Re: GG, Helfgott & Dutton

[Arin Murphy <la_murph@alcor.concordia.ca>]

Hail Tim!

I saved the DD article until I had time to read it thoughtfully instead of
skimming it. I'm glad I did; it needs room.

I'm not sure if this is odd or not, but I hadn't heard of DH until Shine
came out and a slew of books and recordings were released. I've managed to
avoid both the movie and any recordings - though I was tempted to pick up
the soundtrack; after reading DD's article, I think I'm glad I didn't.

If GG did vocalise during recitals, chances are the audience didn't hear
it overmuch, nor was it intrusive (or so say all of us who like GG
becuase of his vocalising, right guys? :). It sounds like DH did
all this with the aim to intrude on his own performance, to get that
reaction out of the audience. As for musical technique, well, having never
heard him I can't say... but if DD is right, then DH's attraction is his
novelty, not his genius. I think his audiences might be confusing genius
with eccentricity, no? Our friend GG was both. If you're a genius,
eccentricity is allowed, expected, even encouraged; if you're eccentric,
genius doesn't necessarily follow. The technical merit of GG's musical
performances (I call them that to distinguish them from stage antics)
pardons his odd performance behaviour. 

It might also do to remember who the audiences are, as DD points out. DH's
audiences are filmgoers, not necessarily musical aficionados. GG's
audiences were often knowledgeable concertgoers. If one collected a panel
of conductors and music critics and gave them a performance by GG and DH
to judge, it sounds like GG would win out for technical merit and artistic
impression. (What is this - a skating competition?) 

Granted, performers often perceive that their audiences need some sort of
visual hook to pull them in - an appeal to more than one sense, so to
speak. Witness violin players who close their eyes and sway all over the
stage. Granted, closing one's eyes helps focus (been there, done that),
but excessive swaying damages technique (unless you're really, *really*
good) and in fact can ruin the experience for some concertgoers. Again, I
don't want this to sound elitist, but there are two kinds of concertgoers:
the ones who want to see/hear something impressive for their money (you
know - the ones who want to hear lots of quick high notes and who think
the faster it is the harder to play, whereas I'm of the opinion that if
you can grab an audience during a slow movement, creating that perfect
atmosphere where you don't dare breathe, then you're a heck of a lot more
talented), and those who can appreciate talent and musicality no matter
how it's packaged. I went to a chamber music concert a few months ago, and
the violin soloist's violin had a nasty wolf-tone on the highest string,
so it shrilled and bit back and all sorts of things. I loved her
performance; she had the most animated interpretation I'd ever heard of
Mozart's 5th violin concerto, and a terrific musical sense; but most of
the people around me filed out muttering about how terrible she was and
how badly she'd played, simply becuase of the unfortunate response of her
instrument that day. If I'd been her I'd have been humming desperately,
trying to atone for the deficiency of my instrument :).

So DD's article didn't seem all that surprising to me. I could relate to
it without truly knowing anything about DH. Granted, I should acquaint
myself with his work to be fair; but DD's `review' was so matter-of-fact,
so evidently not an attack, that I don't really feel the need.

Besides, the money can be better spent on all those GG CDs I don't yet
own. Kirsten - you have my deepest sympathy. And I can understand how
aggravating yet comforting it must be to know that the idiots who stole
your life didn't have the culture necessary to recognise some of your most
valuable possessions. 

So. There's my tuppence. Anyone ever heard DH himself, or hear recordings?
How off-the-mark was DD?


Arin Murphy
Student, Savoyard,
Bookseller, Cellist-By-Night

	--------------

"It really isn't difficult if you give your whole mind to it."
				-Lady Angela, Act 1
				   Gilbert & Sullivan's `Patience'