Et tu, Brute?


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Master musician who experienced the pain of genius

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On that sleeve for his 1985 recording of the Goldberg Variations , Scott Ross is seen standing in the grounds of Château d'Assas in Languedoc. It was here that many of the harpsichordist's great recordings were made. Then, as today, the château dwelt in the twilight zone between grandeur and dereliction, and thirty years ago the recording sessions were regularly interrupted by the sound of rats scurrying across the floor. Scott Ross was born in Pittsburgh in 1951, and moved to France with his mother following the death of his father in 1964. He studied at the conservatoires in Nice and Paris, and first came to Château d'Assas in 1969 to give music lessons to the grandson of its owner Mme. Simone Demangel . When an early music academy was established at the Château d'Assas, Scott Ross gave masterclasses and became a frequent visitor. At first he stayed in a room in one of the towers, but from 1983 he rented a small house across the road from the château. The photos b...
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Sketches of Joaquin Rodrigo

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Was Joaquín Rodrigo, who died on 6 July, 1999, a composer out of step with his time? His most famous work, the tonal, tuneful and cheerful Concerto de Aranjuez , was completed in the spring of 1939 in Paris. While Rodrigo was composing German troops were approaching the Czech frontier and Moravia and Bohemia became 'protectorates' of the Third Reich. During that spring the Nazis annexed Lithuania, Arnold Schoenberg's Violin Concerto was published and Michael Tippett started work on his protest oratorio A Child Of Our Time . As Rodrigo's evocation of the glories of Spain took shape in March 1939 the Civil War in the composer's native Spain ended when Madrid surrendered after a siege lasting two and a half years and the remaining Republican territories capitulated to Franco's Nationalist forces. The total death toll in Spain was estimated to be around half a million. The rise of fascism and the spread of anti-semitism were hardly events that Rodrigo could ignore...
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Is Hugo Chavez really music to our ears?

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Venezuela, and its charismatic president Hugo Chavez , have featured On An Overgrown Path several times recently. Back in November I raised concerns about the objectivity of the Guardian's coverage (above ) of Venezuela's acclaimed music education programme, and only yesterday I highlighted human rights activist Harry Belafonte's support for Chavez . So today's Observer article Mr Chavez and the death of freedom makes interesting reading. Here is an extract: "Consider, for it's a looming headline event in 2007, the Hugo Chavez dilemma. On the one hand, many committed media freedom warriors in Britain - including Jeremy Dear, general secretary of the National Union of Journalists - vociferously support Venezuela's totemic president and all his egalitarian works. They raise money for his causes, pass NUJ conference motions of support and generally despise scribblers on the other side who think him a bit of a demagogue. On the other hand, Aidan White, gene...
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All that twitters is not gold

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That tweet saddens me. It was written by Jeremy Pound who identifies himself without disclaimer on his Twitter account - see below - as the deputy editor of BBC Music Magazine . I don't know Jeremy Pound, but presumably he is a very nice guy who holds a senior position in an influential publication which he reached due to his qualifications and experience. Of course all of us have blind spots in our music appreciation. But is it not the role of a writer to report with a reasonable degree of objectivity that a work fails to engage them, fails to move them, or is beyond their comprehension? And is it not also their role to explore why that vital connection has not been made? Karlheinz Stockhausen has been judged by others with far stronger credentials than Jeremy Pound to be an important if controversial figure in late 20th-century music. To publicly dismiss one of his seminal works as "a load of pish" - definition "variation of piss, most usually used in the nort...
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Britten and Stravinsky - after the flood

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Finally the rains have stopped, and summer has arrived in East Anglia . Photographs taken this morning as I cycled out of our village. Benjamin Britten's wrote Noye's Fludde here in East Anglia, and it was first performed at the 1958 Aldeburgh Festival . It is Britten's most substantial work for children, and is based on one of the 16th century Chester Mystery Plays using an edition by Alfred W. Pollard . The main vocal parts are written for children, with the exceptions of the adult parts of Noye himself, Noye’s wife and the Voice of God. Noye's Fludde is scored for strings, recorders, bugles, handbells and a range of percussion, and also calls for home-made instruments including sandpaper blocks and slung mugs. Every CD collection should include the definitive 1961 recording made in Orford Church . Igor Stravinsky wrote the musical play The Flood in California to a commission from CBS television. The libretto is a compilation of texts by Robert Craft from th...
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Shostakovich we'll allow, but take out Stravinsky

