In defence of the familiar : understanding conservatism in concert selection amongst classical music audiences

Since the establishment of a classical music canon in the 19th century, classical music culture has historically been focused on a stable set of masterpieces by genius composers predominantly from the classical and romantic periods. A small number of composers continue to dominate programming to this day. Many classical music organisations are keen to programme music beyond this narrow repertoire and to showcase new or unfamiliar works. The need to sell tickets, however, is often an obstacle, with organisations far more confident in the ability of big hits to attract large crowds. This article explores the experiences and opinions of classical music concertgoers in relation to familiar and unfamiliar music, providing a number of reasons as to why audiences may choose to hear well-known pieces rather than new works. This paper reports on one strand of a qualitative study with 42 individuals who booked tickets for one of two concert series consisting of core and populist repertoire, respectively. Semi-structured interviews were carried out to explore the reasons for their choices and their experiences of attending live concerts. These interviews showed that most participants did indeed have a clear preference for hearing music that was familiar to them, and only frequent attenders relished the challenge of unknown music. Participants felt that listening to familiar music was usually a more enjoyable experience than hearing something new. They rarely spoke of becoming bored with over-familiar music, perhaps because the live concert experience brings a sense of freshness to even the most familiar work.