Big welcome to a new Malcolm Arnold fan


I wonder if Dr. Vibe aka Big Smoke is also a Deep Purple fan?

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If you like Spem in alium try this …

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Read next week's Proms picks by Pliable here. Tuesday's late night BBC Prom by the Tallis Scholars includes a little known work by Alessandro Striggio. A search on Amazon.com for Thomas Tallis’ mighty forty part motet Spem in alium returns 43 results. But a search for Striggio’s motet for the same forces, Ecce beatam lucem , returns just 2 results . The popularity of Tallis’ masterpiece is perfectly understandable, but the neglect of its progenitor is something of a mystery. Alessandro Striggio worked in Florence and Mantua in the 1550s, and developed a luxurious and opulent style of choral writing that culminated in a Sanctus for sixty voices that has sadly been lost over the intervening centuries. The motet Ecce beatam lucem was composed in 1561 as a celebration of Catholicism. It was written to mark the visit of Cardinal Ippolito d’Este to France where he was preaching against Protestantism, and uses forty voices organised in varying groupings through the course of t...
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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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Reginald Goodall – the holy fool

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Goodall showed that as a Wagner conductor he has no equal. His control of the musical architecture is absolute. The huge span of the score was shaped as if in a single phrase. At the same time the music seemed to move spontaneously, by its own inner force, and with a glowing beauty of sound, an inevitability of rise and fall and a kind of natural momentousness of expression that will remain ideal. These were the words of David Cairns writing in the Sunday Times in August 1987. The occasion was Reginald Goodall’s last ever conducting engagement, the Proms concert performance of Act 3 of Parsifal shown in the rehearsal photo above. Wagner’s saga of the holy fool somehow sums up Goodall; as David Cairns wrote he was a Wagner conductor without equal, he was also a champion of Britten’s music who conducted the first performance of Peter Grimes , yet he flirted with fascism and alienated himself from many who tried to help him during a career that lasted more than sixty-five years. Goodall...
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A treasure trove of Stokowski downloads

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A Japanese site has a treasure trove of recordings by the legendary conductor Leopold Stokowski ranging from 1917 acoustic recordings to 1953 electric recordings. All were 78rpm shellac releases, and the site claims they are copyright free. There are a lot of very fine things to listen to including two complete Tchaikovsky symphonies, a complete 1941 No 4 recorded with the NBC Symphony in 1941, and a 1940 Symphony No.6 'Pathetique' with the All American Youth Orchestra . Thanks go to US reader and internet sleuth Walt Santner whose research uncovered these, and the Norwegian historic MP3s , for us, and to the unknown Japanese webmaster for making them available. Stokowski was the role model for today's jet set maestros. Born in North London in 1882, a short distance from what was to become EMI's famous Abbey Road Studios , he started his musical career as organist in St James' Church, Piccadily . He moved to the US in 1905, and ten years later became a naturali...
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Early musician who could have become a great conductor

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Hopefully at least a little of the content from eleven years of On An Overgrown Path transcends the virtual noise that is the staple fare of online music journalism today . For me the most rewarding projects have been the Philippa Schuyler and Master Musician of Jajouka doubleheaders, the profile of Guyanese conductor Rudolph Dunbar , the exploration of contemporary modal music , and interviews with Jonathan Harvey , Jordi Savall , Ali Keeler , and with David Munrow's recording producer Christopher Bishop. Although the latter interview has been available as a sound file it has not to date been transcribed as text. So while tidying up loose ends I have transcribed the interview below. (The photo at the foot of the article was taken during the radio interview and shows me with Christopher Bishop). Although David Munrow is best known as an early music authority the interview ranges widely. Christopher Bishop mentored both Riccardo Muti and Andre Previn early in their careers...
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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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Cleveland leave a bit of a Missa behind in London

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Last year's planned Cleveland Orchestra Proms appearances were binned as agreement couldn't be reached with their musicians union on the fees for webcasts of the concerts. This year's performances of Mahler's 3rd Symphony (right) and Beethoven's Missa Solemnis went ahead last week, and the orchestra became the only major US orchestra to appear this season. But somewhere a God was angry as two of the soloists for the Beethoven fell ill, and then the Royal Albert Hall's air-conditioning failed leaving the audience sweltering in truly biblical heat. The problems didn't end there. The Cleveland musicians union contract now only allows live internet streaming - not delayed streams. So the two concerts can't be reprised on BBC Radio 3's Listen again service if you missed them first time round. But they will be broadcast in the US by WCLV , WCPN and WKSU in September The irony is that the two Cleveland concerts were two of the least memorable of the se...
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Sound yoga - ancient wisdom or New Age nonsense?

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Classical music cannot stand still; so that means it must find new audiences. Western classical music has evolved into a highly dualist art form with clearly demarcated boundaries around its core offering of the orchestral and operatic repertoire. There is little debate that this repertoire must - and will - remain central to the art form. But it can be argued that to open up new markets the current watertight boundaries around that core offering must become porous. An example of a blurring of these boundaries would be an entry into the mind, body and spirit market; a market which a post here in 2011 pointed out was then worth around $11 billion annually in the US, compared with $200 million for classical album sales. It is tempting to dismiss the mind, body and spirit market opportunity as no more than 'Mozart for meditation' and 'Gregorian Chant for the soul', but that would be a mistake. As my earlier post noted , the spiritual dimension is found in many of clas...
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You say Mariinsky - I say Mravinsky

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The Mariinsky Theatre Orchestra is the house orchestra of the the Mariinsky Theatre in St. Petersburg, formerly Leningrad, and is also known as the Kirov Orchestra. It dates back to the 18th century and was known before the revolution as the Russian Imperial Opera Orchestra. Today the Mariinsky is known for its association with Valery Gergiev . Yevgeny Mravinsky (1903-1988) was a legendary Russian conductor who led a different orchestra, the Leningrad Philharmonic, for fifty years. Among the first performances given under Mravinsky's baton were Shostakovich's symphonies numbers 5,6,8,9, 10 and 12. But the story of Mravinsky and the Mariinsky are intertwined. Yevgeny Mravinsky was the nephew of the Mariinsky's star diva Yevgeniya Mravina. He literally grew up in the famous theatre where he worked as an extra while studying, and in 1933 made his debut there conducting Tchaikovsky's The Sleeping Beauty . Valery Gergiev's biography has him attending Mravinsky'...
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What was on Hitler's iPod?

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'He was genuinely convinced that he had an infallible musical ear. Heinz Lorenz suggested, 'My Führer, you ought to give a concert in the Great Hall. After all, you could afford to invite the best German musicians, Gieseking, Kempff, Furtwängler and so on. You don't go to the opera or the theatre any more, but you could listen to music. It wouldn't strain your eyes either'. Hitler rejected the idea. 'No, I don't want to trouble such artists just for me personally, but we could play a few records.' A thick book listed all the records that the Führer owned. There must have been hundreds of them. The wooden panelling of the wall turned out to be a cupboard holding records, with a built-in gramophone that was invisible till the cupboard doors were opened. The black discs stood in long rows, labelled with numbers. Bormann operated the gramophone. Hitler nearly always had the same repertory played: Léhars operettas, songs by Richard Strauss, Hugo Wolf and Ri...
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