Nadja Salerno-Sonnenberg

Nadja Salerno-Sonnenberg, one of the world's most pre-eminent violinists, recently performed Tchaikovsky's Violin Concerto in D Major, Op. 35 to an astounded audience. Famous for the vigor in which she performs, Ms. Sonnenberg played without hesitation and almost brute force. These characteristics have often lead to much debate between her critics, who feel that the dramatic way in which she plays, practically dancing around the stage, leads to distraction from the music itself. Although this often is be true in many players, I believe that her performance style is what makes her truly unique in her field, rather than conforming to the traditional standard that audiences are accustomed to.

One aspect that is delightful about Ms. Sonnenberg 's playing is that she is very playful with her audience as well as the symphony surrounding her. In many places of the third movement, she often looked to the concertmaster in a manner that suggests they were sharing an inside joke while still bowing her violin at break-neck speed. She also often stomps the stage to emphasize a particularly dramatic section of the music, with her bow flying and her face screwed up in raw effort. She even will stare at her audience in an almost intimidating glare, as if they should dare to judge her even just one bit. The character that she brings to the stage is a spectacle to behold, and her unique traits should never be sacrificed, for it's her creative expression that delights audiences everywhere as she performs.

Musical Theatrics in Performance

Theatrics in music has often been subject to critical debate. "Theatrics" is a term used often by critics in an almost derogative way to brand musical artists as too "physical" in their playing so that their audience is lead to distraction, rather than focusing on the pure medium of the music production. Proponents of theatrics assert that these physical motions create a mode of expression beyond the physical playing of the instrument, while also enhancing tone and emotive quality. At the same time, it adds as an aesthetic aid for a non-musical public audience because it is a medium in which an artist can reach to their audience so that they can empathize in the emotions that the artist is trying to convey through the music. Non-musical connoisseours will appreciate movements and expressions as an artistic application to the music, whereas musically-educated musicians and critics will often cut-down artists for their style because it "takes away from the music," in other words the music is sacrificed for drama that is not directly associated with the music.

I believe that a performance is not just listening to the music, but that it's a performance in the literal sense of the word in the way that it is entertainment; one doesn't go to a concert just to watch someone stand there and move their fingers or blow into a reed, otherwise what's the point of watching? That is what CD's are for. At the same time, those who overly indulge in theatrics that border the ridiculous definitely become a turn-off for viewers. Critics of the pianist Lang Lang often state that his avenues for emoting himself are not coming through the tone of his music but through his body language that is too elaborate for classical concert performance. A healthy medium between the two is what is needed for an excellent public performance.

Leon Fleisher Masterclass

I recently attended a master class at the Colburn School of Performing Arts in March taught by Leon Fleisher. The program presented by the students consisted mainly of Brahms and a Schubert Sonata in A Major.This master class was particularly engaging because Mr. Fleisher encouraged interaction with the general audience as well as with himself and the performing musician. During his discussion, he stated that the three main parts that constitute Western style music is melody, harmony, and rhythm, the last being the most important of the three. He believes that it is possible to play slow and fast in the same tempo, based on the rhythmic inflections the performer uses in the piece. For example, making the long notes longer and the short notes shorter in contrast will lend a more upbeat feel, even if the tempo remains the same. Mr. Fleisher also led a discussion on the use of pedal. It is his conviction that the pedal must be consistent with finger work, and though the pedal appears to enlarge sound, in reality it is only mixing the sound, messing up the harmony, rather than enhancing the sonority. Lastly, the sound produced must be a horizontal journey, and to be cautious to not use accents as they act as an audible impedient in a moving line.

Yundi Li Gives Astounding Concert

I have always been impressed with the story of the brilliant pianist Yundi Li. Leaning how to play the piano after the accordion at the age of 7, he has since become a pianist of prodigious talent. Winner of the prestigious Frederic Chopin Competition and numerous other international competitions, I was of course excited this March when I went to hear him perform Liszt's Piano Concert No. 1 with the Los Angeles Philharmonic at the Walt Disney Concert Hall in Los Angeles.

Previously, I had heard that much of his renown stemmed from his excellence at playing the works of Chopin, but not Liszt. Although he fancies himself an expert on both composers, many critics have observed that his performances of Liszt have never come off as strong as other performances. However, it seems that Yundi Li has finally overcome this criticism. As he began the first movement of the Liszt concerto, his strength and dexterity was unparalled as he threw himself into turbulent passages of contrary octaves and sweeping chromaticism. Yet, his skill was tempered with complete sophistication and refinement as he entered the second movement, which was as lyrical and as beautiful as a Chopin nocturne. Perhaps this was Yundi at his best, as he was given the chance in this slower section to touch his audience with an astounding quality of tone and tenderness. On the whole, Mr. Li has matured into a great pianist, who will surely join the ranks of past legendary pianists.

Appearance Sells

Some of the most popular classical artists of the day are quite young and blossoming. Names such as Hilary Hahn, Joshua Bell, and Nicolai Znaider have become the representatives of prominent young violinists who have literally taken center stage with their talent. Yundi Li is also a famous young pianist who now frequents the most well-known concert stages around the world. Although all of these musicians are known to have prodigious talent, there is one other link that seems to connect them all. All of these young musicians are young, almost all in their twenties, and very beautiful and good-looking.

If you frequent the CD shelves of a Barnes and Noble, one of the most overt characteristics of these CD covers are that the artists' face is prominently plastered on the front. Hilary Hahn's face takes up her entire CD, staring through the cover with a model-winning coy smile.Yundi Li's cover hardly has a piano in it, but rather Yundi Li dressed in a handsome suit leaning against a wall, smiling benignly up at the customer. It appears that the instrument has taken a step-down as the faces of these attractive musicians have become the forefront of selling classical literature. Although dedication to the music is certainly the very basis of musical appreciation, perhaps the overall trend of personal beauty to attract the acceptance of the public has finally caught up in the sales market of the classical music world.

Horowitz the Colossal

The classical world continuously beholds the birth of "just out of the crib" prodigies. Lang Lang, the new and upcoming young Chinese pianist, began piano at the age of 3 and won his first competition at the age of 5. History also shows us that Mozart had the genius to be able to learn and play the piano, violin, and organ at the age of 3. However, the term "prodigy" tends to die quickly by the time the musician has reached a reasonable age, where they seem to be regared on the same plane of mediocrity with other pianists at the same skill level. Thus, perhaps the most influential pianists of our time are those who still play with such talent and skill at an elderly age. One of the most adept examples is Vladimir Horowitz.

Towards the end of his life, Horowitz gave one of his last public performances in his late eighties at Carnegie Hall. Recorded on CD, it is has become a lasting testament to his genius, incredible dexterity and powerful sonority. It is too hard to believe that the sound captured on CD is the physical, mental, and emotional genius of a person that society may deem, superficially, as a "frail" old man. His legendary testament to piano has created a passionate following, and it is here that prodigious skills makes its most profound impact, perhaps not at the beginning of life, but at the end.