Classical music survives!
By Matthew Heil
Public Relations Manager
The Phoenix Symphony
As we start another week at Phoenix Symphony offices, here's a good article for pondering....
L. A. Times critic Mark Swed takes the opposite tack, proclaiming that classical music is in fact--despite assertions to the contrary--not a dying art. Read more here.
Public Relations Manager
The Phoenix Symphony
As we start another week at Phoenix Symphony offices, here's a good article for pondering....
L. A. Times critic Mark Swed takes the opposite tack, proclaiming that classical music is in fact--despite assertions to the contrary--not a dying art. Read more here.
10 Comments:
i doubt classical music will ever really die out; things marvelous and beautiful do not loose appeal.
The death knell of classical music has been rung many times. In the June 25th issue of The New Yorker, critic Alex Ross writes about classical music audiences skewing older, "it’s telling that, even back in 1970, half of the Seattle Symphony’s listeners were over fifty" (at that time I was one of the half in that audience well under fifty). His article is at http://www.newyorker.com/arts/critics/musical/2007/06/25/070625crmu_music_ross
In the past, only a minority loved classical music but when they were financially able they attended concerts -- which I believe accounts for audiences skewing older than average. But even people in general understood that classical music was something special; e.g., Birgit Nilsson's debut at the Met was reported on the front page of the NY Times, Beverly Sills appeared frequently on TV. Most children were exposed to classical music in school, so they had a foundation on which to build knowledge and potentially to develop admiration for the art.
What's new lately is the dumbing-down of "culture" in the US; I thought the apocalypse was nigh when I opened the home page of the NY Times yesterday and saw a photo of Paris Hilton being released from jail. Today most children are *not* exposed to classical music, and the culture in general knows of classical music only in terms of celebrities like Yo-Yo Ma and Pavarotti. So there's little foundation on which to build a life-long love affair.
Ergo, I believe that work in the schools, such as the Symphony is doing, is key. The problem with today's celebrity culture may be something we just have to live through, hoping that sanity will return sometime in the future.
I think that the advent of iTunes and such will help classical music as you will get people who will commit to 99 cents for a movement of a symphony they heard in a movie, or one of the "top" pieces (obviously a pesonal choice) but not necessarily go out and buy the whole CD. I think that people like to pick and choose what they want to listen to, classical or otherwise, and this may help keep classical music as time goes on.
Well, having an absolutely boring message board and using outdated marketing techniques doesn't exactly help promote TPS or classical music. The manner in which information is exchanged has greatly changed during the past 10 years. But for some reason, TPS chooses to rely on direct mail and phone campaigns when email is timelier and more cost-effective. If ticket sales are low, send an email the day before or day of performances with an incentive (e.g., free glass of wine - although someone should really rethink the wine list). Why not feature a few of the musicians on a monthly or quarterly basis or include sound bites of past performances on the TPS Web site? If people are worried about the survival of classical music, then someone needs to take measures to make sure it more accessible to everyone; not just the over 50 crowd. Additional media placement wouldn't hurt either.
Mark Swed's article is NOT another boring rehashing of the death of classical music or the symphony orchestra. He is, in fact, discussing three notable orchestral works that have recently been written and presented as a "Symphony."
I just examined the website of the League of American Orchestras (new name) to see how many "Symphonies" were premiered by American orchestras in this past 2006-2007 season. There were only eight such completed "Symphonies." Most notable were by established composers such as Charles Wuorinen (Boston), Oliver Knussen (Toronto), John Adamo (St. Louis) and David Stock (Seattle).
Surely there are large scale abstract pieces being commissioned by orchestras. But, there seems to be a lack of confidence in labeling a work a "Symphony." Maybe it is too intimidating as a serious opus to the potential audience? Maybe it is too old-fashioned or conservative sounding?
Well, that never stopped Shostakovich, Sibelius, Nielsen, Bernstein, Copland, Corigliano, or even Glass. Of course, I am waiting for Christopher Rouse's Third Symphony. I believe that the "symphony" is the most respected form of orchestral thinking. It is a completely thought out essay. Whenever I start exploring a new composer, I will first buy a CD collection of his/her "Symphonies."
S & W keep referring to "an absolutely boring message board." If you have another idea for a Phoenix Symphony Blog System, then please implement it now. Host your own site that would let us respond to each other's messages separately without having to pick Mr. Heil's columns. I will gladly start communicating with you and the others daily on multiple topics.
But, oddly enough, you yourself still log on "anonymously" without any means for us to email you directly now. "Ur-pro" and I have always been open to direct communications!
Sonny-
Why do you think it is that orchestras these days don't commission new symphonies from today's composers? Alienating audiences? Timing concerns? Budget restraints? What does one have to do to get one of their large works played at an orchestra the size and budget of The Phoenix Symphony?
Given the Phoenix Symphony's budget, perhaps it would be too much (expensive) to ask for a world premiere "Symphony" by Philip Glass or John Corigliano. I am delighted that we have commissioned the "Navajo Oratorio" to be composed by less-known Mark Grey.
On the other hand, I believe we, as a member of the League of American Orchestras, have an obligation to present as many Arizona Premieres of all the underplayed "Symphonies" already written by American composers. It would be like a first-listening to most audience members and orchestra players alike. Where are all the David Diamonds? The Walter Pistons? Ned Rorems? Samuel Barbers? William Schumans? Charles Ives? Roy Harris? John Harbisons? Peter Mennins? Virgil Thomsons? Howard Hansons? Alan Hovhaness? Paul Crestons?
And how about a festival of Japanese Symphonies 交響曲 written by Kosaku Yamada, Saburo Moroi, Yasushi Akutagawa, Akira Ifukube (of "Godzilla" soundtracks fame), Toshiro Mayuzumi, and Shin'ichiro Ikebe?
We are a Symphony Orchestra. Let us play the best "Symphonies" that the world has to offer!
This just in from composer TAN DUN's official website:
BAM Center for the Performing Arts, Brooklyn, NY
December 5th, 7th & 8th, 2007
Brooklyn Philharmonic
Conducted by Michael Christie
Program: Orchestral Theatre IV: The Gate (1999)
So, it looks like our Maestro has pulled off yet another major coup. This Cat is making plans to fly east for this MUST SEE event. This will be the biggest TAN DUN concert since the Metropolitan Opera's world premiere of "The First Emperor" this past season.
Let us hope that this relationship with TAN DUN will carry over into Phoenix in the 2008-2009 season. As stated before, TAN DUN was the original living Composer Perspective scheduled for the 2006-2007 season. It would be great if Phoenix could get one classics set of his music. A series would be glorious. Go for it, Maestro!
By the way, I thought the Brooklyn Philharmonic's reference to "Brooklyn's own Michael Christie!" was a bit too much...
can it survive in its current form? It always seems to me that any change from the norm gives attendance a bump. Sometimes it is programming a great piece at a good time or bringing in a great soloist. These things are not really sustainable. If they were we would just do it every week. Whenever we try and make a more permanent change (concert format, theme programming, attire,etc) even the most well intentioned ideas seemed very contrived. How can we become more relevant to our communities but at the same time be incapable of meaningful sincere change?
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