Académique Documents
Professionnel Documents
Culture Documents
:
INVESTIGATINGTHEEFFECTOFNEWVENUESONCONCERTCULTURE,PROGRAMMING
ANDTHEBUSINESSOFCLASSICALMUSIC
by
SarahMayRobinson
BachelorofMusic
UniversityofIllinoisatChampaignUrbana,2001
MasterofMusic
RooseveltUniversity,2003
_______________________________________________
SubmittedinPartialFulfillmentoftheRequirements
FortheDegreeofDoctorofMusicalArtsin
MusicPerformance
SchoolofMusic
UniversityofSouthCarolina
2013
Acceptedby:
JenniferParkerHarley,MajorProfessor
ChairmanExaminingCommittee
MichaelHarley,CommitteeMember
RebeccaNagel,CommitteeMember
JohnFitzRogers,CommitteeMember
LacyFord,ViceProvostandDeanofGraduateStudies
CopyrightbySarahMayRobinson,2013
AllRightsReserved.
ii
ACKNOWLEDGEMENTS
IwouldliketoexpressmydeepestappreciationtoDr.JenniferParkerHarleyfor
hersupportandexpertisethroughoutthepreviousfouryearsofworkonthisdegree.
GuidanceinresearchingandwritingthisdissertationbyDr.MichaelHarleywasgreatly
appreciated.IwishtothankmycommitteemembersDr.RebeccaNagelandDr.Fitz
Rogersfortheirthoughtfulfeedbackandsuggestions.SusanRobinson,JamesRobinson,
MaryRobinsonandPhilPophamhaveallbeenenormouslyhelpfulinbringingthis
researchtocompletion.Finally,Iwouldliketothankeveryonewhowasinterviewedfor
thisproject.Yourparticipation,insightandgoodwillmadethisdissertationpossible.
iii
ABSTRACT
Thisstudyinvestigateschambermusicperformancesoutsideoftraditional
concertvenuesintheU.S.inthe21stcentury.Theliteraturereviewtracestheuseof
nontraditionalvenuesthroughouthistoryfromBach'scoffeehouseconcertstothe
galleryandloftconcerts,whichfirstemergedinthe1950sand60s.Theliterature
reviewwillalsolookatthebusinessofclassicalmusicestablishedinthe20th
century.
Thestudyexploreswhethernewvenueshavechangedthelandscapeof
classicalmusicbyinterviewingplayersandconcertpromoterswhopresent
concertsinnontraditionalvenuesaswellasownersofpopularmusicvenues,
whichhostclassicalmusic.Usingtheseindividuals'experienceinpresenting
concertsinbothtraditionalandnontraditionalvenues,thestudyarticulatesthe
changeinconcertatmospherebetweenthesetwotypesofvenues.Italsoilluminates
howmusicianschangetheirprogrammingandconcertpresentationfornewvenues.
Finally,thestudyinvestigatesthefinancialarrangementsbetweenaudience,
performers,presentersandvenuestodiscoveranydifferencesinthissystem
betweentraditionalandnontraditionalvenues.
iv
TABLEOFCONTENTS
ACKNOWLEDGEMENTS......................................................................................................iii
ABSTRACT...........................................................................................................................iv
CHAPTER1:INTRODUCTION...............................................................................................1
CHAPTER2:AHISTORYOFALTERNATIVEVENUES.............................................................4
2.1ALTERNATIVEVENUES15001950..................................................................5
2.2HAPPENINGS...................................................................................................14
2.3LOFTS..............................................................................................................17
2.4ARTGALLERIESANDMUSEUMS......................................................................21
2.5DEDICATEDPERFORMANCESPACES...............................................................26
2.6PUBLICSPACES................................................................................................33
CHAPTER3:THESTATEOFMAINSTREAMCLASSICALMUSIC...........................................36
3.1BUDGETINFLATION........................................................................................37
3.2THENONPROFITBUSINESSMODEL...............................................................39
3.3DECLINEOFPUBLICSUPPORT.........................................................................44
3.4FINANCIALSURVIVALFORMUSICIANS...........................................................46
3.5THEAUDIENCE................................................................................................49
CHAPTER4:ALTERNATIVEVENUESINTHE21STCENTURY..............................................57
4.1PIONEERS........................................................................................................57
4.2ALTERNATIVEVENUEPERFORMANCEORGANIZATIONS................................60
4.3VENUES...........................................................................................................62
4.4ALTERNATIVEVENUESGOMAINSTREAM.......................................................66
4.5THENEXTALTERNATIVEVENUE:PUBLICSPACES...........................................67
CHAPTER5:THEDRAWOFALTERNATIVEVENUES...........................................................70
CHAPTER6:THEBUSINESSOFALTERNATIVEVENUES.....................................................75
6.1FUNDINGSYSTEMS.........................................................................................75
6.2REVENUE.........................................................................................................78
6.3COSTS..............................................................................................................80
6.4SUBSIDIZEDCONCERTS...................................................................................81
6.5MARKETINGANDPUBLICRELATIONS.............................................................84
6.6VENUEPARTNERSHIPS....................................................................................88
CHAPTER7:THEAUDIENCEATALTERNATIVEVENUES....................................................93
7.1DEMOGRAPHICS..............................................................................................93
7.2NEWAUDIENCES.............................................................................................95
CHAPTER8:THEEVOLUTIONOFCONCERTCULTURE.......................................................98
8.1STAGESANDPERFORMANCEAREAS...............................................................99
8.2AMPLIFICATIONANDACOUSTICS.................................................................100
8.3NOISELEVELS................................................................................................102
8.4ATTENTIONANDENGAGEMENT...................................................................104
8.5CHANGESINCONCERTPRESENTATION........................................................106
CHAPTER9:REPERTOIREINALTERNATIVEVENUES.......................................................111
9.1NEWMUSIC...................................................................................................112
vi
9.2ELECTROACOUSTICANDMULTIMEDIAPERFORMANCE.............................113
9.3THEEFFECTOFCONCERTATMOSPHEREONREPERTOIRE............................113
9.4COLLABORATIONSWITHPOPULARGROUPS................................................115
9.5CHAMBERMUSICINFLUENCEDBYPOPULARMUSIC....................................116
CHAPTER10:CONCLUSION.............................................................................................118
BIBLIOGRAPHY................................................................................................................124
APPENDIXALISTOFINTERVIEWSUBJECTS..................................................................131
APPENDIXBINTERVIEWQUESTIONS:PERFORMERS/ENSEMBLES.............................133
APPENDIXCINTERVIEWQUESTIONS:PRESENTERS.....................................................135
APPENDIXDINTERVIEWQUESTIONS:VENUES............................................................137
vii
CHAPTER1
INTRODUCTION
Classicalmusiciansinthefirstyearsofthe21stcenturystormedpopularmusic
venuesandbegantousethemasanalternativespaceforclassicalperformance.By
2006,twoorganizationsdedicatedtoclassicalperformanceinbarsandclubsemerged:
ClassicalRevolutionandOperaonTap.In2008(Le)PoissonRouge,aNewYorkCityclub
createdtohostbothclassicalandpopularmusicopeneditsdoors.Onceanextremely
rareoccurrence,todayclassicalmusiciansperformregularlyatthesealternativevenues
inmostmajorU.S.cities.Thepurposeofthisresearchistoprovidetheclassicalmusic
industrywithaclearunderstandingofclassicalmusicperformanceinbarsandclubs.It
investigateswhyclassicalmusiciansaredrawntothesevenuesandhowtheyaffectthe
businessofclassicalmusic,whethernewaudiencesforclassicalmusicareattractedto
theseconcertsandhowtheseperformancesdifferfromthosegiveninconcerthalls.
Finally,thestudyexploreshowrepertoireperformedinalternativevenuesisdifferent
fromthemusicprogrammedinconcerthalls.Alternativevenuespushclassicalmusicin
anewdirectionthatcouldaidthesurvivaloftheartforminthefuture.
Toplacethesefindingsinhistoricalcontext,thesecondchapterdefines
alternativevenuesandtracestheirusethroughouthistoryfromBach'scoffeehouse
concertstogalleryandloftconcertsinthe1970s.Thethirdchaptersurveysconcert
culture,theclassicalmusicbusinessandrepertoireintraditionalconcerthalls.Chapter
fourfollowstherecentriseofpopularmusicvenuesasanalternativespaceforclassical
concerts.Thefollowingchaptersanswertheessentialquestionsofthestudyregarding
thebusiness,audience,concertcultureandrepertoireinalternativevenues.
Thisstudyinvestigatesthetopicofalternativevenuesthroughinterviewswith
playersandconcertproducerswhopresentconcertsinthesespaces.Ownersand
managersofpopularmusicvenueswhohostclassicalmusicwerealsointerviewed.A
certainamountofinformationonrecentalternativevenueconcertsisavailableon
ensemble,concertseriesandvenuewebsites,aswellasinnewspaperreviews.These
sourcesarelimitedandfarfromcomprehensive.Thosedirectlyinvolvedwithpresenting
theeventsarethebestavailablesourceofinformationonalternativevenueconcertsin
thelast12years.
Itis,ofcourse,beyondthescopeofanystudytocreateacompletely
comprehensivepictureofalternativevenueconcertsbecauserecordshavenotbeen
consistentlykept.Tomakethestudyasrelevantandhelpfulaspossibletotheclassical
musicindustry,itfocusesonleadersinthefieldofalternativevenuepresentation.
Performers,ensembles,concertpresentersandvenueswereinvitedtoparticipatein
thestudybaseduponthefrequencywithwhichtheypresentclassicalconcertsin
alternativevenuesandthequalityoftheconcertspresented.Participantsinclude
owners,musicdirectorsandmanagersoftheRevolutionCafe,(Le)PoissonRouge,
BarbsandtheWaypost.Thesevenueshostsomeofthelongestrunning,most
prominentseriesforclassicalmusiciansinbarsandclubs.Representativesofanumber
ofleadingclassicalornewmusicensemblesthatperformregularlyinalternativevenues
participated.TheseensemblesincludeProjectTrio,Victoire,AlarmWillSound,theJACK
Quartet,theDegenerateArtEnsemble,BangonaCanandtheInternational
ContemporaryEnsemble.SoloistandalternativevenuepioneerMattHaimovitzalso
tookpart.Finally,representativesfortheorganizationsClassicalRevolutionandOpera
onTap,whichspecializeinalternativevenueperformance,alsosharedtheir
experiences.Theseparticipantspresentawiderangeofperspectivesonandwealthof
experienceinalternativevenueperformance.Afulllistofstudyparticipantsand
interviewquestionsisincludedintheappendix.Thesequestionswereaskedofeach
participantalthoughinterviewsubjectsweresometimesaskedtoexpandupontheir
answers.Mostinterviewswereconductedviavideocallorphone.Thefirstcitationof
eachinterviewisnotedwithafootnoteandsubsequentattributionsappearinthebody
ofthetextonly.
Theclassicalmusicbusinesshassufferedfromlackoffundinganddwindling
audiencesinrecentyears.Concertspresentedinalternativevenuesappeartobeoneof
theonlyaspectsoftheindustrythatisgrowingandgrowingveryquickly.Classical
musiciansandartsadministratorsneedaclearunderstandingofhowtheseeventswork
andwhethertheyarefinanciallyandartisticallysuccessful.Thoseintheindustrycould
potentiallyusethisinformationtohelpsustainthelivesandartisticprojectsof
musicianslivingtodayandexpandtheaudienceforclassicalmusic.
CHAPTER2
AHISTORYOFALTERNATIVEVENUES
Throughouthistory,unconventionalvenueshavearisentoprovideanalternative
totraditionalspacesformusicperformance.Alternativevenuesareplaceswhere
classicalmusicisperformedlessoftenthanintraditionalspaces.Theytendtobenew
spacesforperformanceandprovideanovelconcertatmosphereforbothperformers
andaudience.Performancesatthesevenuesaregenerallynotsponsoredbythelarge
organizationsthatsupportclassicalmusicandareusuallymoreopentostruggling
artists.Often,thesespacesinspirenewstylesofmusic.Overthecourseofhistory,each
newalternativevenuerodeawaveofpopularitythatcoincidedwithitsnovelty.
Eventually,asaudiencesbecameaccustomedtoanontraditionalspace,iteitherfellout
offavororbecamepartofconventionalmusicallife.
Inthe16thto18thCenturies,traditionalspacesforchambermusicincluded
courts,smallpublicconcerthallsandchurches.Duringthistimemusiciansalso
performedinalternativevenueslikecoffeeshops,tavernsandpleasuregardens.Bythe
19thcentury,largeconcerthallsbecamethemosttraditionalvenueforchambermusic.
Smallgatheringsinprivatehomes,knownassalons,wereapopularalternativevenue
duringthe1800s.Bytheturnofthe20thcentury,traditionalchambermusicvenues
includedconcerthalls,privatehomesanduniversities.New
alternativevenuesaroseintheformoflofts,galleriesandartspacesinthe1950sto
1970s.Thesealternativevenuesforchambermusic,likemanybeforethem,werethen
sweptintomainstreamclassicalmusicallife.
2.1AlternativeVenues15001950
Thefirsttraditionalspaceforchambermusicwasthecourt.Thereisevidenceof
chambermusicinthecourtsofItaly,EnglandandSpainstartinginthe1500s.1InVienna
inthe1700s,mostnoblehomeskeptastaffofmusicians,inadditiontothemusiciansat
theImperialCourt.2HaydnwrotechambermusicfortheEsterhzyfamilyfor"festive
socialoccasions."3MuchofMozart'schambermusicwaswrittenforthecourtofthe
ArchbishopofSalzburgandBeethovenalsowrotesomeearlychambermusicforthe
courtinBonn.4Chambermusicbeganasaprivateaffairatthehomesofthenobility.
InstrumentalmusicinthechurchdatesbacktotheMiddleAgesorearlier.
Churchesrepresentoneofthemosttraditionalhomesforchambermusicthroughout
thehistoryofwesternmusic.Thereisevidenceofinstrumentsbesidestheorgan
accompanyingpolyphonyintheMiddleAges.5DuringtheRenaissance,churchservices
oftenincludedperformanceswithinstrumentsandvoicetogetheraswellas
1
A.HyattKing,ChamberMusic(London:M.Parrish,1948),10.
2
Ibid.,28.
3
Ibid.,40.
4
Ibid.,4142.
5
RobertJ.Novotny,"InstrumentalMusicandtheliturgy,"CaeciliaVolume89.No.2,
Summer(1962):55.
performancesbyinstrumentsalone.6Usuallyatthattime"thesamemusicianswho
playedforcourtdancesandentertainmentwouldbefoundwiththeirinstrumentsinthe
courtchapel."7Instrumentsbecameevenmorecommoninchurchservicesinthe
Baroque.BachfrequentlywrotecantatasforSt.Thomas'church,whichcombinedvoices
andinstruments.Tothisday,musicwithinstrumentsisanimportantpartofthemusical
lifeofmostchurches.
ConcerthallsfirstemergeasatraditionalvenueforchambermusicinLondon.In
the1670s,severalchambermusicsocietieswereformed,whichhostedmusicbothat
musicclubsandinprivatehomes.8Thefirstpublicconcerthallisclaimedtobethe
HolywellmusicroominOxford,openedin1748,whichcanseat300.9Earlypublic
concertspaceswerethesamesizeasaspaciousroomwithinaprivatehomeandthe
audienceswereofahighsocialclass,similartotheaudiencesatcourt.10"Therewasin
factnoessentialdifferencebetweenthemusicalrecreationsofgreathousesandthe
earliestpublicconcerts.Players,singers,andprogramwerelargelyfluid.Theremightbe
solos,duets,trios,concertos,choruses,andsymphoniesgiveninquitecasualorderin
thesameprogramme....Thewholeatmospherewasfarmoreintimateandpersonal,the
6Ibid.,57.
7
Ibid.,58.
8
King,ChamberMusic,25.
9
GeorgeDyson,TheProgressofMusic(London:OxfordUniversityPress,1932),153.
10
Ibid.
standardofperformancemorecasual,thanwearenowaccustomedtoinpublic."11The
firsteventsinconcerthallsgrewdirectlyoutofchambermusiceveningsatcourtandin
privatehomesand,despitethechangeofvenue,atfirstresembledmorecasual
chambermusicparties.
Alternativevenuestocourts,churchesandconcerthallsexistedeveninthe
1700s.Smallbandsofprofessionalmusiciansperformedconcertsininnsandtaverns
aroundEngland.12Usuallytheseperformancestookplaceina'longroom,'alargeroom
withinthetavernthatwasrentedouttoprivateparties.13TheSt.CeciliaSociety,a
chambermusicsocietythatgavesubscriptionconcertsinCharleston,SouthCarolina,
gaveperformancesinthelongroomsofseveraltavernsandcoffeehousesbetween
1766and1820.ThesespacesincludedDillon'sTavern,theCarolinaCoffeeHouseand
theCityTavern.14Someofthetavernsandcoffeehouses,whichhostedmusicinthe
18thcentury,becamepublicmusichalls.15
Pleasuregardensbecameapopularalternativevenueinthistimeperiodaswell.
Theseareoutdoorpublicgardensdedicatedtotheenjoymentofthegeneralpublic.For
example,theVauxhallGardensinLondon,openedin1742,hostedmusicalconcertsas
11
Ibid.,154.
12
King,ChamberMusic,25.
13
NicholasMichaelButler,VotariesofApollo(Columbia,SC:UniversityofSouthCarolina
Press,2007),113.
14
Ibid.,113123.
15
Dyson,TheProgressofMusic,161.
wellasotherentertainments,includingtightropewalking.16Inthe18thcenturythere
werepleasuregardensinmostmajorcitiesinEurope.BothMozartandBeethoven
performedinthesevenuesduringtheircareers.17
TheCollegiumMusicuminLeipzigfrequentlyperformedincoffeeshopsduring
the18thcentury.TheCollegiumMusicum,foundedbyTelemannin1701,wasastudent
musicperformancegroup.18J.S.Bachtookovertheleadershipofthegroupfrom1729
1737andagain17391741.Atthistime,theprimaryconventionalvenueforchamber
musicinLeipzigwasSt.Thomas'Church.BachwrotemostofhisLeipzigcompositions
forservicesthere.However,duringthistime,Bachalsoperformedincoffeeshopswith
thestudentsoftheCollegiumMusicum.Thegroupperformedweeklytwohour
concertsduringhistenure.InthewintertheyplayedatZimmermann'sCoffeeHousein
townonFridaynightsfrom810pm.TheCollegiumperformedatZimmermann'sCoffee
GardenoutsidethecitygatesonWednesdaysfrom46pminthesummer.Theyadded
anadditionalTuesdayeveningperformanceduringthethreeannualLeipzigtradefairs.19
CoffeehouseswereinvogueinLeipzigandaroundEuropeatthistime."In
Bach'sday,drinkingcoffeewasverymuchanadultandgalantactivity,associatedwith
16
Ibid.,159.
17
Ibid.,160.
18
RaymondErickson,TheWorldsofJohannSebastianBach(NewYork:AmadeusPress,
2009),163.
19
GeorgeB.Stauffer,"Musicfor'CavaliersetDames':BachandtheRepertoireofHis
CollegiumMusicum"inAboutBach,ed.Butler,Gregory(Urbana:UniversityofIllinois
Press,2008),135.
readingnewspapers,livelyconversation,andlisteningtomusic."20Thekindsofconcerts
theCollegiumMusicumgaveatZimmerman'sCoffeeHouseduringBach'sdirectorship
fittheatmosphereofthissocialactivity.Likecoverchargesattoday'sclubs,the
audiencewaschargeda3groschenadmissioncharge,whichisabout$9intoday's
currency.21Therewerenoprogramsfortheconcerts,andtheyprobablytooktheform
ofreadingsessionsinwhichtheexactprogramwasnotplannedinadvance.22J.S.Bach
wroteworksforthesesessions.Mostoftheworksofothercomposersfeaturedinthe
concertswereinthegalantstyle.GeorgeStaufferconjecturesthatthissimplerstyle
"appealedtothecoffeedrinking,tobaccosmokingaudiences...thatattendedthe
Collegiumconcerts."23Stauffersuggeststhatperformancesatcoffeeshopscontributed
toashifttowardsthesimpler,preclassicalstyle.
Aspublicconcertsinconcerthallsbecamemoreandmoretraditionalinthe19th
century,themusicalsalonemergedasanalternativespace.Theintimatesettingof
houseconcertsbecame,atthispointinhistory,alternativetotheprimaryvenueofthe
concerthall.Themusicalsalonwasameetingforbothsocialandartisticactivitiesinthe
homesofthenobilityanditsoriginsdatebacktotheBaroqueandRococoperiods.24
20
Erickson,TheWorldsofJohannSebastianBach,158.
21
Stauffer,"Musicfor'CavaliersetDames':BachandtheRepertoireofHisCollegium
Musicum,"136.
22
Ibid.
23
Ibid.
24
ErnstHilmar,FranzSchubertInHisTime(Portland,Oregon:AmadeusPress,1988),23.
Thereissomedebateabouthowseriouslythemusicwasconsideredatthesemulti
functionalsocialevents.ErnstHilmararguesthatmusicsalonsinViennaaround1800
wereforentertainmentandthatthemusicwasnot"seriouslycultivated,"because
amateurnoblemansatinwiththeprofessionalmusicians.25However,GeorgeDyson
arguesthattheseamateurmusiciansamongthenobilitytooktheartofmusicvery
seriously.Hostingchambermusicwasverymuchinvogueandthe"noblepatronswere
menwhoknewthemusicfromtheinside...itwasadirectandpersonaldevotiontothe
art."26Ineithercase,hostingmusicinasalonsettingbecamealltheragebythe
beginningofthe19thcenturyandthosetakingpartwouldhavehadarangeofinterests
fromsocializingtoseriousmusicmaking.
Schubertiadeswereprobablythemostfamoussalonsinhistory.Thetermwas
coinedwhencourtsecretaryJosefWilhelmWitteczekorganizedaseriesofconcertshe
called"Schubertiaden"tofeaturethemusicofSchubert.27Theseconcertswereheldin
arotatinggroupofhomesamongthesamesocialgroupand"mostlylikelytheprimary
objectivewassocial"tolistentomusicanddanceamongfriends.28Theevenings
includedpartnerdancingandnocriticaldiscussionofthemusic.Schubertplayedhis
ownworksbutalsoaccompaniedthedancing.29
25
Hilmar,FranzSchubertInHisTime,24.
26
Dyson,TheProgressofMusic,81.
27
Hilmar,FranzSchubertInHisTime,26.
28
Ibid.,28.
29
Ibid.,2831.
10
ComposersincludingSchubert,Chopin,SchumannandMendelssohntailored
piecestotheintimacyandpartyatmosphereofthesalonsetting.Miniaturesbecame
popularforsolopiano,pianoandvoice,andforsmallchambergroups.Composers
"merelyadjusted...toacultofthesmallformwhichwasbasedupontheexistenceofthe
salon."30Thesalonwas"amerryplacewheremusicfunctionedasaristocratic
entertainment."31Thesalonvenuehadasignificantinfluenceonthemusicwrittenfor
it.
Partofthevaluetoattendeesofsalonswasthesocialprestigeofaninvitation.
Thesalonwasfor"relativelysmalleliteaudiences."32Duringthesecondhalfofthe19th
century,printedmusicandtheriseofpianomanufacturemadeitpossibleformany
middleclasshomestohosttheirownsalons.Atthatpoint,thesalonlostits"cach"and
"elite"character.33Thesalonwasnolongerasignofsocialprestigeandthe
phenomenonfelloutoffavoramongtheelite.
Inthesecondhalfof19thcenturythelargepublicconcerthallbecamethe
dominanttraditionalvenueforclassicalmusicperformance.Severalfactorsprecipitated
thisshift.First,thankstotheindustrialrevolution,agrowingmiddleclasshadmoneyto
30
HeinrichEduardJacob,FelixMendelssohnandhisTimes(EnglewoodCliffs,N.J.:
PrenticeHall,1963),181.
31
RichardTaruskin,MusicintheNineteenthCentury(Oxford:OxfordUniversityPress,
2010),78.
32
Ibid.,75.
33
Ibid.,79.
11
spendontickets.34Also,thegrandpianowasbecominglouder,morepowerfuland
bettersuitedtoahallratherthanalargeroom.35Finally,virtuosoperformerslike
PaganiniandLisztattractedlargeaudiencestotheirperformances,necessitatinglarger
spaces.LargeconcerthallswerebuiltalloverEurope.Amongthesewerethe
MusikvereininVienna,builtin1870,whichseats2,000,RoyalAlbertHall,builtin1871
withacapacityof6,500,andCarnegieHall,openedin1891,whichseats2,645.36These
hallshostedsymphonicmusicaswellassoloistsandchambermusic.
Theerectionofthesegreatconcerthallscoincidedwiththe"canonization"of
thegreatclassicalcomposersinbothsymphonicandchambermusic.37Forexample,in
1858,thepopularconcertseriesatSt.JamesHallinLondonincludedthemusicof
Beethoven,Haydn,Mozart,MendelssohnandWeber.38By1870,80%ofthemusicbeing
performedwasbydeadcomposers,ascomparedto1800,when80%ofthemusic
playedwasbylivingcomposers.39Performingmusicthatwastimetestedensuredhigh
audienceturnoutand,asRichardTaruskinpointsout,"Venerationofthemasters,
34
Taruskin,MusicintheNineteenthCentury,676.
35
King,ChamberMusic,5457.
36
Taruskin,MusicintheNineteenthCentury,676679.
37
Ibid.,79.
38
Ibid.,680.
39
Ibid.
12
moreover,conferredacachetnotonlyonproducersandpurveyors,butonconsumers,
too."40
Bythelate19thcentury,conventionalvenuesforchambermusicspanneda
largevarietyofsettings.Forexample,thismusichadmovedintolargepublicconcert
halls.ApopularchambermusicseriestookplaceinSt.JamesHallfrom18581898.41St.
JamesHall,openedin1858,hadaseatingcapacityof2,127.42Chambermusicwasstill
presentedinmoreintimatesettings,includingprivatehomesandsmallerpublicplaces.
TheSouthPlaceSundayConcertsinLondon,achambermusicseriesintheNational
Gallery,spannedfrom1887to1946.43IntheU.S.,Mrs.ElizabethSpragueCoolidge,an
importantpatronofchambermusic,establishedchambermusicconcerts,starting
around1917,intheauditoriumintheLibraryofCongressandinafestivalinthe
Berkshires.44Agreatnumberofchamberconcertsinthe20thcenturytookplaceat
collegesanduniversities,wheremanycomposersandperformerswereemployed.45
Chambermusicintheearly20thcenturyplayedinhomes,concerthalls,libraries,
museums,outdoorfestivalsandcolleges.
40
Ibid,681.
41
King,ChamberMusic,67.
42
Taruskin,MusicintheNineteenthCentury,676.
43
King,ChamberMusic,67.
44
Ibid.,66.
45
Ibid.,67.
13
2.2Happenings
Themiddleofthe20thcenturysawtheemergenceofexperimentalperforming
artsinunconventionalspaces.Oneofthefirstexamplesofthisiswhatcametobe
knownasthefirst"happening."Thiswasanuntitledeventin1952atthedininghallin
BlackMountainCollege.46Theperformanceconsistedofaseriesofunrelated
performancesofsolodance,film,slides,paintings,records,poetryreadingandpiano.47
Agroupofartistsinresidenceatthecollegeputtogethertheevent,includingthe
composerJohnCage,choreographerMerceCunningham,choreographer/poetCharles
Olsen,pianist/composerDavidTudorandvisualartistRobertRauschenberg.48Between
35and50peoplewereinattendance,includingstudents,facultyandlocals.The
audiencewasseatedinchairsarrangedintofourtriangles,formingasinglesquare,and
mostofthe"performances"occurredoutsidethisarrangementofchairs.49Althoughthe
audiencewasseated,theirattentionwasnotdirectedtowardsasinglestagearea.Cage
andOlseneachgavelecturesfromthetopofaladder.Amovieandslideswere
projectedonoppositesidesoftheroom.TudorperformedpianoandCunninghamand
46
WilliamFetterman,JohnCage'sTheatrePieces:NotationsandPerformances
(Amsterdam,Netherlands:HarwoodAcademicPublishers,1996),97.
