Monday, December 30, 2013
Andras Schiff goes gold
This was the moment on 21 December when Andras Schiff was presented with the Gold Medal of the Royal Philharmonic Society at the Wigmore Hall. Receiving it makes him the successor to such figures as Rubinstein, Horowitz, Curzon and only a scant handful of other tip-tip-tip-top pianists. He had just given a remarkable recital consisting of Bach's Goldberg Variations in the first half and Beethoven's Diabelli Variations in the second. It was his 60th birthday that very day.
The citation is inspiring and his response touching, humble and rather heart-rending. He went on to play a short piece written in memory of his mother, Klara Schiff, by his teacher from Budapest, Gyorgy Kurtag, who has also been presented with the RPS's Gold Medal this month. The RPS has been celebrating its own bicentenary this year, as it happens, and the bust of Beethoven is on the stage in memory of the Society's commissioning of his Ninth Symphony.
Saturday, December 28, 2013
PRESENTING SATURDAY CLASSICS on BBC RADIO 3, 2pm TODAY
Hello...nose over the parapet to mention that I'm presenting Saturday
Classics on BBC Radio 3 today, 2pm. It's a programme of tributes to just
a few of the many great musicians who've died this year. Includes Henri
Dutilleux, John Tavener, Regina Resnik, Marie-Claire Alain, Van
Cliburn, Janos Starker, among others...not a comprehensive list, but a
varied and hopefully rather fascinating line-up. You can listen online here: http://www.bbc.co.uk/programmes/b014kyc5. Enjoy.
Saturday, December 21, 2013
JDCMB GINGER STRIPE AWARDS 2013
The doors to our cyberposhplace are wide open, though the entrance hall is currently full of abandoned umbrellas. Please come in out of the rain for the 2013 JDCMB Ginger Stripe Awards: the annual Winter Solstice event at which we traditionally have a virtualkneesup to celebrate the glorious music-making that's taken place in the past year. We present our very own cyberawards, aided and abetted by Solti of the Ginger Stripes, with no prejudice or proviso other than that each comes straight from the heart.
The entire banquet is gluten-free and you can have the finest virtual mulled wine, vintage cyberchampers or the world's yummiest hot chocolate beamed in from Denmark (see 2011) - or all three, since they are, of course, devoid of calories. I hope you've donned your best cyberbling to jolly proceedings along. It may be wet and windy out there, but inside we have the joy of friendship, the scent of virtualcinnamon and unlimited quantities of seasonal good cheer. When you've hung up your coat, please pop over to Gretel, the Good Witch of the South West, who will annoint you with virtualfairydust and offer you a synaesthesia biscuit.
Now, will you welcome, please, our guests of honour. This is a controversial invitation and already I can hear mutterings at the back, but they're here anyway: Richard and Cosima Wagner have come from CyberBayreuth to join the party. It's not that we forgive you - either of you - for what you wrote, or said, or did. But this is a time for reconciliation. Richard, your music has not precisely changed my life, but it has certainly changed my world...you know what I mean, don't you? Of course you do. Your Parsifal has been the greatest thing that happened to me this year: more than an opera, more than a music drama, more even than gesamtkunstwerk, it's a form of spiritual awakening. Even for an atheist. Thank you for your music, Richard, and, er, thanks to both of you for agreeing to star in my play.
Who's that? Oh...dearie dear...Giuseppe and Benjy are in the corner, doing the muttering. I knew somebody was. Come on over, chaps, and let's celebrate you all together. What an anniversary year this has been... Let's hear it one last time for VERDI and BRITTEN! And a round of applause for every musician who has touched the hearts of his or her audience during the past 12 months.
Now, now, quiet please... Would the following winners kindly approach the platform, where Solti, ensconced upon his silken cushion, will let you stroke the ginger stripes and will give you your special prize purr.
Pianist of the Year: A special award, this time, for my concert partner Viv McLean, who has been doing such a glorious job of the Alicia's Gift performances that we can't possibly give the prize to anyone else. Viv, you are exceptional: your energy is something oddly transcendent. Like our Alicia, "you know what it is to be in a state of grace, even if you don't realise that you do..." I sit beside your piano every time and I can see, hear and feel this, clear as Chopin. It's a privilege to share a stage with you. Thank you for an extraordinary autumn tour - and looking forward to more next year!
Conductor of the Year: Marin Alsop, of course. Marin, you are not the first woman conductor in the world, nor the only one - see my startlingly famous list - but you have managed to make that crucial step to near-universal recognition, becoming symbol, role-model and triumphant trailblazer. But it wasn't only great to see you conduct the Last Night of the Proms; more to the point, you did such a glorious job with the Bernstein Chichester Psalms that some of us were moved to tears. Thank you for all that you mean to us, and brava bravissima!
Series of the Year: Please welcome, from the Southbank Centre, artistic director Jude Kelly and head of classical music Gillian Moore. This was the year of The Rest is Noise - the most exciting year I can ever remember experiencing at a venue to which I've been going on average at least once a week for a quarter of a century. Restoring the idea of narrative and context to enhance understanding of modern/contemporary music, the series went right through the 20th and 21st-to-date centuries, bringing together speakers, films, participatory events, concerts, listening guidance sessions and much more through 13 themed weekends that packed newcomers into the halls. The website holds a remarkable archive of the talks for all to hear.
