Gidon Kremer - another surprise

[John F]

Gidon Kremer withdrew from the Verbier Festival in June and from the letters he sent to the festival director, it may be some time before we see him again - unless we're very alert. On Monday he turned up at the Longy School of Music in Cambridge, MA, to play a program of solo and chamber music in its little concert hall. He's scheduled to play the same program at Lincoln Center on the 12th, but will he? We'll have to wait and see.

Meanwhile, here's what I take to be the heart of his letter, which is printed complete and verbatim at http://www.artsjournal.com/slippeddisc/ ... trace.html.

I simply do not want to breath the air which is filled by sensationalism and distorted values. Let's admit – all of us have something to do with the poisonous development of our music world, in which “stars” count more than creativity, ratings more than genuine talent, numbers more than…. sounds.

This summer I have decided, after 30 years of full commitment to conclude my activity for the Lockenhaus festival. For three decades, I served the cause and can only be grateful for having had so many friends who also follow that spirit. Music itself was and remained the core of this festival, which can be proud to have given an opportunity to thousands of musical scores to have been performed. It was and remains an oasis of intimacy, in size and in orientation.

Now, finding myself rather exhausted through my numerous tours, new projects and recording sessions, I feel even more, that I should do only the things which I believe myself are still somewhat necessary. And here it is: I simply do not have enough energy to support gatherings and collaborations on highly exposed stages with “rising” or approved stars of today’s music business for the sake of ovations and name-dropping.

Yes, I know, I should be professional. Most of my life I tried to stick to my word (and I am aware that I promised you that I’d come) but a time has now come in which the overall devaluation of the word “interpreter” has resulted in a misguided fixation with glamour and sex appeal.

This is not anymore “my” time. I leave it to those who believe in it, be it the audiences or the new breed of performers, who have overwhelming capacities to please crowds, but who are often themselves quite EMPTY and artistically lost, chasing a hunger for recognition over ability.

Let it be like this.

And the Boston Globe's review of the recital at the Longy School is here:

http://www.boston.com/yourtown/cambridg ... _to_longy/

[absinthe]

A sad reflection on the current peddling of classical (small c) music. It's always had a tinge of show about it but nowadays everything is about celebrity, glamour, sex. If an aspiring artist "hasn't got it" and can't be sculpted into it with the resources of recording companies, too bad.
People are gradually having their expectations managed down. If lack of talent can be disguised by a nice looking piece of crumpet or a toyboy - plus some recording jiggerypokery, so be it. For 999‰ of people, does it matter? We're talking about taste summed up in the ClassicFM's top 100 chart here.

(Although, all to the good if ClassicFM does lead a few people to explore further )

[Holden Fourth]

I just became an instant fan of Gidon Kremer whose views I totally espouse.

[karlhenning]

Man, the thought that I missed Kremer right here at Longy would drive me bonkers, except that I had to pick relatives up at the airport that evening anyway.

I've already been amassing all manner of Kremer (and/or Argerich) recordings this year . . . .

Cheers,
~Karl

[Modernistfan]

Good for Gidon! There was a time when the major labels promoted artists on the basis (largely) of artistic merit. Unfortunately, that time has long since passed. Totay, the major labels promote solely on the basis of physical appearance and hype, artistic merit be damned! Worse, the rest of the classical music world tends to follow their lead. It would be unthinkable for such a modest yet over-hyped talent as Gustavo Dudamel to obtain a post as prestigious as that of Music Director of the Los Angeles Philharmonic unless he had been promoted by Deutsche Grammophon. Yes, it is possible for artists who are deemed not sufficiently physically attractive or not hype-worthy or who specialize in the sort of repertoire that the major labels do not want to emphasize (two examples are Fred Sherry and Ursula Oppens) to have significant recording careers with Naxos or other independent labels, but such artists will be more or less ignored in the public eye. Even artists who do not measure up in the hype department but are still signed by major labels (an example is Kent Nagano, now recording for Sony) get no promotion and are treated largely as fungible commodities with no attempt at distinction.

I fear for our art form under these standards.

[Chalkperson]

I'm happy to see him retire, I never understood what people saw in his playing, it has always eluded me...

[7flat5]

I'm happy to see him retire, I never understood what people saw in his playing, it has always eluded me...

In the last two weeks, two of the hardest workers I know, at my place of work, have submitted resignation letters. Both were of "retirement age" but did not retire. They resigned, because of unreasonable demands, lack of support, and fed-uppedness. They were, in fact, both encouraged to change that word "resign" to "retire" in their letters. Looks better for the institution. They both refused, to make a point.

