Concerts Without Borders: Making classical music accessible

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Concerts Without Borders: Making classical music accessible
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Concerts Without Borders: Making classical music accessible
When I was growing up in the remote English Countryside, I used to go to piano lessons in my friends old folder. It was rotted, uncool or snow bait to play classical music for today’s perspective, guess I’ll definitely trying to change all that. Only Brown and Michelle Wood artistic directors of concerts Without Borders. Thank you very much going to talk to him before we got to the questions section of you both playing some music Sigourney. I want to come to you first. How did the idea of offering this free tool classical music concerts come about and they were always closed to the public and every time I thought the cash? I know at least a hundred people who would love to hear this, and so I just quite casually put it to them what we should have a public Concert Series, so everybody can enjoy it and really showcase the talent that we have coming, and that was said Well, yes, let’s do it, so it’s kind of was just a casual discussion that turned into a an amazing adventure. I want to ask you: how do you go about making classical music accessible on stage sitting way? And you don’t know when to clap, and actually it’s just about getting a group of friends together to play Amazing Music and to say that it’s just kind of regular paper like anyone else we just had. We just happen to have some amazing friends who are incredible. Musicians and we wanted to be able to share that with people. So I think it’s about breaking down the process of being a console and making it not so scary, along the children that have constant discomfort and we’d love to be able to get that next generation of musicians. Understanding that and staying over there kind of Blended playing together is that is innocent. That is in the central idea of having a younger audience as well. It’S that you want that kind of the education element – music. Oh, I think we don’t have enough time for that question that I’ve told this is my 20-year anniversary of being at H. I started very young. I’Ve always felt incredibly grateful for the teaching that I have had, and I felt music is something that is a master and Apprentice kind of way of letting you can read books about it. But nothing beats actually going and seeing having a lesson with someone who really knows what they’re doing and out of gratitude experiences. I’Ve had. I’Ve always felt the teaching was an absolutely essential part of my role as a musician, not only as a performer, but I had to do that. I had the great honor of being awarded this prize, I’m in the running again this year. If we were to fast forward another 500 years, do you think that the popo Jazz will become this kind of like this decision of the people of forgotten about that should be relived thing I know for certain? Is that music’s always going to be part of culture and pot of human life? Because I think it’s got connections with paper with Herve pop jazz
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For decades, classical music has been seen as too highbrow; a genre that appeals more to the slipper-wearing generation than to hip young people. Bonnie Brown and Michelle Wood are trying their hardest to change that perception. They are the artistic directors of a new free-for-all performance season called “Concerts Without Borders”. They joined us in the studio for Perspective.
Click here for more information about Concerts Without Borders.
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