47
Ibid.
48
MelanieKloetzelandCarolynPavlik,SiteDance:ChoreographersAndTheLureOf
AlternativeSpaces(Gainesville,Florida:UniversityPressofFlorida,2011),7.
49
Fetterman,JohnCage'sTheatrePieces:NotationsandPerformances,9798.
14
theotherdancersmovedaroundtheroom.50Severalfeaturesofthisperformance
becamehallmarksofexperimentalperformancesgiveninthe1950sthrough70s.The
eventwasmultimediaandstrovetocreateanewperformancecontext.Movingaway
fromavenuewithaformalstage,thephysicalrelationshipoftheaudienceand
musicianschanged.Inaddition,bymovingoutofaconcerthallandintoadininghall,
performanceisseeninanewcontextnotpresentedinaconcerthallbuilttovenerate
theoldmastersbutinaplaceofeverydayliving.
JohnCageneveradoptedtheterm"happening"forhisownevents,buthedidgo
ontostagemanymoretheatrepiecesincollaborationwithMerceCunningham.The
detailsoftheeventswereoftendeterminedbychanceprocedures.Theyoccurredin
cafeterias,museums,plazasandgymnasiums.51Cagedevelopedaseriesof
performancesthathenamedaMusicircus.AMusicircus,likeahappening,wasa
simultaneousperformanceofseveralmultimediaevents.InMusicircusVariationsI
VIII,writtenbetween195867,Cageaddressedtheissueofperformancespace.For
example,inthescoretoVariationsIV,hegivesthefollowingoptionsforaperformance
space:"1.atheatre(witheitheronefloororwithbalconyorbalconies),2.abuilding
withoneormorefloors,3.anapartmentorsuite,4.aclosedspace(i.e."acave"),or5.
anoutdoorspace."52
50
MichaelNyman,ExperimentalMusic:CageandBeyond(Cambridge:Cambridge
UniversityPress,1999),72.
51
KloetzelandPavlik,SiteDance,9.
52
Fetterman,JohnCage'sTheatrePieces,125.
15
Clearly,CagewasopenendedaboutwhatkindofvenuecouldholdaMusicircus
orothertheatrepiece.Cageperformedmanyofthesepiecesatartgalleries,including
thePalmerGalleryinLAin1964andtheSculptureCourtoftheArtGalleryofTorontoin
1966.53Sincetheworksweremultimediawithvisualartelements,itisnotsurprising
thattheywereoftenstagedingalleries.Musicircuseswereheldinmoreunusual
locationsaswell,liketheMusicircusperformedattheStockPavilionattheUniversityof
IllinoisatChampaignUrbanain1967.54Cagewasalsoinvolvedinputtingonanallnight
concertin1963atthePocketTheaterinNewYork,aformerpornographytheater.The
performancewasofSatie'sVexations,an87secondpiece,repeated840times.Andy
Warholwasamongtheattendees.Eachwaschargeda$5admissionfeebutoffered5
centsbackforeverytwentyminutestheystayed.55Cagecontinuedtostagemultimedia
eventsingalleriesintothe1980s.56Cagewaspioneeringinmixingnewformsof
expressionwithnewvenues.Withinthenextgenerationofartistsweremanyadmirers,
whowereinfluencedbyhiswork.
Happeningsbecamepopularinthe1960s,andwerestagedinlofts,stores,
galleriesandotherincreasinglyunconventionalvenues.Thoseorganizinghappenings
deliberatelyavoidedraisedstagesinordertoencourageinterminglingbetween
53
Ibid.,125135.
54
Ibid.,138.
55
StevenWatson,FactoryMade:WarholandtheSixties(NewYork:PantheonBooks,
2003),107.
56
Ibid.,122,153.
16
audienceandperformers.57From195864,happeningsinNewYork"wereascommon
andimportanttothedowntownartcommunityasmoretraditionalgallerydisplays."58
Soonmuseumsbegantocommissiontheseperformanceevents.In1962theWalkerArt
GalleryinMinneapolisinvitedKaprowtohostanevent,andalsoin1962Claes
OldenburgwasinvitedtoperformaneventattheDallasMuseumofContemporary
Art.59ThehistorianBarbaraHaskellconjecturesthatoncehappeningswere
commissionedandbroughtintothecommercialrealm,theyquicklylosttheir"veneerof
chic"andfelloutoffavorbytheendofthedecade.60
2.3Lofts
Anewperformancespacethatemergedinthe1960sintheNewYorkCity
neighborhoodofSoHo,wastheloft.Artistslivedinthe"industrialslum"ofSoHoforthe
cheaprentsandlargespaces.61Theloftsmanyfavoredwereabovefactoriesand
warehousesandgavevisualartiststhespacetheyneededtowork.Atfirsttheyresided
thereillegally,becauseSoHowasnotzonedtoberesidential.Startinginthemid70s,
SoHowasstillzonedformanufacturing,butacertificationsystemwasputinplaceto
57
KloetzelandPavlik,SiteDance,8.
58
BarbaraHaskell,Blam!TheExplosionofPop,Minimalism,andPerformance19581964
(NewYork:WhitneyMuseumofAmericanArt,1984),42.
59
Ibid.,47.
60
Ibid.
61
RichardKostelanetz,Soho:TheRiseandFallofanArtist'sColony(NewYork:
Routledge,2003),3.
17
makeexceptionsforartists,playwrightsandcomposerstolivethere.62Bythemid1970s
about3,500people,mostlyartists,werelivinginSoHo.63
In1960,YokoOnohostedaseriesofconcertsinherloftinSoHo,organizedby
thecomposerLaMonteYoung.From196061,Youngpresentedeightprogramsin
Ono'sloft.Youngsaidthisseries"wasperhapsthefirsttotakeplaceinaloftinNew
YorkCity,thusrepresentingoneofthebeginningsofalternativeperformancespaces."64
Onodecidedtogiveconcertsinherloftbecause,asshesaidinaninterviewwithKyle
Gann,inthosedays,therewasonlyTownHallandCarnegieHall.65Ganndeclaredthe
startofthisseriesasthebeginningofthedivisionbetween"uptown"and"downtown"
music.Uptownmusic,newmusicperformedinTownHall,CarnegieHallandLincoln
Centerwas"acontinuationoftheEuropeantraditionprimarily,the12tone
tradition."66Hedefineddowntownmusicasnewmusic,oftenwrittenforspacessouth
of20thStreetinManhattan,whichemphasizedpersonalexpressionovertradition.67
TheconcertsinOno'sloftbecameaplaceforemergingandexperimental
performanceartistswhowerenotwelcomeonthebigstagesofuptownNewYork.
62
Ibid.,17.
63
Ibid.
64
KeithPotter,FourMusicalMinimalists:LaMonteYoung,TerryRiley,SteveReich,
PhilipGlass(Cambridge,UK:CambridgeUniversityPress,2000),50.
65
KyleGann,MusicDowntown:WritingsfromTheVillageVoice(Berkeley:Universityof
CaliforniaPress,2006),4.
66"BreakingtheChain:AnEssayonDowntownMusic,"KyleGann,accessedMarch
27,2013,http://www.kylegann.com/downtown.html.
67Ibid.
18
ProgramsincludedYoung'sComposition1960#,whichcalledforaBnaturalandFsharp
tobeheldforalongtime,"andYokoOno's"WallPieceforOrchestra,"inwhich
performersbangtheirheadsagainstawall.68Eventuallymanyoftheartists,poets,
musiciansandperformersinvolvedintheseearlyloftconcertscametobeknownasthe
performancegroupFLUXUS,ledbyGeorgeMaciunas.69
LaterLaMonteYounghostedrehearsalsandperformancesintheloftheshared
withMarianZazeela.Theloftbecameameetingplaceformusiciansandvisualartists.70
RehearsalsfortheensembleTheatreofEternalMusicwereheldthereaswell.71The
groupstartedtoincorporateelementsoftheloftenvironmentintotheirdronepieces.
Forexamplethedronetheaquariummadebecamepartofthemusic.72LaterYoungand
Zazeelamovedintothe"DreamHouse"onHarrisonStreet,andin1979openedthe
houseforperformances,recordingsandgallerydisplays.73
Bythe1970s,loftconcertswerehappeningalloverSoHo.PhilipGlassgave
unadvertisedconcertsonSundayafternoonsinhisownloftonBleekerStreet.74The
PhilipGlassEnsemblealsoperformedhisMusicwithChangingPartsattheloftof
68
Ibid.
69
Haskell,Blam!,53.
70
Potter,FourMusicalMinimalists,53.
71
Ibid.,6164.
72
Ibid.,70.
73
Ibid.,99.
74
Nyman,ExperimentalMusic,303.
19
minimalistsculptorDonaldJudd.75MeredithMonkpresentedherperformanceart
worksinherownloftatthistimeaswell.76Althoughalmostalltheperformancesgoing
oninloftsinthe1970swereofexperimentalnewmusic,therewereexceptions.For
example,RobertBeacherfoundedtheSoHoBaroqueOperaCompanyinhisownloft.
BeacherpresentedoperasherevivedbyRameau,Telemann,CimarosaandGaluppi,and
wouldsometimescombinetheseperformanceswithnewlycommissionedworks.77
Performersandcomposersinthe1970sgaveloftconcertsforbothpracticaland
artisticreasons.Performinginyourownorafriend'sloftwasfree,animportantfactor
tostrugglingartists.Theloftswerealsoarelativelysmallspace,perfectforasmall
audienceoffriendsandfellowartists.78Thechoiceoftheloftasaperformancespace
wasalsoanaestheticone.Composersweredetermined"toreintegratetheirmusicinto
thenormalflowofdailylife.Inthemostobviousrespectthismeantrejectingthe
formalityofclassicalorchestraconcerts,thetuxedosandthedistantproscenium
stage."79PhilipGlasssaidinhiscompositionsatthetimethathewas"tryingtoalterthe
traditionalstaidconcertsituation."80
75
K.RobertSchwarz,Minimalists(London:Phaidon,1996),125.
76
KloetzelandPavlik,SiteDance,15.
77
Kostelanetz,Soho,107.
78
Ibid.
79
Gann,MusicDowntown,3.
80
RichardKostelanetzandRobertFlemming,WritingsonGlass:Essays,Interviews,
Criticism(Berkeley:UniversityofCaliforniaPress,1999),41.
20
Loftconcertsrepresentedpartofthe"local,insider'sphenomenon"ofartsin
SoHointhe60sand70s.81WhencomposerslikeSteveReichandGlassstartedtogain
moreattention,theyleftthissceneforlargerhallsandlargeraudiences.WhenGlass
performedinloftsitwasfor,ashesaid,"thecommunityofvisualartiststhatlivedin
downtownNewYorkCity,theaterartists,peopleindance,somemusicians."82Forboth
artisticandeconomicreasons,Glassmovedontolarger,moreconventionalhalls.83
Also,inthe1980s,asSoHobecamebetterknownandmorepopular,rentsrose,forcing
manyartistsandgalleriesoutofthearea.Thiseffectivelyendedtheuniqueartist's
colonythatthrivedinSoHointhe60sand70s.84
2.4ArtGalleriesandMuseums
Artgalleriesandmuseumsalsoemergedasnewalternativeperformancevenues
inthe1960sand70s.VisualartistsandmusicianslivedandworkedtogetherinSoHo,
andmusicalperformancesmadetheirwaytovenuestraditionallyreservedforvisual
art.Theminimalistcomposersusedartgalleriestohosttheirperformancesandfound
theartscommunitymorewelcomingtotheirmusicthantheclassicalmusiccommunity
atthebeginningoftheircareers.PhilipGlasssaidthatinhisearlycareerheplayed
"countlessgalleryandloftconcerts"andthat"itwasthevisualartspeoplewhowere
81
Gann,MusicDowntown,xiv.
82
KostelanetzandFlemming,WritingsonGlass,195.
83
Ibid.
84
Kostelanetz,Soho,212224.
21
reallybehindtheseeventsandwhosolidlysupportedthem."85EarlyinSteveReich's
career"thepersonal,aswellasaesthetic,connectionshemadewiththeartworldinthe
1960sallowedReichaccesstoartgalleriesasperformancespaceslongbeforehe
becameacceptedinWesternclassicalmusiccircles."86
Astaggeringnumberofconcertsandperformanceeventsweregiveningalleries
andmuseumsinthe1960sand70s.MeredithMonkperformedofteningallerieswhen
shefirstcametoNewYorkbecauseshewasunhappywiththeraisedstagesof
theatres.87MonkgavethefirstperformanceofJuice,amultimediaeventatthe
GuggeinheimMuseum,whichshechoseforbothitsacousticandarchitectural
features.88ShealsogaveperformancesatthegalleryspaceoftheJudsonChurchinNew
York,theSmithsonianMuseumofNaturalHistoryandtheChicagoMuseumfor
ContemporaryArtbetween1967and1969.89TerryRileyparticipatedinanumberofall
nightconcertsatgalleries,includingoneofthefirstin1967atthePhiladelphiaCollege
ofArt.90HeplayedhisAnAllNightFlightforsolosaxophone,whichlasted8hours,30
85
PhilipGlassandRobertT.Jones,MusicbyPhilipGlass(NewYork:Harper&Row,
1987),23.
86
Nyman,ExperimentalMusic:CageandBeyond,174.
87
KloetzelandPavlik,SiteDance,,31.
88
Ibid.,37.
89
Ibid.,31.
90
WimMertens,AmericanMinimalMusic:LaMonteYoung,TerryRiley,SteveReich,
PhilipGlass(London:Kahn&Averill,1988),42.
22
minutes,includingbreaksforRileywheretapeloopsofhisperformancecontinuedto
play.91
SteveReichandPhilipGlassbothpresentedgalleryandmuseumconcerts
regularlyfromthelate60sthroughtheearly80s.Reichdevelopedarelationshipwith
theParkPlaceGallery,anartistcooperativerunbyPaulaCooper,andpremieredPiano
PhasethereinMarch1967.92Alsoin1967,ReichpremieredatapepiececalledBuyArt,
BuyArtforagalleryshowinPhiladelphia,createdfromrecordingsofvariousartists
saying"buyart."93GlassandReichhadajointperformingensemble,latertoevolve
separatelyintoSteveReichandMusiciansandthePhilipGlassEnsemble,which
performedattheWhitneyMuseum,theGuggenheimMuseumandtheWalkerArt
CenterinMinneapolisfrom196970.94Reichwouldcontinuehisrelationshipwiththe
Whitney,givingthepremiereofMyNameIs:EnsemblePortraittherein1981.95
Startinginthe1980s,thenumberofperformanceeventsinmuseumsand
galleriesbegantodecline,especiallyinSoHo.AsmanygalleriesleftSoHoforChelsea
andotherlessexpensiveareas,"thekindsofconcertspresentedintheirspaces
disappearedaswell."96Performingartistsalsosoughtnewvenuesthatcould
91
Ibid.
92
Nyman,ExperimentalMusic,173.
93
Ibid.
94
Ibid.,197.
95
Ibid.,173.
96
Kostelanetz,Soho,112.
23
accommodatelargeraudiences.PhilipGlass,TerryRiley,SteveReichandMeredith
Monkmovedtobiggerperformancespacestoaccommodatetheir"largeand
enthusiasticaudiences."97PerformanceartistLaurieAndersenworkedprimarilyin
galleriesinSoHo"untilthedesireforbetteracousticstookhertoothervenues."98
However,concertsingalleriesandmuseumsstillhappenfrequentlytoday.Althoughthe
explosionofperformancesinthesevenuesslowedstartinginthe1980s,concertseries
attheWhitneyMuseum,theWalkerArtGalleryandcountlessothermuseumsand
galleriesaroundthecountrycontinuetothrivetoday.Infact,theseconcertsareso
commoninthe21stcenturythatgalleriesandmuseumscannowbedefinedas
"traditional"venuesforchambermusicperformance.
Inthe1970s,artgalleriesandmuseumswerenovelplacestohostconcerts.
Theywereopentoyoungandexperimentalartistswithnewideasbutlittleprior
experience.Nowmanyoftheseoncerevolutionaryconcertspaceshavehostedconcerts
formanyyears,andhaveallthetrappingsofaconcerthallseries,includingartistic
directorsandestablishedfunding.Accordingtoitswebsite,theWhitneyMuseumhasa
"longstandinghistoryofperformingarts"and"formallybeganpresentingmusicinits
galleriesinthe1960s."99Theycontinueperformancestodayand,alongwithpresenting
97
Adams,HallelujahJunction:ComposinganAmericanLife(NewYork:Farrar,Strausand
Giroux,2008),119.
98
MarkJ.Prendergast,TheAmbientCentury:FromMahlertoTrance:TheEvolutionof
SoundintheElectronicAge(NewYork:Bloomsbury,2000),346.
99
"TheWhitney,"accessedJanuary30,2013,http://whitney.org/Performances/History.
24
emergingartists,continuerelationshipswithperformerslikeSteveReich,whohasbeen
establishedinhiscareerfordecades.Whilesomeestablishedmuseumandgalleryseries
continuetosupportyoungartists,thecompetitiontoperformattheseeventsisnow
muchhigherthanintheirbeginnings.Longrunning,establishedconcertseriescanbe
foundinmuseumsandgalleriesallovertheUnitedStatestoday.
Classicalandcontemporaryartistsworkingtodayinbothtraditionaland
alternativevenues,tendtocategorizemuseumandgalleriesastraditionalvenues.
FoundingmemberofSoPercussion,DougPerkinsexplainedtheyplayedmanyofthese
concertswhenestablishingtheensemble."Idon'tthinkwethoughttheywere
alternativebecause,well,certainlythemusicthatweweredoing,SteveReich'smusic
cameoutofanartgallery.So,forusthatfeltnotalternativebutinfactitfeltlikeat
home.Themostappropriatevenuewastheartgalleries."100GavinChuck,Managing
DirectorofAlarmWillSound,acontemporarymusicchamberorchestra,mentionedthat
theensemblehas"playedinmuseumsbeforebutIwouldn'tconsiderthose
unconventionalornonconventional."101Galleriesandmuseumshavebecomea
standardlocationformusicperformancesintheclassicalgenre,especiallythesubgenre
ofcontemporarymusic.
Althoughthesearenowestablishedvenues,theycanstillmaintainsignificant
differencesfrommostconcerthalls.Somegalleryconcertsareticketedeventswith
standardrowsofseats,anestablishedstarttimeandthesameexpectationsfromthe
100
DougPerkins,interviewbyauthor,November6,2012.
101
GavinChuck,interviewbyauthor,August30,2012.
25
audienceasanyconcerthall.Othergalleryandmuseumconcertshaveamoreopen
format.SaschaJacobsen,bandleaderandcomposerfortheSanFranciscobasedMusical
ArtQuintetnotes,"Thegreatthingaboutmuseumsisthatoftentimespeoplecanjust
walkinandoutastheyplease.Youdon'thavetositforthewholeshow.There'skids
thatcancomeandrunaround."102Inadditiontoafreerconcertformat,museumsand
galleriescanbringnewaudienceswhowouldn'tseekoutaclassicalconcertinahall.
KennySavelson,executivedirectorofBangonaCan,foundthatwhentheorganization
performsingalleriestheyfind"peoplewhoassociatemorewithvisualart"thanwith
newmusic.103Artgalleriesandmuseums,whichhavegrownintoapartofclassical
music'sestablishment,continuetoenrichtheartwithdifferentformatsandnew
audiences.
2.5DedicatedPerformanceSpaces
SoHointhe60sand70salsosawthecreationofseveralnewalternativevenues
specificallycreatedtohostperformances.Thesewerespacesforthepresentationof
multimediaperformancesandweregenerallywithoutthetypicalraisedstageof
concerthallsandtheatres.Packedintoa5x5blockareawithmultiplegalleriesinSoHo
in1975weretheperformancespacesThePerformingGarage,TheKitchen,theDia
DanceSpace,TheByrdHoffmanSchoolofBirdsandtheRedSpotOutdoorSlide
Theater.104Thesespaceswereusuallyconvertedbuildings.ThePerformanceGarage,for
102
SaschaJacobsen,interviewbyauthor,October15,2012.
103
KennySavelson,interviewbyauthor,November16,2012.
104
Kostelanetz,Soho,1.
26
example,wassimplyanopenspace,convertedfromanoldtruckgarage,withnostage
andnochairs.105
TheKitchenCenterforVideo,Music,Dance,Performance,FilmandLiterature
wasfoundedin1971inthekitchenoftheMercerArtsCenterintheBroadwayCentral
Hotel.Thegroupwasforcedtomovefromitsoriginallocationwhentheroofcollapsed,
butkeptthenameTheKitchenwhentheymovedtoaloftspaceonBroomeStreetin
1973.106Thisnewspacewasalargeopenroomwithcastironcolumns,largewindows
andblackoutcurtainsthatwasconstantlyrearrangedforneedsofperformancesand
installations.107In1986thecentermovedtoWest19thStreetwhereitisstilllocated
today.108
TwofoundersoftheKitchen,SteinaandWoodyVasulka,wrotethatthey
foundedthevenue"toperformanexperiment"fornewsoundscreatedthrougha
synthesizer.109Experimentalismintheartshasbeenahallmarkofthisinstitutionever
since.Fromsomeofthemusicians'standpoint,therewasalsoapracticalreasonfor
gettinginvolvedwithTheKitchen.GarrettList,oneoftheearlymusicianstoperformat
105
Ibid.,20.
106
LeeMorrissey,TheKitchenTurnsTwenty:ARetrospectiveAnthology(NewYork:
KitchenCenterforVideo,Music,Dance,Performance,Film,andLiterature,1992),1.
107
Ibid.,48.
108
Ibid.,1.
109
Ibid.,5.
27
thecenter,said,"wewerequitesimplylookingforaplacetoplay."110Thefirstmusic
performanceatTheKitchenwas"ACageSamplingHeardatTheKitchen"in1973.111The
centerhosteddifferentgenresofexperimentalmusicbyincludingjazzandavantgarde
rockbythelate70s.112AsTheKitchenbecamemoreestablishedintheartsworld,
however,itwasmoredifficulttokeepitsdoorsopentonewandstrugglingartists.John
Kelly,comingtoNewYorkintheearly80swondered,"howtoinfiltratetheIvoryTower
deceptivelyknowbythemundanetitleof'TheKitchen?'"113
Manyofthealternativespacesformedinthe60sand70sdidnotsurvivethe
difficultyoffundingthoseinstitutionsthroughthe80s.Significantperformancespaces
thatwereforcedtoclosetheirdoorsincludetheFilmmaker'sCinemathque,TheByrd
HoffmanSchoolofBirdsandtheRedSpotOutdoorSlideTheater.Thosethatdidsurvive
intothe21stcenturybecamepartofmainstreamclassicalmusic.Twoorganizationsthat
startedasinformal,artistrunspacesinthe1970shavegrownuptobecomevenerable,
establishedNewYorknewmusicdestinations:TheKitchenandRoulette.TheKitchen
todayisstillarelativelysmallconcertspacewithamaximumcapacityof200.Itnowhas
alobbywithaticketdesk,10rowsofriserseatingandsophisticatedbuiltinsoundand
lightingequipment.Thestageisnotraisedandthespacelookssomewhatlikeablack
boxwarehouse.Maintainingsomeofitsdoityourselfspirit,beerissoldoutofgiant
110
Ibid.,23.
111
Ibid.,16.
112
Ibid.,19.
113
Ibid.,97
28
bucketsinthehallwaytotheaudienceseating.Althoughthereissomedifferencein
characterfromaconcerthallcertainlythedecorismoreindustrialthansumptuousthe
standardauditoriumseatingdoesencouragealisteningexperienceverysimilartoa
concerthall.
TheKitchen'scurrenthomeisamuchmoresophisticated,andexpensive,
concertspacethaninitsoriginallocation.Accordingtoitswebsite,theKitchenemploys
13staffmembers,including5curators.114Ithasbeenanonprofitorganizationsince
1973andhasa24memberboardofdirectors.115TheKitchenlistsasfundersonits
website28foundations,theNationalEndowmentfortheArts,3stateandcityagencies
and13banksandcorporationsincludingUBS,GoldmanSachs,HSBC,Sotheby's,Time
WarnerandBankofAmerica.116TheKitchenisusingthesamefundingmodelasmost
symphonyorchestras,byrelyingheavilyongrantsandcorporatedonationstocover
costs.TheKitchenisstillaplaceforexperimentalworkbutnowthisworkmustpleasea
largeboardofdirectors,5curatorsandasubstantialbodyofcorporate,privateand
governmentfunders.
Rouletteisaperformancespacethatgrewfromaloftspaceintoaconcerthall.
AccordingtoAmandaDavis,aprogramdirectoratRoulette,theconcertseriesstartedin
JimStaley'sloftinTribecain1978,movedtoaspaceonGreenStreetandthentotheir
114
"TheKitchen,"accessedJanuary31,2013,http://www.thekitchen.org/page/23/1.
115
"TheKitchen,"accessedJanuary31,2013,http://www.thekitchen.org/page/163/3.
116
"TheKitchen,"accessedJanuary31,2013,http://www.thekitchen.org/page/167/.
29
currenthomeinthetrendyParkSlopesectionofBrooklynin2011.117ThenewRoulette
isanauditoriumspaceinaYWCAbuilding,rentedona10yearleasebythe
organization.Thespacehasacapacityof400seatedand600standing.Accordingto
Davis,theorganizationmadesomeadjustmentstothespacebyaddingasecond,lower
stage,creatingamultileveleffect,andinstallingsophisticatednewsoundandlighting
systems.Whentheyrentedtheauditoriumitalreadyhadanopenmainfloor,where
chairscanbeplacedandremoved,andtheaterchairsonthebalconylevel.Althoughthe
mainfloorspaceisflexible,Davissaid"wewantedtohaveaconcerthall,soit'susually
seated."Theyhaveusedtheflexibilityofthespacetoputperformersintheaudience
areainthepast,though.Thereisabarinthelobby.Audiencemembersarefreetobring
foodanddrinkinsidetheauditoriumbutareexpectedtomaintaintotalsilenceduring
theperformances."Theaudienceisreallygood.Sometimesourpiecesaresoquietthat
youcanhearapindrop,"explainedDavis.Rouletteisnowaconcerthallwithsimilar
expectationsfortheaudienceasyouwouldfindinanyotherclassicalmusichall.
Roulettehasalsobecomeestablishedasanorganizationandinitsfunding
structure.AccordingtoitsSpring2013program,Roulettehasa17memberboardof
directors,a24memberstaffand5interns.Itlists26foundations,thecityofBrooklyn,
theNewYorkCityCouncil,NewYorkCommunityTrust,NewYorkStateCouncilforthe
ArtsandtheNationalEndowmentfortheArtsasfunders.Theprogramalsolistsprivate
individualsgivingthousandsofdollarseachtofundthecurrentseason.Severalboard
membersarelistedashavinggivenover$1,000toRouletteforthecurrentseason,
117
AmandaDavis,interviewbyauthor,Brooklyn,NY,January12,2013.
