I wrote a piece for today's Sunday LA Times about violinist Itzhak Perlman. It's an honest appreciation, but it also talks about trends in violin-playing, and notes how not only is the Household-name Violinist Ideal sadly no longer a reality in 2015, but that we should appreciate Perlman specifically for all that he has done and continues to do as a musician, violin ambassador, teacher, and inspiration. There is some criticism of a new collection of previously released CDs -- but the critique is light and mostly aimed at a dollar-conscious record label -- not so much Perlman, whose playing on those discs is strong and of a piece with violin performance style in America at the time. (For a recommendation from my piece, try this recording of Perlman playing a movement from Leonard Bernstein's Serenade after Plato's Symposium.)
Now, I've had some conversations with my colleagues about the piece, and it has led us to discuss what needs to be said in appreciation essays about figures like Perlman. My feeling is that to characterize Perlman's playing as "schmaltzy" in the way that it reads in the subheadline in the print version is somewhat mean-spirited and unnecessary. I write in the article that some "on-trend" listeners may feel that it's schmaltzy (even Perlman would admit that he doesn't approach music coldly), but I don't use the word in an aggressive way, and I didn't write the subheadline, or the headline, for that matter.
It's always hip to be vicious and unyielding, and it gets eyeballs -- but I went through that phase as a very young critic already, and I didn't like what it brought out in me, what my work may have done to others, or the kinds of people it introduced me to on a regular basis (especially here in Los Angeles, where one late critic spent time trying to take down his colleagues). I write honestly, and I always choose the truth. Good critical thinking will always win, and that's important to me. I write about trends and performance styles specifically for this reason. Context.
Sadly the subheadline in the print version of this essay--and I recognize that some people only saw the print version, that's why I'm writing this post--was written by someone else and communicates an unkind spirit, especially in the way it uses the word "schmaltzy." I'm the child of Jewish musicians, and I like me some occasional schmaltz (both culinary and sonic) even if I also like a more contemporary style of playing as well as various genres, including the most un-schmaltzy matter. I also wrote in the piece that I am a fan of Jascha Heifetz's recordings, which have their own Semitic quality.
What's more, as I say in the essay, Perlman has contributed fine interpretations and recordings to our music world. Tastes change as generations turn over. But I still feel a great warmth when I listen to Itzhak Perlman's playing, and I'm very thankful for him. He will always be someone to admire. And by the way, he's still a brilliant technician.
I hope that he knows that, and more important, that the readers of my piece know that. Remember: writers for big newspapers rarely if ever write the headlines for their pieces, or the sub-headlines (or get to see either of them before the piece is printed).
Itzhak Perlman means a lot to me: That's why I went out on a limb and wrote this piece. That's The message from the writer. Hope it comes across in the text. And if I sound a little schmaltzy, that's Ok with me.