Following a new overgrown path


I've been let out of the Cage for a few days. Back soon, meanwhile support other music blogs here and here and follow the path here.
Photo taken outside my study window a couple of weeks ago (c) On An Overgrown Path. Report broken links, missing images and errors to - overgrownpath at hotmail dot co dot uk

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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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Classical music must be doing something wrong

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Classical music's website of choice Slipped Disc  today runs a story on the latest RAJAR UK radio listening figures . This story states that a "...record number of individual hours was spent listening to [BBC Radio 3]. They must be doing something right". Which is good news; but only for those who believe that facts should never stand in the way of a good story. Because simple arithmetic shows that BBC Radio 3 is not doing very much right, while UK classical radio in its entirety is doing something wrong.   In the quarter ended September 2024, BBC Radio 3 and Classic FM audiences were 2.039m and 4.416m respectively. Which gives a total audience for the two classical stations of 6.455m. For the same quarter in September 2023 the audiences were 2.002m and 4.467m, giving a total classical radio audience 12 months previously of 6.469m.  So BBC Radio 3's "something right" turns out to be a fractional increase in its audience year on year, and a contribution ...
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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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The Accidental Pilgrim

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There are an awful lot of books around about the journey to Santiago de Compostela in particular, and pilgrimages in general; and let’s be quite truthful a lot of them are rather average. But one that stood out from the crowd for me was David Moore’s The Accidental Pilgrim which was published in 2004 as a paperback by Hodder Headline Ireland, and is available in both the UK and US. The serendipitous path that links these posts meant that I bought this book in the departures lounge at Stansted Airport en route to the Danish Thread Subtitled 'Travels with a Celtic Saint', The Accidental Pilgrim is the story of a 1500 mile bike ride by the author from Bangor in Northern Ireland to Bobbio in northern Italy via France and Switzerland. The journey follows in the footsteps of the Irish missionary Saint Columbanus who made the journey in the 6th Century. (Which coincidentally, and linked to other threads , was around the time that Gregorian Chant was emerging as the official musi...
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Not always so

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Celestial Harmonies' 17 CD boxed set Music of Islam ranks alongside Paul Bowles' Music of Morocco as one of the great achievements of cultural documentation. David Parsons was responsible for the project's field recordings, which took ten years to complete. In 1997 he travelled with his family to Karaj in Iran to record volume 12 of the Music of Islam . Here is an extract from the sleeve notes for the 1998 CD release:  Producer David Parsons and his family periodically suffered from stress in accomplishing the recordings for The Music of Series. This was mainly due to the preconceptions (in reality, misconceptions) they held about Islam and the Islamic countries they needed to work in. These fears, they feel, were largely brought about by the negative bias with which the Western news media have portrayed the Islamic countries over recent years....   It was with some trepidation, therefore, that they undertook this Iranian project, particularly because of the very ...
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Have we lost that vital spirit of place?

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The first paragraph John Fowles' 1965 novel The Magus  concludes with the words "...I went to Oxford; and there I began to discover I was not the person I wanted to be". The Magus is sometimes criticised for being a rites of passage novel; which may or may not be the case. And even if it is there are some other very fine novels in that category: for instance J. D. Salinger's The Catcher in the Rye . And other great artworks can also be interpreted as rites of passage: for instance Mahler's Fourth Symphony .   I first read The Magus soon after its 1965 publication, and around the same time as a student I spent two summers on the Adriatic islands of what was then Yugoslavia. Much of the action of The Magus happens in and around the mysterious villa of Bourani on the fictional Greek island of Phraxos. It is known that the villa which is the lair of the magus in the novel was loosely based on the Villa Giacemia on the island of Spetses, which Fowles had visited. ...
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Pie in the face for a dangerous buffoon

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The automobile laconically runs down pedestrians. It gnaws into the side of a barn or else, grinning, it flies down a slope. It can't be blamed for anything. Its conscience is... clear... It only fulfillls its destiny. It is destined to wipe out the world. from Russian writer Ilya Ehrenburg's , The Life of the Automobile , published in 1929. Worldwide three quarters of a million people are killed every year on the roads. More people between five and 44 die in car crashes in the Third World than are killed by any single disease. 3,508 people were killed in road accidents in 2003 in the UK, and 33,707 were seriously injured. 171 of those killed were children. Since 1899 motor vehicles have killed over 2.5 million Americans, and permanently injured 43 million. The Humane Society estimates that more than one million animals are killed every day on US roads. It has been estimated that motor vehicles kill more animals than the fur trade and animal experimentation industry combined, ...
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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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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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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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