Friday, 16 January 2015

The Line Between Classical and Modern Music


When thinking about how classical music has influenced modern music one of the first names that enters the conversation is Schubert. Many people consider the Austrian composer to be the inspiration for the modern pop song, his use of verses and choruses in particular. Schubert wanted the chorus to be memorable and resonate with the audience; it’s hard to name a modern rock or pop song that doesn’t share this ambition.

Schubert also established song cycles, a group of songs created to stand individually but be performed in a sequence as a unit. Die schöne Müllerin, Winterreise and Schwanengesang are renowned examples of his song cycle work, the later being his last, posthumous collection of songs. Song cycles still exist today but arguably the most modern use of the genre is in the concept album. Like Schubert’s song cycles these albums are designed by its composers to be played in a specific order, often to tell a story. Whilst these songs can be heard individually, and arguably thanks to the release of singles they are heard on an individual basis more than classical works, this work is best enjoyed as a whole. Albums such as The Wall by Pink Floyd and The Black Parade by My Chemical Romance were even toured as a whole by the bands in questions. When seeing My Chemical Romance on The Black Parade World Tour in 2007 they played two sets, one containing the complete album performed in order and an encore of older songs. In principal the first set was no different to Schubert’s Die schöne Müllerin being performed in Viennna in 1856. Except that first public performance from Julius Christian Stockhausen probably didn’t include the marching band uniforms, confetti, cannons and pyrotechnics that My Chemical Romance had.

Even though the theatrics and presentation of music may have changed, most modern music shares its themes with classical. Schubert, Puccini and Ravel all wrote about love and trying to get to grips with life. The biggest selling songs of last year, which came from the likes of Ed Sheeran, Sam Smith and Ella Henderson all share this theme. These modern day artists, especially Ed Sheeran, are famous for putting across all their inner thoughts and emotions in songs. Arguably one of the earliest examples of a musician doing this was Beethoven. Whilst Beethoven made this connection using instrumental pieces and the element of Ed Sheeran’s work that most connect with is his lyrics, they have both created music with fervour and a desire to be true to themselves. Beethoven once said that “to play a wrong note is insignificant; to play without passion is inexcusable”. Ed Sheeran is recently quoted as saying, “I can’t tell you the key to success, but the key to failure is trying to please everyone”. Whilst these quotes are about two different subjects, they show that the enthusiasm and honesty that made classical composers popular with audiences are attributes that continue to be seen in many modern artists.

Many classical musicians have written compositions in the form of variations on a theme by another composer. Beethoven, Hahn and Herzogenberg for example all created variations based on work by Mozart. The modern day equivalent of this is arguably sampling, the act of taking a section (or sample) of a piece of music and reusing it in a different song. The modern influence and love of classical music can be seen in the number of songs that sample classical pieces. To use Mozart as an example again, Massive Attack, David Bowie and Clean Bandit have sampled his music in songs. There are countless other examples, including many surprising connections including pop group S Club 7 reworking Fauré's Pavane and hip hop artist Nas sampling Für Elise by Beeethoven.

The line between classical music and modern music is one that has always intrigued me. There are many people that feel they should be separate and you could of course argue that the similarities that Beethoven and Ed Sheeran have in their approach to music isn’t necessarily a result of the later being directly influenced by classical music but more a representation of the passion you need to succeed. However in my opinion music is influenced by a number of factors including culture and history. Classical music has had a big impact on both of these and without it the musical landscape we have today would, in my opinion, be drastically different.


You can find out more about Southern Sinfonia by visiting our website, Facebook, Twitter and Instagram 

Friday, 9 January 2015

Is Online Streaming the Way Forward for Classical Music?


I am 21, a classical music lover and have been for about 6 years now. I can still remember the first ever classical CD I bought; it was Shostakovich's Symphony no. 5 with Festive Overture on it, too. It's recorded by the Philharmonia Orchestra with Vladimir Ashkenazy holding the baton. It has always remained as one of my favourite ever recordings, perhaps purely because it was the first I bought. For the couple of years after this, I continued to buy a few CD's, namely a number of box sets that were extremely good value on Amazon. Obviously as I was only 16-17, I didn't have a great deal of money so these purchases were very limited. 