30
includingonelistedashavinggivenover$10,000.Rouletteusesafamiliarmixoffunding
sourcesincludingfoundations,governmentagenciesandwealthyindividuals,someof
whomoverseetheorganizationasmembersoftheboardofdirectors.Accordingto
Davis,Roulettederivesadditionalfundingfromrentingthespaceseveralnightsaweek
andfromtheproceedsofthebar.
ThisestablishedfundingsystemhelpsRoulettemaintainaconcerthallspaceand
payartistsflatfees,whilekeepingticketpriceslow.Roulettestrivestokeeptheir
concertsaccessiblefinanciallyandoffersmosteventsfor$15.Theorganizationalso
strivestosupportyoungartists.TheyhaveagrantthroughtheJeromeFoundationto
hostemergingartistsandDavissaidtheyutilizetheiryoungerstafftofindnewacts.Jim
Staley,thefounderofRoulette,stilldoesmostoftheprogrammingandDavismentions
thatthey"getalotofthesameperformersperforming"multipletimesfromseasonto
seasonalthoughnewsubmissions"mixesthepoolalittlebitwider."Thecomposerand
founderoftheensembleVictoire,MissyMazzoli,seesitasoneofseveral"typical
concertvenues"fornewmusicinNewYork.118Whileitstillcaterstoanichemarket
withintheclassicalmusicindustryofnewmusiclovers,Roulettehasbecomean
establishedconcertorganizationgivingperformancesinatypicalconcertsettingfor
classicalmusic.
JohnZorn'stheStone,aspaceforexperimentalmusicinNewYorkCity,isan
interestingcaseofarelativelyyoungandantiestablishmentdedicatedartspace.John
Zornisacomposerandsaxophonist,activeintheNewYorkCityavantgardescenesince
118
MissyMazzoli,interviewbyauthor,November13,2012.
31
the1970s.119A2005NewYorkTimesarticleannouncingtheopeningoftheStone
explainshowthespaceworks."TherearenodrinksormerchandiseattheStone,and
theclubisgivingallthedoorproceedstothemusicians,eachmonth'ssixnightsaweek
programmingwillbebookedbyasinglemusician...andtheoperatingcostswillbe
coveredbyZorn'srecordmakingonhisownlabel,Tzadik."120Thecuratingpositionis
rotatedonamonthlybasis.TheStone'swebsitestatesthat,"theStoneisbookedpurely
onacuratorialbasis.Wedonotacceptdemosofanykind."121Therefore,ifyoudonot
knowoneoftheassignedcurators,orcometotheirattentionthroughpublic
performancesorconnections,youcannotapplytoplayattheStone.AccordingtoJoe
Merolla,avolunteerworkingthedooroftheStoneonJanuary13th2013,theStoneis
nonprofitandentirelyrunbyvolunteers.Thedonationsfromamonthlyjazzimprov
sessionhelptopaytherentforthestorefrontspace.
TheStoneisasmallspacewithacapacityforaround3540seatedand70
standing.Thedoorpriceissetat$10pershow.Youngandlessestablishedartistsare
abletobookperformancesattheStone,forexample,composerandperformerLeah
Paul,whohasasmallfollowingandconnectionswithmanyexperimentalartistsaround
NewYork.Thespaceitselfishardtofind.AtthestreetcornertheStone'swebsitelists
119
"AllMusic,"accessedMarch13,2013,http://www.allmusic.com/artist/johnzorn
mn0000239329.
120
BenRatliff,"ForJazzMusiciansandFans,a(Tiny)RoomofTheirOwn,"NewYork
Times,April5,2005,accessedJanuary16,2013,
http://www.nytimes.com/2005/04/05/arts/music/05ston.html?_r=0.
121
"TheStone,"accessedJanuary17,2013,http://thestonenyc.com/.
32
asitslocation,thereisaconveniencestoreononesideofthestreetandwhatappears
tobenothingontheother.Oncloserinspectionofthisseeminglyabandonedcorner,a
smallglassdoorhas"thestone"printedonitinaround18pt.font.Musiciansarriving
latetoperformcanbeheardfrominsidetheperformancespacesaying,"thisisit...no,
really?"AsmusicianandtheStonevolunteerJoeMerollaputit,"Itwouldn'tbe
undergroundmusicifitwereeasytofind."122
Despiteitssmallsize,difficultytofindandtinybudget,theStoneisstillbuilton
thesamemodelofconcertspaceasmostoftheperformancespacesemergingfromthe
1970s.Chairsareoftenplacedinrowsandtheexpectationfortheaudienceissilence
duringperformances.Thisisaformalconcertsettingwheretheartistsperformandthe
audiencesitssilentandstill,onlyapplaudingwhentheendofaclassicalworkis
indicated.Themusicprogrammedatthisspaceisuninhibitedbylargeprivateand
corporatedonationsorgovernmentfundingbutthesettingismuchmoreinlinewith
thealternativespacesofthe1970sthanoftoday.Thisspacestandstodaybetween
alternativeandtraditionalconcertsettings.
2.6PublicSpaces
Manyperformershavetakentheirtalentstothestreet.Performancesinpublic
spacesserveseveralfunctions.Theyofferemergingartistsanaudiencetheymightnot
otherwisebeabletodrawtoperformances.Theyalsogivethegeneralpublicthe
opportunitytoencounterartintheireverydaylives.OneofLaurieAnderson'sfirst
famousworks,calledPerformanceArt,wasperformedonaNewYorkCitystreetin
122
JoeMerolla,interviewbyauthor,January13,2014,NewYork,NY.
33
1975.Andersonplayedtheviolinontopofaniceblock,wearingiceskates.Thepiece
lasteduntiltheicemelted.123MeredithMonkusedaparkinglotinSoHotostagea
performance.124Theinnovativedancerandchoreographer,TwylaTharpperformedin
outdoorspaces,includingCentralParkin1969.125RichardKostelanetz,walkingthe
streetsofSoHointhe70s,foundacellistplayingJ.S.BachSuitesandabrassquartet.126
WendyChambersorganizedoutdoorpublicactivitiesincludingStreetMusic(1978).
ArtistRobertMoranputonactivitiesinvolvingentiretowns.127InSanFranciscointhe
1970s,JohnAdamssaidthat,"withmyfriendsImadeavantgardemusicinevery
imaginablelocationthroughoutthecity;inundergroundculverts,inanarboretumin
GoldenGatePark...indankstorefrontsandbookstorelofts."128
Animportantorganizationinthehistoryofalternativevenuesfrom19791992
wastheNewMusicAmericafestival,ayearlyeventthatbeganatTheKitchen.129The
festivaltookplaceinadifferentcityeachyearand,in1992,featuredseveralcities
simultaneously.In1981inSanFrancisco,musicforthefestivalwashostedatthe
123
Prendergast,TheAmbientCentury,346.
124
KloetzelandPavlik,SiteDance,15.
125
Kostelanetz,Soho,80.
126
Ibid.,201.
127
EricSalzman,TwentiethCenturyMusic:AnIntroduction(UpperSaddleRiver,NJ:
PrenticeHall,2002),197.
128
Adams,HallelujahJunction,80.
129
IrisBrooks,NewMusicAcrossAmerica(Valencia,California:CaliforniaInstituteofthe
ArtsinconjunctionwithHighPerformanceBooks,1992),7.
34
Exploratorium.InChicago,thefestivalputoneventsatthezoo,thepierandthe
harbor.130Inthelate80s,festivalsinPhiladelphia,MiamiandMontrealincludedsound
installationsinsubways.131In1992,oneofthemostinnovativecitiesintheuseof
alternativespacesintheNewMusicAcrossAmericafestivalwasPortland,ME.The
festivalinvolvedapianodroppedbyacraneintothemainsquareforaconcert,concerts
atnightclubs,andshowsputoninstorefrontwindowswiththemusicpipedouttothe
audienceonthestreet.132Streetperformancesremainalternativetothisday.Concerts
thatsurprisethepublicbyturningupinunusualplacesstillstandoutsidethenormof
theclassicalmusicindustry.Severalexamplesofthistypeofperformancewillbe
exploredinfuturechapters.
Alternativevenuesstandapartfromthemainstreamofclassicalmusic.They
oftenfeaturedifferentmusic,catertoanalternativeaudienceandcreateaunique
atmosphere.Theyemergewithadifferentsetofrulesandexpectationsthanastandard
venue.Ineveryera,thealternativevenuehasbeendefinedtoacertaindegreebywhat
itisnot:traditional.Understandingthemilieufromwhichanalternativevenue
emerged,isvitaltotheappreciationofthatvenue.
130
Ibid.,9.
131
Ibid.,30.
132
Ibid.,92.
35
CHAPTER3
THESTATEOFMAINSTREAMCLASSICALMUSIC
Beforeinvestigatingtheeffectsofnewvenuesonclassicalmusic,itishelpfulto
considerthestateoftheindustryinthe20thand21stcenturies.Mostclassicalmusicin
21stcenturyalternativevenuesischambermusic,largelybecauseboththestagesand
concertbudgetsaresmall.However,organizationstrackingtheclassicalmusicindustry
havebeenmosteffectiveattracingthelargestorganizations,usuallysymphony
orchestras.Thereforethischapterwillprimarilyfocusonthebestdocumentedaspect
of20thcenturyclassicalmusic,theorchestra.Mostlargeclassicalmusicorganizations
arefacingdecreasingrevenuefromgovernmentandprivatesources.Meanwhiletheir
audienceshavesteadilybecomesmallerandoldersince1980.However,intherelatively
recentpast,classicalmusicwasapopulargenrewithfinanciallyhealthyorganizations.
Duringthelate19thcenturyandearly20thcentury,classicalmusicwasa
popularartformwithorchestrasfundedprimarilybyticketsales.133Orchestrasatthe
turnofthe20thcenturyregularlyperformedforlarge,enthusiasticaudiences.Atthe
premiereofDvorak'sSymphonyNo.9theperformancewassoldoutandthepolice
133
NormanLebrecht,WhoKilledClassicalMusic?Maestros,Managers,andCorporate
Politics(Secaucus,NJ:BirchLanePress,1998),23.
36
werecalledtocalmthosethatcouldnotattend.134Afterwards,Dvorakwas"mobbedby
musiccriticseagertocongratulatehim."135ThePhiladelphiaOrchestragave9
performancesofMahler'sSymphonyNo.8in1916foratotalof25,000people.136Inthe
192930season,theMetropolitanOperamadeaprofitof$90,937,orabout1.2million
intoday'sdollars.137However,beforeadropinattendanceinthelate20thcentury,the
costoforchestralperformancegrewexponentially.In1946,theaveragelargeU.S.
orchestrabrokeevengiving100concerts.In1991theaverageorchestragave200
concertsandoperatedatanaveragelossof$735,000.Thebusinessmodelforartsin
theUnitedStatesbecameto"losemoneywisely"asWilliamSchumann,thefirst
presidentofLincolnCenter,putit.138
3.1BudgetInflation
Aprimaryreasonthatorchestra'sbudgetsgrewsorapidlyinthesecondhalfof
the20thcenturywasfeestoconductorsandsoloists.AnAmericanSymphonyOrchestra
Leaguestudyfoundorchestra'sbudgetshadrisen8timesbetween1971and1992,with
themajorityoftheincreasegoingtosoloistsandconductors.139Thefeesforconductors
134
AliceGoldfarbMarquis,ArtLessons:LearningfromtheRiseandFallofPublicArts
Funding(NewYork:BasicBooks,1995),151.
135
JosephHorowitz,ClassicalMusicinAmerica:AHistoryofitsRiseandFall(NewYork:
W.W.NortonandCompany,2005),537.
136
Marquis,ArtLessons,143.
137
Lebrecht,WhoKilledClassicalMusic?,23.
138
Marquis,ArtLessons,33.
139
Ibid.,174.
37
andsoloistsrose3550%from1990to1995alone.140AuthorJosephHorowitz
conjecturesthatthecultofgreatconductorsandsoloists,whichemergedafter1930in
theU.S.,sidelinedthesupportforlivingcomposersandpushedorchestralprogramming
inaconservativedirection.141Orchestraslargelyabandonedtheideaofperforming
popularmusicoftheirtime,evenastheypouredmoreandmoremoneyintostarswith
highfees.
Atthesametimeasorchestras'budgetswerefaroutpacingincomefromticket
sales,from1950to1980,theartssectorintheUnitedStateshad"exponentialgrowthin
financialandlaborresources."142An"artboom"occurredintheU.S.inthe1960s,when
halfofallorchestrasworldwidewerelocatedintheU.S.From1966to1974,thenumber
ofconcertsgivenbyorchestrasintheU.S.grewby80%.143From1965to1984the
numberofartsorganizationsintheU.S.increasedby700%andthenumberof
orchestrasincreasedfrom58to145.144Notonlyweretheremanymoreorchestrasin
theU.S.bythe1980s,buttheywerealsogivingmanymoreconcertsperseason.This
140
Ibid.,192.
141
Horowitz,ClassicalMusicinAmerica,537.
142
JohnKreidler,"LeverageLost:TheNonProfitArtsinthePostFordEra,"InMotion,
February16,1996,accessedOctober14,2012,
http://www.inmotionmagazine.com/lost.html.
143
Marquis,ArtLessons,144.
144
Ibid.,200.
38
boomcoincidedwithalargeincreaseinthenumberofAmericansgoingtocollegeand
morefreetimeforAmericansduringtheirworkingyearsandwhentheyretired.145
AliceGoldfarbMarquisinherbook,ArtLessons,callsthis"theriddleofinsolvent
artsorganizationsinthemidstofapublicclamoringformorearts."146Asthe
MetropolitanOperawasfacedwithfinancialproblemsandconsideredcancellingtheir
seasonin1960,mediatorArthurGoldbergsaid"theartseconomiccrisiswasnotcaused
bydeclinebutbyunparalleledgrowth."147JosephHorowitzexplainedthat,"Orchestras,
alltold,hadmoresalariedplayers,moreconcerts,moretours.Asof1950,symphonic
seasonsoftwentytothirtyweeksweretypicalinlargecities.So,however,weredeficits
and'savethesymphony'campaigns."148Duringthe1960s,manyU.S.university
campusesbuiltlargeandexpensiveconcerthallswiththeassumptionthat"presenters
neededpublicfundingbecauseticketpricesthatwouldbehighenoughtocoverallcosts
woulddriveawaytoomuchoftheaudience."149
3.2TheNonProfitBusinessModel
Bythe1950stheartsindustryhadsettledintoabusinessmodelwhichreliedon
grantsandindividualandcorporatedonationstobridgethegapbetweenticketsale
incomeandthecostofpresentingconcerts.Bythe1990s,artsorganizationsmade
145
Ibid.,25.
146
Ibid.,34.
147
Ibid.,54.
148
Horowitz,ClassicalMusicinAmerica,411.
149
Marquis,ArtLessons,155.
39
roughlyhalftheirbudgetthroughticketsalesandhalfbydonations,mostlythrough
wealthyindividualsandfoundations.150By2000,performanceincomeatsymphony
orchestrascoveredanaverageofonly45%ofperformanceexpensesaloneat32U.S.
symphonyorchestras.151Inartsorganizations"thebusinesssidetheoreticallyfellto
trustees,usuallywealthyindividualswillingtomeettheinevitableannualdeficitwith
personalcontributions.Thoughfacingbudgetsofmillionsofdollars,theartistsfoundit
distracting,ifnotdemeaning,toworryaboutthenutsandboltsofmanagingthe
enterpriseboxoffice,accounting,subscriptionsales,promotion,advertising,publicity,
fundraising."152Musicorganizationsbecameheavilydependentonwealthyand
corporatedonorsbothforfundingandoversight,intheformofboardmembers.
Orchestraboardsfullofwealthydonorsandrepresentativesofsponsoring
corporationspushedorchestrasinaconservativedirection."Fromthebeginning,
orchestraboardsrepresentedthesocialelite;inexchangeforgenerouscontributions,
thisgroupalsocontrolledprogramming."153Thesewealthy,generallyolderboard
memberstendedtohaveconservativetastes.Chargedwiththeoverseeingthefinances
ofmusicalorganizations,boardsofteninsistedonclassical'hits'thatcouldbe
guaranteedtofillhalls,insteadofinvestinginnewmusic."Itbecameonefunctionofthe
150
Kreidler,"LeverageLost."
151
RobertJ.Flanagan,"ReporttoAndrewW.MellonFoundation,"March2008,
accessedMarch14,2013,
http://www.gsb.stanford.edu/news/packages/pdf/Flanagan.pdf,12.
152
Marquis,ArtLessons,4.
153
Ibid.,152.
40
boardtoserveasafiscalwatchdog,restrainingfinanciallyirresponsibleprogramming
oftenwithoutthebenefitofmusicalexpertise."154Inthe1980s,whencorporations
startedtosponsorartsevents"mostcorporationswerenotinterestedinsupporting
experimentalwork.Instead,theyattachedthemselvestothewellestablished
organizationsandexpectedsomedirectbenefitsfromtheirgenerosity."155In1987,
ErnestFleischmann,thentheLosAngelesPhilharmonicgeneraldirector,notedthat
eachyearorchestrastrytochangeandvary"whatisessentiallyaratherlimited,fairly
standardnineteenthandearlytwentiethcenturyorchestralrepertoire...Isitthenso
verysurprisingthatouraudiencesseemtogetoldereveryyearandourmusiciansmore
boredandfrustrated?"156Littlehaschangedintheorchestralworld'sprogramming
modelintheyearssincethen.
Anothersourceofrevenueforartsorganizationsduringthisartboomwas
governmentandprivategrants.Theartsgrantwas"inventedbytheFordFoundationin
thelate1950s",whenitbegananartssubsidyprogram,unprecedentedintheUnited
States.157TheFoundationcreatedaseriesofshorttermgrantsthatrequiredmatching
fundingfromartsorganizations.158WhentheNationalEndowmentfortheArtswas
154
Horowitz,ClassicalMusicinAmerica,413.
155
Ibid.,169.
156
Lebrecht,WhoKilledClassicalMusic?,213.
157
Kreidler,"LeverageLost."
158
Ibid.
41
formedin1965,agovernmentartssubsidyprogram,itwasalsolargelybuiltaroundthe
systemofmatchingfunding.159
InordertotakeadvantageoffundingofferedbytheFordFoundation,the
NationalEndowmentfortheArtsandotherfoundationsbuiltonthesamemodel,arts
organizationsneededtodevotemoreandmoretimetograntwritingandfundraising
activities.Thisledtotheriseoftheprofessionofartsadministratorandfurtherdivorced
musiciansfromthebusinessofpresentingconcerts.TheartistLorenMunkobservedthis
phenomenoninthevisualartsworldinthe1980s.Atapublicdiscussionatthe
GalapagosArtSpaceonJanuary10th,2013,hediscussedthischange."WhenIfirstgot
toNewYorkinthe80sthegovernmentwasmuchmoregenerouswithgrants"Munk
said.160Hedescribedtheemergenceofawhole"class"ofgrantwritersandwritinggrant
proposals"becametheirartform."Hewentontosaythat,"qualityofartduringthat
period,forme,wasnotgreat."Duetoartsorganizations'widespreadbudgetshortfalls
duringthisperiod,theartofthegrantproposalbecameinextricablylinkedwiththe
businessofpresentingclassicalconcerts.
Aneverincreasingprofessionalsupportstaffgearedtowardsraisingmoney
begantoexertmoreandmoreartisticcontrol.TheNationalEndowmentfortheArtsin
assigninggrantspreferredtodealwithartsadministratorswhowere"consistent,
dependableadministrators,coolheadswhounderstoodhowtofilloutcomplexgrant
applicationsandmeetdeadlines,ratherthanvolatileartists,theiroutlandishvisions,
159
Ibid.
160
LorenMonk,inpublicdiscussionatGalapagosArtSpace,NewYork,NY,January10,
2013.
42
unorthodoxworkhabits,andtemperamentalspirits.Butwhileprofessional
managementpleasedtrusteesandprivatepatrons,itdampenedthecreativeimpulse.It
preferred...thewellknownclassicaltotheimaginativeleap,thepedestriantothe
unexpected."161Marquispointsoutthat"theNEAhasspentalmostallitsmoneyon
good,gray,mainstreamorganizationsthatproduceanunexceptionable,aging
repertoireunlikelytodisturbanyone."162Thissystemputmoreandmoremoney
towardsthemostconservative,largestorganizationsintheclassicalmusicworld.
Inthelast60years,classicalmusicorganizationshavebeensellingtheirproduct
asrarifiedart.Thismarketingstrategycouldberelatedtothenonprofitstructure.To
justifyaspecialtaxexemptstatus,mostartsorganizationsworkedtodefinethemselves
ashighart,worthyoffinancialsupport,asopposedtopopularartandmusic."While
distancingthemselvesfromcommercialcultureandrefiningajargonandanetiquette
thatestrangedmostofthepublicfromtheiractivities,thenonprofit'high'arts
organizationsthatwereproliferatingaroundtheUnitedStatesalsoinsistedthatthey
wereengagedincivilizingthemassesandcontributingtogeneralcivicwellbeing."163In
ordertoqualifyasanonprofitorganizationwiththeIRS,nonliteraryartsorganizations
mustformthemselvesundertheeducationalheading.Therefore,"educating"thepublic
withartbecomesapartofeverygrantapplicationandthejustificationforkeepingnon
profitstatus.Thenonprofitsystemcutsoffartsorganizationsfromworkingwiththe
161
Marquis,ArtLessons,114.
162
Ibid.,252.
163
Marquis,ArtLessons,5.
43
entertainmentindustry,stymieingcollaborationamongartistsofdifferentgenres.164A
newsystemoffundingconcertsthatwouldallowclassicalmusictofunditself,without
justifyingitsexistencethroughthelensof"education"wouldfreemusicianstomovein
amoreprogressive,current,populardirection.
3.3DeclineofPublicSupport
Inthe80sand90s,politicalgoodwillandgovernmentfundingforthearts
decreasedassociety'sprioritieschanged.Astudyof63Americanorchestrasshowed
thatonaveragetheorchestrasrandeficitsfrom1987to2000,althoughtherewasa
temporaryfinancialreboundfrom1997to1999.165Intheearly1990scorporate
sponsorshipshiftedlargelytorockconcerts,sportsandmedicalandenvironmental
charities.166Atthattime"audienceswerecollapsing,statefundingwasbegrudged,
corporatesponsorshipwasdwindling.Societywasshiftingitsresourcestonew
needs."167Forsomeorganizations,wealthyboardssteppedintocoverlargebudget
shortfalls.HowevertheNewOrleansandDenverorchestraswereclosed,beforebeing
reopenedbythemusicians,andin1995Louisvillefiredsomemusiciansandreduced
thesalariesoftheremainingplayers.168Orchestraswerestrugglingtomaintainthe
164
Lebrecht,WhoKilledClassicalMusic?,257.
165
Flanagan,"RepoerttoAndrewW.MellonFoundation,"22.
166
Lebrecht,WhoKilledClassicalMusic?,190.
167
Ibid.,18.
168
Ibid.,174.
44
budgets,whichincreasedonaverage8timesbetween1971and1992.169Most
orchestraschosetodealwithbudgetshortfallsanddwindlingaudiencesbyincreasing
investmentinadministration.From1987to1995,orchestrasspent57%moreon
advertising,promotingandmarketingand52%moreonfundraising.170
Financialdifficultiesforclassicalorganizationscontinuedintothe21stcentury.
Afterabrieffinancialrecoveryinthelate1990s,therecessionthatbeganin2001again
"producedformidabledeficitsintheAmericansymphoniccommunity."171Seventeen
orchestrasclosedbetween1986and2006.172Afurtherblowtotheclassicalmusic
industrywasthe2008financialcrisis,oftencitedastheworstfinancialcrisistohitthe
U.S.sincetheGreatDepression.In2010,"theorchestrasofNewYork,Atlantaand
Detroitranmultimilliondollardeficits,ashavetheMetropolitanOperaandtheSan
FranciscoOpera."173TheHonoluluSymphonyfoldedandtheLouisvilleSymphonyfiled
forChapter11bankruptcyprotection.174CarnegieHallreducedthenumberofconcerts
169
Ibid.
170
Marquis,ArtLessons,149.
171
Horowitz,ClassicalMusicinAmerica,514.
172
AllanKozinn,"ChecktheNumbers:RumorsofClassicalMusic'sDemiseAreDead
Wrong"NewYorkTimes,May28,2006,accessedOctober10,2012,
http://www.nytimes.com/2006/05/28/arts/music/28kozi.html?pagewanted=all.
173
BrianWise,"ClassicalMusicin2010:JoyfulNoise,TroubledSilence,"December26,
2010,http://www.wqxr.org/#!/articles/wqxrfeatures/2010/dec/26/classicalmusic
2010joyfulnoisetroubledsilence/.
174
Ibid.
45
itpresentedby1015%asapreventativebudgetarymeasure.175Todayorchestras
acrossthecountryareworkingtoreducecostsandplacethemselvesonfirmerfinancial
footing.
3.4FinancialSurvivalforMusicians
Forindividualmusicians,theabilitytomakealivingandhavesomefinancial
securityhasrisenandfallenoverthecourseofthe20thcentury.Beforethe1950s,most
U.S.orchestras,includingthebig5NewYork,Boston,Philadelphia,Clevelandand
Chicagowereallparttime.Musicianssupplementedtheirincomewithother
performancesandteaching.176Theriseofthefulltimeorchestraduringtheartsboom
providedfulltimeemploymentformanyclassicalmusicians.In1994,AliceGoldfarb
Marquisnotedthat,"ofallnonprofitartforms,orchestrasprovidethegreatestnumber
ofindividualartistswithfulltimeemployment."177
Manymusiciansworkingoutsidetherealmofasinglefulltimejobinthe20th
centuryUnitedStateshadadifficulttimemakingendsmeet.Individualartistswerenot
eligibleformostgrantsandsmallmusicalorganizationsfacedatoughbattleforfunding
whenpittedagainstlargesymphonyorchestras.FundingfromtheNationalEndowment
fortheArtsoftenresteduponhoworganizedanartsgroupwasandhowadamantthe
supporters."Whereverthefieldwastightlyorganizedandpossessedofavociferous
constituency,asfororchestras,thepanelsrecommendedfundingofaboutoneinfour
175
Ibid.
176
Marquis,ArtLessons,144.
177
Ibid.,146.
46
applications.Withoutmuchorganizedpressurefromafield,aswithindividual
fellowships,theratiowasaboutoneinforty."178Muchoftheartsfundingsysteminthe
UnitedStateshasbeengearedtowardssupportinglargeorganizations,makingsecuring
moniesforindependentartistsandsmallcollectivesverydifficult.
ThelifeofafreelancemusicianwasdescribedbytheeconomistsWilliamBaumol
andWilliamBowenintheir1966book,ThePerformingArts:TheEconomicDilemma:"In
manyways...theworkingconditionsoftheperformerfallbelowwhatmightbe
consideredreasonablestandards...exhaustingtours,highprofessionalexpenses,
frequentunemploymentwithitsaccompanyinguncertainty,therarityofpaidvacations
andthefrequentlackofprovisionforretirementalladduptowhatmostofuswould
consideranightmareworldwerewesuddenlyplungedintoit."179In1977asurveyof
theperformingartsunionbytheAFLCIOfoundthat"mostperformingartistsactually
workconsiderablylessthanfulltimeattheirprofession,primarilybecausenotenough
workisavailable."180Thestudyfoundonly1in5performersworkedforoneemployer,
anditwascommontoworkforupto10employersinayear.Atthetime,median
incomeforperformingartistswasclosetothemedianincomeofthecountrybutfar
belowothergroupswithsimilareducationlevels.181
178
Ibid.,159.