I hardly hear Kremer retiring. He resigned.

[Chalkperson]

I'm happy to see him retire, I never understood what people saw in his playing, it has always eluded me...

In the last two weeks, two of the hardest workers I know, at my place of work, have submitted resignation letters. Both were of "retirement age" but did not retire. They resigned, because of unreasonable demands, lack of support, and fed-uppedness. They were, in fact, both encouraged to change that word "resign" to "retire" in their letters. Looks better for the institution. They both refused, to make a point.

I hardly hear Kremer retiring. He resigned.

I'm happy to see him resign or even retire, I never understood what people saw in his playing, it has always eluded me...

[absinthe]

Hey, Chalkie!

Nice to say hello again
Hope your wife and yourself are keeping well.

It's 4.45am and I can't sleep. The Nitrazepam isn't working (my current pharmaceutical treatment) so I thought I might listen to some Brahms.

[John F]

If any musician active today is unique, it's Gidon Kremer. He's the thinking man's and woman's violinist. The sound he produces is not conventionally beautiful, but his repertoire, his interpretive ideas, the organizations he's founded (the extraordinary Lockenhaus Festival, Kremerata Baltica), his sense of humor at encore time, his sheer unpredictability, set him apart. If there's one player I want not to withdraw from musical activity, it's Gidon Kremer.

Fortunately, he hasn't withdrawn, or resigned, or retired. To the contrary, he's just played that recital in Cambridge, again unpredictably, with as unpredictable a program as I've recently come across. But who knew about the concert in advance? And will he keep his forthcoming engagements in New York and Boston, or cancel them as he did Verbier, for the same reason? We don't know.

Kremer writes of being "rather exhausted," and no wonder, when you think of all he does. Perhaps this has something to do with his playing of works by Bach and Shostakovich (not a solo work but the trio) at Longy, which Jeremy Eichler found unsatisfying; he had no criticism of the Silvestrov and Gubaidulina rarities. Nobody is at their best all the time, and I hope this was just a one-night thing and not a symptom of burn-out.

[maestrob]

About ten years ago, in one of the last concerts I attended in Carnegie Hall, I heard Kremer play the Berg Violin Concerto with Vienna, led by Harnoncourt, in the most riveting performance of the work I've ever heard. Moved me deeply. Kremer's tone was a bit rough, but he meant every note, and his concentration was ferocious.

One of the top ten live events I've witnessed.

From his letter, I'd say he's finally learning to say no, which in life is a good thing.

[John F]

Friends and I heard them in that program in Vienna (it was the Philharmonic), and we were really moved. Didn't know they also played it in the US - glad they did.

[Guitarist]

I never interpreted his letter as a farewell statement to concerts altogether, but rather he's fed up with that festival and those of its ilk--those that promote image over substance.

A few years ago, I heard him play a riveting performance of Gubaidulina's Offertorium, and years before that, I saw him with Martha Argerich. To this day, I've never heard a more ferocious Bartok Sonata No. 1. His tone can be rather thin--borderline grating, but there's no doubting the intelligence and sincerity behind the notes.

[Chalkperson]

His tone can be rather thin--borderline grating, but there's no doubting the intelligence and sincerity behind the notes.

Right, maybe I just prefer little more beauty over non-stop intelligence, never doubted his sincerity, I have many of his recordings, mainly because of the repertoire, just never truly enjoyed any of them, some of his very early stuff I like a bit more.

[stenka razin]

If any musician active today is unique, it's Gidon Kremer. He's the thinking man's and woman's violinist. The sound he produces is not conventionally beautiful, but his repertoire, his interpretive ideas, the organizations he's founded (the extraordinary Lockenhaus Festival, Kremerata Baltica), his sense of humor at encore time, his sheer unpredictability, set him apart. If there's one player I want not to withdraw from musical activity, it's Gidon Kremer.

Fortunately, he hasn't withdrawn, or resigned, or retired. To the contrary, he's just played that recital in Cambridge, again unpredictably, with as unpredictable a program as I've recently come across. But who knew about the concert in advance? And will he keep his forthcoming engagements in New York and Boston, or cancel them as he did Verbier, for the same reason? We don't know.

Kremer writes of being "rather exhausted," and no wonder, when you think of all he does. Perhaps this has something to do with his playing of works by Bach and Shostakovich (not a solo work but the trio) at Longy, which Jeremy Eichler found unsatisfying; he had no criticism of the Silvestrov and Gubaidulina rarities. Nobody is at their best all the time, and I hope this was just a one-night thing and not a symptom of burn-out.