At John Adams's bright-blazing El Nino the other night, which concluded the festival, it was revealed that the LPO audience figures never went below 1800 for any of the TRIN concerts, even the most challenging - and even though Jude remarked that they'd been warned there were only 700 people in any major city who would go to contemporary music. The vision and trailblazing confidence that Jude and Gillian have brought to The Rest is Noise has categorically disproved that. I believe concert life will never be quite the same again. Thank you, Jude and Gillian! More, please!!
Artist of the Year: Dear maestro, Andras Schiff, it is your 60th birthday today. I can't quite believe this. I still think of you as 28... It has been a remarkable privilege to watch and listen as your musicianship has grown and grown and kept growing with the decades; and to interview you about so many fascinating topics, musical and otherwise (a little memento, left, of our latest, at the Beethovenfest in Bonn). And you're as irrepressible as ever. I know you have to leave our cyberposhplace pdq because tonight you're playing the Goldberg Variations in the first half of your big birthday concert at the Wigmore Hall and the Diabelli Variations in the second half. Your purr will therefore be delivered to the Wigmore's stage door.
Lifetime Achievement Award: Please step forward, Roger Wright, head of the BBC Proms and Radio 3, for bringing us the best Ring cycle in the world, and the most egalitarian, for £5 a pop(era) - and all that other Wagner too. (And for programming the Korngold Symphony!) The BBC gets a lot of stick these days - some justified, some not - and in this day and age I think we need to be reminded sometimes of how bloody lucky we are to have such a thing as the Proms at all.
Colleagues of the Year: Hooray for David Le Page, Bradley Creswick, Margaret Fingerhut and Anthony Hewitt, who have been my much-loved, ever-inspiring, on-stage partners for the Hungarian Dances concerts this year - alongside Viv McLean, of course, who's already got the piano prize. And thank you a thousand times to the entire Seven Star Productions crew: "Five stars is not enough"... The amazing Yvonne Evans and her team, complete with those yummy "synaesthesia biscuits", themed canapes and copious marshmallows! Cheers, applause, hugs and fairy dust to you all.
Interviewee of the Year: There is only one Angela Gheorghiu. Blimey, guv.
Opera of the Year: Daniel Barenboim's utterly incredible Wagner Ring cycle at the Proms. It is being rebroadcast on R3 over Christmas, btw, and therefore should, I think, be available to listen to on the iPlayer for 7 days thereafter.
Ballet of the Year: Natalia Osipova and Ivan Vasiliev in Giselle with the Mikhailovsky Ballet back in March. They were utterly aflame: probably the greatest dancers I've ever had the good fortune to see. Spassiba balshoy, both!
Stuffed Turkey: Die Fledermaus at ENO. Dearie, dearie, dear.
And a few personal highlights:
Proudest moment: Premiere of my play Sins of the Fathers at the Orange Tree Theatre under the auspices of the International Wimbledon Music Festival, on 24 November. I never thought I'd write a fantastical comedy about Wagner, but there we are, it happened and it seemed to go over OK.
Weirdest moment: Quite a few contenders for this, provided by...well, three or four very different people, some of whom play the piano, some of whom sing and some of whom don't. Let's leave it there.
Quote of the Year: "What you went through with us is something which I never dreamt of and I never thought it would be possible..." - Daniel Barenboim thanks the Promenaders at the end of the Ring Cycle. (His whole speech is here.)
Biggest Sigh of Relief: Probably the one upon completing my Chopin Ballades survey for Radio 3's Building a Library a few weeks back - comparing 35 different recordings ranging across 83 years. You can download the podcast here. (Scroll to 30 November.)
Wonderful Webmaster of the Year: Step up, please, Horst Kolo, as always. Thank you for putting up with me and thank you for keeping www.jessicaduchen.co.uk running and updated! Glad to see that you are now making a website for a very special violinist friend, too. (Watch this space.)
Feline of the Year: Bravo, Solti. Keep up the good work - you're the best cat on earth. >^.,.^<
Thank you, everyone! And now, sit back, have another glass and let Jonas sing for us, accompanied by Christian Thielemann and the Dresden Staatskapelle. I will leave you with one last piece of news: >>>NEXT SUMMER WE ARE GOING TO BAYREUTH FOR THE FIRST TIME...
Season's Greetings to everyone! Take it away, Jonas...
Friday, December 20, 2013
Party season...
Happy seasonal everything, folks - and don't forget to log on tomorrow for the annual JDCMB GINGER STRIPE AWARDS! Meanwhile, it's that time of year and we went to a marvellous party...
Labels:
Noel Coward
Thursday, December 19, 2013
JDCMB Guest Post: George Jackson on the music of Julie von Webenau
Please welcome to JDCMB the young British conductor George Jackson, who has been delving into the music of a fascinating and all-but-forgotten composer, Julie von Webenau (1813-1887). She was, incidentally, the dedicatee of Schumann's Humoresque, Op.20.
'Frag den Mond': Julia von Webenau's 'New' Orchestral Song Cycle
Edward Elgar's instruction to the London Symphony Orchestra during
the famous 1931 Abbey Road session is an invaluable aid to a young musician: 'Play this tune as though you've
never heard it before'. Navigating the
halls of the 'repertoire' museum is always controversial, particularly as a
young conductor working with orchestras who have developed a culture of playing
certain music long before you were even born.
Aside from a deep passion for new music, my solution has been to
rediscover old 'treasures' and assume the joy and responsibility of sharing
them with the world.
