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'Death of Classical' Sellout Concerts Bring New Life to New York's Crypts and Catacombs

Crypts, cemeteries and catacombs imbue new life to the classical music concerts of 'Death of Classical', an alternative classical music series founded by impresario and entrepreneur, Andrew Ousley.

Despite the setting and the occasional thematic exploration of grief and demise, the series is not obsessed with the macabre. Instead, Ousley chose the venues for their acoustics, and, more importantly, for their intimacy. "I always hated the way classical music is talked about in this very boring, dusty old-fashioned tone," Ousley told Constanza Falco Raez of Flaunt. Rather than presenting music in the strictly formal setting of a concert hall, DoC offers performances that are less intimidating and more welcoming to classical music novices, while also allowing the form to grow. In fact, drinks are served in the hour preceding the performance, and Ousley has mounted concerts where guests enjoyed burgers and hotdogs, as well as Beethoven and Handel.

Musicians play during a rehearsal of the
(Photo : JOHANNES EISELE/AFP via Getty Images) Musicians play during a rehearsal of the "Death of Classical" series at the Greenwood Cemetery on October 8, 2019 in New York City. - Deep in one of New York's most prestigious cemeteries the eerie vibrations of a string concerto ricochet off catacomb walls, a seance of sorts invigorating the spirit of classical music.

DoC's first venue was the underground crypt of West Harlem's Church of Intercession. Ousley recalls: "Hearing immediately the bloom of the sound when I walked down the steps was powerful. I had found a place with a naturally unique acoustics to experience music." CoD's Crypt Sessions has been praised by New York magazine as "sensitively programmed events in which music and architecture almost meld."

In 2018, Ousley received an invitation from Green-Wood cemetery to use its catacombs, giving rise to 'The Angel's Share', and the pandemic video concert series, 'From the Catacombs'. That same year, he gave the series its name as an ironic jab at "classical music's obsession with its imminent demise, which is ridiculous because this music has always been timeless."

Ousley himself is in charge of programming, driven by his growing network of musicians and his musical taste. "What moves me," he says, "I believe that will move others as well."

Ousley's formula of a welcoming atmosphere and an intimate venue has paid dividends: concerts are usually sold out, and 'Death of Classical' has seen the debuts of several young composers. It is set to launch a new series in a cave under Union Square, titled 'The Cave Sessions'.

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