Music from other is enjoying a surge in popularity. Salsa clubs have popped up everywhere you look, and new – wave tango is as strong in Scandinavia as it is in South America. Songlines, a new magazine dedicated to world music, has been recently launched on the international market. Meanwhile World of music, Art and Dance (WOMAD) – the global culture-fest started by rock musician Peter Gabriel – now lists the USA, Australia and the Canary Islands among others as its hosts.
The trend has not gone unnoticed by programmers in the classical world. This year’s Henley Festival in England included a South African choir, the Klutzmer band Kol Simcha from Israel, and Kangaroo Moon from Australia, as well as its usual classical fare. July’s WOMAD in Reading, UK, attracted 20,000 revellers to the sounds of African drums, Tibetan chanting and the BBC Concert Orchestra. It was the first time a symphonic ensemble had performed at the festival. So why has the blend of world and symphonic music suddenly become popular with programmers? Education of both the audience and the players is one reason. As knowledge of the world increases so does interest in its different cultures. It’s also good for the musician, as Ian Maclay, artistic director of the BBC Concert Orchestra, explains: ”Meeting musicians from different cultures can be very stimulating. They get different ideas which spin off into their own music”. Earlier this year, the London Philharmonic Orchestra (LPO) hosted a day entitled Roots: Classical Fusions with African dancers, the orchestra and a Turkish flute player. It’s important to create a new synthesis of music because the set-up in London is now a very multicultural one, says LPO chief executive and artistic director, Serge Dorny. We have to respond to other cultures and other sensibilities. And it’s very...
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