The culture of birthday celebration in concert programming is
rife, and this year's BWV trilogy (no, not Bach-Werke-Verzeichnis, but Britten-Wagner-Verdi, of
course) has brought a lot of music to a wider
audience. My attention was recently drawn
to a lesser-known guest at the birthday party: Julia Baroni-Cavalcabò,
better known during her days in mid-19th century Vienna as Julie von Webenau. The rather modest Grove entry places her on the musical
map, as a student of Franz Xaver Wolfgang Mozart and a close friend of Robert
Schumann. Webenau's compositional canon
extends to a series character pieces for solo piano (Ã la Schumann) and a
noteworthy selection of lieder: the latter - which are musical gems - are of special interest to
conductors and singers.
Continuing my pursuit of this forgotten
character, I ended up negotiating a collaboration with Gesine Schröder, music theory professor at Vienna's University for Music and Performing Arts. We commissioned a series of Vienna-based
composers to orchestrate several of Webenau's lieder, to be premiered by the
Akademisches Symphonie Orchester (ASO) Wien, where I was principal conductor last season.
The
four songs that we chose - from a very long shortlist - represent an important
step in German text setting in the middle of the 19th century, and
are certainly worthy of further study: Ludwig Bechstein (the same poet who
inspired Mahler's own text for ' Das klagende Lied'), Johan Nepomuk Vogl (a great Schubert
collaborator), Hermann Kletke (a poet often set by Schumann), and Robert
Reinick (responsible for the libretto of Schumann's Genoveva).
Terz Magazine described the song cycle as a
work that should 'place a great composer into the limelight in a situation
which, as with many of her colleagues, the gender aesthetics of the 19th
century forced them to be forgotten'.
Without wishing to go into the obvious issues of gender (not least in Vienna
both in the 19th century and beyond, but, as Jessica herself points out
here, 'women composers are still climbing the Eiger', not least at this year's
British Composer Awards): Julie von Webenau's music is stunning, enhanced by a unifying
marriage to the gorgeous texts she chooses, and offering a differently-tinged
perspective of the German romantic art song.
I hope that my conducting colleagues, singers, musicologists and
cultural commentators alike will take note and explore this rich terra incognita in years to come.
Here is Julie von Webenau's Warum, to a text by Ludwig Bechstein, sung by Wolfgang Stefan Schwaiger with the Akademisches Symphonie Orchester Wien conducted by George.
Monday, December 16, 2013
"Like...like...like..."
That's what my Amati Soapbox is about this week. Read all about it here: http://www.amati.com/articles/1051-partly-parsifal.html
Friday, December 13, 2013
Parsifal: A Love Story?
Angela Denoke as Kundry & Simon O'Neill as Parsifal. Photos: Clive Barda |
Yesterday I mentioned that the Royal Opera's new Parsifal, directed by Stephen Langridge, seemed rather a curate's egg as cooked by Heston Blumenthal. But the more one thinks about it, the deeper it goes. What follows contains spoilers aplenty, so if you don't want to know the results, look away now.
Langridge's concept is startling, thought-provoking and at times extremely disturbing. It is a very contemporary interpretation, some of which works, some of which doesn't, and some of which seems better after you've had 36+ hours to digest it.
First of all, take the giant cube that occupies the centre of the stage. The first impression is that this is infelicitous design - it resembles a set of Portaloos, or alternatively an outsized SAD lamp (goodness knows our knights need one). More to the point, the hammy gestured flashbacks enacted within it (see image below) are unnecessary distractions and add little of discernible value to the whole, while making it necessary for the real action to take place on the peripheries of the stage.
But wait. Our friend Pliable at Overgrown Path has pointed out that the cube has resonances from Islam. There's another image here... The set design, furthermore, places the holy spring at the back of the stage in a rectangular tub bearing no small resemblance to a mosque's howz for ritual purification.
So are these Grail Knights a kind of Wagnerian Al Qaida? As they send four initiates out into the world in woolly hats, armed with pistols, at the end of the Grail ceremony, it seems not entirely impossible. What's certain is that at the heart of this ceremony lies something dark and desperate. At its outset, in a ritual motion, the knights take knives and spear their own hands.
The ailing Amfortas, bound to the cult/temple/whatever-it-is by his father's demand, doesn't want to carry out the Grail ceremony and begs not to have to do it. The question, though, is always why? Isn't lifting the Holy Grail a beautiful thing to do? Not here - because the Grail is a young boy, and Amfortas has to slash his stomach. No wonder he doesn't want to do it. The boy then passes out and is carried in a classic pieta tableau around the knights, who reach out towards him. But when he comes round, he sits on a bench wrapped in a sheet, ignored and alone, apparently no longer of any significance. Parsifal alone rushes to sit beside him; a look passes between them. This also makes sense - for what inspires human compassion as much as a child abandoned, wounded and suffering? It's the discovery of compassion that transforms the 'Pure Fool'.
The question "why?" appears to be a powerful driving force. Why is Kundry going to such lengths to cure Amfortas when she was responsible for his initial downfall? Simple: she loves him. He loves her too, but his terrible wound has come between them. And at the end, Amfortas cured, Kundry redeemed, they walk off hand in hand, away from the cult/temple/whatever-it-is to live happily ever after. Parsifal has saved Amfortas so that he can live and love and be a whole man. Parsifal opens the Grail shrine to find that the Grail - who was there earlier, a bit older than he was in Act I - has disappeared. Parsifal follows suit, walking away and exiting at the back. Job done. True Grail revealed: it is human love.
At least, I think that is what's going on. It could perhaps use a little more clarification. I may have got it completely wrong, but it's been a process of elimination: if that isn't what's happening, then what is? Pass.
