1 00:00:02,480 --> 00:00:05,840 Speaker 1: Global business news twenty four hours a day. If Bloomberg 2 00:00:05,920 --> 00:00:09,000 Speaker 1: dot com, the radio plus mobile app and on your radio. 3 00:00:09,320 --> 00:00:12,239 Speaker 1: This is a Bloomberg Business Flash and it's brought to 4 00:00:12,240 --> 00:00:15,760 Speaker 1: you by National Realtycent Returns on cash you rented real 5 00:00:15,880 --> 00:00:18,960 Speaker 1: estate find them at n r I a dot net. 6 00:00:19,079 --> 00:00:22,280 Speaker 1: Good morning on John Tucker of Banks and Technology Shares 7 00:00:22,440 --> 00:00:26,239 Speaker 1: bolsting an early climb in stocks before we get new 8 00:00:26,280 --> 00:00:28,680 Speaker 1: home sales at Data at ten o'clock that may show 9 00:00:28,680 --> 00:00:32,479 Speaker 1: an improving U S economy as investors adapt to prospects 10 00:00:32,479 --> 00:00:35,960 Speaker 1: for a Federal Reserve interest rate increase as early as 11 00:00:36,200 --> 00:00:39,880 Speaker 1: next month. As a result of those expectations, the dollar 12 00:00:40,240 --> 00:00:43,280 Speaker 1: is higher this morning right now in stocks down Jones 13 00:00:43,320 --> 00:00:45,960 Speaker 1: and Dust driverage up one hundred sixty six points, up 14 00:00:46,000 --> 00:00:49,800 Speaker 1: about one percent. The spire seventeen and that has the 15 00:00:49,920 --> 00:00:53,680 Speaker 1: composite indexes of forty five points among the most actively 16 00:00:53,720 --> 00:00:56,600 Speaker 1: traded shares in the early going. Shares of Twitter there 17 00:00:56,600 --> 00:01:00,520 Speaker 1: down three point six percent. Twitter is the umigraded to 18 00:01:00,560 --> 00:01:05,360 Speaker 1: a cell versus neutral epophett Nathan Nathanson twitters less of 19 00:01:05,840 --> 00:01:10,000 Speaker 1: must have for potential acquires of the analysts right and 20 00:01:10,360 --> 00:01:13,199 Speaker 1: once again the Downstownes and deaster language up one hundred 21 00:01:13,400 --> 00:01:16,479 Speaker 1: at sixty points. We check the markets for you every 22 00:01:16,600 --> 00:01:19,399 Speaker 1: fifteen minutes during the trading day right here on Bloomberg 23 00:01:19,520 --> 00:01:22,560 Speaker 1: Radio and bloom burgst of Annas continues with Tom and 24 00:01:22,680 --> 00:01:29,360 Speaker 1: Mike John Thanks so much, greatly, appreciate that UM January eighth, 25 00:01:29,560 --> 00:01:31,720 Speaker 1: the world change, to say the least. Michael, I don't 26 00:01:31,720 --> 00:01:34,440 Speaker 1: know if you remember this, but I was beaten as 27 00:01:34,480 --> 00:01:38,039 Speaker 1: a child. You will watch Leonard Bernstein and the Young 28 00:01:38,120 --> 00:01:40,400 Speaker 1: People's Concert. You will sit in front of the black 29 00:01:40,440 --> 00:01:43,360 Speaker 1: and white TV and you will get culture, and you 30 00:01:43,400 --> 00:01:47,280 Speaker 1: will watch Leonard Bernstein tell you that music matters. And 31 00:01:47,360 --> 00:01:50,960 Speaker 1: it's not the Beatles. It's called adult classical music. There 32 00:01:51,120 --> 00:01:54,240 Speaker 1: is no one besides Benjamin Zander who has done what 33 00:01:54,360 --> 00:01:58,120 Speaker 1: Bernstein has done with kids. This is great. The Boston 34 00:01:58,520 --> 00:02:03,720 Speaker 1: Philharmonic youth orches. You are redoing my ute essentially in 35 00:02:03,840 --> 00:02:06,520 Speaker 1: a sense. That's the greatest compliment you can pay, because 36 00:02:06,560 --> 00:02:09,120 Speaker 1: he really changed the world. He changing well. First of all, 37 00:02:09,160 --> 