Interview with New Tang Dynasty Television (cir. 2011)

Full transcript of prepared remarks

NTDTV: What is your impression of the local and national market for classical music, including opera, ballet, vocal and instrumental music.

KC: Well, the global economic crisis in recent years has not been particularly helpful to the world of classical music, for obvious reasons. Orchestras, opera, and ballet companies and larger concert series, which rely very heavily on donors and endowments, have suffered due to the hardships and fears of those that contribute to helping keep these organizations operating.

 While there have been many groups that have closed down, or taken drastic measures to reduce the number of performances they give in a season, there has, likewise, been an interesting trend in support that has appeared as well.

 Times of difficulty usually inspire people to really notice what it is that they value in their communities. To that end, I think we have seen, in many areas, that people have embraced the performing arts more tightly once they saw that they were being threatened. That is, perhaps, not the same in every city, of course. But here in Knoxville, for instance, a small southern city has a thriving classical music scene with a professional opera company, a professional orchestra and a high profile opera program at a major university. We are, I suppose, very fortunate to have here, a group of avid supporters who are determined to uphold these institutions of high art for fear of losing something they find extremely valuable.

Regarding opera, I once was asked to speak to the executives of Korea’s Nami Island, a very famous tourist locale near Seoul, where we had some plans to host a major international opera festival a few years ago. When I was handed the microphone to speak to these distinguished people, I said to them, very simply, that “opera is an art form that almost everyone enjoys. The problem is that MOST people don’t realize that!” 

 By that statement, I meant that most people have not really experienced opera live and in person. Most people have only a perception of what opera is and that is something they think is elitist and old-fashioned and boring. The fact is that many people who think they will hate going to the opera end up having a wonderful and memorable time once someone takes them into the theatre. The lights go dark, the orchestra roars from the pit, the floor vibrates, the curtain opens and there are incredible sets and lights and costumes. Visual elements, a story, music and performance virtuosity all come together in one art form. The whole experience becomes very powerful to anyone sitting in the theatre. This experience is very different than watching a video on Youtube or listening to a recording in your home, where you can turn it off or do something else. In other words, I keep using the word “experience” because that is what any performance is about.

So, opera (as well as ballet and orchestra concerts) can thrive. The only challenge is getting people into the theatre or the concert hall in the first place. 

Aside from opera, vocal music in general always does fairly well, for a variety of reasons. In fact, in the world of classical music, concert series and orchestra seasons will usually feature at least one singer or multiple concerts featuring vocalists. 

 I think there are a couple major reasons. The first is that, frankly, singing is a fairly natural act. Everyone can sing to SOME extent. Obviously, I’m not talking about highly refined or artistic singing, but rather everyone has a voice and can, at least, empathize with the sensation of singing. For that reason, people always notice when someone can sing well – because we at least have our own singing ability (or lack of ability!) to compare to that person we are listening to. So, there is just a basic human connection to the voice and what it can do to make beautiful sounds.

Artistically, the reason vocal music has a popularity is because all vocal music tells some kind of story. There are words; it is poetry. We know what the music is about because the words tell us what it is about. If we listen to an orchestra play a Brahms Symphony, for example, there are no words, only sounds. We must use our imaginations to bring the music to life for us. But when a singer sings a song or an aria, there are words that we can understand and that helps us to appreciate and respond emotionally very directly with the music. So, for an audience, vocal music is easier to comprehend and experience.

While instrumental music may seem a bit more abstract or difficult to understand, it certainly has a very large following too. Perhaps these days, instrumental music can enjoy a bit more support as larger groups like orchestras and opera companies are so expensive to operate. In places where those groups struggle, I think there is an opportunity for more chamber music (small instrumental groups) and solo recitals to flourish. They do not cost much to support, and the quality of the music is very abundant and, frankly, some of the greatest masterpieces ever composed.

So, while financial states are difficult and pose many challenges to the fine arts, we do live in a time where we have more great musicians and orchestras than we had in the past. Musicians are creative and energetic people who will find unique ways to keep performing and bringing music into people’s lives. I don’t think we need to worry about the art forms themselves at all.

NTDTV:  Classical music is a tradition that we carried on through the last few centuries. How can the contemporaries shape its development for the future? What are the key elements of this trend?

