Summary
MYLEENE Klass is being incredibly modest when she acknowledges her critics in Nick Curtis's interview (30 July).
Purists who argue that she does not have sufficient technical ability to perform her versions of great works are just bitter about the attention they receive. Periodically, new cover versions of White Christmas are released in different styles as pop music tastes change. Why do interpretations of the classical repertoire not evolve as easily? After all, a 2007 recording of Elgar's Cello Concerto is just a "cover" of the first performance of the piece. If someone listens to Klass's reimagining of Pachelbel's Canon and is provoked to investigate other recordings and develop a deeper interest in music, isn't this a great thing? Indirectly, the growing acceptability of Klass's approach to music is helping string quartets secure recording contracts without the stigma associated with classical music, and allowing Rimsky-Korsakov and the Rolling Stones to be found on the same concert bill. By showing you can bridge the classical and pop worlds, she is liberating classical music graduates who have previously felt hidebound by tradition and in the long term will encourage more youngsters to take up music with the knowledge that they can choose their own direction instead of having their career path mapped out at the age of 10.See the full content of this document
Extract
Myleene, the Great Liberator
James Berrington,...
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