179
Kreidler,"LeverageLost."
180
Ibid.
181
Ibid.
47
Musiciansfacingthesechallengesalsoencounteredanincreasinglycrowded
field.Thenumberofindividualsholdingdegreesintheperformingartsexplodedinthe
late20thcentury.Inthe60sthereweremany"institutionsofhigherlearningthat
pouredtensofthousandsofgraduatesintotheperformingandvisualarts,aglutthatno
fundingsystemcouldpossiblyabsorb."182In1950,213artsdoctorateswereawarded
butin1970,1,130artsdoctorateswereawarded.183Asuniversitiesaddedarts
programs,professorsoftenhadtoadmitlessqualifiedstudentstokeepthemajorsfull.
"Theseprogramsgrewwithoutregardforhowtheartssectorcouldsupportsuchvastly
increasednumbersofcertifiedartsgraduates.Evenworse,theuniversitysettingoften
hobbledartistsofgenuinetalent,evenasitrewardedploddingtimeserversholdingthe
rightdegree."184Manycollegemusicperformanceprogramsweregearedtowardsa
careerinanorchestraorasasoloistwithamanager."Formanygiftedyoung
instrumentalists,musicschoolisatypeofjobtraining:theywanttoknowhowtoplay
thenotesandhowtowinanaudition,"explainedHorowitz.185Facingaworldwithfewer
orchestras,manycollegegraduatesinmusicwereleftunpreparedtofindotherwaysto
makealiving.
Graduatesholdingdegreesinmusicpouringintoafieldwithlimitedemployment
prospectscontinuedintothe21stcentury.Between1998and2010thenumberof
182
Marquis,ArtLessons,85.
183
Ibid.,25.
184
Ibid.,26.
185
Horowitz,ClassicalMusicinAmerica,534.
48
collegeartsdegreesawardedannuallyintheUnitedStatesrosesteadilyfrom75,000to
129,000.186AccordingtotheNationalEndowmentfortheArtsemploymentstatisticsfor
2008,unemploymentwas3%forprofessionals,6.1%forthegeneralworkforce,and
8.4%forperformingartists."Artistunemploymentrateswouldbeevenhigherifnotfor
thelargenumberofartistsleavingtheworkforce...(which)maybeattributedtoartists'
discouragementoverjobprospects."187
3.5TheAudience
Audienceattendancehasalsobeenasignificantproblemfortheclassicalmusic
industryinthelast30years.Earlierinthe20thcentury,attendingclassicalconcertswas
apopularpastime.However,bytheearly1970s,aFordFoundationsurveyfoundamong
thegeneralpopulationthat96%hadseenmovieinthelastyear,25%hadseena
professionaljazz,rockorfolkperformancebutonly10%hadseenanorchestra
concert.188Demandforclassicalconcertsdecreasedfurtherinthe80sand90s.National
EndowmentfortheArtsdatareleasedwitha2008studyshowthesteadydeclinein
attendance.Thepercentageofadultsattendingclassicalmusicperformancesin1982
was13%,in1992was12.5%,in2002was11.6%andin2008was9.3%.189Thedeclinein
186
"AmericansfortheArts:ArtsIndex,"accessedMarch14,2013,
http://www.artsindexusa.org/nationalartsindex.
187
"NationalEndowmentfortheArts:ArtsEmploymentStatistics2008,"lastmodified
March4,2009,http://www.nea.gov/news/news09/artistunemploymentrates.html.
188
Marquis,ArtLessons,99.
189
JenniferL.NovakLeonardandAlanS.Brown,"BeyondAttendance:Amultimodal
understandingofartsparticipation,"page#,lastmodifiedFebruary1,2011,
http://www.arts.gov/research/2008SPPABeyondAttendance.pdf.
49
audienceattendanceatclassicalconcertshaschallengedthemainstreamclassical
industrybothfinanciallyandintheirstruggletoremainavitalpartofAmericanculture.
ThosewhoattendartseventsintheUnitedStateshavegenerallyfitcertain
demographicpatterns.Thosewithhighereducation,higherincome,morefreetimeand
thoselocatedinmajorcitiesaremostlikelytobeinvolvedwiththearts.190Fromthe
1950stothe1970s,moreAmericanswenttocollege,enjoyedhigherincomesandhad
morefreetime,producingmoreartsconsumersatthesametimeasproducingmore
artists.191However,inthe80sand90sleisuretimeandrealwagesdecreasedforthe
averageAmerican.192Thesedecreasescorrespondwiththedropinattendanceat
classicalconcertsdocumentedabove.Itispossiblethatafutureincreaseinincomeand
freetimeforAmericanscouldprovideaboosttotheartssector.
ArtsorganizationsarealsohighlyconcentratedinthelargestcitiesintheUnited
States.Accordingtoa2008studybytheNationalEndowmentfortheArts"in2007,
nearly90percentofnonprofitartsgroupsresidedinmetroareas(coreurbanareaswith
populationsof50,000orgreater).The10largestmetroswerehometo30percentof
nonprofitartsorganizations.Oneinfivewaslocatedinthetopfivemetros.Thegreater
NewYorkCityareaaloneaccountedfor11percentofthenonprofitartssector."193In
190
Kreidler,"LeverageLost."
191
Ibid.
192
Ibid.
193
"NationalEndowmentfortheArts:ArtsParticipationDatafrom2008,"last
modifiedFebruary1,2011,http://www.nea.gov/research/Notes/101.pdf.
50
1995,despitethepresenceof2,000orchestrasintheU.S.,thelargest25accountedfor
halfoftotalattendance.194Howevertrackingattendanceatestablished,nonprofitarts
organizationsonlygivesapartialpicture.Whenlessformalartsparticipationwas
consideredintheNationalEndowmentoftheArts2008study,participationrateswere
roughlythesameforurbanandruralareas.195Althoughartsorganizationsare
concentratedinlargeurbanareas,theartsdefinedmorebroadlyarejustaslikelytobe
seenanywhereintheU.S.
Theageoftheaudienceattendingclassicalconcertstodayisagoodindicatorof
theindustry'shealth.GregSandow,anauthor,formermusiccritic,Juilliardprofessor
andkeenobserveroftheclassicalmusicindustry,hasresearchedtheriseinaudience
ageoverthepast30years.Hediscoveredthattheaverageageoftheaudiencein1937
wasaround30,in1955wasyoungerthan35,andinthe1960swas38.196However,in
the1980sitappearsthattheaudiencestartedtoageandwasnotreplacedbyyounger
classicalmusicfans.AstudybytheNationalEndowmentfortheArtsshowedthelargest
agegroupforclassicalaudiencesin1992wasbetween35and44.Howeverby2002,the
largestagegroupwasbetween45and54.197Thisdatashowsthatthesameaging
generationofclassicalmusicfansmadeupthemajorityoftheaudienceinthe90sand
194
Marquis,ArtLessons,149.
195
"NationalEndowmentfortheArts:ArtsParticipationDatafrom2008."
196
GregSandow,"AgeoftheAudience,"ArtsJournal,March10,2008,accessedJanuary
16,2013,http://www.artsjournal.com/sandow/2008/03/age_of_the_audience.html.
197
Ibid.
51
2000s.Peopletendtoremainfansofthemusictheydiscoveredintheirteensand
twenties.Forexample,babyboomersdominatedjazzperformancesinthe1980sand
today.198Ifthistrendoffailingtoattractyoungeraudiencestoclassicalconcerts
continues,thebulkofclassicalmusicfansattendingtraditionalconcertswilldieout,
withoutbeingreplaced.
Astheaudienceforclassicalmusicages,therecontinuestobeaninfluxofyoung
playersintotheindustry.Sandowcallsthis"theparadoxofyoungerpeoplestudying
classicalmusic,andmakingcareersinthefield,evenwhileotherstheiragerarelygoto
classicalperformances.Asaresultofthis,youthorchestrasthrive,musicschoolsthrive,
andorchestrashaveseenaninfluxofexpertyoungerplayers(whichmakesthemnow
youngerthantheiraudience)."199Manymusiciansborninthe80sand90sareeagerto
performclassicalmusic.However,fewoftheirpeersareinterestedinattendingconcert
hallevents.Thereis,however,thepotentialforyoungmusicianstominetheirnetworks
andcommunitiesfornewclassicalfans,iftheycouldmakethemusicasappealingto
theiraudienceasitistothem.
Manyintheclassicalmusicindustryhaveconjecturedthatthedwindlingand
agingaudienceforclassicalmusicisduetotheelitistimagemainstreamclassicalmusic
projects.Musiciansareoftendressedintuxedosandanairofelegancepervadesmuch
ofclassicalmusic'sadvertising.Inhisimportantsurveyof20thcenturyclassicalmusic
198
"NationalEndowmentfortheArts:ArtsParticipationDatafrom2008."
199
GregSandow,"Rebirth:TheFutureofClassicalMusic,Chapter1,"5,accessed
January16,2013,http://www.gregsandow.com/BookBlog/RevisedCh1Riffs.pdf.
52
TheRestisNoise,AlexRossassertsthat"classicalmusiciswidelymockedasastuckup,
sissified,intrinsicallyunAmericanpursuit."200KyleGann,writingin1994,saidthat
classicalmusicinAmerica"hasbeenkeptapristineEurotransplant,treasuredforits
exoticsnobvalue,notitsrelevance.201Thesehistoriansandothersthroughoutthe
industryworriedthatthiselitistimageanddwindlingaudienceswenthandinhand.
Younglistenerstodaydon'trecognizethehighartversuspopularmusicpolarity
perpetuatedbymuchoftheclassicalmusicindustry.AccordingtoGregSandow,"Just
abouteveryoneyoungIknowandmanypeoplewhoarentyoungdontdrawwhat
wemightcallclassdistinctionsbetweenhighandlowculture."202Theirpersonal
judgmentsaboutquality"dontfollowtheoldculturalboundaries,whichformany
youngerpeoplenolongerexist."203MostyoungAmericanshaveaccesstoawidevariety
ofmusicandlistentoaneclectic,personalizedmixture.Computersavvylistenerscan
findmusicofalltypesand,asKennySavelsonpointedout,"Youcangohomeandlook
thatupandwhateverroadthattakesyoudown,youcouldprobablyextendbackandgo
fromlisteningtoTheNational,therockband,toZappatoVaresetoStravinskyand
that'sthethreadandyouendupwithDebussyorsomething.Anhourlater,it'slike,
howdidIgethere?"
200
Ross,TheRestIsNoise:ListeningtotheTwentiethCentury,514.
201
Gann,MusicDowntown:WritingsfromTheVillageVoice,89.
202
GregSandow,"Rebirth:TheFutureofClassicalMusic,Chapter3,"2122,accessed
January16,2013,http://www.gregsandow.com/BookBlog/Ch3Riff.pdf.
203
Ibid.
53
Thereis,therefore,anopportunityforclassicalmusictofindfansamonga
youngergeneration.Partoftheproblem,however,istheconcertatmosphere.A2002
studyontheconsumptionofclassicalmusicfoundthat10to15percentofAmericans
havea"closeormoderatelycloserelationshipwithclassicalmusic,andagainasmany
haveweakerties.Onlyhalfofthosewhoshowedastrongpreferenceforattending
classicalmusicconcertsactuallyattend."204Soonlyhalfofselfidentifiedclassicalmusic
fansatthetimecametoaconcert.Evenifyoungpeoplediscovertheylikesome
classicalmusic,manymaynotbeinterestedincomingtoasymphonyconcertor
traditionalchambermusicseries.
Theleisuretimehabitsofmost21stcenturyAmericansarenotagoodmatchfor
thetraditionalconcertsorthesubscriptionseriesmodelsofmanyclassicalevents.This
mismatchhasbeenaproblemfortheclassicalmusicindustryforthirtyyears.According
toJudithHugginsBalfe'sarticleonthebabyboomgeneration'spatternsasanaudience,
"Thisgenerationalsomaybereluctanttopurchaseevenasingletickettoahighart
eventthatrequiresarrivalatasettime,andconstrainstheaudiencetoasilent,passive
postureuntiltheperformanceends.Rather,theincreasingpreferencemaybeshifting
toformsofperformance,suchascomedy,literarysalonsandjazz,thataremore
interactive,flexiblewithregardtoarrivalanddeparturetimes,andlessconstrainingon
one'sbehaviorduringthecourseoftheevent."205Todaygenerationsyoungerthanthe
204
JohnS.andJames.L.KnightFoundation,ClassicalMusicConsumerSegmentation
Study:HowAmericansRelatetoClassicalMusicandTheirLocalOrchestras(Southport,
Conn.:AudienceInsight,2002),9.
205
Kreidler,"LeverageLost."
54
babyboomerscarrytheseexpectationsfurther.RichardFloridalooksatthehabitsof
thesegenerationsinhisbook,TheRiseoftheCreativeClass.Henotesthatmanyyoung
artconsumerstodaydefinethemselvesbytheirappreciationforalternative,
independentartforms.Theyalsoexpecttoparticipateinartseventsbyinteractingwith
theartistsandotherartlovers.206Thisinteraction,nottomentionthefreedomtocome
andgo,dressasyoupleaseandmakenoiseduringtheperformance,ismissinginmost
classicalconcerthallperformances.
A2002studybytheJohnS.andJamesL.KnightFoundationaskedconsumers
whatchangestheywouldliketoseeatclassicalconcertstomakethemmoreenjoyable.
Thestudyfoundthatthemajorityofconcertgoerswouldenjoygreetingsfromthestage,
shortintroductionstopieces,longerintermissionsforsocializing,morecasualclothes
formusiciansandthematiclightinganddecorating.207Thecallamongaudiencesinthis
studywasoverwhelminginitsrequestformorecasualconcerts.Youngermembersof
theaudienceespeciallyvaluedambienceandsocialinteractionovertheeducationalor
spiritualvalueofconcerts.208Manypeoplearealreadymovingtoattendartsevents
whereamorecasualatmosphereexists.AccordingtotheNEA,"relativelyhighratesof
206
Sandow,"Rebirth:TheFutureofClassicalMusic,Chapter3,"16.
207
JohnS.andJames.L.KnightFoundation,ClassicalMusicConsumerSegmentation
Study,15.
208
Ibid.,128.
55
attendanceatartsfestivalsaswellasattendanceatschoolsandplacesofworship
suggesttheimportanceofvenuetooverallartsparticipationrates."209
Tellingly,theKnightFoundationfoundthat"morepeopledislikegoingto
classicalconcertsthanlikegoing,"210andaboutaquarterofthosewhoattended
classicalconcertsduringthestudyperiod"expressedafeelingofambivalenceorworse
abouttheactivity.211Combiningthedistasteamongthegeneralpopulationforclassical
concertswithademandfromthoseattendingforalessformalatmosphere,itseems
obviousthatclassicalmusic,inordertobroadenitsappeal,needstoeliminatethe
formalitiesandprovideamorewelcomingsocialatmosphere.Focusgroupresearchfor
thestudyfoundthatmanydecisionsregardingwhetherornottoattendaconcert
resteduponsocialfactors.212Inotherwords,mostattendeessawgoingtoaconcertasa
socialevent,largelyrevolvingaroundvisitingfriends,notachancetoexperiencea
transformativeoreducationalartisticexperience.Theseaudiencedemandsforamore
casualconcertatmosphereareaveritablerecipeforthechamberconcertsinnew
alternativevenuesthatbegantoemergeattheturnofthe21stcenturyalloverthe
UnitedStates.
209
"NationalEndowmentfortheArts:ArtsParticipationDatafrom2008."
210
JohnS.andJames.L.KnightFoundation,ClassicalMusicConsumerSegmentation
Study,39.
211
Ibid.,40.
212
Ibid.,11.
56
CHAPTER4
ALTERNATIVEVENUESINTHE21stCENTURY
Thebeginningofthe21stcenturymarkstheriseofbar,clubandcafe
performancespacesasapopularalternativevenueforchambermusic.Thesenew
venuescreateanovelatmosphereforchambermusic,distinctfromthetraditional
concerthalls,museumsandpreviousgenerationofdedicatedperformancespaces.
Previouslythedomainofpopularandjazzmusic,somebars,clubsandcafesnowhost
classicalchambermusicaswell.Bythelate1990s,severalpioneeringcollegemusic
studentsstagedtheirfirstconcertsinthesenewvenues.In2000,MattHaimovitz
launchedhisfirstalternativevenuetour.Themiddleofthedecadesawthe
establishmentofseveralbarsandclubsinNewYorkCityasalternativevenuesfor
classicalmusic,includingBarbs,Joe'sPuband(Le)PoissonRouge.OperaonTapand
ClassicalRevolution,twonationwideorganizationsdedicatedtoclassicalperformancein
barsandclubs,wereestablishedatthistimeaswell.
4.1Pioneers
Afewclassicalmusiciansgaveperformancesinbarsandclubsinthe1960s80s.
TerryRileyfamouslyperformedPoppyNogoodandthePhantomBandandARainbowin
CurvedAirattheElectricCircus,apsychedelicrockclub,in1969.213Someofthesame
213
KostelanetzandFlemming,WritingsonGlass,134.
57
performersputtingonshowsatTheKitcheninthe70salsoperformedwithrockgroups
atthenearbypunkclubsCBGB'sandtheMuddClub.214TheEarInn,anearbybar,
hostedconcertsandpoetryreadingsfromthe80sintothe21stcentury.215OntheWest
Coastinthe1980s,thecomposerJohnAdams,workingincollaborationwiththeSan
FranciscoSymphony,hostedtheNewandUnusualMusicconcertsatanindustrial
warehouse.TheserieslatermovedtowhatAdamsdescribedinhisbook,Hallelujah
Junction,asanunnamed"nastydanknightclubvenue."216
Performingclassicalmusicinvenuesoriginallycreatedtohostpopular,rock,jazz
andfolkmusicseemedtooccurtomoreartistsaroundthelate1990sandearly2000s.
OneoftheearliestexampleswastheYoungComposer'sCollectiveSeriescofoundedby
JoshuaKohl.Thisseriesranfrom1993to2000,whenitwastransitionedintothe
DegenerateArtEnsemble,stillinexistencetoday.Theconcertswerepresentedinrock
clubsaroundSeattleincludingCrocodileCafe,WeatheredWall,OkHotel,Speakeasyand
Ispy.217Theseriesfeaturednewmusicbyaneclecticgroupofcomposers.AsKohlputit,
"wewouldhavea17pieceorchestrainsomerockclubunderabridge."Thisgroupof
musicianscreatedalastingpresenceintheclubsceneinSeattle.
Adventurousmusicstudentsinthe1990swerefindingtheirwayintopopular
musicvenuesandproducingtheirownconcertsinthosespaces.EricLamb,aflutistin
214
Morrissey,TheKitchenTurnsTwenty,1819.
215
Kostelanetz,Soho,112.
216
Adams,HallelujahJunction,109.
217
JoshuaKohl,interviewbyauthor,December3,2012.
58
theInternationalContemporaryEnsemble(ICE),recalledplayinginaneventspaceon
Oberlin'scampusaround1996thatcouldbefashionedinto"anightclubforstudents"
andhostedconcerts.CharithPremawardhana,founderofClassicalRevolution,
remembersplayingchambermusicinarestaurantin1996whilehomeinChicagofrom
studyingattheInterlochenArtsAcademy.JohnPickfordRichards,afoundingmember
oftheJACKQuartet,playednewmusicinoutdoorparksandbarsstartinginhis
freshmanyearatEastmanin1998.218Intheearly2000s,theyoungensembleSo
Percussionbegantobookthemselvesinclubsduringtheirtoursofmoretraditional
venues.
MattHaimovitzwasprobablythefirstclassicalmusicianwithanestablished
concertcareertoventureintopopularmusicvenues.Hisfirstperformanceofthistype
wasaCDreleasepartyin2000attheIronHorseMusicHallinNorthampton,
MassachusettsforhisrecordingofthecompleteCelloSuitesbyJ.S.Bach.Hedescribed
thevenueasa"folkcoffeehouse,"whichhostedfolkandjazzmusicaswellassinger/
songwriters.219HesoonfollowedthisperformancewithhisBachListeningRoomTour.
DuringthistourheperformedtheBachCelloSuitesat"clubsacrosstheU.S.,Canada
andtheU.K."220In2003,helaunchedhisnexttour,theAnthemTour,featuringnew
musicbyAmericancomposersandperforminginclubsinall50states.Thetourwas
218 JohnPickfordRichards,interviewbyauthor,November3,2012.
219
MattHaimovitz,interviewbyauthor,December17,2012.
220
"OxingaleRecords,"accessedFebruary2,2013,http://oxingalerecords.com/matt
haimovitz/.
59
namedforHaimovitz'spieceAnthem,aworkinspiredbytheJimiHendrixversionofthe
StarSpangledBanner."Iprettymuchdevotedoneortwofullseasonstoplayingthese
alternativevenues.Ididn'tdoanythingbut(that),"Haimovitzexplained.Hecontinued
todevoteoverhalfofhisperformancestoalternativevenuesuntil2009,whenhe
reducedhistouringschedule.
4.2AlternativeVenuePerformanceOrganizations
In2005,singerAnneHiattandanumberofothervocalistsformedOperaonTap
inNewYorkCity.TheirfirstperformancewasheldatFreddy'sBarandBackroominthe
ParkSlopeareaofBrooklyn.221TheirresidencyatFreddy'scontinuestodayalongwitha
secondresidencyatBarbs,whichislocatedinthesameneighborhood.OperaonTap
hasexpandedtoincludechaptersinseveralothercities,whichoperateunderthe
umbrellaofitsnonprofitorganization.Onitswebsite,OperaonTaplists12additional
chapters.Thesechaptersshareawebsite,runtheirfinancesthroughthecentralnon
profitcorporationandare,accordingtoDamienElwood,directorofOperaonTapLos
Angeles,"reasonablyautonomousastohowwerunthings...becauseeachcityis
different."OperaonTapisoneofthefirstpresentingorganizationsspecializingin
classicalmusicperformanceinbars,toexpandnationally.
In2006,CharithPremawardhanaandagroupofclassicalchambermusicians
formedClassicalRevolutioninSanFrancisco.(Disclosure:theauthoriscodirectorof
ClassicalRevolution:L.A.).ThefirstalternativevenueconcertPremawardhanabookedin
SanFranciscowashisgraduateviolarecitalfortheSanFranciscoConservatory."The
221
Ibid.
60
concerthallwasbooked,soIbookedmysolorecitalatthebaracrossthestreet...[at]
theEaglesDriftInn,"heexplained.Aftergraduatingin2006,Premawardhanabegan
playinginbarsregularly.Aroundthesametimeacolleague,EdBaskerville,whowould
participateinClassicalRevolutioninSanFranciscobeforeheadingtheAnnArbor
chapter,setupareadingsessionattheSunriseRestaurantinSanFrancisco'sMission
DistrictaspartofthebimonthlyMissionArtsPerformanceProject.
JoeLewis,ajazzmusician,hadrecentlytakenoverbookingsattheRevolution
Cafe,asmallbarintheMissionDistrict.LewisaskedhisfriendPremawardhanatostarta
classicalnightatthebar.Afterthesuccessofthefirsttwoevents,ClassicalRevolution
nightsattheRevolutionCafebeganonaweeklybasisinNovemberof2006.Theyhave
continuedeveryweektothisday.These'chamberjams'atthecafeusuallyconsistof
sightreadingsessionsofstandardchambermusicrepertoireandsometimesinclude
guestchamberensembles.AsClassicalRevolutioninSanFranciscoexpanded,
performanceswerebookedincafes,coffeehouses,artspaces,communitydance
venues,restaurants,bars,winebars,jazzclubsandrockvenuesaroundtheBayarea.
TypicallytheorganizationinSanFranciscohasaveraged120concertsayear.
ViolinistMattieKaiserparticipatedinClassicalRevolutioninSanFranciscoin
2006and,withinthefirstsixmonthsofitsfounding,movedtoPortlandandstartedthe
firstchapter,ClassicalRevolutionPDX.Aftertheinitialrequesttostartthechapter,
ClassicalRevolutionPDXwasrunindependentlyandbecameanOregonbasednon
profitcorporationin2011.KaisersaidshesawthechamberjamsattheRevolutionCafe
asaninspirationforstartingherchapter,"butIhadtoadjustprettyquicklytomakeitfit
61
thedynamicsofPortlandratherthanSanFrancisco,"sheexplained.222In2011and2012,
ClassicalRevolutionPDXhostedapproximatelythirtyeventsinalternativevenues
includingcafes,bars,rockclubsandwarehouses.
Inthepastsevenyears,aroundthirtychaptersofClassicalRevolutionhave
producedconcertsaroundtheU.S.,CanadaandEurope.ChaptersincludeNewYork,
Chicago,Houston,Boston,Cleveland,Toronto,BerlinandLondon.Eachchapterisrun
independentlyunderavarietyofdifferentorganizationalmodels.Somechaptersare
smalloperations,primarilyorganizedbyoneindividualwithnobudget,andsome,like
ClassicalRevolutionPDXandClassicalRevolutionChicago,areindependentnonprofit
corporationswiththeirownboardofdirectors.Allchaptersproduceclassicaleventsin
alternativevenuesbuttheorganization,marketing,programmingandhomevenues
differfromcitytocity.Thenetworkofchaptersprovidesperformanceopportunitiesfor
travellingmusiciansandmusiciansarrivinginanewcity.
4.3Venues
IntheNewYorkCityareainthe2000sanumberofpopularvenuesthatwere
friendlytoclassicalmusicemerged.OneofthefirstofthesewasBarbs,whichopened
in2002inBrooklyn.OwnerOlivierConansaidheopenedthelittlebar"asa
performancespace"for"prettymuchanythingthatisnotrockorsinger/
songwriters."223Hereasonedthat,"alotofplacescatertosinger/songwritersorrock
bands,"sohewanted"tocatertopeoplewhotendtocomposetheirownmusic."
222 MattieKaiser,interviewbyauthor,October2,2012.
223
OlivierConan,interviewbyauthor,January17,2013.
62
Barbshostsamixoffolk,world,jazzandclassicalmusicaswellasmusicthatisdifficult
tocategorizeandmaycombineelementsofallthesestyles.Conanexplainedthatpart
ofthepurposeofopeningthebar"wastogiveanoutlettothekindofmusicthatwas
notnecessarilybeingbookedinNewYork."Hesaid,"Wefoundournicheveryquickly.
Wedothingsthataredifferent."Includedinthateclecticmixwereclassicalmusicians
performingthewidevarietyofstylesencompassedbytheterm"classical."
Joe'sPubbecameanotherpopularspotforclassicalchambermusic
performance.Thevenueisabar/performancespacewithcabaretstyleseatingand
foodanddrinkservice,insidethePublicTheateronLafayetteStreetinNewYork.
Openedin1998,thepub'smissionistosupport"youngartistswhileproviding
establishedartistswithanintimatespacetoperformanddevelopnewwork."224The
venuehosts"Broadway,cabaret,dance,world,singersongwriter,jazz,countryand
indiegenres."225AccordingtoDougPerkins,BangonaCan'srecordlabel,Cantaloupe
Music,hadanopeninvitationtohostCDreleasepartiesatJoe'spubinthemid2000s.
SoPercussion,MattHaimovitz,ProjectTrioandMissyMazzoli'sbandVictoirehaveall
performedatthevenue.
In2008,thefirstclubspecificallyfoundedtohostbothclassicalandpopular
music,(Le)PoissonRouge,openedinNewYork.LPRwasstartedbyclassicalmusicians
DavidHandlerandJustinKantoronthesiteoftheoldVillageGatejazzclubin
224
"Joe'sPub,"accessedMarch13,2013,
http://www.joespub.com/content/view/24/44/.
