From the archive: What the flock: audiences for contemporary music

April 10, 2013

(Originally posted on 13 March, 2012).

I was heartened by an article in The Guardian a few weeks ago, which proclaimed that ‘difficult’ concert programmes are attracting audiences in their droves, and that contemporary music audiences are actually in robust health (Audiences flock to ‘difficult’ contemporary classical music, 30 January; click here to read). Alex Needham`s article paints a portrait of people turning out in their droves to a plethora of modern works being programmed over the coming months, from a festival of Minimalism in Scotland to political opera in Adams’ The Death of Klinghoffer at ENO and to the Glass/Wilson libretto-less marathon, Einstein on the Beach.

20130401-172847.jpgPeople have been proclaiming the decline of contemporary classical music ever since the avant-garde were thought to have lost touch with their audiences in the twentieth century. The image of the high-minded composer writing difficult works, deliberately antagonistic to audiences, and uncaring as to whether people came to listen to them or not, is an enduring one, trotted out whenever pundits want to paint a depressing picture of an art-form increasingly in decline. Or so they would have us believe.

But contemporary composers aren`t like that anymore. It may have been desirable, in the middle of the last century, to write music in Darmstadt that sought to alienate listeners, and, as Needham mentions, if your concert attracted more than thirty people in the audience, it had to be immediately rejected as populist and therefore deplorable; but these days, composers are striking a balance between pursuing their own inner vision which may indeed involve a challenging musical language, with finding ways actually to draw audiences in, instead of turning them away.

Turnage in particular has managed to combine a musical vocabulary rich in wild textures and shrieking harmonies with a self-confessed love of James Brown, Tower of Power, jazz-funk and pop tunes to create pieces which audiences notice; Blood on the Floor, with its improvising jazz trio at the heart of a modern ensemble; the piece Hammered Out at last year`s Proms wrong-footed a few critics, who failed to notice its roots in Beyoncé when younger audiences got it immediately. Fair enough, his choice of salacious, head-line generating subject matter in the opera Anna Nicole may have been a shrewd move, but within the brash music he wrote for the piece, there lurk some affecting melodies, deft jazz writing, and even a moving aria or two.

Festival programmers are responding to this desire for new music. The ravishing orchestra-meets-electronics vision of Jonathan Harvey was celebrated in a `Total Immersion` weekend at the Barbican; one is also devoted to Australian composer Brett Dean, and a similar festival will focus on the music of the Estonian composer, Arvo Pärt.

As the composer John Adams observed in his autobiography, there was a time when nineteenth-century concert-going audiences expected to hear new works at concerts, and were actually disappointed when they didn’t (Faber, 2008:48). Some shrewd programming by Simon Rattle, when at the helm of the CBSO, would see him sandwiching challenging modern works between classical staples of the repertoire, such that he was able to champion composers such as Turnage, keeping this tradition alive and cannily using programmes of better-known works to introduce audiences to contemporary pieces at the same time.

People will always proclaim the ‘death of classical music’ or harp on about its dwindling appeal and declining audience numbers. But a closer look at what’s happening across the UK – with festivals of contemporary music ranging from here in Canterbury in the south across to the Huddersfield or Edinburgh Festivals in the north – suggests that the truth may be a lot healthier than you think.

Posted by Daniel Harding


Looking to the future: LSO festival next week

April 3, 2013

We’re always on the look-out to let you know about other festivals featuring contemporary music, and an exciting week starts next Monday, as the London Symphony Orchestra’s LSO Futures begins a seven-day exploration of  the work of new composers, at the Barbican and St Luke’s.

Featuring in the festival are Tansy Davies, whose Wild Card lurked and menaced at the Proms in 2010, and whose bristling Neon looks boldly to the fore as it struts out:

as well as Jason Yarde, one of the New Music 20×12 composers contributing a commission to last year’s Cultural Olympiad that ran alongside the London Olympic Games.

Tansy_Davies

Tansy Davies

John Adams’ boisterous Chamber Symphony makes an appearance in a concert also featuring Varese’s Ionisations and Stravinsky’s monumental Symphonies of Winds. Colin Matthews, who along with brother David is featuring in this year’s Cheltenham Festival, will also be In Conversation to talk about his life and music.

A celebration of young composers working on the frontier of contemporary music; find out more online here.