Monthly Archives: November 2016

Context, dynamics, and intrusion

Why exactly does a modernist, or postmodernist, or contemporary ‘hip’ work that rubs shoulders with pop music, not fit in a classical orchestral programme that also holds, say, a Tchaikovsky symphony and a Ravel concerto? Why do audiences, used to a very varied ‘classical repertoire’ that covers a stylistic palette from Haydn to Hindemith, up till and including the Stravinsky of the ‘neo-classical’ period, react negatively, or at best: politely, but almost never enthusiastically, to such works? Can that only be explained as conservatism?