# Recordings vs. Concerts



## Kurkikohtaus

In an ongoing thread (HERE) there is a discussion about studio recordings vs. recordings of live concerts. The discussion has twisted and turned a couple of times in a way that underlines something that has struck me many times at this and other forums... That people's "Classical Experience" is mainly through recorded material as opposed to attending live concerts.

So that said, I just wonder how many live *symphonic* concerts people attend per year. Symphonic only, please, we can perhaps discuss chamber music and solo recitals elsewhere.

Personally, I *attend* about 10, mostly Czech Philharmonic and some Prague Philharmonia (_Prazska komorni filharmonie, or PKF_). I unfortunately do not have time for more, as my orchestra schedule is very busy.


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## linz

I've only been to the 'Nutcracker' a few times, and "La Traviata" one time, but I put down 'once a year' because 'practically never' wasn't an option in the poll.


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## Topaz

The "once a week" a week category amused me. There ought to be a "seldom or hardly ever" category, which could include a lot of people. 

As for me, I used to attend concerts/ballet/opera very often a few years ago. I used to live in London and had easy access to the Royal Opera House, where I had good connections. But these days it's a lot less often, as I have moved well away from London. 

Quite honestly, I can get almost orchestra-quality sound from my hi-fi. 

What's all this research in aid of Kurki? Are you working on some grand theory, or are you planning on selling us concert tickets?



Topaz


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## Guest

I agree with topaz that you can get excellent reproduction at home with a good Hi Fi system, and I listen every night through my system, but for me a live performance is unbeatable and I go to about 6 a year and would happily go to more if they were within reach, I also enjoy the pre concert talks.


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## Kurkikohtaus

No real point here, just curious.

The "almost every week" category may seem farfetched, but as a music student during university I most certainly saw concerts every week. The Toronto Symphony if it was playing and if not, some chamber music.

Very much like London, Prague has many full-time orchestras (5-6) and theaters (3), so seeing not just one but several concerts a week is not far-fetched, and if one is "connected", as Topaz was in London, it can be very affordable if not free.


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## Saturnus

The local orchestra where I live is always broadcasted live, and they are always wonderful! The real sound is of course better, but the hall itself is so poor and unadeqate (this was built as a cinema, and is still used as one when the orchestra isn't performing, so it hasn't been changed for better acoustics) that it is better to hear the broadcast than get a bad seat (and they are many!). Last year when Ashkenazy conducted it was specially re-broadcasted week later, I attended of course (the Ashkenazy concerts are always very enjoyable) but didn't get a good seat. Week later I compared the live-experience to the recording, I found the recording a greater experience.


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## orquesta tipica

Saturnus said:


> The local orchestra where I live is always broadcasted live, and they are always wonderful! The real sound is of course better, but the hall itself is so poor and unadeqate (this was built as a cinema, and is still used as one when the orchestra isn't performing, so it hasn't been changed for better acoustics) that it is better to hear the broadcast than get a bad seat (and they are many!). Last year when Ashkenazy conducted it was specially re-broadcasted week later, I attended of course (the Ashkenazy concerts are always very enjoyable) but didn't get a good seat. Week later I compared the live-experience to the recording, I found the recording a greater experience.


If I spend twenty dollars on a concert or the same price on a compact disc, I could listen to the latter more than once. But then I feel like I'm missing some kind of life's pleasure if I don't go out to a concert once in a while.

I saw Ashkenazy conduct the RPO in Lincoln, Nebraska some years ago, and I still remember it well. They performed Shostakovich's 10th, and I made sure to get a seat not 10 rows back from center stage. It was in a venue not known for having great accoustics, but I also wanted to sit closer for an occasion such as that one. It cost me quite a bit, too, but I conclude it was worth it, considering the experience is still vivid in my memory. When a major orchestra is touring and stops in my relatively sparsely-populated part of the country, I must go.

I had a similar experience seeing Solti's CSO perform Tchaikovsky's 4th many years earlier, but with a much worse seat.

Now, since two seasons ago when a great new orchestra hall was built in Omaha (where I live), the accoustics are world-class and I can pay 15 dollars to see a concert if I sit in back. The low price of a ticket therefore begs me to see more concerts.

One question I have, though, is how much value do you place on being able to see the orchestra rather than just being able to hear it? Is it important to see the sweat on their brows, the expressions in their faces? Is that part of your live concert experience, or do you close your eyes? I can hear the music just fine from where I sit, but they also look like ants way down there.


