The future (financially) isn’t rosy, but the ideas and the execution of them in a post-lockdown world is exciting, and the RLPO are first out of the traps
I joined the Royal Liverpool Philharmonic Orchestra’s pre-2020 season Zoom call earlier this evening (there’s a thing I never imagined I’d ever feel compelled to write about or even say in a sentence). And, if you weren’t there, I have to tell there were one or two things which left me feeling a little bit excited about the next few months.
As ensembles emerge tentatively from the post-lockdown darkness, the people who stage the events they play in are leading the way with new ways of doing things. They are the live event pioneers, eager to communicate directly with their core audience about the changes customers will experience. And, for someone like me, when I hear of those logistical changes there’s a frisson of excitement to experience too.
Tickets purchased online for a socially-distanced concert will give clear directions as to which car park car-owning patrons should park their vehicles in. On arrival at the Philharmonic Hall in Liverpool, there’s the option of the bar (for up to 50 people an hour before the concert). Savvy ticket-holders will have already pre-ordered their drinks with their ticket. Those clever types will arrive at their seats (masks mandatory for all except for those who are exempt), and find a bag containing their drinks order. Beverages can be consumed at leisure inside the auditorium. “We’re assuming,” said Executive Director Millicent Jones from the Royal Liverpool Philharmonic, “that drinks will be consumed before the concert,”
But what if they’re not? Will front of house staff police the event? What’s the protocol once the music has started? What’s more important? The safety of front of house staff, the safety of socially-distanced (bubbled) audience members, or the live performance.
Later Millicent explained how each concert would be filmed and released in premieres on the the RLPO website ‘as live’, preceeded by pre-concert Zoom talks and post-concert Q&As. All this for a tenner a concert. That’s at least half what you’d pay to go to the cinema. And cinemas are open.
So, basically, I can have my cake (and almost eat it whole) without leaving my house. Sure, I know its not like being there. But this is the next best thing. And if I was there I like the idea of having my drinks delivered to my seat like I was on an aeroplane.
“Necessity is the mother of invention,” concluded Chief Exec Michael Eakin at the end of the presentation, itself a piece of direct communication with audience members existing and potential of the kind I’ve not experienced before now.
It feels, just maybe, as though change is afoot. And I’m rubbing my hands together at the thought of what the experience might turn out to be like. Because the thought of being able to watch on-demand a whole series of UK orchestras concert performances on my TV? So long as I’ve got the money, I’m MORE than happy to spend it to get my fix.
It’s the first time in a long time I’ve wanted to write. So,
please treat this post as a way of breaking myself back into the process. An
attempt to order a jumble of thoughts. The first in a pre-paid programme of
self-facilitated therapy sessions.
On returning to writing
Writing now triggers all sorts of different thoughts and
feelings, some of which make the practise almost impossible. A list of those
thoughts presents itself.
There’s nothing to say about classical music
Your copy will ramble
Your copy always rambles
You bring way too much of yourself to your copy
You make everything about you
You take ages to get to the point
There is no event everyone is coalescing around
People don’t want to be reminded of what they
You have an over-inflated idea of your own
Shut the fuck up
There are some truisms in here. Even in the first two
paragraphs points four, five and six are borne out. Watch the detractors rub
their hands together with glee at that one.
Importantly, is the question of where these thoughts
originate and what their effect is.
In coaching terms I know where those phrases originate. The
effect is creative gas-lighting.
To bring oneself to ones writing – whether it’s literally using
the first person in one’s copy, or drawing on first-hand experience or turns of
phrase is for some a sign of weakness or exclusivity. I have over the past
three or four weeks felt guilty for
my go-to creative framework that is second-nature because of the very creative
outlet – a blog – that helped develop my creativity.
One has to be robust. Rigorous. Recognise when the gas-lighting
occurs and take steps to avoid it, so that what’s important is allowed the
space it needs: advocacy whether it be in writing, audio, visual storytelling
depends on knowledge, experience and emotional awareness. Bringing that to one’s
creativity isn’t just a good thing, it’s a requirement. Otherwise, how do you
connect with your audience?
