Every concert hall should have one


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Pliable said…
And every concert hall needs this as well - https://www.theguardian.com/music/2016/jun/30/apple-wins-patent-on-technology-to-stop-fans-filming-gigs
3:30 pm
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Nada Brahma - Sound is God

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It may be my age, but those moments when a piece of music really hits me in the solar plexus seem to get rarer and rarer. But during my recent extended travels in India I was metaphorically punched time and time again when listening to ECM's Codona recordings on headphones. Recent posts have touched on the potential of virtual concert halls and the fact that no one mixes for speakers these days , and the Manfred Eicher produced Codona sessions from between 1978 and 1982 really demonstrate the impact of the up close and personal sound of headphones . The line up for Codona was African-American trumpeter Don Cherry, Brazilian percussionist Nana Vasconcelos, and Colin Walcott on sitar, tabla, hammered dulcimer, sanza, timpani, and voice. The band took its name from a circus trapeze act of the early 20th century called the Flying Codonas , and the three albums packaged by ECM for CD as The Codona Trilogy capture the peerless musicians-beyond-frontiers performing their creative hig...
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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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A vintage year for blasphemy and heresy

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2010 was a vintage year for blasphemy and heresy. A post on Salvador Dali drew attention to his forgotten audiovisual opera-poem Être Dieu inspired by the Cathar heresy, Jonathan Harvey stirred things up on my Chance Music programme by saying "the future must bring things which are considered blasphemous like amplifying classical music", while yet another path took me to new heights of heresy. In fact the path reached 2400 feet, which, as the photo above shows, is a serious challenge for anyone who, like me, who has a vertigo problem. I took the photo from the fortress of Quéribus in Languedoc, France and the view is towards Mont Canigou, the holy mountain beloved of Pablo Casals and Thomas Merton . Quéribus castle was the last Cathar stronghold to surrender in 1255 and Jordi Savall's The Forgotten Kingdom had led me to Languedoc and Catharism and on to Gnosticism. The Cathar heresy has its roots in the "dualist" religions in the Indus basin which origina...
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Sketches of Joaquin Rodrigo

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Was Joaquín Rodrigo, who died on 6 July, 1999, a composer out of step with his time? His most famous work, the tonal, tuneful and cheerful Concerto de Aranjuez , was completed in the spring of 1939 in Paris. While Rodrigo was composing German troops were approaching the Czech frontier and Moravia and Bohemia became 'protectorates' of the Third Reich. During that spring the Nazis annexed Lithuania, Arnold Schoenberg's Violin Concerto was published and Michael Tippett started work on his protest oratorio A Child Of Our Time . As Rodrigo's evocation of the glories of Spain took shape in March 1939 the Civil War in the composer's native Spain ended when Madrid surrendered after a siege lasting two and a half years and the remaining Republican territories capitulated to Franco's Nationalist forces. The total death toll in Spain was estimated to be around half a million. The rise of fascism and the spread of anti-semitism were hardly events that Rodrigo could ignore...
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Vonnegut gets his Dresden facts wrong

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In 1968, the year I wrote Slaughterhouse Five, I finally became grown up enough to write about the bombing of Dresden. It was the largest massacre in European history. I, of course, know about Auschwitz, but a massacre is something that happens suddenly, the killing of a whole lot of people in a very short time. In Dresden, on February 13, 1945, about 135,000 people were killed by British firebombing in one night. It was pure nonsense, pointless destruction. The whole city was burned down, and it was a British atrocity, not ours. They sent in night bombers, and they came in and set the whole town on fire with a new kind of incendiary bomb. And so everything organic, except my little PoW group, was consumed by fire. It was a military experiment to find out if you could burn down a whole city by scattering incendiaries over it. Kurt Vonnegut's 1968 novel Slaughter-house Five is an essential part of the literature of the bombing of Dresden. In his new book A Man Without a Country: A...
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Are top musicians sharing the financial pain?

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In October came the good news that 76% of ticket buyers for the Rest is Noise festival had not previously booked a contemporary classical music event at London's Southbank Centre. One of the highlights of the final month of the ground breaking festival was a discussion about the future of new music between Alex Ross, whose visionary book inspired the festival, and Colin Greenwood , the celebrated bassist of Radiohead - that is the two of them in the photo. As the Rest is Noise festival is, quite rightly, being cited as a case study in how to attract new audiences it is worth pointing out that Alex was born in 1968 and Colin Greenwood in 1969. This makes them 45 and 44 respectively, which compares with a median age of 48 for that archetype of the affluent senior citizen, the cruise ship passenger. Which is not a problem at all as it simply confirms what has been glaringly obvious for a long time: that classical music's audience is skewed towards older age groups who, like...
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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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