In the concert hall, how do you tell the seasoned sophisticates from the plebes? Easy! It’s all about knowing when to clap. Everyone knows that you hold your applause to the very end of the piece; that’s just how it’s done.
Last week I attended the Baltimore Symphony Orchestra’s concert featuring NADJA-SALERNO SONNENBERG, in which she played the Tchaikovsky violin concerto. She received a standing ovation.
After the first movement.
And no one minded, because she bloody well brought the house down, with her swaying and her stomping and her passionate frenzy of notes, but also with her smiles and winks and a playful spirit, just her and her buddy Piotr knocking out a few bars for the joy of it. She got a second, full-audience standing ovation after the third and final movement, because she’s NADJA SALERNO-SONNENBERG and don’t you forget it.
But she’s by no means the only big-name concert violinist out there. I would even wager she’s not among THE most famous. A big deal, certainly, but somewhat less educated people might think first of, say, Pinchas Zuckerman, or for your more modern sensibilities, Hilary Hahn.
Hmmm. That’s odd. I’ve been to live performances by both, and on neither occasion were there multiple, spontaneous standing ovations.(This is the part of the post where I start to duck and move. I’m looking at you, CMcGo, aka Mr. Hahn.)
I talked about this with my mother the other day, and she pointed out that both Hahn and Zuckerman are considered classicists, concerned with perfection and purity of form and note. To which I say: BOOOOOOORING. If you want perfection, program it into a computer. Who decided classical music has to be clean enough for surgery? And who decided that the only acceptable facial expressions are those of intensity or in some cases anger? Why can’t a soloist hunker down into the music and really ENJOY it? And, like, y’know, grin and stuff?
The BSO followed NADJA with a performance of Stravinsky’s Rite of Spring, and again I say: it was too clean. This is music for pagan ritual; is it wrong to expect some rawness? I want a Rite that bleeds at the edges, but it seemed a study of caution as the watchword. No thank you. Bring back NADJA. Bring back classical music with some individual personality.
So! I now invite your rebuttal. Do you think my acknowledged hero-worship of NADJA colors my opinion of her performance? Do you think Hilary Hahn is a goddess (CMcGo) and intend to murder me for my sins against her? Do you think perfection should be the goal after all? And if you do, answer me this: then why SHOULDN’T we just program our music into a computer and call it a day?