Revitalizing the Classical Concert – Part 3

This is the third installment of my multiple-part series. You can read the first part here and the second part here.

Programming (Diversity):

Ah, the classics… Beethoven, Handel, Bach, Tchaikovsky, Mozart, Debussy, Brahms. Names that appear on countless concert programs year after year. Names that fill “best of” lists and those cheesy classical compilation albums. Names that pretty much any person would recognize, whether they are familiar with classical music or not. Names that have stood the test of time.

However, as wonderful as these composers and their music are, something is missing. Where are the women composers? Where are the non-white composers? Where are the living composers?

One burgeoning issue that classical organizations are now facing regards the subject of repertoire and programming. Each year, when orchestras announce their upcoming seasons, there is an alarming focus on the same dead, white (mostly European), and male composers. Little space, if any at all, is left for variety—namely new works and/or works by minorities. (This post focuses on the latter area. The first—the issue of new music—will be the subject of the next installment.)

As such, the following question has become more pertinent than ever in this day and age:

How can orchestras better reflect the diversity of our modern world?

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The canon, not the cannon!

The notion of the classical music canon is mostly to blame for this phenomenon. Similar to other forms of art such as painting, literature, and film, the classical canon consists of what are considered to be the “greatest” pieces of music ever written—ones that are time-tested and deemed worthy of being heard over and over again. However, this canon is naturally restricting. Let me explain why.

Now, the classical canon didn’t always exist. Pre-1800s, most concert audiences wanted to hear the newest pieces from the hottest composers. (Haydn’s visit to London is a perfect example of this—people would often flock to concerts that featured his latest symphony.) As the Romantic era got underway, though, concertgoers gradually became less interested in the new and innovative and turned their attention to the works of past “masters”—figures such as Bach, Handel, Haydn, and Mozart—who, by this point, had all been long dead. Beethoven, whose music had received mixed reception during his lifetime, was particularly lauded and over time, he became the stoic figurehead of Western art music. Furthermore, the concert hall was no longer a place for mere entertainment—the music heard within its walls needed to be serious, contemplative, and morally uplifting.

Continue reading “Revitalizing the Classical Concert – Part 3”

Anna Meredith: Five Telegrams

The BBC Proms is often a hotbed for intriguing programming, where the newest voices in classical music are programmed alongside the canonic “warhorses.” This year was no exception—the opening concert of the 2018 season saw the world premiere of Five Telegrams by the British composer Anna Meredith. Inspired by communications sent by soldiers during World War I, the piece is scored for full orchestra (with an extra complement of brass), chorus, and visual projections. Below is the result, which is a mesmerizing spectacle for both the eyes and ears.

(While the piece deserves a listen in its entirety, for those short on time, skip to 23:40 in the video below for a lead-in to some of the most insanely powerful, mind-blowing chords in the entirety of music.)

As a bonus, here is a piece Meredith composed for the National Youth Orchestra of Great Britain in 2012—a fantastic showcase for body percussion, rather than instruments. The coordination and energy of these young instrumentalists has to be seen to be believed…

Happy Birthday, Lenny!

Today—August 25, 2018—would have marked the 100th birthday of Leonard Bernstein. One of the most (if not the most) distinguished American-born classical musicians, Bernstein succeeded in almost every aspect of musical life. He composed both “serious” classical pieces and lively theatrical works, sometimes even bridging the gap between the two. He conducted orchestras worldwide and served as music director of the illustrious New York Philharmonic for eleven years. He made hundreds of recordings, which encompass everything from canonic works to his own compositions. To top it all off, he was a fine pianist and a charismatic music educator, introducing both children and adults to the wonders of classical music.

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Lenny in his element!

Bernstein’s life was not without its flaws, though. His personal life was often complicated and marred with controversy. (Some aspects would undoubtedly raise more than a few eyebrows in the climate of the current MeToo movement.) He smoked almost constantly. He could occasionally be short-tempered and confrontational in rehearsal—one of my favorite clips, albeit a cringe-worthy one, involves Bernstein dealing with a miscast José Carreras during a recording session for West Side Story. It’s clear that Bernstein’s larger-than-life personality could sometimes get the better of him.

However, there’s no question that Bernstein succeeded in bringing classical music to millions of people, and his wide-ranging achievements are being celebrated this year by orchestras around the world.

Continue reading “Happy Birthday, Lenny!”