Composers lost and found


Audiences need permission to like unfamiliar music. So the typo in that headline is particularly appropriate.

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I have seen the future and it is cardboard

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This striking structure is the work of the Japanese architect Shigeru Ban. It houses one of the electric powered tugs that worked on the Burgundy Canal until the 1930s, and is part of the Cap Canal museum at Pouilly-en-Auxois in France which we visited recently. By any criteria this is a remarkable work of art, but it becomes quite exceptional when it is explained that this is one of Shigeru Ban's famous paper tube structures. Shigeru Ban is famous for his innovative work using paper and cardboard tubing as a material for building construction, and he is particularly known for using recycled cardboard paper tubes to quickly and efficiently house disaster victims . His designs are influenced by the pioneering geodesic domes created by Buckminster Fuller, who made a guest appearance in Karlheinz Stockhausen - part of a dream . Free thinking chamber music ensemble Domus used a geodesic dome when they performed outside the comfort zone , while maverick architect Louis Kahn's
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Towards infinite potential

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The Copenhagen interpretation of quantum mechanics postulates that "atoms form a world of potentials and possibilities, rather than of things and facts". Following a parallel path Ajahn Sumedho , a teacher from the Thai Forest Buddhist tradition , has proposed that: We do not know the future. But we do not need to know. We can let the future be the mysterious unknown, the infinite potential - the possibility for pleasure, the possibility for pain, the possibility for peace. As we let go of the fear of the unknown, we find peace. My photo of a stormy sky over Colombo in Sri Lanka hints at that infinite potential. There are many ways to experience it, and music is one of them. For me two examples particularly relevant to this post are Claude Vivier's Siddhartha and Jonathan Harvey's Body Mandala . It is now time for me to defy my advancing years and travel into the mysterious unknown of the future. Which means On An Overgrown Path  will fall silent, When, or indeed i
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Classical music must woke up and smell the coffee

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As pointed out here previously Norman Lebrecht's Slipped Disc receives the unequivocal support of the classical music industry in the form of advertising, exclusive news and interviews, advertorial partnerships, and complimentary concert tickets and CDs. Yesterday Norman published an article headlined 'US orchestra: Conductor wanted. No whites need apply' which was sourced from the National Review .  This conservative publication has a certain notoriety, including being one of the few media outlets to publish material written by Jeffrey Epstein's publicist Christina Galbraith . The National Review also publishes contributions by Dinesh D'Souza who has tweeted "So Rosa Parks wouldn't sit in the back of the bus--that's all she did, so what's the big fuss?" and this year ran an article bylined 'The Editors' proposing that the Equality Act "represents is a cynical attempt to use the Civil Rights Act as a Trojan horse for radi
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New classical audiences need new music

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A reader's  perceptive comment  explained that to reach a new audience classical music must help listeners across the classical/non-classical divide.  Electronic Dance Music  (EDM) is the immensely popular staple fare of classical's elusive new young audience, and EDM lacks any narrative progression. Classical music can also be non-linear: one example is John Luther Adams' Become Desert , a seamless 40 minute sonic mirage which   abandons the horizontal narrative structures of works such as Beethoven's Pastoral Symphony  with its 'Awakening of cheerful feelings on arrival in the countryside'.  Become Desert sits comfortably in the concert hall, yet it would not be out of place in a sunset session at Ibiza's Café Del Mar or a full moon trance party on Koh Pha Ngan . As John Luther Adams described in a New York Times essay ,  Become Desert  literally entrances its audience - "You find yourself listening in ways you never have before. The scale of yo
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Have all the really great musicians come and gone?

