reviewsclassicalculture

From Mahler to Modern: How CBSO’s Program Reflects Contemporary Classical Tastes

aatlantic

2026-02-11

9 min read

How CBSO and Kazuki Yamada’s Fujikura–Mahler pairing offers a blueprint for regional seasons balancing modern repertoire and classical staples.

Why this balance matters now: a regional audience’s pain points — and a concert that answered them

Audiences in Atlantic-region cities—like so many outside the capital—still face a fragmented live-music landscape: uncertain schedules, last-minute programming changes, and seasons that either repeat the same safe masterpieces or swing too far into the unfamiliar. That fragmentation makes it harder to discover local talent, plan an evening out, or bring a younger friend to a concert. Last month’s City of Birmingham Symphony Orchestra (CBSO) programme under Kazuki Yamada—pairing Dai Fujikura’s taut, sea‑language trombone concerto with a broadly optimistic reading of Mahler’s First Symphony—felt designed to solve some of those problems in real time.

Opening with a contemporary anchor: what CBSO/Yamada did onstage

At Symphony Hall, Birmingham, the concert opened with a UK premiere: Fujikura’s Vast Ocean II, featuring Peter Moore on trombone. The piece is emblematic of a recent wave of 21st‑century works that demand virtuosity and imagination from both soloist and orchestra. Moore’s performance showed how a regional orchestra can make a modern score feel immediate and accessible—texture and colour over abstruse theory. The second half offered the comforting gravitational pull of Mahler’s First, read with warmth and forward motion by Yamada. The pairing—new work followed by Mahler—kept listeners anchored while also expanding taste.

Programming insight: why contemporary-first works can reduce risk

From a programming standpoint, beginning with a contemporary piece is a subtle form of audience development. New music primes listeners’ ears for unfamiliar sonorities, and when followed by a familiar masterpiece it rewards the risk-taker in the hall. The CBSO performance model demonstrated a practical psychological arc: curiosity → engagement → emotional payoff. For regional seasons that must sell subscriptions and fill halls, that arc converts trial into loyalty.

Where this sits in 2026 classical trends

As of early 2026, a few industry realities make this balance imperative. Post‑pandemic recovery accelerated hybrid streaming and short-form concert clips in 2023–25; by late 2025 many regional ensembles reported that digital audiences were younger and more diverse than ticket-buyers in the hall. Simultaneously, funders and programming boards increasingly expect measurable community impact and commissioning activity. Orchestras that continue to programme either only the canon or only avant‑garde works risk alienating two critical groups: traditional subscribers who fund seasons, and new audiences who discover music digitally.

Data-driven programming: what leaders are using in 2026

Orchestras are now using audience analytics tools—ticketing data, short‑video engagement, geotargeted ad performance—to decide which modern works to pair with staples. These signals show what a regional audience will tolerate in a single night. In practice that means:

Shortening marketing cycles—announce commissions with behind-the-scenes clips to build curiosity.
Testing program order—try contemporary-first once per season and measure retention across the interval.
Using streaming previews—release a 60–90 second excerpt of the modern work to familiarize listeners.

Reading Yamada’s Mahler: a contemporary sensibility applied to a classic

Kazuki Yamada’s interpretation of Mahler’s First with CBSO was, by many accounts, persuasive and slightly sunnier than some Mahlerians prefer. That warmth worked in a regional hall where emotional clarity matters as much as intellectual rigor. Yamada avoided indulgent tempos in favour of linear storytelling—an approach that helps audiences of varying familiarity follow Mahler’s large-scale argument.

“A persuasive reading—sunlit rather than inward—gave Mahler’s architecture immediate public appeal.”

That accessibility is not a dilution of Mahler; it’s a calculated decision in audience development. If a first‑time listener leaves having connected to Mahler’s themes, they’re more likely to buy a future ticket and to be receptive to programming that stretches their ear.

How regional seasons can use this model (practical, actionable advice)

Below are concrete strategies for programming directors, marketing teams, and community curators who want to emulate CBSO/Yamada’s balance without sacrificing artistic integrity.

1. Pair with purpose

Choose contemporary works that have a clear, communicable link to the staple piece—textural echoes, emotional trajectory, or instrumentation. For example, Fujikura’s ocean imagery has natural affinity with Mahler’s pastoral elements. When you can articulate that link in promotional copy, audiences feel invited, not lectured.

2. Use “gateway” contemporary pieces

Not every new work is approachable. Commission or select pieces that prioritize color, rhythm, or narrative rather than dense serial techniques if your goal is broader audience growth. Brass concertos and rhythmic chamber works often perform well as gateways.

3. Layer the experience

Offer pre-concert talks, short programme notes in the app, and artist Q&As. Make these available on-demand. The CBSO model—brief live context before a new work—lowers barriers and increases retention.

4. Measure cross-channel engagement

Track the conversion funnel across digital clips, email open rates, and box-office purchases. Use A/B ticket offers: a discounted “modern-first” ticket or bundled family rates. Measure not only immediate sales but repeat attendance within six months.

5. Invest in soloists as ambassadors

Peter Moore’s profile elevated the Fujikura premiere. Casting high‑profile soloists—even regional champions—creates media moments. Arrange interviews, studio sessions, or school visits to broaden reach.

