I stopped in at the slop thread at CMAA earlier today to see it has diverged from critiques of imagined “folk” music to imagined classical fare. It suggests to me that few of the commenters there (Liam as an exception) are directly exposed to folk music or classical music or contemporary sacred music. Some people operate from memory, and most of those, it seems, have an imagined world that has embittered them.
A pseudonymous comment on so-called high art:
Classical music is in deep trouble right now in the USA, and I would guess the rest of the Western world. The overlap between Classical music and traditional Sacred Music means that much of this trouble is going to arise if you attempt to force exclusively traditional Sacred Music on a congregation that hasn’t already self-sorted into the one destination trad parish in your local area.
I don’t think that classical music was ever out of trouble in the US, where there has never really been a culture of appreciation. And where the classics of Europe did take root among select ears, the American expressions were shown the door. In church music, I think of the marginalization of American originals like William Billings in favor of hymnody from Europe.
Classical music is facing the predictable consequences of destructive decisions made in the 1960s. The avant-garde embraced atonal music and orchestras started playing large chunks of music that charitably can be said to inspire the mind, not the heart,
When I was in college in the late 1970s, I attended many concerts at the Eastman School. Lots of twentieth century composers where I was exposed to music that was decidedly not atonal–Schwantner, Copland, Respighi, Holst. When I wanted music for the mind, as it were, I went to something in the Musica Nova series. But the same smaller venue also hosted a Brandenburg marathon one night, and I enjoyed that one too.
It seems that many music critics from the traditional hill are still living in the 60s, even a few who weren’t even born then.
My experience has always been positive, like here. where the dissonance was Baroque, the solo instrument was Asian, and the climax was out of this world.
Consequently, the general public stopped going to orchestra concerts.
I think there are a lot of reasons why attendance may be falling for some orchestra concerts. Some that would not surprise me:
- Entitlement. The same feeling that many church musicians have, that their concerts and special music programming should be more popular than contemporary slop. And that people are idiots for not showing up.
- Lack of marketing. If you don’t advertise your concert, people won’t know about it. If they don’t know about it, they won’t come. It doesn’t always happen like Kevin Costner’s Iowa ballfield. Perhaps you are doing a good job selling season tickets, in which case subscription folks might pick and choose when they attend.
- Lack of outreach to schools, for the past two generations. One of my earliest memories was a fourth grade field trip to the symphony for a special afternoon concert.
I remember as a kid struggling to understand why our local orchestra programmed so much music from modern composers that I just couldn’t bring myself to enjoy (I was blessed to have parents that frequently took me to orchestra concerts). I also remember hearing second hand weird comments that orchestra musicians thought Beethoven and the other old masters were passe, and viewed it as slumming it to program the stuff that brought in big audiences, like Beethoven’s 9th.
As with “slop,” my experience was somewhat the opposite. Perhaps American musicians question why we play Germans when we have composers from the New World.
Meanwhile, artists like Taylor Swift make money hand over fist selling out concert venues sometimes hours after ticket sales open.
Wrong argument. Ms Swift has a lot going for her. She is an exceptionally good songwriter who has tapped into people and their lives, especially females, of her generation and the one to come. The young miss (who is not a hardcore swiftie) said that she is so popular because she is “relevant.” People find what she sings about aligns with their personal experiences. That’s seems less than music for the mind and more for the heart. Though I suspect it is deeper than that.
She is also an entertainer–her shows, like many of those in popular music, have to do more than simply present the songs, take a bow, and count receipts. A concert today is an experience. People attend for more than the music. Has classical music caught up? There are ways it could catch up without costumes and dance routines.
That being said, I do recall a Halloween Pops concert with orchestra musicians dressed up, and a few extra pieces of entertainment added. It was fun. And the music, though mostly pops fare, was well executed.
If I were to offer a blanket criticism of some traditional church musicians and some aspects of classical music is that they aren’t serious. They think they deserve and audience and accolades, but have forgotten one must work for this. It’s a very modernist thing, when you think about it.
Of Daniel 3 and Golden Statues
I read that PGA officials declined to pose in front of it. I had to wonder how many of them might end up in the white-hot furnace for that stance.