Meet Ruth Waterman

Here's my interview from this weeks' JC with a wonderful violinist whose work I've been enjoying for a long time: http://thejc.com/arts/music/49238/the-woman-putting-feeling-back-bach. Don't miss her CD of Bach's complete sonatas and partitas, out now on Meridian.

Meanwhile, it's a beautiful morning, not a cloud in the sky, and Glyndebourne opens tonight - well, this afternoon - with its first-ever production of Wagner's Die Meistersinger von Nurnberg, the opera that John Christie used to dream of putting on when he founded Glyndebourne back in the 1930s. The organ room was a bit small for such a vast opera, so they just sang extracts then. Today it's the full monty, with Glyndebourne's biggest-ever chorus, David McVicar directing, Vladimir Jurowski conducting and Gerald Finlay as Hans Sachs. Try for returns. From down t'pit, Tomcat nodded wisely when I pointed out that someone in America says today is Judgement Day.

Hooray for Sir Hubert!

I've been having some fun with Sir Hubert Parry this week. Rarely has a composer needed more urgently to be rescued from his fans. Come over to the Indy and see what he was really like. Mightn't be what you think.

Here's a little bonus: an extract from a letter home penned by a certain of Parry's students, one Donald Francis Tovey: “Dr Parry came into the examination room, talked to Sir John Stainer and tipped me a wink. Most people look austere in a cap and gown. Dr Parry looks positively rakish!” 

I'd post some of his music here, but I'd have to listen to a lot of it to choose something good, so I shall let you do the hunting yourselves instead. At least I can promise you that he was a really good bloke, and we Brits love really good blokes, even if they're awfully amateurish about writing music. Blame his mother-in-law. 

Must dash now - am off to the wilds of south-east London to see a lady about a trumpet.

Speaking of national anthems...

My orchestra-in-law, minus Tomcat, has been busy ploughing through recording sessions involving 30 national anthems a day, specially arranged for next year's Olympic Games by Philip Sheppard. The Telegraph has a fun interview with him on the topic (they say he looks like Nick Clegg...but that probably has more to do with the Telegraph than with Philip, to judge from the photo). The whole thing puts me in mind of one of Tomcat's favourite Misspent Youth In Denmark stories...

As a younger Tomkitten, JDCMB's right-hand violinist lived in the land of Forbrydelsen for five years: his first orchestral job was with the Aarhus Symphony Orchestra. In 1982, with a little splinter band that specialised in Viennese waltzes and the like, he went on tour to Greenland to celebrate the 1000th anniversary of Eric the Red. This was a very big deal in Greenland: the Queen of Denmark was going and the national anthem had to be played. The library apparently contained some wonderful old books of the things from times gone by, so one day the orchestra in rehearsal amused itself by playing through some theme tunes of nations that no longer exist, but might still have cats named after them.

Unfortunately, come the concert, some kind of mix-up took place. The Queen arrived, everyone stood up and the band began to play...the Swedish national anthem. Her Majesty, who'd turned up in Greenland national costume complete with those enormous knitted socks, was decidedly not amused. The Pythonesque perplexment made the front of their local newspaper back home. Nobody ever really worked out what went wrong. Was it a conspiracy or a plain old c***-up? Nearly 30 years on, we are none the wiser.

Given this history, I can hardly blame him for not taking part in the sessions.

"This house believes WHAT?"

The other day the Cambridge Union played host to a superstar debate on the topic "This house believes that classical music is irrelevant to the youth of today". It was a glorified launch for a new charity, but with Stephen Fry speaking against a DJ named Kissy Sell Out, it drew plenty of attention. I sent along my special Cambridge correspondent to report for JDCMB. Being young, she's much better placed than I am to comment in any case. Please welcome, fresh from her third-year studies at Peterhouse, HANNAH BOHM-DUCHEN.