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## CelloPrincess04

Being a student and the girlfriend of a conductor, I find myself attending at least one performance every two months. This number actually could use to be a bit higher. I wish that I was in a community where we did have an orchestra and it was possible to go see perfromances and experience music. I guess I really can't complain because the situation here isn't that bad but it could be better.

Maybe that's where my strong desire to pick up and high tail it overseas comes from. 

But to put it simply: NOTHING can beat a live performance.


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## toughcritic

I think nothing compares to a good live performance. It's just not every live performance is good...Someone used to say that when you buy a recording you get a post card from a live show as a reminder. I believe it's true.


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## Topaz

CelloPrincess04 said:


> Being a student and the girlfriend of a conductor, I find myself attending at least one performance every two months. This number actually could use to be a bit higher. I wish that I was in a community where we did have an orchestra and it was possible to go see perfromances and experience music. I guess I really can't complain because the situation here isn't that bad but it could be better.
> 
> Maybe that's where my strong desire to pick up and high tail it overseas comes from.
> 
> But to put it simply: NOTHING can beat a live performance.


You make it sound like NYC is a desolate waste ground for classical music. Is it? Perhaps Vienna might be the place for you. I must admit Vienna does sound like a nice place to live, and I guess work if you are a musician. I have not been there but hope to rectify that situation soon. Are there any better music centres I wonder, combining lots going on in the classical music scene and good social facilites, local scenery etc.


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## CelloPrincess04

Topaz:


ahhh, NYC, I have no idea about the musical scene. I'm about 7.5 hours removed from the city. I'm actually closer to Canada than anything else. The closest city for me to get to would be Toronto. The city that I live in (it's stuck right inbetween Buffalo and Niagara Falls) lacks any sort of community music program. At least Buffalo has a Philharmonic, eventhough I am aware they are not on the level of most professional orchestras.


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## orquesta tipica

I was visiting Edmonton about the time Marilyn Horne was making her stop there on her farewell tour, so I went to the concert. The day after, I was wandering through the dining hall at the University of Alberta and overheard two professors (possibly) talking about the concert, and they weren't very pleased with her performance. "Yeah, I left at the intermission..." 

I'd love to hear a great performance, but when I go to concerts, it's as much so to see the people who perform it as what they perform. I maintain a sense of loyalty by not leaving early.

I do same at sporting events; my team could be losing embarrasingly, but yet I'll stay to the conclusion, because it's about more than what they can give me. Unless I sincerely felt they were not trying their best, I feel like I owe them something in return for their efforts.


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## Kurkikohtaus

orquesta tipica said:


> I'd love to hear a great performance, but when I go to concerts, it's as much so to see the people who perform it as what they perform. I maintain a sense of loyalty by not leaving early.


This idea, along with the sports franchise analogy that follows, is what I've been looking for.

Going to a concert is much more than just listening to music, it is about making a connection with the art of performace and the performers themselves. Over the long term, a concert goer will also make a connection with an orchestra as an institution, very much in the same way that people like the Toronto Maple Leafs even though they haven't really won anything in 40 years.

In orchestra management, we talk alot about "perceived ownership" of the orchestra. Many community orchestras begin as pet projects of conductors, and if the orchestra establishes itself, the "ownership" moves from conductor to the musicians. Long-standing professional orchestras either "belong" to the entity that sponsors them, be it the cit/state or groups of sponsors, or as a best case scenario, the "ownership" shifts entirely to people like _orquesta tipica_, and belongs to its subscribers and supporters.


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## opus67

...and there are others for whom the nearest concert takes place many thousands of kilometres away. 

I've attended just one and it was chamber.


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## Topaz

The idea of "ownership" extends further. People who give the impression to their bosses at work that they "own" the job they do - rather than just do it for the money - are the ones who get on in the longer term. By "owning" a job means that you take a pride in it, and want it to become more important, and the whole company/organisation to succeed.


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## orquesta tipica

Kurkikohtaus said:


> In orchestra management, we talk alot about "perceived ownership" of the orchestra. Many community orchestras begin as pet projects of conductors, and if the orchestra establishes itself, the "ownership" moves from conductor to the musicians. Long-standing professional orchestras either "belong" to the entity that sponsors them, be it the cit/state or groups of sponsors, or as a best case scenario, the "ownership" shifts entirely to people like _orquesta tipica_, and belongs to its subscribers and supporters.


