Google Alerts are a wonderful thing. I have ones set up for “cello” and “cellist,” among others (which is why I’m aware of the countless articles about the non-existence of “cello scrotum,” mentioned in my previous post). Today’s “cello” alert brought this article about cellist Kristina Reiko Cooper, who has what I would call a post-classical career (i.e., one that includes but isn’t limited to traditional classical music). Her website is terrific, with lots of audio and video clips, and some great photos, including this one.
Category Archives: post-classical
Is classical-music stagecraft inherently gimmicky? This reviewer seems to think so:
Next came R. Murray Schafer’s 1981 String Quartet no. 3. Schafer is one of the most distinguished quartet writers of our time, though one of the quirkiest as well. The majority of his quartets have gimmicks of one sort or another. The Third, for example, begins with the cello alone on the stage, soon to be joined by the other three instruments, each doing its own thing without much regard for the others.
But on the other hand, maybe this sort of thing is better understood as “post-classical” than “classical.”
There’s an element of theater in any live performance. It’s definitely there in a standard formal classical concert, with the dress of the performers, the placement of musicians on the stage, the lighting, the entrances and bows, etc. And the gyrations of the players, or the conspicuous absence of body movement . . . there’s always a theatrical element. The standard concert ritual is so familiar that we become blind to it. Some pieces, some performers, purposely challenge the standard ritual by embracing the theatrical element more overtly.
What a great example of a “post-classical” approach to music making, marketing, highly eclectic, multi-genre programming, alternative venues, etc. And, reading the member bios, some great examples of dual-career musicians: doing something else you also love for much of your living, and playing music professionally.