“This House Believes That Classical Music Is Irrelevant To Today’s Youth”

This debate, held at the Cambridge Union on 12 May to a full house, marked the launch of a new charity called Vocal Futures, the brainchild of Suzi Digby (Lady Eatwell) OBE; and has been streamed online, a first for the Cambridge Union Society. Stephen Fry, Ivan Hewett, chief music critic for the Daily Telegraph, and Hugo Hickson, third year philosophy student at Gonville & Caius College, opposed the motion. Supporting the motion we heard BBC Radio One DJ Kissy Sell Out, Greg Sandow, composer, critic and artist-in-residence at University of Maryland School of Music and Joe Bates, classical music editor of The Tab, and music student at Gonville & Caius College.

“Stephen Fry, what a boring name compared to Kissy Sell Out”, commented the presenter of BBC Radio 4’s Today Show on the morning prior to the event at the Cambridge Union. The comment exemplified one of the principal arguments running through the debate: the relative accessibility of popular as opposed to classical music. Kissy Sell Out: it’s a catchy name and clearly part of a marketing ploy. Again and again, the immediate gratification and sense of collective fun engendered by popular music was pitted against classical music as seemingly inaccessible, less spontaneous, and divorced from a collective, youthful culture.

Joe Bates, the student speaker proposing the motion, emphasized the exclusivity of classical music throughout history, arguing that listening to classical music today gives preference to the products of a historical élite over the products of contemporary culture. The next student speaker, Hugo Hickson, arguing for the opposition, stated that great classical music has eternal relevance and stands outside time, as does any great work of art, for example Shakespeare’s plays or the Greek Tragedies.

Kissy Sell Out, for the proposition, demanded that music be instantly accessible and asserted that the very names given to classical music illustrate their divorce from popular culture, revealing his own prejudices when he joked about a name of a classical work: “Number … of Number …. of Hogwarts … ” The lack of interactivity in classical music, he suggested, could be illustrated by the contrast between the responses of audiences at concerts of classical music, and concerts of popular music. Kissy also stressed the importance of musical genres in fostering a sense of belonging , and here, once again, classical music was presented as an élitist art form.

Ivan Hewett, for the opposition, finally addressed the problematic nature of the term ‘irrelevant’. Unfortunately, such crucial questioning was put to one side and not pushed further than initial speculation. Hewett also cast doubt on whether ‘today’s youth’ could easily be distinguished from ‘yesterday’s youth’; proposed that beauty was, necessarily, the quintessence of the irrelevant; and highlighted the universality of the themes evoked by classical music.

Greg Sandow drew on his experience of teaching at the Juilliard School to support the motion. He stated that there was a reduced interest in classical music courses, and that the strict regulations inherent in the forms of classical music could suppress potential creativity, and run counter to our impulse to do as we wish. Sandow suggested that the potential irrelevance of classical music was not limited solely to ‘today’s youth’, but was also associated with racial, ethnic, and cultural divides. Again, it was stated that the greatest obstacle to an appreciation of classical music was its association with entitlement and privilege.

Lady Gaga went to the Juilliard School, and Stephen Fry was quick to point this out, countering the claim that a classical training could restrict an impulse to “do as we wish”. Fry was also keen to make clear that a hierarchical approach to music was unnecessary. Real snobbery, Fry suggested, comes from fans of those genres of music that have been deemed “cool”. Further, the fustiness of the world of classical music was called into question: Beethoven and Mozart, after all, were far from being members of an élite.

It was sad, Fry mooted, that people are not taught how to listen. Listening requires time, and there is a general avoidance of anything that is “beguilingly complicated”. A concerto, he pointed out, was an argument between an individual instrument and an orchestra: a dynamic interchange between the individual and the state, and the highest calling, embodying love, hope, triumph and magnificence. Fry claimed that it was pure lack of imagination and artistic creativity that could keep one from enjoying classical music, and that “if you don’t have the imagination to blow the dust off the wigs then you don’t deserve any music”.

Lord Eatwell summed up for the proposition. Tongue-in-cheek, he claimed that modern classical music has borne little fruit, and that recycling remnants of past compositions points towards the conclusion that an art that doesn’t grow is dead.

Suzi Digby’s closing words for the opposition stressed that pop music is relevant because one can easily see oneself in it, and argued that since the appeal of classical music is beyond logic, and “speaks to the soul”, everyone should be able to relate and interact with such music. Further, Digby was adamant that it is the stuffy pretentiousness of the performance of most classical music that made it irrelevant to today’s youth, and that this was what has to change.