I have imagined a movie scenario--say, if hooliganism entered the world of classical music. Fans would get so passionate about their orchestra, they'd form these "firms" and follow it from city to city, and go around beating up fans of rival orchestras, in the vein of a Monty Python or Clockwork Orange style romp. That could be a funny movie, no?


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## Novelette

The orchestras close to me are surprisingly good, but the programs are frustratingly repetitive. How many times can we listen to the same Bernstein and Copland works? Every now and then, there will be a Beethoven symphony or perhaps Schubert's 8th. But there's almost no Brahms, Schumann, Mendelssohn, Haydn, Mahler, Bruckner, Rachmaninoff, etc.

So I go only once or twice a year anymore. That is, unless there is an insanely good concert in another part of the country, then I might make a trip to attend that.

So, while I attend few concerts, it is only because of the limited repertoire around here. Given a more varied performance program, I would attend often. =\


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## Tero

Nearly all my concerts were small size affairs the past 20 years. I don't go much to concerts of any type through the symphony season. I used to go to clubs for rock concerts, but my current rock interests and listening trends are outdoor concerts. 

This season fall to spring two symphonies. I make the exception for Sibelius. Even skipped a Handel concert that interested me as I tend not to drive in miserable weather and we have no public transportation to speak of out in suburbs.


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## OboeKnight

I live close to Cincinnati and I am a member of the Cincinnati Symphony Youth Orchestra. As a member, I get 2 free tickets to every Cincinnati Symphony Orchestra concert. There's a concert in Music Hall at least every other week so I go quite frequently. The orchestra is excellent (the principal oboist, Dwight Parry, is phenomenal). They play really great stuff as well. Recently they did Mozart's Oboe Concerto, Haydn's Lord Nelson Mass, Don Giovanni Overture, Mendelssohn's 4th' and many others. I'm actually going to hear Schubert's 9th tomorrow night. Extremely excited! I take full advantage of the opportunity. Hearing the orchestra live reminds me of why I want to be a professional orchestral musician.


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## Novelette

OboeKnight said:


> I live close to Cincinnati and I am a member of the Cincinnati Symphony Youth Orchestra. As a member, I get 2 free tickets to every Cincinnati Symphony Orchestra concert. There's a concert in Music Hall at least every other week so I go quite frequently. The orchestra is excellent (the principal oboist, Dwight Parry, is phenomenal). They play really great stuff as well. Recently they did Mozart's Oboe Concerto, Haydn's Lord Nelson Mass, Don Giovanni Overture, Mendelssohn's 4th' and many others. I'm actually going to hear Schubert's 9th tomorrow night. Extremely excited! I take full advantage of the opportunity. Hearing the orchestra live reminds me of why I want to be a professional orchestral musician.


Not fair, OboeKnight. I've had a few words with the local conductor; friendly words, but I urged him to consider widening the orchestra's repertoire. Our orchestra is certainly good, but they rarely get to show their prowess. =\


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## Novelette

... not fair insofar as I'm jealous.


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## presto

I’m was lucky, I live very close to the Watford town hall, a few years ago it had wonderful classical music season, the hall was famous for it’s very fine acoustics in which many commercial recording have been made over the years.
It was recently re-named and given a multi-million pound makeover, but alas it has now become just an entertainment venue with hardly any classical concerts and mainly pop events.
I really miss what it used to be, unfortunately it was losing money and needed something to bring it up to date and bring in the cash. 
Watford has gained one thing but lost it’s cultural heart.
Very sad indeed!


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## ptr

I try to make it at least once a month, but living in an rural area, without and orchestra or hall in sight, there's always an amount of planning included... Early each season I try to gather as much intel on what the orchestras in my general area (1500 miles circle) is planning for their seasons.

/ptr


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## Art Rock

Where is the less than once a year option? I attend chamber music and organ concerts a few times per year, but orchestral, that's 10 years ago.


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## moody

I can't now but always go to a "real" concert whenever you can---there is nothing like it!!!


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## Kivimees

Both going to concerts and purchasing recordings can be frightfully expensive.

Fortunately, my employer gives me access to the Naxos Music Library.


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## Tristan

I'd say about once a month, sometimes more. My parents regularly take me to the San Francisco Symphony and I see more local performances sometimes too.


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## EddieRUKiddingVarese

In the Outback its a long time between performances......

In fact we seems to get Oprah more often than Opera, Maybe its a Translation issue between Aussie Lingo and American slang ???