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One of the recurring themes On An Overgrown Path has been the control of agents , broadcasters and record companies over the music we hear. The question is a simple one - do we hear the music we want, or do we hear the music chosen for us by others? A very perceptive comment today on my Peteris Vasks article by Daniel Wolf (do visit his blog Renewable Music ) reminded me that hidden agendas among programmers are not new, and raised the interesting point that Shostakovich was actually promoted, rather than suppressed, by the Soviet authorities at certain times. As soon as I read Daniel's comment I located Stormy Applause, Making Music In A Worker's State by Borodin Quartet founder Rostislav Dubinsky in my library. The events in the extract below took place in 1955. Goskoncert was (and still is) the Russian state run concert agency, and the programs under discussion were for the Borodin's first ever overseas tour to the German Democratic Republic . At Goskoncert the pr...
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May I say a word about André Rieu?

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May I say a word about André Rieu? It is easy to look down at him and his style of presentation, to sneer at it as schlager or easy listening or glorified elevator muzak or whatever. I've done it myself. But, to my own considerable surprise, I find myself less and less sympathetic with such criticisms, and more and more embarrassed to have indulged in it myself. He is providing -- dare I say it? -- innocent, wholesome pleasure to millions of people, many of whom have never been afforded the opportunity to develop sophisticated classical music tastes. My mother-in-law, who grew up in a poor neighborhood near the Chicago stockyards and certainly never had exposure to classical music growing up, enjoys her Rieu CD and video very much. And the more I think about it, the more I can't find anything wrong with that. For it seems to me that to find fault with someone else's musical pleasure is at best presumptuous and at worst just rank snobbism. As much as I admire artists of un...
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A Karl Weigl photo album

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Preparing articles about composers such as Elizabeth Maconchy , Elisabeth Lutyens and Karl Weigl is difficult bcause there are very few photographs of them available. After he read my Karl Weigl article today John McLaughlin Williams kindly obtained permission from the composer's grandson to make available the family photographs here. John explains: 'Weigl was a good athlete. I saw other pictures at his daughter-in-law's house that showed him to be quite muscular in the manner of a wrestler. The lovely portrait above is with his wife Vally.' Now here is an exclusive picture of a very different kind. Many thanks to Karl Weigl Jr for permission to reproduce these photographs. Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and other errors to - overgrownpath at hotmail dot co dot uk
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How Wagner redacted Parsifal's Muslim brother

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That photo was taken when I visited the remote Tinmel Mosque in Morocco's Atlas Mountains. My visit prompted the post Is this Wagner's legendary Monsalvat? which highlighted the tenuous links between Wagner's Parsifal and the Islamic culture of al-Andalus. My further exploration of this subject has since uncovered some surprising and little known facts. Parziva l, the epic poem on which Wagner based his music drama, is a medieval romance by the knight-poet Wolfram von Eschenbach . In the poem Parzival's father, the knight-adventurer Gahmuret , served the caliph of Baghdad; which meant a Christian knight was serving a Muslim. While in the caliph's service Gahmuret married the Black pagan queen Belkane. She became pregnant with their child, but their mixed-ethnicity son Feirefiz was born after Gahmuret returned to Wales. On his return to Wales he won the hand of a queen called Herzeloyde, and that union resulted in the birth of Parzival. Which meant Parzival h...
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The joy of jazz

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That is Michel Petrucciani in the photo; he made his first appearance On An Overgrown Path eleven years ago and in 2016 I derived many hours of listening pleasure from the 7 CD anthology Michel Petrucciani: The Blue Note Albums . Despite suffering from the genetic disorder bone disorder osteogenensis imperfecta which limited his height to 3' 0" [ 0.91 m ], Michel Petrucciani became a renowned jazz pianist. Originally influenced by Bill Evans and to a lesser extent Keith Jarrett, he went on to develop his own unique voice - watch a full length concert video via this link . Michel Petrucciani died in 1999 aged just 36 and is buried alongside Frederic Chopin in Paris' Père Lachaise cemetery. Michel Petrucciani's resting place acknowledges the close links between jazz and classical music, and there are notable examples of the influence of jazz. George Gershwin's Rhapsody in Blue was originally commissioned for solo piano and jazz band by Paul Whiteman, and on...
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