The Future of Classical Music

If we were to go back in time and transport J.S. Bach into the modern world, I think he would be incredibly surprised to know that the music he composed isn’t considered to be “pop” music today. At some point in history, what we now consider to be “classical” music was actually “pop” in Europe for multiple centuries. And, the reason why “classical” music was so popular back then, in Europe, had a lot to do with the fact that it was  a huge entertainment industry. It was promoted and funded by religious and political leaders, it was an expression of patriotism in many countries, and it was the leading form of entertainment. 

People used to pile into music venues to just hear a new tune. But, as centuries passed on and new technologies were developed, at the beginning of the 20th century, live performances of “classical” music were dwindling in popularity. For starters, the film industry began taking off around 1895; in the 1910s, people were beginning to listen to the phonograph at home; and other forms of entertainment were gaining traction.

Additionally, a huge turning point for humanity was the first World’s Fair in 1889, not just technologically, but also for many art forms. All of a sudden, the entire world was able to learn about new cultures and traditions, and that included new genres of music and even instruments. This was wonderful, because it gave composers and performers across oceans the ability to expand their musical toolboxes, and traditional European “classical” music began to expand its language and techniques. 

Anyways, it makes a lot of sense that, today, “classical” music isn’t as popular as it was in the 1800s. There’s just so many more forms of entertainment for it to compete with and much more access to many different genres from all over the world. But that doesn’t mean that there’s no interest in it; it just means that with a rising population and so many different artforms that exist, statistically a lot of genres are going to have a smaller percentage of listeners than they did when they were one of the only options around. 

With the rise of social media and other technologies, a myth has begun to circulate that young people neither have the interest or the attention span to enjoy “classical” music. I don’t believe that’s true. 

For starters, my recent experience as a judge on Virtuosos, a televised classical music competition that features emerging, young classical musicians, whose mission is to propel the careers of young musicians, proves otherwise. This is the second year that I’ve participated in the filming of this competition show, and I see the passion and excitement in every single contestant. I know, personally, that it takes so much effort to get to the level that these young people are playing at, and it is incredible to see their enthusiasm reflected in their dedication. Musicians like the contestants on Virtuosos and their fans are proof that this genre still has a foothold on so many hearts all over the world.  

Nonetheless, I also believe that, like every single form of art throughout the course of humanity, the practices in “classical” music need to evolve to suit the audience that exists today. 

I ask myself constantly how to better appeal to today’s audiences. And, in my experience, communicating with them goes a long way: developing relationships with the audience, informing them of the repertoire I’m playing, and letting them in on who I am and why I love what I do.

In the past, live “classical” musicians didn’t really have to communicate with their audience. There just wasn’t a demand for it (or, at times, even technology for it). Nowadays, even giant “pop” musicians like Taylor Swift are keen on developing relationships with their fan base. Imagine sitting through a 3 hour rock concert and the performers on stage don’t say a single word that isn’t sung, not even, “Thank you and goodnight!” It’s totally unheard of. So, I figure that actually talking to the audience and letting them know who I am is part of the modern concert experience.

Not only that, but with so much information that’s constantly thrown our way every second of every day, how are people supposed to know every single little fact about the “classical” songs written over a century ago? Informing the audience of the meaning of the pieces that I play, their historical relevance, and the context of the composer, helps the audience understand why I decided to add that piece to my repertoire. It gives them deeper insight into the music that’s being played and, overall, it makes this artform more accessible to everyone.

My goal has always been to make my art as accessible as I can, which includes having a social media presence. This has allowed me to share my inner philosophy and who I truly am with my followers and subscribers. I think that it’s a lot easier to support somebody that you know and trust, than somebody that you don’t feel like you know at all. Social media has given me that opportunity. I also like to take that opportunity when I perform. In fact, I often like to meet my audience after my performances, because it gives me purpose to know more about their preferences and that my artistic message has reached them .

All in all, I believe that the future of “classical” music relies on its ability to adapt to the modern world, and, with the new generation of musicians that are gaining success, as well as the welcoming attitude of those of us who have been in this game for a while, I am sure that this future will be brighter and brighter.