...TANGO.
We've been to three classes and have learned, kind of, to do a total of 8 beats. Between us, we seem to have 8 left feet. While the other 'beginners' have been in the class for several months, look relatively graceful and have the most fabulous shoes (! tango shoes are gorgeous!), we've been lumping about at the side of the room, trying to get the hold right, the stance and the attitude. The latter is the most difficult for me, because the secret of the whole thing seems to be that the man has to lead and must indicate clearly exactly what you, the woman, are supposed to do. I'm not used to this. In day to day life, I go and do my own thing and Tom joins in if/when he can. In tango, this is the biggest of all big no-nos! I reckon Tom absolutely loves this deep down and is trying not to admit it. For me, it's come as a big shock...but the music and the shoes, when I get some, are going to be worth it.
Have been listening to recordings of Piazzolla's own band from the 1940s and they are AMAZING (I can't find the CD I have on Amazon, but a quick search there on Piazzolla's name produces plenty to choose from). I don't know many dances that are that atmospheric by their very nature.
Anyway, we are absolute, absolute beginners. We have to ditch our classical tendency to do things by counting, not feeling; I have to ditch my long-buried classical ballet reflexes (20 years on, they still come back on a dance floor); we have to learn a softer, smoother method of crossing a floor, and somehow we have to learn to trust each other in a whole new way, which is very bizarre.
But it's like learning anything new: if you really want to do it, you persevere. You get inspired, not intimidated, by people who can do it already. You apply effort and commitment and time and take some lessons. And having a goal is no bad thing. We are going to Buenos Aires in January; my goal is that by the time we get there, I want to be able to hit the dance floor for an evening and not feel like a total idiot. I think Tom feels the same (hope so, anyway). It's not a crime for other people to have spent half their lives doing this, nor do I resent the fact that they have and I haven't. I just want the chance to learn now to the best of my ability, even if I'm abysmal.
Sunday, July 17, 2005
Wednesday, July 13, 2005
The ultimate consoling music
...is Schubert.
I may go on about Faure,Elgar, Korngold and the rest, but in truth, for me there is nobody to touch Schubert. He has a profound empathy with humanity's greatest conundrum - mortality - without having to hammer us on the head with it the way Mahler does. Schubert spent what few mature years he had (he died at 31) suffering from syphilis, knowing that his time would be short, knowing that he could never enjoy love without passing on a deadly disease. Read his letters and you feel the pain: a vast love for the wonders of life on earth and, at the same time, complete revulsion at the ugly side of humanity and, indeed, himself. Christopher Nupen's documentary about him is called 'The Greatest Love and the Greatest Sorrow' - a title that couldn't be more perfect.
The music? Divine. Nothing less. There can be nothing that carries one as he does into heightened awareness of life in the moment; nothing that furrows the brain more incisively; nothing else that taps to that extent into the endless longing that is both life's torment and possibly its meaning, without ever becoming remotely self-important or pretentious.
Schubert leaves extremely vivid images behind when you hear him. I remember my mother in tears over the G flat impromptu (I used to play it a lot), myself aged 13 encountering the String Quintet and being off school for two days afterwards, Andras Schiff playing the complete cycle in the Wigmore a few years ago and snow falling outside, Uchida playing the G major Piano Sonata in the Festival Hall, hearing the Notturno for piano trio at midnight in a Norwegian cathedral; the list is endless and the effects magical beyond description.
A few days ago a friend came round to play a concerto to us and a handful of other friends. The weather was glorious and we were all happy to be together after last week's tragedies. Our friend played exquisitely; afterwards I cooked what even I felt was a reasonably sumptuous dinner; and we sat around until after midnight listening to music and getting through a fair bit of Beaujolais. Finding the right music didn't seem to be easy, though; we experimented with Eddy Duchin (my famous relation!), Kapustin, Strauss, Debussy...and finally someone found the Schubert B flat Piano Trio in the recording by Thibaud, Cortot and Casals. This piece has a thousand and one associations for me already, but I doubt I'll ever hear it again without seeing my own lounge by lamplight, the doors wide open into the dark garden, golden reflections in the glass, the closeness of people I love, the awareness of loss lingering unseen amid all the sweetness.