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Bernard Haitink's 2016 recording of Mahler's Third Symphony is arguably the greatest interpretation of that towering work committed to record. It is also one of the last testaments from a conductor who together with Georg Solti, Herbert von Karajan, Sir Adrian Boult, Colin Davis and others defined a golden age of classical music. In response to my post ' Classical music's biggest problem is that no one cares ' reader David has posted a comment that starts by asking "...have all the really great performances, recordings indeed all the greatest musicians come and gone?" He then goes on to observe that  "I haven't heard anything in the last twenty or more years that compares with previous generations". The classical industry has spent much time agonising over its failed attempts to reach a new audience. But an even bigger problem has received little attention. Not only is the new young audience remaining elusive, but the older lon
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When classical musicians fought against tuxedo fascism

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In the late 1960s artist Tom Philips was also known for his music activities. These included compositions performed by pianist John Tilbury , and he also played in the Portsmouth Sinfonia and Cornelius Cardew's Scratch Orchestra . The Portsmouth Sinfonia was inspired by Cardew's Scratch Orchestra. It was formed in 1970 by a mischievous  Gavin Bryars  from staff and students at Portsmouth College of Art as a one-off ensemble to participate in a talent competition. But the Sinfonia took on a life of its own as a reaction against what its members termed 'tuxedo fascism'.  Ability and experience were not a criteria for playing in the Portsmouth Sinfonia, however attendance at rehearsals was mandatory and intentionally bad playing was not allowed. Early repertoire comprised classical warhorses such as The Blue Danube and Also Sprach Zarathustra . The Sinfonia went on to play at the Purcell Room, Festival Hall, and Albert Hall, and was rewarded with a recording contract; y
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What the composer found in his orgone box

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In his review of Leopold Stokowski and the Houston Symphony's 1955 premiere of Alan Hovhaness' Mysterious Mountain the critic Hubert Roussel remarked that "The real mystery of Mysterious Mountain is that it should be so simply, sweetly, innocently lovely in an age that has tried so terribly hard to avoid those impressions in music". To that I would add it is also a mystery that music which is so accessible yet avoids all stylistic platitudes remains so neglected in 2021 when a continuing anti-Boulez backlash mediates concert programmes. Fritz Reiner conducting  Mysterious Mountain  with his Chicago Symphony Orchestra is one of the glories of recorded sound. Reiner was notorious for using his baton to whip orchestras - if you haven't heard his 1960 Scherezade you haven't lived - yet in the sublime opening of Mysterious Mountain his interpretation is patiently majestic. On the CD reissue , which couples the work with Prokofiev's Lieutenant Kijé S
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Virtue signalling does not sell concert tickets

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This article is unique among the 4554 posts uploaded to On An Overgrown Path since August 2004. Because it agrees with a Slipped Disc post. Last week Norman uploaded a Slipped Disc reader's contribution headlined ' Why I won't be going back to concerts '. The thrust of the contribution was not the reader's fear of COVID, but how for him concerts had become "just a bit too often ordinary... a bit of a ritual". Which resonates with my recent post 'Where has all the musical adventurousness gone?'  lamenting the demise of musicians who is transcend conventions and pursue their own unique musical visions. David Munrow is talking to Peter Maxwell Davies in that photo. In the early 1970s David Munrow’s Pied Piper radio programme was broadcast four times a week for five years and introduced a new audience to early music. He presented a successful TV series, and wrote scores for the BBC TV series The Six Wives of Henry VIII and Elisabeth R , and
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Who is this Worgan Williams?

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During my time at EMI commissioning power was split between the central International Classical Division - where I worked - and local operating companies. The International Classical Division  (ICD) controlled the big budgets needed for the international stars such as Herbert von Karajan, Mstislav Rostropovich, André Previn and Riccardo Muti. While the local companies had smaller budgets for recording projects with local musicians: for instance EMI UK commissioned Sir Adrian Boult's recordings from their local budget. The ICD had to propose a major recording projects to the local operating companies around the world who would give their sales estimate. Only if the global sales forecasts recovered the cost of the proposed project would it be green-lighted.  This democratic but flawed A & R approval process was originally put in place by EMI's senior management to curb Walter Legge's penchant for recording music he was passionate about but which the record buying publ
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