This is the second installment of my multiple-part series. You can read the first installment here.
After finding my seat (which is sometimes easier said than done), one of the very first things I do when attending a classical concert is sit down, open the program book, and read through the program notes. Whether or not I am familiar with the pieces on the program, these short essays often provide useful information and prepare me for the music I am about to hear. Program notes can include any or all of the following: historical, cultural, and biographical information; stories about the work’s composition and premiere; details on instrumentation and length; musical features to listen for; texts and translations (if a vocal work); and other interesting facts relating to the piece.
However, there exists a fine line between good program notes and bad program notes. Some performing organizations do a fantastic job with their notes, providing the information in an informative, yet engaging fashion. Others, not so much. Some program notes are too “jargony.” Some don’t provide enough information. Some provide too much. Some are flat out boring.
So, what makes a good program note? As someone who has experience reading, writing, and editing program notes, I have seen a wide variety of formats over the years, and am slowly gaining insight into what works well and what doesn’t. While I don’t profess to be an expert on this subject quite yet (maybe someday!), here are my thoughts on what makes an ideal program note and how performance organizations could both revitalize and maximize the potential of this tool. Additionally, interspersed throughout are some examples of excellent program notes or organizations who are doing intriguing things with the concept itself.