Read this one aloud

A chicken goes into a library, goes up to the librarian and says: "Book."

"Ah?" thinks the librarian. "A chicken wants a book?" She pushes a book over the counter to the chicken, who tucks it under one wing and goes out.

An hour later the chicken is back, pushes the book over the counter with its beak and says to the librarian: "Book book." The librarian gives it two books. It tucks one under each wing and heads off again.

Two hours later the chicken comes back, gives her back the two books and says: "Bookbookbookbookbookbookbook...bookbookbookbookbook" So the librarian gives it a whole pile of books. The chicken balances the books on its back between its wings and goes away.

At the end of the afternoon, the chicken comes back with all the books and returns them to the librarian. She's very surprised. "Hey," she says, "for a chicken you certainly get through a lot of books."

"Oh," says the chicken, "they're not for me. I've been getting them for my friend, the frog. But every time I give him a book he says: 'Read it. Read it. Read it. Read it."

hanging in there

Combination of lifting suitcases, sitting in cars for too long and worrying about the new book seems to have done in my back, yet again. Hence lack of recent posts, and, no doubt, of current coherence. I made it to half an hour of the LPO's rehearsal at the Royal Albert Hall yesterday but couldn't face sitting through a three-hour concert, so went home and MISSED WYNTON MARSALIS, about which I'm none too happy.

The LPO is touring Britain with Marsalis & his New York jazz band & a gospel choir in a big piece for big forces that he's written called ALL RISE. The orchestra is seriously excited about it - Tom says it's one of the best things he's ever done. I love big band jazz and was looking forward to hearing them in action - but the chairs in the Albert Hall eventually sent me and my lower back home for a hot bath instead. Watching the rehearsal - during which the unlikely combination of Kurt Masur and Marsalis proved quite an original team - was better than nothing, though.

Personally, however, I do have issues with the question of mingling jazz and classical playing in this way. I kept wishing the choir would shut up so we could hear the jazzers. It's a perennial question in the music magazines: do such joint-force efforts, whether with world music or jazz or pop, create something new and stimulating and inspiring, or do they water down their originals into some kind of three-legged hybrid that doesn't quite work? I always try to take the first view, but do sometimes find myself landing with the second despite myself. What do people think about this?

You can see the show in Manchester tomorrow (Tuesday) and Glasgow on Wednesday.

j'adore la France...

Hi folks, back to business as usual after long-awaited week on summer hols in the south of France. Coming back to London after basking on the Cote d'Azur is a bit like Dorothy going back into Kansas from Munchkinland - in many respects! - but mainly in terms of the weather. There is something very, very GREY about England. All the colours are pastel, muted, mild, and just that little bit nondescript. Mediterranean colours are truly colourful...We saw Nice, St Tropez, the Ile de Porquerolles, Aix-en-Provence, Grasse (where they make all the perfumes) and several adorable little towns with markets to die for. What is better, in life, than feasting on freshly baked olive bread, a selection of French cheese, locally grown tomatoes, marinated olives a la provencal, fresh melon and white nectarines and a delicious bottle of local plonk that would probably sell for 12 quid in Waitrose??!? Even arguments in the car couldn't dampen things (I belong to the "I think it was that one" school of navigation...).

Will pick up the musical pieces very soon. In Provence we listened to Ravel, Canteloube, Poulenc, Faure, Berlioz and, um, Brahms. (Who wasn't French. But imagine if he had been..........)

Meanwhile I have October issue cover features in not only BBC Music Mag and About the House, but also The Strad - interview with the truly gorgeous Nikolaj Znaider.

Listening & reading

My friends are busy and so am I! Some news, some things to listen to, some to watch out for, some to read...

Leon McCawley has a new CD out: actually, three new CDs. It's the complete piano music of Hans Gal, a much-neglected figure who fled the Nazis and settled in the UK. He is also neglected, of course, because he insisted on writing beautiful music during the wrong part of the 20th century. He also wrote some excellent books on Schubert and Brahms, inspired by the fact that so few books on music were being written by authors who were musicians themselves. I sense a kindred spirit. Unfortunately he proved too obscure for most of my editors, but I urge you to hear the music. Avie Records has a special offer on this release at the moment.