The single biggest problem with the notion - which is beautiful in itself - is that while it can, with some effort, be extrapolated from Wagner's original meanings (insofar as any of us really understand them), it doesn't dovetail easily with other issues, notably that of Kundry. An astonishing character, the constantly reincarnated female version of the Wandering Jew mingled with Mary Magdalene and Venus, Kundry is released from her curse by Parsifal: not only the curse of tearlessness, but that of deathlessness. Usually she finds her rest at the opera's conclusion. Here, she may find true love, but the effect is still to diminish her significance.
Since seeing the performance I've been looking at the Royal Opera House's reactions page and found a fascinating post interpreting the production via profoundly Christian symbolism and the eucharistic litury. Scroll down and read; it's the one by Richard Davey. It makes a huge amount of sense and is wholly different from my take. Perhaps this Parsifal will be "read" in a unique and personal way by everyone who experiences it - rather like those psychological tests where you see images in an ink blot that reflect your own mind. Then it becomes fascinating on a whole new level.
So, the performances. Gerald Finley stole the show as Amfortas, in no uncertain terms. Heartbreaking, all-encompassing, impassioned, incandescent, desperately moving. Rene Pape's Gurnemanz is a true classic, but at this performance he seemed short of his best; and Angela Denoke's much-praised Kundry unfortunately went somewhat off the rails in Act II, losing control of intonation and struggling for the high notes. She was absolutely fine in Act III, but we spent part of the interval wondering whether an understudy might have to sing from a wing. Simon O'Neill's Parsifal grew from harsh-toned callow youth in Act I, breaking his own bow on realising his guilt at killing the swan, to steely, determined redeemer with voice to match. Willard White smouldered as Klingsor - the first time one might wish for an evil magician to have a bit more to do. Chorus and orchestra were on blistering form, with Tony Pappano leading an account that was sumptuously coloured, full of tension and concentrated beauty.
Tuesday, December 10, 2013
Women composers are still climbing the Eiger
I was so angry about last week's all-male final results for the British Composer Awards that I called up my editor at the Independent and wrote this: http://www.independent.co.uk/arts-entertainment/classical/features/dont-always-let-male-composers-call-the-tune-8994084.html
Honest to goodness, I thought there'd been more progress. The PRS for Music Foundation started a special fund called Women Make Music to help support new works by women composers. The Proms have been relatively heroic, likewise the Britten Sinfonia, and next year's Cheltenham Festival is apparently scheduling 14 premieres with eight by women. So why do these awards matter?
Well, the big awards make it into the news. They're a vital shop-window onto the world of classical music. They reach attention that day-to-day musical activities do not. And they create the wider public impression of what this little corner of the cultural world is all about.
And besides, women are writing good music. The latest Pulitzer Prize winner in the US is Caroline Shaw, who is 30 and the youngest composer ever to be awarded it: read about her here in the New York Times.
But here is more on the US situation, from New Music Box - a very good read.
There've been messages about my article from a variety of people insisting they've never encountered any prejudice towards women composers. But I think the problem is more insidious than the notion of a bunch of men sitting around a table saying "What, women write music? Mwahahahaha!"
The worrying statistics I quote in my piece show that something is going wrong at a much earlier stage. It's a matter of how deeply and unconsciously embedded in our culture is the idea that composers are mainly male and those who happen to be women are the exception. It goes back to the school system, home listening, radio and TV, training and profoundly ingrained expectation. There's nothing obviously and deliberately discriminatory about it, as far as we know - it's just that this is what people expect. And that's why it is so difficult to change. Some people have been pointing out that the UK's class system is more a problem than the gender one - most composers are from middle-class backgrounds and are privately educated - I'd suggest that it is all part of the same thing.
Honest to goodness, I thought there'd been more progress. The PRS for Music Foundation started a special fund called Women Make Music to help support new works by women composers. The Proms have been relatively heroic, likewise the Britten Sinfonia, and next year's Cheltenham Festival is apparently scheduling 14 premieres with eight by women. So why do these awards matter?
Well, the big awards make it into the news. They're a vital shop-window onto the world of classical music. They reach attention that day-to-day musical activities do not. And they create the wider public impression of what this little corner of the cultural world is all about.
And besides, women are writing good music. The latest Pulitzer Prize winner in the US is Caroline Shaw, who is 30 and the youngest composer ever to be awarded it: read about her here in the New York Times.
But here is more on the US situation, from New Music Box - a very good read.
There've been messages about my article from a variety of people insisting they've never encountered any prejudice towards women composers. But I think the problem is more insidious than the notion of a bunch of men sitting around a table saying "What, women write music? Mwahahahaha!"
The worrying statistics I quote in my piece show that something is going wrong at a much earlier stage. It's a matter of how deeply and unconsciously embedded in our culture is the idea that composers are mainly male and those who happen to be women are the exception. It goes back to the school system, home listening, radio and TV, training and profoundly ingrained expectation. There's nothing obviously and deliberately discriminatory about it, as far as we know - it's just that this is what people expect. And that's why it is so difficult to change. Some people have been pointing out that the UK's class system is more a problem than the gender one - most composers are from middle-class backgrounds and are privately educated - I'd suggest that it is all part of the same thing.
Monday, December 09, 2013
"Sacred space" syndrome
Or...an afternoon at St Mary's, Perivale.
We used to hear a fair bit about the concept of a "sacred space": a place that builds up an atmosphere over years, decades, centuries - and that transmits this special energy to people who enter it and breathe it in.
