However, as for your second point re: the classically trained musician, isn't the problem that the classical music world is far too conservative? I know of several pianists who I never want to hear again, (Evgeny Kissin, for example) who seem to have garnered fame through a Richard Clayderman-esque talent for making everything taste of sugar or sound monumental (a perfect example of the complex Adorno speculated that players of Rachmaninov's sonatas must labour under).
Meanwhile, I hear so many pianists at the Royal College that have so much more to say about the world than a lot of performers and would relish the opportunity to play on a bigger stage, much more than established players on a global junket (I have seen Mitsuko Uchida play on several occasions and she is either fantastic or simply mediocre. How is one expected to retain the same enthusiasm or freshness of interpretation when one is whisked around the word playing the same piece for large fees?). From what people have told me, unless you are young and marketable, it is hard to get a break: even potentially great musicians are being kept out of the limelight because they are too old (or, though it's not said, too ugly?).
Like every other industry, the classical industry is inclined towards conservatism; you are correct that there is always talent involved (you very rarely hear a wrong note played) but comparing Brendel or Pollini to Kissin or Pires is to see where the classical industry is going wrong; look at recent signings to EMI and you can see where it's going. Where is the experimental repertoire that would sustain it?
Simon
> Ps. I see that in the new brave world of McMusic, a
> kid who can play
> three notes and push a few computer buttons is not a
> taylorised-down
> musical assembly line worker, while a classically
> trained musician with
> years of rigorous training and experience is.
>
> War is peace, freedom is slavery.
>
>
> Wojtek
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