The Research...
In order to address the problem facing classical music in the 21st century, it will be necessary to find a new approach to the performance and presentation of Western classical music.
This chapter will begin by specifying the target audience. This will be followed by a survey of some alternative approaches to the existing concert model. From this, it will be possible to identify 3 key areas of the concert – the reconsideration of which will form the framework for this project.
Target Audience
The audience for this group, aged between 20-40, will ideally have a limited experience of classical music but will possess a broader interest in music in general. They will have a general education and may have a wider experience in the arts. Members of this audience may have attended classical music concerts before but will not be actively engaged with it. They may have had some experience of classical music (through school, relatives or friends) but will not have sought it out themselves.
Survey of alternatives to the conventional concert
In the recent decade, many ensembles and concert venues have started to reconsider the manner in which the concert is presented. This section will examine some successful examples. A summary of these examples will follow.
Ensembles
Budapest Festival Orchestra
The Budapest Festival Orchestra, led by Ivan Fischer, has developed a reputation as an ensemble of high standard as well as one that is willing to experiment with new approaches to the concert experience. In recent years, the orchestra has developed a series of ‘Midnight Music’ concerts specifically designed for younger audiences. In these concerts audience members are seated in and around the orchestra on beanbags, foam chairs and benches. Each work that the ensemble performs is introduced by short, informative talks and the choice of repertoire is regularly made by audience members via a lottery system. The decision to begin the concerts at midnight is a conscious choice so as “to find an hour when young people are awake and others are asleep.”[1]
For Fisher, the goal is to re-introduce a sense of life and musicality into the orchestral concert experience. He sees the conventional orchestral concert experience as one that is lacking in real music–making that is designed to “satisfy the interests of a small margin of society that likes to go out and be seen at some kind of unidentifiable social event.”[2] As a result, Fisher sees it of utmost importance to break down existing formality of classical concerts. He talks with audience members before and after the concert and encourages a focus on the music above a necessity for formal clothing and concert rituals.
Australian Chamber Orchestra
The Australian chamber Orchestra (ACO) is another ensembles that has developed a successful following of younger audiences through reconsidering the existing concert model without sacrificing musical integrity.
Beyond their regular concert program, the ACO has embraced collaboration as a means of generating new content and audiences. In ‘The Reef’, a photographer, director, composer and several surfers worked with the orchestra to create performances that explored the connection between Australia’s landscape and music. In ‘The Red Tree’ and ‘Luminous’ the orchestra collaborated with an illustrator and a photographer respectively to perform music that responded to projected images and vice-versa. In all cases, performances were staged in conventional concert halls, as well as regional locations and unconventional spaces. Programs included works from the standard repertoire juxtaposed with new compositions and arrangements of rock songs.
More recently, the ensemble has spawned a new ensemble ‘ACO Underground’ which places members of the ensemble alongside established rock artists in bars and clubs. The members of the band are amplified and perform works by composers and artists such as Bach, Webern, Stravinsky, Nine Inch Nails, and Nirvana.
Orchestra of The Age of Enlightenment
Since 2009, The Orchestra of the Age of Enlightenment (OAE) has been successfully bringing classical music to new audiences with the ‘Night Shift’ concert series which emphasis a casual atmosphere and audience involvement.
In a conscious attempt to reference musical performances of the past in which classical musicians performed in coffee houses and taverns, the OAE places members of the orchestra in small pubs and stresses the importance of audience engagement. As is stated on the promotional material “As always, it’s a rules-free evening, so drinking, cheering and chat is all encouraged”[3].
Concert Venues
(Le) Poisson Rouge
Though this venue is not strictly limited to classical music performances, it has emerged as one of the most sought after performance spaces for classical musicians and composers. It is unashamedly acoustically inferior to most standard concert halls and, as its tagline: ‘serving alcohol and art’, suggests, it identifies itself more as a bar with live music. Nevertheless, (Le) Poisson Rouge regularly hosts well-known classical artists such as Terry Riley, Anne-Sophie Von Otter, and Angela Hewitt.
