Musik senam orchestra
Of course, Prokofiev is not the first to do so. The aim was to take classical music outside of what philosophy professor Lydia Goehr has called the ‘imaginary museum’ of the concert hall, and to give young musicians and composers like himself the platform to engage with an audience put off by the unwritten rules that buttress the concert hall tradition.
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The grandson of the Russian composer and pianist Sergei Prokofiev, he founded Nonclassical in 2004 as a club night and classical music label. Prokofiev knows better than most the solemn weight of classical music’s history. As he put it: ‘The question of concert etiquette is only part, and perhaps a rather small part, of the complicated social dilemma in which classical music finds itself – as a largely acoustic art in an electronic culture, as a mainly long-form art in a short-attention-span age.’ Ross covers the history of this particular issue well, but this is only the tip of the iceberg. Some of these – like the equally annoying ‘shush reflex’ that inevitably follows someone breaking the ‘no-applause rule’ – are largely of the classical world’s own making.
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Starting with the concert audience convention of ‘no-applause’ between movements, Ross expands on the wider impediments to classical music’s appeal. How does classical music attract a younger audience that might not have, and might not care to have, any engagement with the deeply furrowed traditions ingrained in its production, performance and reception of the concert hall? The problem that Prokofiev is referring to was memorably raised by New Yorker music critic Alex Ross in ‘Hold Your Applause: Inventing and Reinventing the Classical Concert’, a lecture he delivered to London’s Royal Philharmonic Society in 2010. As he tells me: ‘It’s an ongoing problem.’ He is in New York a few nights after premiering his Concerto for Bass Drum (2011), with percussionist Joby Burgess and the Princeton Symphony Orchestra, which will later travel to Chicago before returning for its first UK performance with the London Contemporary Orchestra as part of Reverb, a five-day classical music festival at the Roundhouse.
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It’s not a particularly new one but it’s one that composer Gabriel Prokofiev knows well. Courtesy Nonclassical, London, and Stuart Meldrum / Chris RansomĬlassical music faces a dilemma. Aisha Orazbayeva performing Steve Reich's Violin Phas for Violin and Tape (1967) and a Nonclassical night at Cargo, London.