european federation of national
youth orchestras
the future of
symphonic
music
Co-funded by the Creative Europe Programme of the European Union
This work programme has been funded with support from the European Commission. This publication reflects the view only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
-
Portuguese Youth Orchestra (JOP) at the World Youth Day in Lisbon
-
Cyprus Symphony Orchestra (CYSO) at Cavo Greco
Photo credit: Pavlos Vrionides
MusXchange bilateral chamber music projects
This bilateral chamber music format was created within MusXchange 2015-17 and is continued under MusXchange 2018-20. The format is based on the collaboration of two project partners who organise chamber music activities and concert performances in both countries involved. The scheme is supplemented with workshops on intercultural dialogue, music interpretation, and communicating music to local audiences.
Under MusXchange 2018-20, the first project took place in 2018 in Austria and in the Netherlands. Under MusXchange 2015-17, four pilot projects were planned to take place at various venues in Austria – Romania, France, Scotland – Netherlands, and Italy – Portugal in 2015 and 2016. The objectives are to create awareness for the different backgrounds of the two countries’ musical history and differences in music education, to encounter the classic, traditional and contemporary music repertoire of both countries, to deal with different rehearsal and performance practices, and to engage with various audiences at local level.
Bilateral chamber music projects are composed of musicians of both countries, and performed in various settings. They should provide a new experience for musicians to adapt and integrate within a very short period under the guidance of experienced tutors. The format should have a distinct feature on engaging with local audiences in innovative ways, through moderation of the concerts by musicians of both countries, by interacting with audiences which should include children, youth, disadvantaged persons, audiences with limited access to music performance, and concerts which should happen outside “usual” concert venues, i.e. in social centres, hospitals, schools, museums, shopping centres, open public spaces, etc.