In my NewMusicBox column, I quote a lot from some helpful e-mail I’ve gotten from Cory Schwarz, a composer in New York, who has a post-rock band (his term for it). Among much else, he wrote:
There is an audience for [new music]. I have many friends in and around
All of my friends who I get to listen to Stravinsky and Lutoslawski and Varese and Bartok et al enjoy it very much. What gives then? Product positioning. Classical music is unhip. But what does that mean? First, it takes place in a very stuffy atmosphere with some very stuffy patrons. Venue. Also, it is presented as an elitist undertaking and even modern composers don’t shed that very well. (Except for maybe [Christopher] Rouse and definitely [John] Zorn). Image. which is probably the biggest problem.…
There is a viable audience for “classical” music if it is modern enough. Even in concert halls with huge orchestras. It just has to be promoted and grants and commissions must be given to young composers based upon facets of their work that is seen as progressive and not just tolerable. I’ve seen it. A program with Zappa and Ives almost sold out Carnegie Hall and I’ve seen “The Soldier’s Tale” (which will always be modern) billed with a Rouse piece and a young Spanish composer whose name I can’t recall. But, to court this new audience there has to be immense organization. New music festivals and the like.
And there is a huge audience for modern chamber music. Promote certain ensembles in clubs. I’ve seen the Kronos Quartet sell out Joe’s Pub as well as the “Bang On a Can All Stars.” Also the Knitting Factory is always open to new music and can hold 200 young people who are usually very open minded. Another good promoting strategy is to bill crossover concerts in big halls. Tap in to a new fanbase. Say, “Modern American Music at Carnegie,” and book Bill Frisell with an orchestra playing Ives, Rouse, and maybe Strav’s “Agon.” Call sonething “Modern Abstractions,” and book Sigur Ros and/or Radiohead and/or Mogwai and have an orchestra play Lutoslawski’s Third and [Jacob] Druckman’s “Aureole.” Or maybe, “Odd Times—Then and Now.” Book Tortoise with a chamber ensemble and a string quartet playing “The Soldier’s Tale,” and Beethoven’s “Grosse Fugue.” Stuff like that would work I think, and always remember that any jazz or rock artist will ALWAYS want to play Carnegie Hall even for a much reduced rate.