WNYC - Soundtracking Surgery

[If you're reading this on facebook, click on 'view original post'. If you're reading this in an email, click on the title above]

We all know music has unexplainable benefits/use for our daily lives. This program discussed using music in the surgery room and hospitals:

WNYC - Soundcheck: Soundtracking Surgery (January 08, 2010)

My response:

"Such a fascinating subject. As a conductor of a variety of styles (including some contemporary rock/pop, theater & film music as well as classical), I find it intriguing that music has so far not played a more integral part in all our lives. The psychological, emotional and physical benefits of PARTICIPATING in music (listening as well as performing) far outweigh our understanding... so why don't we embrace it in everyday life? I like that Dr Conrad is formalizing reasons why we should.

"Some of my concerns, however, are not just bad associations (the reason why someone died whilst listening to a particular song could be interpreted a number of different ways) but using music to lull people into unconsciousness - such as Mozart. I'm afraid that we have a generation of children who will fall asleep whenever they hear the slow movement of a Mozart symphony or concerto when, in fact, they are missing out on an incredible aural, emotional & meditative journey! There are also dangers in using music to subdue (or inspire) behaviour as a background medium - in shopping malls, stores, and even public lavatories!

"We should remember: There's more to music than music. Isaac Stern is reported to have said, "Playing music in America you feel like you're selling a luxury item. But in England you're providing a necessity." Maybe he's right - maybe in the USA we should incorporate music into our lives far more than we do. It is obvious that certain music works to everyone's benefit in the hospital environment. Well done!"

Perceptive Insight 10

"Never try to tell a man how to play his instrument: he knows far more about it than you do, and will immediately resent your effort. Instead, explain exactly what it is you want, and leave it to him to produce the desired tone, effect, or whatever it is."
Sir Adrian Boult, 1947

British Conductors

[If reading this on Facebook, click on 'View Original Post' below to see the whole article & watch any videos]

We're not ALL quite this... 'expressive'.

Perceptive Insight 6

"A single man (Sir Thomas Beecham) did more for British music than was done by the massed battalions of the BBC. He was not only the greatest British conductor, he was also the greatest impresario of the age, endlessly stimulating and naturally DISLIKED BY EVERYONE except his appreciative audiences."
A.J.P. Taylor, 1965

Perceptive Insight 5

In 1936 Sir John Barbirolli was appointed conductor of the Philharmonic-Symphony Orchestra of New York (now the New York Philharmonic) in succession to Arturo Toscanini. After six months Toscanini returned to conduct a concert. He said to Barbirolli, "John, my orchestra is just as I left it." Barbirolli's contract was then renewed for a further two years.

The Quotable Stephen P Brown

Thanks must go to Christopher Swann for this one:

"The plural of orchestra is 'Berlioz'."

Orchestral Common Sense?

(If reading this on Facebook, click on 'View Original Post' for links to work)


What's this? Someone again talking common sense? Perhaps our failed economic structure prompts the publication of the murmuring quiet undertones amongst those who see reality.

Good on yer, Mr. Kaiser! Raise that question mightily high.

Does the Symphonic Orchestra Model Work?

Not financially, is the answer. Solution? I have some ideas, but nothing anyone would ever take seriously, particularly as there are unions involved on all sides. Hmmm. Therein lies its own problems, perhaps.

A man after my own perspective!

(If reading this on Facebook, click on 'View Original Post' to see the whole post)

Having very rarely subscribed to many conducting industry propoganda-norms, especially the politics (perhaps one of the primary reasons for the lack of a 'successful' full-time conducting career), I am extremely pleased to have heard this:

Just heard on a British classical music radio station that the vastly-recorded Valery Gergiev prefers to perform with an orchestra just slightly under-rehearsed. Apparently he thinks that over-rehearsal (which to a British musician means more than once, perhaps twice) is the bane of orchestral life, and he likes to keep musicians on their toes: a concert with some 'wits' about it produces a far better experience for everyone.

Yippee! Finally, concordance from an established household name!!!
I feel justified in another of my own perspectives, at last.

It's still exciting...

I still get a thrill from being on the radio! Thank you, Dave, of Star 99.1 FM!

Click here to listen to the segment.

BTW - Dave is really good at editing, too ;-)

Amateur Excellence

I've often been chastized by close friends and colleagues for being a perfectionist, and I've stopped referring to my musical experiences in the UK because they have caused resentment and responses along the lines of: "we're not good enough for you", or "of course the British are so much better than everyone else", or even "you really are mightier than thou." Serious Ouchness. (anyone who can claim to know me well knows how much this hurts).

