Classical Music and Clubbing

Yes, you heard me! This is not a typo.

As i have delved further and further into the so-called demise of classical music in its authentic and natural state, i have found some people, groups sometimes, who are trying to think outside the box. Unwilling to let the art form that is Classical Music die, but also willing to bend somewhat as to what that art form can actually look like. 

One of the leading ladies in the "Alternative Venue for Classical Music" business is Sarah Robnison. She has written the book on how to freelance yourself as a classical musician to venues outside of the regular scope. No, really, she has written a book about it:

Mine is still on order from the States but Greg Sandow, another forward thinker in the personification of Classical Music, wrote the foreword and, of course, gave it a glowing review on his blog "The Future of Classical Music". 

Given what drives Sarah Robinson, it is no wonder that she has also founded a chapter of the Classical Revolution in LA, where she resides. The mission statement of this group is simple; classical music of the people for the people. Playing in relaxed and cozy venues such as bars, cafe's and, of course, clubs. The ideas have been met quite well by varying ages of the public, in particular young adults. 

Going back to Greg Sandow, he writes a review of the one of the latest gigs he attended (and yes, I think calling it a gig is appropriate here!). The National Symphony Orchestra played at the EchoStage in DC, a 3000 max capacity night club, a little over a week ago and the idea was amazing. Works from legends such as Prokofiev, Shostakovich and Bernstein headlined the night with additions of beat boxing over Pachelbel's Canon, a Bach Remix and wicked lighting and video effects. The audience were free to mingle, drink, talk or whatever they so wished while enjoying the music - as one would in a night club setting. The event was all but sold out and has been met by quite critical acclaim, praising the NSO's 'clever route to get into the minds of youngins' (quoted from classicality)

So, if we as classical musicians want to continue as a species and, furthermore, reach newer, younger audiences, is it not the case that we now need to bend the rules a little? Move away from what is considered 'traditional', 'appropriate' and 'correct' and check out some more contemporary venues to gig at? Generally loosen up a little?

Also, what about taking it that step further? During my social evenings about town, I have occasionally seen that jazz musicians, in particular saxophone players, are hired to improv along with the DJs set -the live music elements certainly adds some new zest to the set. I've also seen Bongo players add a World Music vibe to some House Music and it certainly got the crowd moving at points. This would certainly open up some career prospects for many musicians at a local level and could open to the door to further Classical and Popular collaboration. For instance, mixing in actual Classical pieces with the Dance music with the addition of a small ensemble of live musicians. Everyone is very familiar with Samuel Barber's Adagio for Strings and, sometimes more so, with the particularly famous remix by William Orbit from the late 90s (a personal favourite of mine!). But imagine combining the two styles, as Orbit does, with the addition of live musicians! I don't know about you guys, but i'd surely go to a club if this was on the lineup!

Live Orchestras, Prerecorded Musicians and Money

The 21st Century has seen some radical changes to the music insdutry and as technology grows, its use becomes even more over powering. West End shows are now being 'performed' by digitally recorded orchestras, pit musicians are having their contracts thrown out in favour of one time recordings that fit all shows and more concert venues are struggling to fund their musicians. Are there enough performance oppurtunities for budding young musicans to flourish and begin a career? Or are we setting them up for an aspiration that is doomed from the start? What is technology doing to live music?

So, the War Horse incident is still pretty fresh is everyones mind but the long and short of it is that the Pit Musicians who had been running with the show since 2009 had their contracts whipped out from under them once the show had accumulated enough music to create a prerecorded soundtrack to use in place of them. However, this 'one size fits all' recording allows no margin for error or live happenings on the stage on any particular night.

They were given very little notice and even sought council, seeking an injunction to let them back into the show, claiming breach of contract. In April 2014 their bid to be reinstated was lost and were urged by a judge to seek damages for breach of contract instead. The BBC quote the theatre saying "the National was not questioning the ability of the musicians but theatre management believed its live music budget would be better used elsewhere". Of course, the crux of the matter comes down to money, as one would suspect in the time we live in. 

The U.S is particularly feeling the squeeze as many of their Orchestras come under financial threat despite having a healthy amount of orchestras and plenty of sell-out concerts across the country. 

Things have become so critical that the Philadelphia Orchestra, known as one of the 'big five', filed for bankruptcy in 2011. Many claim these hard times are due to lack patronage, an ageing clientele and the marginalisation of Classical music as a whole.  For a long time, the American orchestras were able to ride the wave of a marginalised art form, claiming that only 40% of their income came from ticket sales, with the rest being made from memberships, donations and endowments. However, in this frosty financial climate, donations have been lessening, meaning that they are also feeling the crunch.

Rome, the birthplace of Opera, also took a hit this year when the Rome Opera house fired all of it orchestra and choral members due to financial debt. It was claimed that a total of 182 jobs were lost during this cull in a desperate bid to save money by outsourcing jobs for concert performances. Not to say that Rome would have been immune to cuts instead of culture, but one would have thought they would have stayed strong through this.

So, what are we letting todays up and coming classical musicians get into? As a musician and teacher, should i really be encouraging students to push for a career in classical music performance, given what is happening right now? Are we just setting these people up to fail in an already dying market? With all the various music genres circulating currently, is the Classical Music art form actually dying? Should we just accept it and leave it to technology... because it's cheaper?