Lecture 1, Question 1: Ensemble and Audience Influence

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Join the conversation about ensemble and audience influence.

Ensemble and Audience Influence

How might the size of the ensemble and the potential size of the audience influence a composer when s/he is writing? If a piece seems destined to be played only in the home, and therefore to reach relatively few people, is that discouraging, or liberating?

[samanth...@gmail.com]

I like the idea of Beethoven writing with Elizabeth Bennet in mind. :)

I have read that when Chopin died, the best performers of his works were some talented amateurs (members of the gentry / filthy rich) who he had taught. "Only in the home", therefore may be misrepresenting the venues these works were performed in and the competence of the performers. These homes were usually huge by the usual standards of today with many guests coming and going. These guests valued their education, because it dsitinguished them from the hoi-poloi and part of that education was an appreciation of music.

Furthermore, the audience for Beethoven's works was the gentry and the gentry probably listened to most of their music in private homes so, while the audience for the work on one particular evening would be small, the cumulative audience over months and years would be large making the composition of the pieces worthwhile. And if the young ladies of pemberly couldn't play the harder movements, well they've purchased a copy, and that makes it worthwhile financially. :)

[Candlestud]

I've often imagined that composers like Hayden wrote music with some sort of audience in mind.
but Beethoven had himself in mind so his music has always been more personal, but truer. and approachable in a sense.
definitely more liberating, -- one needs to hide nothing to himself, especially in music.

[emmam...@gmail.com]

I believe Beethoven was never discouraged, I think he indeed thought of an audience but the music itself liberated him. I think he wrote it as his feelings and most of all his preparation and arousement for music indicated.

[olivierH (Paris)]

I'd say, imagining his work reaching fewer people would be liberating and encourage the composer to be more daring :he wouldn't feel like having to please a crowd.

That said, do you consciously think of the audience when composing ? Don't you first compose to suit your individual taste ? At least when it is not a piece made on order for some client or event...

[cch...@gmail.com]

I was reading parts of this book, How Music Works, by David Byrne. He did a whole analysis about how music evolved to the spaces where music was played for the genre and culture. He talked about acoustics and how that influenced the use of harmony and rhythm, etc. I think commissioned composers would have considered that.

I imagine that if one has an internal sense of grandiose vision, it might feel limiting to compose and perform for a small group of people in a home. But it seems like it depends on what the composer wants to communicate. If the message is pretty introspective, it might not fit a huge stadium setting or loud bar. But if the composer wants to incite a political riot, it may feel constricting to only perform in the home.

Personally, I would feel gratified for a small audience to understand my communication deeply rather than for a large audience to be drunken and boisterous and only half listening.

I agree with other commenters that it seemed Beethoven was writing a bit more for himself than for his contemporary audience. It seemed like he was more interested in new ideas. But I could also see how some composers might want to play something more popular in order to gain more predictable recognition.

[mike g]

I suspect writing for a smaller ensemble would dictate some of the composer's choices. For instance, a string quartet has a more limited tone palette than a symphony, but is more agile. It seems likely that a smaller audience would have a larger percentage of musicians or astute listeners, and would encourage the composer to do his best.

[rikitra...@gmail.com]

I feel that when a composer is writing for an esoteric group that the audience will feel more independent. There is less of the observer effect but at the same time, a step deeper into introversion. The introverted mind is one of deeper thought than say an extrovert, this is because of self reflection that can ultimately lead to a richer, deeper perception of music.

The acoustics of the room in which sound travels will also differ. Take Chopin and Listz for instance, Chopin prefered private settings, this would generally lower the dynamics of his work. Listz played often in concert meaning that he would have to stress the keys in order to carry his music further.

Playing at home would surely involve a concise amount of people and would also depend on the baseline instrumental skill of the culture it is introduced to. Some artists are destined to be pioneers, cut short before they are completely understood. Others are surrounded by admirers and have a somewhat direct reward. It boils down to the values of the composer, playing for few people may be his style, the core of his expression that he must stay true to no matter the cost.

[Ebalto]

I think the anticipated size of the audience does affect the performance. A small venue/audience is more intimate and personal. A large venue/crowd allows a larger than life performance, which would seem too jarring in a small space. Composing or playing to both types of audiences is liberating. 

[leedi...@gmail.com]

Not only were orchestras smaller than the 100+ musicians on today's big concert halls, but the instruments were different. I've become very interested in period instrument performances. It's fascinating to me to know that we don't really even know how familiar pieces of classical music sounded when they were written or first performed.

[my_apologies]

I think the size of the audience would make the composer want to, even in a small way, reach some part of everyone whether emotionally, psychologically, or possibly physically, and speak to them what the composer ultimately wants to say however they want to say it. And I think it would be liberating to have a piece played for few people because its reached very few ears and still be able to be worked on, improved, or just experimented with and the pieces still remain theirs to criticize themselves before being public. Just like writing a paper, or painting a picture, they get to criticize it, fix it, and/or enjoy it before others do.

[Lew Worthington]

It might be hard to make reliable universal generalizations on composers' reactions to audience size and ensemble size when composing. As an analogy, I think of Haydn's reaction to structured "employment" versus Mozart's. Or, considering ensemble size, some composers seem to rev up their experimental energies with small ensembles (Berio's Sequenzas), and some become most innovative in more massive settings (Wagner).

[Amber A]

I think it would be more liberating. Nowadays people gear more to writing and performing their music directly to their audience demands and responses. I would think in Beethoven's time and before, the music was more fresh and ingenius because of less restrictions on a composer's creativity. They could create whatever they wanted to, and that freedom, along with their great talent, helped them create their amazing works.

[chriswh...@gmail.com]

A related point. In his lecture Mr Biss says that professional string quartets were not around before the middle of the 19th century, but in his recent biography of Beethoven Jan Swafford suggests that the quantum leap in complexity and emotional depth from Op 18 to the Razumovsky quartets is because Ignaz Schuppanzigh had put together such an ensemble in 1805, financed by public subscription, which Beethoven wrote for. This is a nice example of the two-way interaction between a composer and an ensemble. A recent example would be the relationship between Peter Maxwell Davis and the Maggini Quartet in the evolution of the Naxos quartets.

