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Does your orchestra play enough new music? |
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Wednesday, 28 May 2008 |
 I was just sitting at my computer wondering if people care to learn new music these days without their ensemble being a "new music ensemble." There's definitely something to be said about the "classics." For one thing, statistics prove that audiences feel more comfortable with familiar sounds. Like a favorite route to work, they like to be on autopilot, know all of the twists and turns and just revel in their ability to not have to be on alert. As with a new route or piece of music, they don't really know the ups and downs, the tricky navigation of the melody. They want to sing along, not anticipate a jarring forte. Matter of fact, artistic directors (heck, even popular music artists) know that you place the new stuff in the middle of the program right after something kinda familiar and before something of a fuzzy slipper (i.e. very familiar and damn comfy). This ensures that no one slips out the door during intermission... That's just what the data suggests and what programmers know.
But recently, I got a new email from the American Composers Orchestra which read:
EarShot is the newly forming National Orchestral Composition Discovery Network.  EarShot initiates partnerships with orchestras around the country. EarShot provides consulting, production, and administrative support for orchestras to undertake readings, residencies, performances and composer-development programs. EarShot identifies promising orchestral composers, increasing awareness and access to their music. EarShot supports your orchestra's commitment to today's composers and enhances national visibility for your new music programs. Now, is it really possible that an orchestra will take the time to work with these five partnering organizations to perform more new music? And if that's the case, how will this new rule impact the classical community of color, specifically the composers? Will it? Or will we continue to be ignored?
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