225
Ibid.
63
GreenwichVillage.Calleda"highartcabaretspace"byDanielJ.WakinoftheNewYork
Times,226LPRisaspacebuiltformusicfromclassicaltorocktoindependentmusicofall
kinds.Thespacecanbesetupwithcabaretstyleseatingsurroundingtherelatively
smallstage,resemblingajazzclub.Tableseatingcanberemovedforstandingroom
onlyevents,whichtransformthespaceintothesetupofarockclub.Inits
programming,AnthonyTommasinioftheNewYorkTimes,notedthat"(Le)Poisson
RougeisfollowinginthepathofplaceslikeJoe'sPubintheEastVillageandBarbsin
ParkSlope,clubsthatmixclassicalandcontemporaryfare."227Thisspace,however,is
thefirstclubofthiskindtoimagineclassicalmusicaspartofitsprogrammingfromthe
beginning.
HandlerandKantorhiredtheirfirstemployee,RonenGivony,tohandlebooking
actstheyearbeforetheopeningoftheclub.ThethreehadmetthroughGivony's
popularWorldlessMusicSeries,foundedin2006.228Thisseries,whichGregSandow
called"oneofthemostsuccessful"newseriesinNewYorkatthattime,wouldcombine
anindierockbandonhalfthebillwithaclassicalperformerontheotherhalf.229"Iwent
afewtimesandhemighthaveapianistplayingBach,hemighthavefreejazzimprov,he
226
DanielJ.Wakin,"MetOperaConcertsSetForLePoissonRouge,"NewYorkTimes,
September,13,2012,accessedDecember15,2012,
http://artsbeat.blogs.nytimes.com/2012/09/13/metoperaconcertssetforlepoisson
rouge/.
227
AnthonyTommasini,"TheMusicIsClassical,andtheBarIsBusy,"NewYorkTimes,
October3,2008,accessedDecember15,2012,
http://www.nytimes.com/2008/10/31/arts/music/31pois.html?_r=0.
228
RonenGivony,interviewbyauthor,January5,2013.
229
GregSandow,interviewbyauthor,January18,2013.
64
mighthaveacombinationofShostakovichandnoiseimprovisationontheclassicalside.
Itwasreallyunpredictable,"Sandowsaid.WordlessMusicSerieseventshavebeenheld
"atLincolnCenter,variouschurchesaroundtown,theWhitneyMuseumandtheMet
Museum,"accordingtoGivony.Whenhestartedbookingfor(Le)PoissonRouge,Givony
tookhiseclecticbookingstyletoaclubspace.
Fromitsinception,(Le)PoissonRougewasneverreally"alternative"inthesense
ofbeingofftheradaroftheclassicalcommunity.Theopeningoftheclubwasfeatured
intheNewYorkTimesartssection,andclassicalperformancestherearereviewedby
theTimesregularly,alongsidearticlesaboutconcertsatCarnegieHall.DougPerkins
categorizes(Le)PoissonRougeasa"traditionalnontraditional"venue,"becauseLPR
alwaysstartedwiththeideaofpresentingclassicalmusic.Soit'sasympatheticplace
withanicepianoandanunderstandingofwhatweneedandthenaudiences...come
expectingthat."
Inadditiontotheestablishedvenuesforclassicalmusicdescribedabove,
musicianshavebookedthemselvesatcountlessotherpopularmusicvenues.AlarmWill
SoundrecordedtheirCD"ReichattheRoxy"in2006,whichwasrecordedliveatthe
RoxynightclubinNewYork.MissyMazzoliperformswithherensembleVictoire,atrock
andpunkclubsaroundthecountry.MattHaimovitz,touringhisalbum,
Shuffle.Play.Listen,withChristopherO'Rileyin2012,performedatseverallarge,
establishedclubsthathaven'thostedmuchclassicalmusic,includingYoshi'sinSan
Francisco,theHighlineBallroominNewYorkandRegattabarinBoston.Assomeclubs
65
andbarsbecomepopularvenuesforclassicalmusic,musicianscontinuetobranchout
andfindnewplacestoplay.
4.4AlternativeVenuesGoMainstream
Musiciansandjournalistshavenotedthegrowingregularityofclassical
performancesinbarsandclubs.ArticlesaboutClassicalRevolutionanditschaptershave
appearedintheNewYorkTimes,WallStreetJournal,DetroitNews,TheEconomist,San
FranciscoChronicle,HoustonChronicle,LosAngelesTimes,ClevelandPlainDealerand
severalotherprominentpublications.Formanymusiciansintheirtwentiesandthirties,
performanceinbarsandclubsisnowanessentialpartoftheirclassicalcareer.Doug
Perkinssaidplayinginalternativevenuesis"justwhatwedonowadays,"somuchso
that,"Inolongerconsiderthemalternative."MissyMazzoli,wholaunchedhercareerin
artspacesandnewalternativevenuessaidthesevenuesarea"hugepartofmylife...To
me,theypaymybillsandthey'remainstream."
Inthepastthreeyears,evenbigbudget,establishedclassicalorganizationshave
startedtoutilizebarsandclubsforperformances.(Le)PoissonRougehasinrecentyears
hostedactsthatregularlyfillconcerthalls.RecentlytheKronosQuartet,TerryRiley,
AlisaWeilersteinandHlneGrimaudhaveallplayedattheclub.InSeptemberof2012,
aNewYorkTimesarticleannouncedtheMetropolitanOperawouldbestagingreduced
productionsoftwonewoperasat(Le)PoissonRouge.Thearticlestates,"the
collaborationgivestheMetsomevisibilityintheslightlyhipper,youngerandmore
contemporarymusicscene,andaddsbiginstitutionlusterto(Le)PoissonRouge,which
66
hasbecomefirmlyestablishedasaNewYorkconcertsite."230EnsembleHD,achamber
groupwhosemembersperformwiththeClevelandOrchestra,performattheHappy
DogSalooninClevelandseveraltimesayear.Theyareplanningtorecordanalbumlive
atthebar.231BarbsregularlyfeaturesartistsbookedtherebytheConcertArtistsGuild,
awellestablishedclassicalconcertagency.Largeinstitutionsaregainingfromthe"cool"
factorofalternativespaces,andmanyalternativespacesarebecomingmore
establishedwithintheclassicalworld.
4.5TheNextAlternativeVenue:PublicSpaces
Inadditiontoworkinginvenuestraditionallyusedforpopularandjazzmusic
performance,musiciansarealsopresentingconcertsinparksandoutdoorspaces
withoutstagesorapreviousconcerttradition.Ossia,theEastmanSchoolofMusic's
studentrunnewmusicorganization,presentedaworkcalledPlayingOutsidebyRobert
MorrisataparkinRochester.AlanPierson,musicdirectorofAlarmWillSoundandthe
BrooklynPhilharmonic,recalledthatMorris"transformedthewholeparkintoanevent
spaceandcreatedthisreallyinterestingexperiencewhereplayersweremovingthrough
thepark,reconfiguringthemselvesastheywent,andcreatingalldifferentkindsof
musicalexperiencesinvariousconfigurationsinthepark."232DougPerkinshasrecently
presentedwhathecalls,"sitespecific,bigworks"inoutdoorlocations.Accordingto
230
DanielJ.Wakin,"MetOperaConcertsSetForLePoissonRouge,"NewYorkTimes,
September,13,2012,accessedDecember13,2012,
http://artsbeat.blogs.nytimes.com/2012/09/13/metoperaconcertssetforlepoisson
rouge/.
231 RebeccaGross,"InCleveland,theSudsierSideofSymphonies,"March29,2013,
accessedApril2,2013,http://artworks.arts.gov/?p=16487.
232
AlanPierson,interviewbytheauthor,December19,2012.
67
Perkins,he'sperformedin"fieldsandparksandforests,"aBoyScoutcampground,a
frisbeegoldcourseandinCentralParkLake.CharithPremawardhanabroughtClassical
RevolutionperformancestotheOccupySanFranciscoprotests.AlanPierson,even
broughttheBrooklynPhilharmonicouttoRestorationPlazaand,asheputsit,"turned
theirplazaintoaconcertspace."AccordingtoGavinChuck,AlarmWillSoundis
planningseveraleventsinthenextseasonatanewoutdoorspace,theMedia
Commons,intheartsdistrictofSt.Louis.
Classicalmusicianscanbefoundthesedayspresentingeventsinawidevariety
ofpublicspaces.TheannualBangonaCanMarathonhasoccurredforseveralyearsat
theWorldFinancialCenterWinterGarden.TheWinterGardenisalarge,indoor
courtyardinthecenterofahugeofficebuilding.Themarathonconcerttypicallydraws
"5,000peopleoverthecourseofa12hourday,"accordingtoKennySavelson.TheNew
YorkPhilharmonicperformedunderthedirectionofAlanGilbertattheParkAvenue
Armory,whichwasbuiltinthe19thcenturyasamilitaryfacility.233TheDegenerateArt
Ensembleperformedlastyearwithastringquartetintheundergroundloadingdocks
behindtheSeattleOpera.TheLongBeachOperahasperformedinrecentseasons"in
unconventionallocations,includingaswimmingpool,aparkinggarageandaboardthe
QueenMary,"aretiredoceanlineranchoredinLongBeachharbor.234Classical
233 "ParkAvenueArmory,"accessedMarch27,2013,
http://www.armoryonpark.org/index.php/programs_events/detail/NY_Philharmo
nic/.
234
DavidNg,"LongBeach'sAndreasMitiseknamedasoneof'NextWave'talents,"Los
AngelesTimes,August20,2012,accesssedFebruary4,2013,
68
RevolutionPDXwasinvitedtoplayonastreetcarlineinPortlandlastyeartocelebrate
theexpansionofaline.
Classicalmusicianshavealsobeeninspiredbythe21stcenturytrend,theflash
mob.Theseperformancesoccurwithoutwarninginpublicspaces.MattHaimovitz,as
partofhiscollegeresidenciesinthelastfewyears,hasincorporatedaflashconcert.He
explainsthat,"theflashconcertwillbeinanunexpectedplace.Thatisalsouptothe
imaginationofthepresenterandthey'vecomeupwithsomereallywackythingsforme
todo,whichwerefun.TheyknowthatI'mopentojustaboutanything."Followingthis
model,Haimovitzhasrecentlyplayedinhallways,potterystoresandmarkets,where
peoplemaycomeuponhimunexpectedly.BangonaCanstartedanensemblecalled
theAsphaltOrchestrain2009.Thegroup,accordingtoSavelson,"isdesignedtobe
playedoutonthestreet...theymarch...So,theirnaturalhabitatisactuallyplaying
outdoorsoroutinpublic."Evenasbarsandclubsarebecomingtheestablished
alternativevenue,classicalmusiciansarelookingforthenext,undiscoveredalternative
venue.AsDougPerkinsputit,"I'mtryingtothinkaboutwhatthenewalternativeis...As
afetishistofnewandstrangethingsI'mtryingtofigureoutsomethingnewerand
crazier."
http://www.latimes.com/entertainment/arts/culture/laetcmandreasmitiseklong
beachoperanextwave20120819,0,7153777.story.
69
CHAPTER5
THEDRAWOFALTERNATIVEVENUES
Musicianscitedreasonsforperforminginalternativevenuesthatfellintoseveral
themes.Almostallofthoseinterviewedcitedtheavailabilityofpopularmusicvenuesas
apartoftheirmotivation.Itwassimplyeasiertobookthelocalbarthanaconcerthall.
Severalofthepioneersofalternativevenueperformancealreadyplayedinthesespaces
inpopularbands.Itseemednaturaltothemtoperformclassicalmusicinthesame
places.Alternativevenuesalsoofferedaquicker,easierwaytoplanaconcert.Perhaps
becauseofthis,mostintervieweesfoundafeelingofartisticindependence,the
freedomtoexperiment,lowerpressureandmorefuninalternativevenues.
Availabilitywasamotivatingfactortoworkinalternativevenuesformanyofthe
musiciansinterviewed."ThatwastheonlywayIcouldgetashow,"MissyMazzoli
explained."Itwasn'tlikewell,IcouldplayatCarnegieHallorIcouldplayatthisold,
abandonedfirehouse...Therewasnochoiceinvolved,"shesaid.DougPerkinscited
alternativevenuesasawaythatSoPercussioncouldplayeverynightontour.They
bookedclubsonnightstheywerenotabletobooktraditionalconcerts.Clubsare"much
easiertogetinto.That,tome,isrelevant,"saidJoshuaKohl.Hefoundmanypopular
venues"werereallyopentowhatever.Theyreallydidn'tcarewhatpeopleweredoing,"
aslongastheybroughtinanaudience.
70
DamienElwoodcitedalackofopportunityforyoungmusiciansasamotivation
forstartinghischapterofOperaonTap.ElwoodisalsoOperaManagerattheUniversity
ofSouthernCaliforniaandmentionedthatinthatjob"what'sbecomefrustratingtome
isIseereallytalented,hardworking,skilledmusicians,bothsingersandinstrumentalists,
graduatefrommusicschoolsand...there'sverylittleouttheretosupporttheseyoung
musicians."HethoughtOperaonTapperformancescouldhelpto"fillthatholefor
youngmusicians,"whoarestillpursuingmusicaftergraduationbutfindthat"allofa
suddentheopportunitiestosupportthatworkdryout."Alternativevenuesofferan
importantchanceforprofessionalmusicianstokeeptheirskillssharp.Charith
PremawardhanaexplainedthatClassicalRevolutionhasalwaysbeenabout"tryingtodo
asmuchaspossible,tobeactivemyself."Healsoprovidesaplacetoperformfor
hundredsofothermusicians.Premawardhanaexplainedthat"itcreatesmore
opportunitiesformusicianstoplayandIthinkthere'sathirstforthat."
Manyoftheearlypioneersofclassicalperformanceinbarsandclubswerefluent
inmultiplegenresandalreadyperformedinthesevenues.Mostofthemusicians
involvedintheYoungComposer'sCollectivewerealsoactiverockandjazzmusicians,
familiarwiththeclubsandtheirmanagers.DougPerkinsfollowedasimilarrouteto
alternativevenueswithSoPercussionexplaining,"Beingadrummer,alternativevenues
usedtojustbevenues...sowewerefindingourwayintothosevenuesbecausewehad
contactsthere."CalebBurhans,acomposerandviolinistwithAlarmWillSound,also
playsguitar,bass,keyboardsandpercussion.Inadditiontohisclassicalwork,he
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performswithEscort,adiscoband,andBleknlok,atechnoensemble.235These
musiciansmadethejumpfromperformingpopularmusicinpopularvenuesto
performingclassicalmusicinthesesamespots.
Sinceartistsoftenbooktheirownshowsinalternativevenues,theyretain
controloverconcertprogramming.In2000,MattHaimovitzwasanestablishedcello
soloist,performingwithsomeoftheworld'stoporchestras.However,hefoundit
difficulttobooktraditionalconcerthallperformancesofthecompleteBachCelloSuites
insupportofhisnewCD."IfeltverydisappointedthatIputsomuchworkandthought
intothisrecordingandtherewasreallynoopportunitytogooutandperformitand
sharealltheworkthatIhaddonewiththesepieces,"heexplained.Theinabilitytoplay
thisprogramintraditionalspacesfirstmotivatedHaimovitztobookhimselfintopopular
musicclubswhere,hesaid,"youcanplayanythingyouwant."CharithPremawardhana
likesselfpresentinginalternativevenuesbecause,"Ihavemoreofavoiceinwhatwe're
doingandhowwe'redoingitandwhywe'redoingitandwherewe'redoingitandwho
we'redoingitforandwhowe'redoingitwith."Musiciansfoundgreaterauthorityover
theirartisticprojectsinalternativevenues.
Concertsinalternativevenuescanbeplannedandexecutedmuchmorequickly
thaninmosttraditionalspaces.JoshuaKohlsaid,"it'sreallyinterestinghowflexibleand
lastminuteyoucanbewithclubs."ThisappealstoMattHaimovitzaswell,whobooks
235
AllanKozinn,"AManofManyTalents,EagertoUseThemAll,"NewYorkTimes,
October3,2008,accessedMarch12,2013,
http://www.nytimes.com/2008/10/05/arts/music/05kozi.html?pagewanted=all&_r=0.
72
hisconcerthallperformancesyearsinadvance."What'sniceisthatifsomethingison
yourmind,youcanmakeithappeninfourtosixmonthsoreightmonths,"he
mentioned.Hefindsthetimelineofclubbooking,"incrediblyhelpfulwhenIhave
somethingonmymind.IwanttogooutandtouritbutIdon'twanttowaitthreeyears
togetitbooked."
Themusiciansinterviewedalsofeltafreedomtoexperimentinalternative
spaces."Oftenyoucanbemuchmoreadventurousinanalternativespace.Youdon't
haveprogrammaticoverhead,"saidLamb.Healsosaidasmallalternativespacecanbe
"agreatopportunityforanartisttotrynewthings."JoshuaKohlfoundthatalotof
artistsweredoing"alltheirdevelopmentworkinthoseclubsbecausetheriskislower."
Artistscantrynewthingswithrelativelylowrisktotheirbudgetsandreputationsin
alternativevenues.
Duringtheirinterviews,severalparticipantsmentionedtheyenjoyedthelow
pressureenvironmentofalternativevenues,incontrasttothehighstakesatmosphere
oftheconcerthall."It'sjustsooftenthatanythingthatclassicalmusiciansdoissohigh
pressure,"mentionedElwood.Hetriestoprovideanantidotethroughcasualbar
concerts.AtClassicalRevolutionPDXperformances,MattieKaisersaid,"youcanmess
upfromtimetotime,whereyoumissarepeatandit'snottheendoftheworld."Kaiser
saysacasualperformanceatmospherecanbe"alittlebitoftherapy"forstressedout,
selfconsciousclassicalmusicians.Haimovitzsaidtheexpectationforperfectioninthe
concerthall"wasactuallyinhibitingmyexpressionandinhibitingmyfulfillmentand
enjoymentofwhatIwasdoing."
73
Personalenjoymentinperformancewasacommontheme."Ithinkitcanbe
morefun.I'mgoingtoplayashowandhangoutwithmyfriends.Itcanjustbeaneasier
goingthing,"236saidLeahPaul.Premawardhanasaidthemotivationbehindstarting
ClassicalRevolutionwastohavefun.Hefoundthefreedomandintimacyofchamber
musicattheRevolutionCafesatisfying.Inalternativevenues,heexplainedonehasthe
"freedomtoexpressyourselfasanindividualand...toreachpeopleandcommunicate
yourmusicinanhonestandpowerfulway."Musiciansfreedfromtheweightof
traditionintheconcerthallfeltincreasedownershipoftheirperformancesandmore
personalartisticfreedom.
236 LeahPaul,interviewbyauthor,LosAngeles,CA,September15,2012.
74
CHAPTER6
THEBUSINESSOFALTERNATIVEVENUES
Asclassicalmusiciansmoveintopopularmusicvenues,theyfindtheymust
masteranewwayofdoingbusiness.Clubs,barsandcoffeeshopsareforprofit
businessesandhostmusicaleventsaspartofthatbusinessmodel.Theseorganizations
havedifferentsystemsofhiringandpayingmusiciansthanthosefoundintraditional
venues.Musicianfeesinalternativevenuesaregenerallylowerthanconcerthalls
becausetheylackthefundinginfrastructureofmoretraditionalvenues.Navigatingthis
newworld,themusiciansinvolvedinthisstudyhavemadealivingbycombiningincome
fromalternativevenueperformancewithmoretraditionalperformances,fundraising
andgrantsoroutsidework.Theyhavealsodevelopednewskillsasmanyfindtheyneed
todotheirownmarketingandpublicrelationstobuildaloyalaudience.Benefitsto
ensemblesintermsofbuildinganaudienceandpublicrelationsareoftenquitehigh.
Longterm,mutuallybeneficialrelationshipshavebeenforgedinthelasttenyears
betweenclassicalmusicorganizationsandthepopularmusicvenuesthathostthem.
6.1FundingSystems
Themostcommonsystemoffundingconcertsinpopularvenuesamongstudy
participantswastochargeadmissiontotheaudienceatthedoor,knowninclubsasa
covercharge.Recentcoverchargesforclassicaleventsinclubsweremostoftencitedin
therangeof$10to$20.ThelowestcoverchargecitedwasbyMattieKaiseratClassical
75
RevolutionPDX,whowouldchargeaslowas$5andupto$12.MattHaimovitzand
MissyMazzolihavecharged$25ormoreonsomeoccasions.(Le)PoissonRougewill
charge,accordingtoRonenGivony,"anywherefrom$10or$15upto$30,$35.Nottoo
manyofourshowsaremorethanthat."AsJohnPickfordRichardspointsout,highcover
pricescanbeadifficultsell."Ifeellike,ifI'mgoingtoabar,whereI'mexpectedtobuy
drinksandmaybefood,formetoalsopay$30togetinissortofdiscouraging,"he
explained.
Allofthoseinterviewedwhousedacoverchargesystemdividedtheincome
betweenthemusiciansandthevenue.Thepercentagereceivedbytheartistvariedand
wasusuallysubjecttonegotiationbetweentheartistandtheclubmanagerorbooker.
MattHaimovitzexplainedhisexperiencewiththissystem:
Yougetapercentageofthedooranditdependswhatyounegotiate.
Earlyon,Ididn'thaveawholelotofnegotiatingstrengthbecausetheagentI
wasworkingwithwastalkingthesepeopleintohavingclassicalmusicoftenfor
theveryfirsttime.So,theydidn'tknowhowtomarketit.Theywereworried
aboutit.Theyhadn'theardofmeanditwasabigriskforthem.So,my
percentagesweren'tthatgreat,intermsofwhatItookfromthedoor.AsI
developedareputationforitandwegotareviewandtheradiopickeditupand
soon,thenthepercentagesgotbetter...IfIdon'thaveatrackrecordorIhavea
badtrackrecord,intermsofattractingaudiencesthenmypercentagedoesn't
getanybetter.
JohnPickfordRichardssaid70percentwastheusualpercentageofacoverchargethat
JACKQuartetwouldreceive,althoughtheyhavereceivedaslowas50percentofthe
income.CharithPremawardhana,whobooksclubsaroundSanFranciscoforClassical
Revolutioneventssaidthepercentagefortheartistswastypically"50to80percent;
usuallyit'saround70percent."AtPoissonRouge"usuallysomewhereinthe
neighborhoodof65to70percentofthedoorgoestoperformingartists,"statedRonen
76
Givony.MostclubswillallowartisttosellCDs,whichMattHaimovitzfoundoften
equaledhisincomefromthedoor.
Alesscommonsystemamongthoseinterviewedwasoneinwhichclubswould
takeasetamountofthecoverchargeincome,afterwhichtheartistsearnedmoney.
Forexample,MattieKaisersaidshesometimesreceivescoverchargeincome"minus
$200to400astheoperatingcosttothevenuebutthentherestofthedoorticketis
mine."Thissystemprotectstheclub'sincomeattheexpenseoftheartist'sprotection.
Theonusisplacedontheartisttobringalargecrowdbeforetheycanearnanyincome
ontheperformance.
Insomecasesmusiciansareofferedaflatfee,calledaguarantee,orpercentage
ofthebarproceedsfromavenue.Thisusuallyhappenswhentheartistorpresenterhas
developedareputationforattractingcrowdsorhasahistoryofwellattendedeventsat
thatvenue.MattHaimovitzsaid,"Inowoftengetaguarantee...becauseIhaveatrack
record."RonenGivonyexplainedthatfor"someartistswedo,"offercompensation
beyondacutofthedoor.TheRevolutionCafeoffers,15percentofthebarproceedsfor
athreehourshowaswellastheopportunitytocollecttips.Afterestablishinga
consistentcrowdfortheirmonthlychamberjamattheWaypostinPortland,Classical
RevolutionPDXwasoffered10percentofthebarinadditiontotheircollectedtips.The
systemofaflatfeefromthevenueisusuallyofferedafterarelationshipdevelops
betweenartistsorpresentersandavenue.
Anothercommonsystemofearningincomeinpopularvenueswastooffer
eventsfreetotheaudiencebutsolicitdonationsforthemusicians.Withthissystem,
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donationsgoentirelytotheartistsandarenotdividedwiththevenue.However,there
isnoguaranteedamountfortheartistperpersonattendingtheperformance.Atipjar
canbeplacedbythestageorpassedaroundduringandaftertheperformance.Classical
RevolutionleavesatipjarbythebarattheRevolutionCafeandpassesthecontainer
aroundaftereachset.Somevenueswillallowpresenterstotakesuggesteddonationsat
thedoor,forexampleClassicalRevolutionCincinnatiusesthissystemattheBlueWisp
JazzClub.Oftenanamountorrangeisgiventotheaudienceforasuggesteddonation.
AtBarbsinBrooklyn,abartendermakesanannouncementintheperformancearea
duringanartist'ssetthatthesuggesteddonationis$10andthenapproacheseach
audiencememberwiththetipjar.LeahPaulfoundthatwiththatsystem"peopletend
tobehonestandpaythe$10donation."Thereareoccasions,especiallywhereatipjar
isleftunattendedandnosuggesteddonationisannounced,whereverylittleiscollected
perpersonfromtheaudience.
6.2Revenue
Revenueforensemblesandmusiciansinalternativevenuesdependsonthe
numberofpeopleintheaudienceandthefundingsystemnegotiatedwiththevenue.
Exceptintherarecaseswhenamusicianreceivesaguaranteedfeefromthevenue,the
numberofaudiencemembersataneventwithacoverchargedeterminesrevenue.
Attendanceisoftenunpredictableandaudiencesizeislimitedbyvenuecapacity.
Musiciansinterviewedforthisstudyperformedatclubswithcapacitiesrangingfrom40
to700.Audiencesizerangedfromafewpeopleto700.Onaverage,mostmusicians
78
interviewedplayedinclubsforsmallercrowdsofaround30andlargercrowdsinthe
lowhundreds.Incomerangedfromzerotoseveralthousanddollars.
Forsomeensembles,clubperformancescanmatchtheirconcerthallfees.
SaschaJacobsensaidthatiftheMusicalArtQuintethadawellpaidclubperformance
"wegetpaid1,500to2,000(dollarsand)that'sprettymuchcomparabletoaregular
concertseries."Ingeneralhesaysclubandbarperformanceincome"variesalotbutit's
prettycomparable,actually"toconcerthallandmuseumseriesincomeforthe
ensemble.Fillingalargeclubvenue,whichmightproducethiskindoffee,isnot
somethingthequintetcandoeveryweek,however."It'snoteasytomakewhatyou
needforthemonthbyonlyworkinginalternativevenues,"saidPremawardhana.
Revenueforindividualmusiciansalsodependsonthenumberofperformersat
anevent.Asolocellistcanmake$400duringanhoursetwithacrowdof40intheback
roomofBarbs.Membersofaquartetplayingforthesamecrowdinthesamespace
wouldonlyearn$100each.Eventsthatrelyonalargenumberofperformers,likethe
chamberjamsattheRevolutionCafe,providelittleornoincometoperformersinmost
cases.AttheRevolutionCafe,theorganization'scutofthebarincomegenerally
amountstoaround$100,accordingtoformercafemanager,JoeLewis.237Donations
averagebetween$150to300accordingtoPremawardhana.Theresulting$250to$400
issplitamongthemusiciansthatplayoverthecourseof3hours,whichoftenincludes
severalchambergroups.Premawardhanasaidpaymentis"usuallybetween$20and$40
aplayerdependingonhowmuchtheyplay."AtOperaonTapLosAngeles,perconcert
237 JoeLewis,interviewbyauthor,November29,2012.
79
incomerangesfrom$120to380andisgenerallyusedtopaytheaccompanistwhile
singersvolunteer.RevenuefrommanyClassicalRevolutionPDXeventsgoestofundthe
organization,sincesplittingtheincomeamongthemusicianswouldprovidethemwith
onlyanominalfee.