[agami...@gmail.com]

Not only is the number of musics important, but also the knowledge and dexterity they have.
In regard to the public, I think it easier to connect whith smaller group of people

Ana

[Alex Barham]

I think that the answer to this question depends on the period we are talking about. In Beethoven's time, I would suspect that pieces written for larger ensembles were the result of commissions and if you wanted to ensure the commissions kept coming, then you had to keep the needs of the performance ensemble and their audience in mind. This would also include smaller works as some Beethoven string quartets were the result of commissions. With regard to the piano sonatas, I think the motivation was a need for personal fulfillment and thus might have been more liberating. 

In a modern context, I don't think this applies as much. A modern composer who receives a commission for an orchestra or small well-known ensemble (i.e. Kronos quartet) has much more freedom. Also, by the time a composer reaches the point where they are receiving commissions, they have already established a unique musical voice. In fact, I think in a modern context the expectation is to be inventive and to offer up fresh new ways of writing. I think a composer would enjoy writing for an orchestra as much as for a solo instrument - they both offer unique musical opportunities for expression. 

[made...@gmail.com]

I belive there can be two aspects to approach this matter...
1. If you know who your audience is and your goal is to pleace this audience... (Like we saw in the period of bach or heyden, or even in modernnpop music) then the composer will most likely be guided and affected in his composition and try to write something that will be influenced by the cultural aspects, behaviors, and experiencies of the audicece.

2. The second approach is that the composer is thinking more of transmiting his/her experiences trough the music, and is not that they don't care about the audience, but is more like they know that there will be a more intimate relationship with the audice that is able to understand them in escence and comunicate trough this relationship composer-audience.

So I belive that it really depends of the final objective that the composer is trying to reach, and that he makes a concient decision of if the audience will afect ot not his writing.

[ejro...@gmail.com]

I imagine it would be more liberating to perform your music in an intimate setting. Here you likely won't experience the potential criticism that a larger audience might allow. A larger audience might contain critics or other artists. Especially if one is branching out and trying new approaches, methods, etc., it seems it would be easier to launch those in the home, among friends.

[fernand...@gmail.com]

On the contrary, I think playing before people you know could be inhibiting in that you do not want to disappoint them. I think too that it might be discouraging in that you could not generate big sound or grand finales with many more instruments like Beethoven for example.
Before a crowd of strangers, and in a big hall once they began being built, I think composers may thus have felt rather liberated.
Nevertheless, maybe it can be said that we actually need both styles of music, and that being able to compose for both types of audiences is the ideal.

[mario....@iest.edu.mx]

As an amateur writer, I always do my stuff without thinking if it's going to be read in public or not. I only do what I want when I want with just two objectives: express myself, and hope anyone would read it. Beethoven didn't seemed to have any influence on this situations because he was a passionate man, and anyone who makes good and real art will do what his soul dictates.
--

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[hartma...@gmail.com]

I think the question is unfair :)

When Haydn was with the duke Esterhazy, he had to think about his orchestra. He composed and in the evening the scores were copied and played at first sight. Nevertheless even his symphonies show very exciting surprises.
Mozart wrote to earn money, unless he composed some quartets and some sonatas he would like to play and here himself. (I have to admit, that the piano concertos of Mozart seem to me composed in order to impress the audience)
Schubert wrote his songs in order to have them sung by his friends in the various homes. (It was Metternich-time and Metternich was sort of the NSA of that time:) )
Liszt played to impress, but some of his music is so deep that you have to understand his religious beliefs in order to get access to the music.
You will find that with basically all composers in a more or less distinct form.
Bach wrote for a special audience. He wrote for the Lord. And this audience obviously inspired him deeply.
Basically, chamber music is more intimate and I would say it is the music that composers write for themselves.

[kitty...@gmail.com]

I can see arguments for both, but I think it could be discouraging. If you know only a few people are going to hear your music, there isn't much incentive to make it 'big' and try new things.

Of course, Bach didn't really have any other option because there weren't concert halls. These were around all of Beethoven's life, so I can see why he might have wanted his music to be performed there. (I hope that's all right! Please tell me if it's not.)

[Nichola...@yahoo.com]

I believe that each artist, whatever medium they are creating in, written word, mixed media, music, etc., will be taking into account his/her audience. As the composer grows in status the audience grows accordingly. Although this might be a challenge for some to be more liberated in creating with their own voice, others may take the opportunity to be more personal in the expression of their work as they sense that this is what the audiences desire to experience.

So large or small, the venue and performance group is not nearly as influencial as the personality of the composer. Will he/she, as a reflection of their character, be discouraged or liberated by realizing their audiences potentially want to experience a creation that is inherently a reflection of the creator's personality.

I vote for liberating.

[xxoxt]

Liberating. It is one of the mysteries, I believe, for music to be written for an audience of self to communicate to the self (of another--maybe) but perhaps the music just needed to be written for the music to be written, period. Beethoven had to be Beethoven in other words. It cannot be discouraging to be allowed to "be" introspective by culture.

In composing music, however it is likely equally important somewhere that the craft and history of music possibly developed in writing for others. Bach for ex: in the background, who always served God and was blessed with a craft equal to his servitude. He wrote for God, but we use the forms to write for anyone-- musical "forms" that work, that are useful, that help us when nothing else can--forms like the Rondo: the binary: more elaborate, the Sonata: WHY & HOW they worked, is an interesting question, because they do work in any culture-- just to "write", but without the genius, they are far less than liberating, which leads me to conclude that the great ones, did not write for an earthly audience.

[mehmet...@gmail.com]

I believe each has it's challenges and some composers would be better suited to large orchestral pieces where an ability to "meld" disparate sounds, timbres and rhythms to form a harmonic picture is needed while for smaller settings, an emphasis on virtuosity and melodic structure would be more important.

[vera...@gmail.com]

I believe music conveys emotions and emotions are caused by hormonal changes in the brain. So when a composer is writing any piece, he or she primarily thinks of two different things: 1. the emotions he is trying to convey 2. his/her medium and how to use his/her skills better so he/she can convey those emotions precisely.

In a biological sense, writing music is a pure mating ritual similar to that making a peacock to display his colorful feathers.

The size of the audience corresponds with the emotions he wants to share. Most people do not share something intimate with a large audience. Thus writing a piece for an orchestra requires some "public speaking skills", appealing to completely different feelings. Joy, pride, triumph are associated with writing for a large audience.

[Natalia]

I think, when a composer start working on a particular genre he/she certainly keeps in mind all those extended characteristics of a genre such as by whom, to whom, where, when and how it is played. Whole traditions have been created  around musical genres, which refer to extra-musical factors. Surely, strong personalities like of Beethoven tend to challenge the boundaries of a genre, to cross the borders, to mix things, to confuse, to intricate and to open new paths in genre history. The fact that sonata was kind of a "home genre" did not prevent Beethoven from his great experiments with heroic and pathetic musical images there. And this was, I believe, just because of his character...