So rather than share my stories and offer reasons why I like things to be done with our best possible efforts, I just do it. If the results are excellent, Great! If they're not, that's OK too. Yes, I compromise and justify it as 'survival' (!). It's also very interesting to witness so much trendy talk about 'excellence' without any backing commitment to it. I guess one needs to understand what excellence is before one can even attempt to achieve it!

So, I was pleased, VERY pleased to recently come across this article by Douglas Yeo, a US professional musician who witnessed first hand, the kind of musical environment I grew up in. His article has given me confidence and a little satisfaction that I'm OK - I'm alright. The things I worry about are worth worrying about, regardless of what friends & peers often say. Almost beaten to the ground, this article came at the right time to boost my spirits, and I truly look forward to maintaining the pursuit of excellence Douglas himself experienced.


This is one of the brass bands I played for in the UK, The Medway Band. At the back center is my dear friend Mark Andrew, and one of my ex-students, Richard Scarff is now playing for Aveley & Newham - another band I often played with. Good on ya, boys! Keep up the great playing...


I have often felt that the amateur brass band scene in the UK is one of the most intriguing outlets of self-expression that exists, and through it I learned much about dedication, hard work, loyalty, EXCELLENCE, team-work, reliability, presentation, my role amongst others, and society: although fierce enemies on the competition stage, players from different bands will drink beer and laugh together with players from many other bands (usually about conductors, I might add) but all are welcome! The real kick in the teeth? These players engage in these qualities by choice. For Free. At their own will. They're not paid, forced by gov't, or have nothing else to do. Remarkable, endearing, and very convincing.

It's ironic that as I make contacts in the USA brass band world, Doug's name came up as a potential resource! Timing is everything, and I am still convinced nothing is coincidental.

Go on, be a daredevil: don't settle for anything less from yourself. You can accomplish amazing things with the right guidance, so give up any self-centered-ness, and allow perfection to shine through you.

JSO rehearsals

Who can complain?

Tonight's rehearsal in NYC was moved upstairs, to the church's top floor. This was our view of the Manhattan Bridge:




And this was our view of mid-town:




By the time we were done, here's what that same view looked like:




Hope to see you at Sunday's concert!
(Prokofiev's "Peter & the Wolf", James Chapel at 121st & Broadway, 06.07.09 at 3:15pm)

What a birthday weekend treat! Melissa and I singing at Carnegie Hall with some friends (and a couple hundred strangers), along with a world famous composer (John Rutter)! It was a terrific day.


This is for my sister. Sorry we didn't eat at 'your' cheescake deli, but we'd already ordered


Melissa in front of the building
(She shines up real nice, right?)


M doesn't like this pic.
I do ;-)


GREAT PIC!


Here we are waiting to enter through the stage door (Not my first time, but here I was fully dressed BEFORE I went in!)


And here we go...


Melissa & Dena in the green room


Twould be nice to have some pics of the stage/ performance, but Carnegie is a union hall and the concert promoter didn't arrange for any photos to be taken (plus, it would cost a fortune!)

John Rutter's Magnificat

There aren't many choral singers who haven't heard of John Rutter, yet most are probably unaware of his impact on the British and American choral scenes. The carols, anthems, arrangements of hymns, etc is immense. And his concert works display an incredible intelligence and a style of expression that remains unmatched. On top of that, he's had tremendous success as a performer and recording artist, particularly with his own group The Cambridge Singers and his own record label, Collegium Records.

Melissa and I were invited (as part of Jacksonville Chapel Choir - thank you, John!) to sing for Rutter at Carnegie Hall this weekend. Didn't take much for us to say yes, primarily because this will be the first time we both will have performed on the main stage (Stein Auditorium). And we'd both heard of Rutter, even though neither of us knew his MAGNIFICAT. Melissa was particularly looking forward to this work as her Catholic schooling made her memorise Mary's Canticle. I hadn't got a clue.

So, we bought the CD, got the vocal score and lo, enjoyed something quite sparky and unexpected. Little were we prepared for the composer's perspective on the piece, and it was honestly refreshing to be a part of something that had to be perfect. There was no room for error, "just sing what I wrote" made Melissa and I gurgle with excitement, and the sheer fantastic voicing, progressions, text, anger, placidness, expressions, dynamics, phrasing, & quality reminded me that great music is still worth delving into in incredible detail... I'd forgotten.

