“You can play the symphony on original instruments, with informed performance practices and in the actual hall it was premiered. You can even place lice in the hair of the audience. The one thing you cannot do is eradicate the listener’s memory of all the music they have heard since. You cannot take away their experience of Stravinsky or Jimi Hendrix.” – Maestro Esa-Pekka Salonen on remaining in touch with classical music tradition and engaging the audience
In the great debate of recorded music versus live performance, the latter is often burdened with the role of underdog. Since albums may be enjoyed in the comfort of ones home, paused, and replayed time and again, it follows – especially to younger generations – that the experience of attending live music be sufficiently justified.
When Jelly Roll first started thumping away at the piano, that justification was musical improvisation, accompanied by the knowledge that the live performance was unique and could never be repeated. When the Fab Four started touring, improvisation’s appeal was overshadowed by many factors including star power and the communal concert experience. Now, when the Stones take to the stage (in all of their Methuselahean glory), the draw of live performance is tied in part to that time-honored trifecta: sex, drugs, and rock n’ roll.
But what about before Jelly Roll? What was the draw in the days when Mozart was “playing sold out concerts”? Certainly not improvisation – orchestral music is (generally) a fixed medium. The audience experience is also much, much more conservative than that of a rock concert, and the notion of selling beer in a concert hall makes anyone snicker a bit. While popular music often brings a set of distractions to the table, classical music asks for you to accept it on its own terms – music for music’s sake.
What is it that compels concertgoers to seek out live classical music, especially when “the performance is identical” – to a layman’s ears – to that of a recording?
Classical music places a higher value on subtle virtues. To a trained ear, tempo variations and changes of phrasing can carry as much exciting “you-have-to-see-it-live!” verve as any improvised solo. Sadly, however, many of us don’t notice these changes, and American interest in orchestral performance has largely waned.
While many have debated over the years over how to revitalize and improve concert attendance, the truth of the matter is that American orchestras have gone well out of their way to ensure that performances remain entertaining in today’s culture of low-attention spans – from pops concerts to guest artists, to inventively fresh programming and even snazzy multimedia presentations. But the people in the seats, not the quality of the music, is what has changed. The onus therefore lies upon us, the audience, to engage with the music as fully as possible.
As per this charge, here are three simple ways to fulfill that obligation and, as a natural result, enhance the enjoyment of attending orchestral concerts:
1. Become familiar with the music. This is, perhaps, the easiest and most effective way of enhancing a classical performance. The aforementioned subtleties of phrasing and tempo are most obvious to those who have listened to the piece in question time-and-again. Popular music is easy to familiarize oneself with because of songs’ tendency to be short and repetitive; classical music takes more work, but the rewards are greater as well. By listening repeatedly to a composition prior to seeing it performed live, the differences between your “favorite recording” and the version presented at the concert become starkly apparent… and, honestly, you are much more capable of discerning what you did and didn’t enjoy about an ensemble’s interpretation. With the digital age bringing music to our literal fingertips – often for free, via such sites as pandora.com and grooveshark.com (my personal favorite, with music à la carte) – there is no reason why many of us, myself included, can’t become more familiar with classical music.
2. Purchase some opera glasses. A small, unobtrusive pair of binoculars can do marvels for bridging the gap between performer and audience member. Even as a musician myself, I am always enthralled at how fascinating it is to watch musicians play up close. In the back of larger halls, the orchestra members are often so small that the visual component of the performance is practically removed, save for movements that are writ large, such as bowing. Opera glasses allow you to witness some of the smaller movements – seeing an expression of musical reverence on a performer’s face or watching their fingers blister through a passage can bring about chills.
3. Bring a pocket score. Unbeknownst to many, music publishers often issue small musical scores known as “pocket scores,” usually available via the publisher and occassionally from local libraries. These small booklets contain the entirety of a composition, often fully orchestrated. This, of course, is easier if you happen to read music, but the scores can still be followed if one simply follows the instrumentation cues. For non-musicians, this can be an especially entertaining “behind the scenes” exercise. Ever wondered just what makes the music you’re listening to sound the way it does? All of your answers can be found within the binding of a pocket score. Check out Boosey & Hawkes’ extensive pocket score library here: http://www.boosey.com/pages/shop/prod_series_list.asp?seriesID=52
By combining any of the above, it’s virtually guaranteed that the concertgoing experience will be more engaging and enjoyable. Familiarity breeds affection, and by becoming more intimate with the music and the performance – be it through recordings, opera glasses, or following along in the score – classical music can truly come alive.
~ Joshua Cutchin
The original post can be found here. Thanks to Josh for his willingness to let me repost this great article!
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