Yuja Wang, technical brilliance, but..

Last Saturday, March 29, 2014, I had the good fortune to see Yuja Wang at Boston Symphony Hall play the fiery and technically demanding Prokofiev Piano Concerto no. 2. If you are ever going to splash money on going to see a piano concerto, this would be it. Prokofiev no. 2 requires such finger gymnastics that it is spell-bounding to watch– which I did, with as-good-as-you-can-get seat in the orchestra.

Yuja is always very much in control, a fact that you quickly realize after the intense cadenza in the first movement alone. Yet, I feel this became her undoing at times. It was too intensely controlled and for me, this concerto is about veering on the edge and pulling back, reckless and heady at some points. Even though my companion said it was the fastest piano playing she had ever seen, when compared it to Li Yundi’s recording, Yuja played slower. Despite her technical prowess (godliness), sometimes there felt to be something lacking, though being an amateur musician, I confess I cannot point to any specific causes.

There was just one other minor drawback, and again I could not pinpoint exactly what it was– Yuja herself, the piano, or the acoustics. All together, the piano was softer than I expected, and the top register seemed flat and unable to project, which is terrible since Prokofiev requires a steely ring at times, but some upper notes melted into the background instead of ringing. However, Yuja adjusted and especially during her solo parts, she was able to thunder and create an entire orchestra just within the piano. It was incredible.

The third movement was also spot-on, I could see her enjoyment and (ironic?) humor shine through the mass of accents and syncopations. It is easy to play Prokofiev aggressively but hard to add delicacy and lightness. Yuja has remarkably “fleet” fingers, able to draw out incredible subtle nuances, yet still ring clear against the mass of heavy bass notes and strings.

With Sir Andrew Davis, the orchestra itself, must again deserve a round of applause. It never dragged and highlighted some incredibly poignant dissonances I had never heard before and the coloration was fantastic. The orchestra never dragged and kept Yuja in very respectable pace, though I wish they egged her on a bit.

SHINee 2013 retrospective & Gayo Daejuns

2013 has musically been the busiest year for SHINee thus far, releasing three LPs (Dream Girl: Misconceptions of You, Why So Serious: Misconceptions of Me, Boys Meet U), one EP (Everybody), for a total of six singles. Excepting Jonghyun, all of the members have grown as singers– I would say that the most promising is Minho, with a close second place to Key, who is returning to and developing his original sound in Love Like Oxygen. Improvement of SHINee as singers and the concurrent increase of ballads sans rapping released gave us B-side gems like Beautiful, Password, Symptoms, and Excuse Me Miss. 2013 is easily the most consistent and technically advanced year we have seen from SHINee yet.

Outside of SHINee’s music, Taemin featured on Henry’s Trap (and visually on BoA’s Disturbance). Jonghyun composed and featured on IU’s Gloomy Clock and Son Dambi’s Red Candle, as well singing an OST for The King’s Dream. Key participated in two musicals: Catch Me If You Can and Bonnie and Clyde.

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On television, as a whole unit, SHINee appeared little: Weekly Idol and SHINee’s Wonderful Day were the high notes. While entertaining perhaps to SHINee fans, SHINee’s Wonderful Day was quite boring as the members are never as funny and wonderfully cohesive as when they are together as in Hello Baby. In the spring, Taemin was cast on We Got Married with Apink’s Naeun. However, together with the bland angelic “personality” of Taemin and the constructed fabrication of We Got Married, this was incredibly boring for most other than fans of Taemin and Naeun. A much better casting would have been Key or Jonghyun, who are much less guarded about their words and enjoy hamming it up for the cameras. Next, Onew and Minho both had their own turns at acting, with former with much-panned Welcome To the Royal Villa and the latter with Medical Top Team and Let’s Go Dream Team. Continue reading

[rant] the stupidity of vocalist v. singer

I used to think I can be very snobby about things but I just stumbled across the “Taemin is a true vocalist” and “Jonghyun and Onew are [crappy] singers” arguments, which I think is shockingly even snobbier. Apparently, a singer sings only with their emotions and may not be properly trained, but the vocalist uses their voice like an instrument and has ‘techniques’ to produce different sounds and textures.

Frankly, this sounds like a load of donkey poo.

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Right off the bat, these definitions imply that one is inferior to the other, as one uses ‘technique’ and the other does not, if one is a great vocalist then one is a great singer, but never the other way around. This is perplexing because as trained singers, which all of SHINee are, they all would be using ‘technique’ to craft their singing, though they may be at different levels.

In strict academic terms, there is absolutely no tradition of distinction between the terms of vocalist and singer. If we were to say that those with most technique are vocalists, should we not say, “opera vocalists” instead of “opera singers”? Whatever Taemin has, it surely would pale in comparison to Renee Fleming. In fact, “to vocalize” in musical academia just means to sing, but not with human speech. In fact, there is a Grammy category called “instrumentals with human vocalization”, which means singing, but not in human speech, like humming or singing vowels. I suppose one may argue that this use of the human voice in this situation mimics instruments, in that instruments cannot say words. Well, in the strict sense, SHINee never has and never will sing songs full of nonsense syllables, so they cannot be vocalists.

This brings up the important point of ‘using your voice like an instrument.’ My question to that is, as a singer, every time you sing, how do you not use your voice as an instrument? By not singing? Clearly, if one has made it as far to have a career as a singer, technique must be used– no one can get by on emotion alone. This then brings up the distinction that ‘the better singers are the vocalists’, which again, as I have said before, is utterly asinine and arbitrary.

When I performed a quick Google of “vocalist vs singer”, all I saw were shady articles and blogs written by likewise shady people. I agree that I can be one of those shady people, and by all means, you do not have to subscribe to my thinking. Nonetheless, I honestly urge you not to take everything you read on kpop forums at face value even if they sound like they know what they are talking about: “technique”, “A4″, “open-throat”, and whatever. With the right buzzwords and incendiary tone, anyone can be a snobby critic on the internet.

Bottom line– if you like it, then chuck tomatoes at all the critics and bop your head to all the [insert music genre here, like kpop dubstep] you want.