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“Kana Philharmonic x Sendai Philharmonic urgent conversation! ” There was no such thing as “the person inside”…well, there was one after all! ! The inside story of orchestra public relations revealed by two people

『かなフィル×仙台フィル緊急対談!』 “中の人”などいな・・・、いや、やっぱりいた!! ふたりの中の人が明かす、オーケストラ広報の裏ばなし

It's kind of interesting even if you don't know classical music or orchestra! ? Kana Philharmonic and Sendai Philharmonic's best tweets

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-Finally, the person inside appears. On Twitter, do you have some unique tweets that are very popular?

[Sendai Philharmonic] It's a blessing, but to be honest, we're surprised in some ways by the response. Up until now, the one that has gotten a particularly big response is the one I tweeted in January 2017, "This is unprecedented!" I borrowed a line from the comedian Sunshine Ikezaki to introduce the Sendai Philharmonic (lol), and it was well received by everyone. It has been retweeted more than 1000 times and has been featured on several TV programs.

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Also, about the "candy" thing. There is pineapple candy, right? It's a candy with a hole in the middle like a donut, but it doesn't make any sound even if you blow it like a ramune flute. However, I thought that a professional musician could probably make it work. So, when I asked the orchestra members to try it out together with the Kana Philharmonic, some of them had great success. I tweeted a video of the event, and the response was great.

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[Kana Philharmonic] Regarding the Kana Philharmonic, this is about a "concert where the members were changed." At this time, I couldn't help but enjoy it too. It was a concert in which resident conductor Kentaro Kawase appeared, but it was during the encore after the main performance. Kawase, who had been conducting until then, suddenly stepped down from the podium and was replaced by concertmaster Yasuhisa Ishida. Then, this time, the concertmaster was absent...and before I knew it, Naoto Sakitani, who was not scheduled to perform, was surprised (lol). It was a so-called prank project, but neither the performing members nor I were aware of it, so it was strange and strange. The audience really enjoyed it, and the response to the video tweets was also good. One of the great appeals of Twitter is that it can convey a live feeling in this way.

Here's how it looks
Conductor: Kentaro Kawase
Kanagawa Philharmonic Orchestra
Haydn: Symphony No. 94 in G major “Surprise” (Encore)

-In a good way, you are working on disseminating information that is not limited to the image of a classical or public orchestra. Please tell us how you started using Twitter.

[Kana Philharmonic] Actually, the Kana Philharmonic has always been a proactive band. Phil Kana has been using Twitter since around 2010, but his predecessor was very knowledgeable about SNS, and he had been using Ustream and Facebook for some time. However, my current stance was largely due to my interaction with the Sendai Philharmonic. As people in the same group, how can we expand the appeal of orchestras and classical music? We are working on plans while sharing various information as appropriate. It is true that there are sometimes divided opinions within the orchestra about the uniqueness of the content, but the important thing is to get as many people interested as possible. Personally, I feel that the current style is very useful.

[Sendai Philharmonic] The same goes for the Sendai Philharmonic. I have been using Twitter for some time, and I became in charge of it in 2014. My predecessor asked me to try it out, so I definitely did! and. However, even before I was invited to be in charge of Twitter, I was constantly checking tweets, and I realized that this is the kind of information I would like to send out. Specifically, we want to convey not only information about the concert, but also the appeal of the orchestra itself. Therefore, many of the tweets are planned from the perspective of the production side.

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In order to deliver our appeal to as many people as possible, we will provide information that is more familiar and accessible.

−Are there any challenges you face as someone in charge of Twitter?

[Kana Philharmonic] Well, the question is how to get people who have never attended a concert before or people who are not familiar with classical music to get interested. In terms of age, they are young people in their teens to 20s, but that's what makes it difficult. Sometimes I think about the way I phrase things and the meaning of my words in order to make them easily accepted by young people. Also, I have to collect timely topics, so I can't keep my smartphone away.

[Sendai Philharmonic] Also, the work environment.

[Kana Phil] Oh, that’s true (lol). All my co-workers know that I'm an inside guy, so I don't really need to worry about it, but when I'm looking at a computer with my smartphone in hand, I somehow feel guilty. Yo.

[Sendai Philharmonic] It doesn't bother me because I'm in a different seat now, but in the past, when I was looking at Twitter at work and a colleague passed behind my seat, I thought, "Maybe he's playing." I didn't want to be left alone (laughs).

-Do you feel that your PR method is really effective in attracting customers?

[Sendai Philharmonic] Yes, it is effective. However, the purpose of tweeting is not to attract customers. To be precise, it is "not only". Certainly, since the subject is management, attracting customers is important. However, that is not what I am really looking forward to; my purpose is to "bring the Sendai Philharmonic closer to as many people as possible." Regarding the tweets, which are said to be unique, we were thinking about how we could create an interest in the Sendai Philharmonic Orchestra itself and each of its members without making them feel the boundaries between classical music and orchestral music. Anything is fine, such as simply saying, ``You're doing something interesting.'' We want as many people as possible to know about our existence. I think it would be even better if you could develop an interest in classical music and orchestras from there.

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A connected orchestra. The breath of new activities that go beyond the boundaries of the orchestra is now spreading across the country.

-It seems that the exchange between the Kana Philharmonic and the Sendai Philharmonic began on Twitter.

[Kana Phil] That's right. That's also a big advantage. This is mainly true for orchestras in the Tokyo metropolitan area, but they always work hard together and have a strong sense that they are each other's rivals, for better or for worse. They rarely try to interact actively. However, I met the Sendai Philharmonic through Twitter, and we have been able to communicate with each other. I feel this is wonderful. You can share the issues that the orchestra needs to address, come up with improvement plans, and even plan concerts that have never been done before. So, Twitter was a tool that made me realize the importance of mutual exchange between orchestras. There is also hope that orchestras across the country may be able to connect with each other by using us as an example. If this happens, I believe that we will be able to contribute not only to individual operations, but also to the classical music world as a whole.

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-Finally, please tell us about your future activities.

[Sendai Philharmonic] There are two things. One is to convey how to enjoy orchestral music. For example, it could be proposed as a tourist event. It can be a trip or even free time on a business trip. While enjoying the specialties and spots of each region, they can also casually experience performances by local bands. I would like to continue to make proposals and create an environment like this.

The other thing, as Kana Phil mentioned earlier, is ``connection.'' There are not many opportunities for bands from all over the country to interact. In particular, even though we are on the front line connecting the audience and the orchestra, we are not as privy to information about other orchestras. Therefore, I felt that there was a need for a place where we could discuss various things openly.

Actually, today is the day of ``Nakaninkai''. We hold a roundtable discussion where the Kana Philharmonic and members of the orchestra gather, and this time, for the fifth time, 19 people from all over the country will gather. Although we are still in the information sharing stage, I would like to someday be able to create a major event through which bands from all over the country can come together.

[Kana Phil] Actually, Kana Phil had a big turning point. The Brudal Foundation started in 2011, and I personally think that the mindset of the orchestra members has changed since then. I am aware that Kana Phil is only possible because of the support and support of our customers. Therefore, we would like to continue to be an orchestra that is familiar to everyone and provides a deep impression. To that end, I would like to continue to work on tweets that can serve as a good bridge between the orchestra and those who have not seen it yet.

<Kanagawa Philharmonic Orchestra>
Official Twitter:

Official HP:
http://www.kanaphil.or.jp

<Sendai Philharmonic Orchestra>
Official Twitter:

Official HP:
https://www.sendaiphil.jp

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