Chamber Music Detroit Launches 80th Season, Inspiring Classical Music Enthusiasts And Classical Music-Curious Alike

Chamber Music Detroit (CMD) kicks off its 80th year with a carefully curated lineup of artists especially designed to tempt classical music listeners from their favorite play list to the concert hall. CMD's promise: “Come closer. And be moved.”  

“Chamber Music Detroit has been bringing world-renowned artists and promising up-and-comers to the Detroit area for nearly 80 years,” says CMD President Steve Wogaman. “We have earned a reputation for hitting all the right notes when it comes to classical, small ensemble performances. More recently, we've expanded our repertoire to include young, diverse, visionary artists who invite us to experience music differently. This music is meant for everyone to feel live and in person.”  

The 2023-24 lineup at Seligman Performing Arts Center features artists who are shaping the field of chamber music in extraordinary ways. Consider the double GRAMMYTM Award-winning collaboration of composer-musician Caroline Shaw with the effervescent Attacca Quartet. There is the incomparable violinist and visionary Daniel Hope–the last person to play violin alongside Menahem Pressler in the Beaux Arts Trio. And the ever-exuberant Apollo's Fire, Cleveland's world-renowned Baroque orchestra, performing “Wassail! An Irish-Appalachian Christmas” featuring traditional folk and holiday fare with bagpipes, dulcimer and vocalists. 

Described by the New York Times as “exuberant, funky and more exactingly nuanced,” the Attacca Quartet opens the season with Pulitzer Prize winning composer-musician Shaw on Sept. 9 at Seligman Performing Arts Center in Beverly Hills, Michigan. Single tickets start at $30, available now at chambermusicdetroit.org or 313-335-3300.  

“This close musical partnership between one of the world's most exciting string quartets and an extraordinarily creative composer—the youngest ever to receive a Pulitzer Prize–offers music that is fresh, moving, and exquisitely beautiful,” Wogaman says. For a sneak peak, visit the Chamber Music Detroit website.  

Classical Music Remains Popular Across Key Demographic Groups  

Classical music transcends age and race, per a 2019 survey commissioned by Primephonic and conducted by YouGov. Young audiences like to listen to classical music almost as much as older ones. The study also debunks the myth that classical music is simply a Caucasian genre. According to the study, the following consumer groups enjoy listening to classical music today: 

• 18- to 34-year-olds (27%) 
• 35- to 55-year-olds (32%) 
• 55-year-olds and older (34%) 
• Caucasian Americans (34%) 
• Latino Americans (27%)  
• African Americans (21%) 
• Other race/ethnic groups (37%) 

Still, classical music fans don't tune in regularly and fewer still actually attend concerts.  

• 31% of American adults like to listen to classical music.  
• 14% of Americans listen to classical music regularly 

In other words, more than half of those Americans who enjoy listening to classical music do not listen to it regularly (53%).  

“The number of Americans who listen to classical music has the potential to double if the genre were to reach all of those who like to listen to classical music,” Wogaman says. “We created the 80th season with this challenge in mind—to move occasional and passive classical music fans from the sidelines to the concert hall, from appreciation to immersion. Come closer. You will be moved.” 

When people think about live classical music, they often imagine orchestral performances with 90 or musicians collaborating to produce a symphony. Each section—wind, string, brass and percussion—includes multiple players who play in harmony.  

Chamber music, on the other hand, is performed in small group ensembles. Think trios, quartets, duets, etc. The term “chamber music” in the 19th century when ensembles performed in small rooms, or chambers. And while they may perform music by the same composers as an orchestra, chamber musicians take on each part individually. For example, one or two violinists versus 20-30 in an orchestra.  

The other key differences between orchestral and chamber performances are communication and intimacy. A conductor leads an orchestra, he or she is commanding the performance. The musicians lead a chamber performance, each taking key roles and communicating throughout to weave and exult the musical story. This conversation is laid out plain for the audience to enjoy, at times ping-ponging between musicians who nod, blink, smile and otherwise gesture rhythmically throughout. 

“It's like eavesdropping on the most incredible story,” Wogaman said. “What's more, you can parse out the musical gestures so that you can really feel the composer's intentions.” 

For information on upcoming CameraMusic events, please visit www.cameramusic.org.

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