 KC: It is a very important question that every musician, orchestra or performing arts society must address. 

This question is largely about the “business” of music, which leads to some very difficult issues regarding the quality of performing and recording artists. 

The fact is that the industry is largely steered by the media and recording companies. Most audiences will go to see the performers they have heard of, assuming that if that performer is somewhat famous then he or she must be the best. This really is not true at all, but it is how any product-based business works. So, marketing is as important in classical music as it is in almost any other facet of life these days. The problem with this is that music, itself, is an art-form. It is a means of human expression and creativity. So to throw some contemporary marketing demands on a personal means of communication is never a really good or valid thing to do. 

Nevertheless, in order for musicians and music organizations to survive, income must be generated. That is a simple necessity. So, what do we do to generate new and younger audiences and keep people interested in what we do?

It’s a very big question with many ideas, good and bad, and complicated answers. 

There have been some interesting approaches and trends though.  For example, the Metropolitan Opera regularly broadcasts operas to millions of people on television and radio. But recently have begun featuring the performances in select movie theatres around the county, so people can sit in a theatre and watch their productions on a big screen with incredible high definition sound. This has proven to be wildly popular in bringing a cinematic opera experience to people who might otherwise never have the opportunity to attend a real opera.

Many orchestras and concert series are, of course, utilizing the internet to stream performances online. Youtube has even collaborated with famous classical musicians to bring together talented players to perform together as the Youtube orchestra conducted by Michael Tilson Thomas. 

Record companies have, for better or worse, embraced the trend of cross-over arts, bringing classical and non-classical musicians together for interesting projects and collaborations. Many rock or pop musicians, such as Paul McCartney, Billy Joel, and Stewart Copeland have ventured seriously in writing “classical music” including orchestral music and operas. One can argue about the real artistic quality of many of these things, but the fact is that the industry has proven very resourceful in finding ways to spark the interest of a larger audience. That is good for “business” if nothing else.

Artistically, carrying on the tradition of “classical music” is probably not something we need to really think much about. Music is a form of expression, and music has always been formed and used as the times and traditions have demanded. 

Many people will talk about the fact that Bach was not writing music with the expectation that people will be performing or listening to it 300 years later. He wrote for his purposes at his time. Today, we tend to think of music in much more of a long-term way, and that probably is not the most healthy thing we can do for our art.

I do believe very firmly, however, that composers and performers should not become too preoccupied with the demands of the “business” of music. By this, I mean that as long as performers invest their time and their energy into the music that means the most to them personally – that they find the most creative, interesting and emotionally and spiritually fulfilling, then they will continue to advance the tradition of classical music. This is because they will always bring their own creative ideas and energy to the music they perform. If a performer or composer only thinks about what music will sell the most, or be the most popular, then they lack a real commitment to the art form itself. They contribute nothing to the quality of the art. In a way, as long as musicians are really honest about their artistic identities, then I believe there will always be people that will take an interest in what they do.

NTDTV:   How can we understand the significance of classical music in today’s cultural context?

KC: “Classical music” is often viewed as something that is, perhaps, a bit elitist or snobbish because it really demands something from the listener. Classical music is, for the most part, music that is unique because every composition is trying to do something new. Classical music is usually very intellectually constructed – a lot is going on beneath the surface of the music. So, for people who have not been raised listening to, or appreciating classical music, it may seem very fussy or inaccessible. Unfortunately, while this is understandable in some ways, I think it is always more important to “experience” music rather than “understand” music. So, in this way, I think many people simply have the wrong perception of what classical music is and do not really know HOW to listen to it, much less why they should be interested.

Today, people have an overload of information. Television, radio, internet, iPods, etc., Anyone rarely has a truly quiet moment in any day. We cannot even imagine what the world must have sounded like 200 years ago. There were no car engines, no radio or telephones ringing in the distance, no hum of fluorescent lights in an office or sounds of air conditioners. Truly, it is impossible to understand what this must have been like. So, to people in past centuries, hearing any sort of music was a very special occurrence. Today, music is often only pleasant background noise – someone’s playlist making sounds while we work or wash the dishes. Therefore, these days, we hardly even notice music. As a result, when we do actually listen to music, we don’t know really how to appreciate what we hear, because it is not unique or special. Obviously, we have much shorter attention spans these days too. That is also a big challenge for classical music.

