The most interesting thing in life ...


'In art what is interesting is the structure of evolution, the direction things take. You can talk about beginning, development and end in many ways but in my view the idea of development is the most interesting thing in life' ~ Elliott Carter, Literary works. Italian. [le traduzioni dei saggi di questo volume sono di] autori vari ; a cura di Enzo Restagno. Torino, EDT/Musica 1989.

Now read about a standing ovation for Elliott Carter
Sorry, the score isn't Elliott Carter, the painting is Le Violin rouge, vers 1948 by the Fauvist Raoul Dufy. 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 listening hard alters the music

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The guy who writes the music-themed blog On An Overgrown Path is a bit of an obsessive, but I like that. The entry for 14 August happily happens to chime with a number of my own obsessions. Listening to music, and I mean listening hard, alters the music, and preparing to listen makes it twice as strange. And wonderful. That post by Brian Connor on his blog From a far place appealed to me, because not only does it sum up nicely what I have been saying On An Overgrown Path over the last ten years, but it also hints at the huge untapped potential of the lost art of listening . My own recent listening - and I mean listening hard - has included Bridgettine Chant from Vox Silentii . Birgitta Birgersdotter (1303-1373) of Sweden was a visionary and founder of the Bridgettine monastic order of contemplative nuns: she was canonized in 1391 and declared Patron Saint of Europe in 1999. Sung by the by the Finnish all-female medieval music specialists Vox Silentii , these recordings are not ne...
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No flowers please for Herbert von Karajan

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Few musicians have generated such a mixture of respect and revulsion as Herbert von Karajan. It takes Richard Osborne 851 pages in his masterly biography to capture the essence of this extraordinary conductor, entrepreneur and opportunist, and it would be impertinent to even attempt to cover the same ground here. So instead, with the centenary of Karajan's birth falling on April 5, I offer this personal vignette from my time at EMI, which I hope in some small way illustrates the conundrum that was this extraordinary man. During the late 1970s the Machiavellian Karajan had carefully nurtured a deadly rivalry between EMI and his other contract company, Deutsche Grammophon. This meant that EMI had, at very considerable expense, outbid DG for the four act version of Verdi's Don Carlos with José Carreras and Mirella Freni , and Debussy's Pelléas et Méliande with Frederica von Stade and Richard Stilwell . Pélleas was a personal passion of Karajan, and because of this he ...
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Classical music as ritual

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On the question of how to make classical music more accessible I remain a seeker. There are persuasive arguments from the modernists who see the need to cleanse concerts of what they see as silly conventions . But the classicists counter these with compelling explanations of how such conventions are an integral part of the concert experience. Recent posts here have favoured the modernists , but parallel reading has led me to see the arguments of the classicists in a different light. Zen Buddhism has had a considerable impact on Western classical music . But its more esoteric cousin Tibetan Buddhism remains elusive despite its embrace by Jonathan Harvey and other composers. Buddhism warns against dualism and the possibilities offered by the non-dualistic middle way are evidenced by Jonathan Harvey's questioning so-called silly concert conventions while composing music influenced by Tibetan Buddhist rituals and the highest yoga tantra . Central to the Vajrayana school of Tibetan ...
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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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Messiaen and Xenakis - Oiseaux Exotiques

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This photo shows Olivier Messiaen pinning the award of Chevalier de la légion d'honneur on Iannis Xenakis in his Paris apartment in 1977. Xenakis was a pupil of Messiaen and I will be playing music by both of them on my Future Radio programme on Sunday April 13 at 5.00pm UK time (repeated 12.50am April 14). The programme opens with Xenakis' Komboi and closes with another award winner, Angelin Chang , John McLaughlin Williams and the Cleveland Chamber Symphony's Grammy winning recording of Messiaen's Oiseaux Exotiques . The two works are separated by music from a composer who shared Messiaen's deep Catholic faith. Hildegard of Bingen is the earliest composer with a detailed biography and her music drama Ordo Virtutum is considered to be the prototype of the art form that became opera and eight centuries later came full circle in Messiaen's massively underrated Saint François d'Assise which only had its U.S. premiere in 2002. I will be playing the ...
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Early musician who could have become a great conductor

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David Munrow is best known as an early music virtuoso but his genius knew no bounds. His producer at EMI Christopher Bishop mentored both Riccardo Muti and André Previn early in their careers, and therefore his view that had David Munrow not died tragically young he could have become a great conductor cannot be dismissed easily. That view was expressed by Christopher in a 2007 radio interview with me - sound file via this link . Below is my transcription of that radio interview, see footer photo taken at the time. Christopher Bishop is best known for his work with Sir Adrian Boult, and the interview touches on the recording he produced of the Brandenburg Concertos conducted by Sir Adrian with David Munrow and John Turner playing the recorder parts. That recording was reissued in the 2012 EMI Classics box ' Sir Adrian Boult from Bach to Wagner ' which was lovingly curated by my EMI colleague Richard Bradburn . Richard died last week of a Coronavirus-related illness and th...
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So it's not just listening ...

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Over time classical music has shifted from being a lean forward activity, where the emphasis is on participation, to a lean back activity, where the audience are passive observers. Music originated as a lean forward activity in churches. The chorales in the Bach Passions are a brilliant use of lean forward music, and Britten followed Bach's example with the congregational singing in Noye's Fludde and Saint Nicholas . The flourishing community choir movement in France is a testament to the power of lean forward music . Music lessons in schools, now fast disappearing , are lean forward music pure and simple. John Cage wrote his A House Full of Music (described by him as 'A Musicircus of non-professional music' ) for 800 music-school pupils in Bremen, Germany, and his 4' 33", where ambient sound becomes the performance, is the ultimate lean forward music. But lean back music, where the focus is on celebrity performers, is the darling of the media driven 21st c...
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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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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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David Munrow - more than early music

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'David Munrow and the Early Music Consort of London transformed our view of medieval music. The impact of their performances far surparssed any that had gone before: by demonstrating how medieval music could sound normal, they created a niche for it in the concert hall and on record that it has never lost' ~ From Daniel Leech-Wilkinson's notes for Music of the Gothic era May 15 2007 is the thirty-first anniversary of the death of David Munrow. His contribution to the acceptance, understanding and performance of early music almost defies summary. He was born in 1942, and learnt the bassoon and recorder as a child. Between school and university he travelled and taught in South America , and started the collection of ethnic instruments that were to give him, and the world, a new perspective on early music making. He read English at Pembroke College , Cambridge, and was encouraged by Thurston Dart to take an active role in the music-making of that most musical of cities. ...
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