[s93...@gmail.com]

For the first question,I think the size of the audience really matters to a work like opera or orchestra that is meant for a theater performance. Since if there are few audience -although at that time there were extremely few people who really "understood" and "appreciate" music- coming to listen, that piece would no longer be played after a couple performances,which might bring frustration to the composer. As for the other question, I think a work "for home" truly gives the composer freedom. In that way, he will never have to worry about the criticism from the crowd ,nor to conform to the mainstream taste. He can write down whatever springs into his mind and express his feelings to his heart's content. That is precisely the liberty leading to the Romance Period.

[nikaee...@gmail.com]

I think it depends on time. In baroque era everything was steady. no Forte or sfz or surprising sounds. also everything were natural and no modernism was started. people were live and enjoy the music. I think development of nations changed music and composers changed and they wanted to try and offer news works.
I think in our lifetime, each composer is allowed to offer his/her personal music.

[elva.g...@gmail.com]

I think that writing for a small group like the piano or string quartet might encourage the author to focus in on the piece and each part in the ensemble.

About writing for a small audience or a home audience would allow the writer the freedom to experiment while writing for a large audience might have a financial aspect.

[mireil...@gmail.com]

Perhaps, as a composer of a work be it opus or œuvre, the author/artist thinks only of his personal intentions. Could it be thus that Beethoven was free to explore and re-compose sonata form ? Audience influence I think may be second to this. I wonder about shared audience experience, in a larger group, compared to more private listening experiences. Fewer people, and more intimacy, I think might actually free the artist's expression. Perhaps there is less influence or tension between composer and listener, the group being perhaps personally invited.

[Vivien Naomi Lee]

I agree with most who said that he probably didn't care much after a point where his dependency on such patronage decreased, as he started selling his compositions.

I suppose he would have found it of moderate importance to do well at first and compose good music, but rather than out of pressure from the listeners and the hosts and the economic incentive rather than feedback about the performance direction itself.

However, to answer Mr Biss' questions more directly, I suppose the composer still has to write pieces that are achievable in the private homes. No absurd or impossible amount of instruments or players, perhaps beyond the capacity of the manor?

If a piece is indeed destined to be played only in the home, i suppose it could be more discouraging and pressurizing than liberating. Discouraging to a much lesser degree for Beethoven I suppose, who is probably proficient enough on carry off on the technical side. Pressurizing because I guess that those with concerts in their home - are probably high-ranking officials or just rich people with high social statuses. If they were to bring feedback and praises or bad stuff to announce to the world. I believe it would do him some harm, whether on credibility, and shame now that the whole story is in the open. What if it doesn't end nicely and prettily. Hahaha.

[soniaandree]

Music has to adapt spatially to the room it addresses - music reverbs differently; the size of the orchestra and the types of musical instruments are to be taken into consideration. This will definitely influence a composer, regardless of his employers.  Playing for an audience means that audience also has to be taken into consideration - a court composer will always try to please his employer; a privately employed composer might try to compose following his inclination, as a small audience can allow for greater freedom of expression. In the end, knowing rooms and audiences, as well as knowing what the employer wants, will always be an advantage in terms of employment, but will not necessarily means greater freedom.

[lke...@gmail.com]

Good points. The audience determines the degree and quality of compositional freedom. For a composer unrestricted by the need to please a specific employer, small spaces are limiting. A large ensemble and performance hall affords the freedom to create dramatic effects; the composer can place musicians on balconies, backstage or in the aisles. While the Baroque and Classical composers created piano and chamber music for home performance, the tradition of making music at home may be fading, making the genre less satisfying for the composer.

[alo...@gmail.com]

In a larger concert hall (presumably with a larger audience and a larger ensemble), the composer may be more free to explore various textures and timbres of various combinations of instruments. However, the composer is limited, by a large extent, by the technical capabilities of the ensemble he is composing for; and also (if the composer cares about being employed) the reception by the audience.

In a home setting, the composer may be able to explore various harmonic progressions to a greater extent; and doesn't really have to worry about the technical capabilities of the musician (can't play my music? That's your problem).

[Sascha R]

Personally I think writing, i.e. composing, for a smaller audience can be liberating, especially to compose more emotionally daring or innovative music, as

the listener is not hindered by social constraint to show their approval or feelings.

[Luis Puelles]

Answering the question with Beethoven's case in mind, I do not believe this was a problem that he was much preoccupied with. I feel that his creative urge and musical genius in terms of learning, exploring and presenting to society novel insights about more meaningful ways of composing music caused him to have so much to offer, even at an early age, that the issues of size of performing body and venue of the performance were of secondary importance to him. He just used what was at hand, the piano and small chamber formats, and he probably knew that larger formats required more experience than he had initially. His critical faculties were always paramount. I understand that as a youth in Bonn he composed his early chamber music for being played among family friends, amateurs largely of his age, presumably with him as a star at the piano. That was what he had, and he consequently experimented with it (youth piano quartets). No point in wishing for something else.  I am not aware that he composed anything for a larger assembly at that time (but I may be wrong). When he moved to Vienna and took lessons from Haydn (few of them, apparently) and Albrechtsberger (maybe others as well; there are some nice string trios of Albrechtsberger that give an idea of his possible influence on him), he continued perfecting his composition style largely centred on chamber music in parallel to the piano. He obviously did not want to simply emulate Mozart or Haydn, whose merits must have been crystal clear to him, in comparison to all else sounding around him (I fear he did not hear much of Bach, at least early on; by the way, I would like to know more about what was the music that Beethoven was hearing in his hometown, Bonn, when he was a youngster, both piano and chamber music). He wanted to show what he probably considered as a much needed novel direction of music. His new position was made clear with his Op.1, the Piano Trios dedicated to Haydn, which represented such a blasting step forward that, in comparison, Haydn's and even Mozart's Trios seem naive (only few of Haydn's piano trios are played nowadays, mainly because the violin and cello players are bored with their parts; I say this by experience), irrespective of their undoubtable interest (Beethoven's Op.1 was not a case of inserting a new idea here or there; every single bar of all the six trios were revolutionary). Does anybody know about Haydn's reaction to them? Did any critic of the time say anything about them? What I mean is that Beethoven was not trying to adapt to Vienna, its music playing forms and its expectations of musicians; he was attacking frontally the cultural knowhow of the entire Vienna musical establishment, and he did it with the arms he had available, the Piano Sonatas, the String Trios and the Piano Trios. Everything else suddenly sounded trite, excepting of course Haydn's and Mozart's best works. Beethoven was experimenting with compositional technique and musical expressive power. Shortly thereafter que expanded to String Quartets (Op.18), another unheard explosion of genius, and the Septett, also versioned for Trio. This was, I think, jointly with his early Piano Sonatas, his presentation in society in Vienna. He clearly did not want to suffer Mozart's fate and he clearly obtained what he wanted and expected: recognition and admiration from all true lovers of music. Where could this success be obtained? In the mansions and palaces of the nobility, were musically cultured individuals could be found that were intelligent enough to recognize the new profet for what he truly was. He only needed a few of them. They did recognize him, and subserved his economical needs ever after. Beethoven apparently never felt the need to be appreciated or admired by many people, particularly if their musical intelligence was low. When he eventually did compose for large formats, it must have been primarily because it interested him personally, and secondarily because it was expected of him by his new noble friends.  It would be interesting to correlate the chronology of his early chamber and piano works with his first essays with larger formats. He surely did it as soon as he thought he had the needed knowhow in his hand, according to his own criterium. I think that in a true genius like Beethoven musical inspiration and intellectual grasp of novel technical possibilities of interest lie foremost in both the subconscious and conscious mind of the artist, and opportunities offered by society come a distant second behind. However, once explored so fruitfully, the possibilities for continued development of small format forms are so clear that they cannot and should not be abandoned, irrespective of having achieved the capacity to attempt larger format pieces as well (we thus have near the end of his incredible progress both the 9th Symphony and the Grand Fugue, not to speak of the last Piano Sonatas). He was not a lucky guy by any means. The world was lucky to have him.

