concert hall

The Glamour and Substance of Music: A Reflection on Artistry

Many still perceive a musician’s life as shrouded in mystery. At first glance, the world of musicians appears glamorous—a shimmering facade. Music videos featuring their favorite artists show them parading with wads of cash, glamorous women, and fancy cars. Concerts of popular music are a spectacle of shimmering dancers, pyrotechnics, and individuals pretending to play musical instruments. The expectation is that a successful musician is an excellent musician, and an excellent musician lives a glamorous life.

The most popular music touts a life full of the darkest habits and pleasures; ultimately, glorifying money, sex, illicit drugs, and violence as an escape from life’s hardships. Music becomes the conduit through which anyone can promote their new Messiah. And so, those who don’t even know what a dominant chord is can spew out vitriol and hate language without consequence. The people chant, “Give me more! It has a nice beat.”

Don’t get me wrong; I will continue to value freedom of speech. I will continue to value freedom of artistic taste and expression; however, it can be somewhat disheartening when those who consume music purely for entertainment seem to prioritize glamour over excellence.

One of my favorite music videos is that of the renowned pianist Evgeny Kissin playing “La Campanella” in one of the finest halls, elegantly dressed in a tuxedo. It was an exquisite and expertly executed performance. At the end of the video, you can see him waiting at the back exit of the concert hall, holding a bouquet of flowers. The big takeaway for me was that he did not have a full audience, and when his ride arrived, it was a Volkswagen instead of a limo.

Don’t be fooled. Excellence transcends time and space, and for some, it still holds immortality. It is true for Wolfgang Amadeus Mozart, even though he was buried in a pauper’s grave. It is true for Joseph Haydn, who chose humble service as a working musician over a glamorous life in Vienna. True musical excellence endures beyond material glamour.

I invite you to explore my new piano compositions, Seven Pieces. I believe in pursuing a passion for true musical artistry, in transcending fleeting trends, and crafting music that resonates with timeless elegance.

Seven Pieces by David E Gonzalez is available on many online music streaming platforms. Look for it at your favorite online store.

False Expectations

I was set up for false expectations.  I think. As I sit listening to a recording of Beethoven’s Sonata No. 23 in F minor, I cannot go without wondering if I was set up for false expectations. Piano recordings sound huge, and so do a lot of the orchestral recordings readily available. Many of the recordings, of Haydn, Mozart, Handel, etc., are almost explosive.

While running the usual click here and there through Youtube, I came across a strange video put out by Viviana Sofronitsky playing on “period correct” pianos built by Paul McNulty.  In the video, excerpts of five composers are played on piano copies similar to the ones used by each composer.  What a thought, most of the recordings that I would gravitate to by any of these composers would probably be played on Steinway and Sons concert grands.  I’m not saying that this is a problem or misleading, but for a bit of ignorance Mozart sounds like Mozart on a beautiful and powerful grand piano.  To hear his music on a “piano forte” doesn’t seem to sound right at all.  It almost sounds like a spinet in somebody’s living room and not anything that would have been played by Mozart in a concert hall.

Some years ago, I attended a “piano forte” concert. The instrument was tiny in comparison with today’s concert pianos. Three guys effortlessly brought it in. Then the pianist did a quick touch up to the tuning on stage, just before the concert. The stage swallowed up the little thing, as well as the sound. The same can be said of orchestral recordings.  …Sit in a Haydn orchestra as compared to a Wagner or Stravinsky orchestra, and you may find yourself asking if the rest of the musicians are staging a strike.

History tells that the creative imagination of composers such as Bach, Haydn and Beethoven were never confined to the instruments they played and composed on.  Bach composed his cantatas on a clavichord, and the thing sounds like a toy.  It is, however, fascinating to hear their music on period instruments, and it can be almost puzzling to imagine how music and music composers were held in such high regard in society.  Today we have great concert halls, modern instruments, amplified acoustics and sound effects that almost dazzle the imagination.

Before I take another vinyl for a spin, I think that I’ll consider listening to some more music played on period instruments.