primephonic: classical music in the digital age

work in classical music. There are also residency programmes
for 12 artists a year, including commissioning
support and concerts. Casey remembers one night when
a string quartet was playing Bartok for the first show and
pop singer Kimbra was the second show. “About 20 people
came to both,” she said. “That’s what we want to be.”
The performance space holds 250 standing, 150 chairs,
or 95 in a cabaret configurations with tables and chairs.
“We realized audience members anticipate what a show
will be depending on how the room is set up,” Casey said,
so club music is standing and classical music is seated.
Ticket prices range from $29 to $35 and up.
Brooklyn is definitely the biggest audience base, Casey
said, and locals get a break on ticket prices. But Manhattan
audiences do come when it’s something they specifically
want to hear. The advent of Uber has helped drive
some of that attendance, because New York’s yellow
taxis don’t cruise for fares in Brooklyn. Ages range from
people in their 20s—who like the club vibe of standing
room—to opera fans in their 50s and 60s, who like the
eclectic programming.
“People will go where the music is that they want to
hear,” Casey said. But the ultimate idea is to make National
Sawdust a music destination where people come
to hear whatever is on that night. It’s a goal they’re still
working on.
ROULETTE
Roulette began in the late 1970s as a 75-seat venue in
the TriBeCa apartment loft of one of its founders. It was
lean and nimble and alt and risky. Bill Frisell, Philip Glass,
Yusef Lateef, Kaija Saariaho and John Zorn made music
there. But it was also in a residential building, and zoning
laws are such that eventually they had to leave. So in 2011
Roulette took up residence in a 400-seat theatre with a
classic proscenium arch—housed in a YWCA built in 1928.
“Suddenly we were in a million-dollar facility with overhead
and staff,” and about 120 events a year, said David
Weinstein, director of special projects and one of the
founders. “We had to become more Manhattan-y to
meet those new standards.”
But it has not strayed far from its musical roots. “A lot
of what we do is edgy, experimental, not easy or even
necessarily fun, so you get an audience of 50 people. But
you’re glad, because the musicians get paid and something
gets born,” Weinstein said.
To balance that out, Roulette also programmes jazz and
world music, and classical music. Plus, there are several
curated series and artist residencies offered every year.
“We want to energize people to try new things and feel
supported and comfortable. But I also want everyone to
have a nice, quiet room that is appropriate for listening.”
That means the audience is seated, and there is just one
show a night, so artists are not rushed, and can mingle
with the audience afterwards. Tickets range between $15
and $30.
“People who are used to performing in a dingy space
may overreach or misunderstand what’s great about their
work, but a space like this can be a little leap forward for
them, encourage to up their game a notch and be a bit
more ambitious in scale. When someone succeeds, it’s
super inspiring.”
Roulette is very much artist-driven, meaning most people
who come are fans of the performers, know exactly what
they’re going to hear, and have no problem getting on
the subway and going to Brooklyn to hear it. The staff is
still trying to figure out who is moving into the cluster of
high-end high-rise apartment buildings going up in downtown
Brooklyn, and what they want to listen to. For now,
they’re working with developers to introduce themselves
to the new neighbours.
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