Whatever would Ben and Peter say?

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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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David Munrow - more than early music

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'David Munrow and the Early Music Consort of London transformed our view of medieval music. The impact of their performances far surparssed any that had gone before: by demonstrating how medieval music could sound normal, they created a niche for it in the concert hall and on record that it has never lost' ~ From Daniel Leech-Wilkinson's notes for Music of the Gothic era May 15 2007 is the thirty-first anniversary of the death of David Munrow. His contribution to the acceptance, understanding and performance of early music almost defies summary. He was born in 1942, and learnt the bassoon and recorder as a child. Between school and university he travelled and taught in South America , and started the collection of ethnic instruments that were to give him, and the world, a new perspective on early music making. He read English at Pembroke College , Cambridge, and was encouraged by Thurston Dart to take an active role in the music-making of that most musical of cities. ...
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More Slipped Disinformation

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On Slipped Disc Norman Lebrecht crows that "BBC Radio 3 bounces back after summer disp... Radio 3 has risen again to 1.91 million, a quarterly increase of 106,000 listeners". This is misinformation. Because comparing the autumn/winter Q4 (Oct to Dec) figure of 1.91m with the summer Q3 (July to Sept) 1.81m is deliberately misleading. It does not take into account the seasonal change in radio listening: more people listen to the radio in autumn/winter than in the summer. The meaningful analysis, which is omitted from Norman's puffery, is the audience movement from the same quarter the previous year. BBC Radio 3's audience in Q4 2024 was 1.952m and in Q4 2025 was 1.912m. So, in fact, rather than bouncing back, Radio 3 showed a small - 40k - drop in audience year on year. For those preferring facts to misleading spin, the two relevant RAJAR reports are reproduced here - Q4 2025 above, Q4 2024 below.        
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Those are my principles....

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Norman Lebrecht: Slipped Disc and   Lebrecht Weekly, 12/05/2023   "Why I cannot, in good conscience, review this record I cannot, in all conscience, give this recording a star rating, or even a detailed review. The soloist is Elisabeth Leonskaja, a legendary pianist whose introspections are perhaps the strongest living reminder of her late friend Sviatoslav Richter....Christian Thielemann, in the recent film ‘Music under the Swastika’, claimed that Wilhelm Furtwängler’s complicity in the Third Reich was justified by his legacy of extraordinary recordings.  Leonskaya’s presence in Putin’s Russia is not dissimilar. What are we to make of them?... The performances, per se, have nothing to do with the present situation. And yet, everything.I cannot review them". . ..and if you don't like my principles... well, I have others . Norman Lebrecht: Slipped Disc , 19/11/2025 "The Muziekgebouw in Eindhoven has cancelled a December 4 concert by the Russian-Georgian Jewish pia...
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Know your audience

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Recently Pulitzer Prize winning composer John Luther Adams (seen above)  announced he had moved  from the USA to Australia, explaining "the current situation in the United States was a major element in my decision to leave". Even by Slipped Disc standards the response to that announcement on Norman Lebrecht's industry-endorsed website was deeply unpleasant. Here are just a few of the comments deemed acceptable for publication on Slipped Disc .  Good riddance. Maybe he’ll take his rather tiresome music to Antarctica next. He can be closer to Muslim assassins. Wise choice Absolute loser  If that’s what passes as a top classical composer these days, no wonder the genre is doomed. What a jerk. As a critic you cannot possibly ignore how unbearable his compositions are (I carefully avoid the word music). Let's ignore what a potential classical music funder would conclude from a typical Slipped Disc narrative . Yes, the defense of free - if not particularly intell...
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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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While classical music debates nothing changes

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'This magic comes only with the sounding of the music, with the turning of the written note into sound - and it only comes (or comes most intensely) when the listener is one with the composer, either as a performer himself, or as a listener in active sympathy' - Benjamin Britten Recent articles here about whether classical music responds to mass marketing and social media have generated considerable interest. So I thought it worthwhile to create a straw model which summarises the thrust of the articles and that is the purpose of this post. The straw model is remarkably simple and is built around the following four propositions. 1. Classical music engages new audiences most effectively by direct transmission to what Britten describes as as "a listener in active sympathy". 2. Despite this classical music today is characterised by hypermediation, meaning there are more and more intermediary layers appearing between performer and audience. 3. These intermediary la...
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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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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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Bach - the specialists would never allow that

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I couldn't agree more strongly with Théo . As Colin Davis said when he took over at the LSO, what the orchestra needed was to play a great deal of Mozart and Haydn, string tone often having been the Achilles heel of London orchestras. Davis has also said that, of works he would most still like to record he would most like to record, he would choose the St Matthew Passion, but noted that, alas, the 'specialists' would never allow that. As our good host points out, the present situation would have been incomprehensible to great conductors of the past, whether Walter, Klemperer, Mengelberg, or Furtwängler. How is one to hear the Bach in Mahler, let alone the Mahler in Bach, if one does not know Bach - and know him intimately? Even if one were to take the ayatollah-like view that Bach and Handel were and could only be chamber music, it would be necessary to play them for that reason alone. Those would confine Bach, Mozart, Monteverdi, or anyone else, to a (generally grossly mis...
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