München, Germany: Classical:NEXT, flash mobs and moving forward..

i'm writing this blog from münchen in germany. i've just finished attending the Classical:NEXT conference at the Gasteig here. it's been a great few days of interesting discussions and discoveries about the classical music industry in europe mainly, but also with great insights into what's going on around the globe generally, in classical music, contemporary works and interpretations, digital trends and consequences, and what's 'next' for the industry in all sorts of ways.

it's the first dedicated classical music conference, which is a little surprising, so obviously well overdue really. in some respects i was well out of place within such a conference, however i drew some interesting information from it, i met some fabulous people amongst the big-wigs, and it really was inspiring in a number of different ways.

many of the attendees were heavyweight classicals: major labels, artist managers, publishers, journalists, major performing art / opera / orchestral institution personnel, as well as the showcasing classical artists, whilst very few people were artists themselves (who were not showcasing), or composers, or independents. hopefully next time there'll be a much bigger contingent of these!

anyway, so, Classical:NEXT consisted of conference sessions and presentations with discussions in Gasteig's Black Box, live showcases in the Carl-Orff-Saal Gallery, video showcases, networking meetings, mentoring sessions (although these were very limited), 'meet the artist' receptions and 'club' showcases (contemporary classical performances in Munich clubs Bob Beaman and Harry Klein~ ie, bringing the music to vastly different venues, performing to new audiences). overall, there was a wide range of music represented, from early baroque to contemporary, traditional to experimental.

i am well aware that i'm not a journalist writing a review about the conference (there was a few discussions about amateur journalists and whether they're good or bad for the industry!), however i feel compelled to write about it as an independent artist and believe my view is valid so i dare to continue, if only to share my experience..

i like to think that i represented the independent artist, the composer, the performer that is not signed, who owns all copyright, who initiates independent arts in an industry that is ever changing. i was pleasantly surprised to hear some initiatives that some classical organisations are implenting to promote classical music (in the broad sense of the word), to develop audiences outside the seemingly traditional fashion.

i arrived at gasteig not knowing a sole (and i believe i was the only australian there), so it provided me with the opportunity to soak up information, meet new industry peoples and (to those that listened) share my experience of my creative journey so far.

the opening concert presented (intentionally), a formal performance of traditional classical repertoire, showcasing a number of exceptional artists, with great strength in presenting poised, engaging performances (mostly!). in the conference environment, at times, the showcases felt a little awkward with attendees coming and going from the venue, not a full audience etc, however that is part and parcel of conferences these days.. many people are conducting business meetings and networking, so it's not everyone's agenda to see everything. over the few days of showcases however, this traditional concert format was challenged somewhat, by presenting contemporary performances in various venues (ie the club showcases), sharing promotional tools to reach a wider audience and highlighting different ways to present 'classical' (for want of a better word) music to the public. ie. performing Handel's piano works on a grand piano attached to a moving vehicle (see Daria van den Bercken's work).

then there's the Copenhagen Phil playing Ravel's Bolero at Copenhagen Central Station or their flash mob performance on the Copenhagen Metro. for some, flash mobs are no surprise of course (well, they are when you experience it live!), they come in all sorts of ways and industries as gorilla marketing.. but for those that haven't seen or heard in person, it's only something you get emailed or you find on youtube. the great thing about these aspects in particular at Classical:NEXT, was to meet the people that initiate these ideas, be in discussions with them and feel a part of the energy that helps classical music (or any music genre for that matter) move forward and find new audiences.

developing audiences was generally a hot topic, with sessions including 'Promoting the Arts in the Age of Digital Reproduction' (awesome presentations about digital media tools by Christopher Gruits from Carnegie Hall NY and Anna Kleeblatt from the Bavarian State Opera) and 'What is Better, a Community or a Crowd?' (funding projects by crowd-funding, social media technology etc with Steven Walter from PODIUM Festival Esslingen).

other sessions included an interesting discussion on film music.. 'Film Music as an Ear-Opener to Contemporary Music' (whether using contemporary music in films has helped it find a wider audience, or if the picture distracts the audience from noticing how abstract the music actually is etc..) and 'Perspectives on Music Journalism Today' (with Oliver Condy from the BBC Music Magazine and Jessica Duchen, a freelance journalist, talking about the shift to internet journalism, PR, print vs online etc).

generally, some interesting topics, questions, conversations, discoveries and presentations.. my only criticism, or rather, suggestive comment, is that in an industry that recognises that a great number of their audience remains true to traditional forms of listening media, ie cds, perhaps a move towards creating environmentally sustainable products would be beneficial (like the digipak or 100% recycled cardboard products instead of jewel case cds etc). additionally, 'greening' activities such as touring, recognising carbon footprints, or using sustainable, ethical products might be a great way to move forward too. perhaps for the major labels or management companies, a partnership with Julie's Bicycle in London would ensure a better future for classical cds and even create a stir with developing audiences in recognising that the industry is moving in the right direction. just a thought anyway.

ok. so it's taken longer than i thought to write this and sorry there's no pics of my own. there's a few on their official flicker site though (you might even see me in there somewhere)..

so on a final note, i had a great time in munich (it's a lovely city i think) and i met some great people who are doing some interesting things, both in classical and the contemporary music industry.. i've come away with some great ideas for my future projects. the 'review' aspect of the conference wasn't my intention at all, i just wanted to share a few thoughts as i've been totally absorbed in it. anyways, i could rattle on for hours about the showcasing artists, but i need to sleep, so i'll leave it there (for more info look at the Classical:NEXT website) and i'll be back soon with more news on my projects in london... bring on the summer!

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