It was kind of satisfying to read Harriet Moss’s comments in the Independent earlier this week about the (not so) unusual situation that faced Nils Frahm’s Barbican concert in the summer. The event sold out, and had lots of support from eclectically minded DJs like Gilles Peterson and Mary Ann Hobbs, but not one classical reviewer came.
No problem, you might think. In a sense, you would be right. The concert sold out. Broadsheet classical reviewers not showing up is just another sign of the changing media landscape.
I should also say that the lack of reviews surrounding the world of contemporary crossover classical is not the fault of the reviewers. They are fighting for column inches, print and online just as orchestras and venues are. As readerships fall, arts editors are increasingly pushed for space, and if something doesn’t have an immediate genre fit it doesn’t go in.
Again, perhaps no problem. There are so many other channels to market available that not having broadsheet coverage isn’t the issue that it was maybe 20 years ago.
The article does highlight a wider issue though: many people in classical music are increasingly looking to break out of perceived genre shackles, and there are plenty of artists from other genres who are keen to help them to do this.
But classical music in the main remains risk averse. I remember that when we invited Ljova to work with CLS a couple of years back. Audiences loved him, our musicians were inspired. Success. Except that no reviewers turned up to see him either, and one promoter friend, who is a fan of Ljova, congratulated me on being so ‘brave’ in promoting him. It was meant as a supportive but I remember feeling terrified when they said it!
When the Jazz pianist Gwilym Simcock joins us, it’s perhaps less of a problem as jazz audiences are keen to hear the expanded tonal palette an orchestra gives someone like Gwilym (although the world of jazz can be as reactionary as some corners of classical music). Gwilym is happy to explore the flexible hinterland between two genres, and has created some memorable concerts with us.
When Sam Lee joins us in November, I imagine that we will face the same problem. Sam is a folk artist, we are an orchestra. Never the twain, etc. Except that classical music has borrowed from folk music for centuries (L’Homme arme anyone?). I think part of what makes CLS what it is is that we can find artists who are prepared to give this tradition of cross genre collaboration some contemporary relevance. It would be too easy with both folk and jazz, and Ljova’s hybrid mix of classical and klezmer to look backwards – we want to create something new in those experimental hinterlands.
Sam’s music is every bit as contemporary as Nils Frahm’s in its own way. Sam borrows ancient Travellers’ songs, but the surrounds he gives them, while definitely folk could not be from any time other than our own. It will be incredible to hear them on an even bigger scale than his albums and usual live shows allow.
We’ll get good audiences – Sam has a great following – but will we get any reviewers? Perhaps if their editors work out where to put it….
Matthew Swann, CLS Chief Executive