General

German classical music journalism has approached a state of mud-wrestling these days. Alban Gerhardt is attacked by Christine Lemke-Matwey for his political engagement, Laura Wikert‘s criticism of David Garrett earns her a mini shitstorm from his groupies, Norbert Schläbitz condemns traditional musicology, Hartmut Welscher and Tobias Ruderer settle up with Deutsche Grammophon‘s marketing policy, Igor Levit defends his unjustly harassed colleagues in an angry rant, and Alphonse Sauer seriously speaks of »journalist fascism«. Feuilletonistic trifle at its best! I feel very well entertained.

This is why I am not really interested in performers of classical music. My impression is that many artists, particularly those featured by the major labels, abuse their personality to mask the music. I cringe whenever I see a concert ad or CD cover with a performer’s name printed in capital letters bigger than the composer’s—this makes me stay away from the concert or leave the store. Their faces may be pretty and their attitude seductive, but unfortunately I am attracted by the music itself rather than by the people performing it. And what they perform is largely uninteresting—no surprises, hardly anything beyond the established canon. So all of you big shots and top sellers: Please spare me your hundreds of Moony Sonatas, Teardrop Preludes, and La Campannoyas just serving your self-portrayal. Keep your artistic profile neurosis for yourself. For being commercially controlled puppets of the music industry, you have my pity, not my sympathy. You don’t illuminate the music, you are basking in its light. Go on selling your shallow high-gloss products, but don’t expect me to watch or listen.