip: if you you still spend your yearly budget on brochures, posters and advertisement, it’s time to make a change. The hundreds of millions of fans on the web are separately searching for your concerts, for your artists, for your CDs, Videos, the full monty. It's simple: serve them and they will step up!

You know, I really believe that for classical music this is a great time to make a change and win. Sort of makes sense, doesn't it?

M is for Man, Music, Mozart

Great Memories from 1990

Just read Jonathan Bellman's blog: dial M for Musicology. The three M's bring back great memories of Louis Andriessen, the fabulous Dutch composer, who i worked with closely over the years.

My first day as manager of Orkest de Volharding (recently departed because of subsidy cuts in Netherlands). Must have been around September 1990. Meeting with two women from BBC at Louis Andriessen house. Impressive plans for the coming Mozart year: 6 half hour films with theme: Not Mozart. Andriessen accepted the commission only if Peter Greenaway would be movie director. A dream team for me as a baby manager.

The beginning of a long term collaboration between these stunning artists with mutual opera's ROSA and WRITING TO VERMEER.

I'll never forget this project. Visiting Andriessen's studio, him playing exerpts. Talking and discussing the project. The rehearsals, the recording of the sound track, the filming, the premiere. All great because.... for me Andriessen wrote his best work ever. And the Volharding (11 winds, bass and piano) at their best with Astrid Seriese singing. Fantastic rhythmic drive, daring but accessible harmonies, horny singing by Astrid Series, brutal playing by De Volharding...

The piece was the centre piece in my Volharding years. They all wanted this piece on their Festival programs and we played all over Europe.

On my final day at De Volharding when I left ensemble life for my first orchestral job, we recorded the piece for nonesuch. Wonderful memories.

I have to clear the rights for MonteVerdi in some way, thousands and thousands could enjoy.

Have a look at enclosed youtube finding: a first impression. Let me know what you think!

Classical Music Live Streaming & VOD

The State of Play today: hot from MIDEM 2009

As I mentioned before the yearly Midem conference in Cannes (disappointing temperature this year) is a great inspiration to me. This year I presented an overview of what's hot on the web for VOD and Live streams: next year I promise to write daily updates!

This year I was kindly invited by IMZ to join some highly contrasting personalities to discuss opportunities Video on Demand and Social Networks are offering to the Classical Music producers and artists. In this year's panel (left to right): Thomas Hieber (Legal specialist -Unitel), me, Chris Hunt (content owner - ClassicalTV.com), Silvia Santangelo Jura (expert Social Media - Globalista), Urban Lasson (former buyer from Swedish Television).

There was an impressive introduction on the challenges of Social Media for Classical Music artists given by the The Globalista boss, the Brasilian Silvia Santangelo Jura. You can see one of her sites on worldmusic.

We had a tough discussion with some 150 music producers and I drew the conclusion that if artists, artist managers, classical music producers, orchestras et al do not soon jump into social media, vod and other challenges, they will surely miss this train.

I promised to share my presentation with some of my colleagues: so here it is! Hope you enjoy!

Monteverdi: Classical Music Live Streaming & VOD Overview MIDEM 2009

View more presentations from Rob Overman. (tags: live streaming)

Crisis or new opportunities?

Thrilling news messages on Classical Music

There are so many things going through my mind when reading the news and blogs on classical music in danger. Never before has Classical Music and Opera been so much under pressure as now, especially in the US. You cannot escape the news - from SF to LA, the Met to the Bolshoi, belts are being tightened. Opera house budgets are being cut, performances and tours are being cancelled, employees laid off and subsidies being withdrawn or lowered. 

However frightening this stream of classical music news is, I can't help thinking that this isn't entirely a bad thing. There must be many new opportunities in dark times like now.

• First, Obama won the US election basically because he was able to reach out to new audiences by understanding the value of and adopting new technologies. Maybe the recession will help force us out of our comfort zones and get creative. That cannot be a bad thing for classical music.

• Opera is a cultural art form. Culture is a fluid and organic thing. From time to time it needs to regenerate. New stars need to be found, old management needs to come up with new ideas or make way for the new guard. New policies will emerge – as will a new creativity.


• Lastly, in a recession, culture is always one of the first sectors to be hit. This puts the industry in a spin. From Opera houses and venues to distributors, promoter, artists and managers, there is a heightened sense of urgency. New discussions emerge. New collaborations are forged. New business models evolve. New players enter the market. The audience, and in particular the fans, become more important.

Let's admit, that has to be a good thing, right?