Daniel Beland to Dave Harman:

>I generally agree with the rest of your post, but I think that listening
>to new or "little known works" is not always that painful for the "average
>concertgoer"!  It depends what new or "little known works" you play...  I
>do remember the Canadian premiere of Lutoslawski's beautiful Forth Symphony
>with the Montreal Symphony Orchestra, and I can tell you that most "average
>concertgoers" were very excited about it!  I also remember another great
>MSO concert presenting "little known works" by Martin and Martinu.  This
>was a *huge* success!  Introduce great new works to the audience in the
>context of nicely built programs, and "average concertgoers" will probably
>get use to (and starve for)...  discoveries:-)

And I agree with Daniel -- I believe audiences have the inquisitiveness,
experimental aspiration and sheer cussedness to confound Those Who Know
-- even if the latter had conducted any research more scientific than a
dampened finger raised in the auditorium.  I have been to packed houses
approaching three thousand souls to see Glass's Fifth Symphony, Bolcom's
Gaia Concerto(s), Part's Canticus in Memoriam Benjamin Britten (OK -- the
latter was in an 800 seater), whereas the same auditoria have struggled to
sell enough seats for Bruckner's 4th, Strauss' Metamorphosen and Sibelius
1st.

I further believe that audiences respond well to respectful imparting
of information -- I used to struggle very hard to ensure that the preview
lectures I was invited to give provided information at a 'man in the
street' level without being condescending or pretentious -- not just what
to listen for in the music, but some 'life and times' info and some idea of
where the pieces fit in with each other -- if at all.  Of course, sometimes
that is more difficult -- witness the concert that contained the Part piece
referenced above, the Mozart Sinfonia Concertante, Haydn's Trauer symphony
and the Shostakovich |Chamber Symphony No.  1!

And finally, I believe Daniel raises an important issue with the words
"...nicely built programs..." Yes -- you will get takers for a Beethoven
symphony cycle, a Mozart piano concerto series or a Wagner operatic
behemoth -- as well you should.  But careful marketing of thoughtfully
developed programmes should also pay dividends in a society in which
increasing attention is being paid to leisure and cultural activities --
especially in the era of the Internet and e-mail newsletters as methods
of generating interest and aspiration.  If the Rattles, Oramos and St.
Clairs of this world can persuade their collaborators to embrace
'challenging' programming, then others can succeed with it to.
Build it and they will come?

Tim Mahon
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