Events
Subscribe to BackStageBackStage
What makes a good concert?
What makes a good concert?
Being in the biz (Music of the Baroque) I think a lot about what makes a good concert. Orchestras (chamber music groups, bands, recitalists…), unlike theaters and opera companies, have to compose a concert in much the same way you'd compose a meal. In some respects I think that just about any program of music that is well-played can be satisfying. Witness the popularity of shuffling tracks. But there's the issue of control. One out of eight shuffles might produce a nifty sequence of music, but am I comfortable charging people money for a throw of the musical dice? I guess that in the end I feel that by carefully planning a concert one can create a better total experience. All this came to mind recently when I heard the Tallis Scholars at Rockefeller Chapel. On the one hand, they were EXQUISITE! Their intonation, their purity of sound, their blend and the setting were all wonderful. On the other, I have to admit that by the time the first half was over, I was done. It reminded me of some wine tastings – even if the wines were fabulous, I quickly needed some bread, some water, something to refresh my senses and let me continue. (For those not familiar with the Tallis Scholars or that concert, the program was all sacred music from 1550 – 1750 performed by a 10-voice, unaccompanied choir.) I'm sure there were listeners who found great variety between Praetorius, Hassler, Schutz and Bach. And I hasten to say that I'm in no way dissing the ensemble, I'm saying that the concert made me think about concerts. I left asking myself if a concert of three symphonies could be satisfying? In Chicago we've had the opportunity (or will have) of hearing Mozart's last three symphonies in one concert. And what constitutes variety? Period – would a few modern works for 10 voices have refreshed my ears? Size – would it have made a difference if they performed a few trios? Other instruments – would a consort of viols or a brass quintet interspersed in the concert have made a positive difference? A few remarks?Like most things, I don't know, but I think about it a lot.
Comments
Interesting observation
Wed, 4/26/2006 - 11:22am — Alisa BaumAt the Sinfonietta, we often get asked (and ask ourselves) about the wide variety of programming on each concert. Often, it seems as though the choices are very random; but it always turns out that Music Director Paul Freeman has very carefully chosen works in order to program a repertoire that gives audiences a great deal of variety to listen to during the performance. It had never occurred to me that this gives the ears and mind a chance to refresh. This insight gives me new respect for the difficult task that Music Directors do every concert.
"Good Concert" comment
Wed, 4/26/2006 - 8:13am — Kathryn NettlemanThanks for the blog, John- I just got hip to the Chicago Classical Music site/blog, and you can bet I'll be checking it out frequently. I enjoyed reading your posts, particularly this entry. As a person more frequently up on the stage than in the audience (though in the audience often enough to give matters such as this some thought), it's too often that we in the performer's role of the biz overlook the perspective of what it's like to be a guy or gal who's occupying a random seat out there. I know what you mean about feeling "overfull" from any one thing in a concert. An element of surprise or at least refreshment needs to be present during a two-hour event to maintain interest and cleanse the palate, as it were. Keep up the good thinking/writing!-Kate N. (bass player)
Post new comment