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Is classical music obsessed by existential angst?

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So I asked Elliott Carter "What if you don't feel existential angst? What if you want to write music that expresses joy or some other kind of emotion?" And he goes "Jeff, if you do that you'll never have a career in music." I find that electronic music has a real problem to it, because, at this point, there is no good way to get across the kind of energy and vitality that the performer brings to acoustic music. It has been a kind of meme of mine that the problem of classical music is that there just isn't enough bass, there isn't enough visceral quality to it. When the oil spill hit we decided that enough is enough. I am a little concerned about how America is being controlled by the corporations... We had always flirted with the idea of moving to France, we has been trying to do it since Reagan was elected in fact, and we just decided to do it. That is composer and new technology guru Jeff Harrington talking on the Chance Music programm
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Whatever happened to the long tail of composers?

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Reader Antoine Leboyer writes to point out that the New York Philharmonic has made its programme archive available online and that the archive shows how past programmes were far more varied than those played today. Here are just some of the composers that Antoine highlights from past concerts by the orchestra: Siniaglia, Busoni, Bosi, Chadwick, Stanford, Loeffler, McDowell, Hadley, Goldmark, Pfitzner, Enesco, Vieuxtemps and Grétry. Antoine also remarks on how Webern's music has virtually disappeared from New York concerts in recent years. One of the many confidence tricks of the digital era is how a long tail of cultural riches was promised , but a short head immaculately coiffed by audience whoring celebrities was actually delivered. I suggest that one of the key search criteria for the New York Philharmonic's new music director should be a passion for giving audiences permission to like unfamiliar music . Graphic is grabbed from the New York Philarmonic archive lan
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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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Third rate music on Naxos' American Classics?

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I'll be interested in American readers' reactions to the start of this review by the Guardian's Andrew Clements - ' Considering how much third-rate music has been included in Naxos's American Classics series, Elliott Carter has so far been poorly served by the budget-price label. But in the year of the composer's 100th birthday, this - the first of two discs that will include all five of Carter's string quartets - could be the start of a major addition to his discography.' Andrew Clements then goes on to write a glowing five-star review of Naxos' new CD of Elliott Carter's String Quartets Nos 1 and 5 performed by the Pacifica Quartet . I'll agree whole-heartedly with his verdict on the Carter Quartets, I bought them last week and they are superb performances of superb music. But I am not so sure about his other views. That judgement of 'third-rate music' raises the interesting point of should a critic focus primarily on the interpr
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You are looking at the future of classical music journalism

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Quite rightly there is much lamenting about the enforced departure of New York Times music critic Allan Kozinn. Quite wrongly the lamenting is being led by Norman Lebrecht* , who single-handedly has pioneerd the audience whoring click baiting school of tabloid music journalism that has made the informed writing of Allan Kozinn and others redundant. Quite hypocritically the classical music establishment is lamenting the demise of erudite critics and journalists while at the same time throwing its weight behind tabloid music journalism . * All links to Slipped Disc are indirect to avoid swallowing click bait; the cited reference should appear at the top of the Google search results. Any copyrighted material on these pages is included as "fair use" for critical analysis only, and will be removed at the request of copyright owner(s). Also on Facebook and Twitter .
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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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Being particular is not important

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These photos are of my guide Rashid and cook/muleteer Mohammed on my recent trek in Morocco's High Atlas. My listening while in the mountains included Norman Del Mar's recording of Rubbra's Second and Eighth Symphonies for Lyrita and Vernon Handley's Bax Second and Fourth  for Chandos . Both those discs will be familiar to long time OAOP readers, but less familiar may be Einojuhani Rautavaara 's symphonies. Since the 1990s I had known and admired Rautavaara's  Second and Seventh - Angel of Light - Symphonies for Bis and Ondine respectively. But his other symphonies in Ondine's complete cycle were new and very rewarding territory for me. In his booklet essay for the Ondine box set Kimmo Korhonen quite accurately describes Rautavaara's eight symphonies as "one huge journey through life, a voyage of the soul..."  My reading also produced a strong recommendation for like-minded readers. David Darling is an English astronomer, freelance scie
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Does it have integrity and relevance?

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Shortly after it was released I bought the young Finn  Klaus Mäkelä's new complete cycle of Sibelius symphonies recorded for Decca. Sibelius symphonies are very well represented in my large CD collection , in fact I have more Sibelius symphony cycles than for any other composer. Yet I have returned to Mäkelä's interpretations a surprising number of times. No, they will not replace the accounts of Sanderling , Colin Davis,  Barbirolli , and others. But they are not worse or better: because subjective dualist judgements of better or worse, like or dislike, good and bad, definitive or otherwise, etc etc no longer mean anything to me . There is no concrete reality in a music performance, only what we individually perceive as reality. A performance is an endless flow of constantly changing conditions. The score is not the performance, and the performance is not the score. Between score and performance lie an infinite number of overlapping variables - tempi, dynamics, performanc
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Master musician who experienced the pain 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 the harpsichordist's 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 d'Assas, Scott Ross 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 b
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Audiences need permission to like unfamiliar music

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That photo of Sir Malcolm Arnold and Julian Bream appears on the late composer's website . Ten years ago I was literally very close to Sir Malcolm's music. He spent his final years being tended by his carer Anthony Day in Attleborough just a few miles from where I live in Norfolk. I managed Sir Malcolm's website and one of my first posts  about his music dates from that time. Following Sir Malcolm's death in 2006 I never lost my appreciation of his music, but it featured less frequently in my listening. However, recently I have returned to his symphonies, and listening to them again has raised some important questions. His nine symphonies are the product of a master craftsman. They move forward from Mahler and Shostakovich, yet should be immediately accessible to contemporary audiences saturated in the music of those two composers. But, despite this, Sir Malcolm Arnold's symphonies remain unknown outside a small circle of admirers. Why? Let me make it clear
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