Composers lost and found


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

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A Brief History of Time

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Philip Glass is sometimes wrongly credited with composing the soundtrack for the 2014 biopic of physicist Stephen Hawking The Theory of Everything . This is because the theatrical trailer for the movie used the track Runaway Horses from his score for another movie, Mishima , whereas Jóhann Jóhannsson actually composed the soundtrack . But Philip Glass did provide the soundtrack for the earlier Hawking documentary A Brief History of Time . I was reminded of Philip Glass' soundtrack when reading Graham Farmelo 's newly published biography Hawking: His Life and Work . When reading non-fiction books, one of the first things I do is to turn to the 'Acknowledgements'; because this puts the provenance of the book and therefore the possible agenda of the author into context. So I was somewhat concerned to read that Farmelo's biography was commissioned by Stephen Hawking's Estate . Fortunately my concerns were almost unfounded. This new and meticulously-researched bio...
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Variations on an Ukrainian Folksong

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A virtue signaling opportunity for pianists is provided by Sir Malcom Arnold's Variations for Piano on an Ukrainian Folksong . This was written for and premiered in 1949 at the Wigmore Hall by John Kuchmy , who was of Ukrainian descent.  John Kuchmy was born in Canada in 1912 and became a naturalised UK citizen in 1973. A violinist colleague of Sir Malcolm's in the London Philharmonic Orchestra, he was also as a talented pianist who performed Beethoven Concertos with the the London Philharmonic.  Memories of when my path briefly crossed with Sir Malcolm Arnold in Word quickly spread that the old composer had lost it . Those who like me abhor Trump's megalomania can take some solace in Dudjom Rinpoche 's explanation that "You know, don't you, that all these around us go away, just go away".
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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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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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Berlin Philharmonic investigates its Nazi past

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One of the world’s most renowned orchestras, the Berlin Philharmonic, said Tuesday it plans an investigation into its role during the Nazi era. "We’ve never really come to terms with the history of the Philharmonic Orchestra under National Socialism," general manager Pamela Rosenberg said. A book is to be published this year by Mischa Aster with the cooperation of the 125-year-old orchestra on the period between 1933 and 1945 and above all on the complex relationship that legendary conductor Wilhelm Furtwaengler (photo above) had with top Nazis. An exhibition and a film for public television are also planned. Furtwaengler was the chief conductor of the Berlin Philharmonic from 1922 until 1945 and again from 1952 until his death in 1954. During the Nazi years, he was able to retain his position with an often deferential attitude toward the regime, which used him as a propaganda tool, while still working to protect his Jewish musicians. Hungarian director Istvan Szabo adapted ...
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Is classical music asking the right questions?

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What will have more impact on the future of classical music? Roberto Alagna’s latest “squeeze”, or our ability to organise, search and access digital music files? My view tends to the latter, which is why in a comment on a recent post I said “It has long puzzled me as to why the subject of metadata about music recordings is so neglected”. Now reader Mike has responded with the following comment which justifies a post of its own: Music metadata has been a small bugbear of mine ever since I started digitising music in the 90s. In particular the metadata databases used by Apple's iTunes and Microsoft's Media Players are quite awful when you move out of pop/rock music to classical/jazz/world. I don't let either bit of software touch my collection, especially as you can't trust either to honour their metadata settings, and the penalty for them breaching the trust is the loss of hundreds of manhours of labelling. It's also sad that a great many digital downloads ...
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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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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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Specialisation is damaging classical music

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'I would go a little further. One of the issues we face today is the ever-increasing division of classical performances into small, ghetto-like compartments. Forty years ago Fischer-Dieskau could be a giant among singers whether he was performing Bach or Wagner, Schubert lieder or Weber operas. For modern performers that doesn't seem possible. The baroque period has largely been abandoned to specialists. Even performances of Mozart, Hadyn and even early Beethoven, which used to be a staple of most symphony orchestras' concert seasons, are becoming rarities. This over-specialisation makes for less rounded and perceptive musicians. What's more it creates a uniformity of performance style which becomes more and more difficult to challenge. What isn't clear to me is why this should have become the norm. As a lifelong listener it isn't a development I ever wanted and I can't believe the move towards clinical uniformity has done anything except drive audiences awa...
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