So popular music is “popular” because most of the songs are very short, and they don’t usually do much that is unusual. The harmonies are basic, the lyrics usually follow very simple and common subjects, and the melodies and rhythms are pretty predictable most of the time. It is merely an entertainment; background noise to our busy lives that does not require us to think or really be involved in the music in any way.

For this reason, I think “classical music” is more important to people than ever!

To appreciate classical music, one does not need to really understand things about music. One does, however, have to listen in a very active way – and this is what seems to be a challenge for many people today. To really listen means to avoid distractions, concentrate, allow the sounds and the tensions and colors of the music move you emotionally. Most people never do this with music, so it seems very strange to them. But remember, music is not merely something that entertains us, it communicates emotions and ideas. So, to sit quietly and patiently while listening to classical music means we must engage our minds, and our imaginations, and identify and embrace the emotions that the music stirs inside of us. 

In the 21st century, such a simple activity as engaging the mind and embracing ideas and emotions can have a huge impact on us as individuals and communities. For this reason, there are so many books and articles on the therapeutic use of music, for instance, or using classical music in education of young children, etc.. The mental and creative stimulation of listening to classical music can, in fact, lead to exceptionally creative thinking of people in many professions including medicine, business, politics, etc., It is no wonder that music has always been utilized by the powerful in so many ways (good and bad).

Classical music is not just about playing music of the past in a way that displays this music like it should be in a dusty museum somewhere. Great and important music still moves us emotionally, and challenges us intellectually, as much today as it did 100 or 200 years ago. Performers connect to the emotions of a piece of music and communicate this to the listener who is actively listening and receiving and participating in this whole experience. In this way, the art of classical music is still very valid. The challenge, therefore, is not in finding relevance for classical music, it is only in educating people in the great value and importance of actively listening and embracing classical music. 

NTDTV:  What is the student’s opinion regarding their study of opera and career development at the University of Tennessee?

KC: Well, as their teacher, I certainly hope their opinion is good! 

I think we are very lucky at the University of Tennessee. Our opera program is not really the most famous, but it is one of the best in the country in providing the most complete, intense and refined artistic training for young opera singers. We can do this because we keep our program fairly small, giving every singer a lot of individual attention and support. 

This is incredibly important for young artists to develop because artistry requires a lot of self-exploration, taking risks and learning from failures. At very big schools, this is not really possible because taking risks is not really acceptable, and too many people are watching and passing judgment while the students are still learning their skills. At the University of Tennessee, we have one of the finest artist staffs in the country for the opera program, with one of the greatest, most vibrant and brilliant young stage directors and acting teachers in the world. Right now is an incredibly exciting time to be here doing what we do and I think the students really feel that the faculty supports them in their education.

NTDTV:  What about Chinese students?

KC: I have an incredible affinity for Chinese students, for many reasons. But Asian students, in general, have many challenges before them that western students do not have. This is largely due to cultural issues. The Asian students often try to please their teachers or others by automatically accepting what they are told. As a teacher, I can say it is quite nice to have a student just do what I tell him or her to do and not question my authority. But, music is not a precise science. It is not mathematics where 2 + 2 always = 4. Music is about being creative and about being individual and unique. Therefore, every musician must find their own aesthetic and develop their own ideas and way of thinking. Otherwise, they cannot become artists and cannot contribute anything meaningful to the world of music. It is not to say that westerners find it easier to “break rules”, but it is sometimes easier for western students to realize that what they think and imagine is incredibly important. I find that most of the time, Chinese students just wait to be told what they should think.

However, what Chinese students do have is, usually, a very good work ethic and self-discipline. This is also very important for a musician to develop the technical skills to put their ideas into motion. So, I think if Asian students can allow themselves to express their individuality more as artists, and not try to be conformist, then they can become very effective musicians. I think it is simply a big challenge for many to become comfortable really being themselves, being unique and expressing their independent thoughts and ideas and emotions openly. But, this is what a musician does – this is the purpose of music.

