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• 1 media/temianka-publicity_0156.jpg 2022-03-14T16:25:26+00:00 The Philosophy Behind the Lectures 119 image_header 2022-04-29T15:55:49+00:00 Some called Temianka's lectures brilliant. Others called them superficial. It was clear, however, these commentaries made a lasting impact on how music was being understood in the concert hall.
  
  From both sides of the debate, one question lingered in the minds of many: what drove Temianka to comment from the stage in the way he did?

  Mystique vs. Clarity

  In Facing the Music, Temianka explains two opposing schools of thought on the relationship between a performer and their audience. 
  "One holds that there is a certain mystique about the artist that should be carefully nurtured and preserved. The artist who follows this precept makes every effort to remain aloof from ‘the people,'" Temianka wrote, "I am of the other school."
  
  As the virtuoso explains, this "other school" focuses on the democratization of music knowledge: the belief that artists have a duty to act as humble public ambassadors and welcome an uninitiated audience into the world of music through education and engagement. 
  
  The elitism surrounding chamber music was one example of this "mystique" that Temianka frequently voiced his frustration with. In the manuscript for his unpublished book, Music Appreciation, he describes the way everyday people respond to the mention of chamber music:

  "The uninitiated flee. Images come to mind of something that is too 'highbrow' for the ordinary listener. In truth, chamber music is no more or less highbrow than a symphony or a concerto." — Henri Temianka

  With this being the case, Temianka reasoned that problems with understanding music didn't lie in the performance itself, but instead in how that performance was being explained to the public.

  Artistic Articulation

  Program notes are one of the most common ways to inform concertgoers about a a night's performance, but Temianka believed these annotations weren't nearly engaging enough.
  
  "Most (program notes) seem to start with the assumption that the average concertgoer has made a lifelong study of counterpoint," Temianka recalled.
  
  For newcomers especially, reading complicated technical phrases or historical references did little to help audiences understand what musical techniques they were going to witness at a concert. Wouldn't it make more sense to hear those techniques instead?
  
  Temianka's onstage lectures formed the answer: an experience where concertgoers could not only be told, but shown, exactly how a piece of music was performed. Additionally, Temianka's conversational and story-focused delivery provided extra context and allowed audience members to infer aspects of music history and theory that they may not have been familiar with.
  
  In attempting to connect with concertgoers through these means, Temianka found a way to close the gap between audience and performer. To achieve a more democratic approach to music education, this level of intimacy and connection was deemed a necessity.
  
  "No printed books or phonograph records, nor even one's public performances for the multitudes, can ever replace the inspiring personal guidance of the living artist," Temianka once wrote.

  Discussion Questions:

  Do you think it’s a performer’s responsibility to share their knowledge of music with audiences?
  
  Is the “mystique” of an artist worth preserving? Or is it better to have them explain themselves?