The opposition won the debate by a wide margin. There were 365 ‘Noes’, 57 ‘Ayes’, and 88 abstentions.

Somewhere with another type of demographic, the result could undoubtedly have been rather different. Since one can only decide whether something is irrelevant if one has engaged with it, this genre surely has to become more accessible if young people are to have the opportunity to decide for themselves whether or not the classical genre “speaks to their souls”. Classical music requires patience, and touches complex emotions. Although one should beware of generalizing about “today’s youth”, patience and sensitivity to complex emotional experiences are not generally central to the lives of young people – but they should be. Perhaps the Haydn String Quartet No.1 in B Flat Major, played on the Today Show, should be relabelled, echoing the title of Kissy Sell Out’s new track: ‘Eternal’.

It is of course also simplistic to generalize about all classical music: some classical works are of course much more accessible than others. The radio station Classic FM, for example, blatantly selects pieces that are easy on the ear. Yet it is surely the very complexity of classical music which provides its interest. The ongoing relevance of any music depends on the quality and inventiveness of that music: we still listen to music by the Beatles or by John Coltrane. Classical music, moreover, sometimes spills over into popular culture. Hovis and Néscafé adverts have graced us with Grieg’s Peer Gynt Suite, and one would be hard pressed to find a ‘youth of today’ for whom these items did not brighten their ‘morning mood’. If Hovis and Néscafé reckon that classical music is relevant, so should we.

Hannah Bohm-Duchen

The ultimate Eurovision: Richard Wagner

Around 11pm yesterday, Richmond-upon-Thames was the scene of some strange nocturnal activity, besides the usual gaggles of drunken, semi-naked, apparently cloned teenagers. Along George Street towards the bus stops wandered small groups of dazed and bedazzled pensioners, many of them humming quietly, all of them wearing an expression that suggested they'd been at an ashram retreat and emerged with an altered sense of consciousness. The source? The Met Opera cinecast of Die Walkure.

I was lucky to be there at all, as our local Curzon sold out months ago - some friends had a spare ticket and called in the morning, so I dropped everything and ran. (I was one of just three or four under-60s in the place.) Of all the Wagner operas, this one is my favourite: its passions are the most convincing, its dilemmas the most interesting and its level of inspiration the most consistent. As you know, I have my doubts about opera in the cinema - too many tonsils - but with the prospect of Kaufmann, Westbroek, Terfel and Voigt in the Robert LePage new production...

It wasn't the tonsils that caused the problem - or even the occasional droplets of drool that came across too clearly on the big screen - but the volume. This was cinema volume, flattening out the dynamics at the uppermost level. Across a very big evening of Wagner this can leave you feeling assaulted. Just a notch down would have spared our heads and done the singers more favours - it is hard to get any idea of subtlety or variety of tone. Perhaps in future cinecasts this can be somehow addressed. But apart from that...

It's total surrender. How does one person, one bumptious little 19th-century man, create a work of art like this? How is it possible? Witness Die Walkure - especially in a performance like this - and you're left in no doubt that the potential of a human being is many thousands of times greater than we're usually allowed to believe, let alone aim towards ourselves. He creates a state of enhanced reality, a true raising of consciousness, a natural high that I'd defy any drug to match (not that I've tried any, but with Wagner around, who needs to?). Beside it everything else sounds...so small, so silly, such a waste of time.

Eurovision? You want Eurovision singing? Then see Wagner on screens in every country. Hear Eva-Maria Westbroek singing for The Netherlands as Sieglinde. Hear Bryn Terfel, fresh out of Wales, as the ultimate Wotan - the most powerful operatic performance I've ever seen, bar none. Hear Jonas Kaufmann compete for Germany in an oak-strong, desperate, tender Siegmund. And Deborah Voigt with her shining scimitar of a light-catching voice, flying through the high notes... And there is no need for anybody to win or lose.

