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Put Guardian critic Andrew Clements in a plush upholstered seat in a concert hall to listen to Shostakovich or Mahler's parodies of popular tunes, and chances are he will wax lyrical in his review. Ask him to walk around outside Snape Maltings and experience a multi-media and amplified opera which includes, horror of horrors, a Beatles tribute band, and he will grumpily find it 'in a word, dreadful.' Fortunately I don't earn my living in London churning out reviews of unamplified Mahler and Shostakovich in twentieth-century concert halls, so here are my pictures, and impressions, of Aldeburgh Festival's new commission, Elephant and Castle.
Opera is the original multi-media art form, and it all started with Monteverdi's Orfeo in 1607. The proscenium arch single location format using natural acoustics has been the status quo for four-hundred years. Isn't it time to at least challenge that status quo?
Director Tim Hopkins sets out his position clearly: 'The arrival of digital technology proposes a new box of tools in this area, within the economic reach of arts projects. It's a bit like the early days of film: the grammar of how you use it and what you can do with it hasn't been decided yet.' Note the last sentence Mr Clements, that explains what Elephant and Castle is about.
The 100 minute opera is in seven scenes using six different locations seen in my pictures here. One scene is in the Maltings concert hall (pictures adjacent to this text), the rest are in the landscape around the hall. Two of the scenes are reflective interludes combining sounds and video. The second interlude samples words from Britten's Peter Grimes 'I hear those voices that will not be drowned'. The irony of that sample passed Andrew Clements by.
Music critics still live in the world of Mahler and Shostakovich, and see their role as answering the profound question - is it great art? Nobody is pretending Elephant and Castle is great art. As director Tim Hopkins explains it is art in progress, precisely as Orfeo was in 1607. To even start to understand Elephant and Castle you need to leave the concepts of great art and conventional performance practice behind in London. Otherwise the journey is wasted.
Now Andrew Clements is safely back in London he may well hear music by that great symphonist Carl Nielsen. As he settles into his seat in the luxuriously refurbished, revoiced and unamplified Royal Festival Hall Mr Clements should reflect on these words by that visionary musician:
'The right of life is stronger than the most sublime art, and even if we reached agreement on the fact that now the best and most beautiful has been achieved, mankind thirsting more for life and adventure than perception, would rise and shout in one voice: give us something else, give us something new, indeed for Heaven's sake give us rather the bad, and let us feel that we are still alive, instead of constantly going around in deedless admiration for the conventional.'
I came away from Snape last night feeling that I was very much alive. Thank you Jonathan Reekie, Tim Hopkins, Tansy Davies, Mira Calix and the Aldeburgh Festival.
All photos taken by Pliable on 21 June 2007, copyright On An Overgrown Path. Quotation from My Childhood by Carl Nielsen, Hutchinson 1973. 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
Joy of Music is a book by Leonard Bernstein based on the scripts he wrote for an educational TV series in the late 1950s. The book is a celebration of diversity, ranging from American music theatre, through Mahler and the importance of contemporary music, to Bach’s use of counterpoint in his chorale preludes.
My photographs are a visual celebration of the vibrant musical life beyond busking superstars, child prodigies and MySpace. The photos were all taken at Oxfam Books and Music, Norwich on 26th April 2007. Just left click on the images to enlarge, you'll see real diversity - everything from Monteverdi to Stockhausen, and there is even a record deck to audition them on. I’m now away for a few days, so do explore the joy of music through the wonderfully diverse mix of music blogs listed in my side-bar.
The sleeve above is Glenn Gould's Goldberg Variations, so why not read about the best damn record he ever made?
All photos copyright On An Overgrown Path, 2007. Any copyrighted material on these pages is included for "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
Cambridge is a university first, and a city second. It is at its best when the students are in residence to counterbalance the tourists and language school students who take over in high summer. Last Saturday was a day to savour Cambridge. The weather suddenly changed from damp and grey English spring to something like high summer. The streets and open spaces were thronged with students enjoying the miraculous sunshine while taking a break from studying for exams, and the Backs were crowded as a mixture of students and early tourists took out punts.
We walked down Silver Street, along the river and back across Clare Bridge. Despite having seen it so many times we marvelled again at that most uplifting of views, Kings College Chapel viewed from across the river. The buildings are magnificent, but it is the students that make the city. This is the city of Rupert Brooke (who as a founder member of the Marlowe Dramatic Society allows me to insert a contrived link to my Infinite riches in a little room post) , and Silvia Plath (who was at Newnham College in 1955/6 on a Fulbright Scholarship, and whose husband Ted Hughes was at Pembroke College, but not at the same time as Plath). Ralph Vaughan Williams studied here, as did singer/songwriter Nick Drake who was at Fitzwilliam College for six months of his too brief life in 1969. See my posts Smile Why It Has Been , A Troubled Cure for a Troubled Mind and Improvisation for more on Nick Drake. If you are tempted to try his music, as well as his own CDs I highly recommend jazz pianist Brad Mehladau's Live in Toko album which has treatments of two Drake songs on it, Things Behind the Sun, and River Man. This album is the overgrown path that got me into Nick Drake.
