The CD connects with its inner child

The CD is fighting back by connecting with its inner child, the vinyl LP. Check out this wonderful list of budget-priced re-issues of vinyl classics from Everst which includes Carlos Chavez conducting his own symphonies , Barbirolli conducting Ravel and Boult conducting Hindemith, the latter CD playing for precisely 29 minutes 47 seconds; is that really a record? Cue a tale of two Chavez.
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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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The truth about those French orchestras

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My article reporting Claudio Abbado’s negative views on French orchestras certainly generated a lot of attention, including a response from Parisian Antoine Leboyer which corrected the myth that Abbado hadn’t actually conducted a French orchestra. Too much attention is given to British and American orchestras here On An Overgrown Path and elsewhere, and I was delighted when Antoine offered to give an inside view on the musical health of the French capital. So here is a guest blog from Paris with the truth about those French orchestras that Claudio Abbado and Daniel Harding love to hate: Let us put things in perspective with a few words on French orchestras. Abbado may not have had the best of experiences, and he may still not find it perfect today but things are improving. Paris has many orchestras (I do not know those outside Paris well, and cannot comment on them; I do have regards for the Lyon Orchestra which played some great concerts when David Robertson was their music direct...
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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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No flowers please for Herbert von Karajan

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Few musicians have generated such a mixture of respect and revulsion as Herbert von Karajan. It takes Richard Osborne 851 pages in his masterly biography to capture the essence of this extraordinary conductor, entrepreneur and opportunist, and it would be impertinent to even attempt to cover the same ground here. So instead, with the centenary of Karajan's birth falling on April 5, I offer this personal vignette from my time at EMI, which I hope in some small way illustrates the conundrum that was this extraordinary man. During the late 1970s the Machiavellian Karajan had carefully nurtured a deadly rivalry between EMI and his other contract company, Deutsche Grammophon. This meant that EMI had, at very considerable expense, outbid DG for the four act version of Verdi's Don Carlos with José Carreras and Mirella Freni , and Debussy's Pelléas et Méliande with Frederica von Stade and Richard Stilwell . Pélleas was a personal passion of Karajan, and because of this he ...
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You say Mariinsky - I say Mravinsky

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Britten – music does not exist in a vacuum

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There is more than one War Requiem

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John Lennon beyond the Maharishi

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May I say a word about André Rieu?

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