I’ve been going down the YouTube rabbit hole a lot lately. When I was a student, there really wasn’t a centralized resource for musical video material. If you wanted to hear different renditions of a particular song, you had to spend your afternoon in a library listening to lots of different recordings. But I, for one, find it intoxicating to spend a few hours on this platform, dozens of song adaptations available to me with just a few clicks of my mouse.
Whenever I assign a student a new song, I will often encourage them to listen to several performances online. I think it’s important to discern differences between artists, to consider their choices, and to think critically about how and what they are performing. I hate hearing the same piece performed exactly the same way each time – music should be an evolving and transformative art form that embraces a variety of interpretations – but often students don’t know what kind of options are available to them until they hear some examples. Just as babies learn to speak by imitating their parents, students learn to make musical choices by (initially) imitating thoughtful artists.
So, back to the rabbit hole…
I was listening to a variety of recordings of Henry Purcell’s “Strike the Viol,” sorting through performances that I thought would inspire one of my students. I’ll be honest, as a musician who specializes in the Baroque era (1600-1750), I’m pretty used to folks assuming old music must be boring and unrelatable. I believe an important part of my job as a musician is to act as an ambassador, and to help make this music more approachable, more accessible, and more enjoyable for every audience I perform for. And then, I just happened to click on this video:
“Oh my gosh, this is brilliant!” I thought. Those Latin rhythms, the unique instrumentation, the jazzy vocals, all sound so NATURAL when combined with this ditty composed in…wait for it….1694. This is a stunning example of the power of classical crossover, my friends.
When musicians use the term “crossover” we’re referring to music or artists that appeal to multiple types of audiences. Think Taylor Swift and Carrie Underwood, who have achieved success in both the country and pop genres.
Classical crossover music combines traditional classical elements (ex: operatic singing, full orchestration, standard repertoire) with popular music style (ex: belting, electric instruments, pop rhythms). Many combinations are possible, but the key is to blend both classical and popular styles together to create a different, unique sound.
Classical crossover is important for a variety of reasons, but these two top the list for me:
- They can give new life to old repertoire and make traditional repertoire more accessible and relevant to modern audiences.
- Since music is an ever changing, transforming, morphing art form (or should be), there is intrinsic value in finding new ways to express old ideas. Just because it’s always been done that way, doesn’t mean it always should be! There is room for everyone under this gigantic tent we call classical music.
So, for today’s post I would like to introduce you to some of my favorite classical crossover examples. Each one is a unique example of the transformative capabilities of creative artists, and might help you to hear repertoire you thought would be “boring” in a new and exciting way!
Heavy Metal Bach
J.S. Bach is one of the most revered composers of all time. He was once called “the grand arbiter and lawgiver of music,” creating compositions that are unmatched in skill, brilliance and complexity. So imagine my surprise when I discovered – Bach’s music works incredibly well in a heavy metal style! Then again, is it really that surprising? Bach viewed himself as a bit of an outsider, always contending with forces that sought to hold him back. He was a man of contradictions: on the one hand a convivial family man who cared deeply about his children’s musical education and career steps; on the other, he had issues with anger management and subversiveness. So there’s something about this cover that embodies the man and his music as the paradigm he was: at once gritty, unconventional, deeply serious, playful, cantankerous and joyful.
Goodnight My Angel Chorus
I have always adored this beautiful lullaby by Billy Joel. Imagine my delight when I found two of my most favorite choral groups joined forces to create this exquisite choral adaptation!
Beethoven Learns to Salsa
Ludwig van Beethoven is perhaps one of the most famous composers who has ever lived, and is best known for his innovative compositions which heavily influenced orchestral size and make up. He is a crucial figure in music history who helps bridge the Classical and Romantic eras of composition. This piece, though undoubtedly one of his most famous works, was relatively incidental when it was composed. Beethoven himself was never quite satisfied with it, and spent years trying (unsuccessfully in his eyes) to refine and improve it. Somehow, this Latin infused version seems to evoke all of the passion and brilliance I imagine this incredible man embodied.
Caldara Gets Electric
Who knew Italian arias could sound so great with electric guitar?! This lovely aria was written in 1710 by Antonio Caldara for his opera La costanza in amor vince l’inganno. Countless young singers have cut their teeth on this aria – it appears in the popular anthology “24 Italian Songs and Arias” frequently used by classical voice teachers.
Sting, The Modern Bard
John Dowland is one of my favorite composers, and was one of the first to popularize the lute in England. His songs were wildly popular during his lifetime, and his deeply melancholy tunes were a favorite in the court of Elizabeth I. Dowland traveled widely, and he was plagued by scandal – in Denmark due to “unsatisfactory conduct,” and in England due to his religious affiliations – he was a Catholic in a largely Protestant country. Despite his fame Dowland died in poverty, and was widely rumored to be a spy and traitor. Sting is, in many ways, a singular artist. His voice is instantly recognizable, and his eclectic brand of music as attracted large audiences throughout his career (his early work with The Police blended elements of jazz, raggae, punk, rock and world music). This song – really, the whole album – is a nod to the bardic tradition of Dowland’s time, but he brings his own special brand of artistry as a singer/songwriter to bear in his performance. I especially enjoyed his wink to Queen’s tight harmonies in the second verse ;)
