Article on classical music

[sdtom]

http://www.baldur.info/blog/10-things-that-we-should-change-in-classical-concerts/

I found this article to be quite amusing and I'm sure you will too. It was on Facebook.
Tom

[adriano]

Amusing?? I think the guy who wrote this article is rather out of his mind. A person who is not able to concentrate and keep quite in a concert hall should stay home or get medical treatment. Here my criticism:

1. In my personal opinion, no applause, please, between single movements. Too much applause kills the atmosphere and the tension which should be kept within a work thoroughly.
2. Backstage tuning is no good; for some instruments it just needs to be carried over some 30-40 meters or so to get out of tune again. Consider also the room's temperature changes. What about tuning harps, timpani and other heavier instruments backstage??
3. Mobile phones: NO, NO and NO; it's tragic enough that people play with them outside concert halls all day. Let the phones give a rest too, from time to time.
4. Unpredictable programs: No, people should know what they get. Today, through internet everybody can be informed about the works announced.
5. Drinks inside the hall?? There is enough noise caused by other sources! For this, there are intermissions - or open-air concerts.
6. The artist should engage with the audience?? Music playing makes one tired. It is enough that musicians have to see some stupid and bored faces in the audience whilst they perform. A real musician needs to concentrate before – during – and even needs some time to recover after a performance. In some cases, special matinees are given with shorter programs, during or after which the conductor or soloist conversate with the audience.
7. Tail suits – OK, one could discuss about this... But many Opera Houses or modern concert programs allow this already.
8. Kids in the audience: NO, NO and NO. There are enough special kid's concerts for this.
9. Some Opera and Concert Houses have big screens placed outside the hall for people not being able to join the audience. With close-up moments. However, to engage an extra TV cameraman for all occasions, this is quite expensive, but Operas have and need them.
10. A contemporary piece in every concert; why not?

[Gareth Vaughan]

I do so agree with everything you say, Hadrianus. It struck me straightaway that the author of the article could hardly be deemed a serious musician when he talked about tuning up backstage.

[Alan Howe]

I agree too. A recipe for disaster, I'd say.

[Martin Eastick]

Yes, I also agree with everything here WITH THE EXCEPTION OF (10)! I don't feel that a contemporary piece in every concert will in any way progress the elimination of the popular misconceptions of so-called "classical" music! Perhaps (seriously), the inclusion of a work by an unsung composer, who would qualify to be included for discussion on this forum, would be far more appropriate - but I suppose that would be far too much to hope for....

[eschiss1]

and we (including the article's author, though not I think a contributor here- though I might be mistaken) prepare our particular oxen to be gored- or the expression-as-appropriate
*for myself looks for a corner, this is just not the day*

[Mark Thomas]

Although I entirely appreciate the need to tune an instrument on stage, I must say that I know where the author is coming from in regards to warming upon stage. Over the last few years I've been to several concerts in the US given by the Boston Symphony, Philadelphia and Los Angeles Philharmonic orchestras, and in each case musicians begin to filter on to the stage fully 20 minutes before the concert begins and then warm up incessantly for the whole remaining time, often treating us to snatches from the works which will be played later in the evening. It isn't tuning up, it isn't even warming up, it's practising! At one concert a couple of years ago, I heard the thrilling horn motif from Strauss' Don Juan six times during this pre-concert cacophony, which wholly ruined its impact when the piece was actually performed.

This seems to be a peculiarly American phenomenon, as the concerts of British, German and Swiss orchestras which I've attended over the same period see the musicians enter usually about five minutes beforehand, tune up briefly and the direction of the leader, and then await the conductor's arrival.

[sdtom]

Perhaps Mark you've stumbled upon something which is, especially in America, record this warming up and you'd have a contemporary piece composed by whatever orchestra you recorded 

Seriously I can certainly see and understand the merit of some of this in an outdoor setting where the rules could be relaxed some.