We can tlak slower !! if you like but no more Oprah please...........


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## davinci

Here in Philadelphia, the high cost prevents me from attending more than 5-6 times per season.
$30 for top tier
$69 for 2nd tier
$99 for 1st tier
plus $25 for parking

This year we have a new MD and many top guest conductors (Rattle, Dohnanyi) so I wish I could attend many more performances.


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## Radames

I go at least 2 a week. One year I'm sure I went to 200 concerts. I have cut back. But this weekend I plan on 3.



davinci said:


> Here in Philadelphia, the high cost prevents me from attending more than 5-6 times per season.
> $30 for top tier
> $69 for 2nd tier
> $99 for 1st tier
> plus $25 for parking
> 
> This year we have a new MD and many top guest conductors (Rattle, Dohnanyi) so I wish I could attend many more performances.


Don't they have rush tickets? I get $9 rush in Boston and I can find on street parking for $2.50. But it costs me $40 in gas getting there and back.


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## davinci

Radames said:


> Don't they have rush tickets? I get $9 rush in Boston and I can find on street parking for $2.50. But it costs me $40 in gas getting there and back.


You've given me an interesting idea. I just checked and the tix are $10/ 2 hours before the show. But the performances I bought in advance this season are Mahler, LvB, Schubert, Bruckner and I would'nt wait to the last minute for those.

What are some of the performances you have seen using Rush Tix?


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## Xaltotun

A live performance is always the best - with this large caveat: I cannot hear Furtwängler, Klemperer, Karajan or Bernstein live. When modern day presents me conductors to match these guys, live performance will be completely the best thing. But I don't expect it to happen any time soon.


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## Cheyenne

A question: is it 'better' to hear a piece for the first time in a concert, or is re-imagining a piece you have tremendous experience with through the concert preferable? I wish to go to a concert featuring Saint-Saëns' third symphony, which I've never heard before - what to do? Do I listen to it now, or wait? (I'm going there for the other works that are played, the conductor, the orchestra, and because I like Saint-Saëns and trust the works' reputation somewhat.)


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## Vaneyes

Cheyenne said:


> A question: is it 'better' to hear a piece for the first time in a concert, or is re-imagining a piece you have tremendous experience with through the concert preferable? I wish to go to a concert featuring Saint-Saëns' third symphony, which I've never heard before - what to do? Do I listen to it now, or wait? (I'm going there for the other works that are played, the conductor, the orchestra, and because I like Saint-Saëns and trust the works' reputation somewhat.)


Re pre-listening, it probably wouldn't matter if you don't know the work, and you're not going to know the work in one or two listens. So, my advice would be to surprise yourself with the concert performance first. :tiphat:


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## Vaneyes

Xaltotun said:


> *A live performance is always the best* - with this large caveat: I cannot hear Furtwängler, Klemperer, Karajan or Bernstein live. When modern day presents me conductors to match these guys, live performance will be completely the best thing. But I don't expect it to happen any time soon.


Dead conductor caveat aside, it's a crapshoot at best for regional ensembles, without atleast *some *considerable experience involved. That *some* may be a guest conductor or soloist, with the talent to educate and inspire on short notice. Sad thing is when that angel departs, so does the chance for another decent performance.


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## OboeKnight

Cheyenne said:


> A question: is it 'better' to hear a piece for the first time in a concert, or is re-imagining a piece you have tremendous experience with through the concert preferable? I wish to go to a concert featuring Saint-Saëns' third symphony, which I've never heard before - what to do? Do I listen to it now, or wait? (I'm going there for the other works that are played, the conductor, the orchestra, and because I like Saint-Saëns and trust the works' reputation somewhat.)


Sometimes when I hear a piece for the first time, especially a lengthy one, my mind wanders off and I don't hear it all. I guess just too much to take in at once. So, I like to familiarize myself with what I'm going to hear live so I can concentrate better.


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## Novelette

Listening to new works takes a great deal of concentration for me. My mind frequently wanders when I'm listening to new works. =\ A bad habit.


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## Xaltotun

Vaneyes said:


> Dead conductor caveat aside, it's a crapshoot at best for regional ensembles, without atleast *some *considerable experience involved. That *some* may be a guest conductor or soloist, with the talent to educate and inspire on short notice. Sad thing is when that angel departs, so does the chance for another decent performance.


