With roughly 6,500 languages spoken in the world today, music is undeniably the “universal language” because it crosses barriers such as background, nationality, and race. It is even often described as the universal feature of the human experience. As an American Musicologist specializing in the realm of classical music performance and history, Dr. Richard Taruskin studies the specifics of this mysterious language. Born in New York in 1945, Dr.Richard Taruskin studied Russian at Columbia University before he started his musicological studies. In the mid 1970s, he earned his Ph.D in historical musicology at Columbia University while writing for The New York Times, personal academic articles, and other presses. Following his graduation, he preceded to become the professor of Music at University of California, Berkeley. His 6-volume book “The Oxford History of Western Music”, focuses respectively on western music literature, which served a historical event for literary in musicology and conceivably the most in-depth study of music history. Unlike other musicologists, Dr. Richard Taruskin claims that musicians should adhere strictly to what was notated in musical scores, as composed by the creators. In recent decades many early music performers have followed this pattern in music as they played exactly what was composed in the music scores. However, as music progressed to different eras, performers and composers have slightly changed minute details as they perform the work of the early composers to display their own characteristics. This may include minute details such as switching the dynamics or articulations of a piece. With the addition of the musician’s attitude and play style, he/she can express a beautiful piece of music but also adding a hint of originality to the piece being played.
Displaying the characteristics of a major significant public intellectual, Dr. Taruskin openly displays his ideas on the theory of modernism and the theory of performance through his many novels. The technique he used to perform and his classical music impacted the social, cultural, and political backgrounds, and in 1980 Taruskin was so highly praised that it was awarded the Alfred Einstein Award for his intellectual excellence in his musical ideas. Taruskin is an outspoken critic of “authentic” performance practice movements that the public gradually started to get interest in the 1960’s. Unlike other critics, he does not reiterate on how music was performed in the earlier times or the necessary practices of using instruments from the time the period in which the music was written. Instead, Taruskin disagrees with some of the claims and conventions adopted by musicians attempting to reconstruct historical performance practices.
In the classical music industry, J.S. Bach's The Well-Tempered Clavier Prelude and Fugues are known to be baffling difficult as it challenges both the fundamental and advanced technique of the pianists. Bach’s composition of 48 Preludes and Fugues organized by all the major and minor keys has long been a bible for keyboard players. However, there are many different versions for Bach’s music, with different interpretations as the versions may vary. With this in the market, there have been many critics on which version displays the true character of Bach. Critics here side with Taruskin’s style in performance as they value the version that best captures the style of JS Bach’s Prelude and Fugues. In these situations, it is the Urtext edition that musicians want to learn these Preludes and Fugues from because it is the version that best shows the articulations that J.S. Bach composed. The diverse versions of both book one and two Well-Tempered Clavier Prelude and Fugues are just interpretations that individuals add onto the score to emphasize certain parts. However, this is exactly what Taruskin claims to be a modern distortion of music where composers were not exact in notating their music so performers took significantly more latitude in their interpretations which resulted in these different versions of J.S. Bach's The Well-Tempered Clavier Prelude and Fugues.
Although there are many musicologists that side with Taruskin’s claim on how music should be played strictly with the composers notations, there are many individuals that disregard this claim and support the originality of one’s expression in music. Lang Lang, a concert pianist often known for his individuality due to the unique interpretations and character during his performances. The style of this concert pianists completely distorts Dr. Richard Taruskin’s claims on how a piece should be performed because Lang Lang not only disregards the notated articulations in the score during a performance, he distinctly adds his own attitude into the pieces while playing them. At a time where there was a decline in classical artists who were able to sell out a concert hall, Lang Lang’s playstyle appealed to the mass of diverse crowd for its originality and the diversity of the audience. At age 26, Lang is one of the most visible, high-demand classical musicians today. Despite the decline in interest in classical music by the audience, his concerts usually sell out (he played to an audience of 63,000 in New York Central Park) and he’s sold more than a million copies of his CDs and Videos. Therefore there is no clear definition on how music should be interpreted as both are able to speak to music enthusiasts. Lang Lang is known for his interpretation being a distortion, a “monumental gesture to stereotypes of classical music as great art” (Midgette). In 2004, Lang’s performance was well documented on eight Deutsche Grammophon CDs, the most recent titled “The Magic of Lang Lang, and in YouTube clips, the most popular called “Lang Lang Gone Mad.” Reactions such were outrageous and divided. For those who love him, he is the Picasso of the musical realm. For those who hate him, they cannot wait for Lang to stop.
