This is my last post of 2008 - I'm taking a break for a couple of weeks. So here's a little Christmas present for everyone: how better to finish this year than by hearing the 95%-cocoa-solids violinist Toscha Seidel play 'Hejre Kati'?
Enjoy.
A bientot!
Monday, December 22, 2008
Sunday, December 21, 2008
JDCMB GINGER STRIPE AWARDS 2008
Once again, the Winter Solstice signals that it is time to welcome you to the JDCMB Ginger Stripe Awards!
2008 has been a peculiar year, full of the crunching of credits, the blurring of boundaries and the bouncing of an occasional Czech not to mention a lot of Hungarians. I regret to say that Sir Georg has put his paw down and banned me from presenting musical awards, however much deserved, to Philippe Graffin (who as you know made the CD-of-the-Book), Tasmin Little (who played at my book launch), Andras Schiff (even though today is his birthday! but he kindly endorsed the novel), Vladimir Jurowski (who just kept on and on winning the conductor slot), and several others. When I pointed out that the ban must extend to Feline of the Year, he gave a cat-shrug and said that as he alone can present ginger stripes for stroking, that was "bearly" relevant.
Our Cyberposhplace, being virtual, is still in business. The Canard-Duchen bubbly, being imaginary, flows unabated and our Virtualcelebritychef has made some Hungarian canapes, which are very filling, hence economical. Please help yourselves, but go easy on the garlic sausage... And now let's have a round of applause for every musician who has touched the hearts of his or her audience during the past 12 months.
Thank you...quiet, please. Now, would the following winners please approach the podium where Solti, ensconced upon his silken cushion, will allow you to stroke the ginger stripes and will give you your very own prize purr.
Icon of the year: Vernon Handley, who along with Richard Hickox is among 2008's tragic losses. Our Nods for Tod went sadly unheeded; now it is too late. He and Richard live on, however, in the hearts of their admirers. Please pause for a two-minute silence.
Pianist of the year: Daniel Barenboim for his Beethoven cycle, which mobilised musical London like nothing else in years. I am startled to find that even now, after 10 months, I can remember the way he played almost everything in Op.111 - and suspect I will remember it forever.
Violinist of the year: since Solti has banned me from giving this one to Philippe and/or Tasmin, the prize is divided between Christian Tetzlaff for his Brahms concerto in London and Vienna with the LPO...and that dazzling virtuoso, the utterly gorgeous junior violinist of Taraf de Haidouks.
Singer of the year: the divine Jonas Kaufmann, whose performance at the ROH nearly renamed Puccini's most dramatic opera Cavaradossi.
Youthful artist of the year: Chloe Hanslip, who has grown up from prodigydom to become a really lovely musician. Her CD of Bazzini overflows with joie de vivre. I hope she'll go on to great things.
Conductor of the year: Claudio Abbado, who scooped the JDCMB conductors' poll hands down, so to speak.
Interviewee of the year: the maverick French violinist Devy Erlih, whom I interviewed in July for The Strad (they won't let me put it online until January, so watch this space). His mind-boggling story is the closest I have found in real life to that of Mimi Racz... You can, however, read a special web extra here in which he talks to me about Bach.
CD of the year: Stephen Kovacevich's new recording of the Beethoven Diabelli Variations and Bach 4th Partita. His old disc of the Diabellis on EMI was great, but this one is absolutely breathtaking: musicianship so fiery and profound that it exists on the very edge of bursting its banks. And the Bach - especially the Allemande - found me sinking to the floor and nearly chewing the carpet because I have always dreamed it could sound like this yet had never heard it do so... Enough already - just go and hear it.
Lifetime Achievement Award: Alfred Brendel, who is retiring. Read this beautiful tribute to him from Imogen Cooper in The Guardian; treasure the memories of that deadpan humour in Haydn and Beethoven; and read his book, an Aladdin's cave of musical insight.
Take a bow, everybody...Thank you. Thank you for your moving, uplifting, inspiring, life-enhancing music-making. You're wonderful. We love you.
And a few personal highlights:
Proudest moment: Launch of Hungarian Dances, 4 March. What an evening!
Most affecting moment: Philippe's Hungarian Dances CD becoming real - probably the most touching thing anyone has ever done in association with anything I have tried to do. Saying 'thank you' isn't enough...
Most startling moment: finding myself the foil to Krystian Zimerman's astounding comedy classic at the RFH.
Biggest sigh of relief: successful conclusion of the Hungarian Dances fundraising concert.
