Talk:Brussels Philharmonic Orchestra

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Belgium

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Digital music stands: This information isn't correct. It was the Brussels Philharmonic (and NOT the "Brussels Philharmonic Orchestra") that played some pieces from tablets on a concert in 2012. That's why I decided to delete the subtitle "digital music stands". For more information about these two orchestras: see [[1]] and [[2]] Lbratsche (talk) 08:20, 13 October 2013 (UTC)[reply]

General notability guideline concern

In trying to find suitable 3rd-party references on the BPhO, I was unfortunately unsuccessful. From reading their page, it truly does sound though the BPhO is a training orchestra in the manner of the New World Symphony in the United States. It admittedly does not help matters that the Brussels Philharmonic, now with Stéphane Denève ‎as their chief conductor, is an older Belgian orchestra with now a very similar name, even though the BPhO chose their name first (2002, vs 2008 for the Brussels Philharmonic). I had been leaning to keeping both articles in order to distinguish both ensembles, but now I'm starting to wonder if deleting the Brussels Philharmonic Orchestra article is the better course of action. The Brussels Philharmonic page clearly needs to stay, because they are the older ensemble and more prominent of the two, relatively speaking. Other thoughts are welcome, & thanks for reading. DJRafe (talk) 17:14, 19 September 2015 (UTC)[reply]

It sounds like you'll have to put up with my own first-hand testiony from outside the Organisation.

Clare was born and raised in Brussels in an English Eurocrat family. I first met her at a tram stop in December 1992, while recceing the place for somewhere to live, when the Western European Union was moving from London: it turned out she was the god-daughter of the deputy Head of Translation, and was soon on the staff, having the qualifications in defence diplomacy needed to fill one of the expansion slots. WEU was always short-handed, but she was also committed to the Orchestra project, and I was certainly aware of its existence in 1996.

When the EU started to take WEU's functionality over in 2001, Clare was one of the four experts they could not do without. However, the intolerance which plagued us continued, and so I suspect she finally changed the balance of her life the next year, turning what was at first a meet-up between friends into something more solid.

In many ways, she is part of a wider movement where established forces in liaison with music publishing houses combined to keep incomers out. These established groups are now nearing retirement (the Hilliard Ensemble, for example) and so their places are being taken by younger ensembles, who have done their journeyman period. My own Choral boss' Patrick Allies' Siglo d'Oro is a similar example.

Me? I trained in voice alongside the Guildhall School of Music's top voice coach, David Roblou, rescuing the Alleyns' School Choir which later produced Florence Welch, Jo Goldsmith (Swingles Sop 1), Pixie Lott, Ed Simons, and a good few others. My name's Jeremy Main, and I was HQ Accountant of WEU throughout its time in Brussels. — Preceding unsigned comment added by 90.197.55.141 (talk) 23:44, 18 July 2019 (UTC)[reply]

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