Ready meals in British supermarkets carry 'traffic light' markers to show you the level of sugars, fats etc in what you are about to receive. If you see a red blob next to 'saturated fat', at least you know in advance that you're going to clog up your arteries. I think it's time CDs started carrying traffic-light warnings about the level of saturated fads they contain.
A violin can sound like many things, but I for one would rather it didn't sound like the dog next door. I have just listened to one new disc too many: a clearly gifted and imaginative violinist who nevertheless seems compelled to hack through romantic-era sonatas either Very Fast, Loudly and Aggressively or very slow, playing with around two hairs of the bow to make a wispy vibratoless pianissimo that you can barely hear against the piano (NB it is not the pianist's fault). And full, of course, of those ugly bulges and barks and stops and starts (an effect much like drivers who accelerate after a speed camera, then slam on the breaks just before the next one) that masquerade as expressiveness; the ideal violin territories of beautiful tone, colour through varied rather than absent vibrato, and songful and speaking phrasing are apparently forbidden to any hapless young artist who wants to be noticed.
It reminds me of hearing one of the most depressing piano concerto performances in living memory - either Very Fast and Loud and Aggressive or so excruciatingly slow that I suspected the pianist in question was about to stop altogether. The audience went nuts, of course, but I think the composer, a man of exceedingly discerning taste, would probably have sent in the polonium sushi. This event would have been less depressing if it hadn't been action-replayed numerous times by other pianists in other concertos.
This style of playing has nothing to do with the composers and their music, but everything to do with fashion. Some musicians are inspired enough to pull these stunts off convincingly, but most just seem desperate to do something 'different', exaggerating to project ideas that actually don't exist. Besides, it's not different any more. It is the same as everyone else who's trying to be different...
Such trends have risen to the fore through certain exponents heavily promoted by their record companies, though many are good enough musicians to know better. Younger artists are trying to emulate them, to very little effect.
Why should music leave the listener feeling irritated, infuriated and occasionally nauseous if that isn't what the composer intended? Couldn't a red cardboard blob warn us off?
Now may I please direct you to one of the most wonderful piano CDs I've heard in ages: Maurizio Pollini's brand-new Chopin recital, on DG. This is truly great, fad-free musicianship, delivered with authority, humility and absolute integrity. In case you'd forgotten - many have - that's what it is all about.