6.3Costs
Anotherimportantaspectofthebusinessofnewalternativevenuestoconsider
isthetotalcostofpresentinganevent.Factorsthatgointothistotalincludeuseofthe
space,equipment,artistfeesandadministration.Theuseofclubandbarvenuesis
generallyfreetothepresenter.Noneofthoseinterviewedpaidforrentalofan
alternativespace.DamienElwoodcontraststhistoalargehallwhere"itcostsyou
$15,000justtoopenthebuilding."
Concerthallsarebuiltforclassicalperformance,sotheyprovideequipmentfora
typicalconcert.However,theequipmentneededtopresentachambermusicconcertis
fairlybasic.Inanalternativevenuemusiciansneedtobringmusicstandsandstand
lights.Theseitemsarelowcostandalreadyinthepossessionofmostworking
musicians.Whenapianoisrequired,musicianschosevenuesthatownedone,although
awellmaintainedpianocanbedifficulttofind.Smalleralternativevenuesdon'trequire
anamplificationsystem.Mostofthelargerbarsandclubsthathostpopularmusichave
soundsystemsavailabletoperformers.Someclubsmayrequireanoutrightfeefora
soundtechnician,althoughnostudyparticipantscitedsuchafee.
Thelargestcostofperformanceinalternativevenuescanbeartistfees.If
musiciansarevolunteersthiscostis,ofcourse,zero.Ifmusiciansarepaidasa
80
percentageofthedoorordonations,anorganizationdoesnotneedtofundthiscost
independently.However,MissyMazzolifindsthatsheneeds"topayallmyplayersata
ratethatthey'reusedtogettingfromotherclassicalgigs,"sothat'swhere"aband
modeldoesn'twork...There'salittlebitofadisconnecttherebutit'snot
insurmountable."
Therearealsogeneralcoststhatworkingmusiciansandensemblesneedtopay
onaregularbasisregardlessofwheretheyareplaying.Classicalmusicianstendtohave
expensiveinstrumentsandequipment."Iplayareallyniceinstrument,somaintainingit
isexpensive.Insuranceisexpensive,"saidHaimovitz.InordertosellCDsatconcerts,
ensemblesneedtomakeamajorinvestmentin"productioncosts.Thatcanbepricey,"
saidHaimovitz.AlarmWillSoundpays"thecostofrentalmusic,thecostofrental
equipmentandrehearsalspace...overheadcosts(and)administrationforthe
ensemble,"saidGavinChuck.Heexplainsthat,"likemostartsorganizations,thefee
thatcomesfromtheseandallpresentationsdoesn'tcoverthefullcostofanything.I
don'tknowthatit'sparticularlydifferentforthesevenues.It'sjustthenatureofthe
fieldthattheearnedincomeisneverenoughandyouhavetofindadditionalincome
throughgrantsanddonationsandsoon."Directexpensesforconcertproductionat
alternativevenuescanbeverylow,butthecostofrunningaclassicalperformance
organizationcanalsobeveryhigh.
6.4SubsidizedConcerts
Mosteconomicallyviableclassicalmusicorganizationsthatworkinalternative
venuesremaintiedtothenonprofitmodel.Generallyensemblespaymusicianswellfor
81
theseperformanceswhentheyaresubsidizeddirectlythroughtheensemble'sfundsor
throughseparateperformancesfornonprofitentities.Inmostcases,presenting
organizationslikeClassicalRevolutioncompensatemusicianswellonlywhensupported
bygrants,donationsorsponsorships.
Someorganizationsthatpresentconcertsinalternativevenueshaveyearly
budgetsfundedbyacombinationofperformancefees,grants,sponsorshipsand
donations.Moneytofundalternativevenueeventsistakenfromtheyearlybudgetfor
theorganization.AmongorganizationsthatfollowthismodelareAlarmWillSound,the
JACKQuartet,BangonaCanandtheInternationalContemporaryEnsemble.Theuseof
organizationalfundsallowsgroupstoseparatethefundingofanalternativevenue
concertfromitsrevenue.Fortheseensembles,incomefromtheirshareofthedoorata
clubfallswellbelowtheensemble'sstandardconcertfee.
Nonprofitpresentingorganizationsoccasionallyoffermusicianstheirstandard
feeforworkinalternativevenues.JACKQuartethasbeenaskedtodoclubconcertsby
organizationsalsopresentingtheminastandardvenue.Thepresenterinthosecases
offeredaflatfeeforbothperformances.RickRobinson,directorofClassicalRevolution
DetroitandformerbassistwiththeDetroitSymphonyOrchestra,wasaskedtoproduce
alternativevenueeventsaspartofhisdutiesattheHotSpringsMusicFestivalin
Arkansas.238CollegeshostingMattHaimovitzforresidencieswillscheduleadditional
performancesforhiminalternativevenues.Inthesecases,presenterspaidmusicians
foralternativevenueeventsaspartofafeeforalargersetofconcerts.
238 RickRobinson,interviewbyauthor,October29,2012.
82
Musiciansalsofundalternativevenueconcertsbycombiningtheincomefor
theseconcertswithhigherpaid,traditionalvenueevents.MissyMazzolihasastandard
feeforherensemble,Victoire,butfinds"it'seasiertogetahigherfeefromamore
traditional,largervenue."Whentouring,thegroupcombinesshowswithlowerand
higherfeestofundthetour."Thedifferencecanbethousandsofdollarsbetweeneach
one,sowejusttakethelumpsumattheendanddividethatup,"saidMazzoli.The
performancesthatpayVictoirethemosttendtobethroughuniversitiesorfestivals,and
clubshowsusuallypayless.Mazzolisaid,"Ithinkeverybanddoesthatwhenyoutour.
Youalwayshavegigsthatpayyouandgigswhereyoubreakeventhatarefundedbythe
othergigs."SomeofMazzoli'salternativevenueconcertsarefundedbycommissions
fromindividualsorfoundationsforworksperformedduringtheevent.ProjectTrio,an
ensemblethatcombinesthestylesofclassical,jazzandhiphop,earnedmostoftheir
moneyinrecentseasonsfromeducationaleventsinschools.Cluborbarshowsearn
muchlessandaresubsidizedbyeducationalevents.
Organizationsthatspecializeinperformanceinalternativevenuessometimes
receivegrantsandsponsorshipsfortheirwork.Forexample,theRegionalArtsand
CultureCouncil,theMultnomahCountyCultureCoalitionandtheOregonCulturalTrust
haveawardedgrantstoClassicalRevolutionPDX.239Theorganizationisalsosponsored
bylocalbusinesses.Generally,theorganizationcanpayplayersstandardconcertfees
onlywhentheprojectissupportedbyagrant.ClassicalRevolutioninSanFranciscowas
abletopayacoregroupofplayersasetfeetoperformatthechamberjamsatthe
239
"ClassicalRevolutionPDX,"accessedMarch13,2013,
http://www.classicalrevolutionpdx.org/support/.
83
RevolutionCafeonlyduringthetimeagrantwasawardedtotheorganization.Atsome
point,organizationsthatspecializeinalternativevenuepresentationmaybeasadeptat
securingfundingasaplacelikeTheKitchenorRouletteistoday.Forthemoment,
fundingissparseandunpredictable.
6.5MarketingandPublicRelations
Alternativevenueperformanceisanimportantopportunityfortheclassical
musicindustrytoraiseitsprofile,andchangeitsimage,withthegeneralpublic.Barand
clubeventsaremorelikelytogarnerpresscoverage,sincetheyarestillrelativelynovel.
Also,sincerevenueatnewalternativevenuesusuallydependsuponthesizeofthe
audience,musicianshaveagreaterincentivetomarkettheirevents.Theresponsibility
forsecuringanaudienceinalternativevenuesfallslargelytoensemblesandpresenters,
ratherthanvenues.Theyarealsoaplacewherenewensemblescanbuildafanbase
fromthegroundupandmusicianscanmakeindustryconnections.Ensemblesused
severalstrategiestomarkettheiralternativevenueeventsincludingsocialmedia,word
ofmouthandPRfirms.
Therehasbeenasignificantamountofpresscoverageonclassicalmusiciansin
alternativevenuesinthepastfiveyears.Fromtheperspectiveofjournalists,thisisa
newandinterestingdevelopmentintheworldofclassicalmusic.Musiciansaretaking
advantageoftheopportunity.JohnPickfordRichardsmentionedthatJACKQuartethas
received"alotofgreatNewYorkTimesreviewsfromconcertswe'veplayedatPoisson
Rouge,soifwecomeawaywith$500andagreatreview,orevenaterriblereview,then
itwastotallyworthit."TheInternationalContemporaryEnsembleusesalternative
84
venuestocapturemediaattentioninanewcity.EricLambexplainsit's"theeasiest'in'
toanewcity.[We]gotoParisandplayinthealternativespacessothatcriticsknowICE
iscoming.We'llmakealittlesmatteringofapresencelikewe'vedonebeforeandthen
comebackandplaytheconcerthall."
Thesystemofmarketingeventsinpopularvenuesisdifferentfromthe
mainstreamclassicalbusiness.Inthepopularmusicworld,musiciansareexpectedto
promotetheirgroupandtakeprimaryresponsibilityforadvertisingconcerts."The
peoplewhoplayandthepeoplewhoproduceconcertsaretotallyseparateinclassical
music,"saidRonenGivony,"andintherockworld,thissortofthingwouldneverreally
stand."PeterSeymourexplainedthat"whenyouplayatanalternativevenue,youhave
toputbuttsintheseats.Youaredoingthemarketingandyou'redoingthedeveloping."
Necessityhascreatedanewfoundinvestmentin,andfeelingofresponsibilityfor,the
publicrelationsandmarketingoftheirensemblesamongchambermusicians.
Inmostcases,venuesprovideasupportingroleinmarketingeventsintheir
spaces.Theamountofworkvenuesputintopromotionseemstovaryfromplaceto
place.(Le)PoissonRougeadvertisestheireventsthrough"email,Facebook,Twitter,
throughourwebsiteandournewsletter,"saidGivony.VenueshostingClassical
RevolutionPDXusuallymakeposters,sendannouncementstotheiremaillistsand
makeFacebookevents,accordingtoKaiser.However,JoshuaKohlfoundthatmost
clubs"reallydon'tputmuchenergyintopromotingstuff,"unlesstheyarehostinga
famousact.Mostofthoseinterviewedmentionedthatanidealsituationiswhere
presenters,ensemblesandvenuesworktogethertopromoteevents.
85
Avenue'sregularclientelecanaddtotheaudienceforanevent.RickRobinson
saidsomeofClassicalRevolutionDetroit'saudiencearepeoplewho"cometothebar
anywaybuttheydidn'tknowclassicalwasgoingtobethere."MattieKaisersaidthat
shelikes"tochoosevenueswherepeoplejustkindofhangoutanyway."Choosinga
venuewithanexistingclientelecanmakeaconcertpromoter'sjobeasier,especiallyin
venueswithoutacover.Playingacombinedshowwithapopulargroupalsocanhelpto
expandachamberensemble'sfanbase.
Alternativevenuescanbeanimportantplacefornewensemblestobuildan
audienceandformusicianstonetworkwithcolleagues.Haimovitzsuggestedthat,"for
someonestartingout,it'sagreatwaytostart,justlikeanindierockmusicianorjazz
musicianwhohastogooutthereandstartplayingandbuildanaudiencefromscratch.
Ithinkthat'saperfectwaytodothatwithinclassical,too."Individualmusicianscanalso
buildrelationshipswithinthemusicindustrybyperformingchambermusicin
alternativevenues.ClassicalRevolutionPDXis"reallygoodforrightnowfornetworking
andmeetingotherpeopleandgettingothergigs...basedonwhoyoumeetbecauseyou
participateinit,"accordingtoMattieKaiser.
Freeonlinemarketingwasthemostpopulartoolforpromotingalternative
venueeventsamongparticipants.Mostofthoseinterviewedrelyonacombinationof
socialmedia,emaillistsandtheirownwebsites.DamienElwoodsaidOperaonTapLos
Angeles,inadditiontocreatingFacebookevents,will"dopicturesandcommentsand
linkstotryanddrumupinterest."Twitterandemailnewsletterswerealsopopular
tactics.Manypresentersalsolisttheireventsonlocalonlineandnewspapercalendars.
86
Severalintervieweesmentionedthatwordofmouthwasthesinglemost
importantfactorinbuildinganaudiencefortheirevents.SincemostAmericansare
bombardeddailywithadvertisements,apersonalrecommendationcanbemuchmore
effectivethananyothertactic.WhentheSeattlebasedDegenerateArtEnsemble
travelledtoNewYorkfortwoperformancesattheNewMuseum,theywereabletosee
thiseffectfirsthand."Wehadatalkbackattheend,"explainedKohl,"andweaskedthe
audience:'Whoherecamebecausetheysawsomepressorpublicityfortheshow?'And
twohandswentup.'Whocameherebecausetheyheardaboutthisthroughthe
museum?'Andoneortwohandswentup.'Whocamebecausesomeoneyou
know...fromSeattlegotyoutocomeandseetheshow?'And,boom,allthehandswent
up."ThisexperienceshowedKohlthatwordofmouthcanbemorepowerfulthanpaid
advertisingormediacoverage.Althoughbuildingafanbasethatcanspreadtheword
aboutperformancesmaybeaslowprocess,manychamberensemblesarefindingitis
worthdoing.
Ensembleswhoaredoingwellenoughfinanciallytohireapublicrelationsteam
havetakenadvantageofthisassistance.Whatensemblesarepayingforwhentheyhire
apublicistisoftentheopportunitytogetmoreandbetterpresscoverage.Peter
SeymourfoundhavingaPRteamwasespeciallyimportantwhentouring."Wedo
concertsallovertheworld,soifI'mgoingtoHongKong,there'snothingIcandoonmy
Facebook"pagetopromoteanevent,explainedSeymour.MattHaimovitz,inaddition
todoinghisownmarketing"hadPR,andthat'sexpensive"but"it'sworthitbecauseyou
reallydon'twanttoplayforanemptyroom.It'stheworst."
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6.6VenuePartnerships
Byitsverynature,performanceinnewalternativevenuesisapartnershipwitha
forprofitbusiness.Thesebarsandclubsareprimarilysmallbusinessesthatcannot
affordtorunadeficitforverylong.Thehundredsofvenuesthathostclassicalmusic
needtomakeaprofit,otherwisetheywouldhavetoshuttheirdoors.Ingeneral,any
actthatcanfillaclubwithdrinkingoreatingcustomersisworthhosting.Thelongterm
feasibilityofhostingclassicalmusicinclubsandbarscanbeinvestigatedbylookingat
threevenuesthathavebeendoingjustthatforanumberofyears:(Le)PoissonRouge,
BarbsandtheRevolutionCafe.
(Le)PoissonRougewassetupasaforprofitbusiness."Wedon'tapplyfor
grants.Wedon'tsolicitdonations,"saidGivony,because"wewantedtoneverbeinthe
positionwhereifwelostoutsidefunding,wecouldn'tdowhatwewanttodo."Tomake
aclubthathostsclassicalmusicsustainable,thefoundersemployedseveralstrategies.
First,anygroupbookedbytheclubneedsbringanaudience.Givonyexplainedthat,
"theideaisthatshowshavetopayforthemselves.Showshavetobepromotedand
theyhavetobringpeoplein."
Thecapacityofthemainroomoftheclubis700standingand350seated.
Generallyclassicalconcertsutilizetheseatedconfiguration.Withthissetup,tablesare
arrangedcabaretstyleandpatronsareabletoorderdinner.Accordingtothe(Le)
PoissonRougewebsite,"bypurchasingaTableSeatingticketyouagreetoalso
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purchaseaminimumoftwofoodand/orbeverageitemsperperson."240Byinstitutinga
minimumpurchasewithtableseating,theclubcanguaranteeahigherreturnforthe
night,evenwithfewerpeopleintheclub.Thevenuedividesanegotiatedportionofthe
doorwiththeartistsbut"80percentplus,"ofrevenuefortheclubcomesinfromfood
anddrink,saidGivony."Foodanddrinkiswhatkeepsthevenueopen,"heexplained.
Revenuevariessignificantlyfromnighttonight,however.Evenwithintheclassical
genresomeshowsattract"older,moreaffluentaudiences"saidGivony,"whereas
contemporarycomposerswillbeayounger,morestudentlikeaudience,"whomight
buyfewerfoodanddrinkitems.
(Le)PoissonRougebooksawidevarietyofmusicattheirclub,fromclassicalto
rocktojazzandmore.Givonysaidtheclubhostsaclassicalconcertfromzerotofour
timesaweek,depending"ontimeoftheyearandalotofincidentals."Hostingclassical
musicwasafoundingprincipalof(Le)PoissonRouge.Thisdoespreventtheclubfrom
makingthemaximumprofitavailablefromthespace."Iftheownersofthevenue
wantedtomakealotmoremoney,itwouldnotbedifficult,"hesaid."Everynightthat
wehaveastringquartetorasolopianorecital,isanightthatcouldveryeasilybe
rentedouttoacompanyforapartyfor700peoplewithaDJ,"saidGivonybut,"that's
notthisvenue."Althoughrunasaforprofitbusiness,loveofmusictakesprecedenceat
(Le)PoissonRougeovermaximumprofit.
240
"lePoissonRouge."accessedFebruary16,2013,
http://www.lepoissonrouge.com/lpr_events/candyboxburlesquefeb16th2013/.
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Givingloveofmusicprecedenceovermaximumprofitisalsoasystememployed
byOlivierConanatBarbs.BarbsisasmallbarintheParkSlopesectionofBrooklyn,
openedtenyearsago"asaperformancespace.Thatwastheidea,"saidConan.The
venuehostsmusicsevennightsaweek.Conangenerallybookstwoactsanighttogive
eachperformerafulltwohourconcert.Thebarhostsworldmusic,jazzandprojects
thatdonotfitneatlyintoagenre.StandardWesternclassicalmusicishostedtheretwo
tothreetimesamonth.Howeverindieclassicalandgenrebendingclassicalgroupsare
presentedmoreoften.Amusicianhimself,ConanspecializesinLatinmusic.Explaining
hismotivationinhostingmusic"thatwasnotnecessarilybeingbookedinNewYork,"he
said,"ItendtobeprettyenthusiasticaboutmusicIlike...soIwanttoshareit."
Whenaskedifhostingthiskindofmusicmakessensefinancially,Conanreplied,
"No.Imean,itdoesn't,"but"we'restillinbusiness."Hecontinued,"Itonlyworks
becauseit'ssmall,sowecanaffordtohavesomeemptyshows."Theentireshotgun
shapedbarhasacapacityofaround70,includingthesmallmusicroomattheback.
Thereisnodrinkminimumorcoverbutthoseattendingtheshowsinthebackroomare
solicitedforadonationtotheperformers.Conanlikestoinvestinshowshethinkshave
potentialeveniftheyhaveasmallfollowing.Hethinksofthebusinessmodel"asa
weeklymodel,"hesaid,"withinaweekIhavetohavesomestuffthat'spopularand
somestuffthat'slesspopularandkindofaverageitout."
Sincethebardoesn'tmakeanyincomefromacover,andonlymakesmoney
throughdrinksales,hostingclassicalmusiccanbeaparticularchallenge."It'seven
hardertomakemoneywithit,"explainedConan,"because...peoplewhocometoreally
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listentomusic,tohaveaconcertexperience,willnotspendanymoneyondrinks."He
findsthattheseconcertscanbebeneficialtothebar"becausethey'llcomebackfor
somethingelse."ConanisabletokeeptheforprofitBarbsrunningbyfundinglow
revenueactslikeclassicalperformancesalongwithotherhigherrevenueshows.
AttheRevolutionCafeinSanFrancisco,however,ClassicalRevolutionnights
becameoneofthemostprofitablenightsoftheweekforthevenue.TheRevolution
CafeisasmallcafeandbarintheheartoftheMissionDistrictofSanFrancisco.
AccordingtoJoeLewis,thecafeis"20,25feetby20,25feetmaybe;verysmall."
Thecafehostsweeklyresidenciesofdifferentstylesofmusiceachnightoftheweek.
ClassicalRevolutionisatthebareveryMondaynight.Todaythevenuehasbecome"so
established"asaplacetohearmusic,"it'spackedeverynightnow,"explainedLewis.
TheCafecanboastapackedhousepartlybecauseit's"perfectlylocated,"saidLewis,
theydon'tchargeacoverandit'sknownasahangoutspot.
WhenClassicalRevolutionnightsfirststarted,theyweretheweakestnightfor
revenueatthecafe.Customersthereareofferedlivemusicforfree,andthebarmakes
moneyfromdrinkpurchases.Lewissaidtheclassicalnight"wasfinanciallytheweakest
nightforquiteawhileattheRev,because...therewerealotofnondrinkers,like
mineralwatertypes...Whenwe'reworkingabar,it'snotsustainable.Peopleneedto
drink[higherpricedalcohol]sowecankeepsupportingthisart."Lewis'solutionwasto
giveaspeechtotheaudienceexplaining"theonlywaythatwecankeepdoingthisisto
makeitsustainable,"andaskthemtopurchasedrinks.Lewissaidheputinthetimeand
efforttomakeClassicalRevolutionnightsworkfinanciallybecause"IwantClassical
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RevolutiontobenotonlyartisticallysomethingreallyuniqueandspecialbutIwantitto
totallyholdcourtintermsofsales,too...Atthispoint,it'sbeenoneofthestrongest
nightsattheRevforquiteawhile."
Thepreviousthreeexamplesarebarandclubvenuesthathavesuccessfully
hostedclassicalmusicinsustainableways.Theownersormanagersofeachvenuewant
tohostgreatmusic.Aworking,longtermcollaborationbetweenclassicalmusiciansand
venuesmayrequiresomeartisticmotivationamongthoserunningthevenue.However,
aspecificdedicationtoclassicalmusicdoesnotseemnecessary,aslongastheacts
seemofqualitytobookersandbringanaudience.Musiciansalsoneedtopromotetheir
shows,fillthevenuesandbesuretheiraudiencesbuyenoughfoodanddrinkstomake
thenightprofitableforthevenue.Maintainingaresidencycanhelpbuildanaudience,
whichbenefitsboththeclubandthemusicians.Whenthesepiecesfallintoplace,
hostingclassicalmusiccanbepartofacluborbar'sforprofitbusinessmodel.
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CHAPTER7
THEAUDIENCEATALTERNATIVEVENUES
Moststudyparticipantsbeganperforminginalternativevenuesinpartto
expandtheaudienceforclassicalmusic.Themajorityoftoday'sclassicalmusicaudience
inconventionalvenuesisoverfifty,affluent,andconservativeintheirmusicaltastes.
Basedontheobservationofparticipants,theaudienceatnewalternativevenues,like
bars,clubsandcoffeeshops,seemstobeyoungerandlessaffluent.Someofthose
interviewedfoundsegmentsoftheirloyalaudiencefollowedthemintoalternative
venues.Mostwereabletoreachnewfansandfansofmorepopularmusicgenres.
Overall,alternativevenueperformanceappearstohavebroadenedtheaudiencefor
classicalmusicinrecentyears.
7.1Demographics
Mostofthoseinterviewedsawanaverageaudienceageof20sto30sat
alternativevenueconcerts.Afterhisfirstperformanceinanalternativevenue,Matt
Haimovitzsaidhesaw"awholenewaudiencethatI'dneverreachedbefore."The
reasontheseconcertsdrawayoungeraudiencemaybebecausethesearespaces
youngerpeoplefrequent.Thesevenuesmaybelessattractivetoanolderagegroup
becausetheyoftendonothavethecomfort,easeofaccessandsafeneighborhoodofa
largeconcerthall."Inanalternativevenueyouhavetostandorit'sreallyhot.Alotof
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timesthey'reinneighborhoodsthatarehardertogettoorlesssafe,"explainedPaul,so
theyattract"amoreadventurousoryoungercrowd."
Theageoftheperformersinalternativevenuesseemstohaveaneffectonthe
ageoftheaudience.MostClassicalRevolutionchapterdirectorsandperformersare
themselvesintheir20sand30s.Theyattractanaudienceofasimilarage.Ontheother
hand,RickRobinson,a23yearveteranoftheDetroitSymphony,fallsintoahigherage
bracket.Hefinds"alotoftheregularsthatIseeatoureventsarefriendsofminefrom
DSOcircles.Theyareolderandfollowclassicalmusic."RonenGivonyhasnoticedthis
effectat(Le)PoissonRouge.Heexplainedthatmanyoftheirclassicalshowsdrawolder
audiencesbuttheshowsfeaturingyoungcomposersoftenattractaudiencesintheir
early20s.
Whilealternativevenuesseemtohaveadramaticeffectontheageofthe
averageaudiencethereseemstobealessdramaticeffectontheracialmixofthe
audience.DamienElwoodfindsthatatOperaonTapLosAngeles"unfortunatelywe're
probablystillseeingmainlyawhitecrowd...Wecertainlyhavedifferentethnicities
mixedinbecauseweareinLosAngelesbutit'sstillprobablymajoritywhite."Charith
PremawardhanasaidheusuallyseesacrowdatRevolutionCafethat"ismixedracially."
OnanightattheRevolutionCafeinAugust2012,however,themajorityoftheaudience
waswhite.EricLambmentionedthataudiencesatneighborhoodbarconcertsusually
matchedtheracialmakeupofthatneighborhood.Itseemsthatalternativevenue
concertshaveaslightlymorediverseaudienceraciallythantheconcerthall,butthe
resultsfromthisstudywerenotdefinitive.
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Ademographicthatalternativevenueconcertsdoseemtoattractisthosewith
lowerincomes.ClassicalRevolutionnightsattheRevolutionCafemakeclassicalmusic
"accessibletopoorpeople,"saidJoeLewis,whichhecalled"abeautifullypowerful
concept."CharithPremawardhanaexplainedthat,"it'spartofourmissiontomake
concertsaccessible...Iwouldsaythatprobably70to80percentorourconcertsarefree
orwithsuggesteddonations."Youngeraudienceswithlimitedmeansoftenbalkat
concerthallprices.PeterSeymourexplained"itmainlycomesdowntomoney...Older
audiencesaregoingtopay$50or$100tositandseeanorchestraandsomebodyelse
whogoestoabarispaying$5or$10."Alternativevenueconcertsonaveragecost
muchlessthanconcerthalltickets,soitisnosurprisethattheyattractaudienceswith
lowerincomes.
7.2NewAudiences
Mostofthestudyparticipantssoughtanewaudienceforclassicalmusicthrough
theiralternativevenueperformances.ConcertsinclubsseemedtoRickRobinsonas"an
obviousprogressionforclassicalmusic,totrytoreachpeoplewheretheyenjoyother
music."DamienElwooddecideditwasimportantto"getclassicalmusicbackoutonthe
streets...outofthetemple...[and]accessibletoanaverageperson."
Someofthoseinterviewedhavefansthatattendtheirconcertsinboth
conventionalandunconventionalvenues.Thisphenomenonseemsmostcommon
amongclassicalmusiciansspecializingexclusivelyinnewmusic.AccordingtoEricLamb,
thereisa"newmusichardcoreaudience,"thatattendsconcertsbothattraditionalart
spacesinNewYorkCityandat(Le)PoissonRouge.JohnPickfordRichardsfinds"abig
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overlapbetweenpeoplewhogototheconcerthallandgotothebar"toseeJACK
Quartet.Fansofnewclassicalmusicaredevotedanddonotseemdeterredbyvenue
whetheritbeconcerthallorclub.