I well remember reading a particularly beautiful book by lutenist Anthony Rooley which went into this idea in some depth and discussed the question of what it adds to musical performance. The short answer was "a lot". The epitome of this sacred space, if I remember right, was Dartington Hall.
In recent years - at least since the financial crash - the notion of something sacred has become inordinately tied to associations with fundamentalism (in many forms) and the question of experiencing something perhaps "psychic" or "esoteric" has become somehow old-hat new-age.
Fortunately for us, though, these matters don't cease to exist just because we stop taking notice of them.
In the past week, I've encountered two manifestations of sacred-space energy in musical performance. One was at St Bartholemew the Great - probably the most beautiful church in London, part of which dates back to 1123. Last week Peters Edition held its Christmas concert in there, candle-lit and featuring a cappella contemporary choral pieces from Britain and the Baltics, performed by the choirs VOCES8 and Lumina. Such composers featured as Morten Lauridsen, Vytautas Miskinis (from Lithuania), Eriks EÅ¡envalds (from Latvia), Alexander Levine (Russian-born British resident), our own Roxanna Panufnik and a fine organ piece by Judith Bingham. Anyone who thinks that beauty in music is dead should have been there. Some of the pieces were breathtaking in their use of original harmonic language and sonic imagination that - especially in the case of EÅ¡envalds's The Long Road - could stretch our consciousness out towards the most unexpected of developments, blending tradition with absolute originality. In the audience, it was magic.
Then yesterday Viv McLean and I went to perform Alicia's Gift at St Mary's, Perivale, and got more than we bargained for. Pictured above, Viv warming up...
St Mary's is a tiny 12th-century wooden church tucked away behind a west London golf course and the A40 just north of Ealing. For the past few years Hugh Mather - a retired medic and devoted pianist himself - has been running a concert series here. The place seats about 80 and admission is free; the audience can give a donation at the end if they wish. It's small, white, wooden-beamed, with 15th-century brasses in the floor stones protected by a carpet; and the platform area is currently dominated by a small but excellent Yamaha and a large and lovely Christmas tree. It is a comfortable, intimate space for a performance; speaking without a microphone is no worry, and the exchange between us in the cosiness of the space made unifying the two mediums of words and music remarkably easy.
But then, sitting close to the piano while Viv played Rhapsody in Blue, I noticed something extraordinary taking place. It is hard to describe, but I think some might call it "grace". It's a feeling of being suspended within the flow of time and space and breathing something lighter and purer than oxygen. A form of happiness, perhaps. Joy in its purest form: motionless and light and lacking in any worldly element. It resembles the state of a very good meditation session, yet it's spontaneous, not striven for; something that lands on you, and you accept it because it feels so astonishing. And it is definitely to do with the space, because I've only experienced anything like it a few times before, and always in places that contain deep resonances and/or long-rooted dedications. Jerusalem, Lincoln Cathedral, that kind of place. And, yes, St Bartholemew the Great.
I told Hugh about this impression and he remarks that prayers have been said in that church for 800 years, "around 30 generations in which people have assembled there in good times and bad, and the accumulated spirituality soaked into the walls".
Incidentally, I'm supposedly an atheist. You can be as cynical as you like, but that doesn't change the fact that these things happen sometimes.
Anyway, the audience seemed to love the concert, we had a completely adorable day and it was lovely to finish the show and be greeted, heading off stage, with a nice cup of steaming hot tea.
We used to hear a fair bit about the concept of a "sacred space": a place that builds up an atmosphere over years, decades, centuries - and that transmits this special energy to people who enter it and breathe it in.
I well remember reading a particularly beautiful book by lutenist Anthony Rooley which went into this idea in some depth and discussed the question of what it adds to musical performance. The short answer was "a lot". The epitome of this sacred space, if I remember right, was Dartington Hall.
In recent years - at least since the financial crash - the notion of something sacred has become inordinately tied to associations with fundamentalism (in many forms) and the question of experiencing something perhaps "psychic" or "esoteric" has become somehow old-hat new-age.
Fortunately for us, though, these matters don't cease to exist just because we stop taking notice of them.
Then yesterday Viv McLean and I went to perform Alicia's Gift at St Mary's, Perivale, and got more than we bargained for. Pictured above, Viv warming up...
St Mary's is a tiny 12th-century wooden church tucked away behind a west London golf course and the A40 just north of Ealing. For the past few years Hugh Mather - a retired medic and devoted pianist himself - has been running a concert series here. The place seats about 80 and admission is free; the audience can give a donation at the end if they wish. It's small, white, wooden-beamed, with 15th-century brasses in the floor stones protected by a carpet; and the platform area is currently dominated by a small but excellent Yamaha and a large and lovely Christmas tree. It is a comfortable, intimate space for a performance; speaking without a microphone is no worry, and the exchange between us in the cosiness of the space made unifying the two mediums of words and music remarkably easy.
But then, sitting close to the piano while Viv played Rhapsody in Blue, I noticed something extraordinary taking place. It is hard to describe, but I think some might call it "grace". It's a feeling of being suspended within the flow of time and space and breathing something lighter and purer than oxygen. A form of happiness, perhaps. Joy in its purest form: motionless and light and lacking in any worldly element. It resembles the state of a very good meditation session, yet it's spontaneous, not striven for; something that lands on you, and you accept it because it feels so astonishing. And it is definitely to do with the space, because I've only experienced anything like it a few times before, and always in places that contain deep resonances and/or long-rooted dedications. Jerusalem, Lincoln Cathedral, that kind of place. And, yes, St Bartholemew the Great.
