Some Industry Answers

The extra effort needed to make classical music accessible is hardest only at first.

CutTime presents an alternate vision, that if anyone, under the right circumstances can embrace classical ideas, we can create those circumstances, even on a concert stage. We develop practical solutions to the issues raised above, extending what is public domain of the classical arts with an audience-centric theory of mind, and by cutting loose the academia, to serve art on the flip side of the arts coin, to make the masses experience music as its players. Everyone curious deserves access to LIVE music and to hear themselves reflected in these instrumental dramas. We turn outsiders quickly into  marginal insiders. In turn, we want orchestras to discover and subsume the salvation of the broader public’s culture, to establish safe ground for cross-cultural dialogue. This work is not popular; but it is necessary and requires some sacrifice to prove it’s genuine.

CutTime gives the curious a taste-fest of classical music with multi-cultural, multi-generation events, having teased out what people tend to be hungry for: personality, humor, hope, animation, participation, fresh context, closure, discovery, knowledge, experiences, spirit, purpose, etc.. CutTime is a progressive pathway for an evolutionary classical art form, as well as the humanities. CutTime is dedicated to reconcile burning questions about the world, classical music, its past, composers and etiquette, to leap at practical answers, ensembles, music and activities to make classical ideas powerful tools for all of us into the future.

Our work and mission responds to research by the Irvine FoundationKnight Foundation, Mellon Foundation, the League of American Orchestras, the Wallace Foundation, WolfBrown, systems theorist Fritjof Capra and Futurist Greg Sandow. What key concepts, analogies, music and methods immediately bring a broader public into the center of sonatas, and helps the classical music industry grow resilient given all the new economic realities?

Following WWII, European-style orchestras in American cities began a golden age with European immigrants flooding orchestras & concert seats with experienced practitioners. Then in the late-50s the Ford Foundation began investing heavily to advance the classical arts’ major institutions and encourage European-style civic societies. In recent decades however, these models have been increasingly challenged, and the institution as an idea, is facing existential threat.