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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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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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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Some music should be as boring as posible

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Éliane Radigue - seen above - has died at the age of 94. Writing in 2014 I explained how her Trilogie de la Mort is an intense exploration of the ragged edge of classical music that questions spatial conventions with its immersive sound, and which reaches beyond music into infrasound. At almost three hours duration and with extended periods of virtual stasis,  Trilogie de la Mort  challenges accepted concepts of musical development.  The huge influence of Éliane Radigue is shown by the breadth of the tributes, from DJ Mag , through the Guardian , to the usual lazy and accentless  Slipped Disc acknowledgement . Éliane Radigue's transcendent, unique and fearless music means a lot to me. So, as my tribute, I am republishing some of the Overgrown Path posts that over the years featured this fearless music innovator.                                     Some music should ...
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Those are my principles....

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Norman Lebrecht: Slipped Disc and   Lebrecht Weekly, 12/05/2023   "Why I cannot, in good conscience, review this record I cannot, in all conscience, give this recording a star rating, or even a detailed review. The soloist is Elisabeth Leonskaja, a legendary pianist whose introspections are perhaps the strongest living reminder of her late friend Sviatoslav Richter....Christian Thielemann, in the recent film ‘Music under the Swastika’, claimed that Wilhelm Furtwängler’s complicity in the Third Reich was justified by his legacy of extraordinary recordings.  Leonskaya’s presence in Putin’s Russia is not dissimilar. What are we to make of them?... The performances, per se, have nothing to do with the present situation. And yet, everything.I cannot review them". . ..and if you don't like my principles... well, I have others . Norman Lebrecht: Slipped Disc , 19/11/2025 "The Muziekgebouw in Eindhoven has cancelled a December 4 concert by the Russian-Georgian Jewish pia...
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The purpose of puffery and closed-mindedness

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Two contrasting responses from America to my post Third rate music on Naxos' American classics? Flinging merde - ' Granted some of the stuff that Naxos has packaged in that series has been less than distinguished but operating in a cultural establishment where critics treat every cow patty ever dropped by the likes of Alwyn (above) and Bax and Finzi and Michael Tippitt (sic) as if it were fois gras, Clements is hardly in a position to fling merde' - from Sequenza21 , and I'm sure Norman Lebrecht would approve of that misspelling of Tippett. The true beauty of the effort - ' Personally speaking I expect listener reaction to concert music is heavily dependent on emotional mood and cultural/historical context . The concept of "ratings" and "tiers" for composers is pretty much an over-rated specialization of critics, which serves the purpose of puffery and closed-mindedness. My father is the American composer George Frederick McKay (photo be...
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Classical musician's brave journey from Mozart to Morisco

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In the 1950s a number of prominent jazz musicians converted to Islam, including - to use their adopted names - Ahmad Jamal , and Sahib Shihab , Yusef Lateef . One of the most notable converts was the drummer Art Blakey , while the very personal heterodox cosmology of the most celebrated jazz musician of that period John Coltrane was influenced by the beliefs of his first wife Naima, who was a Muslim convert . Many of the musicians who converted were African Americans endeavouring to escape from the shadow of Western colonialism ; they saw Islam as an attractive alternative to Christianity within the Abrahamic tradition, and jazz at that time was heavily influenced by music from cultures beyond the Judeo-Christian world. These circumstances were unique to the 1950s, and fewer jazz musicians have taken the path to Islam since. But those who have include the bass player Danny Thompson who converted in 1990; he has played with many great musicians, including Nick Drake on the legendary...
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A vintage year for blasphemy and heresy

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2010 was a vintage year for blasphemy and heresy. A post on Salvador Dali drew attention to his forgotten audiovisual opera-poem Être Dieu inspired by the Cathar heresy, Jonathan Harvey stirred things up on my Chance Music programme by saying "the future must bring things which are considered blasphemous like amplifying classical music", while yet another path took me to new heights of heresy. In fact the path reached 2400 feet, which, as the photo above shows, is a serious challenge for anyone who, like me, who has a vertigo problem. I took the photo from the fortress of Quéribus in Languedoc, France and the view is towards Mont Canigou, the holy mountain beloved of Pablo Casals and Thomas Merton . Quéribus castle was the last Cathar stronghold to surrender in 1255 and Jordi Savall's The Forgotten Kingdom had led me to Languedoc and Catharism and on to Gnosticism. The Cathar heresy has its roots in the "dualist" religions in the Indus basin which origina...
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No big bearded imam was going to tell me music was haram

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That header photo shows the British Muslim musician Ali Keeler playing with his Al Firdaus Ensemble. The status of music in Islam - forbidden or permissible - is frequently discussed and almost as frequently misunderstood. So I thought it useful to share an extract from an unpublished memoir by Ian Whiteman who was multi-instrumentalist for the mod band The Action and the Sufi-influenced cult psychedelic folk rock band Mighty Baby in the 1960s. Ian went on to make what is, to use a tired and devalued label , an inexplicably neglected masterpiece, the one-off album If Man But Knew by the Habibiyya. In 1971 Ian converted to Islam and became a member of the celebrated Bristol Gardens/Wood Dalling Sufi zawiya founded by the controversial Abdalqadir as-Sufi who later wrote an Islamic interpretation of Wagner's music . After converting to Islam Ian Whiteman took the name Abdallateef and as Abdallateef Whiteman has established a considerable reputation in the Muslim world as a graph...
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What price a classical radio presenter?

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New York Magazine's ' What Do You Get Just for Showing Up? An appearance-fee pecking order ' can usefully be extended to classical music. A noticeable appearance-fee beneficiary is the BBC's self-styled 'Prom Queen' and 'Maestro' star Katie Derham whose recent Tweets include "Sofya Gulyuk tickling ivories v effectively right now on @bbcradio3 Rach 3. Beautiful". In addition to a reported salary of £250,000 Ms Derham will just show up for corporate and public sector clients for a fee of "£5k - £10k" per appearance. Katie Derham is positioned as the BBC's 'face of the Proms' and the BBC Proms are subsidised by the public via the TV license fee to the tune of around £75,000 for each concert . Others benefit from appearance-fees more clandestinely , but it's all part of classical music's celebrity economy . Also on Facebook and Twitter . Any copyrighted material on these pages is included as "fair us...
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Storm clouds gather over Aldeburgh

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On An Overgrown Path’s traffic logs show that the UK and international media are actively researching the private life of Benjamin Britten. One of the many failings of the BBC in the Jimmy Savile scandal was to assume that a potentially damaging story would simply go away. So, although I would much prefer to be writing about other things, I am reluctantly returning to the subject of Britten . I am a huge admirer of Britten’s music , I have written in praise of Aldeburgh , and Snape is my local concert hall . But for some time I have had a growing discomfort about certain aspects of the composer's private life, and this means I do not share the dismissive attitude that prevails elsewhere in classical music towards its continued scrutiny. And it also means I object to being labelled as a “smut-stirrer” for believing the subject should not be off-limits . The aspects of Britten’s personal life under scrutiny are public knowledge. In his eloquent appreciation of Britten in Th...
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