From: Bruno Correia <bruno.l...@gmail.com>
Subject: [LUTE] Re: general public Lute awareness
Dear Tom,
I play mostly solo and in duo, that's not just because I like it
but above all for financial reasons. Sure, a big ensemble will
appeal to more people, however, who's going to pay the bill?
Well said Bruno!
Thanks,
Tom
Some on this board have even put forth the notion that "duos don't
draw audience, but trios or more will".
2013/8/5 <[1]t...@heartistrymusic.com>
Back to the original premise:
> The problem is lack of support - if not outright
> hostility - from the "mainstream" classical music
establishment.
> While my perception of what I and other early music
performers do
> is that we play classical music, many, many "official"
classical
> musicians do not share this view.
I have run into this dilemma trying to program early music
as a
board member for a small-town local non-profit that presents a
series of "classical" music concerts. The attitude of
violinists,
etc.
who prefer Brahms seems to be one of disdain for EM.
While concert attendance in our community is totally
unpredictable,
these board members are all too ready to point to "lutes" as
an example of low numbers, even though there have been lower
numbers for 19th and 20th century concerts. ( ... never mind
the blizzard or sub-zero temperatures that probably had an
impact! )
Some on this board have even put forth the notion that "duos
don't
draw audience, but trios or more will". There is absolutely
no
hard
data to support this, but they believe it anyway, even though
one
of
their pet performers (that happens to play a lot of Brahms)
consistently draws well and is - a duo!
Absurd, and one reason that I stepped down from that board.
How can the early music community begin to change these
perceptions?
Tom Draughon
Heartistry Music
[2]www.heartistry.com
Chris Wilke wrote:
In America, I haven't found any lack of interest in lute or
early
music from the broader public. Many people who are
intimidated
by
perceived ritual and stuffy atmosphere of standard
classical concerts are drawn in by the look and sound of
early
instruments.
Some marketers have recognized this: early music is quite
well represented in classical music station playlists.
(I've just
been
invited to give a one hour interview/lute performance on
our
local
public radio station here in Rochester, for example.) My
own
solo
concerts and performances by the student early music
ensembles
I've
directed have drawn healthy crowds. This is good, but there
are
larger issues. The problem is lack of support - if not
outright
hostility - from the "mainstream" classical music
establishment.
While my perception of what I and other early music
performers
do
is that we play classical music, many, many "official"
classical
musicians do not share this view. Indeed, at colleges where
I
was
employed, significant public response was ultimately
detrimental as
it drew the flagrant ire of at least two tenured professors
with
great influence in the departments. Both of these
professors actively petitioned against having any early
music performance activities at their respective colleges,
ostensibly on the
grounds
that it distracted students from giving full attention to
the "real" program of instruction. (One of the professors
had the
gaul
to tell me to my face, "You're not a real ensemble because
you don't play in parts." WTF? The majority of what we
performed
was
renaissance polyphony!) I think they were afraid we were
making
them look bad. Concerts were not free to the public; box
office
receipts showed that we were bringing in actual revenue.
And
maybe,
just maybe, my esteemed senior colleagues were jealous also
of
the
fact that students were learning and having fun. Oh well,
those
professors are still there doing the same old thing and I
am
still
struggling very much to find work years later. Good for
them.
Chris
Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
[3]www.christopherwilke.com
----- Original Message -----
From: gary <[4]magg...@sonic.net>
To: lutelist <[5]lute@cs.dartmouth.edu>
Cc:
Sent: Saturday, August 3, 2013 4:06 AM
Subject: [LUTE] Re: general public Lute awareness
I got into early music 'cause I hate crowds. My jazz
performances
were attracting too many people. Of course, you heard about
the
lutenist who won the lottery. When asked what he was going
to
do
with his winnings, he said, "I'm going to work 'til they
run
out."
Early music, like jazz and chamber music, is a niche
market.
Upon
being asked how one can make money in music, Henry Mancini
said,
"If you want to make money in music, go into band
uniforms."
Gary
On 2013-08-02 05:17, [1][6]erne...@aquila.mus.br wrote: > I
have done
the same for a small baroque orchestra at the University >
of
Sao
Paulo, USP, > with little gain as well. The group has a
lute
and a
theorbo in it. > Any hints are welcome. > We have thought
everything from flash-mobs to pairing music with food, >
theater,
baroque dance, text, whatever... > So far our biggest hits
have
been opera and baroque dance, costly > events which we
cannot
do on
a regular basis > due to budget size. > Ernesto Ett > 11-99
242120
4 > 11-28376692 > > > > On 31.07.2013, at 22:46, Bruno
Correia <[2][7]bruno.l...@gmail.com> wrote: > > Dear
members of the
list, > >
I have been at pains trying to raise interest in our
beloved
>
instrument down here in Brazil. I've given speeches, played
solo
and > chamber concerts... but despite all efforts the
general public and > also > the musicians (professionals
or amateurs) simply don't get turned on. > It is a sad
fact that the lute
and
the early music performance > practice did not reach the
University here. So we don't exist > academically
speaking. >
>
Would anybody be willing to list some strategies that could
be
used
> to > help disseminate the lute and its repertoire? > --
> Bruno Correia > > Pesquisador autonomo da pratica e
interpretac,ao
> historicamente informada no alaude e teorba. > Doutor
em Praticas Interpretativas pela > Universidade Federal do
Estado do
Rio de Janeiro. > > -- > > > To get on or off this list
see
list
information at >
[3][8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.htm
l --
References
1. mailto:[9]erne...@aquila.mus.br
2. mailto:[10]bruno.l...@gmail.com
3.
[11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Tom Draughon
Heartistry Music
[12]http://www.heartistrymusic.com/artists/tom.html
714 9th Avenue West
Ashland, WI 54806
[13]715-682-9362
--
To get on or off this list see list information at
[14]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
Bruno Correia
Pesquisador autonomo da pratica e interpretac,ao
historicamente informada no alaude e teorba.
Doutor em Praticas Interpretativas pela
Universidade Federal do Estado do Rio de Janeiro.
--
References
1. mailto:t...@heartistrymusic.com
2. http://www.heartistry.com/
3. http://www.christopherwilke.com/
4. mailto:magg...@sonic.net
5. mailto:lute@cs.dartmouth.edu
6. mailto:erne...@aquila.mus.br
7. mailto:bruno.l...@gmail.com
8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
9. mailto:erne...@aquila.mus.br
10. mailto:bruno.l...@gmail.com
11. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
12. http://www.heartistrymusic.com/artists/tom.html
13. tel:715-682-9362
14. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Tom Draughon
Heartistry Music
http://www.heartistrymusic.com/artists/tom.html
714 9th Avenue West
Ashland, WI 54806
715-682-9362
--
