A door to the Arab world


For a valuable resource on the Arab world go to http://www.al-bab.com/. The sections on arts and culture and music in particular are very useful. Also good music resources for individual countries, for instance check out Berber music. Al-bab is a private project by Brian Whitaker who is the Guardian's Middle East editor.

Now read about the secret life of an Arab record label.
Photo is detail of Koutoubia Mosque in Marrakech, Morocco. The Koutoubia dates from the 13th century and its name derives from el-koutoubiyyin which is Arabic for booksellers, as a book market once filled the surrounding streets. More art of the mosque here. Photo (c) On An Overgrown Path 2008. Report broken links, missing images and errors to - overgrownpath at hotmail dot co dot uk

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I have seen the future and it is cardboard

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This striking structure is the work of the Japanese architect Shigeru Ban. It houses one of the electric powered tugs that worked on the Burgundy Canal until the 1930s, and is part of the Cap Canal museum at Pouilly-en-Auxois in France which we visited recently. By any criteria this is a remarkable work of art, but it becomes quite exceptional when it is explained that this is one of Shigeru Ban's famous paper tube structures. Shigeru Ban is famous for his innovative work using paper and cardboard tubing as a material for building construction, and he is particularly known for using recycled cardboard paper tubes to quickly and efficiently house disaster victims . His designs are influenced by the pioneering geodesic domes created by Buckminster Fuller, who made a guest appearance in Karlheinz Stockhausen - part of a dream . Free thinking chamber music ensemble Domus used a geodesic dome when they performed outside the comfort zone , while maverick architect Louis Kahn's
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Four great albums that are victims of clickbait correctness

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Clickbait correctness - if ain't clickable, don't hype it on social media - means some great albums are not receiving the attention they deserve. My recent rewarding listening has included the new Alice Coltrane release Kirtan: Turiya Sings . Kirtans are sacred Vedic chants, and  Turiya Sings  was originally released exclusively on cassette in 1982 for the students of Alice Coltrane's ashram at the The Vedantic Center, northwest of Los Angeles. For this cassette release synthesizers, strings, and sound effects were added to Alice Coltrane’s voice and organ. Although this mix was never commercially released, it achieved cult status as a bootleg recording. The reason for the absence of a commercial release remains unclear, but the most plausible explanation is that the complete master tapes were not retained, making quality remastering impossible. But in 2004 Ravi Coltrane , who is Alice’s son by John Coltrane and producer of this new release, discovered tapes of just Ali
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Classical music must woke up and smell the coffee

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As pointed out here previously Norman Lebrecht's Slipped Disc receives the unequivocal support of the classical music industry in the form of advertising, exclusive news and interviews, advertorial partnerships, and complimentary concert tickets and CDs. Yesterday Norman published an article headlined 'US orchestra: Conductor wanted. No whites need apply' which was sourced from the National Review .  This conservative publication has a certain notoriety, including being one of the few media outlets to publish material written by Jeffrey Epstein's publicist Christina Galbraith . The National Review also publishes contributions by Dinesh D'Souza who has tweeted "So Rosa Parks wouldn't sit in the back of the bus--that's all she did, so what's the big fuss?" and this year ran an article bylined 'The Editors' proposing that the Equality Act "represents is a cynical attempt to use the Civil Rights Act as a Trojan horse for radi
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Towards infinite potential

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The Copenhagen interpretation of quantum mechanics postulates that "atoms form a world of potentials and possibilities, rather than of things and facts". Following a parallel path Ajahn Sumedho , a teacher from the Thai Forest Buddhist tradition , has proposed that: We do not know the future. But we do not need to know. We can let the future be the mysterious unknown, the infinite potential - the possibility for pleasure, the possibility for pain, the possibility for peace. As we let go of the fear of the unknown, we find peace. My photo of a stormy sky over Colombo in Sri Lanka hints at that infinite potential. There are many ways to experience it, and music is one of them. For me two examples particularly relevant to this post are Claude Vivier's Siddhartha and Jonathan Harvey's Body Mandala . It is now time for me to defy my advancing years and travel into the mysterious unknown of the future. Which means On An Overgrown Path  will fall silent, When, or indeed i
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New classical audiences need new music

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A reader's  perceptive comment  explained that to reach a new audience classical music must help listeners across the classical/non-classical divide.  Electronic Dance Music  (EDM) is the immensely popular staple fare of classical's elusive new young audience, and EDM lacks any narrative progression. Classical music can also be non-linear: one example is John Luther Adams' Become Desert , a seamless 40 minute sonic mirage which   abandons the horizontal narrative structures of works such as Beethoven's Pastoral Symphony  with its 'Awakening of cheerful feelings on arrival in the countryside'.  Become Desert sits comfortably in the concert hall, yet it would not be out of place in a sunset session at Ibiza's Café Del Mar or a full moon trance party on Koh Pha Ngan . As John Luther Adams described in a New York Times essay ,  Become Desert  literally entrances its audience - "You find yourself listening in ways you never have before. The scale of yo
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Virtue signalling does not sell concert tickets