Whether one is in favor of Lang’s style or not, one can distinctly point out what is different. For Lang, the notes in the score are inviolate, and never before has any pianist executed them with such deadly accuracy. Everything else, though is up to personal preference. Articulation is wholly willful, with legato lines punctured by unmarked staccato and staccato lines distorted by unindicated sforzandos. Tempos are extremely supple, turning and twisting with scant regard for bar lines or tempo indications. Dynamic markings, along with crescendo and diminuendo marks, are ignored or reversed as of then as obeyed.
Whether or not one enjoys Lang’s original playing style, one cannot deny it’s attraction to the younger listeners. As the era progresses, more and more individuals begin to create their own version of an original piece. Where older pianist’s faultless fidelity sounds overly scrupulous to them, Lang’s ostentatious individuality sounds recklessly impetuous. While the older generation disdain his indifference to tradition, his contemporary listeners fond of Lang's freshness, his freedom, and his obvious delight in his own prowess. Lang’s contemporaries include not only the already established European and American listeners but the fast and growing Asian market as well- making him a truly global phenomenon.
On the contrary, Chinese pianist Yundi Li, may not be as sensationally renowned as Lang Lang, Li shares the same belief as Taruskin. Despite the fact that both play with extraordinary technique, wonderous melody, and delicate passagework combined with steely power, many consider Mr. Li as an temperamental opposite of Mr. Lang. Mr. Lang is categorized as the romanticized interpretations, with unconventional crescendo mixed with sudden improvisation, Mr. li has been cooler, more straightforward and elegantly restrained. Yundi was the first Chinese ever to win the International Frederic Chopin Piano Competition at the age of 18. Despite the early succession, Yundi has been accused of being overly reserved, especially because unlike Lang, he shies away from the limelight and emphasizes on the musical piece rather than the performance itself. “I want to share my understanding and my feeling of music. I hope more and more people will understand the charm and fun of classical music.”- Li. Li is keen to bring classical music to younger fans. He believes a show at the Coliseum could be a stepping stone for those curious to find out more about this type of music.
Taruskin’s strong belief against claims and conventions adopted by musicians attempting to reconstruct historical performance practices can also be seen as a respect for the composers of classical music. When the composer is creating a masterpiece, every note, detail and articulation matters. By following the composer’s original creation of the piece, it is a sign of respect for every note and articulation the author adds into their piece of music as well as the author himself/herself. Therefore when performers disregard these minute details, they are changing the music composed by the original author as they add articulations of their own when they perform the original piece. This can be something adjudicators look for during major piano competitions, yet it is a very abstract blur on whether it is correct to perform with Taruskin’s belief in following strictly with the music or adding one's own style and originality into the music. As a performer on a national level, Lang Lang often drags out adagios melodramatically which completely disregards the composers notation and composition. Yet with his skill and technique there is no denying his enormous talent. His style is what makes him unique even when he breaks the traditional rules Taruskin claims to be a “modern distortion” (McBride).
With the diligent works of Dr. Richard Taruskin, listeners are able to understand the history and underlying meanings music can carry and how this language can be expressed through the performance of instruments. Dr. Richard Taruskin has established a new perspective in Western music culture; His featured books, research, and performances have influenced the public significantly and has promoted creativity in the music world of Russian and Western history. His work not only shows respect for composers, but also expresses how music can be expressed as a language through the performance of classical work in a straightforward and elegantly restrained way. As a musicologist who specializes in modern Russian music and Western music, Dr. Richard Taruskin has truly inspired musicians and music lovers world-wide while being recognized for his diverse perspective in the expression of music as he received numerous awards and honors for his intellectual works including the renown Kyoto Prize in Arts and Philosophy.
As generations go by, one’s classical music preference may change due to the era, however the appreciation of different types of classical music remains. As quoted from Professor Stephen Mack’s blog “Are Public Intellectuals a thing of the Past?” controversially stated that “public intellectuals” are worried about the uncertainty of their influence. We can all strive to be public intellectuals. By contributing to society little by little, our articulated thoughts will combine into a more succinct thought. Just like how Dr. Taruskin had published many books and presses, such as Opera and Drama, The Oxford history of Western Music, Stavinsky and the Russian Tradition, he has shaped the world differently as a public intellectual. His claims from his many works have inspired and brought out new perspectives in the interpretation of music. His intellectual achievements have brought out ideas into the musical field and reflect a different characteristic in modern society. His published works display public discourse and bring new ideas to the field giving him recognition and honors through his written work. Despite the fact that Taruskin believes that changing original pieces may offend the composer and the piece itself, it is evident that classical music with a twist is greatly appreciated. As time evolves, listeners will acknowledge both the artists who stay with the original idea or adding a hint of his/her own character. This is what gives music its unique characteristic as the different interpretations of the pieces go along side with speaking a different language.
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