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In Reply to: RE: I think what Scott was saying. . . posted by Chris from Lafayette on October 01, 2014 at 09:54:28
Except that Scott was specifically saying that they (whoever they are) should embrace Khatia as their hero, despite her many mistakes and wrong notes, just because she plays with passion -- just as they (whoever they are) do with musicians from years gone by.
I would question the validity of that argument.
But hey, if you add passion to the already powerful babe effect, who could possibly resist? She should be everyone's hero.
"Life without music is a mistake" (Nietzsche)
Follow Ups:
The argument more specifically was that she has a unique take on all the music she plays and that she plays with such passion with little concern for wrong notes that we see her playing a lot of wrong notes. This is a common argument for the superiority of artists of the past over today's artists. These are traits that are commonly cited as the reasons why the artists of yesterday are superior to today's artists generally speaking. So what exactly is wrong with the argument? If you are going to question it then let's see the actual questions.
I don't know if this straw man you're setting up has anything to do with me. I have said that certain technical standards and expectations for classical music performance are much higher today due in part to modern recording technology.
But that doesn't mean I think that is entirely a bad thing. I'm actually a middle of the roader on the current situation, I think it has both advantages and drawbacks. I've discussed this issue with many over the years, and some feel so strongly about it that if they were posting here I might be taking your side and arguing against them. When you're a middle of the roader, you take heat from both extremes.
As for Khatia's performance of the Schumann concerto (a favorite piece of mine, I performed it with my college orchestra with a good friend and classmate as the soloist), I can see how it might provoke both positive and less than fully positive reactions. However, I don't think her occasional fluffed notes would be my main focus if I were sitting in the concert hall, though perhaps there are a few too many. I do think that if I listened to that same performance 10 times, I might begin to anticipate those particular fluffed notes, and they would become irritating. That is a big reason such things are usually edited out of commercial recordings.
As for her dress and her flopping and flying hair, it's all a matter of personal taste. Of course I could close my eyes, but to me they are affectations I could do without.
1. Where is the straw man here?
2. I was not thinking of any one person, but if I were to start naming names not sure yours would have come up.
"1. Where is the straw man here?"
LOL!
Dave
Do you have anything to contribute or are you just going to be a dick as usual?
Edits: 10/02/14
Well, I don't know a lot of people who think classical music performers of yesterday are generally superior to performers of today. As in all arts, with the passage of time only the best and most remarkable few from the past are remembered. The many ordinary ones are pretty much forgotten. Some have particular favorites who remain their favorites even long after they have passed away. But that doesn't mean being old is magically better.
True, there are those annoying people who insist that the only performance worth having of something is some unobtainable obscure historic recording that was released on CD only in Europe and/or Japan. One of those guys posted here for a long time. But they don't count.
I've argued that recording, radio and TV have all had a profound effect on music (and our culture generally), and that you can see (or hear) that in the way classical music is performed, and those changes are not always for the better. But it's a long way from that to saying the old artists are generally superior. In any age, many are mediocre, few are great.
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