Sunday, May 28, 2017

There is a Scott Ross biopic just waiting to be made


Those two archive footage screengrabs show the legendary harpsichordist Scott Ross. His all-too-brief life has all the stuff that blockbuster movies are made of - the paradox of genius, the feel-good factor of cats and orchid breeding, the tragedy of Aids, the legacy of a prodigy, the struggles of an iconoclast, and a final scene where the ashes of the definitive interpreter of Scarlatti's keyboard sonatas are scattered from a light plane over the Provencal hamlet of Assas. Unfortunately I can bring you no news of a Martin Scorsese biopic. But in 2005 I wrote here about the invaluable memoir of Scott Ross written and privately published by his friend the luthier Michel Proulx, and over the years that article continues to be read and I receive emails asking about availability of the hard-to-find memoir. Now it is good to report that Michel has ported his medieval word processing files to a contemporary technology platform and his memoir of the legendary harpsichordist An Unfinished Destiny is once again available. For the next best thing to a Scott Ross biopic contact Michel Proulx via his website.


No review sample involved. Any copyrighted material is included as "fair use" for critical analysis only, and will be removed at the request of copyright owner(s). Also on Facebook and Twitter.

Thursday, May 25, 2017

How about an experimental plugged-in Prom?


Alex Ross' typically astute chronicle of his visits to the Elbphilharmonie and Pierre Boulez Saal is notable for two particular reasons. The first is that Alex professes to finding the sound in the Elbphilharmonie "a mild disappointment". This view contradicts the acclaim elsewhere for - and I quote - "the world’s first 'acoustically perfect' concert hall", but concurs with the opinion expressed to me privately by a musician whose ears, like Alex's, I trust implicitly. The Elbphilharmonie is undoubtedly an architectural miracle, but there is also some informed feedback that 10,000 unique acoustic panels do not guarantee sonic perfection. The second striking point about Alex's article is its headline 'Germany's new concert temples'. Now temples are places where rituals of worship are enacted, and those rituals are often arcane and rooted in antiquity. One viewpoint is that the Elbphilharmonie and Pierre Boulez Saal are state-of-the-art classical music venues; but another is that they are places where arcane musical rituals rooted in antiquity are enacted. And in view of the continuing preoccupation with finding a new young classical music audience, the second viewpoint should at least be explored.

My header photo* shows a typical recital of Indian classical music. Evident in the photo and evident in virtually every contemporary recital of Indian music are the microphones for amplification. Instruments such as the sitar produce a beautiful sound, but one that is limited in volume. To adapt to larger venues and also to adapt to young ears conditioned by louder popular music, the Indian classical tradition accepted amplification as a sine qua non years ago. Now here is the important point: not only did amplification not drive away the core audience, but Indian musician friends tell me that their classical tradition - unlike its Western equivalent - is undergoing something of a revival with young audiences.

Western classical music has always come down heavily on the 'listener to music' side in the 'music to listener' or 'listener to music' debate. Which means making token concessions such as applause between movements and dispensing with formal attire. But it also means 'pure concert hall sound' is absolutely non-negotiable, despite concert hall sound being an entirely artificial historical construct. As explained in a 2015 post, the pure sound of an orchestra is what we would hear if it played in an anechoic chamber. An anechoic chamber is an acoustically dead space, and anyone who has spent time in one - as I have in the now demolished EMI Research anechoic chamber at Hayes - will know that the thin, dry and dead sound would be unacceptable to any audience, purist or otherwise. The sound of an orchestra in iconic concert halls such as the the Concertguebouw in Amsterdam and the Musikverein in Vienna is determined by the acoustic of the hall; the acoustic is the unique character that is added as the sound reverberates. These halls date from the late-19th century and their signature sound - which remains the reference for concert halls - was subjectively optimised for the bass-lite pre-Romantic orchestra.



If classical music wants a new younger audience it must accept that its target listeners like their music loud and visceral. But the convergence of 2000+ audience capacity halls - the Elbphilharmonie seats 2100 - and leaner more musicologically-informed performance styles means today's listening experience is often visceral-lite, particularly in the cheaper seats favoured by classical music newbies. As explained in another earlier post, if a listener is played the same piece of music twice on identical replay equipment at two different levels (volumes), he/she will judge the louder of the two auditions to be “better” quality. The explanation lies in the non-linear frequency response of the human ear which is plotted on the diagram above (source J.Crabbe Hi Fi in the Home). The curved shape of the lower line in the diagram marked ‘Threshold of hearing’ shows how the replay level increases as the range of the human ear increases. This means that extreme highs and lows become audible, giving the music more impact and makes it sound “better” - particularly to a new and uninitiated audience.

