Last night I went to Norwich to make another attempt at classical music, to see the Britten Sinfonia, who have become my go-to guys for this kind of thing thanks to the availability of £6 tickets.
As always it was a mixed programme although this time they were joined by a French conductor and piano player, so it was more piano based than last time. And I had my first experience of a mad looking conductor - he threw his arms around and waved his head like a mad man, but interestingly the orchestra hardly seemed to look at him at all.
The first peace was the best bit - Haydn's Symphony no. 83 in G minor, also called 'The Hen' because apparently part of it sounds like chickens clucking! Didn't spot that myself to be honest, was too busy loving the beautifully dramatic violin playing. However, it does demonstrate my problem with classical music - this was symphony 83 out of 106, and that's just one composer, so were the hell do you start when you know nothing about it?!
The last piece was his mate Mozart's Piano Concerto no. 14in E flat, which was more romantic and sound more like film music, so didn't work as well for me, although it did remind me that I still haven't seen the film Amadeus and really must get round to it.
The middle bit was the tricky bit - works by a modern American composer called Elliott Carter, who is till alive and writing at 101! It may well be good stuff - and he's been given so many awards that clearly someone likes him - but I thought it was dreadful!
The was a duet for piano and orchestra where the piano parts are short, random and apparently tuneless, the kind of noise a small child makes when let loose on the instrument. Meanwhile the strings are playing beautifully and the whole thing just makes your head hurt! Similarly a duet for flute and cello where they both seemed to be playing different pieces of music. And a solo oboe piece that could have been made up on the spot. It's the kind of thing I think of when I think of bad modern classical music and I hope never to hear it again!
Half the fun of the evening though is the audience, who are very different from a theatre audience and a bit thinner on the ground. What I don't get are some of the conventions, like when to clap and when not to: if a piece comes in three distinct sections and each one if separated by a deliberate pause, why does no one clap in between them, especially if the bit that has just finished has been magnificent?
And why is there so much bowing? Not just to the audience but between the orchestra and the conductor? And why does the conductor have to keep shaking the hand of the orchestra leader? None of it makes classical music accessible, it just makes it a bit silly, which is a pity as I think I could love it if I could ever get to grips with it properly!
