Classic or Contemporary? Audience Debates Philharmonic Fare

Once again we are faced with the dilemma of the future of classical music. Brent L. Trafton complains about modern music (“Philharmonic Should Put Audience First,” Counterpunch, July 5), and Stephen Hartke defends the composer (“Philharmonic Reflects Audience, Culture,” Counterpunch, July 12) with the standard mantra that the audience needs to listen more to the composer.

This is partially true: All of us composers wish to be heard by the public. But Hartke’s argument is nearly 80 years old, starting with Schoenberg, and the public has yet to be swayed. Is the public out of touch or is it that we the composers should stop preaching to the culture and instead listen to the culture to see what they listen to?

It seems fairly evident that the popular culture has not adopted this new music, whereas in the past they did incorporate their contemporary music. Mozart wrote of the people of Prague humming his tunes from “Figaro,” and music boxes quickly found their way to the public with the latest classical piece chiming forth.

If the culture of today similarly adopted contemporary music, national anthems would be 12-tone rows, the bride would march down the aisle to an atonal, arhythmic march, romantic evenings would be full of soundscapes hanging in the air. But these things have not happened, and I don’t think we composers can continue to blame the culture. In fact, they have by and large rejected a great deal of our work.

MATTHEW HETZ

Los Angeles

Hartke and those of his ilk need to accept a simple truth about most listeners’ love for music: It thrives because of melody. (Let’s be reasonable--I don’t think there’s anyone out there who would choose an album of John Cage’s music as his or her “desert island” recording.) And if I end up having to sit and listen to music that has neither melody nor any more relevance to me than the “background noise from which [it] emerge[d]” (to quote Hartke), I would certainly be discouraged from continuing to support the organization that sees fit to force-feed an audience this type of programming. Hartke will have a difficult time trying to convince me (and the Philharmonic box office) that his opinion is, or should be, the majority.

MARK J. MARGOLIS

Newport Beach

I have to take exception to the attack on Esa-Pekka Salonen. For this subscriber, Salonen is the best thing to happen to the Philharmonic in a generation.

It simply is not true that Salonen’s programming tends to the esoteric, with undue stress on atonal music, etc. His programs have generally been miraculous in their balancing the conservative or familiar with risk taking and the lesser known. While I can’t say that I’ve liked everything he has programmed, I can say that over time my knowledge has increased, my taste has widened and I’ve had many fine evenings in the concert hall. Isn’t that what an artistic institution should be doing in a great city?

MICHAEL McLAIN

Sherman Oaks

I agree wholeheartedly with Trafton. I used to make the trek into downtown as a subscriber to the Philharmonic concert series when Mehta and Giulini were conductors. After the first year that Salonen took over, I discontinued my subscription. He raced through my favorite music so he could lovingly play weird modern things.

GLORIA LESSER

Fullerton

As a longtime L.A. Philharmonic subscriber, I find the opportunity to hear music I’ve never heard before to be primary among the reasons I attend. Sometimes I’m exhilarated by what I’ve heard, while other times I’m decidedly not. But not hearing new music at all would perpetually relegate my experience to a veritable “top 40” of recycled hits, which is bound to be tiresome. While I also love many of the repertory warhorses, it’s the balanced presentation that has thus far made the Salonen era exciting and memorable. I suggest Trafton stick to “pops” programming and confine his attendance to summertime fare.

DAVID ROSNER

Los Angeles

It is sad to read about the shrinking audiences of the Los Angeles Philharmonic orchestra. However, I can’t agree with the analysis of the primary causes given in the article.

Under any circumstances (even the best), audiences must be replenished both by newly interested and younger persons. Take a closer look at our situation. Our schools have deleted music from the curriculum. This is the major cause for lack of interest and participation by our young adults.

Take another look at what the L.A. Opera is doing. It is growing exponentially because of the work in educating the public, and our kids too. Kudos to Opera for Educators for involving both teachers and students in their school programs.

Wake up! Let’s exert more pressure to put music back into our schools.

RUTH WHITE

Los Angeles

Mozart, Beethoven, Brahms and the other musical masters are most assuredly our contemporaries precisely because their music is timeless and speaks profoundly to our souls, regardless of the century in which they are played.

ROBERT HENRY

Los Angeles

Trafton deplores the programming of the L.A. Philharmonic. He claims that the management and conductor do not reflect the tastes of the audience.

He admits to having only recently become familiar with the classical repertory. If so, is it incumbent on the L.A. Philharmonic to teach him the basics and history of music? Why not, if so disposed, avail himself of the classical music stations on FM radio to familiarize himself with the three Bs and other earlier composers and then graduate to the programming of the Philharmonic?

Some of us are quite familiar with the “staples” and welcome a bit of spice added to our regular fare.

JACK H. CHESNER

North Hollywood

It was with a great deal of reluctance that we resubscribed for this year’s concerts. We and the concert-goers around us have literally “sat on our hands” when Salonen’s programs were given. We don’t mind an occasional “new” production, but when we attend the symphony, we want to hear what we like and come away feeling fulfilled. And we are not alone. Please have Salonen think a little about what the audience wants, lest he be left conducting his own “interests and needs” to an empty auditorium.

RUTH LERNER

Encino

I do not agree with Trafton’s views about programming and his wish to hear Beethoven and the like. Just as some members of the public will always prefer a certain genre of Hollywood movies with predictable plots, others will seek films that have interesting cinematography, clever acting and a less bombastic plot. Such choices are simply a matter of taste, but taste can also be cultivated by having an open mind and being willing to learn.

The Los Angeles Philharmonic is a world-class orchestra, and with such a title comes a certain responsibility--namely that of staying with the time and performing contemporary music. Sadly, most visionaries have never been understood in their own lifetime. Trafton may recall, for example, how Mozart died in poverty because his music had “too many notes.”

TIINA ITKONEN

Santa Barbara

The fact is that the Philharmonic has been losing audience for more than a quarter of a century. So has every major orchestra in the country, whether they emphasize the traditional 19th century repertoire or get more adventurous with 20th century music.

The problem is not the music. It’s the marketing.

Salonen has taken this first-rate orchestra and showcased it to resounding cheers on the world stage. It’s time somebody finally told him that there is something more he must do. In Southern California. He must be an active participant in expanding the innovation into marketing and get out and help build new audience in the community. Be a star . . . or play to shrinking houses.

It worked with Mehta. And it works today in San Francisco. Since Michael Tilson Thomas arrived, he has also built a world-class orchestra and has become the living image of that orchestra in the community. “MTT” is everywhere. Playing virtually the same repertoire as Salonen, he’s been packing the house.

The lesson is that if you want to build audience for a symphony today and you’re lucky enough to have a conducting star, you’ve got to be willing to mercilessly exploit him and the music to attract attention, interest and a following. Classical music is not being handed down as it was by earlier generations. You must get out and get people interested. Perhaps Willem Wijnbergen was trying to do that, but without the commitment of his star. Whoever replaces him must have that.

BOB KLEIN

Malibu

The future of any artistic genre is doomed if its audience won’t venture beyond the Never-Never Land of experiencing the same safe, familiar works over and over.

CHRIS NORLIN

Los Angeles