Comfort Zone --- Good or Bad?

[Brian]

I think I've mentioned this before, but there are certain works (Schubert quartets, Beethoven late quartets, Bach cantatas, Mahler 9, Shostakovich 15, probably some others) which I have deliberately avoided because I want there to be something great and transportive to hear for the first time when I'm older.

Of course, if I go deaf tomorrow, I will regret that choice a lot!

[Mirror Image]

I think I've mentioned this before, but there are certain works (Schubert quartets, Beethoven late quartets, Bach cantatas, Mahler 9, Shostakovich 15, probably some others) which I have deliberately avoided because I want there to be something great and transportive to hear for the first time when I'm older.

Of course, if I go deaf tomorrow, I will regret that choice a lot!

As long as you're happy listening to the music you choose to listen to and gain emotional and intellectual gratification from it, then there's no need for regret. I don't regret not exploring Bach or Mozart. There are several members here that don't care for their music or, in my case, respect it more than love it.

[staxomega]

Are you going to tell me that if I'll never ever listen to Fear of a Black Planet I'll miss something akin to the Hammerklavier? If yes, then I'll tell you that no music, be it Beethoven or rap, is essential, and that one can live a wholly satisfying and worthwile life without ever listening to both.

I can't speak for Fear of a Black Planet as it's a bit before my time and I haven't heard it enough to know it well enough. I think pop music can not only connect with people more but also be more relatable, like Kendrick Lamar's To Pimp a Butterfly on systemic racism and slavery. Or Lauryn Hill's Miseducation of Lauryn Hill and the struggles of a pregnant black woman. In that regard albums like this (also ones like NIN's The Downward Spiral on suicide, Bob Dylan, Nick Drake, etc) can be far more meaningful than the Hammerklavier, where you have to understand the genius in Beethoven's fugal writing in the Adagio otherwise it might just come across as a virtuosic piano work.

And I say this as someone that has the Hammerklavier among my all time favorite piano works, and listens to 90% or more classical.

edit: Fear of a Black Planet is from 1990, for some reason I thought it was from the Run DMC era which I find too cheesy. I will have to give this a more serious listen. Proof of me not stepping out of my comfort zone 

[Todd]

I think pop music can not only connect with people more but also be more relatable

This is a fact.  Classical music is irrelevant to almost all of humanity. 

[Spotted Horses]

I think I've mentioned this before, but there are certain works (Schubert quartets, Beethoven late quartets, Bach cantatas, Mahler 9, Shostakovich 15, probably some others) which I have deliberately avoided because I want there to be something great and transportive to hear for the first time when I'm older.

Of course, if I go deaf tomorrow, I will regret that choice a lot!

That's been my approach to Brahms late piano works.

I just started listening to them. I still have the violin sonatas in reserve.

[Karl Henning]

It's not contrarianism, Karl.

I've purposely avoided Bach, Mozart, Beethoven et. al. My stance against the "collective wisdom" of many long-time listeners who revere these composers and tell me I should, too,

Erm, John, purposely avoiding composers of whom the "collective wisdom" thinks highly is as near a class of contrarianism as no matter. But let it go.

[staxomega]

This is a fact.  Classical music is irrelevant to almost all of humanity.

True, but this might be an exposure thing. Lets lump Fear of a Black Planet, To Pimp a Butterfly, and Miseducation of Lauryn Hill as conscientious hip hop, which to anyone that has given the music a chance should make sense even if you're the polar opposite demographic. But it also relies on the listener knowing English, which is not true of most of the world. Would playing one of these albums or say Debussy's Clair de lune have a greater effect on most of the world? I don't know, Copland said the earliest human music is rooted in rhythm and this would be true for those three albums, so maybe they would still prefer them.

[Todd]

True, but this might be an exposure thing. Lets lump Fear of a Black Planet, To Pimp a Butterfly, and Miseducation of Lauryn Hill as conscientious hip hop, which to anyone that has given the music a chance should make sense even if you're the polar opposite demographic. But it also relies on the listener knowing English, which is not true of most of the world. Would playing one of these albums or say Debussy's Clair de lune have a greater effect on most of the world? I don't know, Copland said the earliest human music is rooted in rhythm and this would be true for those three albums, so maybe they would still prefer them.

