"...I simply do not want to breath the air, which is filled by sensationalism and distorted values. Lets’ admit – all of us have something to do with the poisonous development of our music world, in which “stars” count more than creativity, ratings more than genuine talent, numbers more than…. sounds..."Oof. The festival's composer-in-residence, Lera Auerbach, has written an eloquent response which Norman has also popped up:
"...The show must go on even when the walls around are falling down, because this is part of being an artist – accepting the imperfections of the world around and transcending the reality, transcending the gravity, creating regardless of circumstances and above all – sharing the gift of music..."Kremer's letter is interesting on many counts. There's a message that I sense seeping through between his words. I accept, of course, that there could be other interpretations, but I'm still seeing the same one after a few days of following the story. Is it possible that this revered violinist is objecting to the possibility that some of the more image-focused younger artists might, in his view, use this starry festival to further their careers by "name-dropping" the great artists they've worked with there, when he feels that their talent doesn't merit it, when in his opinion they are perhaps more about glamour and "sex appeal" than genuine musicianship that "serves" the cause of great music?
I've taken a peek at some of the young artists appearing at this year's Verbier, because in my experience - and I've been there frequently - Verbier doesn't usually take just anyone. Here are some videos of three of Verbier 2011's "rising stars".
Khatia Buniatishvili: Liszt Liebestraum No.3. You know Khatia if you read JDCMB regularly - she's featured several times this year. She is 23, is a BBC New Generation Artist and is making her Proms debut this summer.
Jan Lisiecki: Chopin Waltz in C sharp minor, performed at Chopin's birthplace. Jan, from Canada, won the Manchester Piano Competition a few years ago when he was only 12 or 13 - I was there and heard his winning performance, an exceptionally beautiful and well-calibrated performance of a Chopin concerto. Now DG has signed him up and it won't be long before his debut disc comes out.
And now, meet violinist David Garrett. Plus, here's his website.
OK, that was a bit naughty... though I think it must have brightened up people's lunchtime in the Big Apple. Here he is again, playing in Verbier just the other day: an extract from the Beethoven Violin Concerto, conducted by Gabor.
Just for a little comparison in terms of style, approach, technique, etc, here is Kremer himself (audio only) playing Schnittke's cadenza for the Beethoven Violin Concerto.
I am drawing no conclusions whatsoever, naturally...
7 comments:
It looks to me, Jessica, as though Kremer is having an existential crisis that goes well beyond his connection with Verbier. The next few weeks and months should prove interesting. Let's see if he backs out on any other commitments.
I thought Garrett needed to have practiced that majestic concerto a bit more. I am out on a limb, over-interpreting and extrapolating, but if I were Gidon Kremer, I would be cringing obsessively at this performance. I have no idea if this is related to his letter. One gets teh impression that his reaction has been brewing for a long time prior to lift-off.
I think the point may be that Verbier's particular form of star-obsessedness may be to bung together top artists for chamber works, some performances of which work, while others don't. It does astonish me how many limelighted artists do go there, and how many are prepared to play in that horrible dark church with the disco lighting. But I've had some great experiences there, mostly with Leonskaja playing Schubert in the 'graveyard slot' (and they had not served her well to start with by giving her a bad piano and an even more horrible venue than the church).
Interesting though: David Garrett's video has racked up nearly 50,000 views in just a few days whereas Kremer's has gotten 14,000 since 2008. Not that YT views are a barometer of quality (and the pieces are very different) but it tells you a little about who connects with audiences more these days.
communications with audiences are created by PR agents, quality has not a lot of influences...David has to work a lot on his intonation as well as artistic and spiritual points...just hear Gideon recordings in his age-like heaven....
...um, but have you actually listened to Jan Lisiecki's recital at the Verbier ? Typical student playing, nothing out of the ordinary for a 16 year old conservatory student. Verbier doesn't just let anyone in, you say ? Well, may be "that" has changed this year. DG contract and IMG Artists representation notwithstanding ( IMG Artists losing a lot of credibility these days by the way), the kid needs another 10 years perhaps before he may mature as an artist. Disappointed in Verbier's decision with this one...
If I could deconstruct your post a tad? Kremer is far from clear in his letter, mostly hints, and you don't seem to want to be too forthright either. So let me say it. The video you posted of Khatia Buniatishvili certainly shows her beauty and competence, but for a look at what Kremer might find objectionable have a look at her "music video" of the Liszt B minor sonata. Sexy costumes and all. All it's missing are a few dance moves. Yes, the young Canadian pianist is also competent, but hardly much of an artist yet. No objections to Garrett doing the do-rag jam in the restaurant, but it might be a problem if, as it seems, he is a lot more comfortable there than playing Beethoven where he seems rather, uh, tentative.
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