I shook Rutter's hand. He shook his teacher's hand, who shook his teacher's hand, who... so apparently, I'm five handshakes away from shaking BEETHOVEN'S HAND! Oh, and during a rehearsal break, the three of us chatted about Rochester, Charles Dickens, Latin America, and how men's fashion is so predictable!

And I want to compose again. And I want to conduct professionally again. And play the piano, remind myself how to read scores at the piano, etc, etc. It's happening to some extent, and I am LOVING IT! Who know what the future holds.

JSO & SPB - a transformation

Kamel Boutros, the Music Director of Calvary St George Church on Park Ave S & 21st st in NYC said, "You've transformed this orchestra."

Last night's performance was my first with the Jubilee Symphony Orchestra as its Artistic Director. Kamel has conducted them before and also appeared as a soloist with them. His comment was genuine and transformed my confidence from 'am I ever going to be a decent conductor again?' to 'Cool! I'm still good at my job!'

Also genuine was the audience's surprising response... in fact, I had to ask my wife if what I heard was true or if my ego was awash with pride. First, some context:
This concert was in New York City on a Saturday night - we were competing with the NYPhil, the Met, a Carnegie Hall recital, etc, etc. We were also performing at the same time Joel Osteen was in town. Not all our members are professional musicians, and attracting an audience was tough from day one. The fact that it would be an audience from a tough [read: critical] town didn't help. HOWEVER! About 300 people did turn up, and they applauded.

Here's my observation: When finishing each of the pieces I conducted, I turned and bowed (the traditional manner of saying 'thank you for listening'). I turned and got the orchestra to their feet, thanked them, then faced the audience again. The applause seemed to increase in volume, dramatically. This is unusual. It would indicate that the audience enjoyed the performance but specifically appreciated the conductor's efforts to produce excellent music and not get in the way by dancing around the podium. This reaction caused me to smile - no, beam - and not letting it get to my head I asked Melissa if I did actually hear an increase in applause volume. She said yes, and reported that the audience did enjoy my music making.

Phew! I haven't lost it! And then Kamel's compliment helped round off the buzz.

Unfortunately, I didn't press 'record' on the video camera before the first half so I missed capturing the VERY BEST piece on the program - which was played well (Faure: Masques & Bergamasques), but here's a little bit of the second half (Honegger: Pastorale D'Ete) in which I had my work cut out for me: the flute player got lost, and the violins got ahead. At least we ended together!



You know, I thoroughly enjoyed last night's concert, and really appreciate the support of all the players, Chris & Miriam, the usher hanging out in the lobby watching me pace during pieces I wasn't conducting, Ginny the Chorus Director, Kamel for the use of his venue, and Melissa & her friend Rachel for their patient support - I was distracted all day and even sang a little "I'm annoyed" ditty in the car when we got stuck in traffic and I was 20mins late.

Ah well. All in all a good first concert, methinks. I'm REALLY looking forward to this orchestra's future (including all nine Beethoven symphonies in one year!).

An international 'International Music Day'

I dreamt/dreamed up a new project today. Nothing new, you say. True, but unlike the 780 billion others ideas I've budgeted (now why's that darn figure STUCK in my head, I wonder...) this one is exciting. What do you think?

While studying my list of 'national days' I noticed a distinct lack of music and performance related material. Lots of medical and tons of political, with a smattering of sports, but in over 1,000 national recognition days, not one music. But then google came to the rescue - there's the International Music Day. Heard of it? Nor me. October 1st, and I presume every year. It's coordinated in Australia by the International Music Council. Heard of it? Nor me. More interestingly, it's promoted/ supported/ funded/ cajoled/ whatever by UNESCO, or UN-ESCO, the United Nations Educational, Scientific and Cultural Organization. Heard of it? Right.

I don't know if UNESCO supports things like a Japanese University handbell choir playing a spanish song composed by a Frenchman, but I'm really glad they'd like to help people celebrate music on an international scale: even more kudos to the late Lord Menuhin (oh, for a peerage) for suggesting it.

So... my idea? [Tom Peters would love this: full of Excellence, Talent, Design, Implementation, Branding, Marketing to Women and Boomers]...

There are seven continents.
Let's host seven concerts
over the next seven years,
producing seven CDs and
seven DVDs,
each with seven pieces,
and why not produce seven documentaries for youtube, too?

