OMG

This is Cziffra, playing Liszt's Transcendental Etude no.10.

There seemed to be a lot to say about this, but actually - please, just listen.

Er, right...

Anna, as in Anna&Robin 'Life of a Musician', has 'tagged' me, so I'd better be good and play the game.

The brief is 'to write six things about me, personally, that my readers might not know', and then, 'tag' six other twitter/blogger friends and make them 'it'.

All right, here goes.

1. I got into Cambridge for composing. I had to write something for a school celebration (it was a setting of Psalm Somethingorother) and the headmistress liked it and she wrote me a glowing reference...oh well...

2. My first cat was called Whiskers.

3. But I really wanted a dog.

4. If I could, I would move to France tomorrow. No, today.

5. I wrote 7 novels before Rites of Spring.

6. I was at university in the mid-80s with a hell of a lot of people who went into the financial world with the starry glow of Thatcherian idealism writ large across their wine-sluiced visages, and having seen which people they were I am not remotely surprised that the entire world financial system is in the throes of collapse since this is the generation that is now in charge of the bloody thing. Could have told you that years ago. I believe that Margaret Thatcher wrecked the moral fibre of the western world, and this is the price. (There. Bet you didn't know that about me. ;-) )

Now for the tagging.

1. Opera Chic! Opera Chic!

2. Erin! Put down that cello a minute and get into your Fugue State.

3. Wonderful, wonderful Jeremy, we can't wait to see what you have to say about this over at Think Denk.

4. Come on, Norman, give it a go!

5. Patty in California, a great oboist who's a secret string quartet fetishist just like me...

6. Ruth, of Meanwhile, here in France...because she lives where I'd like to live. Just look at her photos of late-season veg and the reasons for point no.4 will be apparent.

Have fun, folks. I am off to Newcastle in the morning.

The Sage ExploreMusic Library talk tomorrow

I'm off to Newcastle/Gateshead tomorrow to give a talk at The Sage's ExploreMusic library series, which very wonderfully seeks to bring music and fiction together. I'll be talking a little about the different ways music features in my novels and a lot about Hungarian Dances. Plus readings from book. If you're in the area, do come along, it's free.

By the way, if you're wondering what became of our recent poll about the future of JDCMB, the result was a slight but clear lead for keeping this blog as it is and initiating a separate books blog. Naturally it would be handier for me to lump everything in together - after all, they're equal concerns in my mind, and to run two separate ones will mean less frequent posting on both - but I appreciate that not everyone sees it that way. October will therefore see the launch of my new Books, Writing & Culture in London blog. Watch this space!

Meanwhile in Cleveland...

...there's a case of Critic v Conductor.

The New York Times has carried a story explaining that a music critic in Cleveland has lost his job for being, allegedly, excessively critical of the Cleveland Orchestra's conductor, Frankly Worse Than Most, oops, I mean Franz Welser-Most (FYI, the former is what certain musicians in London used to nickname him).

A lot of grey areas surrounded the appointing of FWM as principal conductor of the LPO, where he started back in 1990. Tennstedt departed in 1987 due to ill health, a replacement had not yet been named and it was then that the Tory government got a Lord to investigate things and recommend which of the London orchestras should be murdered. To qualify for a chance of survival, an appointment was needed and FWM was named PDQ. Not very many conductors would have been available at that kind of notice. Happily, the Hoffmann Report eventually told the government to get off and leave all our orchestras right where they were. Meanwhile FWM was in place, and if I remember rightly some of his performances were good and others weren't. Fairly normal, then.

BUT: the London press loathed him.

It was the critics, not the orchestra, that wrecked his career at the time in the British capital; he kept talking about this nightmare era in interviews for years. It is not entirely clear how it happened, but seems to go back to his first-ever press conference for the LPO, which most of the critics left with the impression that FWM was arrogant, abrupt, inexperienced and so forth. All of which may have mean that he was just bloody nervous. But what's certain is that the resident vipers developed a serious grudge which only got worse. The difference was, they didn't lose their jobs - whereas eventually the unfortunate youth, after enduring five and a half years of printed hell, packed his bags earlier than intended.

Perhaps what's happened to the critic Donald Rosenberg is a hazard of smaller-city-America cultural life; here in London, just one critic could never have been held responsible for the savaging of FWM. They were all at it like a pack of hyenas. It is easier to target one person operating in a cultural desert, like a gazelle that's been separated from its herd...

All of which does not necessarily mean that FWM is the world's greatest conductor.

And another great recording...

...which is just out. Classic FM Magazine sent it to me to review and it knocked my socks off. Virgin Classics has sensibly made a promotional video, so here it is.

Meet the Quatuor Ebene, four adorable young French fellows (what IS it about the French?) giving their fellow countrymen Debussy, Ravel and Faure the full treatment. And, to my particular joy, according the elusive Faure quartet equal status with the other two. Chapeau!