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, , and Current Approaches to Presenting Classical Music

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In this chapter I analyse two parts of The Ravel Trilogy, Concerto and Solo, in relation to contemporary discourse about efforts to (re-)connect with audiences of classical music and re-think traditional ideas and performance conventions. To what extent do Concerto and Solo contribute to efforts to represent classical music in a forward-thinking, experientially innovative, and critically informed manner? These two parts of the trilogy feature performances and/or recorded playback of complete or near-complete versions of the musical pieces on which they are based; thus they invite special consideration of the relationship between Ravel's music and the theatrical compositions constructed around them. How do these theatrical pieces ‘recompose’ Ravel's works and how does this relate to ‘following the score’? In answering these questions I explore conceptual tensions concerning the presentation of classical music that, I will argue, these theatre pieces raise but do not resolve.

Keywords: music theatre ; audiences ; composed theatre ; immersive theatre ; Jelly d’Arányi ; musical biography ; musical interpretation ; performance design ; role-playing ; See below.

Hardback ISBN: 9781789389333
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References

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  9. Gibbons, William (2018), Unlimited Replays: Video Games and Classical Music, Oxford: Oxford University Press.
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  10. Goehr, Lydia (2007), The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music, Oxford: Oxford University Press.
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  11. Johnson, James H. (1995), Listening in Paris: A Cultural History, Berkeley: University of California Press.
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  15. Orenstein, Arbie (ed.) (1990), A Ravel Reader, New York: Columbia University Press.
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  16. Roesner, David and Rebstock, Matthew (eds) (2012), Composed Theatre: Aesthetics, Practices, Processes, Bristol: Intellect Books.
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  17. Sedgman, Kirsty (2018), The Reasonable Audience, London: Palgrave Pivot.
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References

  1. Bellman, Jonathan (ed.) (1998), The Exotic in Western Music, Boston: Northeastern University Press.
     [Google Scholar]
  2. Bonds, Mark Evans (2014), Absolute Music: The History of an Idea, Oxford: Oxford University Press.
     [Google Scholar]
  3. Cook, Nicholas and Pettengill, Richard (eds) (2013), Taking It to the Bridge: Music as Performance, Ann Arbor: University of Michigan Press.
     [Google Scholar]
  4. Curtin, Adrian (2019), ‘Orchestral theatre and the concert as a performance laboratory’, New Theatre Quarterly, 35:4, pp. 291–311.
     [Google Scholar]
  5. Dobson, Melissa C. (2010), ‘New audiences for classical music: The experiences of non-attenders at live orchestral concerts’, Journal of New Music Research, 39:2, pp. 111–24.
     [Google Scholar]
  6. Dromey, Chris and Julia Haferkorn (2018), The Classical Music Industry, London: Routledge.
     [Google Scholar]
  7. Dunbar, Zachary (2012), ‘Music theatre and musical theatre’, in D.Wiles and C. Dymkowski (eds), The Cambridge Companion to Theatre History, Cambridge: Cambridge University Press, pp. 197–209.
     [Google Scholar]
  8. Eastburn, Susannah (2018), ‘Is classical music a living or heritage art form?’, in C. Dromey and J. Haferkorn (eds), The Classical Music Industry, London: Routledge, pp. 141–47.
     [Google Scholar]
  9. Gibbons, William (2018), Unlimited Replays: Video Games and Classical Music, Oxford: Oxford University Press.
     [Google Scholar]
  10. Goehr, Lydia (2007), The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music, Oxford: Oxford University Press.
     [Google Scholar]
  11. Johnson, James H. (1995), Listening in Paris: A Cultural History, Berkeley: University of California Press.
     [Google Scholar]
  12. Kidnie, Margaret Jane (2005), ‘Where is Hamlet? Text, performance and adaptation’, in B. Hodgdon and W. B. Worthen (eds), A Companion to Shakespeare and Performance, London: Blackwell Publishing, pp. 101–20.
     [Google Scholar]
  13. Lehmann, Hans-Thies (2006), Postdramatic Theatre, London: Routledge.
     [Google Scholar]
  14. Leech-Wilkinson, Daniel (2020), Challenging Performance: Classical Music Performance Norms and How to Escape Them, Version 2.14 (17.vi.22), https://challengingperformance.com/wp-content/uploads/sites/221/2021/05/Challenging-Performance.pdf. Accessed 28 April 2023 .185
  15. Orenstein, Arbie (ed.) (1990), A Ravel Reader, New York: Columbia University Press.
     [Google Scholar]
  16. Roesner, David and Rebstock, Matthew (eds) (2012), Composed Theatre: Aesthetics, Practices, Processes, Bristol: Intellect Books.
     [Google Scholar]
  17. Sedgman, Kirsty (2018), The Reasonable Audience, London: Palgrave Pivot.
     [Google Scholar]

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