I agree with all that you're saying, but I'll have to add that for me, even a lackluster live performance gives a sense of intimacy and presence that records cannot compete with.


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## DaDirkNL

I live 30 kilometres from the Royal Concertgebouw, but unfortunately my wallet doesn't allow me to go that often.


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## Radames

davinci said:


> You've given me an interesting idea. I just checked and the tix are $10/ 2 hours before the show. But the performances I bought in advance this season are Mahler, LvB, Schubert, Bruckner and I would'nt wait to the last minute for those.
> 
> What are some of the performances you have seen using Rush Tix?


I only buy rush to BSO - they save 100 even if it is sold out. Sometimes the seats are in the back but if you get aisle you can almost always sneak up a few rows to a better seat. The only poor seats are te last 10 rows on the floor. I only had to sit there once - when a huge crowd was there to hear Leif Ove Andsnes a few years back.


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## LancsMan

I must admit I don't go to live concerts as frequently as I used to. The Liverpool Philharmonic do a season of concerts each year in my home city (Preston) but I don't care for the auditorium or the audience (it's normally less than half full with an average audience age that makes me appear young). I prefer to go to concerts in either Manchester or Liverpool, where the concert experience is far superior - better concert halls with decent turnouts of more enthusiastic music lovers with a better age distribution. These locations are both about an hour's train ride away, and once you've added in the cost of a meal (and drink!) as well as the train fare on top of the admission price it begins to get a little costly to repeat too frequently. Plus going on my own seems a bit sad, so unless I have a friend keen to go to the concert I often give it a miss!

After grumbling about the cost I am amazed what some folks pay to see men kicking a leather ball about. Now if I was a Manchester United of Liverpool fan I'd think classical concerts reasonably cheap. Luckily I have been quite allergic to football.


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## Bulldog

I selected once a year, but the actual number is more like once every two years. To be honest, I'm not high on live performances. I tend to lose concentration quickly, compared to listening at home.


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## brotagonist

If admission were free, I know I would go a whole lot more often :tiphat: As it is, I average about once every 5-10 years. However, I revel in the convenience of being able to put on an album or cue a YT video or select a file from Naxos Music Library, all from the convenience of my living room. I don't need to make time for the music.


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## QuietGuy

If there had been an "almost never" option, I'd've chosen that. 

I prefer recorded music on CD and mp3 simply because they are "clean" recordings without the inevitable coughing, sneezing etc that one hears in live concerts. Also the crowds, the effort of getting to the concert hall, etc. It's just easier to stay home and listen to my favorite recordings.


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## BartokPizz

Cheyenne said:


> A question: is it 'better' to hear a piece for the first time in a concert, or is re-imagining a piece you have tremendous experience with through the concert preferable? I wish to go to a concert featuring Saint-Saëns' third symphony, which I've never heard before - what to do? Do I listen to it now, or wait? (I'm going there for the other works that are played, the conductor, the orchestra, and because I like Saint-Saëns and trust the works' reputation somewhat.)


Great question. I prefer to get to know at least one piece on the program in advance. By which I mean a good several listens with score if possible. I find my experience as a listener is improved if I know the structure of a piece. The concerts I go to often feature commissions or premieres so in such cases there will always be discovery as well.


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## Lord Lance

Once. That too only if the schedule allows. My last and only concert was in 2013 - Ravel/Mussorgsky's Pictures at an Exhibiton, Mussorgsky's Night on Bald Mountain and Shostabear's Fifth Symphony. Hoping to see a concert in 2015 but instrumental concerts are only held in two months - March and September.


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## Albert7

i prefer recordings honestly.


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## Steatopygous

I used to buy the argument the concert is once and the CD is forever, but I now realise I was wildly wrong. There is something special that happens in a live concert that no recording can achieve. Of course not every concert is special, mind you. But there is a link between performers and audience absent in one's living room. This thread began with just orchestral. If you count all concerts and recitals and opera I get to about 50 or 60 a year. Luckily I get most of them for free; otherwise it would not be possible. Orchestral, about 24 a year.


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## papsrus

Huh. I figured there was more enthusiasm for concerts round these parts. 

I selected twice a month, but even though the chamber series here begins in September, the symphony season doesn't begin until November and runs through about April with seven or eight "Masterworks" programs. We also get a Concert Series of about a half dozen visiting orchestras of some stature doing one-off whistle stops during the winter. So during those fall-winter months it's more often than twice a month -- more like once or twice a week -- but after about April, apart from a couple of festivals, things fall off to near zero. Summer is an absolute wasteland. 

