I didn’t intend to do a part three on “artistic weirdness,” but sometimes weirdness just hits one in the face (not unlike that goose that once smashed Fabio in the schnoz at a Bush Gardens, but with less outrageous, bloody irony) when it comes to the arts. And so it happened this time: a former — and delightfully philosophical — student of mine started a Facebook discussion about a “Today Show” spot entitled: “Violin prodigy is ‘Viagra’ to classical music.” (Hat tip: Nick Tomasello).

First, I would like to make a sassy point: Beethoven’s music don’t need no stinking Viagra. If this is all about some clichéd perspective that classical music is wimpy, somebody needs to listen to Holst, Richard Strauss, Respighi, Dukas . . . need I go on? (Ever hear the Prelude of La Péri, for heaven’s sake? Viagra, my elbow.)

Second, if this is an implication that classical music is dying as an industry, several accounts by executives at such labels as NAXOS report increased sales over the past year — or, at least, robust sales. This is certainly not the case in rock and pop. Maybe rock and pop are losing their, um, thrust, and not classical, after all.

So, where hides this so-called limpness? Apparently, it resides in people’s minds and in their prejudiced view of classical music. There may even be a measure of ageism thrown in here, but that’s another piece.

So, in comes this kid, Hahn-Bin. Note the artificially erect coiffure and the phallically bolt-straight bow:

At one point in the “Today” interview above, the interviewer mentions that Hahn-Bin “says his look is part of his art.” But what is his art? I get that he is trying to redefine things and to place more importance on his performance and on his own impact on the audience, as a presence, but I have this revolutionary belief that the attention is supposed to be on the music and not the performer (but that’s not a view everyone shares).

Hahn-Bin, himself, says:

The audience reacts with a collective [mimics a sharp intake of breath]. To know that I’ve had that kind of impact even before I picked up the violin, that’s when the performance really begins.

I have made a case before that if you have “the stuff,” it gives you a little more license to be artistically weird. And both Hahn-Bin (in the interview) and I (in a past piece) referred to Beethoven — though, in different words — as the top dog of artistic weirdos. My argument, though, was that Beethoven wasn’t putting on weirdness, but that he just was obsessed with music in a way that made him weird. This is what I defined as “true bohemian weirdness” (TBW).

So, let’s allow Hahn-Bin “true bohemian weirdness.”  He describes himself as always having been “strange fruit.” I award him the coveted TBW, reluctantly, because there does seem to be a lot of design to his weirdness, which can disqualify him; however, I also mentioned Robert Smith, once, and said that his weirdness contributed to his art — created a mood for The Cure’s music.  But I have to wonder what Hahn-Bin’s androgynous-glitter-Goth look contributes to the canon of, say, violin concerti, across the board — unless, of course, he changes costume to fit the mood of the piece he is playing, which he might well do. If that’s the case, it all becomes spandex of a different-colored leopard print.

Where does this leave Hahn-Bin? I don’t begrudge a guy the freedom to express himself. But I have to wonder: Does his “look” contribute to or detract from his art? Should the audience gasp when he comes out onto the stage, before he plays a note, or should they gasp when they hear him play? (By the way: he is ridiculously good. Even if I had never heard him play, who am I to disagree with his doting teacher, Itzhak Perlman?)

But, you know, all of the above is mere opinion. The real issue lies in that same Facebook discussion mentioned above.  Another of my former students, a talented young musician, himself (but with rather flaccid hair, I must admit), chimed in with something that was wiser than I believe even he knew. He said: “This guy is the Dennis Rodman of classical music.”

And I thought, with some sadness for Hahn-Bin: “Yeah. Years later, what do we remember more about Dennis Rodman — his play on the court, or his . . . weirdness?”

Chris Matarazzo’s ARTISTIC UNKNOWNS appears every Tuesday.

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Chris Matarazzo

Chris Matarazzo is a writer, composer, musician and teacher of literature and writing on the college and high school levels. His music can be heard on his recent release, Hats and Rabbits, which is currently available. Chris is also the composer of the score to the off-beat independent film Surrender Dorothy and he performs in the Philadelphia area with the King Richard Band. He's also a relatively prolific novelist, even if no one seems to care yet. His blog, also called Hats and Rabbits, is nice, too, if you get a chance...

Latest posts by Chris Matarazzo (Posts)

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• The Emperor decrees that graduation clichés will cease - June 9, 2015
• The Emperor decrees that all official documents will be printed in Comic Sans - March 24, 2015
• The Emperor decrees that the letter “E” shall no longer be spoken as an “A” - February 10, 2015

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