The ones I listen to... #12

I’ve been discovering music mostly on my own, both as a creator and as a listener. Rare were the cases where I was influenced or directed by someone else. This is likely the reason why I remember those moments so vividly.

In the late 1990s, I performed at a medical doctor's convention of sorts held in my hometown. I mostly played instrumental hits and also some of my early efforts. Amongst the attendees was my mother’s long-time colleague. During the break, he asked me to play something by Yanni. Unfortunately, I had to answer that I’m not familiar with this particular artist, as I really wasn’t at the time. But the name stuck in my head, and I soon began searching local music stores. And I found a compilation album by Yanni, called “The Best Of” or something like that.

When I started listening, I immediately had that good old deja vu feeling. I have heard this music before, though mostly in passing. One of the most recognizable tracks was “Aria”. This is a bit theatrical-sounding piece featuring female opera singers and uplifting synth-driven rhythm. Then there were some gorgeous solo piano pieces, most notably “One Man’s Dream” and “Until the Last Moment”. I was immediately drawn to those, so much so that I learned to play both rather soon. Though I never became a superfan of Yanni, I have come to like his music very much.

Yanni was born in Kalamata, Greece, in 1954. None of his parents were musicians. Yanni began playing the piano spontaneously at the age of 6. While aware of his musical talent, his parents didn’t force him into formal musical education. Instead, they encouraged him to continue discovering music on his own.

In 1972, Yanni moved to the USA to study psychology at the University of Minnesota. He got his degree in 1976 but continued to pursue music instead. While in Minneapolis, he met many local musicians and participated in various music projects. In 1980, Yanni recorded and produced his first album called “Optimistique”. He also started performing with a band and going on tours.

In subsequent years, he continued recording albums and composing soundtracks for several lesser-known films. His worldwide recognition came in the early 1990s, thanks to the albums “Dare To Dream” and “In My Time”. In 1994, he gave a now legendary concert “Live at the Acropolis”, accompanied by his band and the Royal Philharmonic Orchestra.

Yanni’s music is rather diverse. From solo piano pieces to albums produced mostly with synthesizers to grand concerts featuring an orchestra. Style-wise, it mostly fits in new age and contemporary classical categories, with plenty of world music influences.

The highlights of his discography are, in my opinion, the already mentioned 1990s albums. Most of his earlier works are nicely showcased in compilation albums “Reflection of Passion” and “In a Celebration of Life”. These are mostly synthesizer-driven works that have plenty of Mediterranean elements and are a perfect backdrop for summer days. Many would call this “elevator music” by today’s standards, but I never cared about critiques and popular opinions anyway.

The concerts of Yanni are too grandiose and overly pretentious for my taste. He is usually surrounded by an army of musicians, often on a flashy and kitschy stage. Unlike some other instrumental artists who let the music do all the talking, Yanni frequently addresses his audience in between songs. This has a bit of sleaziness and a populist ring to it, which I don’t particularly like. On the other hand, it is evident that Yanni deeply appreciates every member of his band or orchestra, and each of those is given plenty of moments to shine during the performance. On top of it, Yanni has collaborated with people from all over the world and is clearly a highly cosmopolitan person, which is certainly admirable.

All things considered, Yanni is an example of a true talent with a lifelong passion for music. His Greek roots and world music ethos add plenty of charm to his songs. Although Yanni seems a bit “too commercial” at times, he still showcases the power of instrumental music that erases boundaries and borders worldwide. The Washington Post journalist David Segal wrote in 2000 that Yanni is a “metaphor of success under your own terms”. And this should be the true dream of every person.