Back in 2010 Jonathan Harvey - another person whose ears I was happy to defer to - caused considerable controversy by opining that "The future must bring things which are considered blasphemous like amplifying classical music... nobody should be deprived of classical music, least of all by silly conventions". It was unfortunate that Jonathan turned the spotlight on the very specific solution of amplification, rather than on the problem of relative loudness. However, seven years later classical music remains in denial that the 19th century convention of 'concert hall sound' may be a significant obstacle to attracting a new younger audience. I am not suggesting stacking bass bins on the Elbphilharmonie platform. But I am suggesting that it is time for the music to meet the listener at some mid-point using the latest digital sound-shaping technologies. Just one example of how this could be done is by experimenting sparingly in the concert hall - a one-off 'plugged-in' Prom perhaps? - with the latest non-intrusive tools such as Meyer Sound's Constellation variable acoustic technology used in the highly-acclaimed San Francisco Symphony Soundbox performance space. Giving the new young audience what they actually want in the form of a more involving sonic experience, may well prove more productive than the tired old chestnuts such as classical gigs in pubs that are still doing the rounds after so many years.

* Photo shows Florian Schiertz (tabla), Mohammed Aslam Khan (sarangi), Pandurang Mutalik (sitar) and Shankar (violin) playing at the Hyderabad Western Music Foundation. Any copyrighted material is included as "fair use" for critical analysis only, and will be removed at the request of copyright owner(s). Also on Facebook and Twitter.

Wednesday, May 24, 2017

The art of the American record label

It was during those endless trawls up and down the motorway spine of the United Kingdom that Fairport came up with the title of their third album. Unhalfbricking is not the name of some traditional rural custom like 'beating the bounds', but a word which Sandy made up and contributed to a word game called Ghosts which the group played in the back of their van.

The couple featured on the cover of Unhalfbricking are Sandy Denny's parents [above], photographed in the garden of their Wimbledon home while the group take their tea in the background. Fairport's American label A & M considered the image too weird for a potential US audience and replaced the offending shot with a troupe of performing elephants [below].
Quote is from Patrick Humphries' biography of Fairport Convention's Richard Thompson. More on Richard Thompson in I am not from east or west. Any copyrighted material is included as "fair use" for critical analysis only, and will be removed at the request of copyright owner(s). Also on Facebook and Twitter.

Tuesday, May 23, 2017

Another book in the wall

While the music industry continues to bet the farm on digital delivery the publishing industry is experiencing a young demographic-driven resurgence in the physical book market. This difference in approach - daring to be different versus fearing to be different - is currently reflected in the output of the music and publishing industries; which means recently I have derived far more gratification from reading new books than listening to new music releases. Nathan Hill's novel The Nix has proved particularly rewarding. Music including a cassette of John Cage's 4'33" figures in the plot, and this exposition by one of the book's protagonists is relevant to the thread:
"You know there used to be a difference between authentic and sellout music. I'm talking about when I was young, in the sixties. Back then we knew there was a soullessness to the sellouts, and we wanted to be on the side of the artists. But now? Being a sellout is the authentic thing... The only fundamental truth is greed, and the only question is who is up front about this. That's the new authenticity.
More arcane but equally rewarding is Sufism and Politics in Morocco: Activism and Dissent by Abdelilah Bouasria. In it Abdelilah Bouasria recounts how he had to ponder for a long time before fully understanding a statement by his economics supervisor at Sussex University John McLean. It is an aphorism that all of would do well to ponder on at the present time:
"What people do does not explain what people do; what people do needs to be explained."
No review samples used in this post. The Nix was in fact a chance buy in Holland at Delft railway station en route to Delft University (TUDelft) where the header photo was taken in the University library. My thanks go to Avradeep Pal who was my host in Delft. Any copyrighted material is included as "fair use" for critical analysis only, and will be removed at the request of copyright owner(s). Also on Facebook and Twitter.

Monday, May 22, 2017

It makes you want to weep


In Berliner Morgenpost Simon Rattle tells how there were London Symphony Orchestra musicians weeping after the Brexit vote and goes on to say about the post-Brexit visa process "People simply don’t know how complicated it’s going to be". Earlier this year the same LSO musicians with conductor Daniel Harding toured Korea and China. A description of the convoluted visa application process for China begins: "A work visa is required for persons wanting to work in China for pay. It is also issued to aliens who come to China for commercial entertainment performance. It is only granted if you and the employer meet certain requirements..." I have searched in vain for reports of LSO musicians weeping about the complications of non-nationals performing in China. But I did note that like Simon Rattle, Daniel Harding is managed by Askonas Holt. This agency also managed the LSO's Asian tour, and, as previously explained, has more than one finger in the anti-Brexit pie.

Also on Facebook and Twitter. Any copyrighted material is included as "fair use" for critical analysis only, and will be removed at the request of copyright owner(s).