Friday, August 12, 2011

Classical Music With a Pop Sensibility

How much has a pop music sensibility invaded the classical music world? Have a look at this article with accompanying photo of pianist Yuja Wang. If you didn't know she was a pianist what would you have guessed? Escapee from a reality TV show? Pole-dancer?

This has been going on for quite a while. Remember Vanessa-Mae?
Her first big album was released in 1995 combining classical and pop music, but she was really a pop musician who played violin, though she started out as a classical musician. More and more these days, though, a pop music sensibility seems to be invading all of classical music. Here is another article. By "pop music sensibility" I suppose I am talking mostly about sexuality. We are always, it seems, looking for the next young thing, but isn't it the case these days that the next young thing, especially if she is female, just always seems to be extremely good-looking? Here is another young pianist:

This is slightly troubling because while the playing is a bit dull, the artist is extremely attractive. I've always had the idea that the performer should not overshadow the piece. But this is hardly a fundamental principle--just a feeling. I do know that how she looks sticks in my mind, but how she plays, in this and other music, does not.

Now what is the probability that all the young stars of today also happen to be very attractive? Surely there must be some stupendous young musicians out there who are rather plain? And if there are, then they seem to be being eliminated somewhere along the line? Is it in school, university or conservatory? At Julliard or Peabody? Or does it happen at the competition level? Faced with two brilliant players do the judges tend to choose the more attractive one because they know their chances of a career are better? Based on my experience with competitions I strongly suspect that the most interesting musician will always place second or third just out of the sheer obtuseness of the judges. So a very beautiful competitor with facility will often win the competition over an interesting musician. That seems to be what Buniatishvili has: facility. Oh, and Yuja Wang, too:

They both sound rather alike to me. Smooth (though not with an entirely even touch), facile and predictable. Good fingers without much actually happening under the surface. In order to confirm this impression--for it is nothing more--I looked for some Beethoven by these artists without much luck, at least on YouTube. But I did find them together doing this:
Now that reminds me of the lesbian scene with Natalie Portman and Mila Kunis from Black Swan. Yes, very, uh, enjoyable. But not a primarily musical experience. Both of these artists seem also to avoid Bach the way vampires avoid holy water. Possibly for similar reasons. It is not very easy for me to decide much about a performer's depth of musical understanding if all they play is music with itself very little depth. But perhaps that's the point.

Oh, I understand the motivation. You have to do whatever you need to, to get noticed in the very competitive musical world of today. It's the same in pop music. But I think that at some point someone ought to point out that a sexy dress and a moving performance are actually different things.

Here is a performance from a famously hip and eccentric pianist from not that long ago:
Sure, I know he played a couple of wrong notes, but it is a musically strong performance of a powerful piece of music (with an interesting and unexpected ornament at the end). Could Friedrich Gulda manage to become known if he appeared today? Or Martha Argerich?


Ian Stewart said...

I have just found your writing after reading your comments on Greg Sandow's blog.
Although I have come to it two months late, I enjoyed your article "Classical Music With a Pop Sensibility" and think you are exactly right in saying that the performer should not overshadow the music. However most people are attractive in some way and scrubbing up as part of marketing I do not see as a problem. In England there are numerous makeover programmes where anyone can be made to look good, also attractiveness is more often than not feeling comfortable in you body and choosing an image that suits you. If a good image becomes de facto a sexual image then it is definitely a bad thing I believe.

This leads me to think of two extremes. On the one hand English jazz musicians sometime ago would be ostentatiously scruffy (and often rude) because they refused to sell out; selling out seemed to extend to washing both themselves and their clothes and being polite to their audience. The other extreme are the female R & B singers who flaunt their sexuality all the time which is really tiring.

Like Greg Sandow I really do think that classical music needs to improve its marketing. In England every concert promotion seems to use meaningless clich├ęs; innovative, cutting-edge, young, exciting, bare knuckle ride etc.etc. If a designer dress on females and designer jacket and stubble on males obviates the need for these meaningless words its a good thing. But there are limits and I hope we have now reached the limits and there will now be a pulling back. A cover I realy like is Nicola Benedetti's Italia CD which refers back to the very stylish images of classical Italian cinema.

Bryan Townsend said...