Guest star of the year: Sir Alan Sugar.
Felines of the year: I am hoping to meet some large stripy creatures (at a safe distance) on a mountainside in India next week. If we give them a prize now, perhaps they will deign to appear.
Personality of the year: my nephew Luca (age 4), who has developed an obsession with different types of weird and wonderful musical instruments and recently announced that he wants to play the 'doodah'. "How cute, a doodah-whatsit" was the general mystified response - before he told us yesterday that actually the duda is a type of bagpipe and he thinks it comes from Hungary... !?!
Wonderful Webmaster of the Year: this essential prize once again goes to Herr Horst Kolo, without whom nothing would be possible.
Thank you, everyone. Now please relax, socialise and enjoy the music...
Korngold podcast
With the UK stage premiere of Die tote Stadt at the Royal Opera House only about 5 weeks away, things are hotting up - if mildly - for the occasion. The ROH has loaded up a podcast in which a couple of us discuss Korngold's life and work and influence on film music. I haven't managed to download this one to add to our own podcaster, so do have a listen to it here.
Booking is open now for the opera, Willy Decker's much-acclaimed production already seen in Vienna and Salzburg, which stars Nadja Michael, Stephen Gould and Gerald Finlay. The first night is 27 January - the other Wolfgang's birthday. I'll be there on 2 February and will report back after that.
Booking is open now for the opera, Willy Decker's much-acclaimed production already seen in Vienna and Salzburg, which stars Nadja Michael, Stephen Gould and Gerald Finlay. The first night is 27 January - the other Wolfgang's birthday. I'll be there on 2 February and will report back after that.
Friday, December 19, 2008
JDCMB The Apprentice, #2: The Tomcat's first CD
Those winter nights were long and quiet while the orchestra toured, and I've been having a recurring nightmare about the events of the past summer...Team JDCMB is back in The Apprentice!
(Flashback: July. Summer skies, sunshine and tweetybirds. Music: Prokofiev's Romeo and Juliet gives way to woogly Apprentice sounds. Scene: The House. Phone rings. Jess answers)
Secretary: Sir Alan is assigning your next task, team JDCMB. He'd like you to meet him at the EMI studios on Abbey Road. The car will be here in half an hour.
(Cut to: limo stops by the Beatles' zebra crossing. Sir Alan stands outside the studio, where Elgar stood with Menuhin...)
Tom, Jess: Morning, Sir Alan.
Philippe, Claire: Bonjour, Sir Alain.
Sir Alan: Morning all. We're outside the most famous recording studio in the world. This is where dreams are made, and now, even decades later, you can still hear the results. A recording can be an icon: it can capture the whole mood of its times. Now, team JDCMB's next task is to make the Hungarian Dances CD. Please pack your suitcases - you're going to Holland to record the disc. Tom, you need to be there on 19 July to play the Bartok Duos with Philippe.
Tom: You having a laugh, mate?
Sir Alan: Not at all. Philippe has booked the studio specifically for a day when you're free from the orchestra, and he'd like you to be there at 5pm. Right, Phil?
Philippe: Oui, d'accord.
Tom: But I've never recorded anything before except in the orchestra...
Sir Alan: Now you're going to. Get used to it. Jess, you can go along to make the sandwiches and provide moral support.
Jess: Sir Alan, I have a problem. On 19 July I'm doing a pre-concert talk at the Cheltenham Festival. Ben and I are discussing Hungarian Dances and Hungarian Gypsy music before Taraf de Haidouks plays.
Sir Alan: You can't go?
Jess: Sir Alan, it's great book promotion, and we can mention the CD is being made...
Sir Alan: Don't be cheeky. It's cheeky enough to talk about Hungarian stuff just before a Romanian band plays. Haven't you ever heard of the Treaty of Trianon?... Still, if you've got a prior engagement, I suppose you'll have to honour it. There wasn't much you could have done anyway, other than the sarnies. I seem to remember your violin playing wasn't up to much 25 years ago.
(Cut to: Tom frantically practising Bartok. Cut to: Philippe and Claire on plane heading for Holland. Cut to: very early on a sunny July morning in The House.)
Jess: Good luck, dear, see you tomorrow.
Tom (late and packing): frwzhgrhwrs...
(Cut to: half an hour later. Jess's mobile rings.)
Tom: I missed the train! It was pulling out of the station when I arrived. I'll have to drive to Gatwick.
Jess: Oh no. Don't go too fast.