I told Hugh about this impression and he remarks that prayers have been said in that church for 800 years, "around 30 generations in which people have assembled there in good times and bad, and the accumulated spirituality soaked into the walls".
Incidentally, I'm supposedly an atheist. You can be as cynical as you like, but that doesn't change the fact that these things happen sometimes.
Anyway, the audience seemed to love the concert, we had a completely adorable day and it was lovely to finish the show and be greeted, heading off stage, with a nice cup of steaming hot tea.
Sunday, December 08, 2013
Jingles all the way
I'm on my Amati Soapbox howling about Christmas jingles et al today - but also about a ray of hope emanating from the Southbank, named John Adams. http://www.amati.com/articles/1049-jingling-all-the-way-to-the-bank.html
Meanwhile, it's ALICIA'S GIFT at St Mary's, Perivale, this afternoon, starring Viv McLean and me. 3pm start, but it's free admission, first-come first-served, so get there early to get in!
Meanwhile, it's ALICIA'S GIFT at St Mary's, Perivale, this afternoon, starring Viv McLean and me. 3pm start, but it's free admission, first-come first-served, so get there early to get in!
Friday, December 06, 2013
In memoriam Mandela: a recording that couldn't have been made without him
We were fortunate to have such a figure as Nelson Mandela in the world at all. Today everyone on social media seems to have found a pertinent quote from him - each one chosen in a way that is extremely personal to the chooser. Each one is an inspiration in itself. (Tomorrow the Indy will publish a special souvenir edition in his memory, btw.)
Instead of a quote, here's an incident.
Ten years ago the violinist Philippe Graffin went to Johannesburg to record the gorgeous violin concerto by Samuel Coleridge Taylor with the Johannesburg Philharmonic. It was an event that could never have existed without Nelson Mandela: a mixed-race South African organisation, performing a work by a composer half British, half African. This is the end of the first movement and the whole of the second movement. (Get the whole recording.) And here - from the first month of JDCMB - is why this means such a lot to me, then and now. http://jessicamusic.blogspot.co.uk/2004/03/coleridge-taylor-and-south-africa.html
Instead of a quote, here's an incident.
Ten years ago the violinist Philippe Graffin went to Johannesburg to record the gorgeous violin concerto by Samuel Coleridge Taylor with the Johannesburg Philharmonic. It was an event that could never have existed without Nelson Mandela: a mixed-race South African organisation, performing a work by a composer half British, half African. This is the end of the first movement and the whole of the second movement. (Get the whole recording.) And here - from the first month of JDCMB - is why this means such a lot to me, then and now. http://jessicamusic.blogspot.co.uk/2004/03/coleridge-taylor-and-south-africa.html
Thursday, December 05, 2013
Happy Birthday to the Ballades champion
If you heard my BBC Radio 3 Building a Library on the Chopin 4 Ballades the other day, you'll know that we ended up with three top choices: Krystian Zimerman (recorded c1988), Alfred Cortot (1929) and Sviatoslav Richter (1960). It's Krystian Zimerman's birthday today, as luck would have it, so here he is in the surprise wild card of the four: the heart-warming poem that is the A flat Ballade No.3.
HAPPY BIRTHDAY, KRYSTIAN, wherever you may be!
HAPPY BIRTHDAY, KRYSTIAN, wherever you may be!
Tuesday, December 03, 2013
Soapbox time
In my Amati.com Soapbox this week I've tackled a particular bugbear of mine: please can we have less curating and more artistic directing in these parts?
http://www.amati.com/articles/1046-please-return-our-artistic-directors.html
And yes, that is me as the Statue of Whatever's Left of Liberty.
http://www.amati.com/articles/1046-please-return-our-artistic-directors.html
And yes, that is me as the Statue of Whatever's Left of Liberty.
Labels:
Amati.com
Sunday, December 01, 2013
Benjamin Britten: "My Fairy-Tale Uncle"
My Yorkshire sister-in-law has drawn my attention to this wonderful memoir from a member of the Sheffield Philharmonic Chorus, which is performing the Britten War Requiem tonight at Sheffield City Hall with the CBSO under Michael Seal.
Steve Terry is supporting the performance through the Friends of Sheffield Philharmonic Chorus Scheme "in celebration of my late wife and of Benjamin Britten's genius". He knew Britten well as a youngster and has written about their friendship on the website. He remembers BB as "a fairy-tale uncle, living in a beautiful house full of treasures (Constable paintings, Rodin and Henry Moore sculptures, a gorgeous parrot) and creating the most remarkable music, which I found both accessible and intellectually and emotionally challenging." Read it all here.
Steve Terry is supporting the performance through the Friends of Sheffield Philharmonic Chorus Scheme "in celebration of my late wife and of Benjamin Britten's genius". He knew Britten well as a youngster and has written about their friendship on the website. He remembers BB as "a fairy-tale uncle, living in a beautiful house full of treasures (Constable paintings, Rodin and Henry Moore sculptures, a gorgeous parrot) and creating the most remarkable music, which I found both accessible and intellectually and emotionally challenging." Read it all here.
Saturday, November 30, 2013
Stephen Langridge talks about Parsifal
The Royal Opera House's new production of Parsifal opens in three-quarters of an hour. I'm not going until 11th, but can't wait...it will be my 4th Parsifal
of this year. I simply couldn't stand the thing when I first heard it.
