Leaders of the No School

Peter Burwasser on Classical

by Peter Burwasser

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Published: Nov 7, 2007

National identity has always been something of an obsession in classical music circles. Is a certain pianist of the Russian school (fiery, virtuosic), or the German (probing, precise)? Does the soprano deliver her words with a Gallic coolness or an Italianate verve? In recent times, it has been suggested that such questions and concerns are obsolete, that a more stylistically encompassing pedagogy has taken over in an era when cultural isolation is improbable. But a huge shift in the demography of classical music, especially in America, has reinvigorated the debate, and that is the extraordinary influx of Asian musicians.

This is the topic of an excellent and thoroughly realized new book by the Japanese pianist Mari Yoshihara, Musicians from a Different Shore (Temple University Press). While there are some generalizations dealt with, what is most remarkable about Yoshihara's study is the precise layering she finds from so many aspects. At the risk of reinforcing stereotypes, let's just say that she slices and dices the topic with the precision of a sushi master. It is the only proper approach. As she notes, there is a difference between native Asian musicians and Asian-Americans. Perhaps more importantly, there are major differences among Asian cultures themselves. The vast majority of the new wave has Eastern Asian roots, specifically, Chinese, Japanese and Korean. Each country has unique cultural traditions, and, as well, historical animosities (Chinese musicians have had tough treatment in Japan). The chief complaint against Asian musicians, that they tend to be technically proficient but emotionally restrained, is handled with nuance and acuity. A frank discussion augurs against any firm conclusions one way or another.

This broad background, superbly researched, adds vital resonance to this subject. But perhaps the most telling sections of the book are the two "Voices" chapters, which are a series of personal vignettes from individual Asian musicians. The unifying theme, as it turns out, is divorced from ethnic or nationalistic issues. It is the love of music. In many cases, this passion rallies to overcome challenges that are nearly unimaginable to modern Americans, such as the devastation of post-war Japan, or the depravities of Mao's Cultural Revolution. In almost every case, these artists identify themselves as musicians first, and by nationality secondarily.

Asians and Asian-Americans are also disproportionately represented in every other aspect of higher education. Envy of this situation is simple racism. This is a success story that should be celebrated, and emulated.

(p_burwasser@citypaper.net)

 

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