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De constructing myths or how to organise a concert.

Article Excerpt
Contemporary serious music (the phrase has not yet lost all meaning) is written for a very specific, narrow public that is becoming ever more specific and narrow as time goes by. This is reflected in the fact that its concert presentations ever more frequently take chamber form, and works for larger-scale ensembles have no chance except at festivals. It is a natural development that isn't hard to understand. But in the Czech context it is as if the narrowness of the public has become an excuse for a lack of imagination and commitment on the part of organisers. And when neither the broad, nor even the so-called professional musical public even gets to hear of a forthcoming concert, then naturally the resulting public becomes even narrower than it need be. The same limited circle of faces appear in the auditoria, all of them known to each other. What is more, the halls where the concerts take place are not...

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