(Cut to: Tom bowling down the M23 at 99.7mph. Cut to: Jess exploring 18th-century terraces of Cheltenham. Phone rings.)
Tom: I'm in Amsterdam. Hours early! Just having a nap...
(Cut to: Tom slumbering peacefully in hotel room; then waking and looking at schedule.)
Tom: S***!
(Close-up of schedule: the recording address is not in Amsterdam.)
Tom: Where the f*** is Deventer?
(Tom at station, talking to friendly Dutch stationmaster who directs him to train to Deventer. About to board, Tom slaps hand to head. Cut to: taxi pulls up outside hotel. Tom jumps out of car and runs inside. Emerges holding music of Bartok Duos. Clockface: an hour has passed. At station, Tom boards next train. Cut to: train stalled in field. Heavy rain. Clockface: 4.30pm.)
Announcement in Dutch: Due to an accident on the line, this train will now be returning to Amsterdam.
Tom: Please could someone translate?
(Clockface: 5.30pm. Train pulls in to Amsterdam. Tom's shoes have turned orange.)
Stationmaster: The Amsterdam-Deventer line will be down for the rest of the day.
(Cut to: Jess in Cheltenham, having tea and cream scones with Ben, Katie and Desmond. Mobile rings)
Tom: Jess, I'm stuck! How do I get there without the train?
Jess (mouth full of scone): What did you say it's called?
Ben: Is there a bus?
Desmond: Can you hire a car?
Katie: Have you got a map?
Tom: Help! I'm late! Jess, what shall I do?
Jess: I don't know, dear. Ask a stationmaster?
(Cut to: Philippe in studio under flashing red light, holding violin in one hand and mobile phone in the other)
Philippe (into phone): Don't worry, Tom, just get here when you can.
Sir Alan (off set): Oh lordy...
(Cut to: stationmaster talking to Tom, writing down long list of instructions. Clockface: hands whirring round and round. Pan to: three trains in succession as Tom gets on and off them at small stations beside windmills. Clockface: 7.30pm - a bedraggled Tom walks through rain past board marked DEVENTER. Cut to: red light in studio. Tom and Philippe play very fast.)
Tom: Ouch...
Philippe: Tom, you sound great.
Tom (fumbling for headache pills): I've been practising it at half that speed!
(Cut to: Cheltenham Town Hall, big audience assembling: Jess shaking hands with Taraf de Haidouks's extremely handsome youngest violinist and talking happily with him in French. Mobile rings.)
Jess: Tomcat, how's it going?
Tom (freaked out): I can't do this, it's impossible.
Jess: Stop worrying, dear. You've had a terrible journey, of course you feel bad.
Tom: But now I have to LISTEN to myself on the tape!
Philippe (distant): Tom! One more take!
Tom: How am I going to get back to Amsterdam if the trains are down?
(Clockface: 10.30pm. Red light switches off. Tom throws violin into case and pulls on raincoat.)
Philippe: Aren't you staying for a beer?
(Cut to: Tom legging it to station through the rain. Cut to: Jess and Ben in Cheltenham Town Hall, dancing and cheering Taraf de Haidouks, which is onstage playing everyone's socks off. Cut to: morning after. Jess, hung over, on train from Cheltenham to London. Mobile rings.)
Tom (forlorn): I'm at Gatwick and now I can't find the car! It's the last staw!! HELP!!!!
Jess: Oh blimey, guv...
(Cut to: The House. All candidates asleep. Phone rings. Everyone is too knackered to take the call.)
Secretary (on answering machine): Sir Alan would like you to meet him in the boardroom in an hour.
(Woogly Apprentice music. Jess, Tom, Philippe and Claire troop into boardroom.)
Sir Alan: Well, well, well. You look as if you've been dragged through a hedge backwards. Tom, what have you got to say for yourself?
Tom: Sir Alan, that was one of the most crap days I've ever had in my whole life (sob).
Sir Alan: Philippe, how did Tom do in this task?
Philippe: He was great. It wasn't his fault the trains broke down.
Tom: Sir Alan, it was one of those days where everything went wrong and (sob sob) none of it was my fault!
Sir Alan: Jessica, where were you through all this?
Jess: Er, as I said, I had to do my talk with Ben in Cheltenham, so I couldn't...
Sir Alan: Yes, yes, you were running away with the real Gypsies, weren't you? "She's gone with the Raggle-Taggle Taraf-oh..."
Jess: It was a contracted engagement, Sir Alan, I couldn't let them down.
