In olden times, it is said, classical concerts frequently or usually
contained improvisation, of which the only surviving form is the cadenza.
Is the loss of improvisation partly responsible for the lack of classical
traction in the young, and the tilt of listeners toward the old?
What are the chances for a rebirth of improvisation as a normative
expression for concerts?
In my attendance of concerts of Christoph Eschenbach, who has been
described
as a champion of new music, I saw a distinct preference among the
geriatric
audience for well-worn favorites. He has gone on record as describing the
current role of the conductor as "retrogressive", which I suppose is an
expression of discontent about having to serve the popular taste, rather
than expand it.
Bob Morein
(310) 237-6511
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