NTDTV:   NTD Television hosts Chinese International Vocal Competition every year. Singing Chinese art songs in Bel Canto style is one of the characteristics of this cultural event. How will you comment from your expertise?

KC: As you know, I have taken a particular interest because I think it is wonderful to give young Chinese musicians opportunities to develop and demonstrate their talents. 

I think it is a very well-thought competition because it is not intended only to promote Chinese singers, but in particular to present Chinese art song. This, to me, is a wonderful aspect of NDTV’s competitions.

I have had a little bit of exposure to some Chinese art song, some piano, and orchestral music. I have conducted concerts of Chinese orchestra music in Chongqing and really fell in love with this music. I have music by Chinese composers being written for me. I think there is a lot of repertoire that western audiences will find to be very beautiful, but they really have no opportunity to hear this music. So, I think this competition really does a service not just to performers, but to Chinese music in general.

I have, in fact, wanted for quite some time, to organize a small event of Chinese art song, and chamber music at my school. I even approached some music schools in China and Taiwan about such an event, but it has not yet happened. I still remain interested in the idea though, because I really feel this is a very worthwhile project.

NTDTV:   You have great passion for introducing classical music to China. Where does your impetus come from?

KC: My interest in asia, in general, has existed my entire life since I lived in Asia for some years as a child. Even though it was not china specifically, for a westerner, it was a remarkable time for me to be there because I was quite young, 5, 6, 7 years old…a time when I was forming my most concrete memories of childhood and, more important, really becoming aware of my own aesthetic. To me, the first images of “beauty” for example, involve my memories of the mountains, the ocean; my tastes in food, my appreciation for climate, even the color of the green of trees – all these types of things I associate with my earliest memories being in Asia. 

Several years ago, I began returning to Asia. I began making very regular visits once or twice a year to Taipei and it was there that I began doing some guest teaching at schools in Taipei, Chiayi and Tainan. I did this for a few years before I received invitations to teach and perform in Korea and in mainland China. So, in recent years I have spent a bit less time in Taiwan, and more time in Seoul, Shanghai, Chengdu, and Chongqing. 

These activities in Korea and, especially, in mainland China were not really opportunities I sought, but rather they came to me. This December, I will be traveling to Kunming to conduct an orchestra as well. 

As a result of my performing as a conductor, piano soloist, and collaborative pianist, I came in contact with many music professionals, but even more students. During 2010 I had two residencies in mainland China where I performed concerts in major halls that were very well attended. While I was there, I was asked to visit some music schools and even conducted a student orchestra. I really found, as I always do, that I really love connecting with the very enthusiastic students. As a result, I have developed some good rapport with many students who still email me with questions about music very often. I have also had several students from Taiwan and mainland China apply to come to Tennessee to study with me. So, obviously, I have developed an incredible affinity for Chinese students and musicians. But not only musicians; I enjoy nearly every aspect of the culture and I actually assimilate extremely well in Asia. I feel very at ease there and am happy to spend as much time as possible and invest as much of my energy and knowledge as they wish to have from me.

NTDTV:   How do you look at yourself in this engagement?

KC: I love to work very hard, and when I am in Taiwan or the mainland, I feel very invigorated when I have work to do. That is because I think most of the students are very hungry to learn. I worked exhaustively in Chongqing, for instance, to bring an understanding of the fundamental nature of classical music to those students. Some understood some do not, but many were very hard working for me and really tried to understand and perform to the best of their abilities. That kind of energy fuels me and makes me want to work harder and harder. This is because I like to be involved in “building” things. I have a lot of experience in many areas of music, so I have strong ideas on building educational or performing programs – how to develop orchestra training programs, or piano training programs, opera programs, etc.. Chongqing is an enormous city that is very much on the rise as an economic entity. The cultural office there brought me to Chongqing for a series of piano and orchestra concerts and also to do some teaching with the expressed intention of raising awareness of western classical music there. Unfortunately, I think that people are not always as serious as they say they are, but the students were fantastic. To me, they are the future, and so my investment in their training, even for a short while, was very much worth the exhaustion. My experiences in Taiwan are very similar.

So, as long as people are open to creative ideas and serious about really learning and performing music to the highest of artistic levels, I will continue to work very hard for them and with them. That is what excites me as a musician, as a teacher, and as a human being