Every argument is pallid beside this. All those fine words dissecting every word Wagner ever wrote, all those trendy debates about whether classical music is 'relevant', all the politically correct stuff, social engineering, box-ticking and dumbing-down - forget the lot. Just hear Die Walkure.

This is why we need music. This is the real thing. This is what it's all about. Showing us what a human being can truly achieve and share with others. Talk about Nietzsche if you like, talk about man and superman and Also sprach Zarathustra, but Wagner proves that something superhuman can come from humanity. And if it can, then it should. Don't tell me that anyone who can't hear it or doesn't 'get' it isn't missing out. Yes, they are. Wagner wanted this music to be for everyone. He wanted to reach the widest possible audience because he knew he had something vital to give them. He's still giving.

Down from the cloud, it's possible to dissect things a little more. Robert LePage's production hits many nails fair and square. Keeping a 'traditional' approach to the drama - naturalistic and rather prehistoric, complete with armour for Wotan and the Valkyries - does make the whole thing more engaging and believable than most tricksy updatings can. The set is extraordinary: a string of vast, tall panels, apparently weighing about 45 tons, according to the interval info, on pivots that shift, rotate and transform: they are a forest, a roof, a mountain and even the Valkyries' horses, dipping and plunging in the Ride: the girls dismount by sliding.

But the coup de grace is the final image of the sleeping Brunnhilde on her rock, watched from afar by Wotan: everything swings around until she is upside down, high up, a perspective evoking the sense that we're directly above her, looking down into the flames while rising into the sky with Wotan. My companions thought it might be a trick with a doll rather than the real Deborah Voigt, but if it was, it worked - the possibility never occurred to me. And if it was Voigt - she's brave. Have a look at the slide show of images from the New York Times.

We can pick holes, if you like. Voigt isn't the ideal Brunnhilde - at least not yet - though she may become one. Her middle voice isn't as strong as her high register, as she admitted herself in the interval interviews, with Placido Domingo and Joyce DiDonato as reporters, no less (they'll have Alan Titchmarsh out of a job if they're not careful). But it's her first run in the role - rare to be perfect first go - and in terms of personality and a strongly characterised tone, she more than carried it off. There were occasional things that we saw that we wouldn't have noticed on stage: moments when things get stuck, fail to cooperate or drip spectacularly. And the show started about 40 minutes late due, apparently, to 'machine malfunction'. We were glad to hear in the interval that this was stage machinery, not something inside James Levine, who looked unable to stand without support and didn't go up on stage for a bow. He has now pulled out of pretty much everything but this performance. A few raggedy bits in the orchestral playing, but only a few, in an opera in which scary amounts of stuff can go wrong, given half a chance.

Holes aside, this was the show of a lifetime. People speak of an aeons-gone 'golden age' of operatic singing, but I can only feel grateful to be alive to hear these guys. Terfel's Wotan is utterly superhuman, consumed with self-loathing and conflicting loyalties and with a voice that is a force of much more than mere nature. The way he kills Hunding took the wind out of everyone's sails. One word - "Geeeeeeeeh!" - and the character falls back as if struck in the stomach by a twelve-ton demolition ball. It will be a long, long time before anyone else can match the impact of Terfel's performance.

Westbroek is having one incredible year - first Anna Nicole, now this - and Sieglinde's ecstatic final blessing of Brunnhilde, wild and transported with joy, left us wondering whether it is she, in due course, who will become the next great Brunnhilde. Kaufmann, for all his assertions in his interval interview that he doesn't want to be a Wagner singer and nothing else, is going to be hard-pressed to escape more Wagner roles, so magnificent is his Siegmund. He has a German textual advantage, along with the fact that he was literally born into this music: in the interview, he recalled the days when as a small boy he sat at the piano beside his grandfather who was happily bashing through the piano scores of The Ring. Stephanie Blythe's Fricka was another huge success (in every respect) - every inch a match for Terfel's Wotan, she's a mezzo of glory.

Back to earth now. Let's slide down the Valkyrie horses...and get out to the shops before they sell out of rhubarb. Our fridge is mysteriously working again. Perhaps the energy generated in the cinema last night was enough to power everything up for miles around.