If I include chamber and opera in addition to symphonic concerts, the number goes up slightly, too, as I attend probably a half dozen operas and perhaps as many as a dozen or more various chamber / recital concerts in the winter. And if I can I'll go to New York or Miami for a few nights to hit Carnegie and the Arsht Center -- the Cleveland Orchestra has a short winter residency in Miami.

I think this season I will opt for quality over quantity, however, pick my spots and try to get really good seats for a select few concerts rather than attend a whole bunch of things. It's nice up there in the back row and all, but really I prefer front and center, full blast.


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## Steatopygous

papsrus said:


> I think this season I will opt for quality over quantity, however, pick my spots and try to get really good seats for a select few concerts rather than attend a whole bunch of things. It's nice up there in the back row and all, but really I prefer front and center, full blast.


I reckon that is the way to go. When you are younger, go to as much as possible to build your taste and experience. The ironic thing (and it's not only for music) is that now I am older and my kids have left I have more time and disposable income for concerts.


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## SixFootScowl

I go see Handel's Messiah every year. The past two years also included an extra concert, so on average I am probably around 1.5 live concerts per year. On the topic of recorded music, there is studio and live. I often prefer the live recordings to studio.


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## CyrilWashbrook

Price certainly seems to be a significant barrier to regular concert-going. At the moment I'm going to the Melbourne Symphony Orchestra about once a month, using their cheap student tickets ($15 each). But I notice that some concerts have non-student prices of around $75 for tickets near the back of the hall. They don't have last-minute rush tickets, so far as I know.


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## michaels

I definitely prefer live to recording. I would choose an average live performance over a great recording any day. 

I know the issue I have with getting people to regularly go to a classical music venue is the modern sensibilities need for more stimulation when sitting for 3 hours with a 15 minute break in between for a set of music they don't know that they're not sure they'll like (they've been "burned" before.. not with bad performance, but with music they couldn't relate to).

There is also a more serious tradition where the only interaction with the audience is the music once the intros are done... this is a fundamental mistake: people like to feel as though they know and can relate to the musicians and/or the conductor. Popular money making live music tends to include at least one musician who can really connect with the audience. We need to see more of that in classical music if we hope to connect with the potential classical music lover.

I do think that the days of the full orchestra program for 3 hours being the primary live venue may be fading due to cost, price, but most of all attraction to the standard program. Smaller ensembles, chamber music, interaction with people on stage, etc. would change things substantially IMHO. Finding a way for people to not be force fed a specific set in two sittings, but instead pull together something more dynamic like this:

1. A short, lively full orchestra piece early in the evening... maybe just a fast movement from a popular symphony or something like bolero, john williams star wars, etc... then provide intros to the next part of the show options (30 min or so)
Then break out and allow people to choose between a menu that has wider (and younger) appeal for 2+ hours: 
2a. drinks & appetizers in a chat friendly chamber music set
2b. a "dance" where traditional dances and performance that accompanied much of classical music are taught in traditional garb along with the music played -- learn the music, it's background and a dance! Could also be more performance oriented (e.g. part of a ballet with a small ensemble)
2c. an "educational" session where those interested get into the performance and musical aspects of classical music and interact with the artists
2d. a smaller ensemble in the larger concert venue for the current tradition loving audience
2e. a few options to show off instruments & artists in solo/duo environments
2f. A "Song" session with vocalists performing arias, lieder, etc. with audience interaction.
Other creative ideas that appeal to a wider audience.
3. end with a grand longer full orchestra piece 
4. break out into an "after party" with the more gregarious musicians to do a few encore pieces


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## Egyptian

I've realized, oddly enough, that I feel like listening to recording is a more _purely_ musical experience.

I don't get to see the instrumentalists prep for their upcoming sections or the brass putting down their instruments when they're finished with their short passage. I found myself disappointed when I saw Brahms' 4th last Thursday because of this. I could close my eyes but I don't who feels comfortable doing that in public...

There have been times where I enjoyed the look on the instrumentalists' faces, but I can never choose when that happens. The issue for me is basically that it adds a visual aspect to the music. Maybe it's an issue because the visual experience makes the music less subjective. I have to attribute it to what I'm seeing, and usually what the conductor is feeling (if they are very expressive).

Anddddd I realize that this was not the topic after reading the main post in the middle of writing... but I won't have written this in vain..


