Losing the rhythm?

On Australian TV a report declares that today's musicians have "lost the rhythm" of romantic music. In this video, Professor Clive Brown (of Leeds University) explains that Brahms, Chopin et al would have expected their music to be played much more freely than we normally hear it now, with "sliding notes" and the like. Among research tools were early recordings, and so forth.

My goodness. Someone noticed? What in the name of heaven took them so long? This is a stylistic recognition that's existed for many years, but one has the impression that it had to be kept under the counter... High time it was out in the open and accorded the recognition that has attended other, sometimes less convincing theories about performance practice. And extraordinary to see it make national news on the other side of the globe.

http://www.abc.net.au/news/2012-09-16/orchestras-and-conductors-have-lost-rhythm-of-the/4264394

Ebenezer Prout. Not invented by Dickens, or anyone else

Following a link in a lovely article by Angela Hewitt about preparing The Art of Fugue, I just rediscovered "Old Ebenezer Prout"'s perfect way to remember the subjects of all the fugues in The Well-Tempered Clavier. It works a treat, especially the one about the little hippopotamus. And they are a delicious insight into the fads, foibles and mindset of Victorian England (Prout's dates: 1835-1909). Just for fun, here are the words for the lot. Followed by Angela's performance of the B major Prelude & Fugue from Book 2 - "See what ample strides she takes"!

Here is an excellent article by Havergal Brian about what Prout, a distinguished musicologist, critic, composer and teacher, was really about. He's worthy of a starring role in a Dickens novel, but happily he was 200 per cent real.

Meanwhile, Angela's article is here. I am doing an interview with her in the Royal Festival Hall on 2 October, before the first of her two recitals.

Book I

1. He went to town in a hat that made all the people stare.
2. John Sebastian Bach sat upon a tack, but he soon got up again with a howl!
3. O what a very jolly thing it is to kiss a pretty girl!
4. Broad beans and bacon...(1st countersubject)...make an excellent good dinner for a man who hasn't anything to eat.(2nd countersubject)...with half a pint of stout.
5. (Subject) Gin a body meet a body Comin' through the rye,
   (Answer) Gin a body kiss a body, Need a body cry?
6. He trod upon my corns with heavy boots—I yelled!
7. When I get aboard a Channel steamer I begin to feel sick.
8. You dirty boy! Just look at your face! Ain't you ashamed?
9. Hallo! Why, what the devil is the matter with the thing?
10. Half a dozen dirty little beggar boys are playing with a puppy at the bottom of the street.
11. The Bishop of Exeter was a most energetic man.
12. The slimy worm was writhing on the footpath.
13. Old Abram Brown was plagued with fleas, which caused him great alarm.
14. As I sat at the organ, the wretched blower went and let the wind out.
15. O Isabella Jane! Isabella Jane! Hold your jaw! Don't make such a fuss! Shut up! Here's a pretty row! What's it all about?
16. He spent his money, like a stupid ass.
17. Put me in my little bed.
18. How sad our state by nature is! What beastly fools we be!
19. There! I have given too much to the cabman!
20. On a bank of mud in the river Nile, upon a summer morning, a little hippopotamus was eating bread and jam.
21. A little three-part fugue, which a gentleman named Bach composed, there's a lot of triple counterpoint about it, and it isn't very difficult to play.
22. Brethren, the time is short!
23. He went and slept under a bathing-machine at Margate.
24. The man was very drunk, as to and fro, from left to right, across the road he staggered.