John, very well presented, my friend. Kremer is one of the most uniquely gifted musicians in the world. Everything he does may not be the 'best', but his performances are always worth listening, too. A great artist......

Regards,
Mel

[John F]

Kremer's sound was more conventionally seductive when he won the Tchaikovsky competition in 1970. It does matter to me, but only a little, that he doesn't bother to produce that kind of tone when the music can use it. It's kind of like Paul Scofield's gravelly voice, whose sound never gave pleasure as Gielgud's did, but that was a small price I willingly paid.

Anyway, a Kremer concert is rarely all work and no play. At encore time, you never know what's going to happen. This is from a Kremerata Baltica concert:

[Chalkperson]

It's kind of like Paul Scofield's gravelly voice, whose sound never gave pleasure as Gielgud's did, but that was a small price I willingly paid.

I could happily listen to Paul Scofield's voice until the Cows Come Home, i'm glad he does not have the Larry and Johnny type of voice as I think those two were quite enough, Charles Laughton however, now there's a truly incredible speaking voice...

[erato]

I think Bryn Terfel may have been the last ugly artist to make it large commercially.

[karlhenning]

Without at all suggesting otherwise than that our esteemed Chalkie is fully entitled to an opinion of his own, and to speaking his mind (and indeed, I am delighted to find him here with sleeves rolled up ; ) . . . I've not heard a Kremer recording/performance yet where I thought the tone other than beautiful.

Cheers,
~Karl

[Chalkperson]

Without at all suggesting otherwise than that our esteemed Chalkie is fully entitled to an opinion of his own, and to speaking his mind (and indeed, I am delighted to find him here with sleeves rolled up ; ) . . . I've not heard a Kremer recording/performance yet where I thought the tone other than beautiful.

Cheers,
~Karl

Then I guess you enjoy Chalkboards and Fingernails too...

[karlhenning]

Without at all suggesting otherwise than that our esteemed Chalkie is fully entitled to an opinion of his own, and to speaking his mind (and indeed, I am delighted to find him here with sleeves rolled up ; ) . . . I've not heard a Kremer recording/performance yet where I thought the tone other than beautiful.

Then I guess you enjoy Chalkboards and Fingernails too...

Well, I do like Maksim Dmitriyevich's symphonies set on Supraphon ; )

Cheers,
~Karl

[Chalkperson]

Without at all suggesting otherwise than that our esteemed Chalkie is fully entitled to an opinion of his own, and to speaking his mind (and indeed, I am delighted to find him here with sleeves rolled up ; ) . . . I've not heard a Kremer recording/performance yet where I thought the tone other than beautiful.

Then I guess you enjoy Chalkboards and Fingernails too...

Well, I do like Maksim Dmitriyevich's symphonies set on Supraphon ; )

Cheers,
~Karl

Ah, the Set that sounds like a Teacher lecturing to an empty Classroom...

[Lance]

I, too, have found Gidon Kremer's repertoire fascinating in every sense. What got me started on Kremer was his use of the Schnittke cadenzas in Beethoven's Violin Concerto in D Major, Op. 61 [Philips 410 549], recorded in 1980 with the Academ of St. Martins-in-the-Field under Sir Neville Marriner. Talk about riveting! The blending of old and modern in the melding of these cadenzas was staggering, and meaningful, and I am not normally prone to giving high praise to more contemporary composers, but it was my introduction to Schnittke and I have been fascinated with his work ever since.

I guess what is so entrancing (for me) of Gidon Kremer's work is the wide expanse of his repertoire, as noted by our John Francis. But, I, too, have found Kremer's musicianship, virtuosity, tone quality and everything else to be above reproach. I remember broadcasting a Kremer tribute on my radio broadcasts and included his "Happy Birthday" CD [Elektra-Nonesuch 79657] with music by Heidrich with Kremerata Baltica. It brought forward many calls and e-mails to me. Yes, it was the rare repertoire, but it was the musical manner[/i presented by Kremer that caused all the stir.

Also, I would not want to be without Kremer's account of all 10 of Beethoven's violin sonatas with Marta Argerich at the piano as offered on DGG. I have some 50 CD recordings by Kremer and truly appreciate 99.9% of them.

I can also understand his comments on withdrawing on some of his activities. We all need to take a break sometimes and even if we don't want to, we feel it inside. I wish him well. ♫