Why Classical Music?

To begin with, the very concept of 'classical music' requires clarification. For those associated with music in a more scientific way (theorists, specialists), the first thing that comes to mind is probably the music of the classical period. The term classical music has also gained a broader meaning over time and among people not professionally associated with music, it is more often identified with serious music. So why not simply write that CameralMusic.pl is a portal about serious music? The main reason is again the narrow and stereotypical understanding of this name among a large number of people, caused by its second 'serious' component. Serious music seems to be intended only for a narrow circle of music lovers or snobs who meet somewhere in a small group and marvel at something that a normal person could not endure for longer than 10 minutes. Thus, one is even afraid to show interest in music, because even if someone dresses in that unfortunate suit and goes to a concert at the philharmonic, there remains the risk of clapping at the wrong moment, resulting in being killed by the disdainful gaze of the gathered maniacs.

The above perceptions seem to be present in the consciousness of many people (although perhaps in a milder form :), and we would like to attract as many people as possible to music.

Classical music in a broader sense does not have a sharp definition. Existing definitions tend to distinguish music created for artistic purposes, primarily for listening, from that intended for practical purposes – accompanying folk rituals, dance music, or music created for films. Definitions try to exclude the use of electronics, impose the necessity of written notation, or 'originality'(?).

In fact, every such idea can be debated, because an electric pump in organs may be acceptable, but what about an electric piano? Because a keyboard probably not... can one amplify using electronics? Can one amplify a tenor? Can one therefore create a glass harp from amplified glasses? If Chopin's works draw from folk dances, are they no longer classical works? They probably are, but what if Moździerz plays Chopin? If he improvises, then it is jazz and not classical, but of course in the baroque period one could also improvise freely. If a piece has been used in a film, does that mean it is film music? Did it have to be created with that thought in mind? What does it matter with what thought it was created – a piece is a piece, and that is what we should evaluate, not dig into the thoughts of the creator. Does it somehow connect to the works of Pink Floyd, or is it music created for artistic purposes?

Alright – I won’t write more, because no one will get through this part of the article....

It is clearly visible that attempts to impose sharp boundaries are rather clumsy, but justified to the extent that music has developed over hundreds of years in Europe as a field of art, and also as a science. In my opinion, popular music, most present in contemporary media, does not draw sufficiently from this long-standing tradition and achievements, which often reduces its attractiveness to pleasant and well-exposed shapes of girls bending in music videos and practical application for organizing gymnastics in clubs between drinks...

Classical music tries to define itself as a continuation of the centuries-old European musical tradition. Such an approach seems to be closest to what we want to find and show at CameralMusic.pl. It gives us great freedom, as starting from the Persian lute we can reach the contemporary electric guitar (which probably was not the intention of those defining it), we can search for classical motifs in jazz, rock, or even hip-hop and disco. We can treat symphonic arrangements of entertainment pieces as utilizing instruments shaped by centuries of classical tradition. We can continuously showcase works and performers whose talent and charisma are entirely sufficient for classical music to be well received by a wide audience without the need for modernization.

Filip Łakomik