The greatness of Classical Music, in one sense, is the fact that it does not change or get altered according to each performance and each respective performer’s fancy or preference. Questions of tastes and interpretations are legitimate and inspired, and we can see such sentiments and inclinations manifest themselves in some very exciting and inspired performances and recordings, but generally these ideas and opinions fall within, still, certain widely accepted and respected standards, and do not allow for completely off-kilter or ridiculous re-imaginings. Nobody riffs on Beethoven. Well hopefully not too much. Although that does sound like fun. In any case, certain norms hold true. The cadenza is a separate and singular thing. And even still, is written out and, for the most part, adhered to, and aligned with certain traditions.
The incredible Hélène Grimaud revitalizes classical music with her riveting talent and her elegant beauty.
If all of this adds up to, in essence, a big ‘pro’ for classical music, it perhaps then reveals the yang to this yin, or vice versa, as it were. As in, what then would be the challenge? What reveals itself to be the other side of this coin. The con to this is arguably the struggle to keep the music fresh. And moreover, relevant.
Gorgeous Yulianna Avdeeva excites with her highly-inspired performances.
This is assertedly achieved not with the written music itself, which, as described, does not change significantly, except perhaps for the distinctive notations of a particular editor, or the occasional new discovery of a more accurate or corrected manuscript or early edition, but rather with the inspired genius and interpretative originality of the artist herself. The performing artist. The interpretive artist. The talented and beautiful spirit who breathes life into this age-old, for the most part, marvel of art and life. Classical music. And whatever exciting new interpretations or brilliant new imaginings do arise is perhaps due most significantly to the miraculous execution and lucid inspiration of the artist herself.
The beautiful Valentinas. Valentina Lisitsa and…
This new woman, for all purposes, as such, is the difference between yesterday and today, between the misty nostalgia of the past and the awakened clarity of the present. It is the artist who forever and ever, generation after generation, time and time again, will make this music come alive, and become fresh, and become relevant, and become meaningful, to our lives, and to our daily struggles, dreams, or experiences, and it is the artist who makes us able to do that which is most human, most divine, and most eternal. It is the inspired artist, through this great music, who gives us a beautiful chance to feel.
…Valentina Igoshina pioneer the new age of the female artist.
That the infinitely timeless greatness of this classical music has for one more time blossomed all over again in the hands of a new and inspired group, a vivacious coven, of incredibly talented and amazingly beautiful female artists and has erupted into a vast and widely celebrated and truly euphoric collusion, in not a coincidental thing, and one has to seriously think about why this is so, or rather, of the significance that this is in fact so, and of the beautiful power of it, in this moment of our time. One is pulled towards embracing and supporting this grand moment in every way possible. And to respectfully uplift these fantastic artists by any imaginable means. One is driven to create a fan site for Khatia, to write something about Lola, to pontificate on Valentina, to yearningly adulate Yuja, and to elaborate on Yulianna.
Legendary Clara Schumann and the great and beautiful Lola Astanova. We’ve come a long way baby.
We respect and desire, laud and applaud, the female artist. Like Clara Schumann, and those before her, and those after her, and especially those of today. The timeless beauty of great music and the eternal beauty of the female. Beauty begets beauty, and it is an upward spiral to the wondrous realm of harmonious ecstasy. From Clara to Khatia, Lola, Hélène, Yuja, Yulianna, the Valentinas and every one of the others. We are in joyous gratitude to all of them, and to all the beautiful and talented female artists coming up and still to come.
The divine goddess Martha Argerich, an inspiration to us all.
And among these ruminations, a deliberate word must be said about a certain artist. A very special artist and a magnificent woman. There have been acclaimed female classical musicians before Martha, and we have been fortunate that there have been many since, thanks in large part to the inspiration and example of Martha. But there has never been an artist like Martha Argerich. She stands alone, a singular artist, a modern legend, and an inspiration to so many of the wonderful artists of today, as so many of them will themselves tell you. Martha Argerich is extremely beautiful and phenomenally talented, and her Chopin is an unearthly thing of great beauty and has influenced and informed the playing of so many of our favorite women of classical music, so many of whom seem to love and specialize in Chopin, such as the beautiful and talented Anna Gourari and others, and all of this to the great adulation, admiration and appreciation of an entire planet of music lovers.
The lovely and talented Anna Gourari.
We celebrate the artist. As much, at this moment perhaps more, if it could be quantified, than the music itself. For it is the artist that keeps this great music alive. It is the lifeforce of the artist that breathes life into this dormant music. It is the inspired artist that brings new meanings and new understandings to the mystery of this enigmatic music. And it is the artist, from the stalwarts of yore to the newest debutantes, who takes black dots on white paper and infuses them with thoughts, feelings and emotions, and in so doing, allows us to feel the same. Or perhaps even more. We like to think that somewhere in there is the endless marvel of love itself. The glorious exultation of love created, love exuded and transferred, love received, and love felt.
Khatia Buniatishvili lends her exquisite beauty and talent to the cause of classical music.
And in this sense, we endlessly celebrate the female artist, from whom these exultations of universal love emanates most naturally and most freely. We love the women who play classical music. We adore their spirit and their infinite greatness. We readily consume the feelings and emotions that they so easily evoke, and we embrace their joyous beauty and their fountains of talent, and though there are now more women artists, more female musicians, than there has ever been, and their level of brilliance has never been higher, and their chasms of inspiration has never been deeper, we will never completely get our fill, we will constantly yearn for more. More of these sweet and celestial goddesses of music, and more of the endless passion that they provoke, from the wonder of their beautiful hearts, and from their beautiful world of divine inspiration.
Beautiful Yuja Wang brings her dazzling talent to the world of classical music.
The great women of classical music are a treasure trove, in our own time, of amazing talent, celestial inspiration, and the unearthly beauty of such exquisite and gifted artists. May we always be profoundly moved by the glorious beauty and the wondrous joy that they so graciously and selflessly bestow upon us. And may we always feel only love, appreciation, and most of all respect, for them all.
(c) 2015 MusicAndFilm.net.