1. Tangled Up In Blue , Bob Dylan 2. Ernie , Benny Hill 3. Wish You Were Here , Pink Floyd 4. On Wings of Song, Mendelssohn, Kiri Te Kanawa and Utah Symphony Orchestra 5. Fake Plastic Trees , Radiohead 6. This Charming Man , Smiths, 7. Perfect Circle , R.E.M, 8. All these Things that I've Done , The Killers If the Conservatives win tomorrow's general election that list will be the musical tastes of our new prime minister, David Cameron. He chose those tracks in 2006 for the BBC's long running Desert Island Discs programme. It prompted a wonderful rant from Peter Maxwell Davies who described it as 'musical garbage' . Gordon Brown appeared on the programme back in 1996 and his choices were only marginally more inspiring: at least there was no Benny Hill and there was Bach, albeit predictably the Suite for Orchestra No 3 in D major. When Nick Clegg appeared on Michael Berkeley's Private Passions programme on BBC Radio 3 in 2008 his selection was notably eclectic ...
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There is almost total overlap between what goes on at Glastonbury and at Snape Maltings. At these venues, and countless others around the world, great music can make a connection and change lives. The only hierarchies of artistic or audience response are those determined by the ability of the music to connect.
But in rock as in classical Bálint Varga’s question of "How far can one speak of a personal style and where does self-repetition begin?” applies. The enemy of transmission is self-repetition, and commercial agendas and the cult of the personality have turned self-repetition into a virus that is eating at the heart of all forms of music today.
Geographical location means Snape is less vulnerable to the self-repetition virus simply because it is not a stopping point on the ‘London today Edinburgh tomorrow’ tours by the leading ensembles that so effectively kill transmission. Similarly world music does not yet have the equivalent of the ‘stadium circuit’ that is covering so much rock and classical music in what Wilhelm Furtwängler called the “hoar frost of routine”.
Others are much better placed to judge rock music than me. But it seems that U2 have caught the self-repetition virus in much the same way that many leading figures in the classical world have. Here is a quote from the Independent’s Glastonbury review:
“Glastonbury: Coldplay and U2 almost spoil the party… U2's controversial headlining set on Friday proved the festival's unique requirements and possibilities, by falling so far short of them… Bono's struggles to engage in a show he clearly felt to be both important and very far from his stadium-rock comfort zone was far more fascinating. This seasoned star, who has played to far bigger crowds than even the Pyramid Stage, was nervous, his voice strained and weak throughout. On the a capella assault on "Jerusalem" which was his main attempt to reach out for some Glastonbury-shaped version of old Albion, he sounded desperately ragged, a man flailing towards a shore destined to stay out of reach”.
http://www.independent.co.uk/arts-entertainment/music/features/glastonbury-coldplay-and-u2-almost-spoil-the-party-2303619.html
Thanks so much for that response. I agree with you that, "great music can make a connection and change lives."
I'm not completely sure about, "The only hierarchies of artistic or audience response are those determined by the ability of the music to connect."
If you're at all familiar with AC Douglas, you'll know he's big on aesthetic hierarchy. ". . . the popular culture and high culture artifacts inhabit two separate aesthetic realms. . ." and that "transcendence" is what makes the difference.
http://www.soundsandfury.com/soundsandfury/2006/11/a_call_for_a_re.html
My intuition is that "transcendence" can mean different things to different people. What's transcendent and therapeutic for one can be boring to another. For some of the people at that concert and comments on the video you put up, what the reviewer found "desperately ragged" was for them a transcendent experience.
It's a knotty problem I've never felt I've gotten to the bottom of, whether the transcendent experience ACD can have listening to Wagner is anything like a transcendent experience a U2 fan being on the front row for that concert might experience.