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Watch Michel Petrucciani video online

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Back in January 2005 I wrote about legendary jazz pianist Michel Petrucciani (right), and that article remains high in my 'popular pages' listing after fifteen months. Since writing that piece Overgrown Path reader Andrew Nathan and I have been tracking down Petrucciani video footage, and just this week Andrew came up with an absolute gem that is available free on Google video. In my original article I wrote that Michel Petrucciani was a 'pianistic genius' , and it is no coincidence that he is buried in the Pierre Lachaise cemetery in Paris alongside Chopin. This 38 minute video with excellent sound (and a bonus guest appearance from the gorgeous Charlotte Rampling ) is not just essential viewing for jazz fans, it should be watched by all students of the piano - whatever their discipline. Just click here to view this important document. (The video is not hosted by On An Overgrown Path , this is a link to an external site). And to set the video into context here is m
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Music blogger heal thyself

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Two of the First Ladies of music blogging have sparked a useful debate on the future of music blogs. Elaine Fine started the ball rolling on Musical Assumptions with her generally pessimistic post The Gradual Fall of Musical Bloggery . In it Elaine candidly shares readership data for her blog, which shows an apparent decline of more than 50% over a seven month period. I say apparent, because in a comment on Elaine's post I raise the point that during this period many readers have migrated from desktop to mobile internet access, and the traffic monitoring services are very fallible when it comes to tracking mobile access. Which means the apparent drop in readership for Musical Assumptions may not be a drop at all, but simply a change in technology platforms. Lisa Hirsch takes a more bullish view in her response on Iron Tongue of Midnight , suggesting that readership fluctuations are simply due to the "ebb and flow of blogging". Although Elaine's concern about
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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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Nada Brahma - Sound is God

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It may be my age, but those moments when a piece of music really hits me in the solar plexus seem to get rarer and rarer. But during my recent extended travels in India I was metaphorically punched time and time again when listening to ECM's Codona recordings on headphones. Recent posts have touched on the potential of virtual concert halls and the fact that no one mixes for speakers these days , and the Manfred Eicher produced Codona sessions from between 1978 and 1982 really demonstrate the impact of the up close and personal sound of headphones . The line up for Codona was African-American trumpeter Don Cherry, Brazilian percussionist Nana Vasconcelos, and Colin Walcott on sitar, tabla, hammered dulcimer, sanza, timpani, and voice. The band took its name from a circus trapeze act of the early 20th century called the Flying Codonas , and the three albums packaged by ECM for CD as The Codona Trilogy capture the peerless musicians-beyond-frontiers performing their creative hig
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Why cats hate Mahler symphonies

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My recent post ' Your cat is a music therapist ' was well appreciated judging by site traffic. So here is a codicil which raises some interesting points about synaesthesia. Reportedly Alexander Scriabin, Jean Sibelius, Olivier Messiaen, György Ligeti and Franz Liszt were among the classical composers who experienced cross-over between sensory channels. The impact of narrowing sensory bandwidth as music moves from a live to a recorded environment, and then from analogue to lossy digital formats is little understood and little researched.But it may have important implications for classical music's attempts to reach a new audience, and, topically, it may be very relevant to the post-COVID experience of Zoom concerts and live music in socially distanced auditoriums . I will discuss how what we see influences what we hear in a forthcoming post. Meanwhile here is an extract from Akif Pirinçci and Rolf Degen ’s book Cat Sense which explains the synaesthetic impact of a Ma
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Neil Armstrong finally reveals his moon music

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To celebrate today's total eclipse of the sun in Africa and Asia here is An Overgrown Path exclusive on a lunar story that has fascinating musical connections. Notoriously taciturn first man on the moon Neil Armstrong reveals his choice of fly-time music in a book that just been published. And his musical tastes open up undreamt of connections to Russian government research projects, Soviet agents and Communist propaganda films. Moon Dust by Andrew Smith is a new study of how the lives of the Apollo astronauts were changed by their lunar experience. Most of the nine surviving astronauts agreed to be interviewed for the book, but true to form the first man on the moon did not. But in an email exchange Armstrong identified the cassette of ' strange electronic-sounding music' that fellow Apollo 11 astronaut Michael Collins had reported him taking to Luna. The cassette in question was transcribed from Neil Armstrong's own LP of Music Out of the Moon featuring Dr Samuel
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Benjamin Brittten's relationship with children

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From early in life, Britten had close relationships with handsome teenagers. On his side, there was often a sexual attraction. The boys themselves were sometimes unaware, sometimes complicit. Ronan Magill, the last such figure in Britten's life, wasn't conscious of the charge in their relationship at the time, but says now: 'If he did [feel attraction], then I'm glad that he did - if I could make him think that way for even five seconds. ' When it comes to the question of how far attraction was physically expressed, Bridcut sometimes leans on the evidence. In 1936, Britten invited Harry Morris, 13, on a family holiday in Cornwall (Britten's brother and sister and their families were also present). According to Morris, Britten came into his room one night and made what he understood to be a sexual approach. The boy screamed and hit his host with a chair, attracting the attention of Britten's sister, Beth. Harry returned to London in the morning. With Pea
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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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Who am I? - attacca

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"Whereas the (Kennedy Center) Opera House only had to exist (there had been nothing like it in Washington before), the Concert Hall had to prove its worth, and its superiority to the former hall. Further, the much belittled, even maligned National Symphony Orchestra had to pass the hard test of being found worthy to become the resident orchestra of the new Center. I chose a programme that showed the acoustical properties of the hall in as many different ways as it was possible in one single evening, and also the orchestra's prowess by asking it to master some of the most demanding works in the repertory from classical to contemporary. We performed: Beethoven's Overture, "Consecration of the House" Mozart's Violin Concerto in G major (K 216) with Isaac Stern as soloist Stravinsky's Rite of Spring and William Schuman's American Song for Tenor Solo Chorus and orchestra Both the orchestra and the concert hall passed their test brilliantly, and it can be t
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Classical music is not connecting with its rewired audience

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A typical American adult spends more than 11 hours each day interacting with media. Our brains are being rewired by this extended use of all-pervasive digital technologies, and the resulting re-synapsing of neural connections is fundamentally changing behaviour patterns and value systems. My proposition is that classical music is not adapting to these fundamental changes with the result that the artform is failing to connect with a new audience. A simple example of how quickly and easily neural connections are rewired is provided by an experiment carried out by the respected neuroscientist V.S. Ramachandaran . Test subjects viewed an image of jumbled black dots on a white background. After a short time the dots were seen to form a dog. Detailed brains scans taken during the recognition process showed that neurons in the temporal lobes became permanently altered once the dog had been recognised. That the dog was easily seen subsequently is confirmation of the new neural connections
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