Alternativevenuesoftenprovideclassicalmusicianstheopportunitytoreach
fansofothergenresofmusic.Performinginpopularmusicvenues,MattHaimovitzsaid
"itwasnicetohavejazzmusicloversorfolkmusicloverscomeandexperienceclassical
[often]forthefirsttime."WhenMissyMazzoliperformsinaplace"wherepeopleare
usedtogoing...toseepopbandsorelectronicacts,"shefindsthatvenue'saudience
attendshershowaswell.Venuesthatspecializeinothergenresofmusiccanhelp
classicalmusiciansreachanewaudience.Iftheygiveacompellingperformance,they
havetheopportunitytowinnewfans.
Popularvenuesalsoprovideauniqueopportunitytoshareaudiencewithbands
fromothergenres."Oneofthebiggestthingsforusinouraudiencedevelopmenthas
justbeen,whoweplaywithmorethanwherewe'replaying,"explainedJoshuaKohl.
"Let'ssayweplaywithsomerockband.It'sthatrockband'saudience...thatbringsthese
newpeopletoourmusic,"hesaid.EventuallyKohlnoticedagradual"stragglereffect"
onhiscoreaudience,fromfansofotherbandsorthosethatfrequentrockvenues.
Alternativevenueconcertscanbemoreattractivetononclassicalfansthan
concerthallevents.WhenDougPerkinsissellingbarconcertstothose"uninitiated"in
classicalmusic,hecansay,"heyit'sinthisplaceandyoucangetabeer.Comeon,let's
go.It'sgreat.Thefoodisgood."Hefindsthisapproachis"morelikelytogetthatperson
than[tosayto]thatsameperson...'okayyou'regoingtopayforaticketandwe'regoing
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tositinthedarkforawhile.'That'snotgoingtohappenasmuch."Inhisexperiencehis
nonmusicianacquaintances"wouldcomeouttothose[alternativevenue]concertsbut
wouldnotcomeuptoMillerTheatertoseeusplayaregularconcert.Buttheythought
itwasreallycooltocometoaplacewheretheycouldgetdrinksandhangoutandwear
theirfunclothes."Sellingtheideaanightoutonthetownthatincludesashowatabar
canbealoteasierthansellingconcerthalltickets.
Finally,ifmusicianschooseapublicspaceastheiralternativevenue,the
audiencecanbeasdiverseasthepopulationofanarea.TheAsphaltOrchestraplayson
thestreetin"neighborhoodsandcommunitieswhereyouwouldn'tordinarilyfindit...
Generally,itmakesitmuchmoreaccessible,"saidSavelson.AlanPiersonsaidwhen
performinginpublicspaces"potentially,you'reaccessingtheaudience"ofthatspace.If
classicalmusicianswanttoreachnewaudiences,publicspacescertainlyprovidean
opportunitytodothat.
Intheexperienceoftheinterviewparticipants,alternativevenueconcertsin
barsandclubsattractayoungaudiencethathasbeenlargelymissingfrommainstream
classicalevents.TheydrawlowertomiddleincomeAmericans,anotherkey
demographicthatrarelyappearsintheconcerthall.Ensemblesthatperformin
alternativevenuesarerewardedwithalargerandmorediversegroupoffans.Concert
hallaudiencesareagingandnotbeingreplaced,butthemissinggenerationscanbe
foundinthesespaces.Alternativevenueperformanceisasmartinvestmentforany
individualorinstitutioninterestedinthelongevityofclassicalmusic.
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CHAPTER8
THEEVOLUTIONOFCONCERTCULTURE
Thepresentationofclassicalmusicinnewalternativevenueshascreated
dramaticchangesinconcertculture.Concertsinbarsandclubstendtobemorecasual
thantheconcerthall.Theaudienceisinvitedtoeat,drinkandoftentalkbetween
pieces,orevenduringthemusic.Thenoiselevelinthesespaceshaschangedconcert
production.Musiciansaremorelikelytouseamplificationandpresentthemusicina
waythatcapturesattention,ratherthanassumesacaptiveaudience.Manyperformers
havediscoveredamoreengagedandinvestedaudienceintheintimate,casual
environmentofnewalternativevenues.Increasingly,acasualatmosphereandmorelax
concertrulesaremakingtheirwayfromclubsintoconcerthalls.
Studyparticipantsagreedthatnewalternativevenueconcertsaremorecasual
thantheconcerthall,withrelaxedrulesfortheaudienceandperformers.Attending
alternativevenuesconcerts,GavinChuckenjoysanewfreedomto"walkaroundand
physicallydriftaswellasmentallydriftintheperformance."KennySavelsonsaidthatin
clubs"youcanhaveadrinkandyoucanlistentosomemusicandyoucantalkamongst
yourfriendsinbetweenthepieces...itbecamemoreofaparticipatoryandrelaxed
atmosphereforhearingwhatcanstillbeverychallengingandinteresting,sophisticated
chambermusic.Ithinkinsomewaysit'sliberatedthelisteningexperience."
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8.1StagesandPerformanceAreas
Thewayanalternativeconcertspaceisconfiguredcanaffecttheatmosphere
andeffectivenessofaconcert.Somebarsandclubshaveaperformancespacethatis
separatedfromtherestoftheestablishment.AtBarbs,OlivierConancreateda
performancespaceoutofthebackroomwithasmallstage,uprightpianoandacurtain
separatingitfromthemainroomofthebar.Healsoaddedaspeakerinthemainroom
ofthebartobroadcasttheconcertsfromthebackroom."Ithinkbeingabletolistento
themusicinthefrontroommakesitpossibleforpeoplewhowanttotalkandsocialize
tostillbethereandnotdisrupttheperformers,"Conanexplained.Byemployinga
separateperformanceroomwithspeakerstothemainbar,Conancreatedahybrid
spacewheredifferentlevelsofbackgroundnoiseandaudienceattentionoccur
separatelybutsimultaneously.
Otheralternativevenueshostperformancesinthemainroom.Thestagein(Le)
PoissonRougeisononewallofthemainroomoftheclub.Thebarisalonganadjacent
wall.Whenthereisseatingforaperformance,tablesfillmostoftheroom.AtJoe'sPub,
thestageissetatthebottomofaroomshapedlikeanamphitheater.Eachascending
levelcontainscabaretstyleseatingandthebarislocatedatthetop.Althoughtheseare
oneroomvenueswithcabaretseatingandbars,thestagesareprominentandaudience
attentionisgenerallydirectedthere.Otherspacesaremorefluid.Forexample,the
RevolutionCafeisasmall,oneroomvenuewithnoraisedstage.Onewalloftheroom
containsanuprightpianoandperformerscongregatearoundtheinstrument.Tables,
standingpatronsandperformerscanallbewithininchesofeachother.Insidethemain
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room,thoselisteningtotheconcertandthoseperceivingthemusicasbackgroundto
theirconversationallsharethesamespace.
Thestageequipmentinsomealternativevenuescanmakeproducingclassical
concertschallenging.EricLambsaidthatinsomebarsandclubs"therearenomusic
stands.There'snolighting.Thepianoisoutoftune.Theguywhosetsupthechairsisan
alcoholicandhe'sdrunkallthetime...Ifyou'renotusedtothatitcanbevery
problematic."DamienElwoodhashadsimilarexperiencesbut"frommystandpointIsee
thatasaplus,"hesaid,becauseperformersneedthe"confidenceandpersonal
fortitude"toperformthroughdifficulties.Lessthanidealspacescanmakeaconcert
lesseffective,ortheycanleadtoaninspiredperformanceunderdifficultcircumstances.
8.2AmplificationandAcoustics
Manypopularmusicvenueswerecreatedforamplifiedmusic,sotheacoustics
arefundamentallydifferentthanaconcerthall.JoshuaKohlexplainedthat,"alotof
thoseclubstrytomakeitasdeadaspossible,sothatwhentheyamplifyit,it'sgoingto
soundlikewhat'scomingoutofthespeakers.Theycanhavefullcontroloverhowit
soundsbecausetheroomdoesn'thaveanyreverberation,whichistheexactoppositeof
whatyouwantwithclassical...Theinstrumentswilljustdieinthere."Tomakean
acousticinstrumentsoundgoodinaroomwithlittlereverberation,andtocombata
noisybar,manyofthemusiciansintervieweduseamplification.
Whenclassicalmusiciansuseamplificationinbarandclubspaces,theyusually
usethevenue'ssoundsystem.JoshuaKohlsaidthat,"intheclubsthesoundsystems
canbesohorribleandsogood.Youdon'thavealotofcontroloverthat."Inrecent
100
years,MissyMazzolifoundthatmanyclubsoundsystemswereasgoodasorsuperior
toconcerthallsystems.MattHaimovitzconnectshisownmictotheexistingsound
systemyieldingmorecontroloverthequalityofthesound.SincethevenuesRick
RobinsonperformsinforClassicalRevolutionDetroitdonothavesoundsystems,
Robinsonboughthisownforaround$2,000.Theothermusiciansinterviewed,however,
usedtheamplificationsystemsoftheirhostvenues.
Musiciansworkingwithamplificationalsorelyheavilyonsoundengineersto
createtheirmusicalproduct.Thequalityofsoundengineersvariestremendouslyfrom
venuetovenue.Sometimessoundengineersthatspecializeinrockmusichavedifficulty
amplifyingacousticclassicalinstruments.However,Mazzolifoundthat,"inthelast
coupleyears,yougointoaclubandthesoundguyisusedtoworkingwithviolinsand
clarinetsandkeyboardsanddoublebassesbecausealotofbandsareusingthese
instruments."(Le)PoissonRougeboastsanexceptionalsoundsystemandsound
engineersthatcanachieveaconcerthallsoundinaclubbuilttobedeadacoustically.
Fewclassicalchamberensemblescanaffordtohiretheirownsoundengineerfor
concerts.JohnPickfordRichardssaidthat,"KronosQuartetalwaystravelswithasound
personanditensuresthattheywillsoundthesameinanyspace...That'sjustahuge
financialcommitmentthatmostgroupscan'tswallow."
Somesmalleralternativevenueswerecreatedforfolkorotheracousticactsand
arebettersuitedforunamplifiedclassicalinstruments.AtBarbs,classicalperformers
donotusuallyrequireamplification.CharithPremawardhanaprefers"toplay
unamplifiedasmuchaspossiblebecausetheinstrumentsthemselvesareamplifying
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bodiesandtheroomsthemselvesareamplifyingbodies.So,Iliketobeabletoplaywith
thoseacousticsasmuchaspossible...That'swhymostlyweplayinsmallerrooms."
8.3NoiseLevels
Classicalmusiciansperforminginclubsandbarscompetewithmorenoisethan
foundinaconcerthall.GavinChuckrecountedarecentconcertheattendedwhere
"therewasalotof...noiseinthebar...beerbottles,andcashregistersandthatkindof
thing."DougPerkinsmentionedthathehaddealtwith"thefrustrationsofperforming
classicalmusicinaplace[where]peopleareservingbeerandnachos,sometimes
loudly."
Somemusiciansuseamplificationthatissufficienttosatisfythosewhowantto
concentrateonthemusicandthosewhowanttotalk."Oftentimeswe'reamplified,
whichchangesthewholeenvironmentintermsofthesoundbutalsothelevelthat
peoplecan...chatandtalkwhilethemusicisplaying,"saidSaschaJacobsen.Thereare
timeswhenthecrowdisexpectingthenoiselevelofarockgroupandtheamplification
ofaclassicalensembleisinsufficient.Inthiscaseperformancescanbeineffective.Greg
SandowwenttohearasoloclassicalmusicianatCBGBs,apunkclubinNewYorkCity.
"CBsisaverylongandnarrowclub...Iwentbacktothebarandthereyoucouldbarely
hearandyoucertainlycouldn'tsee...Idon'tthinkitreallyworked,"hesaid.
Classicalmusiciansplayinginalternativevenuesoftenneedtochangetheir
expectations."There'sthiswholemovementtogetclassicalmusic...intheseplacesbut
thenyougotoabarandpeoplearetalkingandlistening...hangingoutanddrinking.The
musicianswalkawayand[say],'Thosepeopleweren'tevenlistening.'Well,youbrought
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ittoanalternativevenue.Whatdoyouexpect?"saidPeterSeymour.MattieKaiseradds
thatatalternativevenues,"Sometimesthere'snoise.Ifyouwantyourpiecetobevery
seriousandveryquiet,thenyouhaveyouroption.Youcangoplayinachurch."
Somevenuesarequieterthanothers,ofcourse,withmoreofanexpectationfor
theaudiencetofocusonthemusic.MattHaimovitzfoundthevenues"thatarereally
successfulformearetheonesthatalreadypresentmusicandsoyou'rejustgoingin
thereandbringingclassical."AtJoe'sPubinNewYorkCitythestaffclosethefrontdoor
whenashowstarts,tominimizenoisefromthelobbyandadjacentkitchen.Latecomers
arequietlyseatedduringtheconcertandwaitstafftakeordersduringtheperformance
bywhispering.Amplificationintheroomissufficientthattheseactivitieswouldnotbe
disruptivetomostperformances.AtBarbs,awaitercomesthroughandtakesorders
quietlyduringperformancesbuttheaudiencetendstobequietandattentiveduringa
quietshow.
RonenGivonysaidthenoiselevelchangesfromconcerttoconcertat(Le)
PoissonRouge.WhenJACKQuartetplayedat(Le)PoissonRouge,Richardssaid,"itgot
prettyrowdybutthemusicwewereplayingwasprettyrowdy."Onaclassicalnightat
(Le)PoissonRougeinJanuary2013,theatmospherewasverystill.Peoplestopped
orderingatthebarafterthemusicbeganandthewaitstaffmovedaroundtheroom
quietlytakingorders.Generallyeveryonewasworkingveryhardtobeaquietaudience.
Overall,thelevelofnoiseinalternativevenueshasanextremelywiderangedepending
onthevenue,theperformersandtheaudience.
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8.4AttentionandEngagement
Thequalityofaudienceengagementgenerallychangesinnewalternative
venues."Inthenonconventionalspacethereisawiderrangeofwaysthatyoucan
directyourattention,"explainedChuck.Analternativevenuecanengagethesensesin
differentways."There'sthefragrancesofthefood.There'sthetasteofthebeer.There's
soundsfromthebar,"explainedElwood.Theaudienceinabarorclubisexposedto
sensoryinputfrommultiplesources,includingamusicalshow.
Therearealsodifferentexpectedbehaviorsinalternativevenuesthanin
traditionalones."InaplacelikeLPR,peoplearemuchmorecomfortabletalking...The
factthatpeoplewalkaround...andtakeordersduringtheconcertmeanstheplaceis
sayingthattalkingisokay,"saidAlanPierson."AtRevolutionCafewedon'tdiscourage
thefollowingbehaviors,"explainedCharithPremawardhana,"drinking...quiet
conversation...gettinguptousethebathroom"orwalkinginandoutofthebar.Both
thevenueandthepresentersplayaroleinsubtlyencouragingcertainbehaviorsamong
theaudience.
Afewofthemusiciansinterviewedhaveperformedinalternativevenuesforan
audiencethatwasnotengagedwiththemusic.DougPerkinssaid,"It'salwaysimportant
topickthevenueswiselyandtoadvertiseappropriately"toavoidawkwardsituations.
EricLambhasbeenintheaudienceatshowswhere"therewerepeopletherewhodid
notlikethemusic.Theydidn'tcometohearmusic.Theydidn'twantit.Theycameto
talk."Tocombatthisproblematsmallvenues,Lambsaid,"youhavetoinviteasmany
peopleasyoucansothateveryonetherehascometohearyouplay."Mostofthe
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musiciansinterviewedfoundmoresuccessinalternativevenuesthathaveaculturefor
listeningtomusicorbybringingtheirownaudiencetoavenue.
Manystudyparticipantsfoundattentiveaudiencesatalternativevenues."Ithink
thatifthelistenerisintoanartistorband,they'regoingtolistenrespectfullyand
intently.Idon'tbuyintothisideathatifarockbandisplayingthatyourattentionisofa
differentorderthanlisteningtoSchubert,"saidRonenGivony.MattieKaiserfound
"whenyoudoneedpeople'sattentionforthereallyseriousquietworks...ifyou'redoing
itconvincingly,youhavethem."Kaisersaidsheachievesthiseffectbythe"playingand
themusicitself.Inevertellpeople,okay,bequietnow,we'regoingtoplay."Withthe
rightcombinationofvenue,qualityperformanceandfans,alternativevenuescan
provideaconcentratedlisteningenvironment.
Alternativevenuesoftenallowformoreinteractionbetweenperformersand
audience."Inbetweenpiecesthere'smoreofarapport[with]theaudience...Duringthe
performancetheycanyelloutiftheylikeacertainpart.Ofcourseinaclassicalconcert
you'dneveryelloutinthemiddleofapiece.They'dprobablykickyouout,"said
Jacobsen.MattieKaiserexplainedthatshebecameusedtoreactingtomusicinan
enthusiasticwayinalternativevenues."Ihaveareallyhardtimeintheformalconcert
hallnow...especiallyifit'ssomething...amazingandyoujustwantto[movearound]...
Youcan'thavethatemotionalreaction,"shesaid.EricLambsaidhegets"themost
interestingfeedback"atalternativevenueconcerts,"becauseyoufinishtheconcertand
youwalkoffstageandintotheaudience...Theyknowthattheyhavetosaysomething,
anythingtoyou."Audiencesfeelmuchmorecomfortableinteractingwithmusiciansin
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small,informalvenues.Musiciansgetfeedbackontheeffectivenessoftheir
performance,andtheaudiencefeelsmoreconnectedtoperformers.
Musiciansandaudienceareincloseproximityinmostbarandclubspaces.The
audienceattheWaypostinPortlandis"surroundedbythemusicians.They'reunpacking
behindyouortheirbowisgettinginyourface,soyou'rerightthereintheaction,"said
Kaiser.Thereisaheightenedenergyinaperformancespacewhenpeoplearepacked
closelytooneanother."Noonewantstogotoaconcertthat'semptyandnobody
wantstoplayaconcertthat'sempty,"saidSeymourbut,"ifyouplayapackedhousein
alittleteenyroominabarthenthatshowisprobablyoneofthebestshowsyouwent
andsaw."DougPerkinsdescribedtheuniqueenergyofaperformanceinaclubfilledto
capacity.Ataperformanceat(Le)PoissonRouge"weweresetuponthefloorand
everybodywouldkindofsurroundustothepointofsittingundertheinstruments.It
wassweatyandpackedandthatwasgreat,excitingenergy,"saidPerkins.Apackedbar
orclubcanaddenergy,excitementandbuzztoaperformancethatmayfallflatina
moreemptyspace.
8.5ChangesinConcertPresentation
Newalternativevenuesprovidemusicianswithuniquechallengesand
opportunities.Tocreateeffectiveperformancesinthesespaces,musiciansoftenchange
thewaytheypresentconcerts.MattHaimovitzsaidperformancesinalternativevenues
"challengemetorethinkmyrelationshipwiththeaudienceand...whatmyroleisasa
performer[in]engaginganaudienceandentertainingthem."MattieKaiserstrivesto
"makeachambermusicconcertmorelikearockconcert...I'malwaystryingtothinkof
106
howcanitfeelmorelikeyou'regoingtoseearockband."Musicianschangeseveral
aspectsoftheirperformancesinalternativevenues,fromdresstospeakingstyleto
stagepresence.
Classicalmusicianstendtodressinamorecasualandmoremodernmanner
whentheyperforminbarsandclubs."Wecanchangethedressfromsuperlaidbackto
moderatelystylish,"saidSaschaJacobsenaboutMusicalArtQuintetperformancesin
alternativevenues."Idon'tthinkwe'veeverplayedintuxedos,thankgod.Ihaveno
desiretoperforminatuxedoeveragain,"hecontinued.MissyMazzolisaid,"We're
alwaysplayingwiththewaythatwedressandourlookfortheband."Often,classical
musiciansperforminginacluborbarlooklikethepatronsofthatestablishment
whetheritisatrendycluboradivebar.
Mostofthemusiciansinterviewedincorporatedlittleornolightingeffectsinto
theiralternativevenueshows.Someclubsandbarsareequippedwithsophisticated
lightingsystems.Manyclassicalperformersat(Le)PoissonRougeoptforsubtleon
stagelightingeffects,likeachangeofcolorbetweenpieces.MattHaimovitzsaidwhen
heperforms"Idon'tmindiftheychangebetweenpieces.Idon'treallyliketoomuch
goingonwhileI'mplayingbutinbetweenIdon'tmindthelightingpersonchangingit
up,beingcreative."Theuseoflimitedlightingeffectsisalsocommonamongpopular
musiciansinsmalltomediumsizedclubs.Overall,themainlightingconcernamong
musiciansinterviewedwasensuringsufficientlighttoreadmusic.
Musiciansalsotendtopresentthemselvesinalessformalwayonstagein
alternativevenues.MattieKaisermentionedthat,"musiciansarealittlemorefreetobe
107
themselves;showsomecharacteronstage...Icanhaveabeerupherewithmewhile
I'mplayingShostakovichandthat'snottaboo."LeahPauladdsthat,"Iliketofeelcasual.
Iliketocountusoff,"atthebeginningofapiece.Whenvenueslackabackstage,the
ensemble'sentranceandexittendstobemorecasual,aswell.GavinChucksaidAlarm
WillSoundlikes"tomakeanentrancebut...ofteninnontraditionalspaceswejusthave
tohangoutonstage."
Speakingfromthestageisgenerallymorecasualinbarsandclubs.AtOperaon
TapLosAngeles,DamienElwoodasksperformerstointroducethemselvesinthefirst
personastheircharacter.Hesaidasingermayintroduceherselfbysaying,"so,I'vejust
realizedmymothermurderedmybrotherbutI'mnotupsetbecauseI'msleepingwith
mystepdad,right?"RickRobinsonalsoencouragesperformersatClassicalRevolution
Detroittointroducethemselvesandtelltheaudience"wherethey'refrom;wherethey
play...abouttheirupcomingconcertsandobviouslyintroducingthepieceandwhythey
liketoplayit."Whenmusiciansspeakfreelyandinacasualmanner,audiencestendto
feelamoreintimateconnectionwiththem.
Afewofthemusiciansinterviewedworkaudienceparticipationintotheir
alternativevenueperformances.RickRobinsonaskstheaudiencequestionsand
suggestsgameslike"renametheclassicalpiece."Inthisgame,afterhearingthepiece,
theaudiencegivesadescriptivenametoaclassicalpiecewithagenericnamelike
SymphonyNo.3."I'vegotacoupleofcompositionsthattakesomecowbellbeatsand
someshakerbackbeatand[I]askacoupleaudiencemembersuptoplaythem,"
Robinsonsaid.AtClassicalRevolutionPDX,"Wedoalotofjokes.Werenamedrinks"
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aftermusic,saidKaiser,"soit'sreallyinteractive."Thosemusicianswhohave
incorporatedaudienceparticipationintotheirshowsseempleasedwiththeresults.
Itis,ofcourse,possibletopresentaconcertatanalternativevenuethatfeels
verymuchlikeaformalconcerthallperformance.Anatmospherecanbecreatedina
bar,cluborrestaurantwheretheaudiencefeelsuncomfortablemovingaroundand
glaresatanyonemakingnoise.Thisisgenerallypossiblewhenthosefamiliarwith
concerthalletiquettedominateanaudience.Ayoungwomanworkingthedoorof(Le)
PoissonRougeinJanuary2013saidwhensheworksclassicalshowstheaudienceusually
onlyclapsbetweenmovementsandseemtoknowtheunwrittenrulesofconcert
etiquette."WhenI'mnotsure,Ijustfollowwhateveryoneelsedoes,"sheexplained.
Hercolleaguementionedhowawkwarditcouldbewhenshestartstoclapbutnoone
elsedoes.Musicianscontributetotheformalityoftheseconcertsbywalkingonandoff
stagebetweenpieces,failingtointroducethemselvesorthemusic,ignoringthe
audienceiftheyclapbetweenmovements,andbowingformally.
Slowly,alternativevenueatmosphereismakingitswayintotheconcerthall.
Ensemblesthatdevelopinalternativevenuestendtokeepacasualpresentationstyle
whentheymoveintomoreformalspaces.ProjectTriobrings"thevibeoftheclub...into
theconcerthall,[whichispossible]becausewespentsomuchtimeplayingin
alternativevenues,"explainedSeymour.Occasionally,amajorclassicalvenuewillhost
popularandclassicalmusiconthesameprogram.Forexample,in2010attheL.A.
Philharmonic'sGreenUmbrellaSeries,playersfromthephilharmonic,AlarmWillSound
andtherockgroup,theDirtyProjectors,allsharedaprogramonthemainstageofthe
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WaltDisneyConcertHall.241Forthepastfewyears,theNewWorldSymphonyhas
presenteditsannualPulseconcert,whichattemptstoturnthemainhalloftheNew
WorldCenterintoanightclub.Groundfloorseatingisremovedduringtheconcertand
theaudienceisfreetomovearound.D.J.setsalternatewithliveperformancesfromthe
stageandaroundthehallbyNewWorldSymphonyplayers.
The21stcenturyUnitedStatesisaninformalsocietyandmostaudiencesprefer
acasualconcertatmosphere.Alternativevenuesarethemosteffectivemeansbywhich
classicalmusiccanachievethatgoal.Intimate,casualvenuesputtheaudience'sneeds
anddesiresbackintotheequation.Performersgetmorefeedbackfromtheaudiencein
alternativespacesandadjusttheirperformancesaccordingly.Thesevenueshelprestore
asymbioticrelationshipbetweenaudienceandmusicianswheretheperformanceis
influencedbybothsides.Musicianswholearntoengageaudiencesinanalternative
settingcanbeambassadorstohelpmainstreamclassicalmusicconnectwithalarger
public.
241 ChrisMartins,"Getty'sFoundation:DirtyProjectorsPlayDisneyHall,"February
26,2010,accessedApril6,2013,http://www.laweekly.com/20100226/music/getty
sfoundationdirtyprojectorsplaydisneyhall/.
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CHAPTER9
REPERTOIREATALTERNATIVEVENUES
Alternativevenuesforclassicalmusicareshapingthe21stcenturyclassical
repertoire.Inadditiontostandardrepertoire,musicianscanplaynewmusicthatis
difficulttoprograminconcerthalls.Drawingontheresourcesofrockvenues,classical
musiciansperformwithamplification,electronicsandfilm.Classicalshowsinthese
venuesoftenfeatureshorter,fasterpiecesandtendtoavoidlengthy,subtleworks.
Finally,classicalmusiciansarecollaboratingwith,beinginspiredby,andthemselves
inspiringpopularandjazzmusiciansthatworkinthesamevenues.Theincreasein
classicalmusicwithpopularinfluencesinthe21stcenturycanbepartiallytracedto
artisticcominglinginbarsandclubs.
Musiciansperformeverythingfromearlymusicandromanticstandardstonew
avantgardeworksandpopularcrossoverpiecesinnewalternativevenues.(Le)Poisson
Rougehostsclassicalactsfeaturingmusicfromtheentiretyoftherepertoire."Literally
inoneweekwewillhaveareallystandardSchubertandBrahmsrecitalandthenext
nightwillbeamarimbaduoandthenightafterwillbeastringquartetplayingallworld
premieres...It'sreallyhardtogeneralize,"saidRonenGivony.TheRevolutionCafe
chamberjamsfocuson"readingdownthestandards,"ofstringchambermusic,
accordingtoPremawardhana.However,theresidentensembleofClassicalRevolutionin
SanFrancisco,theMusicalArtQuintet,oftenperformssalsaandtangochambermusic
111
writtenbySaschaJacobsen.It'snotdifficulttofindrepertoirefromanyerain
alternativevenuestoday.
