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Greg Sandow on the future of classical music

A wild time

June 12, 2012 by Greg Sandow

It’s a wild time for classical music.

That’s the headline on my home page. And it’s the opening sentence of the revised and final version of my book.

Why is this a wild time?

First because of the classical music crisis — declining ticket sales, a shortage of funding, an aging, shrinking audience, all these things we’ve talked about for so many years.

And, of course, lying behind all that, there’s the sense we’ve all had that classical music — at least for the past generation — has been growing more distant from the rest of our culture.

But here’s another reason why this is a wild time. Some people (as we’ve certainly seen from comments on this blog) don’t believe classical music is in trouble. They don’t believe the crisis is real.

I’ve said before how odd this is, first because the reality of the crisis is provable. (The audience, to give one example, really has aged, and in fact has done so dramatically). But even more because, well, why don’t we know? Why don’t we know how classical music is doing, since people in other crisis-ridden industries (newspapers, obviously) know precisely what’s going on?

But here’s the third thing that’s wild — change is sweeping through classical music. It comes in two flavors. Some changes (especially those made by big institutions) are deliberate attempts to respond to the crisis, to make classical music more accessible, or to attract a young audience. These (in my view, at least) can be unconvincing. They’re dutiful, made by people who think change is needed, but may not really want it.

Other changes, though, are made by people who — often with great excitement — really want classical music to be different, to be more like the rest of our culture. Some of these changes will work, some won’t, but here (again in my view) is where we see what the future will be.

Because these changes go to the heart of why classical music has problems — its cultural failure, the way we keep doing things that just don’t work in our larger culture, and in fact make us look not just stuffy, but silly and dumb. And make it hard (if not impossible) for us ever to find a new audience.

Which then suggests that we need to make really big changes. It’s time for that now!

My role in this:

  • I can help you understand what’s going on, and what you should do.
  • I can help you change, if you hire me as a consultant.

More on all of this coming!

Filed Under: classical music ideology, entrepreneurship, finding a new audience, Preparing for the future, the position of classical music today, Uncategorized

Comments

  1. Chip Michael says

    June 12, 2012 at 8:28 pm

    Greg,

    I’ve sent you an invitation to join me in an online discussion of Engaging a younger audience in the concert hall.

    I hope you’ll be able to attend,

    Chip

    • Greg Sandow says

      June 14, 2012 at 11:48 am

      Chip and I have emailed about this. He’s organizing the discussion, and when the date and time are set, I’ll be there.

      • Sandra Bell says

        June 14, 2012 at 3:08 pm

        I’d like to participate if this is of interest to you and someone could send along the particulars about how to join the discussion. Thank you in advance.

    • Chris McGovern says

      June 14, 2012 at 6:39 pm

      Can I be part of that discussion too, Chip?

  2. Sonja says

    June 18, 2012 at 12:47 pm

    Me too please!

    • Greg Sandow says

      June 19, 2012 at 10:19 am

      Sonja also wants to take part in Chip Michaels’ Google+ discussions about finding a new audience. Chip has struck gold with this!

Greg Sandow

Though I've been known for many years as a critic, most of my work these days involves the future of classical music -- defining classical music's problems, and finding solutions for them. Read More…

About The Blog

This started as a blog about the future of classical music, my specialty for many years. And largely the blog is still about that. But of course it gets involved with other things I do — composing music, and teaching at Juilliard (two courses, here … [Read More...]

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