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Things change but remain the same

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To be governed is to be watched, inspected, spied upon, directed, law-driven, numbered, regulated, enrolled, indoctrinated, preached at, controlled, checked, estimated, valued, censured, commanded, by creatures who have neither the right nor the wisdom nor the virtue to do so. To be governed is to be at every operation, at every transaction noted, registered, counted, taxed, stamped, measured, numbered, assessed, licensed, authorized, admonished, prevented, forbidden, reformed, corrected, punished. It is, under pretext of public utility, and in the name of the general interest, to be placed under contribution, drilled, fleeced, exploited, monopolized, extorted from, squeezed, hoaxed, robbed; then, at the slightest resistance, the first word of complaint, to be repressed, fined, vilified, harassed, hunted down, abused, clubbed, disarmed, bound, choked, imprisoned, judged, condemned, shot, deported, sacrificed, sold, betrayed; and to crown all, mocked, ridiculed, derided, outraged, dish...
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Classical music is a right-brainer

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Whichever way you look at it classical music is not in good health. Concert attendances are down, arts funding is drying up , classical venues are increasingly dark, recording release schedules get thinner and thinner, orchestras are being downsized or disbanded , and mainstream media coverage is disappearing. Yet the classical fraternity remains in denial of an irreversible cultural change that looks increasingly likely to leave the classical genre as no more than an anachronism . Why? In 1932 the German-born Swiss philosopher Jean Gebser identified that a change was taking place in Western consciousness, and that this change was impacting on science, art, literature, philosophy and other disciplines. His thesis was that human consciousness is in transition, and these transitions are abrupt but overlapping mutations, rather than smooth transitions, and these transitions involve cerebral and physical changes. Jean Geber's thesis is developed by Dr Iain McGilchrist with his theor...
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This LP is dedicated to Richard Wagner

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Composer Klaus Schulze has said 'I still love my Richard Wagner, who influenced me heavily. The way Wagner’s music introduced me to the use of dynamics, subtlety, drama, and the possible magnitudes of music in general remains unparalleled to me. There can’t be any doubt about it'. Schulze's 1975 release Timewind seen above* carries the message 'This LP is dedicated to Richard Wagner', and the two tracks of truly Wagnerian proportions on the original vinyl release were titled Bayreuth Return and Wahnfried . So why doesn't the name Klaus Schulze mean anything to the vast majority of classical listeners? The answer is because Klaus Schulze, who also uses the the alias Richard Wahnfried, is a creative maverick who was a leading figure in the development of the kosmische musik  known popularly as Krautrock, which he then morphed into the proto-ambient Berlin School of electronica, and is today best known as the Godfather of Techno and the Pope of Electronic...
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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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When the BBC edited another speech

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In 1972 The Great Learning: Paragraphs 1 and 2 by Cornelius Cardew was scheduled for performance at a BBC Prom . The work, which sets translations of Confucius by Ezra Pound , generated genuine controversy before its performance. Because what the BBC management did not know was that Cardew - seen above in proselytising mode - had revised the work in line with his hardening Maoist views .  This meant the revised version came complete with his politically motivated programme note and banners for display in the Albert Hall with the message "Apply Marxism-Leninism-Mao Tse-tung thought in a living way to the problems of the present".  A typically unsatisfactory British compromise was eventually struck between BBC controller of music William Glock who had bravely programmed the work and Cardew. This resulted in an emasculated twelve minute excerpt from The Great Learning: Paragraph 1 being performed without slogans or polemical programme note.  Cornelius Cardew or Donald...
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Third rate music on Naxos' American Classics?

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I'll be interested in American readers' reactions to the start of this review by the Guardian's Andrew Clements - ' Considering how much third-rate music has been included in Naxos's American Classics series, Elliott Carter has so far been poorly served by the budget-price label. But in the year of the composer's 100th birthday, this - the first of two discs that will include all five of Carter's string quartets - could be the start of a major addition to his discography.' Andrew Clements then goes on to write a glowing five-star review of Naxos' new CD of Elliott Carter's String Quartets Nos 1 and 5 performed by the Pacifica Quartet . I'll agree whole-heartedly with his verdict on the Carter Quartets, I bought them last week and they are superb performances of superb music. But I am not so sure about his other views. That judgement of 'third-rate music' raises the interesting point of should a critic focus primarily on the interpr...
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Soundtrack for a porn movie

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"No, you have not landed on Slipped Disc by mistake. Respected electronic music pioneer Klaus Schulze tells the story himself.  The origins of " Body Love " are quite funny. I received a call from a movie producer named Manfred Menz and I wound up becoming his principal composer for a period of time. Amongst others, I composed the "Barracuda" soundtrack for him [1978, previously unreleased on album]. This led to a friendship which lasts till today. Menz now lives in Malibu, California where I visited him a couple of years ago. Anyway, this guy calls me and asks if I would compose the score to a porn movie. I said: "Porn? Nah, I don't do that kind of thing".  As it turned out, the director of the movie, Lasse Braun, had already shot it and had used my albums " Timewind " [1975] and " Moondawn " [1976] as a kind of "working soundtrack". This was obvious because the couples in the film were moving in time to my gro...
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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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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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Classical music must go on a diet to survive

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In a comment on my post about orchestras touring China and the United Arab Emirates longtime reader Joe Shelby argues: "Better an orchestra with occasional trips to places we'd rather they not go, then no orchestra at all". I don't want to take Joe's comment out of context, because he quite rightly advocates more activism by musicians. But the view that classical music has to turn to ethically challenged destinations and also to ethically challenged funding to survive needs challenging. During a much reported presentation in 2013, Universal Music ceo Max Hole told orchestras they must change or die. He was right up to that point, but he was woefully wrong when he went on to tell orchestras how to change. The dogma expounded by Max Hole and generally accepted across the classical music establishment is that 'change' involves tinkering with the cosmetics of concert presentation . To date there has been absolutely no recognition of the very obvious ...
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