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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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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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The practice of engaged classical music

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The biomedical system, the predominant approach to illness in the West, has done an excellent job of making people believe that the most effective (and often the only) way to treat mental illness is with medications. But you don’t often hear about the horrific side effects of these medications, sometimes worse than the symptoms they are intended to treat, and the fact that drug prescribing is still essentially a guessing game. You don’t hear about the conflict of interest in having psychotropic drug research funded by pharmaceutical companies with a huge financial incentive to generate certain findings. The biomedical model, with its focus on biological causes, also tends to cut off dialogue on other conditions that can affect mental health. A number of ex-patients whom I interviewed found that medications were beneficial to them at some points in their life, but felt that there should be awareness that it may obscure the deeper, social dimensions of the problem. That is an extract fro...
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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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Storm clouds gather over Aldeburgh

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On An Overgrown Path’s traffic logs show that the UK and international media are actively researching the private life of Benjamin Britten. One of the many failings of the BBC in the Jimmy Savile scandal was to assume that a potentially damaging story would simply go away. So, although I would much prefer to be writing about other things, I am reluctantly returning to the subject of Britten . I am a huge admirer of Britten’s music , I have written in praise of Aldeburgh , and Snape is my local concert hall . But for some time I have had a growing discomfort about certain aspects of the composer's private life, and this means I do not share the dismissive attitude that prevails elsewhere in classical music towards its continued scrutiny. And it also means I object to being labelled as a “smut-stirrer” for believing the subject should not be off-limits . The aspects of Britten’s personal life under scrutiny are public knowledge. In his eloquent appreciation of Britten in Th...
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A massive hope for the future

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I am one of those boring old farts who laments the demise of the CD and its eclipse by ephemeral streaming . So it is very pleasing to report that one of the major players in the media industry has found a valid and valuable strategy for prolonging the life of the venerable CD format.  Warner Classics are remastering and reissuing CDs of classic recordings in massive 'binge boxes'. Latest release is the 79 CD box of Sir Adrian Boult's complete EMI stereo recordings . (Perversely, the box is titled 'Complete Warner Recordings', because although Warner acquired the EMI classical catalogue, competitor Universal Music owns the EMI trade mark.) The legendary team of producer Christopher Bishop and engineer Christopher Parker produced the majority of the recordings in the box, and the original mostly analogue master tapes set a benchmark in sound quality. However many of EMI's original first generation CD transfers in the 1980s compromised the reproduced sound. So ...
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While classical music debates nothing changes

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'This magic comes only with the sounding of the music, with the turning of the written note into sound - and it only comes (or comes most intensely) when the listener is one with the composer, either as a performer himself, or as a listener in active sympathy' - Benjamin Britten Recent articles here about whether classical music responds to mass marketing and social media have generated considerable interest. So I thought it worthwhile to create a straw model which summarises the thrust of the articles and that is the purpose of this post. The straw model is remarkably simple and is built around the following four propositions. 1. Classical music engages new audiences most effectively by direct transmission to what Britten describes as as "a listener in active sympathy". 2. Despite this classical music today is characterised by hypermediation, meaning there are more and more intermediary layers appearing between performer and audience. 3. These intermediary la...
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Music without moderation

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The über moderators at the BBC have decreed that Handel, Haydn, Mendelssohn and Purcell are 'composers of the year' for 2009, and official Radio 3 bloggers have been appointed to moderate what we read about them. While elsewhere trombonists are busy moderating which conductors we can hear. Moderation will be the big thing in classical music for 2009. As Tariq Ali said recently - 'The 'elite' control not by choosing the topics of discussion, but by controlling those topics not discussed.' The moderation madness will multiply in 2010 and 2011. Gustav Mahler was born in 1860 and died in 1911. Double anniversary cycles of his symphonies will tick all the boxes for the modish mass of music moderators. Besides, what an opportunity for Gilbert Kaplan to expand his repertoire . The BBC moderators have decided that classical music died together with Mendelssohn in 1847. So Bohuslav Martinů has been written out of history, despite 2009 being the fiftieth anniversary ...
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Music and malice in Britten's shadow

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...the only ever time I ever heard [Sir Arthur] Bliss really angry was when he was talking about Bill [William Alwyn], who at that time had not yet received a single performance at Aldeburgh in spite of living so near. I have been told that Britten was personally responsible for having the careers of possible rivals ruined if he could; those who suffered from his jealousy (all of course normal married men) included Walton, Finzi, Howells, Berkeley and a number of other genuine composers. With his works framed in nothing but avant-garde Britten was able to shine - and went to his death a millionaire, complaining that he didn't get enough performances. That is the pugnacious Ruth Gipps writing to Doreen Carwithen , widow of the composer William Alwyn and a fine composer in her own right. Ruth Gipps (1921-99), seen above, was a concert standard pianist and oboeist and her output as a composer included five symphonies. Early in her career she was a victim of gender discrimination and...
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Pushing the classical music envelope

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'In his short life and his art, the French Canadian composer Claude Vivier was a man diving, often recklessly, into the ultimate…. And from the edge of experience, he began to bring back, in the years leading up to his death in 1983, a new sound.' – Paul Griffiths , The New York Times I recently asked Who is pushing the classical envelope? My header photo shows a little-known figure who certainly pushed the classical music envelope and in the process created a new sound world that is ripe for rediscovery. Claude Vivier, was born to unknown parents in Montreal in 1948. After adoption his education prepare him for the priesthood until he was expelled from his seminary for "immature behaviour". But his religious training had awakened another vocation and he went on to study music, first in Montreal and then in Europe where his teachers included Karlheinz Stockhausen . In 1976 Vivier visited Japan, Bali and other Eastern countries and their musical traditions influenc...
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