The concerts, held on Oct 1 2009-2015 on a different continent, would have a piece composed about or by someone from each of the seven continents. My first program might look like this: Copland Fanfare for the common man, Ginastera Dances from Estancia, Ifukube Japanese Rhapsody, Westlake Antarctica Suite, Akpabot Three Nigerian Dances, Milhaud La Creation Du Monde, and Whitehead The improbable ordered dance. Of course, let's hope UNESCO is willing to help me find the $200000 needed to fund each show! Oh, and if you're wondering WHERE the concert on Antarctica will take place? LOL - I actually did some homework, and we'd probably charter a cruise ship and rent a small chamber orchestra from Oceanbound!!

Perspective

Our entire life is one big fat glob of perspective, right?

Without perspective we have no vision, common sense (Pah!), purpose, feeling, desire, or reason.

Without perspective no-one would argue, call each other pathetic, 'persuade' others (the path to war), or vote.

Without perspective how would we learn, grow, serve, earn, or laugh?

The sudden passing of someone at age 60 because of a heart attack is nothing out of the ordinary - past or present - however sad. So why is it that we mourn the death of one person over another? Perspective. Indeed it is extremely sad to see classy British conductor Richard Hickox deprived of breath during the pinnacle of his career (in much the same way as comedian Tommy Cooper - wait for the musical joke at the end), but that's just my perspective. As well as that of a few hundred thousand others (read one of Tommy Pearson's many claims to fame here).

Perspectives develop with age, wisdom, that fantastic recurring anathema Common Sense, and circumstance. Religion vs. faith is all about perspective. Self vs. non-self is all about perspective (for self, refer to Western Civilization. For non-self, refer to Wikipedia). Jog vs. eat is a completely MAD perspective. To me, anyway.

On Saturday I was invited to chat with an esteemed mentor-ish type of person who, if circumstances were different, would be far more well-known, impacting and exciting that Hickox, Karajan, and even Lenny Bernstein. At least from my perspective. OK, 21 years ago George Marriner Maull was an inspiring teacher I got to 'experience' once a week while he imparted his PERSPECTIVE on listening vs. hearing, particularly in traditional 'classical' concert music. It affected me profoundly then, as it does now. In fact, George makes a living at it now. GOOD FOR HIM. I wish I had the resources to help explode The Discovery Orchestra into the global stratosphere of fundamental humanness.

Anyway, on Sat. George was characteristically generous with his time, knowledge, and perspective: 'Unvarnished' was his term. As always, I have a lot to learn, and much ego to dissolve (But that's just my perspective. NOT). And yet almost a week later I am still encouraged and looking forward to the rest of my life. (Of course, somewhat reducing the bad cholesterol levels will probably help). God bless you, George! May the State of NJ realize their funding is woefully misdirected. (Again, common sense: NJSO direclty reaches approx. 120,000 people per year. TDO's endeavors have reached approx. 37 million individuals. Duh.)

GO DISCOVERY ORCHESTRA !
(formerly the Philharmonic Orchestra of New Jersey).

Embarking on a musical career. Again.

Musical Revival
Before returning to America my living was made through music - performing, teaching and composing. Ever since childhood I developed and grew musical skills but never truly appreciated them [Check out www.stephenpbrown.com/performing.html for a brief summary of my musical history]. Since 2001 I have ventured into small business management, corporate USA, and even owned a restaurant, with only occasional forays into the music world. "What are you doing here?" is a question I've often avoided answering, but no longer: After considerable discussion and prayer with my terrific wife, Melissa, I am cautiously and sensibly reviving my musical career with new verve, perspective and know-how.

My recent appointment as the Artistic Director of the Jubilee Symphony Orchestra in Manahattan is only the ground floor of a campaign to conduct world-class orchestras throughout the globe. But I do need your help to get started. Things like websites, photos, promotional materials & goodies, musicians, recordings, etc, all contribute to the necessary costs of a genuine career launch. Of course, I have to pay the bills at home, too!

As a 'musicianary', I am well aware of the financial instability around us and trust you may consider the many ways we are all liable to pay taxes even in tight times - they are just as necessary for survival as our own income. Perhaps, instead of allowing the government to distribute your tax money, you may be willing to decide for yourself how your precious income should be spent. By donating to my nonprofit organization, the "Stone Cottage Arts Foundation", you are able to deduct 100% of that money from your tax bill*. Its all about perspective - even $25 or $50 will help stir a revival, although $1,000+ will ensure my musical and conducting skills are no longer wasted - and you decide if the money you set aside for taxes pays for government bailouts of private companies, or actually contributes to something worthwhile.

You decide.

