In the days just passed, Music briefly rediscovered something of its old role: the one it had long before radio and records, when it primarily existed through concerts in halls. When it was only performed live and there was no other way to hear it.
During the holiday season, the behavior and composition of concert audiences change. There are more listeners who come better dressed and with greater enthusiasm. The whole atmosphere takes on something of the festive spirit, and the concert once again acquires that old element of formality. Attending is not a “boring cultural duty”—a phrase Miltos Logiadis once used—but participation in something special.
What does all this mean? The first immediate consequence is that during the holidays, ticket sales account for the largest percentage compared to the rest of the year. Titos Gouvelis from the Athens State Orchestra says that during the holidays, they always leave room for a repeat performance of the program, which they do if sales indicate that tickets are selling out. What happens here is similar to the rest of the market, and it’s easy to understand how important this is for the finances of orchestras and organizations. The atmosphere in the hall positively affects the artists: “We play with more enthusiasm, and it’s not just the full seats,” they say.
On the other hand, many of the “connoisseurs,” the systematic and more regular listeners, find these festive programs somewhat boring and superficial. A few (but always well-known) works that stand out (Bach, Vivaldi, Mozart, or madrigals) are the exceptions. The truth is that the programming of these concerts is more or less a given. There are works and styles that have attracted audiences and sold tickets for years. These are played—once again—and success is considered guaranteed.
However, it couldn’t be otherwise. Concerts or programs aiming for large numbers must take into account the tastes of potential listeners. On the other hand, there is also a wide range of free events. Here, we often see choices that are more interesting for the more discerning. A characteristic example is what happened this year in the Muses Foyer of the Megaron Concert Hall. So, while the well-known works get the lion’s share, there are other options. One just needs to look a little harder…
In closing, I would like to point out that connecting concert music with the wider society is a good thing and always necessary. Especially in a country like ours, where populist views about “foreign elite music” are very popular even among educated strata.
See you at the end of ’26. Until then, happy listening!
