Music from the uproar

Hello Bob, Thanks so much for getting in touch. We will get a copy of the album in the mail once things return to a bit more normal after the hurricane here in NYC....
That email from a publicist in New York came in response to my request for a review CD. Quite appropriately the disc in question was Missy Mazzoli’s new opera Song from the Uproar. The story of how the opera’s heroine perished in a flashflood is here.

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Classical music's problem nailed in one sentence

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While admiring Igor Levit as a pianist, in a Wall Street Journal review Tim Page takes exception to Levit's new book House Concert , describing it as "a dreary jumble—a succession of would-be aphorisms". Predictably Norman Lebrecht, who has turned negativity into a lucrative Olympic sport , gloats over the WSJ review. A few months ago I wrote enthusiastically about Igor Levit's double CD Tristan , so I bought and read House Concert with some interest - that's the book on my 'just read' bookshelf. Now, as Tim Page confirms, Igor Levit is a remarkable pianistic success story. One measure of the value he has added to classical music is that at a time when the artform is suffering from serial deflation , his acclaimed Beethoven Sonata cycle for Sony retails for around double the price of cycles from other legendary pianists. So I read House Concert not to have my preconceptions and prejudices confirmed or to generate some tasty clickbait, but to learn m
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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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We're a record label. But we are not evil

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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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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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Scarlatti to Silvestri to sound

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BBC Radio 3's recent documentary  Scott Ross - Harpsichord Rebel prompted a Radio 3 forum link to my photo essay about Scott and the village of Occitan Assas where he lived and recorded. Staying with Scarlatti but moving from harpsichord to piano, I have been very impressed with Lucas Debarque's recording of 52 Scarlatti Sonatas , which, in its own way, ascends to the dizzy heights reached by Scott Ross.  Particular mention should be made of the sound quality captured by the Sony production team. The recording venue was the acoustically-blessed  Jesus-Christus-Kirche in Berlin-Dahlem . This 1930s Protestant Church has been the scene of many, many celebrated recordings from, among other, Karajan and Furtwängler. Another less celebrated but notable disc recorded there which showcases the Dahlem church's superb sound is David Robertson and the Deutsches Symphonie-Orchester Berlin's pioneering 1995 recording of Valentin Silvestrov's Fifth Symphony which I highlight
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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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Classical music or New Age nonsense?

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A concerto for basset clarinet, orchestra and optional electronics inspired by the Yoga Sutras of Patanjali with four movements titled Breath of Life, Meditation, Mind Concentration and Intense Spiritual Union. And it gets worse or better depending on your point of view: the soloist and orchestra intone mantras, and in conclusion the brass and string sections chant the mantra of the Buddhist bodhisattva of compassion, Avalokiteshvara Om mani padme hum . Is it classical music or is it New Age nonsense? The concerto is the sadly departed Wim Henderickx's  Sutra which was co-commissioned for the soloist Annelien Van Wauwe by BBC Radio 3 and the Borletti-Buitoni Trust . Annelien Van Wauwe was a major influence on the concerto's composition. She is a qualified yoga teacher who explains that “I feel many similarities between actually doing yoga, getting really focused and concentrated on the breath, and then being on stage as a woodwind soloist. It’s almost the same thing. A
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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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