A huge proportion of the population everywhere in the world has access to western classical music now, and it is still irrelevant to them.  It is irrelevant to the vast majority of people in the west.  The overwhelming majority of people just don't care about classical music.  It is boring to most people.

[Karl Henning]

I like the title, Fear of a Black Planet. Just tangentially.

[Florestan]

A huge proportion of the population everywhere in the world has access to western classical music now, and it is still irrelevant to them.  It is irrelevant to the vast majority of people in the west.  The overwhelming majority of people just don't care about classical music.  It is boring to most people.

True but irrelevant on a classical music forum.

[Todd]

True but irrelevant on a classical music forum.

But not to this thread.

[Florestan]

But not to this thread.

Honestly, I fail to see the relevance even for this thread, where people with a keen interest in classical music discuss the comfort zone in classical music. That the vast majority of people have no use for classical music is, well, irrelevant.

[Todd]

Honestly, I fail to see the relevance even for this thread, where people with a keen interest in classical music discuss the comfort zone in classical music. That the vast majority of people have no use for classical music is, well, irrelevant.

In one of those moods again?

[Brian]

That's been my approach to Brahms late piano works.

I just started listening to them. I still have the violin sonatas in reserve.

Very glad to not be alone on this quirk.

Erm, John, purposely avoiding composers of whom the "collective wisdom" thinks highly is as near a class of contrarianism as no matter. But let it go.

I think it's a question of causality. If he is avoiding Bach, Mozart, etc. because they are so highly esteemed. Or if he has given them a fair shot and simply not liked them much. Of course, his post implied both. But I think that is just because his character includes a reflexive rejection of authority and the counsel of others.

A friend of mine has a rule for eating which is very relevant to the "comfort zone" discussion. It is: "I'll try any food three times. Once to see if I like it. Twice just in case it was cooked wrong the first time. And the third time to be certain. Any food except brains. I won't eat brains." Wise words!

[Florestan]

In one of those moods again?

Pot calling the kettle black.

[Todd]

Pot calling the kettle black.

So, yes.

[Florestan]

So, yes.

If it makes you happy.

[staxomega]

I think I've mentioned this before, but there are certain works (Schubert quartets, Beethoven late quartets, Bach cantatas, Mahler 9, Shostakovich 15, probably some others) which I have deliberately avoided because I want there to be something great and transportive to hear for the first time when I'm older.

Of course, if I go deaf tomorrow, I will regret that choice a lot!

I find this quite interesting! I wonder if I would have felt the same only hearing these as well as Brahms late piano works now (I'm in my late 30s) or at a later age. I have to rely on old, not so good memory but I think I was quite moved by most of these even in my 20s. Certainly I can remember the first time I heard op. 111 which was simply devastating.

There was a heated debate on whether pianists should be recording a cycle of Beethoven's Piano Sonatas when they are in their 20s and 30s (sparked by Igor Levit's cycle getting praise from critics) or should it marinate over decades of life experience (not piano playing experience).

I personally think it makes little difference as long as you can nail the late sonatas that is to the taste of the listener.

[DavidW]

I've purposely avoided Bach, Mozart, Beethoven et. al.

Maybe step out of your comfort zone and give them a shot then!

[Todd]

There was a heated debate on whether pianists should be recording a cycle of Beethoven's Piano Sonatas when they are in their 20s and 30s (sparked by Igor Levit's cycle getting praise from critics) or should it marinate over decades of life experience

Where did this heated debate take place? 

Of course pianists in their teens (Melodie Zhao) and twenties (eg, Friedrich Gulda, HJ Kim) should record the sonatas if they want and feel they are ready.  The idea that people in their 30s may not be ready due to age and "life experience", whatever that means, is ridiculous on its face.  The results can be great, good, or mediocre, just like with pianists of any age.  And it is crucial to remember that pianists' techniques decline with age.  Similarly, Bruckner can be conducted by men or women under the age of 70.