It's the programming, stupid--and a few other things (saving a relic, part 2)

Originally published July 13, 2011

In examining the plight of the contemporary orchestra, it seems obvious the walls that have been constructed to separate the ensemble from its audience.  We have the literal wall of the proscenium arch itself, on one side of which is placed an ensemble wearing attire equally suited for a wedding or big money gala.  We have the wall of the ever-rising cost of tickets which, like those of professional sports, are pricing potentially younger audiences out of the experience.  And we have the wall of the programming itself, seemingly stuck in the "overture-concerto-symphony" mold that has been a tried and true (and woebegone) part of the contemporary concert experience.

Examine the make up of the contemporary concert audience:  it has long been lamented that it is well-dressed and graying.  I love to attend Friday matinees of the Chicago Symphony (I once had a subscription there).  The tickets were slightly less and the opportunity for a great lunch, a fabulous concert, and maybe evening a movie and a good dinner seemed a very complete day for me.  It was always interesting to see the gathering of little old ladies gathered in their furs (not very PETA-friendly, this crowd) who would usually depart at intermission, thus leading to the availability of their more costly seats to the poor folk like me.  But don't dare enter Symphony Center in jeans and a t-shirt, unless you want to be prepared for glares and whispers.  While I have often lamented the demise of "dressing for dinner" or even church, the orchestra needs to develop itself as a come as you are kind of ensemble.

Ditch the white tie and tails, guys.  At the CSO matinees it's dark suits and that looks just fine.  As a matter of fact, the atmosphere is a bit more relaxed with everyone wearing dark cravats instead of white bows.  Even the conductors dress in the same way; it is--after all--before six.  The orchestra is simply following correct protocol in terms of attire.

If an orchestra hasn't created a kind of "rush system" for low-priced last minute tickets (either remaining seats or returns), the time has come.  A group of high school or college students might easily be able to come up with $10 where $40 (about the cheapest seat in Orchestra Hall) is a stretch.  And this is the audience we want to attract.  Young people are turned on to the music of today; they're always on top of what is new; they won't think that Elliott Carter is that odd (although I have yet to figure out a lot of his music).

We must be honest here; the audience for most orchestras has always been older than the norm and the reasoning is simple:  young couples with children don't have the time nor the resources to attend these high priced affairs.  Is that a reason for concern?  In this present age in which music and other arts programs are being eliminated from school curricula, it probably is.  One does have to wonder whether or not the current generation will turn to the symphony orchestra when they themselves eventually become empty nesters.

But there is certainly a solution to this matter as well and, as said earlier, "it's the programming stupid."  Here is a typical program from the nineteenth century, featuring some hack as violin soloist:

Here is tomorrow evening's CSO concert at the Ravinia Festival, with conductor Christoph von Dohnanyi and pianist Emmanuel Ax:

Brahms:  Piano Concerto No. 1
Brahms:  Symphony No. 2

Here's a rhetorical question:  which concert would you rather attend?  I know that I would choose number one and I love Brahms like few others and his second symphony remains on my "bucket list" of pieces I must conduct.  But still.....

Is there anything really wrong with playing something that the audience is familiar with?  At the turn of the twentieth century band concerts were the rage; Sousa was one of the most famous people on the planet.  At the turn of the twenty-first you can fire a shotgun in the audience of a contemporary wind ensemble performance and likely not hit anyone.  Changing times?  Changing priorities?  I think not:  changing repertoire.  In my last two Quad City Wind Ensemble concerts of the 2010-11 season, I had the audacity to include music by film composer John Williams; in fact, our spring concert concluded with music from E.T.  The crowd response was louder and longer than any that we had received in my previous four years.  And what is so different about film music?  It's as vital an art form as Mendelssohn's incidental music to Midsummer Night's Dream and undoubtedly more meaningful to the audience.  And I think it will bring them back wanting to hear more.

So, shed the powdered wigs and fancy suits, figure out a way to price young people into the concerts and play music that will have meaning to its audience.  It's not "dumbing down" the program; there's nothing wrong with Ludwig, Wolfie and all those other dead white males.  But we also need to find a way to include living males and females of different sizes, shapes and colors.