(Le) Poisson Rouge has become a highly sought after performance space because of the freedom that is offered to performers. Musicians are given a space in which to experiment and explore with access to new audiences who are willing to experience different forms of music. As Justin Davidson suggests “It works because audiences love low ticket prices, adequate food and privileged proximity to the stage. Composers and new music groups have found the place irresistible in part because it draws in audiences willing to be surprised”[4].
The success of (Le) Poisson Rouge suggests that a relaxed atmosphere coupled with an emphasis on varied styles over specific musical genres, can foster an environment in which audiences are willing to experience, and be challenged by, classical music.
SubCulture
Located on the same street as (Le) Poisson Rouge, SubCulture could be seen as having stronger ties to the conventional concert experience. While it resembles a bar or jazz club, it aims to place the experience of listening at the fore while maintaining a relaxed atmosphere. As one of the co-founders, Marc Kaplan suggests, “We’re focussed above all on providing a great acoustic environment for music that will limit distractions.”[5]
The interior was designed with a focus on acoustics and on creating a connection between audience and performer. The performance space makes use of the traditional shoebox design which is generally considered to be acoustically superior[6]. Seats are positioned close to the stage and are equipped with cup-holders for drinks which are served at the bar before and after concerts.
Since opening in 2013, SubCulture has hosted performances by musicians from the New York Philharmonic, Esa-Pekka Salonen and Yefim Bronfman.
The rock/pop industry
Though it has been already been stated that to attempt to value and promote classical music in the same way as mainstream music is to misunderstand its unique value, there is still something to be learnt from the way in which mainstream music is presented and performed.
The emergence of pop and rock n’ roll as the dominant musical genres of the 20th century, has been accompanied and supported by ever improving technological developments. Beyond merely using technology as a means of amplifying and recording the musical event, mainstream forms of music have been quick to embrace the role of technology in supporting and advancing thematic and theatrical aspects of the music.
One of the earliest, and perhaps most influential examples of this is Pink Floyd who, since the late 1960s used props, lighting and pyrotechnics to support the thematic material of their music. Pink Floyd were one of the earliest bands to use elaborate lighting fixtures to accentuate their music and for several of their international tours, they included large moving puppets and giant projection panels on which to screen animations and short films. The emphasise the themes of isolation and disaffection of their 1980 ‘The Wall’ tour, the band made use of a 12m high wall that was constructed between the band and the audience before being collapsed during the course of the concert. While it could be argued that these additions distract audiences from the detail of the music, their use was effective in clarifying the overarching themes of the music.
Since then, artists have refined the use of special effects as both supporting devices as well as methods through which to maintain the fluidity of the live performance. Most recently, the ‘On The Run’ tour of Beyoncé and Jay-Z made use of several video interludes that served to both accentuate themes as well as to allow for costume and scene changes. In this way, the tone of the concert was maintained and the larger themes of the show were elucidated.
Though many of these techniques are impractical and pointlessly ostentatious when applied to the context of classical music, certain techniques, if scaled down, could serve as effective means through which thematic or biographical information could be communicated. In short, these techniques could be effective in supporting or replacing conventional program notes.
Summary
From the above examples, a number of strategies can be identified that have been enacted to engage and connect with audiences.
Altered location: Concerts take place in unconventional venues. These might be located in cities or rural areas and their use is intended to attract and appeal to niche audiences that already exist but are open to new experiences.
Relaxed atmosphere: There is an emphasis on less formality. The clothing of performers and audience members need no longer be formal, seating is reconfigured to create more contact with the audience and to heighten their experience of the music and alcohol is served.
Increased audience contact: The presence of the audience is acknowledged. This is achieved by involving them in the choice of repertoire, through informative talks, and increased interaction before and/or after the concert.
Repertoire choice: Programs are constructed with an awareness of the audience. Concerts are shorter and are comprised of shorter works. There is an emphasis thematic or biographical background of works. As a consequence, there is an equal consideration of works from all periods and genres.
Collaboration: There is increased interaction between different disciplines as a means of emphasising and supporting the thematic material or historical context of works.
When seen in relation to the conventional concert experience, these strategies can be seen to fall in to three key areas: presentation, programming, and audience relationship.