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This article is unique among the 4554 posts uploaded to On An Overgrown Path since August 2004. Because it agrees with a Slipped Disc post. Last week Norman uploaded a Slipped Disc reader's contribution headlined ' Why I won't be going back to concerts '. The thrust of the contribution was not the reader's fear of COVID, but how for him concerts had become "just a bit too often ordinary... a bit of a ritual". Which resonates with my recent post 'Where has all the musical adventurousness gone?'  lamenting the demise of musicians who is transcend conventions and pursue their own unique musical visions. David Munrow is talking to Peter Maxwell Davies in that photo. In the early 1970s David Munrow’s Pied Piper radio programme was broadcast four times a week for five years and introduced a new audience to early music. He presented a successful TV series, and wrote scores for the BBC TV series The Six Wives of Henry VIII and Elisabeth R , and
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Have all the really great musicians come and gone?

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Bernard Haitink's 2016 recording of Mahler's Third Symphony is arguably the greatest interpretation of that towering work committed to record. It is also one of the last testaments from a conductor who together with Georg Solti, Herbert von Karajan, Sir Adrian Boult, Colin Davis and others defined a golden age of classical music. In response to my post ' Classical music's biggest problem is that no one cares ' reader David has posted a comment that starts by asking "...have all the really great performances, recordings indeed all the greatest musicians come and gone?" He then goes on to observe that  "I haven't heard anything in the last twenty or more years that compares with previous generations". The classical industry has spent much time agonising over its failed attempts to reach a new audience. But an even bigger problem has received little attention. Not only is the new young audience remaining elusive, but the older lon
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When classical musicians fought against tuxedo fascism

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In the late 1960s artist Tom Philips was also known for his music activities. These included compositions performed by pianist John Tilbury , and he also played in the Portsmouth Sinfonia and Cornelius Cardew's Scratch Orchestra . The Portsmouth Sinfonia was inspired by Cardew's Scratch Orchestra. It was formed in 1970 by a mischievous  Gavin Bryars  from staff and students at Portsmouth College of Art as a one-off ensemble to participate in a talent competition. But the Sinfonia took on a life of its own as a reaction against what its members termed 'tuxedo fascism'.  Ability and experience were not a criteria for playing in the Portsmouth Sinfonia, however attendance at rehearsals was mandatory and intentionally bad playing was not allowed. Early repertoire comprised classical warhorses such as The Blue Danube and Also Sprach Zarathustra . The Sinfonia went on to play at the Purcell Room, Festival Hall, and Albert Hall, and was rewarded with a recording contract; y
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What do new young audiences want from classical music?

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Mortuos Plango, Vivos Voco for pre-recorded eight-track tape was commissioned for IRCAM by the Centre Georges Pompidou. It was created by Jonathan Harvey at IRCAM in 1980 by digitally manipulating the sound of the great tenor bell of Winchester Cathedral and the singing voice of Jonathan's son Dominic, who was then a chorister at the Cathedral. Jonathan embraced digital sound shaping in many of his compositions, notably in Speakings composed in 2008 which uses an electronic transformation application developed at IRCAM to make an orchestra ‘speak’. (See my 2010 interview with Jonathan in which he introduces Speakings with a detailed description of that transformation process.)    Despite using none of the instruments found in a conventional Western classical orchestra,  Mortuos Plango, Vivos Voco is Jonathan Harvey's best known work. The reason for this is suggested by a Google search for Mortuos Plango, Vivos Voco . The first of the 20,800 results lists the streaming op
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Banging the drum for new music

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Turning up the bass from left to right are Christopher Austin, Gabriel Prokofiev, Tansy Davies and yours truly. The photo was taken after Saturday's (Oct 9) Snape concert at which Christopher Austin conducted the Azalea Ensemble in Tansy Davies' music . The Azalea Ensemble is a newly formed group of outstanding young musicians mainly from the Royal Academy of Music who specialise in new music. Their principal conductor Christopher Austin , who conducts Boulez-style without a baton, is building an impressive reputation for championing contemporary music including that of Elisabeth Lutyens . Both Azalea and Christopher Austin are names to watch. Azalea's Snape concert was part of an Aldeburgh residency during which they are recording a CD of Tansy Davies' music for Gabriel Prokofiev's Nonclassical label . Judging by the non-classical microphone positions at last night's gig and the tight sound that Azalea were making, the upcoming release should satisfy even
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