I think that one reason I want to write is to preserve something of such experience.
I may go on about Faure,Elgar, Korngold and the rest, but in truth, for me there is nobody to touch Schubert. He has a profound empathy with humanity's greatest conundrum - mortality - without having to hammer us on the head with it the way Mahler does. Schubert spent what few mature years he had (he died at 31) suffering from syphilis, knowing that his time would be short, knowing that he could never enjoy love without passing on a deadly disease. Read his letters and you feel the pain: a vast love for the wonders of life on earth and, at the same time, complete revulsion at the ugly side of humanity and, indeed, himself. Christopher Nupen's documentary about him is called 'The Greatest Love and the Greatest Sorrow' - a title that couldn't be more perfect.
The music? Divine. Nothing less. There can be nothing that carries one as he does into heightened awareness of life in the moment; nothing that furrows the brain more incisively; nothing else that taps to that extent into the endless longing that is both life's torment and possibly its meaning, without ever becoming remotely self-important or pretentious.
Schubert leaves extremely vivid images behind when you hear him. I remember my mother in tears over the G flat impromptu (I used to play it a lot), myself aged 13 encountering the String Quintet and being off school for two days afterwards, Andras Schiff playing the complete cycle in the Wigmore a few years ago and snow falling outside, Uchida playing the G major Piano Sonata in the Festival Hall, hearing the Notturno for piano trio at midnight in a Norwegian cathedral; the list is endless and the effects magical beyond description.
A few days ago a friend came round to play a concerto to us and a handful of other friends. The weather was glorious and we were all happy to be together after last week's tragedies. Our friend played exquisitely; afterwards I cooked what even I felt was a reasonably sumptuous dinner; and we sat around until after midnight listening to music and getting through a fair bit of Beaujolais. Finding the right music didn't seem to be easy, though; we experimented with Eddy Duchin (my famous relation!), Kapustin, Strauss, Debussy...and finally someone found the Schubert B flat Piano Trio in the recording by Thibaud, Cortot and Casals. This piece has a thousand and one associations for me already, but I doubt I'll ever hear it again without seeing my own lounge by lamplight, the doors wide open into the dark garden, golden reflections in the glass, the closeness of people I love, the awareness of loss lingering unseen amid all the sweetness.
I think that one reason I want to write is to preserve something of such experience.
Sunday, July 10, 2005
Friday night
I'd like to tell you all about the spirit of London's music-lovers on Friday night when my friends of the Razumovsky Ensemble were unlucky enough to have their Wigmore Hall concert. The concert the night before - the day of the bombings - had been cancelled, but Oleg and the hall decided to go ahead as planned, although the audience was half of what it should have been, understandably enough.
I went along with a friend who feels, as I do, that we must defy terrorism and not let our daily lives be disrupted. We drove in, but I took the train home and had to get on the tube to return to Waterloo. If I couldn't do it that day, I might never have done it again. And, bolstered by the extraordinary music-making I'd been witnessing, it wasn't so difficult after all.
When the evening's total of four musicians took the stage for the Faure C minor Piano Quartet at the start of the second half (the first having been string players without pianist), Philippe turned to the audience and declared, "We'd like to thank you for coming to this concert tonight." Before he could say anything else, someone called back from the stalls, "Thank you for playing for us!!" Hugely appreciative round of applause followed; and then a transcendental account of the Faure, filled with elan, refinement, sensitivity, poetry and sensuality in perfect balance.
