A lot of the buzz this week in classical music circles will be about a lecture Alex Ross gave Monday in London for the nearly 200-year-old Royal Philharmonic Society, an organization dedicated “to create a future for music through the encouragement of creativity, the recognition of excellence and the promotion of understanding.” An edited version also appeared under his byline in the Guardian.
Ross, music critic of the New Yorker and author of the widely praised book “The Rest is Noise: Listening to the Twentieth Century,” is not the first to question whether classical music is its own worst enemy, in terms of making the concert-going experience so stuffy, ritualistic and even prohibitive. But, naturally, he has expressed his views with more flair and insight than most. His primary focus, and the one that got online commenters and Twitterers going, was the oppressive no-applause-between-movements rule.
To quote Ross: “The underlying message of the protocol is, in essence, “Curb your enthusiasm. Don’t get too excited.” Should we be surprised that people aren’t quite as excited about classical music as they used to be? To be sure, the question of concert etiquette is only part, and perhaps a rather small part, of the complicated social dilemma in which classical music finds itself—as a largely acoustic art in an electronic culture, as a mainly long-form art in a short-attention-span age … Nevertheless, I do wonder about it, as I wonder about other tics of concert life: the vaguely Edwardian costumes, the convention-center lighting schemes, the aggressive affectlessness of the average professional musician, especially in America.”
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