THANK YOU
I am well aware that times are tough for everyone. Thinking of alternative ways to spend your tax money is probably not at the forefront of your mind right now, but remember: all donations to the Stone Cottage Arts Foundation are 100% fully tax-deductible*. Send a check to "Stone Cottage Arts Foundation" 228 Park Ave S #19265, New York, NY 10003, USA, or click on the donation link here. (Send a check and we'll receive your entire gift - pay online and a percentage goes to the credit card companies!). I look forward to sharing many exciting musical moments with you. Thank you.

*Chartiable giving laws vary from country to country. Please seek professional advice.

It's Official - Artistic Director of the JSO in NYC!

From: http://www.pr.com/press-release/110515

The Jubilee Symphony Orchestra is Delighted to Announce the Appointment of Stephen P Brown to the Orchestra’s Recently Created Position of Artistic Director

New York, NY, October 12, 2008 -- Known for thrilling performances and a wide variety of musical styles, Mr. Brown will conduct the orchestra for most of its performances in New York City.

Reviving, establishing and growing musical disciplines have provided Stephen P Brown with unique qualifications that are beginning to be noticed in the big league classical music circuits. Currently Musical Director of the Jacksonville Chapel Concert Band, Mr. Brown has been quietly developing a leadership maturity to match that of his international musical youth. In its silver jubilee year, he is leading the JCCB into the 21st century by coordinating an online presence, incorporating media and technology into concerts, popularizing attentive participation by audiences, and developing a branded identity.

Once described by George Hurst as being “too nice to be a conductor”, Mr. Brown has learned how to employ his optimism, enthusiasm and encouraging spirit on the podium, industriously sculpting colorful and energetic musical encounters. He will maintain his position as Musical Director of the Jacksonville Chapel Concert Band.

With regards to the Jubilee Symphony Orchestra Mr. Brown said, “The opportunity to engage some of the USA’s premium talent in a quest to share God’s angelic gift of music is irresistible. It was the orchestra’s ambition to combine New York City’s refined and developing classical music populations to present traditional and participative works that attracted me to seek this privilege, and help unleash the city’s quiet and reserved fondness of stirring and spiritual orchestral music.”

Mr. Brown’s open-ended contract testifies to the orchestra’s belief in his ability to grow and maintain its presence in a complex culture now needing stability more than ever. This is Mr. Brown’s first major orchestral appointment in the USA, succeeding Kamel Boutros who held the position of Music Director earlier this year.

Born in Rochester, England, Stephen P Brown began playing piano at age 7, soon followed by clarinet and percussion. His first public appearance as a conductor was in New Jersey at age 16, and after earning a percussion performance degree from Trinity College of Music at age 18 he became the UK’s first undergraduate conducting student. Since then he’s conducted the London Philharmonic Orchestra, the Griffin Orchestra of London, Ealing Choral Society, worked with the Halle and BBC Philharmonic Orchestras, and was Musical Director of the Medway Chamber Orchestra and Kent Youth Percussion. He has toured Romania, Hungary, the Czech Republic, France, Portugal, Holland, as well as Malawi and Zambia, and also served as the Musical Director for the Kentish Players, Spotlites Theatre, and Ballet Rambert Education. After reviving the music department at Sittingbourne Community College in 1999, the UK government recognized Mr. Brown’s management style as ‘exemplary’.

In addition to his own compositions, some of the world premieres conducted by Mr. Brown include Antonin Tucapksy’s “Triptychon”, works by Mathew Power and Simon Gaughan, as well as the European premiere of Australian composer Ross Edward’s “Dawn Mantras” as part of the UK’s Millennium Festivities.

The Jubilee Symphony Orchestra is a ministry of Jubilee Missions, founded in Los Angeles in 2002. With an international presence, Jubilee Missions provides music, dance and media support for all denominations of the Christian faith. In particular, the Jubilee Symphony Orchestra works closely with churches throughout New York City and is also embarking on presenting its own program of annual events including children’s and choral concerts, a massive praise event and an annual invitation-only dinner hosted by the Artistic Director.

“We are excited about Mr. Brown’s involvement in our organization. In alignment with our mission, Mr. Brown will be building a platform for local artists to use their gifts for God with excellence and a Christian worldview”, said Christopher Chou, Director of Jubilee Missions New York.

Contact Information
Jubilee Missions
Jonathan Sesman
Tel: 212-602-9904
Cell: 347-754-8694
eventsny@jubileemisions.org
http://www.jubileemissions.org/

New online presence

What happened? I missed almost TWO weeks. Feels awful, but… there it is. So how do you like my new website http://www.stephenpbrown.com/? I was recommended to contact a fabulous little company and I think you’ll agree they did a fantastic job with the layout design. There are still lots of little bits to tweak, which I’m working on, but overall I am so very pleased. If you like it, post a comment below but also click on the first copyright link of each page to visit their website.