Sir Alan: You were having a high old time, bopping away in Cheltenham Town Hall, chatting up that dishy violinist, helping the cimbalom player find cotton to coat his beaters! While your husband was fighting his way against all the elements and all the odds to record seven minutes of music for a CD to go with your book?! And all you could say was: "I don't know, dear, ask a stationmaster?"
Jess: But Sir Alan...
Sir Alan: Claire, you've been a tower of strength. Philippe, you've bust all your guts over this project. Well done, you're both stupendous. You can go back to the House.
Philippe and Claire: Merci, Sir Alain. (exeunt)
Tom: Sir Alan, I know I played absolutely dreadfully and I couldn't bear to listen to myself on the tape, and it really wasn't my fault that it went so horribly wrong and I wish I could feel that I deserve to win this task, but I don't. And it was all Jess's fault because she didn't help me at all!
Sir Alan: Tom, listen. All musicians feel that way when they hear themselves on tape for the first time. You're not the first and you won't be the last. Philippe was pleased with your playing, wasn't he?
Tom: Yes, but...
Sir Alan: You want proof? I got proof. I've got a surprise for you. Look at this.
(Close up of The Independent on Sunday's review of the CD, in bold letters: "Pick of the Album: Bartok's spare, angry 'Sorrow' for two violins").
Sir Alan: See? They picked out one of your duos as the best bit! What do you say to that?
Tom (pink-eared): rflghrrfhgwl...
Sir Alan: Jessica, having a conflicting engagement isn't an excuse. You were no use to your team whatsoever. Indeed you've induced your husband and your friends to go through hell and high water. If it wasn't for that bloody book, none of this would have happened.
Jess: But Sir Alan, the CD is wonderful and Tom's first non-orchestral recording has been picked out by the Indy on Sunday...
Sir Alan: The fact remains, someone has to go, and there is one person in this room who is - completely - bloody - useless. (sarcastic) I wonder who it could possibly be? (points finger): Jessica, you're...
(Cut to: Jess wakes up in a cold sweat. Front door closes.)
Tom: Jess, I'm home from tour!
Jess (recovering): About time too.
Solti: purrr.
(Flashback: July. Summer skies, sunshine and tweetybirds. Music: Prokofiev's Romeo and Juliet gives way to woogly Apprentice sounds. Scene: The House. Phone rings. Jess answers)
Secretary: Sir Alan is assigning your next task, team JDCMB. He'd like you to meet him at the EMI studios on Abbey Road. The car will be here in half an hour.
(Cut to: limo stops by the Beatles' zebra crossing. Sir Alan stands outside the studio, where Elgar stood with Menuhin...)
Tom, Jess: Morning, Sir Alan.
Philippe, Claire: Bonjour, Sir Alain.
Sir Alan: Morning all. We're outside the most famous recording studio in the world. This is where dreams are made, and now, even decades later, you can still hear the results. A recording can be an icon: it can capture the whole mood of its times. Now, team JDCMB's next task is to make the Hungarian Dances CD. Please pack your suitcases - you're going to Holland to record the disc. Tom, you need to be there on 19 July to play the Bartok Duos with Philippe.
Tom: You having a laugh, mate?
Sir Alan: Not at all. Philippe has booked the studio specifically for a day when you're free from the orchestra, and he'd like you to be there at 5pm. Right, Phil?
Philippe: Oui, d'accord.
Tom: But I've never recorded anything before except in the orchestra...
Sir Alan: Now you're going to. Get used to it. Jess, you can go along to make the sandwiches and provide moral support.
Jess: Sir Alan, I have a problem. On 19 July I'm doing a pre-concert talk at the Cheltenham Festival. Ben and I are discussing Hungarian Dances and Hungarian Gypsy music before Taraf de Haidouks plays.
Sir Alan: You can't go?
Jess: Sir Alan, it's great book promotion, and we can mention the CD is being made...
Sir Alan: Don't be cheeky. It's cheeky enough to talk about Hungarian stuff just before a Romanian band plays. Haven't you ever heard of the Treaty of Trianon?... Still, if you've got a prior engagement, I suppose you'll have to honour it. There wasn't much you could have done anyway, other than the sarnies. I seem to remember your violin playing wasn't up to much 25 years ago.
(Cut to: Tom frantically practising Bartok. Cut to: Philippe and Claire on plane heading for Holland. Cut to: very early on a sunny July morning in The House.)