[dpo...@gmail.com]

MUSIC=HATE=LOVE=THINKING 19TH ?

[Caterina Musmeci]

Fare delle generalizzazioni può inevitabilmente condurre alla superficialità: tuttavia, per rispondere alla domanda, ritengo che quando si ha a che fare con grandi artisti il potenziale pubblico di fruitori (piccolo o grande che sia) non possa influenzare la composizione o, al limite, solo in minima parte. Il grande artista generalmente fa i conti con il proprio mondo, anzi universo, interiore. Non è un caso infatti, fatte le debite eccezioni, che le opere che adesso consideriamo dei capolavori, all'epoca della loro composizione non vennero comprese, se non disprezzate. Pensiamo ad esempio a Schubert, morto in miseria: le sue Sonate tenevano in conto del potenziale pubblico? Non credo. Tuttavia quando componeva i piccoli pezzi (Valzer, Landler, Momenti Musicali, ecc.)o i magnifici Lieder per le note "Schubertiadi", il piacere dell'invenzione, del divertimento proprio e degli amici è assolutamente evidente!

[artieg...@gmail.com]

Believe it or not I often hear symphonies in my head. Most of the time they are from a large orchestra. Therefore, I would think that the size of an ensemble would have significant influence on a composer when they are writing music. With modern keyboards you can play some beautiful orchestrations in the home. Even with out a modern keyboard and just a piano, you can simulate some parts like a driving bass or some bells. I don't think that it would be discouraging if the music was only played in the home.

[pat.l...@gmail.com]

I think it would be more liberating. I play piano (not very well), but when I play Beethoven's sonatas, there is an intimacy there that I don't have listening to him in a big concert hall. Hearing the genious in certain phrases, it truly is like pealing and onion or discovering new parts in a conversation. The discourse happens with each measure. "Wow, that's interesting that you decided to go in that direction." I imagine him hearing me say this kind of thing. It's kind of like reading a good book. The reach is huge albeit for people who have an instrument and had the means to be able to play it. Certainly, at least there is a connection with someone who appreciates music to a certain degree.

[pericl...@gmail.com]

I do not think any composer writes with an audience in mind, wether small or large.

[montag...@gmail.com]

A small audience can be useful for testing new ideas or works, so to some extent liberating, without long term consequences. Large ensembles and audiences are unavoidable for space and economic reasons but can be high risk, for example the first performance of Brahms' first piano concerto.

[sa888t]

All true, I'd say, but (you knew there was a but) I'm not sure Beethoven cared overly what his audiences thought of his work. I have the impression that, at least in many cases, he was writing for the future, perhaps specifically for future composers. 

[stephen....@gmail.com]

I wonder if knowing the audience was likely to be small groups of people in small venues (homes), so that there would not be mass knowledge of a particular sonata, allowed Beethoven (or others) once they have mastered the structure and mechanics to be liberated in two ways.

One; expressing creativity would be easier and if a piece did not work for the audience, well that audience was small so it would not be a career wrecker.

Two; expressing creativity would be easier but if that creativity was restrained then it would be easier in times of poverty to knock out a couple of 'pot boilers' to bring a few pennies in, again without large numbers playing/listening to call it a failure.

I think in modern popular music, both of those results of liberation, by masters of the structure and mechanics of 'hit singles' occur and it is easy to discern both.

I wonder if that sort of thing happened back in the day, I am not anywhere near knowledgeable enough of Beethoven or the work of anyone else to say.
If there are any classical 'pot boilers' does anyone think they would be a work of liberation, or a work to fulfill the equivalent of a recording contract,

Just being a bit playful there, with a thought that suddenly occurred to me after listening to the lectures. The vast number of works created in short periods of time suggests something was liberating.

[S J]

I think a composer would be influenced by the size of the performance arena for example, the grand Paris opera house is a lot different then writing piece for a parlor.  As a pianist, I think it would be liberating to play for a small audience something experimental or avant garde without critics. Refreshing...

[wjo...@gmail.com]

Composers have to live and their were in the classical time many amateurs playing at home using printed music. Haydn loved money and Mozart wrote much chamber music to be printed during the war Austria fought with Turkey during the 1787-91 period.
When their are more people involved to select a new piece to play there is always discussion. Experiments are easier when the name of the composer is established and the 'fans' are eager to have a new piece of their hero.

[gnw...@gmail.com]

I think it would be much more liberating to play an experimental work in a small setting, just in case it bombed. I am new to classical music so I look forward to hearing more if Beethoven's works.