Content fatigue? No, distractions
I read somewhere on social media that some considered classical music consumers were suffering content fatigue in response to the slew of digital endeavours embarked upon by various arts organisations amid COVID-19.
It’s true that there are a multitude of split screen lockdown performances which are very quickly blending into one another. One or two resonate more than others – the Rotterdam Philharmonic, Fairey Band’s Slane, and The Sixteen’s recent release.
These are successful not because they have cut-through, but because they have a narrative underpinning them or they anticipate and exploit an emotion experienced by a majority audience.
I remain convinced that offering free content like this is not detrimental to the music industry. It is a pragamatic and understandable reaction by a number of arts organisations and individual performers to unforeseen circumstances. This moment in time provides an excellent marketing opportunity and digital is king at raising awareness (even if it struggles to result in changed behaviours).
Raising awareness then is a baseline for arts organisations during this hiatus. But in doing this digital producers and artistic directors now (finally) appreciating what digital is for (even if they don’t understand its often contradictory complexities) need to remember that audiences (those that are lucky enough to work, as well as those interacting with family on handheld devices or over Zoom) are spending considerably more time at their laptops during this pandemic. Little wonder then that a bright blue sky, the warmth of the sun on your skin, or simple pleasures like plants, baking, or reading a book are compelling distractions over watching another video online.
It’s not that its content fatigue, it’s that there are bigger, more powerful and considerably more gratifying distractions right now. If you’re making content right now that content is competing with those distractions. That’s what you need to bear in mind.
Managing oneself in isolation
As the lockdown continues and will, let’s face it, for the
rest of the year, some aspects of day to day life are coming more and more into
Switching between tasks without the usual moving from location to location which marks out those different activities is, I think this week, as much a drain on energy reserves as being in receipt of a poorly phrased email, mean-spirited exchange on What’s App, or an extended video conference call.
I was lucky enough to have lined up a month’s worth of project work for April which has now spilled into May. The to-do list is now getting reduced to a more manageable size which is a relief. At the same time I recognise I’ve been battling not only with the workload, but the intensity of it and the associated thought-processes (most of them negative) made more destructive by isolation-powered focus I’m working with.
Every-day now feels like a working day. There aren’t enough hours in the day. I never finish my day at the time I want to. I don’t really relax. I see how one could easily stumble into burn-out by continuing this way.
One of the solutions is to limit calls that interrupt the flow. My current bugbear is calls where things are just reported. It’s the meeting equivalent of listening to some playing a C Major scale – something I have to be present for but which doesn’t engage me as much as perhaps it does the person playing it. Isolation brings experiences like these into focus: our presence and participation in group experiences needs to be defined beforehand and ideally active too.
And the other thing that has become clearer for me in
isolation is the need for empathy, praise and encouragement for others. Denied the serendipitous
interactions with friends and associates, all of our exchanges are now
pre-arranged, deliberate acts. If those are the only interactions you’re
experiencing then the content of them needs to be well-intentioned, genuine,
sincere, and long-lasting.
For the sake of everyone else’s mental wellbeing, we need to approach every interaction with positive intent. The great wave of compassion and empathy at the beginning of lockdown now feels like a distant memory. It feels as though we’re in danger of falling into the same habits we did before we were all locked away in our homes. Only the effect of some of those same habits is going to be more intensely felt by most of us because we have nowhere to escape to in response to them.
One undoubted and unexpected boon was participating in a coaching learning session with some peers Friday. Within minutes of the call starting it was as though all five of us were participating in a big collective breath. Space expanded all around. Implicit permission given to explore the imagination, to identify present needs. This kind of work is powerful. And needed. Especially in lockdown.
