Casual Fridays, Bah Humbug

In today’s New York Times I read that the Mostly Mozart Festival “plans to reconfigure the stage at Avery Fisher Hall to create what it calls a greater sense of intimacy and a closer connection between musicians and audience.” The physical environment isn’t all that has changed or is changing in the orchestral world. How about casual Fridays? This may be old news, but I haven’t been to an orchestral concert in quite awhile, so it was new to me.

A few weeks back I was gifted with a ticket to hear a Friday night Dvorak program played by the Los Angeles Philharmonic at Disney Hall. This was my first visit to the new, more intimate concert hall and, according to my notepad, my first impression was “casual elegance.” Little did I know how prophetic the word ‘casual’ would be for me. I was so busy admiring the pale honey-colored wood, the sleek design lines that swoop and curve around the hall, the pipe organ that looks like an abstract sculpture, and my fabulous center seat with beaucoup leg room, that I had yet to read the program before the musicians came on stage.

The program book made note of Casual Fridays, but without explanation. I find it disappointing enough that the audiences no longer “dress” to go to the theater or concerts, and I am sadly used to seeing patrons’ seats filled with worn and torn jeans, or even shorts and tank tops, but I was truly dismayed when this motley crew took their chairs, dressed to run weekend errands at best.

The program opened with Legend in B-flat minor (Op 59, No 10), orchestrated for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, timpani, harp and strings. I tried to focus on the music, but the hairy arms protruding from a truly ugly short-sleeved Hawaiian shirt were too distracting and the 4-minute piece was over before I knew it. “What’s wrong with me?” I wondered. “Am I an elitist snob?” Clearly, what someone looks like has no bearing on the music. “Get a grip. Focus.” I listened to the Violin Concerto in A minor (Op. 53) with my eyes closed, and within a dozen measures of the opening Allegro I was happily lost in the sound of the solo violinist supported by a unified orchestra. Unity of sound was what I wanted to hear, but my eyes had been identifying individual musicians and my ears followed suit, zeroing in on this oboist or that cellist. I don’t want to see or hear the individual players; I want to feel the orchestra as a whole. I am not a classical critic, not even a connoisseur, but I would like to cast my vote for the abolition of casual Fridays.