How much thought is given to the way classical music is programmed?
Classical music needs to reach new audiences, and, indeed, it also needs to retain its existing audience. But how much thought is given to the way classical music is programmed? The Artistic Director and cellist Alexander Scherf of Concerto Köln provides food for thought on the subject of repertoire programming in the booklet for Berlin Classic's 12 CD + DVD box of Concerto Köln recordings, from which the quote below is taken. The importance of storytelling and awakening listeners' curiosity is important and all too often overlooked in both album and concert programming; for instance where does storytelling fit into the ubiquitous composer anniversary programmes? But there is a wider relevance: how can the playlists and mixtapes which dominate classical streaming, which in turn dominates recorded classical listening, tell a story? Is that why classical music is losing traction in the age of streaming? Here is the quote from Alexander Scherf:
Simple composer portraits, common as they were 15 years ago, are no longer all that interesting. Nowadays, it's more about 'storytelling', as is the case with the album about Vivaldi's violin muse. It's the story that makes the concept of an album so exciting. In order for it to have the highest entertainment, we have to tell stories with the music to inspire listener's imagination which otherwise only happens during concerts. We are no longer striving as much for encyclopaedic excellence, but rather for what we experience together with the audience in a live concert. An idea has to be conveyed that awakens curiosity.New Overgrown Path posts are available via RSS/email by entering your email address in the right-hand sidebar. Any copyrighted material is included for critical analysis, and will be removed at the request of copyright owner(s).