Where my musical tastes have rested recently
I began writing this section of the post listening to
Vaughan Williams fifth symphony again – a work I’ve been returning to a lot
this past week. The third movement largo with its opening call to prayer from
the cor anglais: a reflection on those in need; a statement of hope that we
will be there for them as we’d hope others will be for us. It, like the
coaching learning session yesterday, has the power to release great waves of
emotion whenever I hear it. Listening to it is like plunging into a very deep
pool, not realising you needed to until your skin hits the water.
And Elgar’s Violin Concerto – Nicky Benedetti’s release on Decca this week.
An intimate recording of an epic statement. It’s an album I’ve had on preview
for a few weeks now but haven’t (for the reasons I outlined at the top of the
post) not got around to writing about. And yet returning to it again this week
has reminded of one of the work’s most compelling characteristics: it’s complex
and rewarding narrative. Reflecting on that now makes me almost regret the
comparative cursory attention when discovering new music in the past. Giving
attention seems like a nice thing to
do right now. Space and attention to delve into detail.
My latest musical squeeze is inspired by the NDR Philharmonie/Manze Beethoven extravaganza I wrote about in the previous post.
Vaughan Williams 5 (and 6) from the RLPO conducted by Manze released 18 months ago demonstrates the conductor’s love of detail which, coupled with similarly forensic production techniques, brings out silky smooth string textures, ensemble staccatos that gently but efficiently puncture the score like a staple in a 50 page document, and precision pianissimo articulation that brings me out in goosebumps all over.
The third movement lento is a particular favourite – what sounds like a love letter to someone that triggers a sense of pride, warmth, and solidity. The woodwind tuttis are the kind of creations that make me want to reach for my clarinets and find the nearest band with VW 5 in its music pad. The cor anglais is to die for. A ravishing thing.
I hear the third movement as roast beef, stinging nettles, ploughed fields, and hedgerows. It’s not sentimental or nostalgic. The character isn’t easy to read at first, but its the complexity that makes that character beguiling. Introverted for sure. There’s a whiff of self-doubt in there somewhere. But, on the whole, the character holds his or her head high throughout, self-belief growing with every dynamic swell in the score. There’s a sense of hope stitched into the score that elevates the mood, building on that innate personal resilience. And come the final almost imperceptible chords there’s a hint of resolution, as though something has been aired or laid to rest.
Questions questions questions
And there in lies the answer to the year-long question I’m posing myself: where, when and why do I interface with the art form? What effect does it have on me? And what does that say about my mood or my needs?
In the case of VW 5 even as a whole, it appeals right now because of it’s relative newness to me. I’m sure I’ve heard the work before, but I wouldn’t have been able to recall it. Hearing it this week in a recording that leads on detail and texture, it is the immediacy of the writing that appeals the most. It as though VW’s score is written in a ‘clean’ musical language that surfaces nuanced and sometimes conflicting emotional responses.
The optimism that exudes the work, coupled with that experienced discovering and responding to it over the past 48 hours is tinged with an observation about the way we talk about classical music, and the way those who talk about it talk to one another.
Over the past few months I’ve connected with a variety of organisations that seek to reach out to newcomers – online, on-air, and via the live concert experience. Common to all of these connections is the pervasive view that classical music is like a prickly bramble to the uninitiated. And beyond classical music, the idea that a deeper appreciation of music as a whole – how it works and it’s effect on us – is anathema to achieving the widest reach.
I see it in pop and rock music too. I’ve spent twenty two years living with a serious music lover whose gateway is lyrics and who revels in country, rock, and musical theatre. It’s not unusual for the pair of us to spend a long Friday night listening to comparative recordings of Sondheim’s Sunday in the Park, for example. Different recordings bring different insights, forging different personal connections both with the music and with another.
Avoid detail at all costs
I am beginning to wonder whether this is the exception to the rule; that the vast majority don’t consume music in this way; that to acknowledge the impact music has on us is to set us apart and even unwittingly elevate people like me from the masses.
Is that how a love of music in all its constituent parts is seen by others? I fear it is. And if it is, one wonders whether there’s much point in trying to advocate the artform as a map accompanying a journey exploring the self.