6. Create iterative seasons

Rotate a contemporary anchor into each season, building a track record of commissions. Audiences and funders respond to sustained commitment rather than one‑off experiments.

Programming economics: making the math work

One barrier for regional orchestras is perceived financial risk. But the CBSO/Yamada template shows several levers:

Co-commissions—share commissioning costs with other orchestras or festivals to reduce exposure.
Sponsor packages—align corporate partners with the modern work for naming or digital series support. Consider vendor and tech partners in production: see modern vendor tech for on-site and online options.
Tiered ticketing—offer digital-only seats for the contemporary piece or simultaneous micro-streams priced lower to attract trial viewers.

When implemented, these strategies shift contemporary programming from cost center to audience-development investment.

Case studies and precedents beyond Birmingham

Across the UK and North America, orchestras that succeed in balancing repertoire use similar tactics. Notable approaches in 2024–2025 include co-commission rounds around thematic seasons (environmental **and** city-focused cycles), pop-up chamber concerts in restaurants and transit hubs, and composer residencies that culminate in a major orchestral premiere. These initiatives reframe modern repertoire as part of civic life rather than as a specialist module.

Digital-first lessons (2025–26)

By late 2025, ensembles had more robust digital offerings: short-form highlights for social, behind-the-scenes composer diaries, and premium streams for remote subscribers. The result is a broader pipeline feeding front-of-house sales. The CBSO’s use of a familiar soloist and Mahler as the evening’s anchor mirrors a proven model: hook digital audiences with personality and follow with a canonical draw to convert online interest into in‑person attendance.

Audience development: practical tactics for real growth

To translate an attractive programme into long-term audience development, here are field-tested tactics:

Segmented messaging—craft separate emails and social posts for subscribers, lapsed buyers, and younger prospects focusing on different hooks (artistry, community value, price).
Micro‑events—host free 20‑minute introductions in public plazas before the concert to capture passers-by and collect emails.
Education tie-ins—partner with conservatoires for masterclasses; film short teaching clips to distribute.
Subscription experiments—offer a “Mahler + new music” mini‑pass to test cross-interest; learn from small-label and curation playbooks like the small-label playbook for audience-building tactics.

Programming pitfalls to avoid

Presenting a modern work with no contextual framing—audiences are left guessing why it matters.
Programming extremes—too many novelties in one evening can fatigue listeners and harm word-of-mouth.
Ignoring digital-first promotion—modern works often live or die on short-form cinematic clips that give viewers a hook.

The artistic case: why this balance matters to musicians

For players, pairing modern repertoire with staples offers artistic renewal. Contemporary pieces often expand technique—new sonorities, extended techniques, cooperative improvisation—leading to a more versatile orchestral sound when the Mahler or Beethoven returns. It’s an investment in the orchestra’s long-term musical health.

Looking ahead: predictions for regional seasons in 2026 and beyond

Based on late 2025 commissioning momentum and early 2026 digital habits, expect these trends to accelerate:

More co-commissions across regions to spread cost and increase premiere reach.
Hybrid programming—live premieres paired with simultaneous filmic presentations and on-demand companion essays.
Data-first curation—analytics will influence program order and marketing cadence more than ever.
Composer partnerships extending beyond a single premiere to multi-year residencies that embed composers in community projects.

Why CBSO/Yamada matters to the Atlantic-region reader

Regional audiences want reliable, engaging live music that reflects both tradition and now. The CBSO/Yamada evening is a practical template: use a contemporary anchor (often a high-profile soloist or a co-commissioned work) to expand ears, then deliver the emotional payoff of a well-known masterpiece. When promoted with clear context and supported by digital clips and community outreach, these concerts stop being experiments and become pillars of a vibrant local season.

Takeaways: how to apply the CBSO model in your city

Program with intention—pair works that speak to each other across texture or narrative.
Prime ears digitally—short clips and pre-concert materials reduce friction for first-timers.
Measure and iterate—use analytics to refine which modern works convert to repeat attendance.
Invest in ambassadors—soloists, composers, or conductors who can reach beyond the usual audience.
Plan for continuity—repeat the contemporary‑plus‑staple model across seasons to build trust.

Final thoughts: classical programming as public culture

The CBSO’s recent concert under Kazuki Yamada shows that programming can be both adventurous and populist, rigorous and inviting. In 2026, orchestras in Atlantic-region cities have a real opportunity: to create seasons that are culturally vital, economically sustainable, and digitally savvy. That happens when artistic leadership treats modern repertoire not as an obligation but as a bridge—an artistic and civic bridge—between the familiar and the new.

Call to action

If you’re a music director, programmer, or creative leader planning a season, start by running one “modern-first” pilot and use digital previews to test demand. If you’re an audience member curious about where to start, book a ticket to a CBSO or regional concert that pairs new music with a classic—bring a friend under 35 and watch what a single night can change.

Attend, listen, and participate: check your local season calendar, subscribe for behind‑the‑scenes clips, and support co‑commissioned works. For more programming templates, downloadable marketing copy, and a checklist for launching a modern‑plus‑classic pilot, sign up for atlantic.live’s Live Music strategy newsletter.

atlantic

Contributor

Senior editor and content strategist. Writing about technology, design, and the future of digital media. Follow along for deep dives into the industry's moving parts.