Classical Revolution: Whose bar is it anyway?!
July/August 2010 Commentary
Thom Mariner
Co-publisher, Express Cincinnati & EXP/arts
There’s a movement taking place in cities around the world known as Classical Revolution.
Classical musicians make arrangements with a traditional bar to play art music for an evening and invite people to come listen. Seems simple enough, right? We recently ventured over to York Street Cafe in Newport to see how this works.
I truly love this idea. However, like any situation where unfamiliar ingredients are brought together, it takes time, and a few adjustments, to get the mix just right.
THE BIG ISSUE: Whose bar is it anyway?
On the one hand, we are accustomed to listening to and performing classical music in an environment almost completely void of extraneous noise. On the other, this is a bar, after all, a place where people go to unwind and, perhaps, blow off a little steam. People want to talk to each other. It’s only natural!
On this night, several complaints were relayed from the front of the room that there was too much talking back by the bar.
Should bar patrons alter their behavior and clam up, or should the musicians and music lovers adjust their expectations? Perhaps there’s a middle ground.
Keeping in mind that one can always go to a concert hall if silent listening is preferred, the real question is: what’s the goal of taking this formal music into the informal atmosphere of a bar?
Revolution is such an interesting word. Who is rebelling? Whose rules are being resisted here and whose applied? What do the Classical Revolution folks want out of this? Converts? More venue options? Or is this simply another concert for regular chamber music fans?
While it’s true that the complexity and nuance of art music requires concentration, both from players to execute and listeners to fully absorb, it boils down to expectations. Think about a golfer and the silence expected while he/she sinks a putt. Contrast that with the pandemonium going on while a point guard shoots free throws to win the game. Is there really a difference other than the expected norms for these situations?
Is this to be a concert, background music, or something in-between? In baroque times, chamber music was played as atmosphere for dinner parties.It wasn’t really until the 19th century that it evolved into “concert” music, where listeners gave it their complete attention. If the expectation is silence, patrons need to understand the ground rules to help them decide whether or not this is the experience they want.
There is another perspective: is it okay to have people relaxing and enjoying themselves with Bartok or Beethoven in the background? Is this not better for the cause of classical music than only having pop music in bars? Or does this disrespect the performers and the composers too much? Again, what is the goal? This is uncharted territory.
Attendees: what do you want out of the experience? Do you want to focus entirely on the music or would you rather let it wash over you as you chill and converse (quietly, of course!), while you sip your adult beverage of choice?
What are your thoughts on this? If you have an opinion, please share it below and help shape this new classical music experience.
Next “Classical Revolution”
Young artists from Cincinnati Opera accompanied by
Chorus Master Henri Venanzi.
Admission is free.
Sunday, July 11, 8:30 p.m.
The Blue Wisp, 318 E. 8th Street
Classical Revolution Facebook Group
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Posted: July 7th, 2010 under Arts & Culture Blog.
Comments
Comment from Ann
Time July 8, 2010 at 7:08 pm
This article is wonderful and raises some excellent questions. For instance, you ask: “Revolution is such an interesting word. Who is rebelling?” I have a feeling the group might intend the word to function in the sense of “a turning or rotational motion about an axis.” As you say, chamber music used to be performed in more casual, social settings than the concert halls of the 19th century. I appreciate that Classical Revolution is finding ways to bring chamber music back around to this role. Concert hall performances will continue to take place, and offer a chance for listeners to experience chamber music in complete silence. (Though I would posit that complete silence doesn’t necessarily result in concentrated or deep listening.) But this type of casual, public performance offers a chance for those unlikely to venture into the concert hall environment to experience the sounds of non-amplified, classical instruments and witness the dynamic interplay between chamber musicians.
On a side note, when I’m in an Irish bar and there’s traditional Irish music being played, I make a point to lower my voice and take advantage of the chance to hear skilled musicians do their thing. I don’t think this is that different.
Thank you again for a wonderful article!
Comment from Greg
Time July 9, 2010 at 10:10 am
Jazz clubs deal with this issue on a regular basis. There is an etiquette that has evolved–one where patrons can talk freely but not above the music. If the band is playing loudly, people talk at their tables. If they do a soft ballad or the band comes down for a bass solo, people listen or whisper.
Classical Revolution also has louder and softer moments, think brass quintet compared to classical guitar. As long as people are aware of the musicians, I think a nice balance between the bar scene and music appreciation can be achieved.
Comment from Vincent Scacchetti
Time July 9, 2010 at 4:05 pm
Thom,
Thank you for the insightful commentary.
Classical Revolution is indeed an experiment with many stones yet unturned.
We hope that you can join us on July 11….
Comment from Danny
Time July 10, 2010 at 8:58 pm
We are lucky to live in a town where we can pop into places like CCM and see 8 concerts or more a day in silence. To me the idea of Classical Rev. is to have a bar atmosphere that offers an alternative musical selection to loud, obnoxious bar bands. If I wanted to see a “concert” I would go somewhere else. What would be the point of doing Classical Rev. in a bar if everyone sat silently. I personally don’t even like rows of chairs. Well placed tables like a jazz bar would be more condusive to the atmosphere. Nice article btw. Glad these events are getting attention.
Comment from Nancy Nolan
Time July 19, 2010 at 11:47 am
When I was in college (more than 30 years ago), an excellent string quartet played a regular Saturday evening gig at a popular restaurant near campus. People ate dinner and talked, and the musicians played beautifully, appreciating applause they received, and apparently oblivious to the chatter at the tables. The musicians got a chance to perform, the patrons had a chance to hear wonderful music, and the resulting symbiosis worked for many years. I think the musicians kind of have to establish their ground rules; if they’re cool with playing to a packed but talkative house and are not bothered by that, then terrific; and what a benefit for the audience members who care to listen. People who wish to hear chamber music in a concert environment will know better than to expect that type of listening experience at a bar or restaurant. I have also frequented a Chicago jazz bar where talking was not only discouraged, but forbidden! People who came to hear the talent got that, and happily complied; those who just came to drink soon left. Several years ago, Chamber Music Cincinnati hosted Chamber Raves, hosting a string quartet in a variety of unlikely venues, such as a bookstore, library, mall, and public square. Many came just to listen quietly to the music, but others who just happened to be in the vicinity got something out of the experience, too. I think on the whole, the more exposure to varied and excellent music we can provide the general public, the better off we all will be.
Comment from Charith Premawardhana
Time July 8, 2010 at 7:02 pm
Thanks for the thought provoking article Thom. I reposted it to our main Facebook page at http://www.facebook.com/classicalrev and asked our fans to chime in.
It has definitely been a struggle at times – but what we we are doing is very much an experiment.
Trying to balance the accessibility and openness of the events while still giving the music its proper respect is not easy.
To answer your question, our main purpose is to put the music out there so its not so foreign to people.
We present 15-20 performance events per month in San Francisco, most of which are free.
Over the past 4 years, more than 500 musicians have participated in our events.
But yes, it is always challenge to make it work.
We are totally open to your feedback, suggestions, and comments.
Thanks!