|
Programmes Programme building is something of an art. Some programmes are planned simply on the basis of lengths, contrasts of style and so on. But a programme in which deeper connections are present can make the difference between an evening that is memorable and one that fails to capture the imagination. There are many ways in which more cohesive programmes can be put together, but one place from whiich much programme construction can start is the idea of common features. Sometimes the most vivid experiences can result from the juxtaposition of works that one would not normally associate. This is because the actual similarities between such works become apparent only when one listens to them side by side. I’ve constructed programmes in which the theme has been that of musical resemblance and composers’ influences on each other (whether conscious or unconscious). This is easy to do if there are certain musical features present in all the works; examples include the use of counterpoint, variation forms, freer forms such as the fantasy, and so on. If these connections aren’t readily apparent on paper, it’s true that not everyone in an audience would necessarily be able to describe them in words or even be conscious of them. But this is not the point. A programme that has a clearly defined unity leads to a more enjoyable and interesting evening regardless of whether or not people can pinpoint exactly why this is the case. It’s also possible to show more overt connections between works by means of “themed programmes”, and this can attract audiences in a much more direct way. One area of interest is contemporary music. A programme of music by contemporary Scottish composers (Ronald Center, Ronald Stevenson, Graham Hair and Frank Spedding, for example) can be very rewarding for the listener. It’s also possible to include the work of some of these composers alongside more mainstream repertoire, perhaps underlining relationships as mentioned above. I’ve also featured my own compositions in a number of programmes. These days, I try to include at least one lesser-known piece in every programme, even if it’s only a couple of minutes long. This is not always possible, particularly with certain kinds of themed programme, but it’s feasible in most cases. A programme that includes some unfamiliar music is more likely to attract younger audiences, but account must always be taken of each audience and of how much in the way of adventurous programming is likely to go down well on each occasion. Preparing more conservative, tried-and-tested repertoire is very much a staple part of my planning for each concert season. Well-known pieces must, of course, receive an appropriate amount of emphasis too. Informative verbal introductions to all pieces are a standard part of all my performances, and I will also, if asked, provide written programme notes for any event. I’d like to stress that I’m genuinely open to discussion of programming. My method of interaction with organisers and promoters is one of collaboration. The right programme will be arrived at if time is taken at the outset to discuss what may be suitable and possible, what a particular audience is likely to respond well to, and so on. Planning of concert schedules can be a complex process, and the more information I have at an early stage about specific suggestions or ideas, the easier it will be for me to construct a compelling and well-thought-out programme for each event. |