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Good to see the Guardian following the Overgrown Path.
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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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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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Swamped by a tsunami of classical populism.

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These photos show me with Jonathan Harvey in 2010 recording an interview for Future Radio. As I will be away from blogging for a while I am leaving you with a long listen. My broadcast interview is available via this link from the archive website of the then Future Radio station manager Tom Buckham. The 87 minute broadcast ends with a performance of Jonathan's masterpiece for large orchestra and electronics Speakings with Ilan Volkov conducting the BBC Scottish Symphony Orchestra. (For those with 2025 attention spans a transcript is available via this link .)   Jonathan Harvey was a composer with Buddhist tendencies . His composition ... towards a Pure Land for large orchestra evokes the state of mind in Buddhism beyond suffering where there is no grasping. Two years after I recorded the interview Jonathan left us far too early to travel towards the Pure Land - Nibbāna . Since then his eclectic vision of a new music for a new audience has been swamped by a tsunami of cl...
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The Acid Queen hears Stravinsky in Jajouka

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One of several notable new publications in 2025 was Susannah Cahalan 's life of Rosemary Leary. Her biography  The Acid Queen: The Psychedelic Life of Rosemary Woodruff Leary is a much-needed account of Timothy Leary's often overlooked third wife. Importantly, this meticulously researched and sympathetic book provides an objective counterbalance to the many Leary hagiographies. Synchronicities include my unlikely brief personal encounter with Timothy Leary's second ex-wife, and and the surprising story of how Elgar took a trip . And more synchronicity in this passage from The Acid Queen .   ....It took a full day to reach the foothills of the Ahl Srif Mountains in Morocco to visit the famed Master Musicians of Joujouka, musical healers who mended broken people with their ancient songs. The show begins with a violin. Pennywhistles joined in. Rosemary placed a tab of LSD on Timothy's tongue and then one on her own. Men in hoods rose and lifted wooden pipes that sounded ...
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Great recordings without the spin

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This wonderful Christian Steiner portrait of Charles Gerhardt(1927-99) featured in my 2007 post LPs were like the force of gravity . Gerhardt's important contribution as a conductor, producer and champion of twentieth-century composers such as Howard Hanson , whose Second Symphony is the main work on the disc above, has never been fully recognised. So I was delighted when David Cavlovic sent me a link to a wonderful appreciation of Gerhardt's work . Reading Robert E. Benson's memories of Gerhardt prompted me to dig some of his great recordings out of my collection, and to write my own appreciation below. Charles Gerhardt was a champion of the music of Erich Wolfgang Korngold , and collaborated with the composer's son George on recordings of his film music. One result was the 1972 LP seen above conducted by Charles Gerhardt and produced by George Korngold, which is a true sonic and musical delight. At one time it was available as a Chesky CD transfer, but I can find no...
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The Berlin Philharmonic's darkest hour

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Wilhelm Furtwängler was born on 25th January 1886. He was Music Director of the Berlin Philharmonic from 1923 to his death in 1954, and held this position for the twelve years that Hitler was in power. In January 1945 he was conducting in Vienna, and fled from there to Switzerland where he remained until the Battle of Berlin ended in the defeat of the Nazis. The musicians of his orchestra remained in Berlin during its darkest hour. Here is their story: On 28th March 1945 the Russian forces commanded by Marshal Georgy Zhukov were just twenty miles to the east of Berlin. A month previously Albert Speer had been replaced as Nazi armaments minister after trying to persuade Hitler that defeat was inevitable. Speer now turned his energies to preventing the musicians of his adored Berlin Philharmonic from perishing in the inevitable final battle. Reich Commisioner Dr Joseph Goebells, who was in charge of the defence of Berlin, had ordered the entire orchestra to be drafted into the Vol...
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The art of the animateur

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I am a great fan of the late John Drummond, and have quoted him, here, many times . But, I blame Drummond for the present decline in presentation standards on BBC Radio 3. In 1987, when he became controller of the network, Drummond changed the role of the presentation team from 'neutral' announcers to presenters who, in his own words, could "communicate enthusiasm and knowledge". Drummond's change was well intentioned, but terribly misguided. It has been responsible for a disastrous sequence of presenters from Paul 'music for lovers' Gambaccini in the 1990s to Petroc Trelawny and his colleagues today, whose idea of communicating enthusiasm and knowledge is to regurgitate half-digested chunks from a children's encyclopedia of music. The disease isn't just confined to the radio. BBC TV's Classical Star , which is fronted by Radio 3 presenters Charles Hazlewood and Chi-chi Nwanoku, has been described by an eminent musician as 'an obscene pa...
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What price the BBC Proms?

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My life was changed by a Henry Wood Promenade Concert on 4th August, 1975. In the second half Sir Adrian Boult gave us Vaughan William's Fifth Symphony , and the blazing intensity of that performance remains unmatched, in my experience, in the concert hall or on record. Sir Adrian's 86 years had no relevance to his music making. Music, not age, was what mattered then. In the summer of 1975 punk was at its peak and the Vietnam War had ended after Communist forces took Saigon in the spring. Back with classical music, Pierre Boulez was in his last season as principal conductor of the BBC Symphony Orchestra, which was at the top of its game , while William Glock's golden period as BBC controller of music and Proms administrator still informed music making in London. Your life could be changed for £1.30, which was the price of a balcony seat in the Albert Hall. All of which set me thinking, what price today's BBC Proms? In 2009 Promenade Concerts are one of few remaining...
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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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Walking with Stravinsky

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Lizzie, I am sorry that this article didn’t appear last year as I had planned. 2006 was the centenary of your birth, but the year passed with scarcely a mention of your work, or a performance of your music. It was my plan to rectify that in a small way, and I wrote a very nicely turned appreciation. I am sure you would have approved of it - all about the myth of Elisabeth Lutyens, the mother of British serialism, ‘Twelve-tone Lizzie’ - the outspoken eccentric shunned by the musical establishment whose compositions were rejected by the BBC, and the composer who struggled for commissions and performances. The myth is perpetuated in your Wikipedia entry which says you 'worked in isolation and neglect, creating a personal style of serialism and eventually gaining some recognition for her ability to set text. Lutyens' work was exposed to the public at large through her scores for horror films.' In your autobiography the Goldfish Bowl you made much of the tensions with your ...
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