KillingClassicalMusic

This is a guest post by Lawrence Abernathy.  If you would like to submit an article for inclusion within the KillingClassicalMusic community, you are welcome to do so here.

Often we hear that the classical music industry needs to be taking steps to reinvent itself, to branch out and “engage the audience, embrace technology, take risks!”  All of that is well and fine to proclaim, but how many actual examples are there for the managers of institutions to draw from without having to actually go to a live performance or a conference where they might have one or two classes on “new performance practice.”  From what I’ve found: not many.

However, I was recently sent this video in a Facebook post:

The video is the Blue Man Group playing their composition PVC IV with a Japanese orchestra and in my humble opinion, they got it right - on almost everything.  Yes, getting your regional Blue Man Group (they have groups in New York, Boston, Chicago, Orlando and Las Vegas) to perform with your organization might not be practical on a fiscal level, however, there are still valuable lessons that can be learned from the presentation.

1. Engage the Audience. Notice that there is nothing usual about the beginning of the performance. The “soloists” take the stage, receive applause and take their position.  A tuning note is sounded and the show begins.  Yes, the narration is comedic in its nature, but it does it’s job as you can almost sense that the audience is buying into what they are about to see and hear.  The narration does not just serve for comedic value either, it is pretty informational and provides a very basic look into the art of composition and orchestration that anyone can understand.  In all seriousness, what is the difference in what the Blue Man Group is doing and Benjamin Britten’s The Young Persons Guide to the Orchestra, or to some extent what Camille Saint-Saëns was getting at in his piece The Carnival of Animals?

2. Embrace Technology.  The use of tasteful lighting, the narration, and the use of the electric guitar that weaves through the music and gives it that particular Blue Man Group feel is perfect, in my opinion.  In particular, I love the use of the lighting, it really helps set the stage for the music, but it does not over power the music and cause confusion.  Some of the shifts in lighting do seem a little abrupt, but even then they feel natural.

3. Take Risks.  I believe the video speaks for itself when it comes to taking risks.  The performance is very modern, however the orchestra did a great job in getting a relevant, artistic and cutting edge group to play with them.  Did the orchestra have to take a backseat to the Blue Man Group?  Yes, they did.  Did it probably cost a good bit to get the Blue Man Group to play with them?  Yes, it probably did. However, classical music is looking for the demographic that the Blue Man Group appeals to - which is everybody.  I have been to several Blue Man Group concerts and have sat next to both grandmothers and pre-teens, both demographics had a great time (myself included).  Some might argue that it’s a little “showy” or too “Las Vegasy,” but I believe that the Met and the NY Phil proved that high-tech and flashy can work and be loved by the 80-year season ticket holder with their productions of Das Rheingold and their Grand Macabre.

Here’s to looking forward to what we can come up with next!

Lawrence Abernathy is currently studying voice and conducting at the Schwob School of Music in Columbus, GA.  He is also a contributor to Greg Sandow’s blog network, “Rebirth: The Future of Classical Music.”

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