[ashrafm...@gmail.com]

Coming in late into this discussion, some of my response could be repetitious.The fact that Beethoven wrote the sonatas knowing that it was a small and intimate audience would certainly allow more experimentation. As is known (and as Prof Bliss says) in his symphonies, Beethoven observed more rigour about form and structure. Some departure from it in the Sonatas would have allowed creativity and personal satisfaction in their composition.

[dral...@gmail.com]

I think playing in a more intimate setting -- the home -- to a smaller audience, would be more liberating.

[Anna Katerina Nekrylova]

It depends. Composers are unique and few of them write finger-friendly music so to speak. Tchaikovsky's 1st Concerto just slays. Robert Shumann was a teacher and he cared a lot about the fingers and stretching. Too much. But majority of his famous works for children have pretty user-friendly interface. At least he cared about them. Liszt simply didn't care as he was writing for himself and his only problem was reputation of being not as good and deep as Chopin. And Chopin hated to perform in public so he had no plan B with operas and symphonies. 

My answer is:

Discouraging for composer who doesn't write sympnonies, operas and other mainstream music of any time. And has no sponsorship.

Liberating for any composer who's experimenting with his style after achieving success and financial security.

I think money issue is the key to understand Haydn, Mozart, Beethoven and Shubert. Shubert was the first fully "romantic" composer without Operas and other possibilities to earn money through conducting orcherstra, and he struggled badly. Mozart was rebelious and just couldn't be told what to write. And he's pretty easy to play at home. Unlike Beethoven.

[yaj...@gmail.com]

A piece being played only in the home only impacts the technology used to access same, as well as the cost of the venue.

It does not necessarily imply that relatively few will be reached.

Music is at once social and individually contemplative.

I suggest it should be at best liberating.

[wpaulsmit...@gmail.com]

Well, I guess I can only say that the remarkable Schubert does not appear to have found small scale compositions stifling. In both quality and quantity he is, for me, the absolute master of masters. The same can be said for Schumann and Chopin.

[pse...@gmail.com]

If a piece may be played only at home or may reach few people, the composer may feel liberated to express feelings that are entirely personal and have nothing to do with the 'style' of the times. In Beethoven's case he does not seem to have cared much for others' opinions.

[Piergiorgio Marabelli]

A composer in my opinion is not influenced by the size of the audience or by the fact that the piece he is working on will be played only in yhe home. I think composing music is not very different from writing a poetry, or painting or even designing objects or architecture. Art comes from inside, from feelings and emotions and what is liberating is the accomplishment of something coming from our inside.

[Glenda Caceres]

I think that especially Beethoven's sonatas are more personal. One of my favorite is Moonlight Sonata and every time I listen to it, makes me feel that it was directed for only for me, in this case the listener. I have listened to Mozart and Bach as well and I think theirs are more for the public, however Beethoven tries to create a 1 to 1 relationship with the listener that is magical.

[Robert Catlin]

The size of the ensemble would certainly affect how a composer is going to write a symphony, for example. One only would need to look at Beethoven’s 9^th Symphony for immediate evidence. Not only were there more instruments in the orchestra than previously, but a large number of vocalists were added for the final choral movement, the Ode to Joy. Usually, however, audiences for public solo piano performances were not regularly large until Franz Liszt popularized them in the fifty years after Beethoven’s death.

When answering this interesting question, we need to keep in mind the period and how musicians made a living. Beethoven did not need to rely on subsidies of church or state positions like earlier musicians, such as Bach or Mozart. Yet he did have benefactors, as we see he dedicated some of his sonatas to them, who may have taken occasional music lessons. Musicians did rely on publishing sheet music for income, and this helps explain why playing Beethoven’s sonatas became a popular staple of the piano repertoire for many households.

Beethoven, like all musicians, took time to develop his own very particular idea of how things should sound, and his middle and later works show more of his inner voice singing out without regard to audiences or sponsors. Unlike other musicians, he lost his hearing along the way and became almost completely deaf near the end, which makes him unique and one of the most inspiring of geniuses. For this reason I think he wrote to please his own inner ear first, and if that was truly beautiful, it would please both at home and larger audiences. 

[anthon...@gmail.com]

The Influence would be immense. The composer would certainly like to write in a mood that fits the ensemble as well as the audience. I'd like to think that knowing that your work was going to be performed in a home with few people would encourage you to write for a limited ensemble. This would help keep the intimacy at the forefront, and allow the music to be reached by each audience member in the most touching way. As a listener you are literally having a conversation with the musicians as they play in this home for you. I also imagine you wouldn't write a piece for chamber orchestra to perform for 3 or 4 people in a home.
I also think it would be incredibly liberating to write for few people. The challenge alone sounds like a great deal of fun. Using the different instruments to igninite moods through few people and feeling the reaction would be amazing. That intimacy is incredibly special.

[timothy....@gmail.com]

I think the issues of discouragement and liberation are different dimensions Ensemble and audience size might either limiting or liberating depending on one's objectives, musical and otherwise. Beethoven was a deeply accomplished musician, understood and accepted his own genius, and was interested in developing his music to it's furthest limit. To be able to realize one's own conception oneself on a single instrument, would seem to be liberating, and in fact Beethoven tended to explore his musical ideas first in his piano sonatas. So mostly liberating would be my guess...
He had a tumultuous temperment and was often discouraged. He largely withdrew from the public in his later years. But among his greatest works were his 9th Symphony and later quartets- triumphs.

[Esther Hadassa]

If answering this question from Beethoven's point of view, well as stated in the lectures, he pretty much marched to the beat of his own drum and I'm pretty sure he wasn't much of a shy introvert. So he wasn't stifled by any inhibitions of any kind I imagine.
If I'd be a composer (one could dream), I'd much rather compose for a small group ... I'm far too much of an introvert to even play for others, let alone compose ... it's like sharing a huge part of myself publicly (what am I doing here, help, get me out of here). Way back when I still used to play, it felt more like a private conversation, something I'd rather not share ... performing really wasn't my thing.
In other words, I'd think personality has some impact on this being discouraging or liberating.

[jova...@gmail.com]

Poor Hans. Someone asked him an unfair question! Where's my mini-violin?
Wait a minute! He answered this question. Does that mean his answer is also unfair? It certainly inspired him to write a lot. Or is he just trying to pedantically exhibit his wealth of knowledge?

[madja...@gmail.com]

I'm certainly no expert on this issue. I'd guess that the freedom to write for any form of ensemble allows more experimentation, but writing for a specific ensemble is also a choice so I don't think it's discouraging nor I think it's liberating. It's a matter of choice. And if a piece has been commissioned to be in a specific form, I don't think Beethoven had any problem with it. :-) 

[anto...@hotmail.com]

I´m neither an expert. However I'd dare to think than influence is different according to the personality and experience of the composer.

