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Who needs streaming?

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That's 3200 CDs and counting. More than enough to satisfy me until I shake off this mortal coil. Recent purchases include the following. Harry Van Der Kamp and the Gesualdo Consort Amsterdam's 17 disc box  Jan Pieterszoon Sweelinck: The Complete Vocal Works . Sweelinck is an important and overlooked composer who pioneered turning sacred music into an art form. From BIS Dark With Excessive Bright  by Missy Mazzoli; contemporary music that might just reach a wider audience recorded in stunning SACD sound . This new release is just more confirmation that the music industry let the genie out of the bottle by ditching CDs and embracing streaming, and then went on to murder the genie by opting for the MP3 format as the de facto audio standard.  And again from BIS and again in hi-res SACD,  Autumn Equinox by the Finnish composer Sebastian Fagerlund . There is so much quality new music coming from Scandinavian composers that is being buried under the current obsession w...
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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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Know your audience

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Recently Pulitzer Prize winning composer John Luther Adams (seen above)  announced he had moved  from the USA to Australia, explaining "the current situation in the United States was a major element in my decision to leave". Even by Slipped Disc standards the response to that announcement on Norman Lebrecht's industry-endorsed website was deeply unpleasant. Here are just a few of the comments deemed acceptable for publication on Slipped Disc .  Good riddance. Maybe he’ll take his rather tiresome music to Antarctica next. He can be closer to Muslim assassins. Wise choice Absolute loser  If that’s what passes as a top classical composer these days, no wonder the genre is doomed. What a jerk. As a critic you cannot possibly ignore how unbearable his compositions are (I carefully avoid the word music). Let's ignore what a potential classical music funder would conclude from a typical Slipped Disc narrative . Yes, the defense of free - if not particularly intell...
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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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He thinks completely with his body

Peter Brook told me that if you watch any cat, it isn't just that his body is so relaxed and expressive. It's something more important than that. A cat actually thinks visibly. If you watch him jump on a shelf, the wish to jump and the action of jumping are one and the same thing. There's no division. A thought animates his whole body. It's exactly the same way that all Brook's exercises try to train the actor. The actor is trained to become so organically related within himself, he thinks completely with his body. He becomes one sensitive responding whole, like the cat. An ultimate example of this is revealed in a film of Picasso at work [see above]. In one lightning stroke you can see how the tip of Picasso's brush captures his entire imagination. His brushwork can actually be seen as his thought process. The same is true of the great orchestra conductor. After years and years of work, he thinks and transmits in one gesture. The whole of him is one. From Confe...
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Classical music can learn a lot from our feline friends

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This cat lives in the house in Assas that was the home of the legendary harpsichordist Scott Ross from 1984 until he died of an Aids related illness five years later. I took the photos a few days ago on the front porch of his little house in Languedoc and they may be more than just charming images. Because Scott Ross’ biographer Michel Proulx tells us that the harpsichord master adopted a black and white female cat while living at Assas. So could we be looking at a hitherto unknown member of a great music lineage? The sleeve notes of Scott Ross’ first LP identified him as a cat lover; in later years his cats accompanied him on transatlantic flights and his feline friends provided the only lasting relationships in an otherwise solitary life. Anthropologist Desmond Morris has observed that “artists like cats; soldiers like dogs”, and there may be a scientific explanation as to why musicians in particular are attracted to cats. As this extract from Akif Pirinçci and Rolf Degen’s b...
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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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Elgar and the occult

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Aleister Crowley was a practicioner of the occult, ceremonial magician and recreational drug experimenter. Sir Edward Elgar was Master of the King's Music, practising Catholic and composer of Land of Hope and Glory . A connection between the two may seem highly improbable. But this post explores a little known path linking Elgar to Crowley's world of the occult. In 1915 the actress Lena Ashwell asked Elgar to write the incidental music for a play she was producing. The Starlight Express was based on the recently published novel A Prisoner in Fairyland and the adaption was by the books' author Algernon Blackwood and Violet Pearn. Elgar's original intention was to reuse music from his early composition The Wand of Youth, but as the project progressed he added a substantial amount of new music to the score. The Starlight Express opened in London on 29th December 1915 to mixed reviews. The critical consensus was that the play was too long and the staging inappropriat...
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Swamped by a tsunami of classical populism.

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These photos show me with Jonathan Harvey in 2010 recording an interview for Future Radio. As I will be away from blogging for a while I am leaving you with a long listen. My broadcast interview is available via this link from the archive website of the then Future Radio station manager Tom Buckham. The 87 minute broadcast ends with a performance of Jonathan's masterpiece for large orchestra and electronics Speakings with Ilan Volkov conducting the BBC Scottish Symphony Orchestra. (For those with 2025 attention spans a transcript is available via this link .)   Jonathan Harvey was a composer with Buddhist tendencies . His composition ... towards a Pure Land for large orchestra evokes the state of mind in Buddhism beyond suffering where there is no grasping. Two years after I recorded the interview Jonathan left us far too early to travel towards the Pure Land - Nibbāna . Since then his eclectic vision of a new music for a new audience has been swamped by a tsunami of cl...
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Wagner, Mahler and Shostakovich all sound like film music

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In a typically thoughtful contribution to my post Why not play the premier league composers more often? Richard Bratby - who is professionally involved in classical music - mused "speaking solely from my own experience - there is a very noticeable falling-off in ticket sales when a symphony orchestra programmes pre-Beethoven repertoire, irrespective of the quality of the performance or the music, or the energy with which it is marketed. But why?" Now Kea has answered Richard's question with the following comment: Wagner, Mahler, Shostakovich, etc, all sound more or less like film music (or -- more accurately -- film music sounds more or less like recycled bits of Wagner, Mahler, Shostakovich, etc) and therefore don't require any intellectual involvement or serious effort to listen to. Understanding the music of Bach, Mozart or Haydn, etc (or for that matter Schumann, Brahms, Webern, Cage, etc) actually requires people to listen actively rather than being pulled alo...
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