Where Have the Audiences Gone

Music & Composition: Thoughts on the Current State of Music

This piece is adapted from an e-mail exchange. I have left the writers comments in quotations so the context makes sense. It is a collection of comments on various subjects relating to the current state of orchestral music and composition.

"Many of composers are choosing to compose for the wind band market, because there is a need for good, new music in that market. It is possible to fill programs with music by living composers in the wind band world. It happens every day. Yes, I personally find the symphony orchestra a more satisfying musical instrument, but that's a declining market for living composers."

Most of the better music for band has been written in the last 50 years and the extensive use of orchestral transcriptions that used to be normal is now held in disfavor in some circles. Some fine composers have been working in band music and some report having been advised that if they want to hear their music performed, write for the band. In addition, even the smallest associations of directors are actively involved in commissioning new work.

But, as a band director, I can say that much music is also written as a vehicle for teaching. That's not always bad. If music is well crafted and serves to educate young musicians on certain specific points within a musical context while providing work for composers, that's a good thing. This is important work for composers and sometimes more demanding than trying to write a piece without technical bounds. Elliot del Borgo is an example of a composer who does exemplary work in the educational field.

However some very trite, unimaginative music is also produced for this market (and is sold far too often because some directors can't tell the difference or want to keep students happy). However that's not unique to the band market. How many of you have tried to find memorable, substantive music for young string players. While working with young orchestras, one of my most difficult tasks is finding good, appropriate music. There are far too many thoughtless arrangements and transcriptions of music that is really aimed at older audiences and musicians.

"...I personally find the symphony orchestra a more satisfying musical instrument..."

I agree though that may be from my perspective as a horn player. I would just rather play in an orchestra most of the time. I do have a complaint though. Far too many orchestra directors are string oriented and treat the winds much as band directors tend to treat the percussion, i.e. ignore them for most of the rehearsal then expect perfection the first time. Here is a good time to add a couple of other complaints. Most orchestra concerts have a string piece. Where is the woodwind, brass, wind band, or percussion piece? Very interesting music is being routinely ignored by conductors whose world is too small (and maybe a little moldy). While I’m at it, quit programming single movements of a piece. If the orchestra can’t play it all, don’t play any of it.

Forgive the above rant. As a composer, I think the strings add a sustaining power that the band has a difficult time achieving. Skillful use of mallet percussion, in particular marimba and vibraphone, can offer some interesting options, however. Nevertheless, the band is much more flexible than is generally thought and capable of a kind of power that the orchestra can not achieve.

"...many of them, dating from the very first sound movies, have produced excellent movie music just as composers of earlier generations produced excellent incidental music for plays."

Absolutely true and I will also add some modern church music to this list. It is my pleasure to serve as the principal horn in a large church orchestra that plays weekly. We are presented with a large variety of music, some of it very well crafted, each week. Many times the "language" is similar to that used for film music. That's because the music is meant communicate on many levels and to many different people.

W. Francis McBeth (an outstanding composer of music for wind band and a very good orchestral conductor) has said that all music is either entertainment or worship. Artists sometimes approach music as an end unto itself (or a religion!). When we forget that music needs to communicate, to express ideas, and to entertain (sometimes at a very profound level) we begin to write music that people don't want to hear and musicians don't want to play, and yet expect it to be respected because of the investment we have made in writing it. That's when the audience goes away.

I do not think music from living composers needs to be ignored, just chosen carefully. My students always love the music of Hovhaness, for instance, as do I. I have had students as young as 10 be thrilled with and excited about "And God Created Great Wales". This is not a hard piece and deserves more performances. They do not always like music that is defiantly atonal but do like things that are tonally different (or ambiguous).

Orchestras are, by and large, organizations that need to make or raise money to survive and so tend to program safely. That's why the older literature predominates. I like the idea of performing a new piece twice on the same program to give the audience time take it all in.