Life is very short, and often shorter than we could have imagined. Music is one of the best things we can experience during it. If we can clock in to that depth of beauty, that intensity of poetic vision, then something about life will have been worth living, despite the horrors around us. It's not just diversion, entertainment, escapism or something to do after work. Oscar Wilde wrote: "It is through art, and through art only, that we can realise our perfection." It is enrichment, defiance, assertion, power, but, above all, a form of love - a universal love that enters, draws out and re-expresses a deep-seated spirit shared, in some obscure corner of the soul, by most people on earth. We are, and in the modern world must struggle to remain, more than animals who go about daily life eating and sleeping and surviving and buying things. I feel it is our ability to appreciate and create art, in whatever form, that raises us to the apex of all that humanity at its best can be.
I went along with a friend who feels, as I do, that we must defy terrorism and not let our daily lives be disrupted. We drove in, but I took the train home and had to get on the tube to return to Waterloo. If I couldn't do it that day, I might never have done it again. And, bolstered by the extraordinary music-making I'd been witnessing, it wasn't so difficult after all.
When the evening's total of four musicians took the stage for the Faure C minor Piano Quartet at the start of the second half (the first having been string players without pianist), Philippe turned to the audience and declared, "We'd like to thank you for coming to this concert tonight." Before he could say anything else, someone called back from the stalls, "Thank you for playing for us!!" Hugely appreciative round of applause followed; and then a transcendental account of the Faure, filled with elan, refinement, sensitivity, poetry and sensuality in perfect balance.
Life is very short, and often shorter than we could have imagined. Music is one of the best things we can experience during it. If we can clock in to that depth of beauty, that intensity of poetic vision, then something about life will have been worth living, despite the horrors around us. It's not just diversion, entertainment, escapism or something to do after work. Oscar Wilde wrote: "It is through art, and through art only, that we can realise our perfection." It is enrichment, defiance, assertion, power, but, above all, a form of love - a universal love that enters, draws out and re-expresses a deep-seated spirit shared, in some obscure corner of the soul, by most people on earth. We are, and in the modern world must struggle to remain, more than animals who go about daily life eating and sleeping and surviving and buying things. I feel it is our ability to appreciate and create art, in whatever form, that raises us to the apex of all that humanity at its best can be.
Saturday, July 09, 2005
A thought from Faure
"The work of the imaginatiion consists in attempting to formulate all that one wants that is best, everything that goes beyond reality... To my mind, art, and above all music, consists in lifting us as far as possible above what is."
(Gabriel Faure in a letter to his son, Philippe Faure-Fremiet, August 1908)
(Gabriel Faure in a letter to his son, Philippe Faure-Fremiet, August 1908)
Friday, July 08, 2005
This morning
Things are working once again around London, but in a low-key manner. The count from the attacks yesterday is 38 dead, 700 injured and a whole city traumatised.
My friends of the Razumovsky Ensemble are not going to find it easy to recruit an audience for their Wigmore Hall concert tonight, wonderful though they and their programme are. I am determined to get there. I am not going to be afraid. At 7.30pm I shall be in that hall and if I have to get on the tube, then get on it I shall. I refuse to let a bunch of thugs stop me.
And so to some recordings to recommend, as promised yesterday.
What can one do but reach for the Elgar? The obvious thing, I suppose, is Jacqueline du Pre playing the Cello Concerto - her first recording of it, with John Barbirolli conducting. But the Violin Concerto is more consoling, more reflective, and, to my ears, more beautiful. Try the classic recording by the teenaged Yehudi Menuhin, conducted by Elgar himself.
Alternatively, this next one is extremely good value: Hugh Bean plays the concerto and the violin sonata, and you also get the Piano Quintet, the Serenade, the String Quartet and the Concert Allegro with John Ogdon. Hugh Bean's tone is incredible. I once heard him performing the Brahms Horn Trio at the Wigmore Hall and when he began the tune, his violin sounded like the horn.
While talking British violin performances, I mustn't leave Tasmin out. Her recording of the Delius Violin Sonatas with pianist Piers Lane is fabulous. I'm a secret Delius fan. It doesn't always do to admit this, mysteriously enough, but I think he's GREAT. The Walk to the Paradise Garden is one of the most exquisite pieces ever written by someone who was technically British. Here's The Halle Orchestra with John Barbirolli.
