Elitism Challenged: How to judge classical musicians?

If it's one thing I don't like, it's gimmicky classical musicians. What prompts talented instrumentalists with otherwise great musical integrity to record a DVD of the Vivaldi Four Seasons wearing sunglasses, or pick up the viola to show how versatile they are as violinists, is beyond me. I don't want to mention any names in particular, but I'm sure if you think hard, you'll be able to think of a few people.

In fact, while brainstorming, the name "Joshua Bell" might pop up in your head. Dangerously flirting on the edge of middle-age (he turns 40 next year), yet still retaining that boyish American charm, Bell is most likely the dream of every classical music business manager. His good-looks have served him well with audiences but have proved to be a curse amongst "serious" classical musicians. I even found myself skeptical of his violin playing years ago, before I heard him play the Brahms Violin Concerto live.

I was working at a summer music festival selling tickets. Being a classical musician myself, I decided to head backstage to see if I could get his autograph. The only recording I had of his at the time was of Gerswhin pieces arranged for violin by Heifetz, which was entertaining, but it was always dominated by my Jacqueline du Pre and William Primrose CDs (this was before iPods). Earlier that day I drove out to Borders to pick up an album of his that had more substantial repertoire (and that also wasn't illegally copied). I tore his Sibelius Violin Concerto off the shelf in the classical music section, paid quickly, and didn't even bother to unwrap the plastic until moments before I saw him.

With autographing marker and CD in hand, I sought him out backstage just an hour before the concert. He's cute in person, but not as great-looking as people make him out to be. He looked worn, probably due to his extensive touring schedule, but that didn't stop him from being subtly flirtateous while signing in the inside jacket of his (or my, I don't know which) CD.

It was very gracious of him to take up his pre-concert reflection time to sign the CD of some jailbait girl, whom he probably thought was just another ditsy girl who swooned over his looks and his Strad. The most memorable part of that evening, despite meeting him, was the concert portion. His Brahms was unbelievable. Visually he is very captivating; he shifts his weight from foot to foot frantically with the music, he sweats profusely, and he makes these adorable faces when he reaches the high points of phrases.

I thought, "Yeah right, this guy might LOOK good---but what about when you just listen to him?" I closed my eyes and it turns out that he sounded even BETTER. His upbringing and marketing may have been that of a cheapened child prodigy, but he is no child performing parlor tricks on his violin. He is a serious, serious musician. To make sure I wasn't imagining things, as soon as I got home I listened to his Sibelius recording. Like most musicians today I'm sure he did a lot of takes and editing in the studio, so I'll give any naysayers that, but otherwise his interpretation and execution were spellbinding. I prefer that recording to the one of Heifetz himself playing Sibelius.

I was inspired to write this when I searched for the Orpheus Chamber Orchestra on YouTube. One of the first videos that popped up was Joshua Bell playing the Beethoven Violin Concerto, which my evil and skeptical inner voices told me to watch and critique. I honestly could not say anything. As always Orpheus was superb, and Bell was not only passionate, but completely honest. I also enjoyed his sound on the violin very much.

So, what to think now of Vengerov, who moves around too much without drawing out much of a sound? Or of Nigel Kennedy, whose poorly-chosen lifestyles have led him down a difficult path ending in modernized baroque music? Their accomplishments and enduring legacies must be attributed to more than great publicists and star-struck audiences---and I'm glad that Joshua Bell showed me that once again with his Beethoven Violin Concerto. Perhaps someday classical musicians won't have to rely on gimmicks to generate audiences, and perhaps audiences could take the time to appreciate musicians for what they have to give instead of their possession, or lack of, glamour.