For the past 4 years, though, I have almost only used online streaming to listen to classical music. I currently use Spotify, and pay £9.99/month. I chose this particular deal because it offers me unlimited use of their entire catalogue of music; this consists of over 30 million songs, with 20,000 new songs added each day. An extremely impressive catalogue, I'm sure you will agree, which was one of the reasons for choosing this service over others. 

There is a wide array of different recordings of classical pieces, which makes finding something very easy. The difficulty, however, is finding a specific recording; this provides a bit of a problem when looking for a recording by a certain conductor, for example. An issue with having so many different recordings, though, is the difference in quality between some. With Spotify not being a dedicated classical music service, some recordings that creep on to their catalogue are slightly below par. Although search results are listed in popularity, it is sometimes difficult to find a really good recording without having previous knowledge of the orchestra or conductor to look for. 

The overriding factor that becomes clear when describing streaming services is the simplicity of the system. At the click of a button I could have thousands of recordings of Bach's toccata and fugue in D minor at my fingertips. This, I feel, is what really sets it apart from the diminishing collection of CDs available. A sad moment for classical CD collections in shops was the closure of HMV's Oxford Street store. There, one could go into a large, dedicated room full of classical CDs, away from the other genres; Although something of the past, this was quite unique. Not only is there such a huge selection of recordings available online, there are now services such as Qobuz which offer recordings at better quality than a CD can offer. It is unsurprising, therefore, that more and more people are moving into the online cloud.

With this in mind, are we seeing the start of a long road to the end of CDs? In the classical genre, many people have there own personal favourite recordings, all extremely specific and sometimes very rare; will there ever be a time when an online catalogue has every recording in existence? A very high number of classical music lovers still have huge collections of CDs, which may spark memories of past performances or concerts; it is not clear whether an online collection could offer the same. I will still continue to use an online streaming service, but will also buy CDs. The satisfaction of a box set of the entire collection of Tchaikovsky's orchestral works is still too much to resist.

Happy New Year from everyone at Southern Sinfonia, you can find out what we have planned for 2015 by visiting our website. You can also contact us through Facebook, Twitter and Instagram

Friday, 19 December 2014

The Best Classical Music at Christmas



Christmas is a time that most of us connect to music in some way, whether it’s standing outside supermarkets singing carols, singing along to previous Christmas number ones or putting on that Michael Buble Christmas CD that is seemingly reissued every year. Just to be clear that isn’t a complaint! His version of Silent Night is beautiful. On Tuesday The Telegraph selected its Top Ten best pieces of Christmas classical music, a lovely read that you can find here. As regular readers will know, the Southern Sinfonia team selected its favourite pieces of Christmas music last year and I’m pleased to say that some of our choices and the Telegraph’s choices matched! It turns out great minds do think alike.

Bach’s Christmas Oratorio appears in both lists, which is hardly surprising given how popular the piece is this time of year. The six-part piece was written to be performed in church over the Christmas season of 1734, a date confirmed in Bach’s autographed manuscript. It is widely believed that the piece was not performed again until Christmas 1857 when it was played by the Sing-Akademie zu Berlin under Eduard Grell. Each of the six parts was originally intended for performance on o
ne of the major feast days of the Christmas period. However in modern times the piece is commonly performed as one with a running time of nearly three hours. Southern Sinfonia performed the full piece twice last year, once with Windsor and Eton Choral Society and once with Bath Minerva Choir. Both performances were rapturously received and as an audience member for the performance with Windsor and Eton Choral Society I have to say that when watching it, it doesn’t feel like 3 hours. The movements are captivating and the time goes by in an instant.


