Photoshopped Schubert

Today, performances of classical works become more and more beautiful.

While beauty as such is, of course, something very positive, it becomes, in my eyes, very dangerous indeed if it becomes the sole object and goal of a musical performance.

Because:
Most ‘canonized’ classical masterpieces, whether it’s Mozart, Haydn, Schubert, Beethoven or Brahms, not even mentioning Bruckner, Wagner, Tchaikovsy or Dvorák, in themselves run a huge gamut of emotions—and some, indeed: most of them get lost if the overarching goal of the players is to, well, play beautifully.

There are moments where beauty is not desirable, where sheer emotional impact can only be reached at peril.

Today I heard an extremely flawless performance of Schubert’s Trout Quintet, performed by some of the greatest names in the game (or is it: in the business?), and it wasn’t elegiac—exuberant—playful———it wasn’t anything, really, apart from flawless; it was just… nice.

It wasn’t music, it was streamlined, marketable muzak.

And that, of course, hasn’t anything to do with real beauty.

Focus

In today’s classical music world, especially in the world of conductors, everything’s very much about music business concerns: contracts, agents, festivals, etc.

This is not the primary aim of what this blog is going to be about; my focus is going to be almost exclusively on the craft and on what that involves—formal analysis, baton and rehearsal techniques, aesthetic considerations and dealing with back pains.

It is also going to be a diary of my experiences in rehearsal and concert. Hope you will enjoy reading it!