As far as suggestion #10 is concerned I and many of you would like to see the word unsung substituted for contemporary. It would certainly give people an opportunity to hear Witt as an example.
Tom

[Amphissa]

I can think of things that would enhance the live concert experience. I do agree that the tuning on stage should be limited to full orchestra just before playing. And I agree with the author that a lot of the concert halls (and auditoria) in which I've sat were uncomfortable and acoustic abominations. Listening to a live concert should not be a test of endurance.

[jerfilm]

Just a short comment or two.

Mobile Phones -  This is one of my pet peeves and not just at concerts.  I see people playing games before the performance and during intermission.  Bringing your iPad or your Kindle and reading books fall into the same catagory for me.   Do people have to feel entertained CONSTANTLY.   Linda and I were sitting in the Palm Springs airport recently waiting for a friend to disembark.  A 60ish gentleman walked by, turned and came back and said  "How refreshing to see you two just sitting there talking and not playing with your phone......"

Audience interaction:  If the author wants more audience engagement, perhaps he should trying attending something like Jeffrey Siegel's Keyboard Conversations series.  Jeffrey talks about each work that he plays (in full) and at the end, encourages the audience to ask questions.  He performs all over the US and yes, does his series in London as well......

Jerry

[mbhaub]

For people who want a more relaxed, informal concert experience there are plenty of options: the Hollywood Bowl, Vail Music Festival, Tanglewood - summer festivals. The orchestra is less formal, people eat and drink, and drink, text on phones. But I like the solemnity of a concert hall where it's almost a religious experience, or what church used to be like. I don't like "chatty classics". Just play the music. Kids? No!!!!
I would add to my list of severe dislikes:
1) NO candy wrappers.
2) NO talkers - even whispering to your neighbor annoys those is the area.
3) Smaller, lighter program booklets. In the US, some of them are quite heavy and make a big noise when dropped - which happens regularly.

[Alan Howe]

it's almost a religious experience, or what church used to be like

My church is still like this...

[Gauk]

Although I entirely appreciate the need to tune an instrument on stage, I must say that I know where the author is coming from in regards to warming upon stage. Over the last few years I've been to several concerts in the US given by the Boston Symphony, Philadelphia and Los Angeles Philharmonic orchestras, and in each case musicians begin to filter on to the stage fully 20 minutes before the concert begins and then warm up incessantly for the whole remaining time, often treating us to snatches from the works which will be played later in the evening. It isn't tuning up, it isn't even warming up, it's practising! At one concert a couple of years ago, I heard the thrilling horn motif from Strauss' Don Juan six times during this pre-concert cacophony, which wholly ruined its impact when the piece was actually performed.

This seems to be a peculiarly American phenomenon, as the concerts of British, German and Swiss orchestras which I've attended over the same period see the musicians enter usually about five minutes beforehand, tune up briefly and the direction of the leader, and then await the conductor's arrival.

The Scottish National Orchestra used to do this a lot in the days when I attended regularly, before it became the RSNO. I used to find it rather interesting to play identify-the-phrase. Typically, one player would suggest a phrase from some work, and another would respond with something from the same work, or a related one, and so on. I never found it annoying.

I'm also reminded of the story of someone years ago who took an Arabian friend to a western concert for the first time. After it was over, he asked which piece the visitor had enjoyed the most.

"The first of the four," was the reply.

"But there were only three pieces!"

Then he worked out that the tuning up had been mistaken for a performance.

[eschiss1]

Tuning up as part of a piece of music:
we used to have two performances of a piece that did that in our downloads section. There's a recording of the work on BIS, too.
No points for guessing that the work I'm referring to is the 5th symphony of that infamous ultramodernist Karl Ignaz Weigl (1881-1949)...

(I shouldn't mention the finale of that other ultramodernist Joseph Haydn's "Il distratto" symphony (now called "symphony no.60")- so I won't!)

[sdtom]

There is merit to my idea of recording them tuning up?
Tom