A close-run second is Vaughan Williams's The Lark Ascending, recorded here by our Tazza.
All of this is, however, very English although London is today a tremendously multicultural place - one of the things that we're proudest of here. Multicultural celebrations are rare in early 20th-century British music, and for a recording that celebrates the little that there was, turn to Samuel Coleridge-Taylor's Violin Concerto which is both stirring and gorgeous in this recording by Philippe Graffin. Philippe is playing it at the Proms on 9 August and I find it absolutely extraordinary that it should be buried in a programme of British Light Music - since it is neither particularly light nor typically British. Classical music gets a lot of stick for consisting mainly of music by dead white men. The one time we're treated to some extremely good music by a dead half-black man, however, it has to be presented either as a rarity (by Hyperion, who recorded it with Anthony Marwood) or a trifle (by whoever plans the Proms these days)! Ouch. This recording takes it as seriously as it deserves and, as I've said before, is more than the sum of its parts, since it's the first commercial recording made in South Africa since the fall of Apartheid and features the Johannesburg Philharmonic Orchestra which struggles valiantly day to day for its very existence.
Ultimately, though, for songs of love and fun and quality and British creativity at its best, there has to be the Beatles... and Revolver is my favourite album.
My friends of the Razumovsky Ensemble are not going to find it easy to recruit an audience for their Wigmore Hall concert tonight, wonderful though they and their programme are. I am determined to get there. I am not going to be afraid. At 7.30pm I shall be in that hall and if I have to get on the tube, then get on it I shall. I refuse to let a bunch of thugs stop me.
And so to some recordings to recommend, as promised yesterday.
What can one do but reach for the Elgar? The obvious thing, I suppose, is Jacqueline du Pre playing the Cello Concerto - her first recording of it, with John Barbirolli conducting. But the Violin Concerto is more consoling, more reflective, and, to my ears, more beautiful. Try the classic recording by the teenaged Yehudi Menuhin, conducted by Elgar himself.
Alternatively, this next one is extremely good value: Hugh Bean plays the concerto and the violin sonata, and you also get the Piano Quintet, the Serenade, the String Quartet and the Concert Allegro with John Ogdon. Hugh Bean's tone is incredible. I once heard him performing the Brahms Horn Trio at the Wigmore Hall and when he began the tune, his violin sounded like the horn.
While talking British violin performances, I mustn't leave Tasmin out. Her recording of the Delius Violin Sonatas with pianist Piers Lane is fabulous. I'm a secret Delius fan. It doesn't always do to admit this, mysteriously enough, but I think he's GREAT. The Walk to the Paradise Garden is one of the most exquisite pieces ever written by someone who was technically British. Here's The Halle Orchestra with John Barbirolli.
A close-run second is Vaughan Williams's The Lark Ascending, recorded here by our Tazza.
All of this is, however, very English although London is today a tremendously multicultural place - one of the things that we're proudest of here. Multicultural celebrations are rare in early 20th-century British music, and for a recording that celebrates the little that there was, turn to Samuel Coleridge-Taylor's Violin Concerto which is both stirring and gorgeous in this recording by Philippe Graffin. Philippe is playing it at the Proms on 9 August and I find it absolutely extraordinary that it should be buried in a programme of British Light Music - since it is neither particularly light nor typically British. Classical music gets a lot of stick for consisting mainly of music by dead white men. The one time we're treated to some extremely good music by a dead half-black man, however, it has to be presented either as a rarity (by Hyperion, who recorded it with Anthony Marwood) or a trifle (by whoever plans the Proms these days)! Ouch. This recording takes it as seriously as it deserves and, as I've said before, is more than the sum of its parts, since it's the first commercial recording made in South Africa since the fall of Apartheid and features the Johannesburg Philharmonic Orchestra which struggles valiantly day to day for its very existence.
Ultimately, though, for songs of love and fun and quality and British creativity at its best, there has to be the Beatles... and Revolver is my favourite album.
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