If you're in northern France, Philippe Graffin's festival Consonances de St Nazaire is now underway and runs the length of this week. Philippe is an expert at creative programming, but this year he's really pulled out all the stops. I wonder whether any British festival could get away with what he's cooked up? Have a look...

Speaking of festivals, pianist Lucy Parham is putting together a Schumann Festival to celebrate the anniversary year about to hit us. It will be held in the Cadogan Hall in Chelsea in February and as well as an orchestral concert with the Royal Philharmonic, a Lieder recital and a coffee concert on Sunday morning, it will include my 'Beloved Clara', with Lucy joined by actors Joanna David and Timothy West. Lucy's website includes a designated Schumann Festival page, but this is currently still in development.

Also at Cadogan, Tasmin Little will be playing Nicholas Maw's fantastic violin concerto on 10 November, in a concert celebrating the compser's 70th birthday.

And on 25 September Roxanna Panufnik's new work for singers and orchestra, The Hare and the Tortoise - her third setting from Vikram Seth's Beastly Tales - will be premiered at the Windsor Festival by the City of London Sinfonia - more details here.

Stuff of mine coming up soon (no online links yet, sadly): all those singers are beginning to appear in print! The interview with Placido Domingo about Alfano's Cyrano de Bergerac, and much more, is out now in ABOUT THE HOUSE, the Royal Opera House's magazine (free to friends but also available in the ROH shop). Interview with Jose Cura should be out in the Indy this week sometime. Interview with Barbara Bonney (remember that Salzburg trip?!) should be out any minute, the cover feature for BBC MUSIC MAGAZINE's October edition.

Rome, sweet Rome

There's been a good reason for my blogland silence this week. I've been in Rome. Almost didn't come back.

When Dorothy taps her ruby slippers together and says the magic words, I reckon we all misheard her. What she should be saying is "there's no place like Rome..." That city has an atmosphere like nowhere else on earth. Part of it is the climate, part the history, part sheer beauty. Yes, the traffic is crazy - basically anarchy - and you take your life in your hands whenever you cross a road. But after dark, you're in another world, entirely gold and black and floodlit and shining. Who wants to go to sleep when you can be out in warm, fresh air, gazing at gleaming Roman ruins, enjoying the finest Italian food and sipping Chianti with friends? Not many Romans, it would seem, because the place buzzes until the wee hours.

I somehow associate Rome with freedom, revival, renewal and some kind of inner release that, when I was last there years & years ago, allowed me to get on the back of a Vespa with a strange Italian man and ride through the city's cobbled roads past the floodlit Colosseum at 1am...those were the days...

I went to the Eternal City this time to interview Signora Bartoli about her new album of Italian baroque arias, Opera Probita. The launch event began with a concert in an extraordinary church in the Forum; later, dinner on a roof terrace by candlelight. We did the interview in a building that looks out across the ruins of the Forum, knowing that Handel could have stood on the same spot, drinking in the same sight, nearly 300 years ago.

The album will be out at the end of next month & Cecilia will be giving a concert of this repertoire in London, at the Barbican, in December, for which I recommend begging, borrowing or even buying a ticket at your first possible opportunity. Before then, she'll be in the States, so I urge everyone across the Pond to run to hear her as well. There's a touch of genius about this woman. What a voice. What a personality. What musicianship.

There'd probably be a touch of genius about anyone who could make me rave about an evening of Italian baroque opera accompanied by period instruments. Normally I run a mile from such things, probably because I had it rammed down my throat ad nauseam at university. The other night, however, I was on the edge of my seat all the way through and afterwards was almost ready to go and hug Marc Minkowski and all his Musiciens du Louvre as well. I even elected, later on, to listen to a recording of a counter-tenor (Scholl, naturally), and liked it when I did. This is getting serious!

But would it sound the same away from Rome? South West London is a bit short of ruins and even the antipasti in our local supermarket ain't quite the same......