MCICM News, Articles and Press
Launch of Artful Participation websiteTuesday, October 26, 2021
On 20 October 2021, MCICM held a dissemination event where researchers from the Artful Participation project presented some of their research.
Etudes for a new classical music practiceMonday, July 13, 2020
The MCICM received funding from the NWO/SIA for research into ways in which symphony orchestras can involve their audiences more actively in concerts. And then the corona crisis hit. Peter Peters, director of the MCICM explains what this means for the research and talks about the insights thus far.
Mahler at the regular’s tableThursday, September 12, 2019
During an ordinary classical music concert, the tasks are clearly divided. Musicians play under the direction of the conductor on the podium of the concert hall, the audience in the hall listens attentively, preferably without coughing and applauding at the wrong times.
Stories and Articles
Publication: "The Same but Differently" by Imogen Eve
What does it mean to innovate classical music? And how can we go about it? As the barriers between the performing arts in the 21st century are fusing together, classical music is extending its vision. In light of this, classical musicians need new ways to approach this changing landscape.
The Concert Hall and the Orchestra
Our experience of institutions depends to a surprising degree on their manifestations in the built environment. Winston Churchill no less stated, in reference the old Chamber of the House of Commons, that ‘we shape our buildings and afterward our buildings shape us.’ The Symphony Orchestra and its concert hall are no exception to this rule. The nineteenth-century hall is often regarded as a temple to the concentrated listening that symphonic music requires: no talking to your neighbour and no dancing in the aisles.
Digital message in a bottle?
The new normal still takes some getting used to in the concert hall. This applies to musicians who are not in their familiar environment as well as for audiences that are surrounded by empty seats. But it is good that music can be played in the concert hall. How heartwarming and special were the balcony concerts, recitals from living rooms and free streaming concert recordings; they highlighted that classical music is only really alive when we can be there.
Etudes for a new classical music practice
The audience of classical concerts is ageing, so there is a great need for a new audience. “But if you want to reach a new audience as an orchestra, you also have to change yourself”, says Peter Peters, endowed professor of Classical Music Innovation and director of the Maastricht Centre for the Innovation of Classical Music (MCICM). The MCICM received funding from the NWO/SIA for research into ways in which symphony orchestras can involve their audiences more actively in concerts. And then the corona crisis hit. Peters explains what this means for the research and talks about the insights thus far.
Performing in winter: creating COVID-safe super venues and sharing the stage
Neil Smith, postdoc at MCICM, recently published an article in the online news website The Conversation titled ‘Performing in winter: creating COVID-safe super venues and sharing the stage.’ In this article, Smith presents some possible scenarios for COVID-safe events in the UK. With the winter season looming, the arts sector needs to find creative and appealing ways to bring audiences to the shows while still covering expenses for both artists and venues.
Do not forget Culture Audiences
Veerle Spronck, PhD candidate at MCICM, recently published an opinion piece in the Dutch newspaper Trouw titled ‘Do not forget Culture Audiences.’ In this opinion piece, Spronck brings attention to the art lovers and amateurs in the new 1.5-meter society. Although the Dutch government already announced help in the form of €300 million for cultural institutions that are deemed vital, this help does not take into account cultural participation, one of the aims of Dutch cultural policy since the early 21st century.
Innovating with Conservatorium Maastricht
How can a Conservatorium prepare musicians and artists of the future? What kind of musician/ artist will be needed in an era of constant and fast-page change? How does the Conservatorium itself need to re-defined? In the search for answers, institutions cannot continue business as usual. They need to develop their educational and artistic DNA.
First Experiment of MCICM: Mahler am Tisch
MCICM’s first experiment focused on Mahler and informal local performance settings. In many of his symphonies and vocal music, the composer used folk music sometimes literally, sometimes edited.
The People's Salon
New Year's Eve has its rituals. Oliebollen and good intentions go hand in hand with the countdown before the new year starts. Another one of these rituals is the Top 2000, the radio program on NPO Radio 2 in which listeners compile a list of the best popular music. What makes the countdown to number 1 - Queen's Bohemian Rhapsody for years - so special is not only the music, but also the stories that listeners tell about their favorite song. A shared past emerges in the recognition of the experiences of others.