Book II

1. Sir Augustus Harris tried to mix a pound of treacle with a pint of castor oil.
2. Old Balaam's donkey spoke like an ass.
3. O, here's a lark!
4. Hey diddle diddle, the cat and the fiddle! The cow jumped over the moon!
5. To play these fugues through is real jam.
6. 'Ark to the sound of the 'oofs of the galloping 'orse! I 'ear 'im comin' up Regent Street at night. (Countersubject:) 'Is 'oofs go 'ammer, 'ammer, 'ammer, 'ammer, 'ammer, 'ammer, on the 'ard 'ighway.
7. Mary, my dear, bring the whiskey and water in—bring the whiskey and water in.
8. I went to church last night, and slept all the sermon through.
9. I'd like to punch his head...(countersubject:) ...if he gives me any more of his bally cheek.
10. As I rode in a penny bus, going to the Mansion House, off came the wheel—down came the bus—all of the passengers fell in a heap on the floor of the rickety thing.
11. Needles and pins! Needles and pins! When a man's married his trouble begins.
12. I told you you'd have the stomach-ache if you put such a lot of pepper in your tea.
13. Great Scott! What a trouble it is to have to find the words for all these subjects!
14. She cut her throat with a paper-knife that had got no handle. (Subject, bar 20:) The wound was broad and deep. (Bar 36:) They called the village doctor in: he put a bit of blotting-paper on her neck.
15. The pretty little dickybirds are hopping to and fro upon the gravel walk before the house, and picking up the crumbs.
16. Oh, my eye! Oh, my eye! What a precious mess I'm getting into today.
17. I passed the night at a wayside inn, and could scarcely sleep a moment for the fleas.
18. Two little boys were at play, and the one gave the other a cuff on the head, and the other hit back. (Countersubject:) Their mother sent them both to bed without their tea.
19. In the middle of the Hackney Road today I saw a donkey in a fit.
20. He that would thrive must rise at five.
21. The noble Duke of York, he had ten thousand men, he marched them up the hill, and marched them down again.
22. O, dear! What shall I do? It's utterly impossible for me to learn this horrid fugue! I give it up! (Countersubject:) It ain't no use! It ain't a bit of good! Not a bit! No, not a bit!, No, not a bit!
23. See what ample strides he takes.
24. The wretched old street-singer has his clothes all in tatters, and toes showing through his boots.

Breaking news: Music is left out of education reform again

Legacy? What legacy? The runaway success of the Cultural Olympiad and the London 2012 Festival looked set to prove to everyone that the UK's arts scene is second to none. But that's meaningless without the follow-up of lasting care and attention at grass-roots level - ie, in education. And as our dear government - specifically Michael Gove, the education minister - announces further plans for the reform of the schooling system, this time replacing GCSEs with something called the EBac, creativity and the arts are not just out in the cold, but nowhere to be seen.

Of course, the government has already excised state funding in its entirety from all arts further education in England, including from all the music colleges. While many of us have felt it best to give the directors of those institutions the space and privacy to negotiate behind the scenes for the most positive outcome possible, I can't help feeling we should have yelled a bit more about it from the start. To trumpet the excellence of British arts during the Olympics, while simultaneously removing the hope of training for anyone who can't access the funds to pay for it, represents mendacious hypocrisy at its zenith.

The Incorporated Society of Musicians has produced a strong response to the omission of arts and creativity from the EBac, pointing out that in the end it's the UK economy that's going to suffer. Here's the ISM's statement.

Missed opportunity for the economy as Government forgets the Olympics lessons

The Incorporated Society of Musicians (ISM) – the UK’s professional body for music teachers, performers and composers – has condemned the proposals for GCSE reform which threaten to damage not just our children’s education but also our economy.

Having criticised the English Baccalaureate (EBac) in its original incarnation, the ISM is even more concerned at the present proposals which will increase pressure on pupils to study the six areas of maths, English, sciences, languages and humanities with no creative subjects at all being present.

Deborah Annetts, Chief Executive of the ISM, said:

‘These proposals represent a missed opportunity to reform our education system. Michael Gove will ensure with these so-called reforms that the UK loses its competitive edge in the fields in which we are world class. It is as if the Olympics never happened. Design – gone, technology – gone, music – gone.

‘This short sighted, wholesale attack on secondary music education will emasculate not only our world class music education system but also our entire creative economy which is estimated as contributing up to 10% of our GDP.

‘In its present form, intellectual and rigorous subjects like music are nowhere to be seen in the EBac offer. In its present form, the CBI, Creative Industries Council, ISM and Cultural Learning Alliance are all seeking reform of the EBac to include at least some of what the UK economy is good at: creativity and culture.’

Diana Johnson, Vice-Chair of the All-Party Parliamentary Group for Music Education and a former education minister said:

‘The Secretary of State for Education has clearly forgotten all his warm words about music education in the past to launch an assault on music in secondary schools. Music education in the UK is world class, contributing hugely to our economy. The absence of music and any other creative or innovative subject from the EBac will further undermine the UK's progress in some of the growth generating industries of the future. We just saw Olympic and Paralympic closing ceremonies showing off some of the best of British music, design and creativity. The Government should at least include music in the English Baccalaureate.’

