Pity the poor BBC presenter

A novelty at this years' BBC Last Night of the Proms, conducted by Jiří Bělohlávek, is Fučík's Entrance of the Gladiators.

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Classical music's biggest problem is that no one cares

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These photos were taken by me in 2008 at independent record retailer Prelude Records in Norwich. Jordi Savall's impromptu viol recital and signing session preceeded two performances at the Norfolk and Norwich Festival. One was a solo recital by Jordi in Peter Mancroft Church ; the other was an immensely moving performance of his visionary Jerusalem multicultural project at the Theatre Royal*. As reported here Prelude Records closed earlier this year; it was a victim of predatory online retailing, and today its premises stand empty awaiting occupation by a mobile phone or E-cigarette retailer. The Norfolk and Norwich Festival has been the victim of savage funding cuts , but continues in a more modest form due to the dedicated work of its small management team. A few days ago I wrote about a two-thirds empty Snape Maltings concert and proposed that classical music's heartland is facing a perfect storm caused by the convergence of the shifts in consumer tastes and the r...
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They collected the entire back catalogue of Leonard Bernstein

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Recent posts here highlighted Lance Richardson's masterly new biography of Peter Matthiesen . Also by Lance Richardson is House of Nutter , which tells the true story of Saville Row tailor extraordinaire and gay icon Tommy Nutter and his photographer brother David . Here is a brief extract from the biography: In part to inoculate themselves against their father, Tommy and David combined their powers of invention. They treated the walls of their shared bedroom with shocks of coloured paint. They built a faux fireplace from scavenged bricks and sculptures out of tin film containers threaded with wire. They sliced out pages from Marie Claire, Paris Match, and made a giant photo mural that juxtaposed Brigitte Bardot with African tribal dancers. They collected the entire back catalogue of Leonard Bernstein, which they blared on a portable radiogram.  That is very-well-dressed Tommy above, and the not-so-well-dressed David below. My encounter with the ambiguous Leonard Bernstein was...
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Bach - the specialists would never allow that

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I couldn't agree more strongly with Théo . As Colin Davis said when he took over at the LSO, what the orchestra needed was to play a great deal of Mozart and Haydn, string tone often having been the Achilles heel of London orchestras. Davis has also said that, of works he would most still like to record he would most like to record, he would choose the St Matthew Passion, but noted that, alas, the 'specialists' would never allow that. As our good host points out, the present situation would have been incomprehensible to great conductors of the past, whether Walter, Klemperer, Mengelberg, or Furtwängler. How is one to hear the Bach in Mahler, let alone the Mahler in Bach, if one does not know Bach - and know him intimately? Even if one were to take the ayatollah-like view that Bach and Handel were and could only be chamber music, it would be necessary to play them for that reason alone. Those would confine Bach, Mozart, Monteverdi, or anyone else, to a (generally grossly mis...
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Pushing the classical music envelope

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'In his short life and his art, the French Canadian composer Claude Vivier was a man diving, often recklessly, into the ultimate…. And from the edge of experience, he began to bring back, in the years leading up to his death in 1983, a new sound.' – Paul Griffiths , The New York Times I recently asked Who is pushing the classical envelope? My header photo shows a little-known figure who certainly pushed the classical music envelope and in the process created a new sound world that is ripe for rediscovery. Claude Vivier, was born to unknown parents in Montreal in 1948. After adoption his education prepare him for the priesthood until he was expelled from his seminary for "immature behaviour". But his religious training had awakened another vocation and he went on to study music, first in Montreal and then in Europe where his teachers included Karlheinz Stockhausen . In 1976 Vivier visited Japan, Bali and other Eastern countries and their musical traditions influenc...
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All you need is weirdness

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Thomas Wolfe wrote how humanity is often "touched by that dark miracle of chance which makes new magic in a dusty world".  One manifestation of that dark miracle is ' crazy wisdom '. This is found in Buddhism and Taoism, and crazy wisdom inspired the insights and teachings of the most radical masters of the these wisdom traditions. In his underground classic The Essential Crazy Wisdom irreverent radio personality and Buddhism-inflected stand-up comedian Wes 'Scoop' Nisker explained that crazy wisdom reveals that we live in a world of many illusions , that the emperor has no clothes , and that much of human belief and behaviour is ritualized nonsense . Tantric rituals are one of many ways of harnessing this essential new magic, and Philip Glass' endorsement of tantra in  his Foreword to Lama Yeshe's seminal Introduction to Tantra provides a bridge from the weirdness of crazy wisdom to the world of creativity. Scientific support for the impo...
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While classical music debates nothing changes

