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.
New & Noteworthy
It is a common criticism today, as it was in 1341, that to look “backwards” is to look upon something old and decrepit, outdated and dilapidated. Time for us moves only forward, and so paradoxically, while our civilization grows old, it is our past that we label as aged and the day itself as eternally young.
Anyone who has tracked the self-destruction of music over the past half century has to be astonished at the outpouring of such explicitly religious music and at its enormously popular reception. Can the recovery of music be, at least partially, a product of faith?
The notion that music has properties and powers that can sharpen the mind and transform the soul is ancient. Such ideas formed the basis of Confucian civilization in China. In the West, they are attributed to Pythagoras and his followers and played a central role in Plato’s ideal state.
“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.”
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.
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?
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.”
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.
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.