Yet now the piece has got under my skin the way no opera has since Die Zauberflote.
So it was intriguing to be presented with the chance to ask its
director, Stephen Langridge, a few big questions in an e-chat...(This is a long version of a short piece for the Indy.)
JD: What does it mean to you personally to be directing Parsifal?
SL: I first saw Parsifal in the Hans Jürgen Syberberg film version as a teenager, and loved it… but in my twenties I really fell out with the piece (loathed it), and only in the last few years have I returned to it. But even when I hated it I was always aware of its enormity and importance. Now I find myself moved by its simple humanity and complex almost desperate scrabble for spiritual meaning in life.
JD: Please tell us something about what you're doing with it in this new production?
SL: There are a couple of clear developments the piece which emerge from a close consideration of the story’s background and when you take the characters seriously as people rather than symbolic representations of an idea. One is the effort to effect a paradigm shift – to move from a world ofschadenfreude, cruel mocking laughter at another’s suffering, to one of mitleid, compassion. The other is from a hierarchical, closed and exclusive spiritual community, to an uncovered Grail, where each person must make their own connection with the numinous. These ideas are on one level, simple, but Wagner is not simplistic, and he forces us to experience very dark twists and turns on the journey. Our attempt is to tell a clear story, but to allow the piece to keep its mystery: to find recognizable humanity in the characters, but also to keep the magic of the myth.
JD: Many opera-lovers (myself included) feel that Parsifal is itself a kind of Holy Grail... What are its biggest challenges, excitements and dangers for you as director? Do you see it as in any way a story for our times?
SL: Parsifal is like the Holy Grail if you are ever tempted to think that there is a perfect way to do it, which will be forever relevant. Its philosophy and even its narrative are slippery, contradictory, intangible. It is a huge piece - not just in terms of length - through which there are probably as many journeys available as there are people to engage with it. As a director I suppose the main thing is not to be overwhelmed by its performance history, but to listen openly as if for the first time, to focus on the human moments that resonate and move us. Is it a story for our own times? Yes – but perhaps this could be a definition of any masterpiece, when a piece’s multifaceted complexity reveals itself anew to each generation.
JD: Wagner has become desperately associated with the Nazis and anti-Semitism. How can we best deal with this today?
SL: Wagner was anti-Semitic, and he wrote and said poisonous things. But I think he composed beyond his bigotry, plunging instinctively into deep myth structure. I don’t think that we need to present his operas to comment on his horrible views. If I felt that was all that was going on in Parsifal, I wouldn’t direct it. It’s right to continue to examine and expose Wagner’s views and behavior, and to wonder at this same man being able to compose such sublime music, and to dedicate his last work to the idea of human compassion. In the stark contradiction sits flawed humanity.
JD: What does it mean to you personally to be directing Parsifal?
SL: I first saw Parsifal in the Hans Jürgen Syberberg film version as a teenager, and loved it… but in my twenties I really fell out with the piece (loathed it), and only in the last few years have I returned to it. But even when I hated it I was always aware of its enormity and importance. Now I find myself moved by its simple humanity and complex almost desperate scrabble for spiritual meaning in life.
JD: Please tell us something about what you're doing with it in this new production?
SL: There are a couple of clear developments the piece which emerge from a close consideration of the story’s background and when you take the characters seriously as people rather than symbolic representations of an idea. One is the effort to effect a paradigm shift – to move from a world ofschadenfreude, cruel mocking laughter at another’s suffering, to one of mitleid, compassion. The other is from a hierarchical, closed and exclusive spiritual community, to an uncovered Grail, where each person must make their own connection with the numinous. These ideas are on one level, simple, but Wagner is not simplistic, and he forces us to experience very dark twists and turns on the journey. Our attempt is to tell a clear story, but to allow the piece to keep its mystery: to find recognizable humanity in the characters, but also to keep the magic of the myth.
JD: Many opera-lovers (myself included) feel that Parsifal is itself a kind of Holy Grail... What are its biggest challenges, excitements and dangers for you as director? Do you see it as in any way a story for our times?
SL: Parsifal is like the Holy Grail if you are ever tempted to think that there is a perfect way to do it, which will be forever relevant. Its philosophy and even its narrative are slippery, contradictory, intangible. It is a huge piece - not just in terms of length - through which there are probably as many journeys available as there are people to engage with it. As a director I suppose the main thing is not to be overwhelmed by its performance history, but to listen openly as if for the first time, to focus on the human moments that resonate and move us. Is it a story for our own times? Yes – but perhaps this could be a definition of any masterpiece, when a piece’s multifaceted complexity reveals itself anew to each generation.
JD: Wagner has become desperately associated with the Nazis and anti-Semitism. How can we best deal with this today?
SL: Wagner was anti-Semitic, and he wrote and said poisonous things. But I think he composed beyond his bigotry, plunging instinctively into deep myth structure. I don’t think that we need to present his operas to comment on his horrible views. If I felt that was all that was going on in Parsifal, I wouldn’t direct it. It’s right to continue to examine and expose Wagner’s views and behavior, and to wonder at this same man being able to compose such sublime music, and to dedicate his last work to the idea of human compassion. In the stark contradiction sits flawed humanity.
Parsifal, Royal Opera House, from 2
December. Box office: 020 7304 4000
And here is a video preview in which Gerald Finley talks about singing the role of Amfortas.
