Another in the regular dispatches from America's moribund classical-music scene:
Live classical music is less commercially viable than ever. Attendance per concert has fallen, according to Robert Flanagan, an emeritus professor at Stanford. But “even if every seat were filled, the vast majority of U.S. symphony orchestras still would face significant performance deficits.” Live orchestral music is essentially a charity case. A Bloomberg story on the recent wave of orchestra bankruptcies (an unheard-of phenomenon outside of the U.S., says Flanagan) notes that by 2005, orchestras got more money from donations than from ticket sales. The New York City Opera, once hailed as the “people’s opera,” filed for bankruptcy in October. If the “people” want opera, they’ve got a funny way of showing it.
If classical music was merely becoming the realm of the old—an art form that many of us might grow into appreciating—that might be manageable. But Sandow’s data on the demographics of classical audiences suggest something worse. Younger fans arenot converting to classical music as they age. The last generation to broadly love classical music may simply be aging, like World War I veterans, out of existence.
What about making music? In 1992, 4.2 percent of American adults reported performing or practicing classical music at least once in the previous year.
By 2012, the number had dropped to 2 percent (compared with, say, the 5 percent of Americans who reported they created “pottery, ceramics or jewelry.”)
The only thing that can save classical music in America is a recognition by politicians of all parties that classical performance will never pay for itself, will never be popular with the mainstream, and is yet important enough to deserve large subsidies to prevent its ultimate disappearance.
And that will never happen.