00:02:11,640 Speaker 1: we could talk about Maller for hours. I mean essentially 38 00:02:11,680 --> 00:02:14,000 Speaker 1: out of World War two. What Maller back is you 39 00:02:14,080 --> 00:02:18,000 Speaker 1: have reinvigorated that. But in classical music right now, without 40 00:02:18,040 --> 00:02:22,480 Speaker 1: the the society support that Mr Bernstein had. You are 41 00:02:22,600 --> 00:02:28,000 Speaker 1: putting kids in Carnegie Hall on stage in front of 42 00:02:28,160 --> 00:02:32,600 Speaker 1: four thousand people. Well, the whole hold. We're doing two 43 00:02:32,720 --> 00:02:35,200 Speaker 1: concerts on the sixth of June and the seventh of June, 44 00:02:35,480 --> 00:02:40,280 Speaker 1: Monday and Tuesday nine and both concerts their free concerts, 45 00:02:40,400 --> 00:02:44,160 Speaker 1: and we have had requests from four thousand, five hundred 46 00:02:44,200 --> 00:02:47,760 Speaker 1: people for each of those concerts. Now, this is a lottery. 47 00:02:48,080 --> 00:02:50,960 Speaker 1: So if anybody's listening and they want to come, they 48 00:02:51,080 --> 00:02:53,520 Speaker 1: have to just go on Boston phil or dot org, 49 00:02:53,919 --> 00:02:56,920 Speaker 1: Boston fill dot and they can request tickets. And if 50 00:02:56,960 --> 00:03:00,400 Speaker 1: they say Ben sent you sent me, then make sure 51 00:03:00,440 --> 00:03:04,240 Speaker 1: it is different. Here is the collapse of your industry 52 00:03:04,320 --> 00:03:08,040 Speaker 1: you have lived in. This is not the Boston Symphony Orchestra, folks, 53 00:03:08,120 --> 00:03:11,040 Speaker 1: this is the Boston Philharmonic Orchestra. And you pick up 54 00:03:11,080 --> 00:03:14,880 Speaker 1: the youth orchestra. You may, I would suggest, as an 55 00:03:14,880 --> 00:03:18,519 Speaker 1: amateur more than anyone, are pushing back against the decline 56 00:03:18,960 --> 00:03:22,320 Speaker 1: of classical music. Are you winning the war? Yes? Absolutely. Now, 57 00:03:22,720 --> 00:03:26,239 Speaker 1: let's realize that more classical music is being listened to 58 00:03:26,240 --> 00:03:29,280 Speaker 1: today than ever before in the history of the world. Right, 59 00:03:29,840 --> 00:03:32,200 Speaker 1: people are not going to concerts as much but we 60 00:03:32,360 --> 00:03:35,080 Speaker 1: get a huge amount of young people in our concerts, 61 00:03:35,200 --> 00:03:37,440 Speaker 1: even very young people. We have five year olds and 62 00:03:37,560 --> 00:03:39,400 Speaker 1: seven year old who come to You have the writers 63 00:03:39,440 --> 00:03:44,840 Speaker 1: bringing Mala Symphony because we offer the children free tickets, 64 00:03:45,160 --> 00:03:47,800 Speaker 1: and that's there. There are people who bring their whole 65 00:03:47,920 --> 00:03:52,080 Speaker 1: families to these concepts. That's the secret. You experience this thing, 66 00:03:52,200 --> 00:03:55,520 Speaker 1: it's and it's played by very intense young people. The 67 00:03:55,600 --> 00:03:58,800 Speaker 1: youngest is twelve and the oldest is twenty one. They 68 00:03:58,960 --> 00:04:01,520 Speaker 1: play as if their life depended on it. You just 69 00:04:01,640 --> 00:04:05,640 Speaker 1: see them physically digging in and playing with such passion 70 00:04:05,760 --> 00:04:10,040 Speaker 1: and such Further, and of course the music is great, 71 00:04:10,080 --> 00:04:12,440 Speaker 1: and you come to Carnegie Hall and we turned away 72 00:04:12,480 --> 00:04:16,279 Speaker 1: five people from a concert in Symphony Hall in Boston recently, 73 00:04:16,760 --> 00:04:21,440 Speaker 