Fact checker: Gaps in the Secretary of State’s statement

1. In his statement to Parliament, whilst warning that the previous ‘examination system [had] narrowed the curriculum’ Mr Gove continued to promote the EBac, a course which is causing schools to drop music and other creative and cultural subjects.

2. Whilst claiming that higher education providers back the English Baccalaureate, Mr Gove forgot to mention that advice from the Russell Group only refers to post-16 study, not pre-16 study, and forgot to mention some Universities – like Trinity College Cambridge – make their own list of rigorous subjects which include music.

3. Whilst claiming that the Confederation of British Industry (CBI) had backed ‘widespread view among business that we needed to reform GCSEs’ Mr Gove forgot to mention that the CBI has explicitly criticised the EBac in its present form for omitting creative and technical subjects from the EBac.

Deborah concluded:

‘This Government was formed with the claim that they knew how to get the economy moving, yesterday, they proved that this was not the case. You would be forgiven for forgetting that the Olympics, Cultural Olympiad and Opening and Closing ceremonies had just taken place. You could be forgiven for missing out the importance of creativity, technology and the UK’s leading position in the music industry to our economy.’

A remarkable pianist is due to make his come-back after 25 years...

Here is a pianist who has absolutely nothing to do with Leeds.

Remember Tower Records at Piccadilly Circus? Many years ago, in the days when I edited a piano magazine, I used to love going into the classical department and having a good old browse in the historical piano section. One of the staff members there was exceptionally helpful and informative on this topic. He wore a red shirt and the name label ANGELO. Struck by his evident inside knowledge and love for the repertoire and its legendary exponents, I thought he was well named. And I always wondered what such a special guy was doing working in Tower Records in any case.

Now we know. Angelo Villani was a pianist himself - a remarkably talented one. He hails from an Italian family in Australia. A quarter-century ago he arrived at the Tchaikovsky Competition in Moscow with high hopes, a week before it began. Disaster struck: a trapped nerve in his arm led to his withdrawal from the contest before the first round. He travelled the world looking for effective treatment, but since then has performed only sporadically, and has made a living by teaching - and, for seven years, working in Tower Records. 

And now he's making a come-back.

He'll be playing at St James, Piccadilly, on Saturday 6 October, with a programme of Grieg, Brahms and Liszt - nothing less than the 'Dante' Sonata. Box office: 020 7734 4511.

After listening to some of his performances on Youtube, I thought we'd better ask him for an e-interview.



JD: Angelo, what happened to you?

AV: Specialists have not been entirely sure how the nerve in my neck/shoulder came to be entrapped; some said it may have been an early sports injury or even carrying a heavy school bag on my shoulder.

JD: What has changed?

AV: About two or three years after the Tchaikovsky competition, it was finally diagnosed as calcified scar tissue impinging on the nerve. Many diverse treatments were tried and after a long while I finally began to see tangible results. My current specialist Andrew Croysdale has been working on my shoulder for the past 8 years or so. He is a Master with Tui-Na techniques, a Chinese method of deep tissue massage.

JD: Was it a difficult decision to make a come back?

AV: Well, truth be told, I have been waiting for this comeback for over 25 years.

JD: How do you feel about taking to the concert platform?

AV: For me, the idea of performing in public has always been a double-edged sword. So I guess it is as daunting as it is thrilling. I love this duality.

JD:  What repertoire is really you, and why?

AV: I feel very at home with the Romantics, but generally I love any music that is overtly expressive by nature. Mood and atmosphere can be just as potent as emotion.

JD: Who did you study with and who do you consider are your chief influences?
AV: In Melbourne, my first proper teacher was Stephen McIntyre (who was himself a pupil of Michelangeli). Also at the Victorian College of the Arts Technical School, I studied with Alexander Semetsky (a pupil of Gilels). From the age of ten, I started collecting LPs, not only of any Classical pianists but of opera singers and conductors. Before long, I was buying the same concertos and operas but with different artists. I was very keen to understand what set them apart.

JD: Who do you like listening to and what type of playing do you love the most?

