I know that much that I'm saying is hard for some people to accept. And I sympathize. Change can be difficult. Major change can be more difficult still. And fundamental change -- radical change -- can be wrenching. So when I say that the repertoire classical musicians play will have to change, I can see why many of us might be upset. I'm thinking now of people deeply engaged with classical music as it is now. We all -- I'm very much including me in this group -- got into classical music because we loved it. And what that meant, … [Read more...]
Archives for 2012
Building a young audience (second part)
Back in the '90s, I was music editor of Entertainment Weekly, which meant I was plunged into pop music. I had a girlfriend who worked at the magazine, someone with no classical music background, and also without any fancy taste in pop music (which I don't mean as any kind of criticism). She listened to what everyone else like her listened to. No art rock, no challenging indie bands. One Sunday morning, we were at my apartment, and she asked if I'd put on some classical music. So I put on something Baroque, maybe Handel's Water Music. She … [Read more...]
Doing it
(Writing this on Tuesday night.) Because I have the first session of my next branding workshop tomorrow, I won't have time to write the next installment of my posts about how to build a young audience. Which would be -- will be -- about how the repertoire we play needs to change. But here's an addition to yesterday's post about making people feel excited and involved. It's an email I and many others got from Anastasia Tsioulcas, about a project she's part of at NPR, where she works. It speaks for itself, so I'll just reprint it … [Read more...]
Building a young audience (first post)
So how do we build a young audience? Of course I need to offer ideas, first because I've said (and here, too) that building a young audience should be the highest priority for classical music. And, second, because I can help you do that, if you hire me as a consultant. So I need to show how I can help. To build a young audience, we need to do three things: (1) change the way we present classical music (2) change the repertoire we play, and (3) play better. I'm sure that last will be controversial! But let me address these points one by … [Read more...]
Why audience beats advocacy, every time
My last post got a bigger, happier response -- here, and on Twitter and Facebook -- than anything I've written in many months. So here's more. A quick summary of what I'm going to say: The classical music business loves to do advocacy (which we also see being done for the arts generally). Which means going out in the community and trying to show we're valuable. But if we filled our halls with an excited new audience, we'd have nothing to prove. And our future would be secure! So why isn't that our absolute highest priority? In my last post, … [Read more...]
The great change
In my last post, I said that classical music needs a huge change. And the change will have to be radical. Classical music needs to lose its sense of entitlement, the belief many of us in the classical music world have that classical music is supremely important, necessary for any civilized society, and therefore has to be supported -- financially, by our schools, and in many other ways. To see why I think this, go back a generation or two or three, let's say to the 1940s and '50s. Classical music, back then, had a working ecosystem. It was … [Read more...]
A wild time
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 … [Read more...]
Branding workshop success
I've blogged a lot here about the online workshops on branding I was going to teach. But now the first one has happened, and it was an enormous success, more so than I'd ever dreamed. I worked with six people, from various walks of classical music life, and by the end of the third and last session, all of them felt they'd made enormous strides in their branding. I thought they did, too. It was heartening, for instance, to see someone with an impenetrable website emerge as a vibrant, irresistible musician and storyteller. And to see him (once … [Read more...]
Classical music is easy
Many of us think classical music is difficult, inherently difficult. That complexities of form and musical process aren't readily heard, without education in classical music, and that this is why people -- so many of them -- don't care to go to classical performances. But a survey conducted in March by 60 Minutes and Vanity Fair suggests otherwise. You can read the results in the June issue of the magazine, the one with Marilyn Monroe on the cover. (Look for page 56.) More than 900 people all over the US were asked which type of music they … [Read more...]
Marketing the Met — a real strategy
Maybe my last post -- about the new-audience strategy I don't think the Met Opera has -- looked a little theoretical. Or impractical. Or way out in left field. The Met's strategy, I said, evidently is to create buzz, and then hope the audience shows up. Instead, I said, they should go out and actively find their new audience, and then work overtime to keep the people they reach excited about what the Met does. Left field? Not at all. Just look at a New York Times story on the marketing campaign for the Hunger Games film! It's jaw-dropping. … [Read more...]
Peter Gelb and the missing strategy
Much has been written, and rightly so, about Peter Gelb's folly -- his moves to censor writing that strongly critiques his reign at the Met. As I'm sure most of us know, Peter got so much protest that he had to reverse himself. And there's much to discuss here. My take -- beyond all the strong points my wife made in her blog post (where my first link takes you) -- goes beyond the perils of suppressing discussion. What I'm wondering is whether, despite all his famous innovations, Peter really has a strategy for moving the Met into the future. … [Read more...]
Branding my students
This was one of the happiest times I've ever had as a teacher -- an exercise in my Juilliard course on the future of classical music, in which my students took some first steps in branding themselves. This worked so well that I have great hopes for the branding workshop I'll be teaching next week for professionals. (And -- by the way -- I've got enough interest to make a second workshop possible, if just a few more people sign up. Email me!) Here's what happened. Of course we're not talking about commercial branding -- slick slogans, snappy … [Read more...]
Video of that magical Faun
A video of the Debussy performance I raved about is now online, right here. This was Afternoon of a Faun, danced by student musicians from the University of Maryland, while they play the music from memory. What moved me especially, as I watched the video, was the music. I should apologize for what I wrote in my earlier post. The playing, on the video, comes across far more touchingly than I said it did, even though I praised it. And the moments of not-quite-together playing I thought I heard near the start -- where are they? Now I don't … [Read more...]
My branding workshop is happening
I'd blogged awhile ago about teaching an online workshop, about branding for classical musicians. And administrators, if someone wants to brand an institution. The response was terrific. I needed six people to make the workshop possible, and got them easily. Plus more who'd love to do it. Plus some in Australia, whom I'll count separately, because -- thanks to the time difference -- I'd have to teach them as a separate group. It's hard enough scheduling six busy people in the US, but to also include one or two from such a radically different … [Read more...]
Breathtaking
If I'd known what I was going to see, I might not have believed it. Debussy's Afternoon of a Faun, played by the Symphony Orchestra at the University of Maryland School of Music, with choreography. But not choreography for dancers. Choreography for the musicians, who danced the piece as they played it (from memory), rising from the floor, flowing across it, falling, sometimes spinning, rarely grouped by sections, moving in ways organized visually, and also musically, with movements that began with the students improvising them. If someone … [Read more...]