Tafelmusik staff went to check out a new film at the Ted Rogers Hot Docs Cinema, titled “What would Beethoven do?”, part of the Music on Film series put on by The Royal Conservatory.
To find out a bit more about the film, check out the trailer:
What Would Beethoven Do? | New Documentary Teaser from What Would Beethoven Do on Vimeo.
We had a fiery and lengthy discussion after the film, about the state of classical music in general – here’s what some of our thoughts were!
First from Managing Director Will Norris:
“So many thoughts and talking points after watching ‘What would Beethoven do’. First, a reaffirmation of the power of music and the joy and happiness it brings – in the film most ably exemplified by Bobby McFerrin and the boundless enthusiasm of conductor Benjamin Zander. A lively debate ensued afterwards in the pub. Top of my mind after the concert was the issue of performance venues. Conventional performance spaces offer acoustic perfection but often accentuate that ‘fourth wall’, that divide between audience and Orchestra. Current-day concert presentation often does little to break that wall, with little to no interaction between performer and audience. Some of my most profound musical experiences have been in acoustically sub-par spaces but where I have been able to feel connected to and close to the performers, and I discovered chamber music by hearing it played in a pub. Conventional concert halls will always have a place, but should we be valuing other parts of the concert-going as much as we value acoustics? Should we be pressing for flexible performance spaces which allow for varied audience configurations? And lastly, a thought that we can never become complacent. It is so easy working for an orchestra just to follow the trodden path – but last night’s film was a reminder that we need to be constantly evangelical for our artform, and, as part of that evangelism, constantly questioning what we do, how we do it and searching out and grasping new opportunities for our music to be heard.”
Associate Director of Philanthropy Phil Stephens decided to look into some statistics:
There no lack of confusing statistics out there, but here are a couple of interesting ones:
“1808: A Beethoven grand public concert drew only from aristocracy and middle class, equaling no more than 2.5% of Viennese residents. LINK
2002: Classical Music Consumer Study said 16% of adults in the U.S. attended a classical music concert in the 12 months prior to the survey. LINK
Classical audiences seem to be getting younger and more diverse these days. If you‘re an orchestra going back to the same trough repeatedly with diminishing results, try diversification! Do not expect an audience to come to you.
Classical performers and administrators could benefit from a regular dose of modern music (yes, even pop), and perhaps should view music as wonderful entertainment more often. Help foster a culture of exploration and sharing, instead of pushing conformity and academics.”
From Tim Crouch, Senior Manager of Marketing & Audience Engagement:
“Having many friends who are composers, I find one of the most interesting topics from the film was the discussion over the definition of classical music. Depending on who you talk to, classical can mean so many different things. To those in the know, it’s a genre from a specific time-period. To newcomers, classical can be an overarching term for almost anything that’s not ‘pop’, sometimes associated with relaxing studying lists (though I’d argue classical music is anything but relaxing).
In the end, it brings up the interesting exercise of a review of terminology. This may seem like semantics, but I think it’s important, as artists and arts administrators, to own what we do, with a strong focus of where we’ve come from and where we’re going. This may require us to reject static definitions of our genre, and all the connotations associated with those definitions. Traditions are important, but when they get in the way of music-making and connections with the audience, the art becomes a museum piece.
One thing I know is definite – what we consider to be western classical music/music of the European tradition is one of the most dynamic, ever-changing art forms, and acts like an incredible sponge, soaking in influences from around the world. If we can make even minuscule strides to convey this to classical naysayers, and reject decades of over-formalized connotations, I think we’ll have come a long way. For me, it starts with what we call ourselves.
PS For an interesting link on this subject, go here.”
And finally from Peter Harte, Marketing Manager:
“I did thoroughly enjoy this film. I appreciate any piece of art that provokes discussion, educates, and prompts me to seek out others opinions to help justify my own. The big question asked is what are orchestras doing to engage new and younger audiences for a long period of time rather than just offering a one time “unique date experience”? I am not a musician myself, but through this film I could easily see the passion these musicians have, and the true love they have for their craft. But it made me wonder, why is it often difficult to see this while attending a concert? How do we break down this 4th wall from the stage and allow audiences to really see the spirit and intensity coming from these musicians? Yes, all important questions we ask ourselves time and time again.
A comment during the post-film Q&A that stood out to me was from a gentleman who was trying to compose a question about whether having DJ Scratch Bastid collaborate with a string quartet at the RCM was a one-time gimmick or indeed an innovative approach to liven up otherwise predictable repertoire. If the question had been presented more clearly it may have started a dialogue between us all about what exactly are orchestras committing to when these electronic DJs are placed on stage. I’ve seen or heard numerous orchestras incorporating electronic music or live DJs into their season programming, and generally you can see that it does brings a new audience and energy to the concert experience. However, these events may only occur once a year, and more often than not the orchestra and DJ are disconnected in their performance. It’s almost there, but not quite. Have any orchestras made a true leap of collaborating with multidisciplinary artists? Or are they simply throwing in unrelated disciplines of art to make the experience seem “cool”?
I can’t help but ask myself, why do we assume young people enjoy electronic music? And why do so many orchestras use this as the gateway to get new folks into their doors and excite them about orchestral music? Maybe the concert hall and the formal attire of our musicians needs to change to help break the high class reputation classical music has. Maybe we need more movies like Fantasia to help a new generation visualize and relate to what they are hearing. Or maybe an easy to digest explanation is needed as to why a piece of music is being performed, by this specific organization, right now, to help us understand its relevance.
I love that this film made me ask myself these questions and has sparked discussions between myself and my colleagues, and hopefully between you too. It’s definitely worth seeing.”
Over to you – what do you think? What would Beethoven do, were he alive today?