What I learned in 2014

I am less interested in Truth with a capital T and more interested in truths, plural.
That quote actually comes from Kevin Kelly (b. 1952), who was founding executive editor of Wired magazine, and an editor/publisher of the Whole Earth Review. It is taken from his contribution to How is the Internet Changing the Way You Think? I took the photo of Ladakhi women at the Thiksey Tibetan Buddhist Monastery in Ladakh during my trip to the Dalai Lama's Kalachakra teachings this summer; one of many highlights of a year during which I uncovered plural truths. Photo is (c) On An Overgrown Path 2014. Any other copyrighted material is included as "fair use" for the purpose of critical analysis only, and will be removed at the request of copyright owner(s). Also on Facebook and Twitter.

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Berlin Philharmonic's first Black conductor

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“At a concert this week in Berlin, Berlin's famed 65-year-old Philharmonic Orchestra was led by a U.S. war correspondent in battledress. Besides being a war correspondent, the guest conductor was a Negro, born in British Guiana. The 2,000 Berliners and the 500 Allied soldiers in the audience found it quite an experience. They applauded warmly when the conductor led the orchestra through Weber's familiar Oberon and Tchaikovsky's Pathétique. They broke into cheers, and called him back five times, when he gave them Berlin's first hearing of fellow-Negro William Grant Still's boisterous, bluesy Afro-American Symphony. Slender, serious Rudolph Dunbar is no musical freshman. He studied at Manhattan's Julliard School, has several times conducted the London Philharmonic. He was in Berlin as correspondent for the Associated Negro Press of Chicago. Shortly before the Berlin Philharmonic's Conductor Leo Borchard was accidentally killed by U.S. sentries, he had in...
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The problem is obvious - there is too much classical music

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In a glowing review in the Guardian Andrew Clements describes the Freiburg Opera's Parsifal at the Norwich Theatre Royal - see production shot above - as "a show that almost any British company would be happy to have in its repertory". Yet despite the production's obvious quality, the four performances by the Freiburg company of Parsifal and Tannhäuser attracted lamentably small audiences. A London based critic blamed low profile promotion by the Norwich theatre for the poor attendance, and given the limited budget of the provincial venue, which has charitable status and no material public funding , there is some truth in that explanation. But the glib analysis of poor publicity is typical of the blame culture that is so prevalent in classical music today - blame elitism, funding cuts, antiquated concert conventions, piracy, in fact blame anything other than the self-harming behaviour of the music industry itself. All the fashionable conspiracy theories miss ...
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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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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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Early musician who could have become a great conductor

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BBC Proms - summer in the city

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Wagner, Mahler and Shostakovich all sound like film music

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In a typically thoughtful contribution to my post Why not play the premier league composers more often? Richard Bratby - who is professionally involved in classical music - mused "speaking solely from my own experience - there is a very noticeable falling-off in ticket sales when a symphony orchestra programmes pre-Beethoven repertoire, irrespective of the quality of the performance or the music, or the energy with which it is marketed. But why?" Now Kea has answered Richard's question with the following comment: Wagner, Mahler, Shostakovich, etc, all sound more or less like film music (or -- more accurately -- film music sounds more or less like recycled bits of Wagner, Mahler, Shostakovich, etc) and therefore don't require any intellectual involvement or serious effort to listen to. Understanding the music of Bach, Mozart or Haydn, etc (or for that matter Schumann, Brahms, Webern, Cage, etc) actually requires people to listen actively rather than being pulled alo...
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A vintage year for blasphemy and heresy

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Nada Brahma - Sound is God

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