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Requiem for grandson of Hitler’s pianist

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My recent article on Ernst Hanfstaengl, court composer and pianist to Hitler, and Harvard alumni, attracted a lot of readers. But the final paragraph left a mystery unsolved: Peter Conradi's excellent life of Hanfstaengl (right) ends with his death. But there is a fascinating coda to this extraordinary story, where fact is often far stranger than fiction. On the penultimate page of Conradi's book the author writes: '(Hanfstaengl) took great pride in his grandchildren - especially Eynon, the eldest, who had inherited his grandfather's musical talent, taking an impressive twenty-fourth place in the prestigous Tchaikovsky Competition in Moscow in June 1974.' The pianist career of the junior Hanfstaengl seem to have been obscured by the mists of time, and my researches found no further information on this. But tantalisingly my search found a German German film actor and writer called Eynon Hanfstaengl . One of his acting roles was Count Durkheim in the 1972 movie Lud...
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Vonnegut gets his Dresden facts wrong

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In 1968, the year I wrote Slaughterhouse Five, I finally became grown up enough to write about the bombing of Dresden. It was the largest massacre in European history. I, of course, know about Auschwitz, but a massacre is something that happens suddenly, the killing of a whole lot of people in a very short time. In Dresden, on February 13, 1945, about 135,000 people were killed by British firebombing in one night. It was pure nonsense, pointless destruction. The whole city was burned down, and it was a British atrocity, not ours. They sent in night bombers, and they came in and set the whole town on fire with a new kind of incendiary bomb. And so everything organic, except my little PoW group, was consumed by fire. It was a military experiment to find out if you could burn down a whole city by scattering incendiaries over it. Kurt Vonnegut's 1968 novel Slaughter-house Five is an essential part of the literature of the bombing of Dresden. In his new book A Man Without a Country: A...
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If you like Spem in alium try this …

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Read next week's Proms picks by Pliable here. Tuesday's late night BBC Prom by the Tallis Scholars includes a little known work by Alessandro Striggio. A search on Amazon.com for Thomas Tallis’ mighty forty part motet Spem in alium returns 43 results. But a search for Striggio’s motet for the same forces, Ecce beatam lucem , returns just 2 results . The popularity of Tallis’ masterpiece is perfectly understandable, but the neglect of its progenitor is something of a mystery. Alessandro Striggio worked in Florence and Mantua in the 1550s, and developed a luxurious and opulent style of choral writing that culminated in a Sanctus for sixty voices that has sadly been lost over the intervening centuries. The motet Ecce beatam lucem was composed in 1561 as a celebration of Catholicism. It was written to mark the visit of Cardinal Ippolito d’Este to France where he was preaching against Protestantism, and uses forty voices organised in varying groupings through the course of t...
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Early musician who could have become a great conductor

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Hopefully at least a little of the content from eleven years of On An Overgrown Path transcends the virtual noise that is the staple fare of online music journalism today . For me the most rewarding projects have been the Philippa Schuyler and Master Musician of Jajouka doubleheaders, the profile of Guyanese conductor Rudolph Dunbar , the exploration of contemporary modal music , and interviews with Jonathan Harvey , Jordi Savall , Ali Keeler , and with David Munrow's recording producer Christopher Bishop. Although the latter interview has been available as a sound file it has not to date been transcribed as text. So while tidying up loose ends I have transcribed the interview below. (The photo at the foot of the article was taken during the radio interview and shows me with Christopher Bishop). Although David Munrow is best known as an early music authority the interview ranges widely. Christopher Bishop mentored both Riccardo Muti and Andre Previn early in their careers...
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Marrakech in the cool of the evening

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Marrakech is a city of powerful experiences, where the sounds, sights and smells of North Africa assault every sense. But what happened next must have been, in the jargon of the day, truly mind-blowing. Nick and his friends went down for a meal in the smart French quarter of Marrakech. As they sat down they noticed the trademark floppy hat of celebrity photographer Cecil Beaton. With him were Mick Jagger, Keith Richards, Keith's girlfriend Anita Pallenberg and 'several other assorted Stones and hangers-on'... Richard Charkin says that Nick and his friends were astonished. They'd come over 1000 miles from home to immerse themselves in Moroccan culture, only to find themselves in a restaurant with the apostles of the counter culture... Fuelled by some cheap local wine, they told the rock-star party that they should hear their friend... And so it was that The Rolling Stones sat and listened as 18-year-old Nick Drake serenaded them with a selection of Dylan and Donovan co...
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In search of the lost symphony

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Sir Adrian Boult's explorations of less familiar music is obscured by his reputation as the definitive interpreter of mainstream English masterworks. Among these explorations was his 1934 concert performance of Alban Berg's Wozzeck , a performance that predated the first British staged performance by eighteen years. Another tantalising glimpse of this precociousness is given in Peter Lavezzoli's book The Dawn of Indian Music in the West : this tells how "[John] Mayer composed his Jaya Javanti symphony for the London Philharmonic, conducted by Sir Adrian Boult (unfortunately not recorded)". Tantalising, because researching the performance of this symphony, including consulting Michael Kennedy's definitive biography of the conductor and Sir Adrian's own memoir , drew a blank. However biographical information on the Anglo-Indian composer, trans-cultural jazzer and violinist John Mayer who played in the London Philharmonic Orchestra in the 1950s, is on the ...
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Nada Brahma - Sound is God

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It may be my age, but those moments when a piece of music really hits me in the solar plexus seem to get rarer and rarer. But during my recent extended travels in India I was metaphorically punched time and time again when listening to ECM's Codona recordings on headphones. Recent posts have touched on the potential of virtual concert halls and the fact that no one mixes for speakers these days , and the Manfred Eicher produced Codona sessions from between 1978 and 1982 really demonstrate the impact of the up close and personal sound of headphones . The line up for Codona was African-American trumpeter Don Cherry, Brazilian percussionist Nana Vasconcelos, and Colin Walcott on sitar, tabla, hammered dulcimer, sanza, timpani, and voice. The band took its name from a circus trapeze act of the early 20th century called the Flying Codonas , and the three albums packaged by ECM for CD as The Codona Trilogy capture the peerless musicians-beyond-frontiers performing their creative hig...
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Are top musicians sharing the financial pain?

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Everyone in classical music is talking about funding cuts. But no one is talking about how dwindling budgets continue to be top-sliced by the fees charged by high profile musicians. In my recent post I used an estimate of Gustavo Dudamel's fee for a BBC Prom taken from an identified and reliable source . But it remains an estimate because the musicians, agents and concert promoters involved keep such information a closely guarded secret; even when , as is the case with the BBC Proms , they are paid from public funds. But now a concert promoter who has suffered savage funding cuts and considers some of the current fees "outrageous", has supplied details of what top musicians charge. And, more importantly, has agreed I can publish them anonymously. So here are the fees and associated on-costs. They are as requested by the artist's management for a single concert appearance unless otherwise stated. It should be emphasised this is simply available information and ...
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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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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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