Some time ago I read a Silicon Valley Business Journal piece about the Symphony Silicon Valley’s Live-to-Projection Lord of the Rings concerts. SSV President, Andrew Bales, expected to sell out the two full runs of the trilogy in their Center for the Performing Arts in San Jose. This would mean selling out 15,000 seats for the two cycle run, and if an early review in the San Jose Mercury News is any indication (11,000 tickets had already been sold), then it’s like that SSV came close to that goal.
Over the years I’ve performed to an audience of none (some of my Performance Art and Experimental Music performances took place in very odd settings) up to audiences of tens of thousands (stadium concerts) and while I’m tempted to say each performing situation is different, really, it’s not.
I mean, in the end, you just get up on the stage and do your thing, whatever that may be, right?
A couple weeks ago I was talking to a student about performing at stadium shows, mentioning “playing for 50,000 people,” and I recalled that I had a post draft from March (12) of 2014 where I referenced that number. The quoted section above was what I had saved and interestingly, I’ve changed my mind about the “and while I’m tempted to say each performing situation is different, really, it’s not” comment.
There’s such a problem with Eurocentric terminology when discussing analogues to a Western institution found in other cultures. That’s no different than with orchestras. I’ve used the phrase “Ethnic Orchestras” in reference to large ensembles modeled after the European-styled Orchestra (e.g. Traditional Chinese Orchestras), but at the same time, some of these large ensembles are definitely found within European countries (e.g. Mandolin Orchestras).
When I’m referring to large ensembles that have had little connection to the European-styled Orchestra and that are native to countries (e.g. Gamelan) I usually call those “Non-Western Orchestras.”
Since I’ve been collecting data on Orchestras in the US I’ve come across a bewildering number of types. Contrary to the idea that a Modern Orchestra is simply the culmination of an early-19th/mid-20th century Anglo-European styled large ensemble designed to play repertoire that requires large forces, the orchestra never stopped evolving. My previous post was about how the field is alive because it’s still constantly evolving. This post is a just a brief summary of how Orchestras have evolved since the early 20th century. For relevant links to my lists of some of the types of ensembles, just go to the navigation bar above.
In a recent piece by Bill Zuckerman, which is ostensibly a defense of the state of Classical Music not being so dire as some Crisis folks are saying, we get the explanation that many of the types of values taught are the focus of music school instruction. While I don’t necessarily disagree with that, I do take some issue with Zuckerman’s examples of “new values” used by younger and newer musicians.