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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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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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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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When the sound really mattered

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Back in 1971 the first 'serious' loudspeakers that I bought after I left university and joined the BBC were the legendary Acoustic Research AR-7's. I would have bought a pair of the Rogers LS3/5A monitors that were used in the BBC studios, but these were well beyond my budget. The more affordable AR-7s were bookshelf sized speakers with amazingly dense cabinets that produced a bottom end that belied their small size. There was a downside however, when compared with the ultra-transparent BBC monitors, the AR paper coned drive units gave the mid range a signature nasal (transatlantic?) twang. But the AR-7s captured the music of that time beautifully, and I nearly wore them out listening to my first Mahler LP, the superb interpretation of the Fourth Symphony by the grossly under-rated Ukrainian born Jascha Horenstein and the London Philharmonic Orchestra. This was produced by John Boyden and released on the budget Classics for Pleasure label decades before Naxos were acc...
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Wagner, Mahler and Shostakovich all sound like film music

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In a typically thoughtful contribution to my post Why not play the premier league composers more often? Richard Bratby - who is professionally involved in classical music - mused "speaking solely from my own experience - there is a very noticeable falling-off in ticket sales when a symphony orchestra programmes pre-Beethoven repertoire, irrespective of the quality of the performance or the music, or the energy with which it is marketed. But why?" Now Kea has answered Richard's question with the following comment: Wagner, Mahler, Shostakovich, etc, all sound more or less like film music (or -- more accurately -- film music sounds more or less like recycled bits of Wagner, Mahler, Shostakovich, etc) and therefore don't require any intellectual involvement or serious effort to listen to. Understanding the music of Bach, Mozart or Haydn, etc (or for that matter Schumann, Brahms, Webern, Cage, etc) actually requires people to listen actively rather than being pulled alo...
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A Philippa Schuyler moment

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An earlier post painted a word portrait of child prodigy, pianist and composer Philippa Schuyler. Her music is rarely heard today and difficult to find. So we are very fortunate that John McLaughlin Williams agreed to record her Nine Little Pieces for piano specially for On An Overgrown Path . His recording can be heard via the YouTube video above, and in the article below he analyses her music Philippa Schuyler. Just hearing the name takes me back to a place in my childhood I have not revisited in memory more than a couple of times in decades. Philippa Schuyler’s name was but one of dozens lodged in my parent’s large sheet music library, occupying shelf space alongside the giants and talented lesser lights of our canonic music literature. Even among those lesser lights Schuyler seemed to me an odd duck a the time, for here peering at me from the cover of the sole piece of music by her in our possession was a picture of a seven year old girl of mixed race, rather than an aged, w...
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Audiences need permission to like unfamiliar music

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That photo of Sir Malcolm Arnold and Julian Bream appears on the late composer's website . Ten years ago I was literally very close to Sir Malcolm's music. He spent his final years being tended by his carer Anthony Day in Attleborough just a few miles from where I live in Norfolk. I managed Sir Malcolm's website and one of my first posts  about his music dates from that time. Following Sir Malcolm's death in 2006 I never lost my appreciation of his music, but it featured less frequently in my listening. However, recently I have returned to his symphonies, and listening to them again has raised some important questions. His nine symphonies are the product of a master craftsman. They move forward from Mahler and Shostakovich, yet should be immediately accessible to contemporary audiences saturated in the music of those two composers. But, despite this, Sir Malcolm Arnold's symphonies remain unknown outside a small circle of admirers. Why? Let me make it clear ...
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Scott Ross and the paradox 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 his 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, the harpsichordist 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 below were taken by me on a ...
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Is classical music asking the right questions?

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What will have more impact on the future of classical music? Roberto Alagna’s latest “squeeze”, or our ability to organise, search and access digital music files? My view tends to the latter, which is why in a comment on a recent post I said “It has long puzzled me as to why the subject of metadata about music recordings is so neglected”. Now reader Mike has responded with the following comment which justifies a post of its own: Music metadata has been a small bugbear of mine ever since I started digitising music in the 90s. In particular the metadata databases used by Apple's iTunes and Microsoft's Media Players are quite awful when you move out of pop/rock music to classical/jazz/world. I don't let either bit of software touch my collection, especially as you can't trust either to honour their metadata settings, and the penalty for them breaching the trust is the loss of hundreds of manhours of labelling. It's also sad that a great many digital downloads ...
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What was on Hitler's iPod?

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'He was genuinely convinced that he had an infallible musical ear. Heinz Lorenz suggested, 'My Führer, you ought to give a concert in the Great Hall. After all, you could afford to invite the best German musicians, Gieseking, Kempff, Furtwängler and so on. You don't go to the opera or the theatre any more, but you could listen to music. It wouldn't strain your eyes either'. Hitler rejected the idea. 'No, I don't want to trouble such artists just for me personally, but we could play a few records.' A thick book listed all the records that the Führer owned. There must have been hundreds of them. The wooden panelling of the wall turned out to be a cupboard holding records, with a built-in gramophone that was invisible till the cupboard doors were opened. The black discs stood in long rows, labelled with numbers. Bormann operated the gramophone. Hitler nearly always had the same repertory played: Léhars operettas, songs by Richard Strauss, Hugo Wolf and Ri...
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