Has Edmund Rubbra's time finally come?


Will the directive in today's government White Paper that the BBC must put "distinctive content" at its heart means less Mahler and more Rubbra at the BBC Proms?

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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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The concert would not be worth presenting

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Robert Roper's biography of Everest climber and professor of philosophy Willi Unsoeld  contains the following thought-provoking quote from the great mountaineer: "In the Outward Bound programs parents would ask us, 'Can you guarantee the safety of our Johnny?' And our response would usually be, 'No, we certainly can't , ma'am. Fact is we go the other way and and guarantee you the genuine possibility of his death . And if we could guarantee his safety, the program wouldn't be worth running - do you see?'" This important wisdom can be paraphrased as follows: "Concertgoers would ask the music director, "Can you guarantee I will like everything in your program?" And the music director should reply, 'No, we certainly can't , ma'am. Fact is we go the other way and and guarantee you the genuine possibility that you will hate at least one work. And if we could guarantee you will like everything, the concert would not be wort...
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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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New music from the old world

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Interesting article in French over on ConcertoNet.com about twentieth century music in general and Alex Ross' new book in particular. (Flaky machine translation here .) The writer is sometime Overgrown Path contributor Antoine Leboyer who highlights some overlooked contemporary European composers, and particularly recommends exploring Philippe Boesmans (above right), Guillaume Connesson , and Pascal Dusapin . Connesson and Dusapin are both French, but Boesmans is Belgian. Today, Belgium has been without a government for 157 days, and as time ticks by the possibility of a permanent split between the country's Dutch and French speaking communities comes closer. It is a story that has attracted surprisingly little international media coverage, and that is not because Belgium is of little importance. It was the German invasion of the country in 1914 that caused Britain to enter the First World War, a conflict that changed the world political landscape for ever. Since 1831...
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Audiences need permission to like unfamiliar music

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That photo of Sir Malcolm Arnold and Julian Bream appears on the late composer's website . Ten years ago I was literally very close to Sir Malcolm's music. He spent his final years being tended by his carer Anthony Day in Attleborough just a few miles from where I live in Norfolk. I managed Sir Malcolm's website and one of my first posts  about his music dates from that time. Following Sir Malcolm's death in 2006 I never lost my appreciation of his music, but it featured less frequently in my listening. However, recently I have returned to his symphonies, and listening to them again has raised some important questions. His nine symphonies are the product of a master craftsman. They move forward from Mahler and Shostakovich, yet should be immediately accessible to contemporary audiences saturated in the music of those two composers. But, despite this, Sir Malcolm Arnold's symphonies remain unknown outside a small circle of admirers. Why? Let me make it clear ...
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Music can be magic, it enriches and inspires

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Music can be magic. It calls for and calls forth all human virtues: imagination, discipline, teamwork, determination. It enriches and inspires. We have come together because we share a passion for the power of music. We believe that music is important in itself and for its ability to change how we think, feel and act. For this reason, music plays a prominent part in young people's lives, both in and out of school, and from the very earliest age. We believe music has a unique contribution to make to education - and by that we mean the education of all children, not just those with the potential to become great professional musicians and composers. We know that the creativity at the heart of music-making can help raise attainment and motivate young people. We believe that music is important for the social and cultural values it represents and promotes, and for the communities it can help to build and to unite. We share the conviction that music education should reflect the diversity...
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Death on an unimaginable scale

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Dreadful though it would have been if 12 passenger jets had been blown up over American cities, how can this be described as death on an "unimaginable" or "unprecedented" scale? The daily kill rate over the first two months of the Rwandan genocide averaged 11,500. Is that more imaginable because the people were African? Letter from Rev Jenny Dyer , Coventry, in today's Guardian Image credit - BBC News: Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and other errors to - overgrownpath at hotmail dot co dot uk If you enjoyed this post take An Overgrown Path to The act of killing from 20,000 feet
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Exclusive - David Munrow on the record

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My Future Radio programme on Sunday December 30th takes an exclusive look at David Munrow on the record . In the early 1970s the scores for the BBC TV series The Six Wives of Henry VIII and Elisabeth R brought David Munrow’s music to millions. His Pied Piper radio programme was broadcast four times a week for five years, he presented a successful TV series, and wrote the scores for several major feature films including Ken Russell’s The Devils and the film version of HenryVIII (sleeve below). David Munrow's interest in early music started when he taught in Peru before going up to Cambridge. He combined reading English at Pembroke College with independent studies of Renaissance and medieval music, and went on to form his famous Early Music Consort of London. Under his leadership the Early Music Consort became best-selling recording artists, and David Munrow’s records were considered so important that copies of them were sent to Saturn on board two NASA spacecraft in 1976. ...
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The composer without a shadow?

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If you want to start a fascinating thread write about Leonard Bernstein's Mass . Here are some comments from my most recent Mass post : Movie commented - It's not a dishonest piece and I think it still works today . I commented - But what are examples of dishonest pieces of music? Pentimento commented - I'd say much of Strauss's oeuvre is dishonest. I couldn't live without Metamorphosen , Capriccio or the wind concertos, and one of my most memorable, and disturbing, evenings in the opera house was Hildegard Behrens singing the title role in Salome with Karajan and the Vienna Philharmonic at the 1977 Salzburg Festival . But, despite that, you may be right Pentimento. Which leaves me with only one possible back link - Herbert von Karajan Ein Heldenleben Sorry I cannot credit the lovely portrait of Richard Strauss (I do hope you meant Richard and not Johann, Pentimento), but I do not know who it is by. It comes from Ferdinand Von Galitzien's blog . Help with ...
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As a Wagner conductor he has no equal

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The Guardian 's recent obituary of the great Wagnerian bass-baritone Norman Bailey linked to my 2007 post  'Reginald Goodall – the holy fool', which prompts me to revisit that article. My appreciation was written while YouTube was in its infancy, and in the intervening years some invaluable Reginald Goodall resources have been uploaded. These include an excellent full-length 1984 BBC Omnibus documentary ' The Quest for Reginald Goodall ', a complete English National Opera 1973 Siegfried , and a 1954 Die Walküre Act 1 . Also on YouTube is Act 3 of Parsifal from the 1987 Prom s; this was Reginald Goodall's last public concert and David Cairns' review of it is quoted at the start of my original post and provides my headline for this article. Did Reginald Goodall really deserve the sobriquet ' Holy Nazi conductor '? Of course some of his personal views were abhorrent. But so were those of other classical folk heroes including, of course...
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