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'This magic comes only with the sounding of the music, with the turning of the written note into sound - and it only comes (or comes most intensely) when the listener is one with the composer, either as a performer himself, or as a listener in active sympathy' - Benjamin Britten Recent articles here about whether classical music responds to mass marketing and social media have generated considerable interest. So I thought it worthwhile to create a straw model which summarises the thrust of the articles and that is the purpose of this post. The straw model is remarkably simple and is built around the following four propositions. 1. Classical music engages new audiences most effectively by direct transmission to what Britten describes as as "a listener in active sympathy". 2. Despite this classical music today is characterised by hypermediation, meaning there are more and more intermediary layers appearing between performer and audience. 3. These intermediary la...
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The end of innocence

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In 1963 an English teacher, who considered passion more important than protocol, smuggled me and a few of his other 14 year old students into a cinema to see a '16' rated film. The newly-released Lord of the Flies was directed by Peter Brook and filmed on a very low budget. It brilliantly transferred William Golding's novel, which we were studying for 'O' Level English, to the screen, and went on to become a classic of the cinema. The DVD of Lord of the Flies , which restores Tom Hollyman's stunning black and white photography to its original glory (images above and below) , is essential viewing. A bonus on the DVD is the optional commentary by Peter Brook and his production team, which was recorded in 2000. But in the 90 minute commentary there is not one single mention of the music score which, with its repetition of the Kyrie Eleison motif, is an integral part of the film. The music for Lord of the Flies was written by Raymond Leppard. It is his best kn...
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I read the fake news today, oh boy

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In his latest bragfest which is seen above, Norman Lebrecht perpetuates the falsehood that Google Analytics measures people - ie. human readers. What Google Analytics actually measures is website page hits, which is very different to human readers. A page hit is a measure of a connection between any online device and the Slipped Disc server. The online device may or may not be read by a human, and, as a previous post explained , a large proportion - an estimated 50% - of page hits are robots and not human eyeballs. Which means the real Slipped Disc readership is in all probability around half the claimed 164,188. What I find puzzling and sad is that everyone professionally involved with social media - and that includes Norman Lebrecht who is certainly not stupid - knows that Google Analytics does not and cannot measure people. Lebrect could easily have explained in a simple sentence that Google Analytics need to be discounted by an estimated 50% to give a measure of human readers...
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Specialisation is damaging classical music

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'I would go a little further. One of the issues we face today is the ever-increasing division of classical performances into small, ghetto-like compartments. Forty years ago Fischer-Dieskau could be a giant among singers whether he was performing Bach or Wagner, Schubert lieder or Weber operas. For modern performers that doesn't seem possible. The baroque period has largely been abandoned to specialists. Even performances of Mozart, Hadyn and even early Beethoven, which used to be a staple of most symphony orchestras' concert seasons, are becoming rarities. This over-specialisation makes for less rounded and perceptive musicians. What's more it creates a uniformity of performance style which becomes more and more difficult to challenge. What isn't clear to me is why this should have become the norm. As a lifelong listener it isn't a development I ever wanted and I can't believe the move towards clinical uniformity has done anything except drive audiences awa...
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With or without AI we are facing a pandemic of slop

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In his new book  A Trick of the Mind   experimental psychologist and cognitive neuroscientist  Daniel Yon   provides a thought-provoking take on AI. He proposes that the borders between human creativity and AI are more porous than the dominant narrative suggests , explaining that  there is a close symmetry between what happens in AI's artificial neural networks, and what happens in the networks of our own minds.  Human evolution depends on random variability. Without genetic mutation there would be no variability and humans would never change, meaning every child would be an exact copy of their parents.  Daniel Yon expands the work of social psychologist and scholar  Donald T. Campbell   to propose that this dependence on random mutation does not just apply to human evolution but also to creative evolution. So no random mutation in the creative process means no development. All creativity depends on taking old ideas and combining...
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