[Thienan Nguyen]

All creative minds have some purpose to their creative output. Part of that purpose CAN be to influence audiences is various ways and the size of the audience is one consideration. I agree that it depends on the individual composer. If a piece is destined to be played in a more intimate setting for a smaller audience, I would agree with Mr. Biss that for many this would allow for experimentation and innovation! However, it can at the same time feel restricted by the small influence it may have. Thus at the same time it can be discouraging. Why put in effort? Why obsess over perfecting something if in the end there will be such little recognition?

On the other hand some may find that is not their purpose and would delight to really write music that moves an individual rather than a large group. In short, I think it can be both discouraging and liberating.

[twisted....@gmail.com]

I can see how concerns about audience size could influence a composer. Many artists have been criticized harshly for being "inaccessible" to a large, general audience. And I can also see the pros and cons for writing for a large audience and writing for a niche. In writing for a niche, a composer might find much creative liberation, but they lose the chance to touch many people. Of course, whether the latter is a problem depends on the composer and what they personally want out of their art.

[mju...@gmail.com]

Read most of the comments on this thread, and I think it comes down to a personal preference on the part of the composer. In Liszt's case, he was extroverted, successful and well-liked. His focus on larger audiences seems to match that. I'd agree also that Beethoven, being slightly shy and introverted, would tend to experiment more on the pieces that were not supposed to be played for larger audiences.

It's such a different time, Daniel Barenboim played nothing BUT piano sonatas for days, in a massive concert hall for hundreds of people. I wonder what Beethoven would think about that.

[droop...@gmail.com]

Le vendredi 9 janvier 2015 16:21:23 UTC+1, Curtis Institute of Music Online Forums a écrit :
> Join the conversation about ensemble and audience influence.
> Ensemble and Audience Influence
> How might the size of the ensemble and the potential size of the audience influence a composer when s/he is writing? If a piece seems destined to be played only in the home, and therefore to reach relatively few people, is that discouraging, or liberating?

I really don't know. In a way, playing for a small group of friends should be encouraging, but all depends on public attitude. This is the interpreter's problem, of course, but the author could not be insensible to public reaction.

[Flo Martin]

As a semi-professional international folk dancer, now retired, I remember one of our performances where the audience was in a large dining hall  below the stage and everyone was eating and chatting with their friends. The din of conversation overshadowed the music to which we were dancing.  We, the dancers on the stage, were a footnote, if that.  No matter!  We danced for ourselves and for our art.  My guess is that the composer, musician, conductor, dancer, graphic artist, etc., create for themselves and for their art.  The audience is a secondary footnote or afterthought.

[shapesmo...@gmail.com]

If we see the composer's life as an evolutionary one, might we see the perceived relationship with the audience, as an abstract concept and a real interactive one, as a dynamically changing one?
As a composer, and/or performer, isn't there on some level, an aspect of feedback that comes from the ephemeral "breath" of an audience's presence? Might this change throughout the arc of one's artistic life?
It seems that as a composer grows, develops and strengthens the resolve of his/her musical persona, the relationship and audience's role in validating one's music as a form of communication changes.
I know this is an answer of questions, but I do think there is some element of reaching, and reaching out in the compositional process. Even if it's only to one person that you know can "get it", Brahms' Clara Shumann, or the critical ear of the academy, that never precludes the other side of the conversation.
Maybe I'm saying it's not the size of an audience, per say, but the knowledge that your voice can be heard.
A good question as a catalyst for conversation. I wish we could all join each other in a room for discussion!

[quince...@gmail.com]

I think the primary concern is always for the music itself and the composer's need to express it. Performance issues such as skill of the players and where the music is to be played would ideally be secondary matters. It's up to the audience to come up to the composer through careful listening and consideration.
Good music demands this of the listener.
Obviously a venue's size places limits on the size of the ensemble. Optimal acoustics would always be preferred.
It goes without saying that these are ideal circumstances that become subject to compromise when money enters the picture.

[littleh...@gmail.com]

And how do we know how Bach's music was to be performed when there were so few score markings (if any!)

[littleh...@gmail.com]

Does anyone feel Beethoven (and other great composers) had a compulsion to get the music out from within? That much of their writing took no account at all of audience size, the music itself "took over" and the composer was the instrument to bring it to life?

[skus...@gmail.com]

I think not all Bach's music was even meant to be performed, since in Bach's time educated people were able to silently read music like books (Kunst der Fuge for example).

[cra...@gmail.com]

The first of these factors will influence a composer in the same way that a modern musician's budget will affect how he or she (or their producer) writes their music. Access to stings or horn players, indian musicians, equipment, etc. will mean ever greater opportunities for new sounds and styles (though in contemporary popular music this is more often than not to the detriment of the end product). In the classical period writing uninhibited by the limitations of performers, both in terms of ability and availability, had a similar effect, producing more innovative and technically challenging works (though typically with better results).

The second factor, the size of a performers audience, is a little different. Here, perhaps, the better analogy is with poetry. Over the last century or so poetry has retreated from a status of (relative) popularity to one of niche to become highly specialized. In a way this has allowed poets to write much more challenging works. The understanding is that only the 'poetic class' will actually read them, and so they are likely to be understood. Something similar can be said for music. If the music one writes is intended for small, specialized audiences, then technicality and originality are likely to be prized; indeed, popularity and convention become dirty words.

[maryvo...@gmail.com]

I would think that it would be liberating when a piece of music would initially reach relatively few people. Also, the size of the ensemble, which I guess is the number of other players, would depend on how they perceived themselves as traditional or more revolutionary.

[Luis Samuel Gracida Aceves]

I think that above all, it depends on the composer. As a composer, if I'm going to write something for "myself," simply as a way of exploring my own voice, experimenting, and expressing myself without caring much for who listens to it or not then I'll think less about who my audience is and more about what is it that the music I'm listening requires. Now, if I know for sure about some limitations (like being unable to hire a whole symphony to perform something I write) then perhaps that could be limiting. Another limitation is the reason for writing the music. Like Haydn, if I'm being paid to write something for a specific setting, then I won't experiment as much. If I'm just letting my creativity flow and writing because I want to then the whole world opens up. Now, if I'm writing because I want to but ALSO I have a clear purpose in mind like influencing people then for sure I'd like for it to reach a lot of people! And today with the Internet the fact that "a piece seems destined to be played only in the home" does not mean at all that it will "reach relatively few people." You just gotta record, upload, and use do some marketing! Pretty much anybody can do it nowadays...