Put another way, how do point people from music as entertainment towards the place where music has a deeper impact on the soul? Or at least point them in the direction of where music can have a deeper impact on the soul?
This isn’t a question of good and bad music (whatever that means) or making a value judgment of one genre of music or other. All genres have the potential to touch the heart in the way that VW5 has done on me this week (just in other ways for other music heard by other people). But there is undoubtedly a resistance to go deeper.
To go deeper is to hint at superiority it seems. That saddens me a great deal. Because that means the bigger challenge isn’t about writing about a particular genre in a ‘more accessible way’ in order to avoid ‘alienating the audience’. It means that the challenge is to support consumers of music as they understand the impact their chosen music has on them at a particular time. No one seems able or willing to do that.
The view from the steering wheel
Those that do feel comfortable discussing music in these terms find themselves in the middle of a culture war. No surprises really. That culture war is going on everywhere. That’s why its a culture war. Viewed from my metaphorical steering wheel, I see some questioning whether those with privilege dead or alive have the authority or right to advocate the value of music education for all. Some even question whether advocating music education for all is to deny the greater need of a ‘fair’ education for all. I’m a rabbit caught in the headlights when I consider the permutations for this particular question.
On the other side of the steering wheel I see commentators still arguing the toss amongst themselves about who is the authoritative source regarding the commentary on music. Some journalists under threat from a dwindling editor’s budget (because no one will pay for content) continue to posit that the unpaid self-publishing writer cannot be compared to the proper paid journalist in terms of knowledge, experience or connections. The ‘amateurs’ respond (understandably) indignantly. Just at the time when you’d think we’d all be united, the cheerleaders paid or otherwise are eating one another alive.
Warning: two metaphors in one blog post
I’m mindful of expressing any stronger view than that. Those who know me well will know what part of the fence I sit on and, given that the undergrowth below looks a little rough underfoot with a great many nasty looking barbs, I’m inclined to remaining sitting where I am. But what I see seems on the one hand utterly ridiculous, and the other infuriating. Everyone who talks about the way we talk about music adopts a defensive stance whenever anyone celebrates detail or dares to look under the bonnet. Expertise and passion has been demonised.
One can either argue each point (where did that get us over the past four years?) or we can go back to the core offer: the music. As I write VW5 is drawing to a close. A final call from the woodwind is passed on the strings.
The last few bars of harmonics in the first violins underpinned by a pillow of violas, cellos and basses leads to a conclusion: being resolute, and living true to our personal values is the best we can possibly hope for. Maybe, just maybe, like-minded souls will join us.
Dani Howard is one of a handful of composers at work today whose work consistently combines immediacy and compelling narrative. And that’s a powerful combination making her a powerful advocate for the contemporary classical music scene, providing leverage for the ongoing campaign for music education.
‘Coalescence’ is her latest work for large ensemble – triple wind, extended percussion and strings – and was premiered by the Royal Liverpool Philharmonic Orchestra yesterday.
“Coalescence explores the concept of humans versus nature, and how over the centuries I feel our species has attempted to ‘outsmart’ nature in many ways. It was originally inspired after walking past an enormous tree, that evidently over the decades had grown in and around a solid metal railing that had been built into the pavement in central London. The piece features real church bells, which signify the warning signs given to us by nature, and the work explores humans ignoring these warnings (with short brass interjections representing humans being both ignorant and resistant to accepting our climate crisis). There is a playful-like dialogue between the two, and almost like a game, the different elements bounce off each other in both playful and serious ways.”
The work showcases Dani’s distinctive style. A motoring rhythm that holds attention, highly descriptive musical cells, and an evocative sound-world with a sense of depth. The addition of vibraphone from time to time gives the whole thing a pleasing aural depth too. The switch between industrialised world and nature is efficient making it easy for audiences to identify where they are in the composer’s realised imagination.
With climate change ever present in our daily thought patterns, the pastoral sections in this work have a sobering effect on the soul.