Clayderman: Snobbery, going viral, and meeting Paul McCartney

BY SAMUEL COTTELL

I feel like I’ve known Richard Clayderman – at least, his music – for a long time. When I was a child and had started learning the piano myself, Grandma would give me the pianist’s CDs for Christmases and birthdays.

I wasn’t too sure if I actually liked them back then, but they offered ways of listening to piano music that I – not yet a fully formed, classical musician ‘elitist’ that I was in danger of becoming – enjoyed. (Luckily, that never happened and I still like his version of Rhapsody in Blue.)

Richard Clayderman turned 60 in 2013. To celebrate, he released studio album Romantique a decade after his previous recording. He’d become a worldwide success almost 30 years prior to that with his recording Ballade Pour Adeline: a tune composed by his pal and studio producer Toussaint.

This year is also a special one for this piece, as it marks the 40th year since its famed success. What is it about this tune that made it so popular and why does it have that ‘swoon’ factor that we secretly (or not so secretly) love?

“There is something mysterious about this piece of music,” Richard says.

“Some people enjoy listening to it when they are sad or depressed. Some enjoy listening to it when they are happy, whether alone or with their boy- or girlfriends. This melody goes straight to the heart and evokes [a lot of] emotion.

“This happens the same way in all countries of the world.”

Ballade Pour Adeline had remarkable success in a time when disco music was all the rage, and it’s a striking ballad that appealed to many listeners. In fact, Richard had to change his name because of the airplay that his music was receiving. His French name Philippe Pagès was too difficult for radio announcers to pronounce; although he tells me his friends still call him Philippe.

But Richard doesn’t feel there is anything inherently wrong with his music, and he feels regret at the loaded snobbery of the musical institutions of the world who ‘reject’ his kind of music.

“I think even more young pianists would be [more interested] in the piano if they were allowed to play some of the pieces I have created. This is not complicated music, but music of love. A music of pleasure. A music to relax and not to get headache.”

The critics seem to compare him to those ‘elitist’ classical pianists, with Richard’s showmanship not quite meeting their artistic standards. But to me, this doesn’t make sense. Seemingly, Richard fits into the category of light music/easy listening; a genre that evades pigeon holes as it takes the best bits of everything from classical to jazz and popular. It also means that non-classical listening audiences might use this as a road into classical music. His music takes the ‘best bits’ – especially when he records classical music.

“Thirty-five years ago, I recorded Beethoven’s Fur Elise with a rhythm section. That gave millions of people the opportunity to discover Beethoven,” he explains.

“However, my main repertoire consists of movie soundtracks and, more specifically, love themes. Movies give composers the opportunity to create great love themes, which I have great pleasure to perform.

“When I record classical pieces, I select the moments which are the most essential for people to react and have pleasure to listen. I have no other strategy.”

Richard isn’t trying to be part of the musical world that often excludes its audiences. Richard wants everyone to enjoy this music, whether it is the first time they have listened or whether they are seasoned listeners.

“First of all, I would like to make clear that I do not pretend to be a classical pianist, though I’ve recorded some classical pieces. I was always respecting the original score but I create my own arrangements. I also wanted my arrangements to be carefully written to fit my piano. Millions of people have followed my taste.”

The music isn’t meant to challenge the very notion of existence and one’s place in the world. It is melodic and harmonically satisfying so that the listener may feel some sort of emotion or reaction to it. It’s more about giving the audience a pleasurable and emotional (of some kind) experience:

“During my concerts, I try to give my audience the pleasure to listen to music which provokes emotions such as joy and pleasure. In two words: a ‘good time’. This is my aim and I think that the reason I have been asked to perform 2500 concerts in 40 years is because people enjoy themselves when they attend my concerts.”

Last year, he also recorded his version of Adele’s (yes, that’s right) top-40 hit, Someone Like You. Richard wasn’t sure about recording this well-known popular tune but after his record label insisted, it all worked out.

“I was a bit nervous before recording it, but in the end, I have been congratulated thousands of times. Therefore, I do not regret recording this great song.”

Having recorded dozens of albums and sold millions of copies, it may come as a surprise that Richard prefers to perform live for audiences.

“In a studio recording, there is always tension. A studio is always a bit stiff, a bit cold, and it is essential to be as precise and perfect in recording as it will be on the CD,” he says.

“To perform on stage is another type of challenge. There is no way to stop the performance and do it again like in the studio. You have to play from beginning until the end. But, the audience is there to keep you going.

“During my Australian tour, I will play a selection of my originals as well as lots of movie love themes. I will also perform a jazz theme, a few up-tempo pieces and I will be accompanied by the Australian String Orchestra. I think, and hope, that people will be delighted.”

In a 40-year career, Richard has had many magical moments. In the 1980s, Nancy Reagan dubbed him the “Prince of Romance”; but now, in his 63rd year, it is more likely that he is the “King of Romance”. It’s not a term he really plays up, but he is happy to play the title as long as he still gets to make his music.

“Originally, my aim was to create the music I felt comfortable with. It was not a goal for me to become what you call a ‘Prince of Romance’, but my recordings made people called me ‘Prince of Romance’.” I asked Richard if there was any composer or musician he could have over for dinner, who would it be? Interestingly, he told me that he would have liked to have had The Beatles’ Paul McCartney for dinner. Richard met the star himself, once: “We were on the same TV show. Much to my surprise, he insisted on coming to see me in my dressing room. I hardly could believe that McCartney wished to shake hands with me. I should have invited him for dinner!”

At the end of the day, who cares if you love Richard or hate him? He is sincere, genuine, and brings joy through music to millions of people without barriers, elitism and the overarching feeling of exclusion. He’s truly a people’s musician, and audiences are all the better for it.

Richard Clayderman appears at the Palais Theatre in Melbourne on 2 and 3 June, and in Sydney’s International Convention Centre on 5 and 6 June.