[rebeccal...@gmail.com]

i think people were creative no matter what. it didnt matter how many people would be there.

[discoverne...@gmail.com]

maybe a silly remark, but aren't most composer not sure if their works are to be performed ever. I have heard of Beethoven being forced to organise his own concerts of his symphonic works, otherwise they would never have been performed during his lifetime. So I am not sure writing for small ensemble had any influence on his vigour for composing certain works. I think composers just feel they have to write a certain work at that moment.

[kristinoh...@gmail.com]

I would imagine that a "home" piece and small audience could be both discouraging and liberating. Imagine the freedom to create something new and innovative, to not have to conform to the ideas or treads of the time, but to have very limited appreciation for it or constructive feedback. I would think any composer, once happy with a work, would want it to succeed with a larger, public audience.

[Nancy Schleier]

In writing for a symphony, the composer must consider voicing, average abilities of players, ranges for each instrument, which instruments to use, to name a few things. When solo writing, composers can stretch the boundaries, such as virtuosity and, at least for the piano, a virtually unlimited range. They also don't have to worry to the same extent about voicings. 

[bpis...@gmail.com]

Considering the fact that music was more acquired by the rich families, that almost always does not exceed a minority could imply that the larger crowds of the public were too poor to generally be considered for having a taste in music, or that their poverty could be perceived as an element with which their sense of musicality could be undermined for having less exposure with music. Either way, unless the more personalised forms of composition were not decided by the sponsoring family, they pose more freedom for the composer. As opposed to music that has to appeal to a larger number of audiences. Since the wider range of tastes could make the composer more limited on self expression and creativitiy. Thus, requiring more care unto what the greater attendees might not like and thus omit from his composition ideas.

[jean ramona]

Beethoven attitude.

Avant Beethoven, l'artiste était une sorte de serviteur, il composait le plus souvent sur commande.
Beethoven était sans doute le premier à affirmer sa valeur exceptionnelle. De fait, les auditeurs étaient une partie seulement de la soirée musicale.
Plus encore, quand sa surdité l'isolait du monde, Beethoven écrivait pour la musique et non pour les auditeurs, pour la gloire en somme. C'est du moins l'avis de Brigitte et Jean Massin, biographes des années 60.

[44hai...@gmail.com]

Leadership might be a key requirement as the ensemble increases in size since their is no conductor the composer must sense the ensembles need for strong hints. Notice in the string quartets how the score and often the first violin work to keep the whole group on the same page, the same path. The sextets, the concerti grossi, the octets cannot exist without a baton of whatever nature.

[44hai...@gmail.com]

Scoring for a large group is complicated by the number and variations of skills expected of the players. Some composers can easily score/compose/write down a trio but despair of writing and co-ordinating all the harmonies, parts, tempi and constructions of a large ensemble or orchestra. It's not for everyone that gives it a go. For example, look at George Gershwin's reliance on Freddy Grofe and Paul Whiteman. The great composers benefitted from solo compositions and the sonata form and getting her selections into the hands of copyists and with this experience could write multiple parts with less anguish and tension. It's worth seeing the film, Amadeus to see Mozart speedily writing the Requiem with all the multiple voices, harmonies, parts, and instructions.

[rmbi...@gmail.com]

I have this feeling that most composers who are truly "liberated" in what they may do, would be constantly experimenting and pushing the envelope in their composing rather than conforming to the norm and being concerned about the type of audience. Beethoven certainly pushed those boundaries in his symphonies. And even as he approached near deafness, he stayed that course with the magnificent ninth symphony.

[cm.h...@ntlworld.com]

The exciting thing about a piano sonata is only one person who wants to learn it is needed - you don't have to get the rest of the string quartet to agree! Beethoven, Chopin, Schubert all wrote such beautiful music expressing powerful emotions. There were many women in the eighteenth and nineteenth centuries, who could play the piano and had vast stretches of time for practice and no other outlet for their creativity and intelligence. They were stuck in a world where they suffered for love, fell for the wrong person, felt their lives slipping away without purpose and could do nothing - they were not educated to work and had little agency over their own lives. Like the great eighteenth and nineteenth century novels, these apparently small scale piano works would have enormous significance for the increasing number of aristocratic and middle class women. It must have been exhilarating for both composer, performer and audience to feel that such intimate and powerful emotions were shared. It takes me many, many hours to learn even one movement of a sonata and I am sure that I am no different from most women of that period. To know that someone would spend so much time on your work - as a composer you know you have really communicated something important.

[charles...@gmail.com]

I get this sense as well.  That LvB was driven by an impulse to realize the musical structures that were within him, to solve the individual musical puzzles that he set before himself, without much regard to what was stylistically popular at the time, beyond the fact that he utilized, at least at the beginning, the styles and forms of the day.

[peterbur...@gmail.com]

I'd think it depends on the composer. Does a song writer today prefer writing rock music or the blues? There are pros and cons to both, and it depends upon the composer's preferences and why they compose in the first place. What would seem to me to be more restrictive is having to write one or the other.

[Alan Mallows]

As you said in the lecture, music destined for home performances can be experimental and unimpeded by the threat of a poor performance impacting on the composer's reputation. There must also have been a consideration of the logistics and cost of bringing together a large number of performers, getting them to learn and rehearse the piece, and then getting a venue and an audience together, to attend the performance and hopefully, pay the performers. This makes me wonder about the existence of available musicians in those days, when they would have been dependent upon their full time employment, and not free to spend time and energy on private projects. This question leads me to think about how composing in those days would have involved much more than writing the music.

[lea...@ktc.com]

We can see examples in Haydn's works where he considered the audience size and who was listening. And, he considered the size of the hall and its acoustics. The Op. 76 quartets were written for the concert halls in London rather than for home parlors or smaller chambers and start with strong forte chords to get the audience's attention. The Farewell Symphony was a very pointed suggestion to Prince Esterhazy that it was time to leave the country estate and let the musicians go back to their families in town. The large oratorios of Haydn were composed with the characteristics of the cathedral in mind where the reverberations dictated harmonic changes be less complex or the sound would get muddy. Each acoustical space has its own challenges and liberating opportunities for the composer. The discouragement would more likely come from having to compose a particular piece simply to make money or to please a patron's dubious musical tastes like the famous dismissal of one of Mozart's masterpieces by his employer as having too many notes.

