My reviewing job for Bachtrack.com has enabled me to attend many more concerts than I used to, and I am at the Southbank at least as frequently as I am at the Wigmore Hall these days.
Each venue has its own audience, with its own quirks and foibles. The Wigmore audience is famously high-brow – or at least would like to be regarded as high-brow – elderly and “north London” (the hall is often nicknamed ‘The North London Concert Hall’). Members of the audience are expected to sit in reverential silence, to know when to clap, and to generally behave impeccably. I have twice been asked to remove my watch at the Wigmore because “the tick is too loud”. Sometimes, if a member of the audience coughs too much, or fidgets, or – Heaven forfend! – rustles a programme, they will be met with fierce looks and angry, hissed “shusshings”. It is therefore always interesting to see who has turned out for a more unusual or adventurous concert programme, or a young performer debuting at the Wigmore (“doing a Wigmore” as it is known in the trade). At Di Xiao’s recent debut, the audience were younger, many were fellow Chinese, and my friend and I also spotted quite a few musical “slebs” including cellist Julian Lloyd-Weber. The presence of such “slebs” may suggest that these people know something we don’t, or that the soloist is “one to watch”. Last summer, at a charming and touching Chopin concert with readings, organised by pianist Lucy Parham, one couldn’t move for theatrical lovies: both the Fox’s, Martin Jarvis, Timothy West and Prunella Scales, to drop but a few names. Stephen Hough tends to attract young, mostly gay, acolytes, and if Till Fellner is performing, you can almost guarantee to see his teacher, Alfred Brendel in the front bar. As a member of the ‘press pack’ now, I often arrive at a concert to find the venue has put all the journos together (excellent seats at RFH and QEH, right at the back at the Wigmore), and we all scribble away trying not to read what our neighbour has written, just like being back at school!
The audience at Cadogan Hall is different. Stepping into the champagne bar there’s always a great buzz of chat and shouts of laughter, enough to suggest that this audience is likely to be younger, more awake and maybe more receptive to what they are about to hear. Audiences on the Southbank are generally younger, more trendy, more relaxed, while the Proms audience is different again – a real mixture of music afficionados, groupies, students, curious tourists, old timers who go year after year and people who are just beginning to explore the great annual music festival. The enthusiasm of the Proms audience is really infectious and undoubtedly contributed to my enjoyment of the Proms this summer.
Sometimes the soloist or musicians themselves can affect the way the audience responds and behaves during a concert. At Maria Joao Pires’s wonderful Schubert series at the Wigmore a few years ago, the musicians (the Brodsky Quartet and singer Rufus Muller) remained on the stage while Pires played her solo pieces (a selection of Schubert’s Impromptus) and the audience was asked not to applaud until the end of the first half. This created a wonderful sense of an intimate, shared event, and we might have been in Schubert’s salon, enjoying an evening of music making amongst friends, for friends.
But if we, the audience, are too much in awe of the soloist, we can put up invisible barriers which can affect the atmosphere in the concert hall. This was very apparent when I heard Daniel Barenboim perform as part of his Beethoven Piano Sonatas series some years ago.
Recently, I’ve attended and performed in informal concerts in other people’s homes. My husband likes these kinds of concerts, with wine and friends and chat between pieces. As he rightly points out, this is a much more natural way of enjoying music that was written before c1850 (when Liszt, almost single-handedly, made the concert into the event as we know it today), and reminds us that music is, above all, for sharing. With the increasing popularity of presenting music in more unusual and intimate venues like The Red Hedgehog or Sutton House (London), or in the beautiful library of the cloisters in Wittem (Belgium), musicians are able to bring music much closer to the audience, literally and metaphorically, while events such as Speed Dating with the OAE (Orchestra of the Age of Enlightenment) offer audiences the chance to meet the musicians after the performance.
Some other small venues:
Woodhouse Copse, near Dorking, Surrey
Riverhouse Barn Arts Centre, Walton, Surrey
Guildford Guildhall, Surrey
The Forge, Camden, London
Rook Lane Arts Centre, Frome, Somerset
How do you find the Barbican compares with the venues audience-wise? I have to say, I tend to go mainly there and to the RFH and Cadogan. If the audiences there are “young”, I dread to think what the age profile is like at the other places – they must be packed full of nonagenarians!
Could it have been the Chinese connection that brought Julian Lloyd Webber to that recital?
I haven’t been to the Barbican for some years and I can’t really recall what the audience was like then….it was for the St John Passion with Ian Bostridge. The Wigmore audience is really old, but they are very loyal and without them I suppose there would be no concerts. I didn’t know about JLW and a ‘Chinese connection’…..
Julian Lloyd Webber’s wife is Chinese cellist Jiaxin Cheng.