Live Blog: Behind-the-scenes conversation with the Chicago Symphony Orchestra

Rutter: The CSO Orchestral Explorers program for kids… a packet goes into the hall with printouts, a disc with recorded music… it feels so antiquated. It could be the 1950s. One example of something we struggle with technology-wise. For us, the question is should we invest in digitizing this? Would we have to change the materials? How are kids learning now?

2:29 In the end, what is the point of technology? Lester: It’s no secret the audience in the hall for classical music is mainly aging, white, wealthy people. Technology seems like an opportunity to reach out beyond that.

2:27 Lester: We’re trying to reach the broadest audience possible. Technology seems like an answer. But it’s expensive and hard to know the right thing to do. It was always, in the past, done for the orchestra (the recording industry, for example).

Rutter: The challenge is we don’t know how to keep up with technology. We have traditions built up over 100+ years, but we aren’t nimble enough yet to know how to share what we do as quickly as we can. We specialize in presenting live concerts. Figuring out the right way to get the word out through podcast, video, internet, is hard.

2:24 Rutter: It really is a societal change. People learn/know so much more before they do anything.

2:23 Bloom: Society has changed drastically. Not so many years ago, celebrity was put on a pedestal. People didn’t want to know us, they just wanted to hear us play. The mystique of the tuxedos. Now people want to know what musicians think.

2:20 Gilmer: There was a time when audiences complained about being spoken to from the stage. We would get letters. This has changed. Our audiences are curious and desiring to understand in context. People are so busy, they are no longer playing Brahms symphonies on the parlor piano.

2:17 Clyne: There really is a deep sense of trust in Chicago between conductor, orchestra and audience. As a contemporary composer, this is ideal. Leads to thrilling performances.

2:16 Rutter: At some point over the last years, there has been a re-building of trust with the audience. With contemporary music, the audience will try it, trusting that the orchestra/conductor/programming is all working together.

Bloom: Connection onstage with a conductor is clearly felt in the audience as well.

2:13 Lester: Beyond the Score program has been crucial to having audiences appreciate the concerts at a higher level. Going back a long time, the programming seemed to segment the music. When the audience is not connected to the music, musicians on stage notice, it’s not a warm feeling.

2:11 Rutter: Years ago, coming to Chicago, Rutter picked up on a certain distance between the stage and the audience, a lack of connection. Musicians were the most vocal in pointing it out. Growing up in LA, she felt the orchestra was there almost as a personal resource… that stayed with her. The orchestra needs to be a musical home for the community. It was important to bring that sense of community to Chicago.

1:53 Participants have arrived and are taking their seats.

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