My R3 Chopin Ballades podcast
If you missed my Building a Library today, comparing recordings of Chopin's 4 Ballades on BBC Radio 3's CD Review, you can download it as a podcast here:
http://www.bbc.co.uk/podcasts/series/bal
Enjoy!
http://www.bbc.co.uk/podcasts/series/bal
Enjoy!
Friday, November 29, 2013
Tomorrow on Radio 3...
Tomorrow morning my Building a Library on the Chopin 4 Ballades is on BBC Radio 3 at about 9.30am. I may live-tweet it. Or I may hide. Haven't decided yet.
After the Wagner play last Sunday, another Alicia's Gift two nights ago, getting an iPhone yesterday and trying to learn how it works (a decision that has taken, um, 5 years) and generally trying to stay on top of everything, I'm knackered. So...time for some wonderful ballet.
I've often wondered why the Chopin Ballades haven't been choreographed more often - apart from the obvious challenges for the pianist in residence, they would seem a gift to the world's great dance dramatists, wouldn't they? Until now I'd only found Jerome Robbins's The Concert with its marvellous Butterfly dance for the Third Ballade....but John Neumeier has created La Dame aux Camélias to Chopin, and here are Sylvie Guillem and Nicholas Le Riche working absolute wonders with a pas de deux to the great G minor Ballade No.1 - sexy, doomed and devastating. (Ne tirer pas sur le pianiste...)
After the Wagner play last Sunday, another Alicia's Gift two nights ago, getting an iPhone yesterday and trying to learn how it works (a decision that has taken, um, 5 years) and generally trying to stay on top of everything, I'm knackered. So...time for some wonderful ballet.
I've often wondered why the Chopin Ballades haven't been choreographed more often - apart from the obvious challenges for the pianist in residence, they would seem a gift to the world's great dance dramatists, wouldn't they? Until now I'd only found Jerome Robbins's The Concert with its marvellous Butterfly dance for the Third Ballade....but John Neumeier has created La Dame aux Camélias to Chopin, and here are Sylvie Guillem and Nicholas Le Riche working absolute wonders with a pas de deux to the great G minor Ballade No.1 - sexy, doomed and devastating. (Ne tirer pas sur le pianiste...)
Wednesday, November 27, 2013
Exciting young conductor signs with Percius
Percius, the artists' management company headed by John Willan, has signed up Gad Kadosh, a young French-Israeli conductor with whom I was much impressed at Bernard Haitink's Lucerne masterclasses a couple of years ago and who was also in that sought-after selection for the Gustav Mahler Conducting Competition this year. I'm told we can look forward to his UK debut in 2015.
Here's his biog from the Percius website.
Gad Kadosh is a young, intensely engaging Israeli conductor with a keen musical mind. Currently working as second Kapellmeister and assistant conductor at Theater Heidelberg, Gad received the first prize in the MDR Conducting Competition (MDR Symphony Orchestra, Leipzig), in 2011. He was then selected by Bernard Haitink as one of seven candidates to take part in his 2012 Conducting Masterclass in Lucerne with the Lucerne Festival Strings.
Journalist Jessica Duchen writes: “I first encountered Gad Kadosh at Bernard Haitink’s Lucerne Festival Academy masterclasses and was immediately impressed with his sensitivity, intelligence and intense musicality. When he took the podium the music seemed to flow naturally out of the orchestra; he allowed the piece to speak for itself. I hope we will hear a lot more of him in the future.”
Gad studied piano performance at the Buchmann-Mehta School of Music in Tel-Aviv University and was awarded scholarships from the America-Israel Cultural Foundation. He went on to study conducting with Vag Papian in Israel, Lutz Köhler in Berlin and Martin Hoff in Weimar. Prior to his position in Heidelberg Gad worked as Solorepetitor and Assistant Conductor at the Theater für Niedersachsen in Hildesheim.
In Heidelberg and at Winterthur he has conducted Tosca (Puccini) and Die Fledemaus (Strauss), and in Hildesheim works such as Don Pasquale (Donizetti), Eugene Onegin (Tchaikovsky), Das Land des Lächelns (Lehár) and Ein Walzertraum (Oscar Straus). Whilst Classical and Romantic repertoire form the core of his current oeuvre Gad has worked with young composers and conducted contemporary repertoire; he has directed ensembles such as Klangzeitort and Zafraan in Berlin, and conducted Miss Donnithorne’s Maggot (Maxwell Davies) and Arlecchino (Ferruccio Busoni).
Future appearances include performances of Cosi fan Tutte (Mozart), Die Fledermaus (Strauss), Rumor (Christian Jost), Babar, der kleine Elephant (Poulenc), Ifigenia in Tauride (Traetta), Un ballo in maschera (Verdi) and his debut at Longborough Festival Opera in 2015.
Labels:
Gad Kadosh,
Percius
Monday, November 25, 2013
SINS Sunday!
The world premiere rehearsed reading of my new play about Wagner, Sins of the Fathers seems to have gone down pretty well yesterday at the Orange Tree. The audience laughed a lot, the actors seemed to be enjoying it (I think) and the performance zipped by and I got a jolly nice round of applause too, and it was all a bit wonderful. Our fabulous cast was Sarah Gabriel (Vicky/Cosima), John Sessions (Wagner) and Jeremy Child (Frank/Liszt).
A few pics from the rehearsal, complete with a reasonably idiomatic piano score of Tristan und Isolde and the magic bottle of Chateau Tristan 1865...
A few pics from the rehearsal, complete with a reasonably idiomatic piano score of Tristan und Isolde and the magic bottle of Chateau Tristan 1865...
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