Given my experiences in Mexico, my lingering question has been, “Who decided, or why do we feel, that we must upend our programming in order for people of targeted ethnicities to comprehend and enjoy classical music played by a live orchestra?”
“I think that the imaginative component is also desperately needed in this sad world we’re building for ourselves. I think all these little communities are a place for the rebirth of opera. The past and the present in opera can have a rebirth, but I think the key is little concert halls, little opera houses which feed the community. The high school orchestra may not be the New York Philharmonic, but it doesn’t matter.”
“I wrote to Peter Gelb, whom I know, and I said that the only way you’re going to solve these problems is to tear down that house, which is almost four thousand seats, and build something half the size or less. I am convinced that these very large concert halls are a thing of the past.”
Classical music must find its place in this kind of love – love of home, of community, of neighbor, and of the culture that binds all these things together. In all but the most exceptional cases, our orchestras won’t survive if they don’t get this part right. They depend on love and a connection to their communities – a recognition of their relevance and of their membership in the project of placemaking – to survive.
It is a common criticism today, as it was in 1341, that to look “backwards” is to look upon something old and decrepit, outdated and dilapidated.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.
Dave was one of my very first supporters and not only encouraged me, but backed me in the hard work of establishing FSI. He was rooting not only our home team, the Baltimore Symphony Orchestra, but for orchestras all around the country.
It is very possible that the music academy, if it harkens to the shouts echoing all around it and proceeds in the proposed march toward reform and “progress,” will pass by the art academy as it hastens back to that crossroads where it took a wrong turn. It is very possible that, by chasing “relevance,” our conservatories, like our art schools before them, will make themselves irrelevant.
At issue, of course, is the fact that the purpose of the traditional music education is to prepare students to participate and collaborate in “the performance and analysis of European classical repertory” at its highest levels. The modern tendency is to see that emphasis as not only a slight to those who will fail to achieve those ends, but as a real offense to those who reject that purpose and the primacy of the European classical canon itself.
It’s starting to sound like a self-evident truth: there is, indeed, something very wrong with the state of higher music education in this country – that it’s not sufficient anymore for music schools to turn out graduates who are merely good or even exceptional classical musicians. That, we are assured, is not enough for an aspiring musician to get by on in the modern world.
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?