Neil Diamond, Barbara Cook, Meryl Streep, Sonny Rollins, and Yo-Yo Ma were honored at the Kennedy Center with music, film, some comedic moments and mostly lots of class. All were acknowledged as great in their field and all seemed deeply appreciative of the experience. The enthusiastic audience was treated to new performances of outstanding music, and I heard an eclectic blend of classical, pop, ethnic, and folk music and found myself drawn into the presentation. This event with its sheer variety and obvious excellence represents a turning point in how music is presented to the world. Entertaining and fun, complex and intelligent, emotionally expressive yet precise, the music was simply outstanding.
The market, like everything else, ultimately determines the taste of the people, and no matter how much government agencies work to interfere, it is the people who choose the music they prefer. And people seem to like variety ranging from rock to folk to classical and the freedom to experience and yes invoke ethnic styles within the sound. The internet, with youtube and with any kind of music at our fingertips, has opened up a world of musical possibilities for all of us. Not wanting to be labeled one particular kind of musician and seeking after other means of expression, we are beginning to see musicians pulling in other styles and then finding their own way.
While Neil Diamond did well singing his songs in the 70s, those old recordings sound a little dated to our ears now. But in spite of the anachronistic enjoyment of his performances, we recognize that the music itself is somewhat timeless. At the Kennedy awards, we heard more modern versions of Diamond's music and a strange but effective blend of rock, pop, and folk styles. It gave his music a fresh quality that keeps it alive. Add that to the choir that joined the instrumentalists and suddenly we found joy in the collective moment of lots of people singing Sweet Caroline!
Done with Diamond, the show moved over to Yo-Yo Ma, pointing out his prowess on the cello as a classical musician and then moving into a broad embracing of musical styles which first included Brahms, clips of Bach, a classical string quartet, then an odd folk ensemble with a ukele and an exotic instrument of which I was not certain. Obviously since this was a tribute to Yo-Yo Ma, they found many of his "friends" to do the performance. Yo-Yo Ma has never quit learning throughout his illustrious career that has led him all over the world to experience every form of music he can find. Jazz, blues, rock, pop, tribal, gamelan, Japanese, Chinese, and every imaginable folk sound ended up partnering with the great cellist. It was really just a kick all the way through and came together with a John Williams piece that incorporated a choir, string quartet, piano, several odd bagpipes, ukeles, and other unusual instruments. What a fun, musical experience and the audience responded with great zeal to the unusual but widely appealing sounds. I could not help but notice, however, the lukewarm response to the string quartet by several audience members!
Of course I have to laugh a little when I think back on the opening of Kennedy Center in 1971 with Bernstein's Mass. It was not what was expected nor even wanted with its wild use of street bands, blues, rock, drug references, children's choir, sophistication, and mostly eclectism in an attempt to embrace the complex world of religion and music. Not received well, the piece fell into a small cult-like following that continues today with people like me who love the work! When you ask Leonard Bernstein to compose something, you should be prepared for something different! Give him the freedom and you get the strength of his creativity. He certainly was an amazing musician.
But the topic is music of today. We heard a vast array of sounds that incorporated much more than classical or pop or folk or music from around the world. We heard it all and in a short period of time. We honored a rock/pop musician and a classical musician both of which crossed over to other styles in their careers. Perhaps their diversity and their inclusivity of a wide range of music are the elements that helped catapult them to such musical heights.
So why is it then that academia prefers and teaches classical music primarily? Why does the world in the broadest sense embrace the totality of music but in academic circles, we denounce the concept? Is it that the idea of inclusivity is too new, or perhaps it is too complex to address in curriculum? On the other hand, maybe we in academia like the idea of a small but appreciative audience for our music? There are no easy answers to these questions, but I am generally encouraged by the eclectism I hear and I am touched by the honoring of great performers of our time.
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