I found an interesting article through oboeinsight recently from the Arizona Republic about Yo-Yo Ma and how his crossover projects are perceived by audiences, critics, and colleagues:
Few people who care about classical music question this theology: Among the great musicians of the world, Ma is the most complete, the most fluent, the most profound. To hear him play the Dvorak Cello Concerto – as he will do this week in Phoenix – is to understand human longing and deep joy, to say nothing of the velvet sensuousness of the sound of his cello.
Even those who don’t care about classical music know Ma. From his appearances on Sesame Street or his albums of Appalachian fiddle music, appearances on late-night talk shows – or his showing up on The Simpsons – he’s probably the best-known classical artist in the world.
But even as we worship him for his cello playing, there is a nagging question for many classical fans – he’s the greatest cellist of his generation, yet he puts out a bewildering array of oddball CDs, featuring everything from tango music to Chinese pipa tunes.
How can he “waste” that talent playing so much crossover music?
“To me, it is unacceptable,” former Arizona Republic music writer Dimitri Drobatschewsky said, “because it is a mixing of styles, like putting ice cream on caviar. It mixes styles that are exclusive by taste.”
Read the complete article here.
Although a select few may not like Yo-Yo’s crossover projects, the vast majority of musicians and audience members seem to appreciate and enjoy Yo-Yo’s quest to find good music from all different genres. The article goes on to quote several Arizona State University faculty members, many of whom make excellent observations on how Yo-Yo is actually helping to renew and revitalize the art form with his creative projects.
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- My Take a Friend to Orchestra post
- Classical music record industry death throes
- Justin Locke’s crazy gig stories
- Violinmasterclass.com
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I have to say, Jason, I’ve heard a tiny bit of Ma’s crossover work and found it to be truly inauthentic. I posit that it is not from lack of study in the genre (whatever it may be), but because it is so hard to un-learn something for which one works so hard.
I believe the best crossovers happen when artists “grow up” in both styles (i.e. Meyer), though this type of spread focus often yields in sub-par performance on both sides (exception: Meyer).
You certainly got a point there, Matt, still I don’t think I wholeheartedly agree. Me, too, I’m at a loss when it comes to seriously appeciating Ma’s crossover work. I find it hard to believe that he really means it, but also I don’t want to assume that he puts out such an amount of second-rate stuff for the money only. Nobody I know thinks of these recordings as musically “deep”. Then again, why not try out a little light-weight stuff? We can’t automatically damn him for doing so.
Another point seems more intricate to me, that’s the whole question of authenticity. It’s kind of a risky concept to apply to musical idioms. I think it’s fair to say that all styles we now call “authentic” are simply the result of some fusion or crossover that happened in a comfortably distant past.
It shouldn’t surprise us, vice versa, that many experiments we witness as contemporaries don’t seem to work quite so well or don’t yield first-rate results (well, the amount of past music that has rightfully fallen into oblivion must be immense, and there’s no evidence that will ever change). Seen over the whole life span of an individual artist, or even more so one or two entire generations of musicians working on the same premise, the perspective will likely change drastically. Still, it’s of course a valid question to raise whether or not an artist succeeds, in a given piece, in creating something that transcends the original ingredients, as it were. And in this respect, Ma’s crossover recordings don’t fare too well. But that’s got nothing to do with coming from such-and-such tradition. The main problem, I think, is one of shortcomings in artistic vision and daring. Perhaps he’s just too nice a guy who doesn’t want to shock his audiences?
I think it’s a little harsh to describe Ma’s crossover stuff as “inauthentic.” Unless that’s simply an acknowledgement that we’re all basically inauthentic, unless we’re improvising.
I didn’t grow up in 18th century Austria: how can my playing Mozart ever be “authentic?”
Part of the problem Ma has — and maybe Meyer has avoided it by virtue of a considerably more obscure instrument (sorry, colleagues, but it’s true) — is an aggressive management, wanting to display every talent the artist has, no matter what stage its development. Maybe Meyer’s more exploratory stuff isn’t being released (or go back and listen to the album with the first recording of “Great Green Sea Snake” and realize that all that junk with the Yamaha synth just isn’t up to today’s standards).
As for the Drobatschewsky comment reprinted here — I hope he never has to dine in a really cool fusion restaurant. I wouldn’t want his delicate sensibilities trampled by a chef with a sense of adventure. THAT kind of attitude is the elitist snobbism that we all can do WITHOUT. In fact, I am positive that there is a caviar/ice cream combination that tastes just awesome!
Ma has a right to play whatever he feels like. However, his efforts in other styles should be judged by their own merits. He may be a great classical cellist, but I don’t care for his bluegrass soloing.
McFoolery
I think that this is a stupid idea. I think that experimenting with different musical styles is the only way to explore your possibilities as a musician. His stuff with bobby McFerrin was incredible, yet all of his classical recordings are wonderful too. I don’t see how making music with other incredible musicians is selling out. I’d say selling out is someone who thinks he is too good to grace his presence to anyone, and keeps his music inside of him. Ma simply experiments, finding a hit, or missing completely: both of which are exceptable because it is all music.
just curious, what does the phrase “sell out” mean? As a publisher, the concept of selling out is absolute heaven, the only downside being the lost sales from not having enough inventory to meet demand. i would sell out every day if i could.
if i may, “selling out” is a term that implies being disloyal to a given tradition/ set of values purely for economic gain (e.g., judas), and is a very subjective judgement on its best day. what goes on between consenting adults behind closed doors of a concert hall is between them. there is a belief that what an audience “should” like and look for should be this or that, but again, it’s all subjective. i think it is very dangerous to say there is some abstract artistic standard that a performer must meet. yoyo is an icon, a paragon, but he’s also a guy with bills to pay. if the audience finds value in it, close enough. these high ideals that ignore the value of simple audience enjoyment are bad for business, imho– jl