Drowned in a fusion sauce?



More fusion sauce here and Take Five's composer is here.

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Travels beyond TripAdvisor

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These photos were taken on my recent spirit quest in Morocco to the Sufi shrine of Sidi Chamharouch, which is seen above. A 75 minutes drive from Marrakech brought me to Imlil where the road ends and the mountains begin. The hamlet of Sidi Chamharouch - which is one of those blessed places which returns a blank in a Trip Advisor search - is at an altitude of 2350 metres and is reached by a tough and potentially dangerous two hour climb up a rocky path. Access is impossible for wheeled vehicles and supplies are brought in by the mules seen in my photos. Beyond Sidi Chamharouch is Jebel Toubkal, which at 4,167 metres is the highest mountain in North Africa. During my trek I was struck by the similarity between the High Atlas and Ladakh on the border of India and Tibet . Film director Martin Scorsese was also struck by the similarity. With Tibet a no-go zone he used this region for location shooting of his 1997 movie Kundun ; this depicts the Dalai Lama 's flight into exile fro...
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Critical Mass

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I'm a big fan of Marin Alsop . But last night her BBC Prom performance with the Bournemouth Symphony Orchestra playing her own sequence of the suites from Prokofiev's Romeo and Juliet was strangely unsatisfying. Tempi were pulled around, and rather than adding to the tension the wayward performance weakened it. When it finished I wanted some 'in your face' music making that was over the top, but which really worked. So as Marin Alsop was a pupil of Bernstein's I put on his 1971 recording of his own Mass , a work I don't listen to very often. Is Mass Bernstein's unrecognised masterpeice? Or is it a failed experiment in using the vernacular and exploiting street chic? (But wasn't the 'parody mass' a legitimate renaissance musical form which exploited contemporary music such as L'homme arme ?) My view used to be that Mass was simply a failed experiment, but I have to confess I am slowly moving towards the view that it may be a misunderstood m...
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Boulez - great bogeyman of 20th century music

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Henry Holland has left a new comment on the post " Boulez - Rituel In Memoriam Maderna ": Ah, one my favorite Paths of yours Pliable since I started to read OAOP two (three?) years ago. I love Rituel in Memoriam Maderna , I listened to it on my iPod a few weeks ago. I wish that there was more than one official recording of it or I could find some live versions on my usual file theft sites. I know Boulez is The Great Bogeyman of 20th Century music along with Schoenberg , and while I certainly don't like all of his pieces, there are some that are among my favorite pieces of music. I went to a performance of Pli selon Pli at the Concertgebouw when I was in Amsterdam recently and despite the excellent performance by the ASKO Ensemble and Barbara Hannigan I wasn't impressed by the piece all that much; I hadn't heard it in a while. I keep hoping that a performance of the amazing Repons will take place in the US so I can easily afford to travel to hear it but it...
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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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Are top musicians sharing the financial pain?

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Everyone in classical music is talking about funding cuts. But no one is talking about how dwindling budgets continue to be top-sliced by the fees charged by high profile musicians. In my recent post I used an estimate of Gustavo Dudamel's fee for a BBC Prom taken from an identified and reliable source . But it remains an estimate because the musicians, agents and concert promoters involved keep such information a closely guarded secret; even when , as is the case with the BBC Proms , they are paid from public funds. But now a concert promoter who has suffered savage funding cuts and considers some of the current fees "outrageous", has supplied details of what top musicians charge. And, more importantly, has agreed I can publish them anonymously. So here are the fees and associated on-costs. They are as requested by the artist's management for a single concert appearance unless otherwise stated. It should be emphasised this is simply available information and ...
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Dare to be different

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Years ago when I was presenting on radio , the executive producer told me that my programme should dare to be different. Which was very wise advice. But sadly, in the intervening years there has been a massive shift away from difference and towards uniformity. This shift is driven by the ubiquitous media algorithms which dictate that if you like this crap, we will serve you an unvarying diet of very similar crap. And social media's friends, followers and likes are today's currency of uniformity. However, thankfully a few notable examples of daring to be different have crossed my path recently.  In the past I have argued that there is too much Mahler . And that is a view I still hold. But if we must have more Mahler, let's make it different. Which is what the Mahler Academy Orchestra conducted by Philipp von Steinaecker  have done. The Mahler Academy Orchestra is part of the Gustav Mahler Academy Bolzano-Bozen. This was founded by Claudio Abbado to provide mentoring for ...
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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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How classical music became a pseudo-event

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A recent thread On An Overgrown Path that culminated in a reader's assertion that it's OK to program something that isn't perfect , received widespread support. This strand was an extension of my argument that audiences need permission to like unfamiliar music . In turn this reflected the response of "I've always felt that it is and will be strong enthusiasm that will change the world" by the much-missed Jonathan Harvey to my early advocacy of his music. But despite this, I am proposing today rather contrarily that excessive enthusiasm as well as excessive neglect can harm a composer's music. In his 1961 book The Image: A Guide to Pseudo-Events in America the historian Daniel J. Boorstin coined the term 'pseudo-event' for events that are staged specifically to attract media coverage. He asserted that pseudo-events are in reality 'synthetic news', and that manipulation to maximise media exposure reduces the spontaneity and intrinsi...
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No such thing as an unknown Venezuelan conductor

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The Gothenburg Symphony Orchestra is playing at the BBC Proms tonight (5th August 2005) with a programme including Mahler ( Ruckert-Lieder with Anne Sophie von Otter), Tubin and Sibelius. Their superstar Principal Conductor Neemi Jarvi is ill, so stepping into the breach is 24 year old Venezuelan Gustavo Dudamel (right) who becomes the third youngest conductor to appear at the Proms. As the two younger talents were Simon Rattle and Daniel Harding there is a lot for Gustavo Dudamel to live up to. Several famous conductors got their fairytale big break by taking over at short notice from an indisposed superstar. Probably the most famous was Leonard Bernstein who took over from Bruno Walter to conduct the New York Philharmonic in November 1943 at just a few hours notice. The media are having a field day in the UK with the 'unknown Venezuelan' story, and Charlotte Higgins in the Guardian seems to have swallowed it hook line and sinker with a screaming headline... Conducting pr...
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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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