Jess: Good luck, dear, see you tomorrow.
Tom (late and packing): frwzhgrhwrs...
(Cut to: half an hour later. Jess's mobile rings.)
Tom: I missed the train! It was pulling out of the station when I arrived. I'll have to drive to Gatwick.
Jess: Oh no. Don't go too fast.
(Cut to: Tom bowling down the M23 at 99.7mph. Cut to: Jess exploring 18th-century terraces of Cheltenham. Phone rings.)
Tom: I'm in Amsterdam. Hours early! Just having a nap...
(Cut to: Tom slumbering peacefully in hotel room; then waking and looking at schedule.)
Tom: S***!
(Close-up of schedule: the recording address is not in Amsterdam.)
Tom: Where the f*** is Deventer?
(Tom at station, talking to friendly Dutch stationmaster who directs him to train to Deventer. About to board, Tom slaps hand to head. Cut to: taxi pulls up outside hotel. Tom jumps out of car and runs inside. Emerges holding music of Bartok Duos. Clockface: an hour has passed. At station, Tom boards next train. Cut to: train stalled in field. Heavy rain. Clockface: 4.30pm.)
Announcement in Dutch: Due to an accident on the line, this train will now be returning to Amsterdam.
Tom: Please could someone translate?
(Clockface: 5.30pm. Train pulls in to Amsterdam. Tom's shoes have turned orange.)
Stationmaster: The Amsterdam-Deventer line will be down for the rest of the day.
(Cut to: Jess in Cheltenham, having tea and cream scones with Ben, Katie and Desmond. Mobile rings)
Tom: Jess, I'm stuck! How do I get there without the train?
Jess (mouth full of scone): What did you say it's called?
Ben: Is there a bus?
Desmond: Can you hire a car?
Katie: Have you got a map?
Tom: Help! I'm late! Jess, what shall I do?
Jess: I don't know, dear. Ask a stationmaster?
(Cut to: Philippe in studio under flashing red light, holding violin in one hand and mobile phone in the other)
Philippe (into phone): Don't worry, Tom, just get here when you can.
Sir Alan (off set): Oh lordy...
(Cut to: stationmaster talking to Tom, writing down long list of instructions. Clockface: hands whirring round and round. Pan to: three trains in succession as Tom gets on and off them at small stations beside windmills. Clockface: 7.30pm - a bedraggled Tom walks through rain past board marked DEVENTER. Cut to: red light in studio. Tom and Philippe play very fast.)
Tom: Ouch...
Philippe: Tom, you sound great.
Tom (fumbling for headache pills): I've been practising it at half that speed!
(Cut to: Cheltenham Town Hall, big audience assembling: Jess shaking hands with Taraf de Haidouks's extremely handsome youngest violinist and talking happily with him in French. Mobile rings.)
Jess: Tomcat, how's it going?
Tom (freaked out): I can't do this, it's impossible.
Jess: Stop worrying, dear. You've had a terrible journey, of course you feel bad.
Tom: But now I have to LISTEN to myself on the tape!
Philippe (distant): Tom! One more take!
Tom: How am I going to get back to Amsterdam if the trains are down?
(Clockface: 10.30pm. Red light switches off. Tom throws violin into case and pulls on raincoat.)
Philippe: Aren't you staying for a beer?
(Cut to: Tom legging it to station through the rain. Cut to: Jess and Ben in Cheltenham Town Hall, dancing and cheering Taraf de Haidouks, which is onstage playing everyone's socks off. Cut to: morning after. Jess, hung over, on train from Cheltenham to London. Mobile rings.)
Tom (forlorn): I'm at Gatwick and now I can't find the car! It's the last staw!! HELP!!!!
Jess: Oh blimey, guv...
(Cut to: The House. All candidates asleep. Phone rings. Everyone is too knackered to take the call.)
Secretary (on answering machine): Sir Alan would like you to meet him in the boardroom in an hour.
(Woogly Apprentice music. Jess, Tom, Philippe and Claire troop into boardroom.)
Sir Alan: Well, well, well. You look as if you've been dragged through a hedge backwards. Tom, what have you got to say for yourself?
Tom: Sir Alan, that was one of the most crap days I've ever had in my whole life (sob).
Sir Alan: Philippe, how did Tom do in this task?
Philippe: He was great. It wasn't his fault the trains broke down.
Tom: Sir Alan, it was one of those days where everything went wrong and (sob sob) none of it was my fault!
Sir Alan: Jessica, where were you through all this?
