Classical music has long been perceived as a domain of quiet, formal concert halls, where hushed reverence and stiff seating dominate the experience. But a groundbreaking approach in Austin is challenging these norms, weaving high artistic quality with social connection to create a vibrant, engaging atmosphere for a new generation of listeners.
“Usually, when you go to a concert where there’s drinking and socializing, you sacrifice the quality of the music,” says Geoffrey Herd, director of the Austin-based classical music organization ATX Chamber & Jazz Music.
“You’re not going to have the right piano, the right acoustics, or the classical experience anymore. Our goal is to preserve that high artistic quality while addressing the growing pandemic of loneliness and social separation in our society.”
This innovative dual focus is resonating with audiences, particularly those who don’t fit the traditional classical music demographic. Herd notes, “Our biggest audience age group is 25 to 55. That’s a monumental shift for the industry.” For comparison, the typical classical audience skews much older. “Even other classical presenters who come to our concerts say, ‘Who are these people?’ It’s a snapshot of who Austin is.”
Geoffrey Herd: A Visionary Rooted in Tradition
Geoffrey Herd’s journey into the world of classical music began in his hometown of Knoxville, Tennessee. A gifted violinist, Herd pursued his passion through rigorous training, earning degrees from the Cleveland Institute of Music and Rice University. His talent and dedication led him to stages across the United States and beyond, but his experiences in smaller cities shaped his vision for what classical music could be.
“When I moved to places like Knoxville and Louisville in my late twenties, I realized how hard it was to build a social network,” Herd shares. “Classical music concerts didn’t feel like the kind of place where you could meet people or have fun. I started thinking about how we could change that dynamic.”
The Origin of ATX Chamber & Jazz Music
The idea for ATX Chamber & Jazz Music was born from Herd’s conversations with a close friend who shared his passion for breaking down the barriers surrounding classical music. Together, they envisioned an organization that would bring world-class performances to Austin while fostering a sense of community. They began small, organizing intimate concerts in unconventional venues, where audiences could relax, mingle, drink and eat, while enjoying the music in a welcoming environment.
“We started with the belief that classical (chamber) and jazz music should be accessible to everyone,” Herd recalls. “Austin’s vibrant culture was the perfect place to test this idea. We knew we could create something unique here.”
Their first events were modest but impactful, attracting a diverse crowd eager for something different. Word spread quickly, and the organization grew, with each season offering more concerts and collaborations with talented musicians. Herd’s friend, whose background complemented Herd’s expertise, played a vital role in shaping the organization’s identity and ensuring its success.
The formula is simple yet groundbreaking: elevate the music while creating an inviting, interactive environment. By mixing high-caliber performances with casual, social settings, the concerts attract not just seasoned classical aficionados but also first-timers who might otherwise never step foot in a traditional concert hall.
Elise Krentzel, a culture writer and longtime Austin resident, recalls a conversation she had at a recent concert with a young man in his late twenties. “He had his eyes closed the whole time, completely mesmerized,” she says. “When he opened them, I asked if this was his first classical concert. He said yes, and he loved it. He was transported. It’s that kind of experience that makes this initiative so powerful.”
A Return to Classical Music’s Social Roots
Herd explains that classical music wasn’t always confined to such rigid formalities. “The formalization of classical music concert halls is a 20th-century phenomenon. If you go further back, performances were much more interactive and lively, akin to jazz clubs or courtly gatherings,” he says. “People hollered, clapped, and even gossiped during chamber music premieres. Returning to this dynamic is what we’re aiming for.”
I drew a parallel with Kabuki theater in Japan, where performances can last up to nine hours, and audiences are free to come and go, eat, and socialize. “There’s a cultural richness to this approach.It makes art a part of life, not something separate and intimidating.”
By embracing these models, Austin’s classical music scene is reimagining what a concert can be. Herd points out, “When people leave our events, they’re saying, ‘That was one of the most fun experiences I’ve had.’”
Venues as Varied as the Music
This reinvention extends to the choice of venues. From the Bates Recital Hall at UT Austin to the historic Paramount Theater and intimate Assembly Hall, the concerts span a variety of settings to match the tone of the performances. “We’re always exploring new spaces,” Herd says. “The Paramount lets us bring great artists to a broad audience, while smaller venues help foster the social connections we’re trying to create.”
This year alone, the organization has hosted 11 concerts, an ambitious number for an initiative still finding its stride. With plans to expand and refine its programming, the future looks bright for this fresh take on classical music.
Building Connections Through Music
At its heart, this movement is about more than just music. It’s about creating a space where people can connect. Herd reflects on his own experiences moving to new cities in his twenties and thirties. “I needed to make friends and expand my network, but classical music concerts weren’t the place to do that. Rock concerts, though? Those were social events. There’s no reason classical music can’t be the same way.”
In a city as dynamic as Austin, this blend of high-caliber music and approachable social settings feels like a natural fit. By breaking down the barriers of formality, this initiative is not just revitalizing classical music but also addressing larger societal issues like loneliness and social isolation.
A Brief Look at Yefim Bronfman
Yefim Bronfman, often hailed as one of the greatest pianists of our time, is known for his commanding technique, musical intensity, and expressive depth. Born in Tashkent, Uzbekistan (then part of the Soviet Union) in 1958, Bronfman displayed extraordinary musical talent from an early age. He emigrated with his family to Israel in 1973, where his studies in music flourished under the tutelage of renowned instructors.
Bronfman later studied at prestigious institutions like the Juilliard School, the Curtis Institute of Music, and the Marlboro Music School, learning from legendary musicians including Rudolf Firkušný and Leon Fleisher. His professional career skyrocketed when he made his debut with the New York Philharmonic in 1978, and he has since become a sought-after soloist for major orchestras worldwide.
Known affectionately as “Fima,” Bronfman has garnered numerous accolades, including a Grammy Award in 1997 for his recording of Bartók’s piano concertos with Esa-Pekka Salonen and the Los Angeles Philharmonic. Audiences are drawn to his virtuosic performances and interpretations of composers ranging from Beethoven and Brahms to Prokofiev and Rachmaninoff.
Off the concert stage, Bronfman is a humble and deeply committed artist who continues to inspire new generations of musicians with his artistry. His performances often leave audiences in awe, transporting them with his ability to balance technical brilliance with profound emotional expression.
I attended the “Bourbon and Bronfman” performance where we had the pleasure to listen to Mozart, DeBussy and Tchaikovsky. For such a great performer to perform in such a small venue was honorable. It’s wonderful to see classical music reintroduced in a way that resonates with people today. Whether you’re a seasoned listener or a first-timer, ATX Chamber & Jazz concerts remind us that music isn’t just something to observe — it’s something to experience together.