Encore!

Sad news from Paris this morning that Kurt Masur fell off his podium last night while conducting the third movement of Tchaikovsky's Symphony No.6. He has been taken to hospital. The concert was being broadcast live, but had to be abandoned. Apparently Sarkozy has sent him good wishes.

At Masur's age (84) few of us are lucky enough still to be able to work at all (the French president, of course, may be out of a job shortly, but that's by the by). Old soldiers never die, but conductors don't even retire. With such a vocation, why would anyone wish to stop? They may be getting younger...but they are also getting older. Besides Masur, Haitink, Davis and Maazel are all in their eighties now, and still going strong.

Nor is it only conductors for whom growing roses doesn't hold much appeal. Menahem Pressler, the irrepressible pianist formerly of the Beaux Arts Trio, seems to have gleaned a whole new lease of life as a soloist since the group folded and he's playing as wonderfully as ever, at 88. Last time I interviewed him he expressed astonishment that anyone should think he would want to give up something he loves so much in favour of playing golf. I'll never forget Horszowski's 99th birthday recital at the Wigmore Hall - except that that much-loved musician was probably 101 at the time, his birth certificate having been tampered with during his child prodigy days. Aldo Ciccolini, at 86, is releasing a new recording of Beethoven concertos. On the violin, Ida Haendel remains an extraordinary force. We do not seem certain how old she actually is. But it's the artistry that counts, not the age.

Occasionally, though - and for that same reason - you come across instances when perhaps clinging to concert life isn't doing the performer any favours. Nathan Milstein's final recital at the Royal Festival Hall (it must have been spring 1984) revealed a giant, but a fading one. And it is already several years since Masur conducted the Brahms 'German Requiem' in St Paul's Cathedral, which could have been a marvellous occasion but for the fact that he seemed shaky at best; one arm appeared to be causing him control problems.

The Italian violinist Gioconda de Vito, by contrast, stopped performing when she was only about 50. She told me, when I interviewed her for her 80th birthday, that she had reached the peak of her career and wanted to stop while she was ahead. She once attended a concert by Alfred Cortot late in the pianist's life, at which point he was long past his best; there, she made a mental note not to let herself reach that stage. And so she did not - even though she could assuredly have played and recorded for many more years.

Every case is different, and in the end it's for the musicians, rather than the audience, to know if or when to call time. Perhaps the wonderful thing is that they so rarely do. They, and we, can't get enough music. And that's how it ought to be. We wish Maestro Masur the fastest possible recovery and many rewarding years of music-making ahead.

As a special Friday Historical for the Immortal Musician, here is de Vito in the Beethoven Romance Op.50, which our friend "Otterhouse" has uploaded from a 78, with enhanced sound.

Breaking: Decca signs chocolate violinist

News just in: Decca has signed up the Greek violinist Leonidas Kavakos - on JDCMB long nicknamed "the chocolate violinist" (even though I am sure the luxury confectionary brand Leonidas is really nothing to do with him). It's a super choice: a mature, significant musician who has a style and sound of his own yet always puts musical integrity first.

Over the years I've loved every concert of his that I have attended - Tchaikovsky, Korngold and Stravinsky concerti among them, as well as startlingly wonderful Enescu and Schumann at the Wigmore Hall, countless delicacies in Verbier and a good few inspiring interviews. Kavakos has always struck me as one of those artists in whom all the synapses seem to work unimpeded: there's a direct flow from imagination to Strad to listener's ear. He's an unconventional player - he keeps his bowing elbow unusually relaxed, for one thing, and the sound is often gentle, refined, detailed. Inspirations, if I remember aright, include accounts and pictures of Joseph Joachim, plus the folk style of Kavakos's father's traditional Greek band. Also nice to see a major company signing an artist for substance ahead of photogenic concerns.

According to the press release, he'll be recording core repertoire: Beethoven sonatas, the Brahms concerto and the complete solo Bach.

Meet Janina Fialkowska

I'm off to meet a very remarkable woman this morning. Here she is, talking about the influence of Rubinstein, the infighting of the French school, the progress of her career and... how she has dealt with suffering cancer of the shoulder. It's a devastating but inspiring story, given her positive nature. She has recently been awarded the 2012 Governor General's Performing Arts Award for lifetime achievement in classical music - her native Canada's highest artistic honour - and there's a new CD on the way.

Above all, though, just listen to the way she plays Chopin. Intelligence and delineation is just the start of it: there's colour, freshness, joy and tremendous love. 

Birthdays...

Today should have been my mother's 80th birthday. She died just over 18 years ago, aged 61.

Yesterday was the centenary of Kathleen Ferrier, who died at the age of only 41. At least her recordings are still here. And Shakespeare, whose birthday is today, is of course immortal.

Here is Ferrier in 'Erbarme dich' from the Bach St Matthew Passion. (I have a feature about her "pending" - will post link when it's out.)

A Sunday Bach treat from Myra Hess

Dame Myra Hess plays Bach's Toccata in G, BWV916. Recorded in 1950, this performance is full of personality and poise, good sense and rhetorical flair.

Someone needs to write a new biography of Hess - a great woman, a towering artist and a real emblem of her times. Existing books are out of print. I have run to earth a copy of Marion McKenna's, but it tells us everything except what we really want to know.

But perhaps Hess's playing tells us the most, and always will.