Sunday, April 23, 2023 | Special Advertising Section 1 R 42 SPONSORED CONTENT PROVIDED BY BELLINGHAM SYMPHONY ORCHESTRA In February, Chinese American composer Wu Fei participated in a performance of her work by the Bellingham Symphony Orchestra. The rapt audience listened as she played the guzheng (a Chinese plucked zither) and conducted improvised musical sections using traffic batons and light-up gloves. "Many orchestras act like museums of works," says Yaniv Attar, BSO’s music director. Orchestras frequently perform a selection of well-known classical pieces — pieces often composed hundreds of years ago — so it’s no wonder that some might perceive a night of classical music as a stale, inaccessible affair. But conductors like Attar are headed in a new direction, offering a more inclusive and engaging experience. Attar’s tactics break down industrywide barriers and create more opportunities for audience members to connect with the music. According to Attar, pairing traditional pieces with contemporary works — like Wu Fei’s “Hello Gold Mountain” alongside Mozart’s “Requiem” — helps the programming resonate as impactful for new audiences. Classical music may be attracting new crowds, too. More young people began tuning into classical music on streaming platforms during the COVID-19 lockdowns, according to joint research from the Royal Philharmonic Orchestra, streaming service Deezer and the British Phonographic Industry. To welcome audiences, BSO continues to make shifts across the concert hall in dress code, conductor-audience engagement and general participation. Building audience engagement BSO will be celebrating Attar's upcoming 10th anniversary in A fresh approach to classical music engages live audiences Bellingham Symphony Orchestra performs seven concerts per season and shares the joys of classical music with audiences of all ages. BSO’s mission is to engage, connect and uplift the community by performing powerful, beautiful, and inspiring music. Learn more at www.bellinghamsymphony.org. October— and, with it, how he’s changed BSO’s concert experience. Wu Fei’s “Hello Gold Mountain” was part of the “Harmony From Discord” program, which Attar initiated in 2015. “Harmony From Discord” performs works by composers whose music endured history’s darkest periods and works by those historically oppressed. Wu Fei’s requiem mourns the loss of the Jewish refugee community in World War II in Shanghai, China — and the further lost opportunities for musical and cultural exchanges. This programming is part of a national shift — works by women composers and composers of color performed by professional orchestras jumped from 4.5% in 2015 to 22.5% in 2022, according to a report from the Institute for Composer Diversity. Attar also takes time to offer historical perspective and context on works, creating a more intimate experience by speaking directly to the audience and as he says “removing the barrier between the audience and performer.” With a recent piece composed by Viktor Ullmann — who died at Auschwitz — Attar pointed out the “secret codes” embedded within, including how Ullmann hid the then-forbidden Czech national anthem inside the piece by changing a few notes. A more casual experience Many orchestras require a formal dress code for performers, including black tuxedos and long black dresses. The contrast of attire with the stage and the instruments makes it easier for audiences to watch the action. In recent years, BSO has adopted a more casual, all-black dress code with flexible options. “I move all over the place, and I'm not as comfortable conducting in tails,” says Attar. “The casual dress code is more practical for everyone.” The Sunday matinee timing encourages a more comfortable performance for those in attendance, too. BSO invites the audience to wear what they wish. Some show up in fancy evening attire for a special date night — or shorts and a T-shirt — and everything in between. The unspoken expectations of a more formal classical performance can present barriers. “There are all these silly rules in classical music that can prevent some people from coming, worried they don't know the etiquette,” says Attar. “Forbidding clapping between movements began during music’s Romantic period,” he notes— you wait until the full piece concludes to clap. “But if you like a jazz solo, you clap.” At a recent concert, he encouraged clapping after the first movement of the Concerto. "Coming out of COVID, it's more obvious to me that there's no replacement for live concerts," Attar says. “There’s something unique about sitting in a concert hall with 1500 people, all listening,” he says. “As performers, we pick up on the energy coming from the hall, and it affects how we perform. The audience is part of the performance.” Bellingham Symphony Orchestra Music Director Yaniv Attar talks with the audience about the repertoire. Percussionist Kay Reilly improvises during “Hello Gold Mountain.” Donate today! Composer Wu Fei stands for applause following performance of “Hello Gold Mountain.” (Photos courtesy of Damian Vines Photography)
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