1: And it's the secret is great music played with passion 74 00:04:21,520 --> 00:04:25,920 Speaker 1: and intensity and love. And also I explained the music 75 00:04:25,960 --> 00:04:31,720 Speaker 1: a little bit before. How old are The youngest is 76 00:04:31,800 --> 00:04:34,560 Speaker 1: twelve and the oldest is twenty one. So it's that 77 00:04:35,120 --> 00:04:40,960 Speaker 1: that powerful age, post puberty age when the hormones are 78 00:04:41,240 --> 00:04:45,680 Speaker 1: in full flight, and the music speaks to them in 79 00:04:45,760 --> 00:04:48,480 Speaker 1: a way that it doesn't to older people who've played 80 00:04:48,560 --> 00:04:51,359 Speaker 1: it and only have dim memories of those experiences. Well, 81 00:04:51,400 --> 00:04:54,360 Speaker 1: in some ways, maybe it works to your advantage to 82 00:04:54,440 --> 00:04:58,680 Speaker 1: have the enthusiasm. It's especially when you when you take 83 00:04:58,760 --> 00:05:03,800 Speaker 1: on your arrangement of Right of Spring, because a lot 84 00:05:03,800 --> 00:05:08,360 Speaker 1: of people don't realize Stravinsky towards the end, the tempo 85 00:05:08,520 --> 00:05:11,040 Speaker 1: is extraordinarily fast in the original score, and it never 86 00:05:11,120 --> 00:05:13,520 Speaker 1: gets play that way. It's not in the original score. 87 00:05:13,560 --> 00:05:16,240 Speaker 1: I have to say. It's in his piano role, but 88 00:05:16,560 --> 00:05:19,159 Speaker 1: he he couldn't conduct it because it was too difficult 89 00:05:19,200 --> 00:05:22,400 Speaker 1: to play to play, and so he reduced the tempo. 90 00:05:22,760 --> 00:05:26,680 Speaker 1: But we've restored it to that same tempo that he 91 00:05:26,880 --> 00:05:29,840 Speaker 1: had for his on the piano roll, and he's describing 92 00:05:29,920 --> 00:05:32,560 Speaker 1: a young virgin dancing herself to death, and in the 93 00:05:32,760 --> 00:05:37,080 Speaker 1: traditional temper that you usually here, she barely breaks a sweat. 94 00:05:37,400 --> 00:05:39,560 Speaker 1: But in this you get these kids playing at a 95 00:05:39,960 --> 00:05:44,400 Speaker 1: further and fast driven tempo and it's electrifying. And these 96 00:05:44,440 --> 00:05:47,080 Speaker 1: two pieces on that program, this is on the seventh 97 00:05:47,160 --> 00:05:49,680 Speaker 1: of June. We're doing the Writers Spring first of all, 98 00:05:49,800 --> 00:05:54,200 Speaker 1: Lapremidi of Debucy, then the Writers Spring and then malah One. 99 00:05:54,400 --> 00:05:56,400 Speaker 1: And I don't believe those pieces have ever been put 100 00:05:56,480 --> 00:05:58,600 Speaker 1: together in one program in the history of the world, 101 00:05:59,000 --> 00:06:01,760 Speaker 1: and it's very exciting thing to put them together. And 102 00:06:01,880 --> 00:06:04,440 Speaker 1: at the end of the first part with the writers bringing, 103 00:06:04,480 --> 00:06:06,720 Speaker 1: people are going to spring to life, you know, to 104 00:06:07,560 --> 00:06:10,320 Speaker 1: standing ovation, and then we'll do Malo one after that. Well, 105 00:06:10,760 --> 00:06:14,479 Speaker 1: you've got an interesting program because you do the prelude 106 00:06:14,560 --> 00:06:16,480 Speaker 1: and you do writer Spring, and you're doing Milor one. 107 00:06:16,560 --> 00:06:20,320 Speaker 1: What's the connection between those? Well, actually we're doing them 108 00:06:20,400 --> 00:06:24,480 Speaker 1: on that program because we just did Malo one in 109 00:06:24,839 --> 00:06:28,080 Speaker 1: Boston in May and it was such a beautiful performance 110 00:06:28,160 --> 