[louise....@gmail.com]

Composing for a small ensemble in an intimate situation would be liberating.

[avihu...@gmail.com]

I don't think there is a straight answer to this question. It really depends on the composer's preference and personality. For some, writing for a large ensemble and for a large audience would be a 'positive challenge', i.e. it will get them excited and full of enthusiasm, whereas writing a condensed form like a sonata for a solo instrument or a quartet (etc.) would be a 'discouraging challenge'. For others it will be the reserve.

These days we should also consider music written for the movies, which is usually on large scale but is not usually performed in front of a large audience. Some composers are very good at that. But again, I suppose it is a matter of the composer's preference and personality. Admittedly, there is also the element for finance, which needs to come into the equation.

[twisteds...@gmail.com]

I suppose that depends whether you're more like Glen Gould or more Liberace.

[chrismar...@gmail.com]

This size of an ensemble and size of an audience is a great consideration. The reason is because the size of an ensemble will dictate certain types of approaches. An ensemble of twelve or more players, for example, can create huge dynamics. And so the audience will, and probably should, be bigger than a small dinner party. The composer must take into consideration that he/she is likely entertaining a larger audience. And so the notes on the score will be drawn much larger. Just kidding. But, it's a different inspiration than an ensemble of a single piano, or two cellos, which might play for a large crowd, or a intimately small group.

The second question I must admit is a little more challenging for me because I have never considered composing for the home, or for a small reach of just a few people. I have always assume that my music will someday be played in a large hall of attentive listeners. If I were to write a piece that was destine to be heard by only a few people...well that just seems darn depressing. On the other hand, it could be fun in away, writing for a single instrument for an intimate ear of one or two. But my brain immediately creates that the piece will become popular and reach fame and heard by millions. I don't think that I can write for just a few people. That makes no sense to my brain. The point is to be heard! We are musicians! We make noise. People will always gather around and flock to great music.

The only danger then is just never getting one's music out into the public. And so I think that this is what we, composers, must guard against. So, with that being said. I'm going to go practice and write so that I can become great and be heard. Peace to all!

[jxris...@gmail.com]

If his large works were the only compositions that were performed for the public I think those would be pretty important to his reputation as a composer and to his financial success.  I imagine that if a composition for a large ensemble was commissioned that it would be a priority, in terms of work.  But I doubt he cared very much about what an audience might think of his music.  He seemed to have been pursuing his own aesthetic, on his own terms.  That, I imagine, was incredibly liberating.

[rucke...@hotmail.com]

A larger ensemble adds difficulty in composing for more instruments. Since a larger audience might have more influence on a composer's reputation, the composer might try to exceed his previous level of quality. I think Mr. Biss said that composing for the home would liberate the composer.

[Shirley C]

I come from a very basic background as a pianist.  I took piano lessons at school, many years ago, from the age of 9 through to 17 and there was virtually no opportunity to do History of Music at that time.  However, in response to your question, I have learned that the effect and connection that I experienced listening to and playing Beethoven's music as a student was always extremely uplifting and edifying.  As a result he became my favourite composer.  Now, it is very interesting to me, as I have the opportunity to learn in this course more about his work and background, just how come he so successfully "spoke" to me through his compositions.  I am but a 1-person audience, either listening to recordings of his work being performed or else playing some of his compositions myself and always being completely transported, enchanted and connected to what I experience, in spite of having no background information or tutoring in the technicalities.  It was always only the music came into my space.  Thus, I am of the opinion that Beethoven's compositions were deeply authentic, that he was true to himself in his purpose and because he was so gifted, his music could connect with me, in my little world, so many years after it's publication.  I think that is a miracle and that no matter the size or stature, it is the authenticity of the composer that enables the connection to his audience.  And if the composer is of this disposition it will also not matter to him how large or small the audience or even whether they be important people or not.  He will be content with his offering to the world.

[kevin...@gmail.com]

I heard Brian Eno say something like an artist's most dangerous and conservative element is a fan base. If someone is a composer, they will write as they need because that's what they do. orchestration and acceptance are secondary.    

[Andrew Miller]

When writing for a full size, or close to full size ensemble, the writer/composer must take into consideration every single component to that specific size or ensemble in particular. The mention of component serves the same purpose as: "all of the different instrumental sections". The majority of historically prominent "big-name" composers such as: Johan Sebastien Bach, Wolfgang Amadeus Mozart, Ludwig von Beethoven, etc... have recognized that not all ensembles have the woodwind, brass, percussion, or the reed's section. Thus, when they would write the scores, they would incorporate every section, but the previously mentioned sections are not paramount in order to sound desirable to the audience. I believe that if a piece seems to be destined to be played only in the home, and therefore reach relatively few people, then that composer has a specific goal for that piece in particular. If the whole point is to play for a small audience, the composer/writer could feel liberated. The small number of audience members would then make the overall atmosphere to feel more intimate; which in conclusion, would allow the composer/writer to accomplish his/her ultimate goal.

[Luis Jimenez]

Hello, Luis Jimenez here...

As a composer in 2020, I can definitely say that these aspects have much influence in what a composer might create. In our times, most commonly we see that composers are often commissioned by ensembles, organizations, or even people to create works. When this happens, it is common for the terms to be discussed prior to any note being composed. These terms would include, but not be limited to; date, location, venue, event program, and compensation. Though most of these terms are discussed prior to composition, we must also keep in mind of unforeseen circumstantial variables that may impede a performance. A great example yet unfortunate event that I can mention, is what is currently happening in the world and in my small perch of Los Angeles, California, USA. A virus dubbed COVID-19 is spreading throughout many nations, which in turn has led leaders to advise and execute executive power to limit and postpone events in order to contain further spreading of this virus. Overall the entertainment industry directly closest to me is taking a large impact. Ensembles are advised against or even at times not allowed to congregate in groups of over 5 people or within several feet of each other. This, as I mentioned are one of the many ways we as responsible citizens should do, and are doing to prevent further spread. Currently, in the case of Los Angeles, there is no LA Philharmonic to take the stage, and no audience to fill the Walt Disney Concert Hall. Lastly, I would go as far as saying that this dilemma, does in fact have a Large influence on what I may write. What about you?

https://www.facebook.com/LJimenezMusic/

PS: I have attached some free music for Trumpet and Horn that I have decided to share to promote creation during these hard times we have fallen on. March 18, 2020. https://www.youtube.com/watch?v=Tfc6Gs_mN68