At long last, and with hearts full of thanks for those who have helped us along the way, we invite you to begin this journey with us towards a new vision, a new renaissance, for live classical music. It is at once a journey of discovery and a journey home – much like music itself in that we can know a piece intimately, even all our life, and yet be astonished by some new revelation each time we hear it performed. We think this is one of the most magical and rewarding things about music, about our work, and about life. Closely behind it follows the joy of sharing such a journey. And we look forward to your company and conversation as we go.
New & Noteworthy
It may be that the greatest challenge facing those who love classical music in our modern age is the one facing those who do not also love Beauty. If classical music is not about Beauty, then what is it about?
In his generous and beautifully written book, Robert Reilly leads us through the vast, largely unknown territory of twentieth-century music. The hero of the book is beauty.
Why is it that the audience for modern art is quite happy to take in the ideological message of modernism while strolling through an art gallery, but loath to hear the same message in the concert hall?
Education is more than teaching about subjects; it is the training of the sensibilities to love that which is worth loving, attaching the heart to the good. Music has been taught in the Classical and Medieval worlds as a means of shaping the soul to live the good life.
There is a natural harmony between the principles and values that describe classical music and those that define meta-luxury. Even more significantly, those principles and values resonate most deeply in our human nature, transcending all the boundaries that so worry us when we contemplate the problem of luxury.
What modern producers seem to forget is that audiences are gifted with the faculty of imagination. This faculty is not extinguished by being bourgeois. Indeed, it is one of the faculties that an ordinary decent bourgeois has to exercise continuously, if only in order to respond forgivingly to the contempt of which he is the target.
The only thing worse than searching in vain for the meaning of life within the terms of the 20th century is to find it, for it can only be a meaning understood by the searcher alone, who by virtue of the discovery is cut off from future as well as past.
With the appointment of Sir Simon Rattle as the new music director of the grandest of London's many great orchestras come the excited whispers about the possibility of a new concert hall for the city's brilliant but beleaguered classical music scene. It is not too early to begin the conversation about how to imagine and understand such a hall – or to late to assert how badly indeed it is needed. Here we will collect the thoughts and dialogues on the subject that we hope will make a difference in the debate that will inevitably to ensue.
Ours is a musical culture. People of all musical tastes and backgrounds understand this. Music marks the passage of our moods, our days, our seasons, our years, and our lives. It brings us together, and it marks out our solitude. It celebrates our achievements and mourns our losses.
And the music itself is common property to all. It is not like, say, a painting that is sold and then belongs only to the purchaser, to hang over a sofa or in a private collection, perhaps to end up one day in a public gallery. You cannot buy a song or a symphony, only an instance of it. You cannot buy a box of chords or key signatures like you can a box of watercolors or pastels.
In fact, the music belongs even to those who haven’t heard it yet. We are trustees of an international treasure, obliged to understand the accident of our existence in this time and place more as a responsibility than an entitlement. This realization takes on a special meaning today for the defenders of music’s classical tradition.
For if it’s true that music is made of what you cannot buy, it is also true that a page of chords and key signatures is not what we enjoy when we enjoy music. We do not dance to sheets of paper covered with notes or recall a melody as ink markings on a staff. Music lives for us as a performance in which we partake, as musicians, as listeners, as dancers. And so the tradition of live performance is the heart of our classical tradition.
Our classical tradition, in turn, is at the heart of all our other musical traditions. What we are about is nothing less than the preservation, in trust, of the tradition of live classical music for the benefit of all posterity.
But we do need your help. Please consider joining us in support of this worthy cause.