While we’re on the topic, how is YOUR website? Is it healthy, productive, confusing, glaring, boring, colorful, successful? I’ve learned there are three basic types of website: an online brochure, a lead generator, and a sales tool. I guess mine is primarily an online brochure that keeps changing as things get updated. What type is yours? Do you sell anything directly through the website, or does it encourage people to contact you for more info? Perhaps you don’t care and it’s just a great dumping space like an old-fashioned journal or diary – But be careful! In the US we’ve recently had a couple of high profile court cases in which online photos, videos and comments have been used to dishonor someone’s credibility. Don’t let that happen to you with pictures of those college drinking days! MySpace, particularly, is full of potentially life-long reputation damaging content.

One of the most exciting things I like to post on my website is include links to really worthwhile causes, such as this completely unrelated but fantastic business, http://www.calligraphiabymelissa.com/. OK, it’s not COMPLETELY unrelated as it’s my wife’s side-job, but it’s got nothing to do with conducting! Another web link I like to promote is http://www.jubileeorchestra.org/, an organization which I am very closely associated with. And I'm always emailing all sorts of links to videos and people and performers and venues and organizations and charities and other things I like. You might like them, too, if you have time to click through them all - perhaps I'll put them all in the same easily accessible place. Anyway. Don’t forget to sign up for my VIP club and get my monthly newsletter of discounted tickets, advance notice of upcoming events, and sometimes even a puzzle (have you seen Disney’s National Treasure films recently?! LOL).

Again, thanks for reading, and I hope to hear from you soon!

Big-time Time-beater Bashing

THIS LINK links to an article by Tommy Pearson that bashes the Berlin(ER) Philharmonic(ER) and Simon Rattles' performances at the British Proms earlier this month. Below is my brief response. I couldn't resist. Read Tommy's article first.

Always wondered what the Big Rattling Deal was about - especially hearing stories from his players over the years. I used to assume it was jealousy on my innocent arrogant part. LOL! But then if you (Rattle) win a major competition at age 19, what else should we expect, I guess? I shouldn't impugn. It's hard work and my hat comes off to everyone who prepares and performs. But Tommy - I have to agree with you. With the salaries these folks get, the experience, the exposure to every great performer ever... is the BP passioned out? Or was emotional conveyance never in their musical vocab? Great warm string sound. At times. As does the Philharmonia, the BBC Phil, the Cleveland Orch, the Philadelphia, the... Even in their own 'GROSS' hall I was never particularly impressed by the BP. It's comforting to know I'm not alone anymore. THANK YOU.

Conducting Careers

Life has many funny turns (and a few that aren't quite so funny): Having mentioned to my dearest Melissa that a Conductor's career usually won't take off until he/she is in their mid-fifties, we realized I could, yet, embark upon a conducting career again. Wouldn't that be cool? As I rapidly skid towards 40 we figured... "Why not?" So I made a couple of phone calls. After all, why not?

Three emails later, and I've got two hits and one not interested. 66% success rate. The Jubilee Orchestra in Manhattan just so happens to be seeking a new Conductor - negotiations are progressing well and I might end up as Prinicpal Conductor, or even Artistic Director! Gulp. Then, a visionary, gun-ho, 'let's do it' type of artist manager based in Nashville has lavished upon me sufficient ego-boosting compliments and awe to the extent that I was sold and we are now establishing all the necessary backup support - a non-profit organization, book publishing schedule, branding, a decent website (far more creative than my own designs - sorry if you missed them in the past!) as well as a couple of intriguing industry first-ideas. More to come on those.

So, after a month sitting at home desperately trying to avoid a relapse into pneumonia, here I am slugging through my corporate day-job to make sure the basic administrative tasks for my concert band are in place (we have a Silver Jubilee Gala Concert on Oct 19) and then desperately reading up on the legal implications of charity. Phew! It's intriguing, attractive work coz at the end of it I know it'll all enable me to do what I REALLY enjoy, what I spent YEARS training to do, and most importantly, what helps others realize their own gifts (playing & listening to music) and giving those gifts a purpose. Conducting orchestras, choirs, theatre bands, etc, etc.

LOVE IT. Thank you, God, for this surprising turn of events. Who knows... maybe You intend this to actually happen!