9.1NewMusic
Manyofthemusiciansinterviewedforthisstudyspecializeinnewmusic.The
InternationalContemporaryEnsemble,JACKQuartetandAlarmWillSoundareallnew
musicensembles.TheDegenerateArtEnsembleperformswithoriginalmusic.LeahPaul
andMissyMazzoliarecomposer/performers,whoperformtheirowncompositions.
Whentheseensemblesandperformersplayinalternativevenuesorconcerthalls,they
playcontemporaryworks.MissyMazzolisaidVictoireplaysthesamemusicinanyvenue
fromaconcerthalltoapunkclubinDetroitwith"aratlivingunderthestage."ICEhas
premieredawork"at(Le)PoissonRouge...andplayeditthenextweekinaconcerthall,"
saidLamb.
Alternativevenuesprovideaperformanceoutletfornewmusicthatwouldbe
difficulttoprograminaconcerthall.MattieKaiserputitsimplythatClassicalRevolution
PDXwill"playthestuffnooneelsewillplay."Forexample,shesaidtheyrecently
performedanorchestralsuitebyJherekBischoff."He'snotgoingtobeabletocallthe
OregonSymphonyandbelike,hey,I'vegotthisorchestralsuite.Youshouldtryitout.
So,we'reabletocollaboratewithartiststhatmightnothavethoseconnections,"said
Kaiser.Alternativevenuesarechangingclassicalrepertoire,"asfarasopennesstonew
music...Ithinkaudiencesarefarmorewillingtolistentonewmusicthantypical
programmersgivethemcreditfor,"explainedKaiser.Alternativespacesprovidea
settingformusicthatisnew,riskyorunknowntobeperformed.Artistscantakea
112
chanceonperformingtheseworksinaplacewithlowerstakesandfewerprogramming
gatekeepersthanaconcerthall.
9.2ElectroAcousticandMultiMediaPerformances
Manycontemporarycomposerswritemultimediaandelectroacousticmusic.
Popularmusicvenuesarefrequentlyequippedforperformanceoftheseworkswith
soundsystems,lightingsystemsandvideoscreens."Oftenthesespacesinvestalotof
moneyintobeingabletoproducerockshowsandpopshows"soelectroacoustic
classicalshowscanwork"muchbetteroutsidetheconcerthall,"saidLamb.Classical
RevolutionPDXhasproducedconcertswithslideshows,spokenwordandaerialists.
TheyhavealsoperformednewlycomposedsoundtrackstooldBmoviesincollaboration
withtheorganizationFilmMusic.TheMusicalArtQuintethasperformedwithdancers,
acrobats,poetryreadingsandvideopresentationsatvenuesliketheTreatSocialClub.
RickRobinsonhasworkedwithbreakdancersandMissyMazzolipresentedheropera
forlivechamberensembleandfilminalternativespaces.Alternativevenueshavebeen
aplaceformanymusicianstocollaboratewithartistsfromotherfieldsandcreate
showsthatcombineseveraldifferentmedia.
9.3TheEffectofConcertAtmosphereonRepertoire
Manymusiciansaltertheirrepertoireforalternativevenues.Severalparticipants
mentionedthatloud,fast,attentiongrabbingpiecesaremosteffectiveinabarorclub
environment,especiallyfirstonaprogram.Inavenuewithbackgroundnoise,Joshua
Kohlrecommendedstartingwithapiecethatwill"hitpeopleovertheheadalittlemore
andmaybesavethesubtle"musicforlaterintheprogram.JohnPickfordRichardsfound
113
theXenakisstringquartetsworkwellinaclubsetting"becausethere'softenaconstant
soundmassgoingon.It'sloudandabrasiveandaweinspiring"and"grabsanaudience's
attention."Whenthequartetperformedquietmusicthatunfoldsataslowerpace,it
didnotworkaswellinaclubenvironment.Itisdifficultforslow,subtle,quietmusicto
competewiththedistractionsofabarorclub.
Relativelyshortpiecesmaybemoreeffectiveinanalternativevenue."Someof
themostsuccessfulprogramsI'vegiven,likeAnthem,havebeenshorterpieces,"said
Haimovitz.Severalmusiciansseparatedmultimovementworksandtreatedmovements
asindependentpieces.Concertswithshortworks,excerptsandindividualmovements
seemed"moresuitedtothatenvironmentwherepeoplewerehavingdrinksandmilling
around,"saidGavinChuck.Sinceattentionmaybedirectedinmanywaysinan
alternativevenueandtheaudienceisfreetocomeandgothroughoutaset,briefworks
workwell.Theyalsomimicthelengthofthepopularsongsmostoftenperformedin
theseveneus.
MattHaimovitzlikestoreadtheaudienceduringhisclubperformancesandalter
hissetaccordingly."SometimesyoufeellikeitwouldbeusefultoplayalittlemoreBach
beforeyouhitthemovertheheadwithsomethingcontemporary,"butothertimes,
"youcanfeelit,theywanttorockout,soyoucanincludetheheavierhittingpieces,"
explainedHamovitz.Hesaid,"IfIfeelthere'sajazzaudiencethenI'llprobablywantto
playcertainpiecesthatwouldrelatetojazz."Changingtheprogramduringa
performanceismorechallengingforachambergroupthanasoloinstrumentalist,
however.
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9.4CollaborationswithPopularGroups
Classicalmusicinclubsisoftenplacedsidebysidewithpopularmusic.Leah
Paul,VictoireandtheMusicalArtQuintethaveallsharedabillwithrockbandsinaclub
setting.Showsthatincludebothpopularandclassicalactscanbeartisticallycohesive.
"Thedistinctionbetweensomeinterestingnewchamberpieceandamore
instrumentallymindedrockbandthat'spopularisnotsogreat,"saidKennySavelson.
GregSandowattendedanightat(Le)PoissonRougethatfeaturedtwosetsofambient
popandonesetwithMessiaen'sQuartetfortheEndofTime.Sandowfeltthenightwas
sosuccessfulbecausetheMessiaenandtheambientpopactshadaconsistencyof
moodthroughout.AlexRosswrote"Ihaveseenthefuture,anditiscalledShufflethe
settingontheiPodthatskipsrandomlyfromonetracktoanother...thelittlemachine
oftengoescrashingthroughbarriersofstyleinwaysthatchangehowIlisten."242
Increasingly,liveconcerts,especiallyatalternativevenues,mirrorthewidevarietyof
genresfoundonalistener'siPod.
Inadditiontoplayingonthesamebill,classicalmusiciansalsocollaboratewith
musiciansfromothergenresinalternativevenues.DougPerkinshasworkedwiththe
electronicduo,Matmos,andwithGlennKotchefromthealternativerockband,Wilco.
Perkinssaidthesemusicians"arepeoplewhohavegreatcareersinrockmusicbutare
bringinganhonestytotheirworkinclassicalmusic.They'restretching"themselves
242
AlexRoss,"Listentothis,"NewYorker,February16and23,2004,accessed
December6,2012,
http://www.therestisnoise.com/2004/05/more_to_come_6.html.
115
artistically.CharithPremawardhanaperformswithajazzensemblefeaturedonanother
nightattheRevolutionCafe,theJazzMafia.Theensembleofmixedwindsandstrings,
yMusic,hasworkedwiththeindierockbandsBonIverandTheNational.243Thisgroup
evenbillsthemselvesasa"readymadecollaborativeunitforbandsandsongwriters."244
Musiciansthatperformdifferentgenresinthesamevenuesoftentakeaninterestin
eachother'sworkandformcollaborations.
9.5ChamberMusicInfluencedbyPopularMusic
Musiciansworkinginalternativevenuesoftenwritechambermusicinfluenced
bypopularmusic.Newspaperarticlesandmusiciansinrecentyearshavedubbedthis
music"altclassical"or"indieclassical."Primarily,thesetermsrefertomusicthat
combinesclassicalelementswithdiversepopularinfluencesandcanbeappliedtoa
widevarietyofmusic.Regardlessofthetermapplied,popularinfluencesonmusicians
workinginalternativevenuesareabundant.RickRobinson'scompositionscombine
"grooves[with]standarddevelopmentaltechniques,"heexplained.SaschaJacobsen
writesmusicfortheMusicalArtQuintet,whichcombinesWesternmusicwith"South
American,Argentinian[and]AfroCubanmusic,"accordingtoPremawardhana.
Musiciansoftendeveloparepertoireofmixedgenremusicthroughtheirworkin
alternativevenues.GregPattilloofProjectTriocreatedhisbeatboxflutetechniquein
subwaystationsandrefineditinbarandclubperformances.
243
"NewAmsterdamRecords,"accessedMarch12,2013,
http://www.newamsterdamrecords.com/?portfolio=ymusicbeautifulmechanical.
244
"ParadigmAgency,"accessedMarch12,2013,
http://www.paradigmagency.com/divisions/artist/index/2183.
116
Genresaresothoroughlycombinedinmusicplayedbyclassicalplayersin
alternativevenuesthatasinglelabelnolongerseemstofit."ThekindofmusicthatI
writeisn'teasilycategorized.Itdoesn'tfitintoagenre,"explainedMissyMazzoli.The
composersofBangonaCanhavebeencrossingtheseboundariessincethegroup's
inception.JoshuaKohlsaidthereare"alotofpeoplewhoknowhowtowritefor
classicalinstrumentsthatdon'tconsiderthemselvestobeinvolvedwithclassical
music...There'sawholegenerationofpeoplewhoarecomingfromjazzorrockorjust
peoplethatconsiderthemselvespostgenreandthey'remakingmusicusingthese
instruments."Heexplainedthat,"Ithinkitmightkillclassicalmusic.Ithinkthatthis
alternativevenuesthing,honestlyinthebestscenario,it'llkillitbecauseitwillnolonger
needtobeacategoryofitsown.Itwillbeintegratedintomusicthat'salivetoday...
Everythingisgettingblownwideopenandit'sboththerebirthandthedeathatthe
sametime."
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CHAPTER10
CONCLUSION
Chambermusicperformanceinalternativevenuesisnotuniquetothe21st
century.Musicianshaveperformedinunconventionalspacesforaslongastherehave
beenconventionalvenues.Musicianshaveusedalternativevenuestoperformmusic
thatwasnotwelcomeinthemainconcertvenuesoftheirtime.Othersfoundgreater
audiencesupportinalternativespaces.Differentstylesofmusicalsofoundahome,or
weredeveloped,inthesevenues.Forexample,thelighter,simplerstyleofStilGalant
wasfeaturedintheCollegiumMusicumcoffeehouseconcertsofthe18thcentury,
insteadofthemorecomplexBaroquestyleplayeddownthestreetatSt.Thomas.An
entirestyleofintimatemusicemergedfrom19thcenturysalonconcerts.Composers
SteveReichandPhilipGlassdevelopedtheirMinimaliststyleinthe1970salternative
venuesofloftsandartgalleries.
Somealternativevenuesbecamesointertwinedwithmainstreamclassicalmusic
thattheyeventuallyemergedastraditionalvenuesthemselves.Forexample,salons
continuedasamainstayofchambermusicperformanceintothe20thcentury.Art
museumconcerts,onceanoveltyinthe1960sand1970s,arenowstandardspacesfor
classicalconcerts.Otheralternativevenues,however,neverdevelopedintoa
conventionalspace.Forexample,thecoffeehouse,aftertheCollegiumMusicum
events,neverbecameanestablishedvenueforconcerts.
118
Thereasonsomanyclassicalperformershavemovedintonewalternative
venuesinrecentyearsisinpartduetothestateofmainstreamclassicalmusic.The
audienceforclassicalmusichasdeclinedandagedconsiderablyinthelast30years.The
modelfora20thcenturyartsinstitutionisalargeorganizationwithabigbudgetanda
staffofadministrators.Theseorganizationsrelyheavilyongrantsanddonationsfrom
wealthypatronstosurvive.Thismodelcreatesconservative,unwieldymusicinstitutions
thathavedifficultyadaptingtocurrentaudiencetastes.Today,mostU.S.audiences
preferamorecasualatmosphereonthewholeandtendtodisliketheeliteimageof
classicalmusic.Largemusicinstitutionsalsohavelimitedflexibilitytodealwitha
financialdownturnoradropinaudienceattendance.Inaddition,collegegraduateswith
musicperformancedegreesoftencan'tfindsufficientpaidworkinmusicandlack
outletsforpersonalcreativity.
Aroundtheturnofthe21stcenturyanumberofyoungmusiciansfromSeattle
toOberlintoChicagostartedtoperforminbars,clubs,restaurantsandcoffeeshops.
Mostofthesewereorganizedbycollegestudentsorrecentgraduatesandoften
featurednewmusic.Thesameyear,theestablishedcellosoloistMattHaimovitzwent
onhisfirsttourofbarsandclubsaroundtheUnitedStates.Thenumberofthese
concertsincreasedoverthenextfewyearsandby2006,twoorganizationsdedicatedto
classicalperformanceinclubsexisted:ClassicalRevolutionandOperaonTap.Both
theseorganizationsspawnedchapters,whichestablishedthemselvesincitiesaround
theU.S.andabroad.ContemporarymusiciansinNewYorkstartedtogravitateto
venueslikeJoe'sPubandBarbsaroundthistime.In2008,(Le)PoissonRouge,aclub
119
dedicatedtohostingbothpopularandclassicalmusic,openeditsdoors.Theclubhas
garneredconsistentmediaattentionanditscurrentseasonincludessomeofthebiggest
classicalactsintheworld.Todayalternativevenuesrepresentabustlingfacetofthe
classicalmusicindustry.
Classicalmusiciansbegantoperforminpopularmusicvenueslikebarsandclubs
foranumberofreasons.Someofthepioneersofthisphenomenonwereclassical
musicianswhoalsoplayedpopularmusicandwerealreadyperforminginthesespaces.
Alternativevenuescanbeeasiertobookandtheconcertslessexpensivetoorganize.
Manymusiciansweresimplylookingformoreperformanceopportunitiesoraplaceto
experimentwithnewideas.Alternativevenuesprovidedmusicianswithafeelingof
artisticindependenceandthechancetobuildtheirownaudience.Finally,most
musiciansbeganperforminginbarsandclubsinparttofindnew,youngeraudiencesfor
classicalmusic.
Thebusinessworldofalternativevenuestodayislessinstitutionalizedthanthat
ofbigartsorganizations.Bothfeesandexpensesareusuallymuchlowerthaninconcert
halls.Therearefewadministrators,withmusiciansoftenprovidingtheirownmarketing
andpublicrelations.Musicianstendtocombinetheirworkinalternativevenueswith
higherpayingperformancesandteaching.Largerorganizationsworkinginalternative
spacesusegrantsanddonationstosubsidizetheirworkregardlessofvenue.Aforprofit
clubcanhostclassicalmusicsustainablywhenactsattractanaudienceandthecrowdis
encouragedorrequiredtopurchasefoodanddrinks.
120
Theaudienceatalternativevenueperformancesisyoungerthaninconcerthalls
ingeneral.Theaverageageatmostofthestudyparticipant'seventsinbarsandclubs
wasbetween20and40.Therewassomeoverlapinaudienceatalternativeand
standardconcertvenuesforsomeensembles,especiallythosethatspecializeinnew
music.Concertsatalternativespacesareusuallylessexpensivethanconcerthallevents
andattractaudienceswithlowerincomes.Classicalmusiciansfoundtheycouldconvert
fansofothergenresintoaudiencesatalternativevenueconcertsbysharingaprogram
withapopulargrouporbookinginapopularmusicvenuewitharegularfollowing.
Overall,itappearsthatalternativevenuesareexpandingtheaudienceforclassical
music.Alargestudyofaudiencedemographicsatclassicalconcerts,thatincludes
alternativevenues,isneededforabetterunderstandingofthechangestakingplace.
Classicalconcertculturehasshiftedradicallyinsidenewalternativevenues.
Theseconcertsareinformalwiththeaudienceofteninvitedtoeat,drinkandeventalk
duringtheperformance.Bothaudienceandperformersdressinamodernstyle,fitting
thetrendyorlaidbackambienceofthevenue.Interactionsbetweenperformersand
audiencearecasual,withfreediscussionbefore,afterandsometimesduringthe
concerts.Thenoiselevelsatthesespacesarehigherthaninaconcerthall,butoften
audiencesarequietandattentiveduringthemusic,muchastheywouldbeforan
interestingindierockband.
Tocreatesuccessfulperformancesinthesevenues,musiciansoftenchangehow
andwhattheypresentinconcert.Performersusuallyinteractmorefreelywith,and
speakmorecasuallyto,theiraudienceduringalternativevenuepresentations.They
121
oftenamplifytoovercomeadditionalcrowdandambientnoiseinthesespaces.Many
musicianspresentstandardrepertoirebuttherealsoseemstobeaninterestinnew
musicamongtheaudiencesinthesevenues.Manyperformersgravitatetowards
shorter,moreattentiongrabbingpiecesforconcertsinbarsandclubs.Oftenchamber
musicisperformedonthesamenightwithjazz,rockorotherpopularmusic.
Collaborationsbetweenmusiciansofdifferentgenresareborninthesesharedvenues.
Muchofthemusiccreatedbycomposersthatfrequentalternativevenuesisamixture
ofclassicalandpopularstyles.Manyarefindingitdifficulttoneatlycategorizetheir
musicasentirelyclassical.Thesamechambermusiciansthatfrequentalternative
venuesalsoperforminconcerthalls.Theyarebringingnewstylesofmusicandnew
formsofpresentationintotheclassicalconcerthall.
Itistooearlytotellifbarsandclubswillonedaybecomeatraditionalvenuefor
chambermusic.Theyhavealreadyhadanimpacton21stcenturyclassicalmusic,
however.Alternativevenueshaveprovidedagenerationofclassicalmusicianswitha
placetoplay,experimentanddeveloptheirownstyleofmusic.Theyhaveoffereda
spaceforthatsamegenerationofaudiencetocomeintocontactwithlivechamber
music,oftenforthefirsttime.Thewaymusiciansconductthebusinessand
performanceofclassicalmusichasbeenalteredbytheirtimeinalternativevenues.
Thesevenueshavehelpedtocreateasubsetofclassicalmusic,whichislessformaland
moreopentonew,genrebendingmusic.Mainstreamclassicalmusicisstartingtopay
attention.Majorartsorganizationsareexperimentingwithalternativevenueconcerts
andbookingmusicianswhodevelopedtheircraftinpopularmusicspaces.Alternative
122
venueshavealreadyredefinedclassicalmusicandwillcontinuetoshapetheartformin
thefuture.
123
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APPENDIXA
LISTOFINTERVIEWSUBJECTS
GavinChuckManagingDirectorandComposer,AlarmWillSound
OlivierConanOwner,Barbs,Brooklyn,NY
AmandaDavisOperationsandProgramCoordinator,Roulette,Brooklyn,NewYork
DamienElwoodOperaManager,UniversityofSouthernCalifornia;'ManagingDivo,'
OperaonTapLosAngeles
RonenGivonyMusicDirector,(Le)PoissonRouge,NewYork,NY;Founder,
WordlessMusicSeries
MattHaimovitzInternationalCelloSoloist;ProfessorofCello,McGillUniversity
SaschaJacobsenBandleader,BassistandComposer,MusicalArtQuintet
MattieKaiserExecutiveDirector,ClassicalRevolutionPDX
JoshuaKohlCoArtisticDirector/Composer/CoFounder/Conductor,DegenerateArt
Ensemble
EricLambFlutist,InternationalContemporaryEnsemble(ICE)
JoeLewisFormerManager,RevolutionCafe,SanFrancisco,CA
MissyMazzoliComposer;Founder,Victoire
MichaelNewmanOwner,TheWaypost,Portland,OR
LeahPaulComposer;Multiinstrumentalist
DougPerkinsPercussionist,Meehan/PerkinsDuo
131
AlanPiersonArtisticDirector,AlarmWillSound;ArtisticDirector,
BrooklynPhilharmonic
CharithPremawardhanaFounder,ClassicalRevolution;Violist,MusicalArtQuintet
JohnPickfordRichardsFoundingMember/Violist,JACKQuartet
RickRobinsonDirector,ClassicalRevolutionDetroit;FormerBassist,Detroit
SymphonyOrchestra;Founder,CutTimeEnsemble
GregSandowFaculty,TheJuilliardSchool;Author,www.artsjournal.com/sandow
KennySavelsonExecutiveDirector,BangonaCan
PeterSeymourBassist/Manager,ProjectTrio
132
APPENDIXB
INTERVIEWQUESTIONS:PERFORMERS/ENSEMBLES
1.Whatvenueshaveyouperformedinthatarenottypicalconcertvenues?(For
example,clubs,bars,stores,streetperformanceorcafes.)
2.Whendidyoustartplayinginthiskindofvenue?
3.Howmanyperformancesinalternativevenuesdoyougiveinatypicalconcertyear?
4.Whatistherangeofaudiencesizeatthesekindsofevents?
5.Howaretheconcertsfunded?
6.Howmuchincomedoyouearnforatypicalperformanceofthistype?
7.Whoisresponsiblefortheadvertisingoftheseconcerts?Ifyoudothis,howis
advertisingfundedandwheredoyouadvertise?
8.Whatisgenerallythecosttotheaudience?Thevenue?Theperformer?
9.Howdoesthiskindofconcertcomparefinancially,comparedtoaconcerthall
performance?
10.Haveyouperformedmultimediashowsinanalternativevenue?
11.Whywereyoufirstinspiredtoplayinalternativevenues?
12.Whatdoyouseeasthefunctionofthiskindofconcert(audiencebuilding,making
money,experimentingwithnewideas)?
13.Howdoyoufeelaudienceinvolvementandgeneralatmospherechanges,ifatall,in
concertsinalternativevenuesvs.theconcerthall?
133
14.Howdoyouchooserepertoireforalternativevenues?Doesthisdifferfrom
repertoireformoretraditionalvenues?
15.Doyouchangeanyotheraspectsofyourperformanceinthissetting?(Forexample,
amplification,standlights,speakingduringtheconcert,choreography.)
16.Whataretheadvantagesofconcertsinalternativevenues?Drawbacks?
17.Doyouseeanydifferenceinaudiencedemographicsatalternativevenues?
18.Howdoyouplantoincorporatealternativevenuesinthefuture,ifatall?
19.Howdoyouenvisionalternativevenuesaffectingthefutureofyourensemblein
particularandclassicalmusicingeneral?
134
APPENDIXC
INTERVIEWQUESTIONS:PRESENTERS
1.Whatkindofvenueshaveyoupresentedconcertsinthatarenottypicalconcert
venues?(Forexample,clubs,bars,stores,streetperformanceorcafes.)
2.Whendidyoustartpresentinginthiskindofvenue?
3.Howmanyoftheseperformancesdoyouhostinatypicalconcertyear?
4.Istherearegulargroupthatperformsatyourpresentedevents?Ifso,whatistheir
name,instrumentationandstyleofmusic?
5.Whatothergroupshaveyoupresented?
6.Doyouhostopenmicnights/jamsessionsforclassicalmusicians?
7.Whatistherangeofaudiencesizeatthesekindsofevents?
8.Howaretheconcertsfunded?Whatisthefinancialarrangementbetweenyou,the
venueandtheensembles?
9.Howmuchincomedoesyourorganizationandtheensembleearnforatypical
performanceofthistype?
10.Whatisgenerallythecosttotheaudience?Thevenue?Theensemble?
11.Whoisresponsiblefortheadvertisingoftheseconcerts?Ifyouadvertise,howis
advertisingfundedandwheredoyouadvertise?
12.Haveyouperformedmultimediashowsinanalternativevenue?
13.Whywereyoufirstinspiredtopresentconcertsinalternativevenues?
135
14.Didyouseeanypreviousconcertseriesasamodelforyours?
15.Areyouamusicianyourself?
16.Whatdoyouseeasthefunctionofthiskindofconcert(audiencebuildingforother
typesofconcerts,makingmoney,experimentingwithnewideas)?
17.Howdoyoufeelaudienceinvolvementandgeneralatmospherechanges,ifatall,in
concertsinalternativevenuesvs.theconcerthall?
18.Dothegroupsyouhostplayacertaintypeofrepertoire?Dotheytendtobea
certainsize?
19.Howdoyoufindnewgroupstohost?
20.Areyouinvolvedinchoosingrepertoirefortheseconcerts?Ifso,doesthechosen
repertoiredifferfromrepertoireformoretraditionalvenues?
21.Doyouchangeanyotheraspectsofconcertproductionforalternativevenues?(For
example,amplification,standlights,speakingduringtheconcert,choreography.)
22.Whataretheadvantagesofconcertsinalternativevenues?Drawbacks?
23.Doyouseeanydifferenceinaudiencedemographicsatalternativevenues?
24.Howdoyouenvisionalternativevenuesaffectingthefutureofclassicalmusic?
136
APPENDIXD
INTERVIEWQUESTIONS:VENUES
1.Whatstylesofmusicdoesyourvenuehost?
2.Howoftendoclassical/contemporarymusiciansperformatyourvenue?
3.Whenwasthefirstconcertofthistypeatyourvenue?Howmanydoyouhostina
typicalmonth?
4.Doyouhostopenmicnights/jamsessionsforclassicalmusicians?
5.Whatistherangeofaudiencesizeatthesekindsofevents?Howdoesthiscompare
tootherstylesofmusic?
6.Isthereacoverchargeorticketpricefortheaudience?Howisthismoneysplit?
7.Whatisthepriceofthecovercharge?
8.Ifthereisnocoverorticketprice,dothemusicianscollecttips?Howmuchdoesan
ensemblegenerallytakeinintipsanight?
9.Dothemusicianspayyourvenue?Doesyourvenuepaythemusicians?
10.Whoisresponsiblefortheadvertisingoftheseconcerts?Ifyouadvertise,howis
advertisingfundedandwheredoyouadvertise?
11.Doclassicalgroupsuseamplificationinyourvenue?
12.Howlargeisyourstage?
13.Pleasedescribeoursound,videoandlightequipment.Doclassicalgroupstendto
usethisequipment?
137
14.Howlargeistherestoftheestablishment?Whatisyourmaximumcapacity?
15.Doyouservefoodanddrinksduringtheconcerts?
16.What%ofrevenueonthesenightsisrelatedtofoodanddrink?
17.Isthereanincreaseinrevenueonclassicalconcertnights?
18.Howdidyoubecomeinterestedinhostingclassical/newmusicconcertsatyour
venue?
19.Didyouseeanypreviousvenueasamodelforyours?
20.Areyouamusicianyourself?
21.Dothegroupsyouhostplayacertaintypeofrepertoire?Dotheytendtobea
certainsize?
22.Howdoyoufindnewgroupstohost?
23.Areyouinvolvedinchoosingrepertoirefortheseconcerts?Ifso,istherepertoire
specificallysuitedtoyourvenue?How?
24.Doeshostingclassicalorcontemporarymusiciansmakesensefinancially?Doyou
haveotherreasonsforcontinuingtheseconcerts?
25.Istheaudienceandgeneralatmosphereonaclassicalmusicnightdifferentfroma
nightwithotherperforminggroups?Whatisthetypicalagerange?
26.Whataretheadvantagesofhostingclassical/newmusic?Drawbacks?
27.Doyouplantocontinuehostingclassical/newmusicconcertsinthefuture?Why?
138