NEW MUSIC: A Concordant Approach

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Wednesday 29 September 2004
Canadian High Commission, London

A symposium dedicated to developing a shared manifesto for contemporary classical music presented by the ABO with ACCORD - The Alliance for New Music in association with the Canadian High Commission supported by the Performing Right Society.

New Music: A Concordant Approach concluded that the contemporary music world should be trying to find new ways to encourage curiosity in new music. How new music is communicated to the public is central to engaging new audiences as is the potential to present new music in new and exciting contexts.

80 delegates involved in all corners of the new music sphere gathered in London on Wednesday 29 September to debate the role and the future of new music in the UK. Orchestras, publishers, promoters, record companies, funders, composers and conductors discussed a wide range of issues on the challenges currently facing new music from its role in society to the economic pressures on all those present.

Chaired by Susannah Simons Head of Public Affairs and Outreach, BBC Radio and Music delegates heard from speakers representing the many different facets of the industry including David Whelton Managing Director, Philharmonia Orchestra and Cathy Graham Managing Director, London Sinfonietta both describing the harsh financial reality of performing new music whlist record producer and Consultant to Sanctuary Records and GramophoneChris Craker suggested that a new business model based on the potential income generated by new work could be a way forward.

Composer Colin Matthews stressed that whilst there a limited market exists for new recorded music is nevertheless a significant market, and one which merits the activity of niche record labels. Gillian Moore MBE Artistic Director, London Sinfonietta and Project Manager, Music Audience Development, Royal Festival Hall provocatively asked why so much energy was being expelled on trying to convert existing orchestral audiences to contemporary music and suggested that indeed a completely different audience for modern culture existed in its own right.

In conversation with Conductor and Music Consultant to the Tate Modern Richard Bernas, Norman Rosenthal Exhibitions Secretary, Royal Academy of Arts wondered why art students were plugged into the contemporary art world in a way that music students certainly weren’t into the new music world. Whilst highlighting the difficulties in drawing comparisons between music and visual art as a solid commodity, he questionned the ‘worthiness’ of new music, saying: "With art, as with music, I look for a visual or sound sensation I have never had before. There is a huge amount of 'worthy' music being written. While I wouldn't necessarily suggest Damien Hirst as a paradigm, there's no doubt that he broke into something new."

The formality of early years music tuition was contrasted with the messy creativity encouraged in the art classroom, whilst the importance of integrating other artforms such as film was discussed as a way to provide a relevant context for young people in order to create new music. It was further suggested that higher education could be seeking more ways to encourage creativity through further engaging music students with the work of living artists.

Partnerships where projects benefited all involved were highlighted as essential from new works commissioned by several parties to enhanced relationships between orchestra and composer or publisher and promoter. By the exchanges of business cards and the level of conversation taking place both during the symposium and subsequent reception, it is hoped that that a number of partnerships and new projects will emerge from the outcomes of this symposium.

A report of the event is available by clicking on the more information link above.