On the road


“Sal, we gotta go and never stop going till we get there"
“Where are we going man?”
“I don’t know but we gotta go.”

The cover of the Penguin Classic edition of On the Road uses a detail from 'The Athletes Dream' by Larry Rivers from the Smithsonian Institution, Washington, D.C. More Kerouac here, and support other music blogs here and here.
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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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The purpose of puffery and closed-mindedness

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Two contrasting responses from America to my post Third rate music on Naxos' American classics? Flinging merde - ' Granted some of the stuff that Naxos has packaged in that series has been less than distinguished but operating in a cultural establishment where critics treat every cow patty ever dropped by the likes of Alwyn (above) and Bax and Finzi and Michael Tippitt (sic) as if it were fois gras, Clements is hardly in a position to fling merde' - from Sequenza21 , and I'm sure Norman Lebrecht would approve of that misspelling of Tippett. The true beauty of the effort - ' Personally speaking I expect listener reaction to concert music is heavily dependent on emotional mood and cultural/historical context . The concept of "ratings" and "tiers" for composers is pretty much an over-rated specialization of critics, which serves the purpose of puffery and closed-mindedness. My father is the American composer George Frederick McKay (photo be...
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Good enough for Toscanini, Ormandy and Stokowski

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Edmund Rubbra's Brahms Variations And Fugue On A Theme By Handel Op. 24 was performed in the 1940s and 50s by Arturo Toscanini and Eugene Ormandy, and his Rubbra's Fifth Symphony was recorded by Sir John Barbirolli and programmed by Leopold Stokowski. Yet today Rubbra's music is rarely if ever heard in the concert hall. So we are fortunate that it has been better served in the recording studio. Notable recordings include Richard Hickox's indispensable survey of all the symphonies for Chandos , supplemented by compelling interpretations by Norman del Mar, Tod Handley, Sir Adrian Boult, and the composer. (But strangely, Rubbra's Brahms Variations is missing from the current CD catalogue.) But why has Rubbra failed to gain traction in the concert hall? Why, for example, in an age when accessible trumps challenging , is Rubbra's Fourth Symphony virtually unknown? Why is his music so neglected when the Lark Ascending consistently tops popularity polls, and Robert L...
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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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Critical Mass

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I'm a big fan of Marin Alsop . But last night her BBC Prom performance with the Bournemouth Symphony Orchestra playing her own sequence of the suites from Prokofiev's Romeo and Juliet was strangely unsatisfying. Tempi were pulled around, and rather than adding to the tension the wayward performance weakened it. When it finished I wanted some 'in your face' music making that was over the top, but which really worked. So as Marin Alsop was a pupil of Bernstein's I put on his 1971 recording of his own Mass , a work I don't listen to very often. Is Mass Bernstein's unrecognised masterpeice? Or is it a failed experiment in using the vernacular and exploiting street chic? (But wasn't the 'parody mass' a legitimate renaissance musical form which exploited contemporary music such as L'homme arme ?) My view used to be that Mass was simply a failed experiment, but I have to confess I am slowly moving towards the view that it may be a misunderstood m...
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Dare to be different

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Years ago when I was presenting on radio , the executive producer told me that my programme should dare to be different. Which was very wise advice. But sadly, in the intervening years there has been a massive shift away from difference and towards uniformity. This shift is driven by the ubiquitous media algorithms which dictate that if you like this crap, we will serve you an unvarying diet of very similar crap. And social media's friends, followers and likes are today's currency of uniformity. However, thankfully a few notable examples of daring to be different have crossed my path recently.  In the past I have argued that there is too much Mahler . And that is a view I still hold. But if we must have more Mahler, let's make it different. Which is what the Mahler Academy Orchestra conducted by Philipp von Steinaecker  have done. The Mahler Academy Orchestra is part of the Gustav Mahler Academy Bolzano-Bozen. This was founded by Claudio Abbado to provide mentoring for ...
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Boulez - great bogeyman of 20th century music

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Henry Holland has left a new comment on the post " Boulez - Rituel In Memoriam Maderna ": Ah, one my favorite Paths of yours Pliable since I started to read OAOP two (three?) years ago. I love Rituel in Memoriam Maderna , I listened to it on my iPod a few weeks ago. I wish that there was more than one official recording of it or I could find some live versions on my usual file theft sites. I know Boulez is The Great Bogeyman of 20th Century music along with Schoenberg , and while I certainly don't like all of his pieces, there are some that are among my favorite pieces of music. I went to a performance of Pli selon Pli at the Concertgebouw when I was in Amsterdam recently and despite the excellent performance by the ASKO Ensemble and Barbara Hannigan I wasn't impressed by the piece all that much; I hadn't heard it in a while. I keep hoping that a performance of the amazing Repons will take place in the US so I can easily afford to travel to hear it but it...
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Norman Lebrecht blusters as blogs bloom

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In today’s Evening Standard and online Norman Lebrecht declares ‘until bloggers deliver hard facts … paid for newspapers will continue to set the standard as the only show in town’ and goes on to take a swipe at On An Overgrown Path’s story about the BBC King’s College broadcast . Now I don’t think for a moment Stormin’ Norman has an axe to grind even if he does write for a paid for newspaper and presents a BBC Radio 3 programme , but his blustering cannot be ignored. Among the many accusations he flings around are that I do not deliver hard facts, I trade in unchecked trivia, and I did not check my story with the BBC, so let's look at these points. Not hard facts - I reported that the BBC had announced a 1956 Argo commercial recording as a 1954 BBC broadcast. Here is a transcript from the broadcast of the presenters introduction: ' This week's broadcast of choral evensong.... Today, a stunning broadcast from 1954, a service from the chapel of King's College Ca...
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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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Are top musicians sharing the financial pain?

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Everyone in classical music is talking about funding cuts. But no one is talking about how dwindling budgets continue to be top-sliced by the fees charged by high profile musicians. In my recent post I used an estimate of Gustavo Dudamel's fee for a BBC Prom taken from an identified and reliable source . But it remains an estimate because the musicians, agents and concert promoters involved keep such information a closely guarded secret; even when , as is the case with the BBC Proms , they are paid from public funds. But now a concert promoter who has suffered savage funding cuts and considers some of the current fees "outrageous", has supplied details of what top musicians charge. And, more importantly, has agreed I can publish them anonymously. So here are the fees and associated on-costs. They are as requested by the artist's management for a single concert appearance unless otherwise stated. It should be emphasised this is simply available information and ...
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