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## kanishknishar

concerts have always been better.... nothing matches the atmosphere and feeling of a concert... recordings pale and are mere pale duplicates........

i try to attend concerts at least three times a month..................


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## SteveSherman

I used to attend concerts pretty regularly, but tailed off in the last 20 years or so, as the Philharmonie am Gasteig is acoustically substandard (to put it generously). Last spring, while in New York, I heard a performance at Carnegie Hall (Brahms 1st Concerto, Symphonie Fantastique) and was reminded just how joyous the experience of a live concert can be. I resolved to visit as many of Europe's great venues as I can in future. I've just returned from the first installment on that promise: Bach and Brahms at the Concertgebouw, returning to Amsterdam for the first time in 40 years.

Interesting to compare the two halls (tentatively, of course, based on one visit to each): it seemed to me that Carnegie Hall's acoustic is slightly less transparent and slightly more brilliant than the Concertgebouw. But never mind, in comparison to either, the Philharmonie is an anechoic chamber.

Striking, too, that the acoustic worked both for the Bach works (BWV 150, with 12 instruments and 8 voices; Jesu Meine Freude, with 20 voices and a box organ) and for the Brahms 4th.

This is obviously going to be an expensive hobby, but I'm retired and live alone. Other than the basics, the only other thing I spend my pension on is books, plus a trip to the US once a year. When all is said and done, this trip cost me about 2000 euros. I'll do something like it two or three times a year, voted accordingly in the poll, and might never set foot in the Gasteig again.

I didn't count performances I sing in (which are not orchestral concerts anyway). I hardly ever listen to recordings any more.


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## Steatopygous

SteveSherman said:


> I used to attend concerts pretty regularly, but tailed off in the last 20 years or so, as the Philharmonie am Gasteig is acoustically substandard (to put it generously). Last spring, while in New York, I heard a performance at Carnegie Hall (Brahms 1st Concerto, Symphonie Fantastique) and was reminded just how joyous the experience of a live concert can be. I resolved to visit as many of Europe's great venues as I can in future. I've just returned from the first installment on that promise: Bach and Brahms at the Concertgebouw, returning to Amsterdam for the first time in 40 years.
> 
> Interesting to compare the two halls (tentatively, of course, based on one visit to each): it seemed to me that Carnegie Hall's acoustic is slightly less transparent and slightly more brilliant than the Concertgebouw. But never mind, in comparison to either, the Philharmonie is an anechoic chamber.
> 
> Striking, too, that the acoustic worked both for the Bach works (BWV 150, with 12 instruments and 8 voices; Jesu Meine Freude, with 20 voices and a box organ) and for the Brahms 4th.
> 
> This is obviously going to be an expensive hobby, but I'm retired and live alone. Other than the basics, the only other thing I spend my pension on is books, plus a trip to the US once a year. When all is said and done, this trip cost me about 2000 euros. I'll do something like it two or three times a year, voted accordingly in the poll, and might never set foot in the Gasteig again.
> 
> I didn't count performances I sing in (which are not orchestral concerts anyway). I hardly ever listen to recordings any more.


You cite two of the more famous halls for their accoustics. I've never been to New York, an inexplicable failure I plan to correct early next year, and have booked tickets for Carnegie Hall (plus the Met and NY Phil).


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## Classical Music Fan

I put once every 2 months because I have months that I don't go to concerts. I Have season tickets to the Los Angeles Chamber Orchestra and go to several of the LA Phil's concerts at the Hollywood Bowl during the summer.


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## Sherkel

Overall, I prefer recordings. I would not have had the patience to gain appreciation for Bruckner and Mahler if I had to listen to each symphony in a single sitting, not to mention staying still in a chair. The presence of other people is a huge detractor from any experience as well, especially if it's an entire crowd.


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## Pugg

I like the trilling of a live concert, the buzz , socializing and being out .
But also enjoy listening at home .


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## Dr Bartolo

Great recordings can be transported to the stage from the comfort of our homes ... but nothing can compare with the live performance in a good theater.
Regards!


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## GreenMamba

I attend chamber more than orchestral. No partiuclar reason, other than convenience for me.


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## EarthBoundRules

I've never been to a classical concert.


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## hpowders

I never attend live concerts anymore.

Let me count the reasons: coughing, page turning of programs, coats draped over the backrest in front of me, snoring, armrest bullying, bathroom line waiting, etc.

I exclusively listen to my CD collection at home.


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