00:06:30,320 Speaker 1: that I wanted to bring it to New York and 111 00:06:30,520 --> 00:06:33,680 Speaker 1: to have people hear it. And so we put these 112 00:06:33,839 --> 00:06:38,200 Speaker 1: two pieces together. What they have in common all those 113 00:06:38,240 --> 00:06:42,280 Speaker 1: three pieces and exploration of man's relationship to nature. So 114 00:06:42,480 --> 00:06:46,720 Speaker 1: there is a theme, but it's an extraordinary juxtaposition and 115 00:06:47,000 --> 00:06:48,760 Speaker 1: I think for the people who were there that will 116 00:06:48,800 --> 00:06:51,280 Speaker 1: be an unforgettable experience. And as for the kids, you 117 00:06:51,480 --> 00:06:54,280 Speaker 1: cannot imagine how excited they are. And to play to 118 00:06:54,400 --> 00:06:58,040 Speaker 1: a full house where every siege is taken, there's nothing 119 00:06:58,120 --> 00:07:01,840 Speaker 1: more exciting. How do you deal with the kids that, 120 00:07:02,000 --> 00:07:05,560 Speaker 1: on one hand are working through a difficult skill in 121 00:07:05,600 --> 00:07:07,280 Speaker 1: the key of B and what is it five or 122 00:07:07,320 --> 00:07:10,560 Speaker 1: six flats sharps I can't remember I I I left 123 00:07:10,600 --> 00:07:12,640 Speaker 1: the key of D. I got the two sharps and said, 124 00:07:13,920 --> 00:07:15,200 Speaker 1: but you know, they're in the key of B and 125 00:07:15,240 --> 00:07:18,720 Speaker 1: they're really struggling and they're working on the older symbols 126 00:07:18,800 --> 00:07:21,600 Speaker 1: or whatever, and then they want to go out and 127 00:07:21,680 --> 00:07:23,760 Speaker 1: they want to listen to Ariana Grande. How do you 128 00:07:23,880 --> 00:07:27,680 Speaker 1: deal with the modern pop and all of the music 129 00:07:27,800 --> 00:07:32,680 Speaker 1: streaming and all of the distractions that we do. The 130 00:07:32,840 --> 00:07:36,840 Speaker 1: kids that I'm dealing with a passionate, committed, intense and 131 00:07:37,280 --> 00:07:40,600 Speaker 1: totally masterful in their music. So even the twelve year 132 00:07:40,640 --> 00:07:46,480 Speaker 1: olds fabulous musicians and they play brilliantly. So our kids 133 00:07:46,520 --> 00:07:49,480 Speaker 1: are all committed. They come in for four hours every 134 00:07:49,520 --> 00:07:52,960 Speaker 1: Saturday and they work from two thirty six thirty without 135 00:07:53,200 --> 00:07:57,520 Speaker 1: a single moment of losing hesitation of their concentration. So 136 00:07:57,720 --> 00:08:01,000 Speaker 1: what we do is we play all music, full passion, 137 00:08:01,320 --> 00:08:03,360 Speaker 1: and people want to come in if you're just joining us. 138 00:08:03,400 --> 00:08:06,360 Speaker 1: Benjamin Zander. The Boston show amount at Youth Orchestra Carnegie 139 00:08:06,440 --> 00:08:09,920 Speaker 1: Hall sold out, but it's a lottery. You can still go, 140 00:08:10,240 --> 00:08:13,080 Speaker 1: but it's a lottery. Monday June six, seven, eight pm, 141 00:08:13,440 --> 00:08:16,640 Speaker 1: both nights. People like Steve Rother Ernado writing out the 142 00:08:16,760 --> 00:08:19,920 Speaker 1: check for kids to go. Michael, can I explain at 143 00:08:20,000 --> 00:08:23,520 Speaker 1: sixty five, I'm gonna give a talk in Carnegie Hall 144 00:08:23,840 --> 00:08:27,400 Speaker 1: for the audience to explain how we run this orchestra 145 00:08:27,440 --> 00:08:31,080 Speaker 1: and how we make it institution of possibility. And that's 146 00:08:31,120 --> 00:08:34,200 Speaker 1: the very important thing for the teachers and for people 147 00:08:34,240 --> 00:08:36,600 Speaker 1: who care about how young people are brought up. Let's 148 00:08:36,920 --> 00:08:38,600 Speaker 1: let's pick it up there. Tell us about your book 149 00:08:38,840 --> 00:08:42,559 Speaker 1: The Art of Possibility, because um, it's been out for 150 00:08:42,720 --> 00:08:46,200 Speaker 1: quite a while best seller, but a lot of people 151 00:08:46,400 --> 00:08:50,439 Speaker 1: may not make the connection right at the possibility is 152 00:08:50,880 --> 00:08:54,599 Speaker 1: is a method approach to life. The best way I 153 00:08:54,679 --> 00:08:57,160 Speaker 1: can describe it is it's a choice that we all 154 00:08:57,320 --> 00:09:00,400 Speaker 1: have at every moment of the day, which is choose 155 00:09:00,440 --> 00:09:03,800 Speaker 1: to speak in the downward spiral or speaking possibility. And 156 00:09:04,120 --> 00:09:07,800 Speaker 1: the classic example is the two shoe salesmen who go 157 00:09:07,920 --> 00:09:10,559 Speaker 1: to Africa to try to sell shoes, and one of 158 00:09:10,600 --> 00:09:15,240 Speaker 1: them writes back a telegram saying situation hopeless, Stop they 159 00:09:15,320 --> 00:09:18,360 Speaker 1: don't wear shoes, and the other one writes a telegram 160 00:09:18,440 --> 00:09:21,559 Speaker 1: back saying, glorious opportunity. They don't have any issues yet. 161 00:09:21,960 --> 00:09:25,840 Speaker 1: So that choice between what we call the downward spiral 162 00:09:25,920 --> 00:09:30,720 Speaker 1: to despair and and and fear, and competition is always 163 00:09:30,920 --> 00:09:34,839 Speaker 1: a choice between that and the choice for possibility. And 164 00:09:35,040 --> 00:09:37,480 Speaker 1: what I do in that orchestra is I train the 165 00:09:38,040 --> 00:09:42,120 Speaker 1: people in the orchestra all the time in making that 166 00:09:42,360 --> 00:09:46,599 Speaker 1: choice and developing the discipline. And it's a rigorous discipline 167 00:09:47,000 --> 00:09:51,920 Speaker 1: of choosing a way of speaking and being which creates 168 00:09:52,000 --> 00:09:55,719 Speaker 1: possibility for people. And the way it shows up is 169 00:09:55,800 --> 00:09:59,480 Speaker 1: in the shining eyes of the people who are engaged 170 00:09:59,559 --> 00:10:02,000 Speaker 1: in and I look for the shining eyes now on 171 00:10:02,080 --> 00:10:05,240 Speaker 1: a business channel like this, it's worth saying that most 172 00:10:05,400 --> 00:10:09,240 Speaker 1: people are concerned in life about wealth and about fame 173 00:10:09,640 --> 00:10:13,280 Speaker 1: and about power. And what I'm concerned about my definition 174 00:10:13,280 --> 00:10:16,640 Speaker 1: of success is how many shining eyes to in the 175 00:10:16,760 --> 00:10:19,080 Speaker 1: time we have left. What does the number one mistake 176 00:10:19,280 --> 00:10:21,840 Speaker 1: parents make when they say to your kids, do your 177 00:10:21,880 --> 00:10:25,040 Speaker 1: piano lists? Do your violin list? So they're pushing them 178 00:10:25,679 --> 00:10:30,400 Speaker 1: and they're focusing on success and failure and competition instead 179 00:10:30,480 --> 00:10:33,920 Speaker 1: of on the glorious opportunity of having great music in 180 00:10:34,000 --> 00:10:36,839 Speaker 1: their life and sharing with other people. Benjamin Sanders, thank 181 00:10:36,840 --> 00:10:40,480 Speaker 1: you so much. With the Boston Philharmonic Youth Orchestra, Kearney Hall, 182 00:10:40,679 --> 00:10:43,760 Speaker 1: June six, June Sabbaths. VI there, thank you. Here's some 183 00:10:43,880 --> 00:10:44,440 Speaker 1: of his music.