A piece we have played a number of times this Christmas that is unfortunately missing from The Telegraph’s list is Handel’s Messiah, which we performed with The Old Royal Naval College Chapel Choir. This isn’t that surprising given the fact that this piece isn’t solely a Christmas piece, despite the fact that it is performed most at this time of year. The piece is also performed at Easter because it deals with Christ’s death and resurrection. However as Richard Whittall said in a recent blog for The Guardian, the fact the piece is so popular at Christmas gives it a special place in everyone’s heart:

“Since it has become an annual Christmas tradition, most choristers have sung it in every venue, in every iteration, with every instrumentation and in every tempo, no matter how deranged or pseudo-experimental. And in that time they have come to know the strange miracle of Messiah: after years of the good and the bad and the ugly, there is always something new, something breathtaking, to be rediscovered in Handel’s writing and Charles Jennens’s libretto.”

A choice, exclusive to The Telegraph list is Tchaikovsky’s ‘Waltz of the Flowers’. As Ivan Hewett states in the article “What could be more appropriate for a child’s Christmas than a magic kingdom of sweets and presents? That’s the scene for Act 2 of Tchaikovsky’s last ballet The Nutcracker.” The connection between childhood and Christmas is perhaps the reason this time of year is so special, Christmas music and all the other elements of the season people love (the food! We can’t forget the food!) will no doubt take them back to childhoods filled with Santa’s and presents. Memories that are evoked by this exuberant and youthful waltz.


What are your favourite Christmas pieces? Let us know on our Facebook and Twitter pages what you will be listening to over the next few weeks! Southern Sinfonia has had a fantastic year and behalf off the whole team I would like to say a huge thank you to everyone who has attended a performance, played with us, sang with us and interacted with us online. We have a lot of surprises and treats coming up next year and can’t wait to share these with you. Keep an eye on our website for more. 


We hope you have a Merry Christmas and Happy New Year.

Friday, 12 December 2014

“Come back when you're older”


© facebook.com/chungkyungwha

From my previous blog posts, you have probably ascertained that I feel rather strongly about audiences in the concert hall, in particular young children. In writing about this once again, I am running the risk of repeating myself and sounding like a broken record. However, I'm afraid I just couldn't resist writing about this particular topic this week...



Reverberating through the classical music world this week was a concert at the Royal Festival Hall. The concert, dubbed 'The Legend Returns', was performed by violin legend Kyung Wha Chung. As the rather self-assured title suggests, this was her big comeback concert after 12 years away from the performing stage. Reviews were very positive about her performance, stating that she “gave a recital in which every note was brim-full of her impetuous, intense personality”. 



The focus point of all articles about the concert, however, was not so positive. Kyung had just finished one movement of a sonata and, as with every classical concert that has ever happened, and ever will happen, a cacophony of coughs began to ring around the hall. This then led to cause amusement amongst some of the audience, who had a light chuckle. Unfortunately one young girl had a prolonged tickle in her throat. We've all had this feeling, where you just can't stop yourself from coughing, it's not a nice feeling. The remedy is simple; cough more. 



Now, Kyung took particular offence to this innocent young girl and decided to shout something from the stage. 



“Come back when you're older”. 


I'm not quite sure where to start in response to this quote. As a professional musician, it is surely one of Kyung's responsibilities to actively ensure that all of her audience feel comfortable when at her concerts, especially young children. Also, after 12 years away, would you not just be grateful to have a full audience of 3,000 people? Whether they are young, old, animal or human, they all paid for their seat and made an effort to see her.



Kyung wrote an article on the Guardian in response to the criticism she received. Perhaps understandably, she began by commenting how classical music is still most definitely 'alive' in the 21st century. This is true, and it has been shown by the amount of national press this event has seen, despite it being negative. However, for Kyung to then go on to say how she still believed the child shouldn't have been at the concert was beyond me; as were her comments about the ways in which we should listen to classical music in the concert hall. 