Hi Ian,

Welcome to the blog! Very interesting observations... Totally in agreement with the things you mention: intelligent promotion, hygiene, trying to look good--these are all good things. What I don't like is the projection of an extremely sexy image coupled with humdrum performance. It you want to be edgy, then let's hear some edgy phrasing as well!

Vili said...

Hmm ... I think that classical isn't a dead genre like perhaps like the Latin language but I do think that classical music is frozen in time. Although initiatives like pop fusions with classical are great I do think that they take away from a bigger market of classical music which is the whole "classical music is ancient so let's protect and save it". I mean classical music has a huge base of monetary donors because of this and has great support from government (at least in my country).

Bryan Townsend said...

Hi Vili,

Thanks for your comment! Where do you live? Since the 19th century, state support for the cultural heritage of the past has been an accepted part of the role of government--for better or worse. The idea of losing part of our artistic heritage is not a pleasant one. But I agree, the public sense is that classical music is somehow 'frozen in time' despite lots of evidence to the contrary. We have a host of composers like Philip Glass, Steve Reich, John Adams, Thomas Ades, Osvaldo Golijov and many others who are writing music that is winning a wider musical public. But information about classical music seems shut out of the mass media. Television rarely has a classical artist and newspapers and magazines have less and less coverage.

Robert S said...

I just had to put some more good examples to contribute here, Please feel free to click on the youtube button to read the top comments...

Lola Astanova ( An young Russian pianist )

Milos karadaglic ( This time it's a Man )

I'm not saying that Milos Or Astanova cannot play very well. But just go Milo's site and check out his upcoming concert list. Here's the link : It's almost as if he got all the shows, and can get any show at any part of the world. Sure Milos is good and talented although some people think that it's a joke for him to sign with Deutsche Grammaphobe without having to win any guitar competition or earn some recognition. I guess it's quite obvious that there are much better and greater players than Milos who are more skilled and talented yet they hardly get any shows or fame. Check out Jorge Caballero

The man is outstanding, yet he hardly gets any shows or recognition because of his average looks.

This is his site -

Sex sells more than Art music ever will. And I suppose it's safe to acknowledge that Capitalism and High Art does not get along very well. :)

Bryan Townsend said...

Hi Robert,

Thanks for the contributions. I've posted about both Astanova and Karadaglic here:

and here

Thanks for the tip about Jorge Caballero!

Robert S said...

Wow Mr.Townsend, it appears that you are pretty updated. :) I think I am going to be a big fan of your blogs :)

Bryan Townsend said...

Thanks, Robert!!

It's fun to write and I love getting comments.

MikeR said...

It is a huge relief to know that the real reason I will never find the way to Carnegie Hall has more to do with the advancing years and the mere-male hang-dog looks, than with 68 years of delinquent piano practice.
I guess it ain't helped by a lifelong loathing of pop

Bryan Townsend said...

Hi Mike and welcome to the Music Salon. Yep, it's only a question of better promotion, hey? You are spinning off that old joke: someone comes up to a native New Yorker on the street and asks, "how do I get to Carnegie Hall?" And the answer is "practice, practice, practice!"

Anonymous said...

It sounds like that it is YOUR problem when you cannot discuss musicians like Yuja Wang on her music instead of focusing on her dress.

And the lesbian association when she duet with Buniatishvili ?

Time to see a shrink !

Bryan Townsend said...

No thanks!

(and why is it that people who like to make this kind of shoddy criticism always do so anonymously?)

Marc G said...

Hi Bryan , lovely blog I haven't gone much through yet ! looking for info on the Prokofiev piano sonata's, and was drawn to this post ; very well done and analysed : thought provoking. I liked especially the vampiristic projection...(even though all 'stars' might not like such comparison...). Now, it becomes indeed annoying when the visual show takes precedence over the music/what you get to hear ; however the people's opinions on this topic will diverge since what they are looking for in (classical) music/concerts will diverge too, in terms of acoustic/visual balance... ; hence the expanded musical market based on looks. Am not sure wetter this has a pop, or an ego-oriented, merchandising, consumeristic or basic seductiveness origin, but this attitude is today present in many other avenues of life than music performance: in many professional context, in many social interactions. A purely acoustic performance will work to us, as a good reminder that looks have not necessarily top priority in all events, ways, of life. Nice writing and nice examples.

Bryan Townsend said...

Thanks, Marc and welcome to the Music Salon. I assume you found my series of posts on the Prokofiev sonatas? Yes, a lot of different opinions on this subject.