Thoughts on concert-going
It’s occurred to me recently that going to a concert is no longer the huge attraction it once was. In the past, concerts were opportunities for connection with other performers, with friends and colleagues (both on the stage and in the audience), and to be moved or transfixed by the music.
Nowadays, I feel more reticent to head out. Perhaps this is a result of too many Melbourne Festival tickets bought for performances that failed to please. Perhaps it is a delayed reaction to the many, many orchestral concerts I went to, in the days that I worked for an orchestra. Mostly though, I have to confess that it is a response to the growing sense that I often have after going to a concert (or any other performance) of a kind of blankness, when I wake up the next day and have absolutely no reaction to it. It is simply…. nothing, really. An experience that hasn’t really impacted on me (in the true sense of the word) in any way. It isn’t about ‘like’ or ‘dislike’.
It seems a ridiculously tall order, but I want my performance-going to be life-changing. I want to come home and have it rolling over in my head, again and again. Questions, or issues, or ideas, or challenges, or puzzles to ponder. Or delights, or a remembered experience of connection with the music and the expression of the artists.
It has become a kind of assessment tool, in a way, prior to buying tickets. “Will it be worth it?” by which I mean the investment of effort and the time on my part, rather than the actual cost.
Last week I went to the Melbourne Recital Centre to hear the Melbourne Chamber Orchestra perform three works under the baton of Sir Neville Marriner. Andrew Marriner (his son) played the Mozart Clarinet Concerto.
How was this concert for me, given the above criteria? Well, I know that I enjoyed it. I enjoyed the company I was with, and I very much enjoyed the orchestra’s playing, as I haven’t heard them for quite a few years.
I loved Andrew Marriner’s performance of the clarinet concerto. It’s a piece I know very, very well, and it was truly a delight to hear such familiar lines being performed so well. There is a delightful fluency, or lightness, in the writing. (I know, it is silly to comment on the delicious craft of Mozart’s writing as we all know he was a genius… but truly, this is such a wonderful piece, and as I listened to it I was reminded of this again, and again, and again…). I enjoyed noticing some of the interpretive decisions Marriner made – his choices in articulation, or in cadenza. I know that he studied with the same teacher I studied with for a year, so I listened for ‘Hans-isms’ in his playing too.
But here is the life-changing bit: it made me want to go straight home and dig out my well-loved score of the concerto, and my Music Minus One CDs, and play it again! I think this is a fine concert experience to have. It reminded me of how I loved playing this piece, way back in my classical performing days, how much I love its phrases, harmonies and structures still, and that these are still there for me to return to, whenever I want.
I haven’t yet had time to get my clarinet out, but I shall, very soon. And I am looking forward to revisiting the Mozart Concerto when I do.
On another note, I realised that night that the traditional concert length no longer suits me. I would have been happy to go home after the Mozart, as there was so much to digest and process from the experience of the first half of the concert. This is absolutely not meant as a disparaging comment on what took place in the second half. The second half of the program was a new work by the Melbourne-based composer (and virtuoso organist) Calvin Bowman. He wrote a song cycle, English in tone and turn, with echoes of Finzi, Delius and even Michael Head and Warlock (to my ears) which was absolutely gorgeous, filled with light and shade and colour. We had the treat of hearing the songs performed by a lovely soprano, Jacqueline Porter… so really, it was all quite delightful.
However, as we walked to the car, I commented to John my companion that the first half of the concert now felt like a distant memory, our heads were so full of the most recent piece we had heard.
Thus, I find myself fully in favour of shorter concerts that allow patrons adequate time for reflection and digestion. Or perhaps concerts with a dinner break between the first and second halves.