Smack the hacks continued


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David Munrow - more than early music

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'David Munrow and the Early Music Consort of London transformed our view of medieval music. The impact of their performances far surparssed any that had gone before: by demonstrating how medieval music could sound normal, they created a niche for it in the concert hall and on record that it has never lost' ~ From Daniel Leech-Wilkinson's notes for Music of the Gothic era May 15 2007 is the thirty-first anniversary of the death of David Munrow. His contribution to the acceptance, understanding and performance of early music almost defies summary. He was born in 1942, and learnt the bassoon and recorder as a child. Between school and university he travelled and taught in South America , and started the collection of ethnic instruments that were to give him, and the world, a new perspective on early music making. He read English at Pembroke College , Cambridge, and was encouraged by Thurston Dart to take an active role in the music-making of that most musical of cities. ...
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Soundtrack for a porn movie

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"No, you have not landed on Slipped Disc by mistake. Respected electronic music pioneer Klaus Schulze tells the story himself.  The origins of " Body Love " are quite funny. I received a call from a movie producer named Manfred Menz and I wound up becoming his principal composer for a period of time. Amongst others, I composed the "Barracuda" soundtrack for him [1978, previously unreleased on album]. This led to a friendship which lasts till today. Menz now lives in Malibu, California where I visited him a couple of years ago. Anyway, this guy calls me and asks if I would compose the score to a porn movie. I said: "Porn? Nah, I don't do that kind of thing".  As it turned out, the director of the movie, Lasse Braun, had already shot it and had used my albums " Timewind " [1975] and " Moondawn " [1976] as a kind of "working soundtrack". This was obvious because the couples in the film were moving in time to my gro...
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Classical music is about art not algorithms

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In his book Which Lie Did I Tell? the Hollywood script writer William Goldman explained the difference between entertainment and art. Entertainment either tells you lies or tells you comforting truisms that we know already. Whereas art tells you uncomfortable things that you perhaps don't want to hear, truths that you may not be comfortable hearing. My photos were taken a few weeks ago in the Moroccan oasis town of Skoura on the northern fringe of the Sahara. Listening to those local musicians playing under the stars and the next morning listening to Norman Del Mar's recording of Rubbra's Sixth and Eighth Symphonies highlighted for me again, if it needed highlighting, how right William Goldman was. There is growing concern about  the impact of algorithms  on the media we consume. But there is very little concern about the impact of algorithms on the arts. In fact algorithm driven art is the new poster child of contemporary culture. The prime example of this is BBC Ra...
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Mahler 8 - Symphony of a Thousand Mistakes?

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What stunning sound the BBC engineers achieved for their live broadcast of Valery Gergiev's Mahler 8 with the London Symphony Orchestra this evening. Yes, the close miking of the instruments necessitated by the very long resonance of the building was evident. But St Paul's Cathedral is one of the most difficult spaces in the world both to perform and record in, and the BBC Radio 3 technicians produced some of the best sound I have heard from my B & W Nautilus 803 loudspeakers for a long time. Valery Gergiev's operatic approach to symphonies is not usually to my taste, but it worked a treat with Mahler's flawed but exhilarating Eighth. Quite unmissable radio, catch it for the next seven days here. One of the talking heads introducing the performance recounted how the work fell out of favour after Mahler's death and how surprising it was that the work was considered for a time to be lacking the genius of the composer's other symphonies. Well that is a view t...
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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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While classical music debates nothing changes

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'This magic comes only with the sounding of the music, with the turning of the written note into sound - and it only comes (or comes most intensely) when the listener is one with the composer, either as a performer himself, or as a listener in active sympathy' - Benjamin Britten Recent articles here about whether classical music responds to mass marketing and social media have generated considerable interest. So I thought it worthwhile to create a straw model which summarises the thrust of the articles and that is the purpose of this post. The straw model is remarkably simple and is built around the following four propositions. 1. Classical music engages new audiences most effectively by direct transmission to what Britten describes as as "a listener in active sympathy". 2. Despite this classical music today is characterised by hypermediation, meaning there are more and more intermediary layers appearing between performer and audience. 3. These intermediary la...
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BBC Radio 3 audience crashes by 11.4%

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Latest RAJAR figures for UK radio audiences report that the BBC Radio 3 audience dropped by a whopping 11.4% year on year. This was a loss of 233,000 listeners from Q3 2024 to Q3 2025. Average hours per listener were also down, by 4.9% to 7.7. (Elsewhere, in an attempt to boost Radio 3 and talk down the loss, R3 presenter Norman Lebrecht compares the latest quarter - Q3 2025 - with the previous quarter - Q2 2025. As any industry insider knows, this is a meaningless comparison as radio audiences vary substantially by season. Most importantly Q3 audience is always boosted by Proms listeners compared to Q2.)  This dismal performance comes as no surprise. It was inevitable that Radio 3's strategy of aping Classic FM  would result in short term gain followed by the long term pain which is starting to emerge. Classical radio - and classical music in general - needs to build a strong distinctive franchise with  a loyal audience that is prepared to be challenged . BBC Rad...
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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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Storm clouds gather over Aldeburgh

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On An Overgrown Path’s traffic logs show that the UK and international media are actively researching the private life of Benjamin Britten. One of the many failings of the BBC in the Jimmy Savile scandal was to assume that a potentially damaging story would simply go away. So, although I would much prefer to be writing about other things, I am reluctantly returning to the subject of Britten . I am a huge admirer of Britten’s music , I have written in praise of Aldeburgh , and Snape is my local concert hall . But for some time I have had a growing discomfort about certain aspects of the composer's private life, and this means I do not share the dismissive attitude that prevails elsewhere in classical music towards its continued scrutiny. And it also means I object to being labelled as a “smut-stirrer” for believing the subject should not be off-limits . The aspects of Britten’s personal life under scrutiny are public knowledge. In his eloquent appreciation of Britten in Th...
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Bach for a Buddhist

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Classical music has many Buddhist tendencies . In his  recently published memoir  Tibetan Buddhist monk, author and "the world's happiest man" Matthieu Ricard  attributes his love of Bach's music to hearing recordings by Helmut Walcha . The photo above shows Matthieu Ricard participating in a filmed Concert-méditation which included Preludes and Fugues from J.S. Bach’s Well-tempered Clavier, and in an RTS podcast he included excerpts from recordings by Helmut Walcha of the English Suite no 2 and the French Suite no 2. Helmut Walcha (1907-1991), who lost his sight as a teenager, was a professor at the  Hochschule für Musik  in Frankfurt 1938 to 1972. His Bach inspired an older generation, just as more historically informed interpretations inspire a younger cohort today. Tastes and fashion have moved on and to contemporary ears the sound of Walcha's factory-made leather-quilled Ammer harpsichord with its piano action may sound anachronistic. But his abilit...
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