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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My symphonies are sperm

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On paper Leif Segerstam's symphonies don't look promising. More than 300 in total, each lasting only around half an hour but needing only two pages of score, and many requiring no conductor. All underwritten by the philosophy that "My symphonies are sperm. There is strength in numbers. Some will survive to take evolution forward". (So my headline is a genuine pull quote, not Slipped Disc-style clickbait). Anyone acquainted with his authoritative Sibelius and Rautavaara will know that with Segerstam unconventional does not mean unacceptable. There is a method in what many will view as his madness. In the deliberate absence of a conductor the musicians are cued by certain specified signals given by different instruments in turn. The aim is to release the players' latent creativity which is normally suppressed by the highly prescriptive Western classical tradition.  Segerstam explained that "I wanted a performance to be a creative event, not a Prussian plou...
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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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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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The Berlin Philharmonic's darkest hour

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Wilhelm Furtwängler was born on 25th January 1886. He was Music Director of the Berlin Philharmonic from 1923 to his death in 1954, and held this position for the twelve years that Hitler was in power. In January 1945 he was conducting in Vienna, and fled from there to Switzerland where he remained until the Battle of Berlin ended in the defeat of the Nazis. The musicians of his orchestra remained in Berlin during its darkest hour. Here is their story: On 28th March 1945 the Russian forces commanded by Marshal Georgy Zhukov were just twenty miles to the east of Berlin. A month previously Albert Speer had been replaced as Nazi armaments minister after trying to persuade Hitler that defeat was inevitable. Speer now turned his energies to preventing the musicians of his adored Berlin Philharmonic from perishing in the inevitable final battle. Reich Commisioner Dr Joseph Goebells, who was in charge of the defence of Berlin, had ordered the entire orchestra to be drafted into the Vol...
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Storm clouds gather over Aldeburgh

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On An Overgrown Path’s traffic logs show that the UK and international media are actively researching the private life of Benjamin Britten. One of the many failings of the BBC in the Jimmy Savile scandal was to assume that a potentially damaging story would simply go away. So, although I would much prefer to be writing about other things, I am reluctantly returning to the subject of Britten . I am a huge admirer of Britten’s music , I have written in praise of Aldeburgh , and Snape is my local concert hall . But for some time I have had a growing discomfort about certain aspects of the composer's private life, and this means I do not share the dismissive attitude that prevails elsewhere in classical music towards its continued scrutiny. And it also means I object to being labelled as a “smut-stirrer” for believing the subject should not be off-limits . The aspects of Britten’s personal life under scrutiny are public knowledge. In his eloquent appreciation of Britten in Th...
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