At one time in the past 40 years, the age range of kws musicians was fairly small. Now there are long-tenured members in their 60s and newbies in their 20s. We need to be sure our committees reflect that, so that the wisdom of the elders is passed on and the fresh perspectives of the young inject enthusiasm and new ideas.
It’s easy to let the ‘‘usual suspects’’ carry the load of union work and representation – and they probably do it very well. However to be sure the next generation has a chance to work with the oldies, a mixture is usually best. So I give a “hats off” and back pat of gratitude to all of you who have volunteered countless hours to the betterment of your colleagues this past season. And a nudge to the young folk to explore where you can get involved and learn more about how our committees and unions function. It’s not only Dracula who is looking for fresh blood.
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Una Voce readers are sure to find something that catches their attention in this final issue of the 2017–18 season. Mélanie Harel writes about Orchestre Métropolitain’s successful European tour; Becky Whitling introduces us to Vancouver Symphony Orchestra’s new conductor; Parmela Attariwala, who presented at the 2017 ocsm conference on the idea Declaration, gives an update of her research; Christine Little-Ardagh announces progress with the Career Guide; and Steve Mosher explains recent studies at National Ballet of Canada Orchestra into sound levels in the pit. In January the Canadian music world lost an advocate and artist in Tommy Banks: read some tributes from musicians who knew him well.
This year’s centenary of Leonard Bernstein’s birth is giving rise to many celebrations: we hear of a personal experience with Lenny from Kitchener-Waterloo Symphony flutist Tommy Kay.
Many thanks to all our contributors!