Experiences Created by the Orchestra

Experiences Created by the Orchestra

The Boca Raton Philharmonic Symphonia is 95-100-member ensemble, which rehearses two times per week and performs many concerts each year. Last Wednesday night, the orchestra put on their “Sounds of Summer” concert, which featured compositions such as Schumann’s Symphony. I’ve never had the experience of witnessing an orchestra first-hand and thought that reaching outside of my comfort zone would maybe help me understand more about the components that influence the popularity and beauty of music. Orchestrated music has always been considered a high form of art, catered to a specific sector of the population. However, through the years it has evolved into an art that is now enjoyed by individuals other than just upper-middle class and upper class Caucasians. Though, orchestrated ensembles have managed to uphold to their original demands such as enforcement of proper mannerisms and the usage of a passive audience. Through the balancing of vital components, such as the concert’s setting, the audience, moderate commercialization, and light interactions between the audience and performers, orchestrated music has managed to hold onto its’ strong values and standpoints while at the same point broadening it’s market base, thus allowing individuals of different ages and backgrounds to partake in the experiences created by these art forms.

The audience at the Boca Raton Philharmonic Symphonia concert was a representation of the increasing fan-base for orchestrated music. There were two distinct groups marketed for the concert for this production, younger individuals and middle age and older citizens of Boca Raton and surrounding areas. Between both of these sectors, Caucasians made up the bulk of the audience. Since its’ birth, the orchestra has appealed to citizens of higher classes, primarily wealthy white people. However, it has progressed and now individuals of all social class and racial background can enjoy the beauty created by this form of music. Though, certain principalities have managed to live on such as proper expectations of the audience. From the moment I took my spot in line to the second I sat down in my seat I could not help but notice the audience’s attire. For the most part, the dress was very casual. Almost everyone was wearing either jeans or khaki-pants and respectable summer attire, such as an appropriate sweater vest or jacket. This aura of casualness made its’ way onto to the stage. All of the musicians performing were wearing the same black suit that helped attributed to the mood and overall experience of the orchestra.

Advertising and other forms of commercialization were not extremely heavy for this particular concert. Personally, I did not find out about the concert until a week beforehand through a close family friend. Ticket presales were not popular for the concert as was implied by the growing line outside of the building. The absence of mass marketing explains the reason for a small audience. Walking into the venue, it was not your typical entrance. There were no booths with merchandise, not even records were available for sale. The closest things to physical memories from the concert were the concert programs that were freshly, printed on plain computer paper. Besides word of mouth, information about the concert was only available to those who had a desire to know. The small amount of commercialization can infer that the exclusiveness of orchestrated and other higher art forms of music has managed to live on. Orchestras as well as classical forms of music are not appreciated by the masses. Since its’ pretentious beginnings, orchestrated music has managed to uphold a niche market while allowing a more diverse support group to live and appreciate the experiences created by the orchestra.

Roberts Theatre at Andrew Hall’s Center for the Performing Arts, a structure that was reminiscent of the colonial period, was the venue for the concert. The elaborateness and elegance attributed to the experience that orchestras and high forms of music were originally suppose to indict on audiences during the birth years of these sophisticated styles of music. The main concert hall had sparkling and shimmering chandeliers hanging from the ceiling that help connected the audience with the feeling of being dignitary and elite, the senses that orchestras originally provided for its’ higher based audience. The walls were painted a very neutral, creamy white color and setout by the gold encrusted lampposts that were spread throughout the hall. For $10, individuals could sit in the plush, royal blue seats and immersed themselves in a world of riches and beauty while listening to a distinguished orchestra, something only people of higher social classes could partake back in the earlier parts of the 20^th century. Inside the venue, the attendants contributed to this notion of wealth and power by preserving the expectations with their casual attire, mainly black pants and white button-downs.

As the curtains slowly opened, an orchestra comprised of individuals of all different ages and backgrounds appeared and began to create art. The stage was spread out and large which made it hard to physically see all of the musicians. This imperfection made it harder to establish a connection between the audience and performers. Looking around the concert hall, one could notice the mannerisms and behaviors displayed by the audience. To the left of me, was a female who was politely resting her eyes, whereas a few rows in front of me, sat a middle-age couple who appeared to be fully engaged by the various signs of heavy focus on the stage, such as their eye placement and light nodding of the head. At orchestras, the behavior patterns differ tremendously from other contemporary concerts. For the most part, the audience tends to be very polite and act in a passive manner. Behaviors, such as loud coughing and sneezing are frowned upon and rarely ever seen in these types of environments. The mannerisms displayed by the original viewers of these orchestras have lived on and audiences continue to fulfill these expectations.

At intermission, the interaction between the audience members was at a bottom. As I scanned the hall, I saw very few conversations taking place. The larger venue created a sense of cold emotions, as individuals were more prone to sitting in the silence than experiencing the moment with the person sitting next to him. Behind me, there were two middle age women who were holding a conversation and later joined by their friend. However, the girls to the left of me shared the same feeling of boredom and anticipation that I was having. Focusing on the stage, I saw very few musicians as they were backstage. However, there were a few of the performers that were speaking with people from the audience. The large venue and performing space made it harder for individuals to connect with one another as was displayed during this twenty -minute intermission. This relates to the interactions that originally took place at orchestras due to the relationships that the audience shared with another; being that all members were elite socialites, they mostly knew each other and separation of class was not an issue.

Examining the conduct of the audience during the second part of the performance, I began to notice a few outliers in terms of proper behavior. A few rows up, a middle-aged male was on his cellular phone, I presume checking his voicemail, as the audience clearly did not hear any speech come out of his mouth, as I did not hear any of the audience member’s reprimand him. As if that was not enough of a shock to the experience, another male member from the audience decided to get up and leave halfway thru the second portion. Both of these behaviors are highly frowned upon, as these individuals were not complying with the expectations that are expected by both the audience and musicians. Connection between the audience and musicians are harder to feel at concerts where musician do not use their voice to communicate with the audience. At times, members of the audience could be caught dosing off or whispering softly to the person sitting next to them. The lack of verbal and body communication made it harder to understand the messages that the musicians were trying to convey to the audience. The audience had to hold a focus to understand the messages that each piece was trying to convey.

Throughout the past hundred years, orchestras and other higher forms of art have undergone an evolution A form of art that was once only enjoyed by the world’s richest and most powerful individuals is now appreciated by many different types of individuals, who come from all different and social, ethnic and racial backgrounds. With that, these orchestras and similar variations of music have managed to withstand its’ exclusiveness through the moderate commercialization, preservation of original behaviors and mannerisms expected by the audience and performers, and providing an aura of royalty and beauty through place, costume, and interaction. The experiences felt at any contemporary concert are reflective of all these components and the fulfilling the commitment between the audience and performers.