Et tu, Brute?


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A great mind that found expression in great music

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...but I wanted to solve a problem. To put it very simply, it was the problem of suffering, and it still is. This seems to me the most important problem, in fact the only problem which one should be engaged with: in art as in life, what is suffering and what is the key to alleviating it? It leads back to Buddhism. Buddha is famous of course for proposing just such a solution and it seems his whole life was engaged in the Bodhisattva mission of alleviating suffering, bringing enlightenment and releasing all beings, all living beings from samsara, the world of suffering. Be that as it may, I certainly felt that this more objective music was in the direction of moving away from this fascinating world of samsara, of suffering, in which we are interminably caught and upon which art endlessly meditates. That was Jonathan Harvey speaking to Arnold Whittall in 1999. Jonathan’s path towards the Buddhist pure land , which he expressed so eloquently in his Fourth Quartet , has progressed further...
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Travels beyond TripAdvisor

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These photos were taken on my recent spirit quest in Morocco to the Sufi shrine of Sidi Chamharouch, which is seen above. A 75 minutes drive from Marrakech brought me to Imlil where the road ends and the mountains begin. The hamlet of Sidi Chamharouch - which is one of those blessed places which returns a blank in a Trip Advisor search - is at an altitude of 2350 metres and is reached by a tough and potentially dangerous two hour climb up a rocky path. Access is impossible for wheeled vehicles and supplies are brought in by the mules seen in my photos. Beyond Sidi Chamharouch is Jebel Toubkal, which at 4,167 metres is the highest mountain in North Africa. During my trek I was struck by the similarity between the High Atlas and Ladakh on the border of India and Tibet . Film director Martin Scorsese was also struck by the similarity. With Tibet a no-go zone he used this region for location shooting of his 1997 movie Kundun ; this depicts the Dalai Lama 's flight into exile fro...
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Most music is only meant for a certain group of people

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Back in 2016 I recounted how I was impressed and moved by Anna Thorvaldsdottir's In the Light of Air . Recently I have been similarly impressed and moved by her Archora and Aion performed by the Iceland Symphony Orchestra, conducted by Eva Ollikainen. Anna Thorvaldsdottir's music combines the two essential of being both accessible and challenging. And, sadly, it is that challenge that probably explains why her music has failed to gain the traction it deserves in todays comfort zone-delimited culture .    Today it is perfectly acceptable, no praiseworthy - for classical music and other great art to be tailored to the needs of the lowest common denominator. It is less acceptable - no politically incorrect - to echo Benjamin Britten's credo that " Music demands ... some preparation, some effort ". So, at the risk of once again being politically incorrect, I reprise the words of another great under-appreciated woman musician, Alice Coltrane . This quote comes from...
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John Cage's crazy creativity

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Crazy wisdom, as exemplified by the celebrated but controversial  Chögyam Trungpa Rinpoche , is wisdom gone wild. It is wisdom expanded beyond conventional intelligence and beyond the concept of ordinary people. Similarly, crazy creativity is creativity gone wild, and the importance of the threatened art of crazy creativity is seriously underestimated in today's  algorithmically flattened culture .  Social psychologist and scholar Donald T. Campbell   has proposed that 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 them in new, unusual, and sometime wrong ways. Without this vital mutation there would be no variability, meaning all art would become nothing more than a replica of the preceding art.  John Cage's pioneering work is one outstanding example of crazy creativity combinin...
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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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BBC Proms and the tyranny of the children’s encyclopedia

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As the annual administrative behemoth known as the BBC Proms lumbers into motion, filling the national ether with its familiar blend of civic piety and corporate branding, one is forced to confront a recurring fatigue.To listen to BBC Radio 3’s broadcasts of these mammoth London concerts is to witness a curious ritual of cultural containment. Before a note of Vaughan Williams or a forgotten rarity by Jonathan Harvey can safely enter the acoustic space, it must first be sanitized. The listener is subjected to presenters topping and tailing each masterwork with breathless, patronizing trivia, as if lifting entries straight from an illustrated children’s encyclopedia of classical music. One hears the familiar, smug cadence—that unmistakable institutional voice which assumes that the public cannot possibly encounter sound unmediated by narrative hand-holding.  The star system versus the art  The modern Proms season operates less as a sanctuary for deep listening and more as an e...
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New music for old instruments

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There is a neat inversion of yesterday's theme of modern orchestras being influenced by baroque performance practices in the double CD above. About Baroque features the unusual combination of contemporary music and period instruments. It was the product of an innovative funding initiative by the Siemens Arts Program that brought together the Freiburg Baroque Orchestra and five leading young composers in a series of workshops and rehearsals that allowed the composers to understand the sonic potential of period instruments. The output from the programme was five new works from Michel van der Aa , Juliane Klein , Rebecca Saunders , Benjamin Schweitzer and Nadir Vassena written specifically for the Freiburg Baroque Orchestra. These were captured in concert performances and released on About Baroque in 2006. Let's make one thing clear, About Baroque is not ersatz early music. It is very contemporary music written for a leading period instrument ensemble. And how well it wo...
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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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Critical Mass

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I'm a big fan of Marin Alsop . But last night her BBC Prom performance with the Bournemouth Symphony Orchestra playing her own sequence of the suites from Prokofiev's Romeo and Juliet was strangely unsatisfying. Tempi were pulled around, and rather than adding to the tension the wayward performance weakened it. When it finished I wanted some 'in your face' music making that was over the top, but which really worked. So as Marin Alsop was a pupil of Bernstein's I put on his 1971 recording of his own Mass , a work I don't listen to very often. Is Mass Bernstein's unrecognised masterpeice? Or is it a failed experiment in using the vernacular and exploiting street chic? (But wasn't the 'parody mass' a legitimate renaissance musical form which exploited contemporary music such as L'homme arme ?) My view used to be that Mass was simply a failed experiment, but I have to confess I am slowly moving towards the view that it may be a misunderstood m...
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