Performing Classical Music in the 21st Century

Alistair Sung

Name: Alistair Sung Main Subject: Classical Cello Research Coaches: Gerard Bouwhuis, Renee Jonker Title of Research: Performing Classical Music in the 21st Century Research Question: Can a reconsideration of presentation, programming and audience relationship influence the response to classical music? Summary of Results: The financial and cultural climate of the past 50 years has changed the way in which classical music is perceived. Where once it was valued as a crucial part of a healthy society, it has now grown isolated from mainstream culture and has been relegated to the periphery of modern cultural life. This paper will examine how these recent cultural and social developments occurred and focus on their effects on the performance of classical music in the 21st century. Through an analysis of new and existing approaches to performance, a framework will be established which will form the basis of a test concert. Data gained from this concert will then be analysed in order to explore the possibility of altering existing concert conventions to respond to the problems facing the performance of classical music. Research will be presented in the form of a research paper. Biography: Alistair began learning the cello in Sydney Australia with Marcus Hartstein and David Pereira. After attending Newtown High School of Performing Arts, Alistair completed his Bachelor Music (honours I)/Bachelor Arts (philosophy) at the University of New South Wales in 2010. On graduating, Alistair was awarded the university medal and his honours thesis, ‘Variety in Performance: A Comparative Analysis of Recorded Performances of Bach’s Sixth Suite for Solo Cello’ was co-published in the Empirical Musicology Review (Ohio State University). Alistair is currently completing a Masters degree at the Koninklijk Conservatorium in The Hague with Larissa Groeneveld.

The 3 Key Areas...

The 3 key areas and their understanding for this project will be discussed. An explanation of the potential limitations for the target audience will also be included in each section.

Presentation

Presentation is a broad term that refers to the physical space in which the music is performed, as well as the performance conventions or rituals associated with the performance.

In general, the physical space in which a concert is performed takes the form of a concert hall or purpose built performance space. These spaces are large and provide excellent acoustics for the performance of classical music. When combined with the conventions of a typical concert experience, for example formal attire of both audience and performer, clapping at appropriate times, the use of program notes, and the inclusion of an interval, they contribute an atmosphere of focus and seriousness.

In many ways, this is essential. A respect for the music that is to be performed and the musicians who are to perform it is paramount. Further, larger ensembles require larger spaces and these spaces also serve to remind audiences that they are to experience something special. However, to the uninitiated concertgoer, these spaces can also be intimidating and uninviting. Often decorated with icons and tributes to a bygone era in which classical music flourished, these spaces and conventions can be seen to contribute to the overall impression of classical music as out of touch and supercilious.

Programming

Programming involves taking into account several elements in order to decide on which repertoire will be performed and in what order. The elements commonly considered include thematic content, historical context, perceived audience expectations, and the mood or character of the works. The works are generally treated as sacred texts that should not be altered or tampered with.

This approach to programming often results in conservative results. Concert programs are built on the expectation that audiences will ‘tolerate’ unknown works, until a more familiar piece is performed. While this system works as a kind of compromise for certain audiences, it also helps to perpetuate the perception of new works as unpalatable or inaccessible. It is rare that unfamiliar works are treated with the same seriousness with which those from the traditional canon are treated.

For audiences unaccustomed to attending classical music concerts, this approach can also be intimidating. Without a form of context, it seems difficult for new audiences to engage with works from both the contemporary and traditional repertoire. From a purely aesthetic perspective, little consideration is given to how inexperienced listeners might be able to relate the works aurally, to other, more familiar forms of music. Lastly, for those inexperienced listeners, the length of a full concert program is often too long.

Audience Relationship

The relationship of the performer to the audience is defined by the expectations of the concert experience. Audiences are considered as an homogenous group who have a limited interest in being challenged and who will, for the most part, remain passive onlookers, each responding individually to the music. There exists a belief that most audiences share an understanding of classical music’s inherent value while little consideration is given to their cultural background, age, and existing musical/cultural engagement.

While in the past, this was to some degree, understandable, for listeners who are unfamiliar with existing concert traditions today, this can contribute to a sense of austerity and exclusion that has come to characterise classical music concerts.

Summary

The manipulation of the three key areas is crucial in altering the concert experience. When seen in the context of the existing concert model, these areas have the potential to restrict inexperienced concertgoers from feeling comfortable and enjoying the music. By manipulating any, or all, of the three key elements, it is possible to change the way in which the music is performed and received.

The challenge lies in finding the appropriate balance for the desired circumstances. On one hand, there is the risk of losing the importance of the music by focussing too much on audience comfort. On the other, there is the risk of losing the attention of the audience by placing too much emphasis on a staid and uninterrupted experience of the music.

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