Verify, verify, I say unto you

Much spin surrounded the launch of BBC Verify which fact-checks and counters disinformation in external sources. So let's hope the same forensic analysis is applied to the BBC's own contributors.

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In the shadow of Chopin

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The music police are already telling us how we will be celebrating the Chopin bicentennial this year. So, never one for musical correctness , my header photo honours another giant of the piano, in status if not in stature, who is buried literally in the shadow of Frédéric Chopin. Michel Petrucciani, compositeur - pianiste de jazz , died in 1999 aged just 36. He is buried alongside birthday boy Chopin in the Père Lachaise cemetery in Paris and his pianistic genius has featured several times On An Overgrown Path . Père Lachaise has more musicians per acre than any other burial ground, and they include Georges Bizet whose headstone is seen below. Bizet's grave is surprisingly understated for France's most famous musician and the dates on it are a sobering reminder that he was the same age as Michel Petrucciani when he died. Adjacent to Bizet is the more contemporary resting place of Georges Enescu who died in 1955. Enescu (Enesco in France) taught Yehudi Menuhin , Arthur Grumiau...
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Come to the edge!

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Twenty-one years ago I wrote about an article on NewMusicBox  that forecast the age of music streaming, and included the following quote from the article: A world where music is available via the latest technologies for a single monthly subscription charge. A world with unlimited access to a huge range of music. A world where the music business will explode and reinvent itself. A world where listeners are empowered, and the reach of new music is limited only by your own imagination. A world where the major record companies aren’t invited to the party. A world where music becomes a utility on tap, just like gas and electricity. A world where music is like water.  It can be argued that streaming has empowered consumers by offering instant gratification. But two decades ago, in my post I expressed concerns about the advent of 'music like water' with these words: "Music-like-water won’t bring a utopia where every recording, of every work, by every composer from Evaristo Abaco ...
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Musician's dissent dismissed as "sanctimonious shit"

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Violinist, conductor, composer, and improviser Pekka Kuusisto recently announced he would pausing his professional engagements in the United States in the following message: I’ve decided to stop working in the United States for the time being.  I want no pressure placed on any of my colleagues to come to the same conclusion.  Love and solidarity Predictability his decision was greeted by an outpouring of bile on the classical music industry's online resource of choice Slipped Disc . Just as the decision of respected American composer John Luther Adams to relocate to Australia  was greeted with similar bile . Here is just one comment posted in response to Pekka Kuusisto's decision: Sanctimonious piece of shit. Never going to another one of his concerts. The US didn’t kill Iranian school girls for performative violence. This false accusation is disrespectful to the US military which gives Pekka his freedoms. Online forums always attract nutjobs. But this thread is a conti...
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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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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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Eric Whitacre outsells Mozart

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How to reach new audiences is a continuing preoccupation of the 'serious music' community. Yet just this week a surprise classical best-seller has shown how to do it. You don't need dumbing-down , the latest avant-garde tricks , classical music night-clubs or free Beethoven MP3s. What you need is great contemporary music which is innovative, honest and accessible. It needs to be recorded by an enterprising label, with top-class performers and engineering. It also needs to feature a marketable personality and be supported by the media. Cloudburst , a CD of Eric Whitacre's choral works sung by Polyphony, is currently the surprise UK classical best seller. It hit all the hot buttons, and proves that a full price CD of music written in the last fifteen years can outsell the TV promoted greatest hits of a dead guy from Salzburg. Andrew Cane of leading UK independent classical store Prelude Records explained to An Overgrown Path yesterday: " Cloudburst had been ou...
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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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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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Walking with Stravinsky

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Lizzie, I am sorry that this article didn’t appear last year as I had planned. 2006 was the centenary of your birth, but the year passed with scarcely a mention of your work, or a performance of your music. It was my plan to rectify that in a small way, and I wrote a very nicely turned appreciation. I am sure you would have approved of it - all about the myth of Elisabeth Lutyens, the mother of British serialism, ‘Twelve-tone Lizzie’ - the outspoken eccentric shunned by the musical establishment whose compositions were rejected by the BBC, and the composer who struggled for commissions and performances. The myth is perpetuated in your Wikipedia entry which says you 'worked in isolation and neglect, creating a personal style of serialism and eventually gaining some recognition for her ability to set text. Lutyens' work was exposed to the public at large through her scores for horror films.' In your autobiography the Goldfish Bowl you made much of the tensions with your ...
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Aaron Copland's McCarthy Hearing

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EXECUTIVE SESSIONS OF THE SENATE PERMANENT SUBCOMMITTEE ON INVESTIGATIONS OF THE COMMITTEE ON GOVERNMENT OPERATIONS ========================= VOLUME 2 __________ EIGHTY-THIRD CONGRESS FIRST SESSION 1953 STATE DEPARTMENT TEACHER-STUDENT EXCHANGE PROGRAM [Editor's note.--The composer Aaron Copland (1900-1990), whose works included Billy the Kid, Lincoln Portrait, Rodeo, and Appalachian Spring, won a Pulitzer Prize in 1944 and an Academy Award in 1950. Because he had gone to Italy on a Fulbright scholarship in 1951, the subcommittee questioned him about his past political associations. His oral history, published as Aaron Copland and Vivian Perlis, Copland, 1900 through 1942 (New York: St. Martin's, 1984), and Copland Since 1943 (New York: St. Martin's, 1989) acknowledged that he had been a ``fellow traveler'' in the 1930s because ``it seemed the thing to do at the time,'' but stated that he had never joined a political party. Fo...
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