Jess: Er, as I said, I had to do my talk with Ben in Cheltenham, so I couldn't...
Sir Alan: Yes, yes, you were running away with the real Gypsies, weren't you? "She's gone with the Raggle-Taggle Taraf-oh..."
Jess: It was a contracted engagement, Sir Alan, I couldn't let them down.
Sir Alan: You were having a high old time, bopping away in Cheltenham Town Hall, chatting up that dishy violinist, helping the cimbalom player find cotton to coat his beaters! While your husband was fighting his way against all the elements and all the odds to record seven minutes of music for a CD to go with your book?! And all you could say was: "I don't know, dear, ask a stationmaster?"
Jess: But Sir Alan...
Sir Alan: Claire, you've been a tower of strength. Philippe, you've bust all your guts over this project. Well done, you're both stupendous. You can go back to the House.
Philippe and Claire: Merci, Sir Alain. (exeunt)
Tom: Sir Alan, I know I played absolutely dreadfully and I couldn't bear to listen to myself on the tape, and it really wasn't my fault that it went so horribly wrong and I wish I could feel that I deserve to win this task, but I don't. And it was all Jess's fault because she didn't help me at all!
Sir Alan: Tom, listen. All musicians feel that way when they hear themselves on tape for the first time. You're not the first and you won't be the last. Philippe was pleased with your playing, wasn't he?
Tom: Yes, but...
Sir Alan: You want proof? I got proof. I've got a surprise for you. Look at this.
(Close up of The Independent on Sunday's review of the CD, in bold letters: "Pick of the Album: Bartok's spare, angry 'Sorrow' for two violins").
Sir Alan: See? They picked out one of your duos as the best bit! What do you say to that?
Tom (pink-eared): rflghrrfhgwl...
Sir Alan: Jessica, having a conflicting engagement isn't an excuse. You were no use to your team whatsoever. Indeed you've induced your husband and your friends to go through hell and high water. If it wasn't for that bloody book, none of this would have happened.
Jess: But Sir Alan, the CD is wonderful and Tom's first non-orchestral recording has been picked out by the Indy on Sunday...
Sir Alan: The fact remains, someone has to go, and there is one person in this room who is - completely - bloody - useless. (sarcastic) I wonder who it could possibly be? (points finger): Jessica, you're...
(Cut to: Jess wakes up in a cold sweat. Front door closes.)
Tom: Jess, I'm home from tour!
Jess (recovering): About time too.
Solti: purrr.
Cyberlin Phil
The Grauniad has news today that the Berlin Philharmonic is planning to stream most of its concerts live on the Internet. It'll cost you E89 to watch a season of 30-odd concerts plus the archive (probably £88 in pounds....), and is being sponsored by a bank. Thinking about being constantly on camera, Sir Simon says: ""We'll have to make sure we shave properly and powder our red noses."
I have yet to enjoy watching *anything* on my computer. It constantly stops film broadcasts to 'buffer' them, offers a lousy picture and dubious sound and requires me to sit on my office chair surrounded by my usual chaos, while Solti meows constantly for attention. So I can't say I fancy this much. I'm convinced that the only way to appreciate a thing like the Berlin Philharmonic is to hear it live, preferably in the Philharmonie, in a case of total commitment and absorption. I would rather appreciate them once in a while, but do it properly. Still, good luck to 'em. Perhaps British orchestras will go down this route too, if there are any banks left to sponsor them.
(Update: please note altered cost above - a note from a reader in Germany who has already signed up for the season webcasts tells me that the Grauniad got it wrong when they said E149. She adds that you need to run a test from the site to make sure the concerts play to your liking on your computer before you pay.)
I have yet to enjoy watching *anything* on my computer. It constantly stops film broadcasts to 'buffer' them, offers a lousy picture and dubious sound and requires me to sit on my office chair surrounded by my usual chaos, while Solti meows constantly for attention. So I can't say I fancy this much. I'm convinced that the only way to appreciate a thing like the Berlin Philharmonic is to hear it live, preferably in the Philharmonie, in a case of total commitment and absorption. I would rather appreciate them once in a while, but do it properly. Still, good luck to 'em. Perhaps British orchestras will go down this route too, if there are any banks left to sponsor them.
(Update: please note altered cost above - a note from a reader in Germany who has already signed up for the season webcasts tells me that the Grauniad got it wrong when they said E149. She adds that you need to run a test from the site to make sure the concerts play to your liking on your computer before you pay.)
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