12 Curating Classical Music
Towards a Synergetic Concert Dramaturgy
In her essay ‘Concert Etiquette: The New Rules’, Gillian Moore recalls a fellow concertgoer censuring her during a performance at London’s Royal Festival Hall with the words: ‘You were moving your head up and down during the music. You need to learn to behave in concerts, or stay at home!’1 Given Moore’s role as Director of Music at the Southbank Centre (of which the Royal Festival Hall is the largest hall), this anecdote illuminates all too well the intractable nature of concert etiquette, and how it still governs most classical concert-going. To explore this further is to observe several broader norms, for example: repertoire presented according ...
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