Is it Time to Rewrite Artist Biographies?
Another concert programme, another artist biography comprising a dry list of eminent teachers and
mentors, concert halls performed in, orchestras and conductors worked with, recordings made and
"forthcoming engagements include". All standard information: exchange the names and the
impersonal text could be used for any international virtuoso.
Wouldn't it be refreshing, once in a while, to read an artist's biography which was less a list of
achievements and name-dropping, and more about the personality behind the dry words and the
professional photograph? To discover more about that person's musical influences, their likes and
dislikes, what music excites them and why, and what makes them tick as a musician? Details that
may not be found on the artist's website and which might bring musicians closer to their audiences.
In reality, most artist biographies tell us very little about the musician or musicians we are about to
hear in concert and seem only to serve the requirements of their agents and managers.
Some artists and the writers of their biographies have attempted to go beyond the dull list of
activities, resulting in some interesting vocabulary and very purple or simply incomprehensible
prose. The more ungenerous reader or fellow musician might read such hyperbole and suspect
that the artist in question is trying to cover up for mediocrity. And then there are those people who
describe playing at prestigious venues such as Carnegie Hall or the Leipzig Gewandhaus without
mentioning that both venues have smaller recital rooms, or that you have "participated" in a
masterclass with this or that renowned international artist when in fact you were sitting in the back
row at the Royal College of Music, tapping away at your iPhone. Unfortunately, in the highly
competitive world of classical music, mentioning that you played a coffee concert to a handful of
pensioners is not going to have promoters rushing to your door and therefore such economy of
truth is essential in our image-driven world: most of us are guilty of these little white lies in our
The popularity of the Meet the Artist interview series on my blog The Cross-Eyed Pianist, and
indeed other press interviews with musicians, confirms that concert goers and the general public
have a great curiosity about what goes on behind the professional persona of a musician or
composer. There is, I find, a continual interest in the working lives of such people - by which I mean
what motivates and inspires them to do what they do.
Of course, it is important to have a comprehensive biography or CV on one's own or one's agent's
website for the benefit of prospective promoters and concert managers, but surely it is possible to
deliver this information in a style and manner which is both engaging and informative? And at a
time when "audience engagement" is at the forefront of the minds of concert organisers, venue
managers and musicians themselves, it seems sensible to offer a biography that audiences might
actually want to read - and don't forget that in major venues one can expect to pay upwards of £4
for a programme which often seems more about advertising than the music we are about to hear.
Frances Wilson is a London-based pianist, piano
teacher, concert reviewer and blogger on music
and pianism as The Cross-Eyed Pianist.
She is a reviewer for international concert and
opera listings site Bachtrack.com,
and contributes art and exhibition reviews
to US-based culture and art site CultureVulture.
She writes a regular column on aspects
of piano playing for ‘Pianist’ magazine’s online
content, and contributes guest articles to
a number of classical music websites around the world.