Six years ago, I wrote a post called the perils of having too many bands… and at the time I thought I was coming to an upper limit, but little did I understand our capacity to reorganize time when pressed. The image above is a collage of many of the groups I’ve had the pleasure of performing with last year, and doesn’t come close to including a number of pick-up or sideman gigs I took. In the well over 200 events I performed at in 2016, I played with nearly 40 different configuration of musicians and performers in dozens of genres.
One of the hallmarks of the Classical Music Crisis viewpoint is the idea that Classical Music, as a field, is insular and cut off from what has been variously referred to as the “Wider World,” “Outside World,” or “Real World.” The purpose of this kind of rhetoric is to contrast the Classical Music field with the world-at-large by showing how cut-off and unconcerned it is with issues that loom in the world outside of it.
As I cross over the 150 show mark this year (with three months still to go) and since I’ve had a couple of slow weeks I’ve been reflecting on how I’m still spending close to half my gigging time playing for dancers as I’ve been doing over the past decade or so. As I prep my Bach and the Muslim World project/recital, I’ve been exploring another world of dance (baroque) and how that the movements of a baroque suite are comprised of dance movements and how that relates to the dance movements of Turkish Fasıl, Arabic Waslah, and North African Nawbah. Before concert music became a thing, music most often served dance.
Here’s a link to my list of Symphony Orchestras and Chamber Orchestras in the US formed since 2000. It’s by no means an exhaustive list and should be viewed as a “work in progress” (much as my similar list of US Opera organizations formed since 2000).
One of the things that is striking about the early accounts of Classical Music is how provincial it was. Until the 20th century we didn’t really conceive of Classical Music as one unified field. In other words, there was a lot of diversity in the genres and repertoire performed. This coincided with what we could call a fragmented audience along ethnic lines for various genres and repertoire.