Third Construction


Turner Prize nomination? New York stock exchange after melt-down? CERN Large Hadron Collider after magnet failure? New ECM CD sleeve? Scene from Fritz Lang's Metropolis? Graphic inspired by John Cage's 3rd Construction? No, an image from the post scheduled for On An Overgrown Path this Friday.

Image (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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That which colors the mind

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This recording by Owsley Stanley of sarod master Ali Akbar Khan featured in a recent post here . My further reading came across the following unpublished epitaph to Owsley Stanley - popularly known as 'Bear' - by his daughter Rhoney Gissin Stanley . It provides a refreshing contrast to today's social media influenzas : Bear was a man who walked his talk, who challenged the cult of personality and wanted the attention of others to focus on his work with sound, his art, and his philosophy, not on him.
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Berlin Philharmonic's first woman conductor

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In 2005 the appointment of a woman music director by a major American orchestra caused a storm of controversy . So, it is surprising to find that it was back in 1930 that the Berlin Philharmonic Orchestra was first conducted by a woman, and even more surprising to find she was an American. But the story doesn't have a happy ending. Despite receiving critical acclaim, Antonia Brico found doors closed to her when she returned to the US, and was forced to form her own orchestras to continue her conducting career. She is seen above conducting in New York in 1945. (Image credit Dr. Ralph Weizsäcker ). Antonia Brico was born Wilhelmina Wolthus in Rotterdam in the Netherlands in 1902, and emigrated to California with her foster parents in 1908. She attended high school in Oakland where she gained experience as a pianist and conductor. She went on to study liberal arts at the University of California, Berkeley , and also worked at the San Francisco Opera as an assistant to the director,
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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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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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Classical critics need to talk sound sense

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Free Mozart MP3 downloads from Danish Radio

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After the outcry over the Beethoven Symphony files the BBC saw sense and didn't offer any free audio downloads in their Bach Christmas. But now Danish Radio are at it. As part of their Mozart celebrations Danish Broadcasting Corporation are offering free downloads of nine of Mozart’s symphonies played by the Danish National Radio Symphony Orchestra. The first downloads are available on January 27 with Symphony No. 15 in G-flat. This is followed by symphonies Nos. 41, 36, 40, 23, 15, 34, 39, 17 and 35. If you must, here is the link for the downloads . But be warned it is in Danish, and AltaVista's Babel Fish translator doesn't handle Danish! Presumably after the outcry in Denmark there will be no Mendelssohn downloads from Danish Radio for the 160th anniversary of his death in 2007. Then it is over to you New Zealand Radio ... With thanks to fellow blogger Jon Lund for this story Report broken links, missing images and other errors to - overgrownpath at hotmail dot co d
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Sibelius remastered or reimagined?

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Classical music has a schizophrenic relationship with sound quality. On the one hand there is an obsessive preocuppation with hideously expensive 'acoustically perfect' concert halls . On the other hand recorded classical music has been chased down the rabbit hole of lo-fi by MP3s, streaming, ear buds, and mobile listening, and rarely - if ever - is sound quality mentioned in reviews of CDs . So it is not surprising but still disappointing that a major initiative by one of the largest classical labels to open the debate about recorded sound quality has passed unremarked, while classical's great and good continue their demands for yet another 'acoustically perfect' concert hall.  Warner Classic's rerelease of Sir John Barbirolli's legendary Sibelius recordings are labelled as 'remastered'. But what is remastering? Mastering and remastering are two very different processes. When a recorded is mastered to CD very little is done to the sound
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This 1963 Stereo Review interview with Herbert von Karajan was tucked inside a copy of Curt Riess' 1955 biography of Wilhelm Furtwängler that I bought years ago from a rare book dealer. In it Karajan ranges from baroque to contemporary music. A fascinating document that is worth reproducing even though it is rather difficult to read in this format. Left clicking (in Windows) on the individual images does enlarge them. Sorry about the legibility and cropping, but transcribing the complete text is beyond even me. However the following exchanges do particularly demand to be captured: Pendergast - ' In rehearsing the orchestra, you seem to put great emphasis on conveying the proper rhythms to the players. Is this perhaps the most difficult task for the conductor?' Karajan - ' Yes, it is. It is very strange, but with our race and in our latitude, rhythmic control is the most difficult thing for a musician to achieve. There is hardly a musician among us who can play the sa
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Untold story of the counterculture's Islamic connection

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For many children of the sixties a 'journey to the East' was a mandatory rite of passage. As a result one of the lasting impacts of the counterculture was the assimilation into Western culture of esoteric religions. The embrace of Vedanta and Zen Buddhism is well-documented, as is the music that it produced ranging from the Beatles' Indian period to John Cage's 4' 33". Less celebrated is the counterculture's engagement with the esoteric strand of Islam known as Sufism, an involvement that also produced important but overlooked music. Given the current preoccupation with Islam it is puzzling that more attention has not been paid to the green shoots of Sufism - a tradition with a benign history - that appeared in the West in the late 1960s. Earlier this year the film Blessed are the Strangers directed by young director Ahmed Peerbux premiered. But this film is selective in its coverage of 1960s Sufism, so this post attempts to fill in some conspicuous and
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