Looking Forward

We are deeply grateful to be welcoming our third year as the Future Symphony Institute. Our journey continues to be one of discovery, inspiration, and friendship. Thank you to our many readers and supporters. We look forward to sharing with you some exciting projects that are developing behind the scenes this year. Stay tuned for more details.

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New & Noteworthy

International Arts Manager

“Our mission is to enrich and connect people with a sublime musical experience – that’s what we do. What this means is that it’s not only the music that should be sublime, but everything about Concertgebouw should be sublime.”

University of Pennsylvania

We have become used to concert halls that make big bold statements: the looming sculptural forms of the Philharmonie in Paris, the metallic sails of Disney Hall in Los Angeles, the giant glass barrel vault of the Kimmel Center for Performing Arts in Philadelphia. The Kleinhans is curiously elusive.

Intercollegiate Studies Institute

What do amateurs – all fairly serious ones, but also people who make their living outside of the music world – glean from a week spent inundated by one piece of music?

Future Symphony Institute

Postwar modernism and its hip progeny, in combination with the expensive cost of operation for orchestras and opera houses, created barriers which hinder renewal of the repertoire – a self-destructive mix, pushing classical music into the corner as a “museum culture.”

FSI’s Andrew Balio will appear alongside his long-time friend and the award-winning chef of Woodberry Kitchen, Spike Gjerde, at Classical:NEXT’s conference in Rotterdam, The Netherlands, on May 19th.

Future Symphony Institute

Selling music in wrapping paper which belies its nature will inevitably lead to disappointment: potential new audiences – especially the younger generations without much exposure to classical music – will feel cheated when they find out that a Mahler symphony does not sound at all like heavy metal or hip-hop.

Interbrand

Organizations wanting to extract immense, even disproportionate, value from their brands must, like Wagner, work as polymaths; they must be great storytellers, impeccable orchestrators, innovative designers, consummate engineers, as well as uncompromising perfectionists.

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London's skyline

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 – nor too 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.

Amalia Lindegren: 'Söndagsafton i en dalstuga' (detail), 1860

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.

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