In the mad dash to make classical music more ‘appealing’ to more people, the representation of youth is a priority for record labels. But is that a good thing?
I attended the Decca Summer Drinks ‘thing’ last night in Central London. I appreciated the invite. I appreciated the wine. I appreciated the balloons. I was less keen on the lack of AC in the main performance ‘space’. But you know, free wine.
We heard from Isata Kanneh-Mason on piano (playing Clara Schumann) and from Milos on Gee-Tar with accompanying septet previewing his new release featuring arrangements of Sound of Silence and a Portishead track.
Yes. That’s right. Simon and Garfunkel and Portishead.
This in amongst a couple of promos featuring Decca Classics’ illustrious past.
It was a confused affair. At least I was confused. On the one hand Decca are keen to celebrate their archive. On the other hand they’re even more keen to underline their commitment to diversity, youth, and accessibility.
In doing so, I wonder whether someone at Universal Music/Decca HQ is deliberately or inadvertently overlooking a truism.
Decca’s present-day lead signings are undoubtedly talented but painfully young. As an audience member (and according to some an ‘influential commentator on the subject’) I don’t buy in to what that new talent offers. That’s not to say I don’t believe that Isata, Sheku, and Jess Gilliam will be powerful forces in the classical music world. Rather, it’s that I recognise that they are at the beginning of their careers. And yet it sometimes feels (as it did last night) as though those artists are at the pinnacle of them.
And as lovely as Milos absolutely is, and as striking as his snazzy shirt was last night, I do think releasing an album of pop songs arranged for septet and acoustic guitar basically puts him on the same level as Mantovani.
There’s nothing wrong with anyone who wants to listen to that, of course. Any rabble rousers out there who get a whiff of snobbery or elitism on my part can put down their arms.
The irony is that hearing Milos playing Portishead last night, prompted me to head back to the considerably more satisfying original.
It just got me thinking. Is this what Milos had hoped for when he studied his art? And is this what record industry executives really think people like me actually want?
Or is it worse than that?
Is it the case that record industry execs don’t actually care what I and people like me think?