AV: After listening and collecting recordings for so many years and then working at Tower Records I realized how extraordinary it was that one could revisit these old recordings repeatedly and always find something 'new' in them. Recently after I became engaged I had further cause to rediscover and share these old treasures with my fiancee, herself a sensitive amateur pianist.

When I first heard the playing of greats such as Horowitz, Richter and Cziffra, I became extremely curious of their predecessors and hungry to understand why they played the way they played. I guess it didn't take long to notice how highly faceted and multidimensional these artists were...

JD: Name a few favourite piano recordings and state why you have chosen them.

AV: Ignace Tiegerman's rendering of Chopin's 4th Ballade is miraculous, as is the heaven storming performance of the same work by Josef Hofmann. I am constantly amazed, no matter how many times I revisit these marvels.They are so different and yet so Polish' in their unique way.

Same goes for Ervin Nyiregyhazi's Liszt 2 Legends. He seems to not only underline the Hungarian elements in Liszt's music but also the metaphysical and visionary aspects to the point where a critical response becomes engulfed by an emotional one.

Walter Gieseking is largely remembered for his Ravel and Debussy ,but I find him at his most telling in Schumann especially in works like the 'Davidsbundlertanze'.Here we have a moving example of intensely overt lyricism juxtaposed with a striking personal intimacy :Tragic heartache beneath a cloak of sublime dignity and resignation...

JD: What are your plans now?

AV: To not drive the neighbours crazy with my Dante Sonata!


Here is Angelo playing Franck's Prelude, Chorale et Fugue. As you'd imagine from someone who names Tiegerman and Nyiregyhazi as favourites, this is not exactly usual playing. (Three parts.)

Federico Colli: the flower of Leeds?

The Italian pianist Federico Colli, 24, scooped first prize at the Leeds International Piano Competition last night. I tuned in on R3 in the middle of his Beethoven 'Emperor' Concerto, without remembering exactly who was due to play it, and was entranced. Seriously beautiful pianism with wonderful tone; very sensitive to nuances, voicing and atmosphere; intelligent, energetic and never heavy-handed: the sort of playing, indeed, that you don't really associate with the final of a piano competition.

Radio 3's announcer, Petroc Trelawny, seemed fixated, meanwhile, with the pianist's red cravat, and one of several friends who was in the audience remarks that Colli, who hails from Brescia, slightly resembled a cross between Casanova and Dracula, yet clearly had a lovely personality and superb stage presence.

Colli has also won the Salzburg International Mozart Competition (last year). He studies with Boris Petrushansky at Imola and Konstantin Bogino at Bergamo. Apparently he is "fascinated by the complex equations of quantum mechanics".

I'd take an educated guess, though, that it was a fairly close-run matter between Colli and the Swiss pianist Louis Schwizgebel, who played first on Friday evening. Of all the performances I've listened to so far, it is Schwizgebel's Haydn C major Sonata that has really stayed aboard.

Our doughty commentator Erica Worth, editor of Pianist Magazine, has just phoned us to report that she was very happy with the result. "The two top prizes went, I think, to the most interesting musicians, the ones who had the most personality and the most to say," she declares. "Personally I would have given first prize to Louis Schwizgebel and second to Colli, but I'm so glad they both came through at the top."

Third prize went to Jiayan Sun (China), fourth to Andrejs Osokins (Latvia), fifth to Andrew Tyson (USA) and sixth to Jayson Gillham (Australia). A special prize voted by the players of the Halle Orchestra and presented in memory of Terence Judd went to Andrew Tyson.

You can catch both final concerts and a selection of semi-final performances on BBC iPlayer (radio) this week. Today at 2pm there's a gala concert to be broadcast by Radio 3 involving all six finalists. And from 21 September the TV finally wakes up: BBC4 has a series of six hour-long programmes on successive Friday evenings devoted to the competition (though as we now know the results it seems a bit late to the party).

Bravo, then, Federico Colli. Keep wearing that cravat.

Here's a write-up from The Arts Desk. [UPDATE] Here are some more details about the prizes and their winners, from Pianist Magazine.

And here's Federico in the final of the Mozart Competition in Salzburg 2011:



Meanwhile, Louis has already had a Wigmore Hall debut. He seems to have dropped half his surname since then. It turns out that his father is a maker of animated films. Here's Louis himself, very animated indeed in a spot of Moszkowski.