Kyung believes that listening should be done in complete silence with no noise at all, as this is the only way to truly appreciate the beauty of what is being played in front of you. What she doesn't seem to understand, however, is that this is completely unnatural. Again, as I mentioned in my previous blog, I am certainly not suggesting that we should all make noise constantly through a performance. What I do believe though, is that we should all feel comfortable. Feeling uncomfortable at a concert will not lead to a positive listening experience. Kyung suggests that we need to educate young people on “the art of true listening”, also stating that children should only attend “children's concerts”. Is this not completely alienating them from the real classical music world? In doing so are we not further enhancing the pre-conceived ideas many people have about classical music concerts? It is not healthy. 



This is actually my final blog post of the year, and it is a shame to have to finish on a negative story in the classical music world. However, it has to be said that Southern Sinfonia do not feel the same way as Kyung. We want as many young children as possible to come to our concerts; we actively encourage and strongly believe that everyone has the right to experience musical excellence. I can't wait for 2015 to start so we can show our beliefs through the many exciting projects we have got coming up. 



Merry Christmas and Happy New Year!

You can find out more about Southern Sinfonia by visiting our website, Facebook, Twitter and Instagram 

Friday, 5 December 2014

'Cultural Value and Artistic Importance' - Orchestras Potentially in Line for Tax Break


I’ve got to admit, I don’t usually pay a lot of attention to the Autumn Statement. I know I should, I know it’s important and I also know they even use words like ‘Beer Tax’ but the reality is it doesn’t usually grab my attention. However this week’s announcement caught my eye. I wasn’t alone either; a number of Orchestra or Classical Music related social media accounts and people I know had a lot to say about Wednesday’s speech from The Chancellor of the Exchequer George Osborne. 

The bit that caught people’s attention was: 

The government is committed to supporting the creative industries so they continue to thrive in the UK. This government has introduced tax relief for high-end television programmes, animation, video games and theatre productions and has expanded the successful tax relief scheme for films. Building on this, the government will introduce a new tax relief for children’s television programmes from April 2015. The government will also launch a formal consultation in early 2015 about introducing a new tax relief for orchestras from April 2016, in recognition of their cultural value and artistic importance”. 

The fact that Orchestras and potential tax reliefs were specifically mentioned is a positive sign that the financial situation for Orchestras may be about to improve. When discussing this with a friend not connected in any way to the classical music world, the first question they understandably asked was “is the situation that bad for your industry?” Keith Motson, an executive at the Association of British Orchestras has helped clarify the situation by pointing out that "Orchestras earn well over 50% of their income from other sources so the chancellor’s commitment to tax relief can boost orchestras’ entrepreneurial efforts". He also explained “"British orchestras play more than 3,500 concerts a year to more than 4.5 million people. But they are facing one of the toughest periods in their history with cuts in public and, in particular, local authority funding”.

Researching into the subject, it does seem odd to me that Orchestras were not considered back in March when Osborne confirmed tax breaks of at least 20 per cent for commercial productions and regional touring companies, benefiting opera and dance organisations as well as plays, musicals and theatre groups. As previously explained my knowledge on the subject is not particularly wide but it seems unfair to differentiate between art forms and the financial advantages each one can have. Whilst it is fantastic that this consultation will take place next year, why is it that Orchestras aren’t paired with the “high-end television programmes, animation, video games and theatre productions” and “films” that already have various tax relief schemes. I suppose that is quite a naïve attitude, lines have to be drawn somewhere and the reality is if all forms of art were viewed by the government in the same way there wouldn’t be opportunities for tax breaks for anyone. However from the romantic viewpoint of someone that loves creativity it does seem a shame that imagination and art has to be judged and labelled in this way.  
 
Speaking of creativity and moving us firmly away from financing music and into the more comfortable territory of playing it, Southern Sinfonia have a number of exciting concerts on the horizon. On the 9th December we join forces with the Windsor and Eton Choral Society for a performance of Handel’s Israel in Egypt at baroque pitch on ‘period’ instruments. After this we change locations to the candle-lit Old Royal Naval College, but stay with Handel and play his Messiah with the ORNC Chapel Choir on the 17th December. To find out more about these concerts and next years events please click here for the What’s On section of our website. 

You can also find out more about Southern Sinfonia by visiting our main website, Facebook, Twitter or Instagram pages.