Cambridge was pivotal in the Early Music revival. From Edward J Dent’s (who was a don at King's) pioneering presentations of Handel oratorios and operas in the 1920’s. Through Boris Ord’s work with King's College Choir (whose repertoire he expanded into Tudor polyphony) and the University Madrigal Singers, to figures such as Thurston Dart. I have the Neville Marriner Academy of St Martin's recording on LP of Dart's wonderful, but controversial, performing edition of the Brandenburgs, and what performers! - including the late and much lamented David Munrow on recorder. Munrow read English at Pembroke College, and next year is the thirtieth anniversary of his tragic and untimely death; a fate he shared, alas, with Nick Drake, Sylvia Plath and Rupert Brooke. Let's hope for some more Munrow reissues next year, and wouldn't a biography be wonderful? (Pliable Feb 2007 - alas there was no biography, but there was this Overgrown Path tribute.
Sir David Wilcocks helped establish the current world class standard of the King’s College Choir, while St John’s College Choirs has also established an enviable reputation. Two current stars of the Early Music scene (who were in Norwich for our Festival) also have Cambridge connections. Violinist Andrew Manze read Classics at Cambridge, while keyboard virtuoso Richard Eggar was organ scholar at Clare College. Composer John Rutter (who I touched on in my post Lux Aeterna ) also studied at Clare (as of course, did Nick Drake). James Wood, the composer of the opera Hildegard which was the subject of my post Hildegard comes to Norwich via IRCAM and Darmstadt was also an organ scholar at Cambridge. Fiona Maddock, whose book on Hildegard of Bingen inspired James Wood's new opera on the same subject (see my post Hildegard comes to Norwich via IRCAM and Darmstadt), was at Newnham College, while BBC broadcaster and journalist Andrew Marr (see my post I am a bringer of Truth and Enlightenment) was at Trinity Hall. All of this extraordinary cultural and musical heritage is underpinned by a vibrant university and town music scene, with a calendar of performances that is simply breathtaking in its range.
One of my favourite publications is the Cambridge Concert Calendar. This is published three times a year, and is essential reading even if you don’t live in England, as it gives a marvellous snapshot of life in this most musical of all cities. The current calendar for the Easter Term 2005 covers the period from the end of April to the end of July. It has 54 pages, and there are four concerts to a page – that is more than 200 different events to choose from.
On this weekend the concerts included a celebration of the music of Henri Dutilleux in Kettle’s Yard on the Sunday followed by a symposium on his life and music; and a Baroque programme in Robinson College Chapel on Friday. Monday brought a trio of Indian classical slide guitars and tabla in Emmanuel United Reformed Church in Trumpington Street. (It is wonderful how these place names evoke Rupert Brook’s poem The Old Vicarage Granchester.... At Over they fling oaths at one, And worse than oaths at Trumpington). And on Saturday the riches included a centenary concert remembering Cambridge composer, critic (he is the author of a fine book on the Beethoven Quartets) and academic Philip Radcliffe in King's College Chapel, with the Fitzwilliam Quartet (formed by graduates of the Cambridge college of the same day in the 60's, also Nick Drake's college, a nice crossing of overgrown paths) performing a string quartet by him. The following week Anglia Opera staged performances of Britten's rarely heard Paul Bunyan in the Mumford Theatre auditorium of Cambridge's new Anglia Polytechnic University. (Which allows me to link to my two Britten posts, Easter at Aldburgh and A direct line to Britten.) If you want a real taste of musical Cambridge the Cambridge Concert Calendar is just £2.50 plus postage from Gail Dubbyne at dobbyne at quadrant-video.demon.co.uk. It will give you a picture of the rich musical life of this wonderful city even if you can’t make it to the concerts.
We were in Cambridge for music making by the students,
Monteverdi's Vespro Della Beata Vergine of 1610 sung by the University Chamber Choir directed by King's College graduate David Lowe. The performance was in Sir George Gilbert Scott's majestic 19th century St John's College Chapel. Two weekends and two exquisite performance spaces. Last week the Scandinavian simplicity of Norwich's Swedenborgian Chapel (see my post What a Facade! , and now the High Church splendour of a Cambridge College).
This was powerful Monteverdi, sung with gusto and youthful vigour, but also with precision and purity of tone. The University Chamber Choir comprises thirty-two singers; eleven soproanos, eight altos, six tenors and seven basses. What a joy to see such a youthful (and expert) choir, and also so many young faces in the almost capacity audience. (The ageing of the audience for classical music seems to be unstoppable, like mobile phones and i-Pods).
Is it a lute on steroids? No, it is a chitarrone competing with the serpent in my Size does matter post for the largest instrument on the blog award. It also gives me a reason to link to my post about fantastic jazz pianist Michel Petrucciani, this was one of my favourite posts but it created zero reaction, but on the basis his size didn't matter I'm trying again.
The Baroque players (comprising freelance professionals) were suitable 'authentic'; three cornetts, two tenor sackbuts, a bass sackbut, two violins, a cello, organ, and a wonderful contribution from Dai Miller playing the chitarrone. During the interval, after the Lauda Jerusalem, we wandered out into the quadrangle of the College. The night was like black velvet, and unseasonably warm. We had that increasingly rare feeling that all is well with the world, and that Sir Peter Maxwell Davies can relax (see my post A Musician with teeth). The future of 'serious music' is in safe hands with these young musicians.
Note - this performance took place on April 30th. The sheer volume of posts about Norwich Festival events forced me to hold it over.
If you enjoyed this post you may like Lux Aeterna (and not Ligeti)
