The pianist Angelo Villani, an astonishing Australian-Italian artist based in London who's featured strongly in these posts before, is raising funds for his debut album. It's a superb programme based around Dante's Inferno, featuring Liszt's Dante Sonata, Angelo's own transcription of Dido's Lament from Purcell's Dido and Aeneas, some rare music by Hans von Bülow, and a fantasia on Wagner's Tristan und Isolde, uniting keyboard versions by Bülow, Liszt and Angelo himself. I've written his sleeve notes.
Angelo's burgeoning career was cut short in his teens by an injury to his right hand (karate is to blame). After 25 years and consultations with hundreds of specialists, he has been able to resume playing and his comeback began in 2012 with a debut recital at St James Piccadilly. This will be his first CD.
He's now found 77 per cent of the cash he needs, but with three days left, there's still a good bit to go...please help him!
Here's his Kickstarter page.
Saturday, July 11, 2015
Proms are upon us
I've written a vaguely grumpy piece for the Independent about why this year's Proms programme feels just that bit meh. I've only done this because I love the Proms and I want them to be purrfect.
Let's just explore the business about the Proms' new music on TV a little more, as a lady from the press office has sent me a lot of information.
The Proms contains no fewer than 30 pieces of music that are receiving world, European, UK or London premieres. This is an admirable count and one would expect them to be proud of it and wish to relay those works to the widest possible audience on TV.
Last year several composers of my acquaintance were utterly shell-shocked to discover that while the Proms in which their music was being done were to be televised, their pieces had been cut from the TV broadcast and moved to a designated area for new music online. At this year's Proms press launch, Edward Blakeman was challenged about this and he offered a robust defence of "curating" Proms for the TV audience (the concept of "curating" is maybe a topic for another time).
Apparently this year 16 pieces of music will be filmed for online only, but just three of those are new works. Apparently I am therefore off the mark to say that "certain pieces of music that are filmed will be viewable online only".
The three new works that will be filmed but not televised are by John Woolrich, Tansy Davies and Luca Francesconi. (So: certain pieces of music that are filmed will be viewable online only.)
The full TV schedule for the Proms is online here.
Here is how new music from the Proms on TV will look:
New music really is an important part of the Proms television offer across BBC Two, BBC Four, CBBC and online this year. New commissions by Gary Carpenter (world premiere of BBC commission Dadaville) and Eleanor Alberga (world premiere of Arise, Athena!) feature in the live First and Last Night TV broadcasts on BBC Two. New music is also broadcast within BBC Four’s weekly curated programmes on Thursday, Friday and Sunday evenings throughout the festival including: a concerto and recital series on Thursday evenings which will devote an episode to the world premiere of HK Gruber’sInto the open… and also feature the world premiere of Hugh Wood’s BBC commission Epithalamium; a series on Friday evenings featuring European premieres of works by Jonathan Newman and Eric Whitacre; and an 8-part symphony series presented by Sir Mark Elder and Katie Derham on Sunday evenings which will devote 5 episodes to 20th century music, 2 episodes to new symphonic works (the first Proms performance of Brett Dean’s Pastoral Symphony and the world premiere of James Macmillan’s BBC commission, Symphony No. 4) and the world premiere of Anna Meredith’s BBC commission Smatter Hauler. The London premiere of Anna Meredith’s Connect It will also be included in the broadcast of the Ten Pieces Prom on CBBC.
So, it looks as if around a third of the new/newish pieces will find their way onto our TV screens in one form or another, which is good news. Thanks, chaps.
Let's just explore the business about the Proms' new music on TV a little more, as a lady from the press office has sent me a lot of information.
The Proms contains no fewer than 30 pieces of music that are receiving world, European, UK or London premieres. This is an admirable count and one would expect them to be proud of it and wish to relay those works to the widest possible audience on TV.
Last year several composers of my acquaintance were utterly shell-shocked to discover that while the Proms in which their music was being done were to be televised, their pieces had been cut from the TV broadcast and moved to a designated area for new music online. At this year's Proms press launch, Edward Blakeman was challenged about this and he offered a robust defence of "curating" Proms for the TV audience (the concept of "curating" is maybe a topic for another time).
Apparently this year 16 pieces of music will be filmed for online only, but just three of those are new works. Apparently I am therefore off the mark to say that "certain pieces of music that are filmed will be viewable online only".
The three new works that will be filmed but not televised are by John Woolrich, Tansy Davies and Luca Francesconi. (So: certain pieces of music that are filmed will be viewable online only.)
The full TV schedule for the Proms is online here.
Here is how new music from the Proms on TV will look:
New music really is an important part of the Proms television offer across BBC Two, BBC Four, CBBC and online this year. New commissions by Gary Carpenter (world premiere of BBC commission Dadaville) and Eleanor Alberga (world premiere of Arise, Athena!) feature in the live First and Last Night TV broadcasts on BBC Two. New music is also broadcast within BBC Four’s weekly curated programmes on Thursday, Friday and Sunday evenings throughout the festival including: a concerto and recital series on Thursday evenings which will devote an episode to the world premiere of HK Gruber’sInto the open… and also feature the world premiere of Hugh Wood’s BBC commission Epithalamium; a series on Friday evenings featuring European premieres of works by Jonathan Newman and Eric Whitacre; and an 8-part symphony series presented by Sir Mark Elder and Katie Derham on Sunday evenings which will devote 5 episodes to 20th century music, 2 episodes to new symphonic works (the first Proms performance of Brett Dean’s Pastoral Symphony and the world premiere of James Macmillan’s BBC commission, Symphony No. 4) and the world premiere of Anna Meredith’s BBC commission Smatter Hauler. The London premiere of Anna Meredith’s Connect It will also be included in the broadcast of the Ten Pieces Prom on CBBC.
So, it looks as if around a third of the new/newish pieces will find their way onto our TV screens in one form or another, which is good news. Thanks, chaps.
Friday, July 10, 2015
ENO loses its head
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| ENO's Benvenuto Cellini, directed by Terry Gilliam |
ENO has been in financial trouble for a very long time. It's both a tragic and ridiculous situation, and one with roots that go back way further than Berry's directorship. And it's a crying shame. London is a huge European capital, with a population forecast to rise to 10 million sooner rather than later, and it deserves at least two opera houses of world quality - which is what ENO has been of late, troubles aside. The audience exists, but it must be maintained. The will has to exist too. The will has, indeed, existed until now. Will it continue?
Those who for some mysterious reason would like to see it turn into a middle-of-the-road theatre offering middle-of-the-road productions of ever-popular hits might be rubbing their hands with gleeful hope. Those of us who love cutting-edge productions, the taking of risks, the soaring of artistic standards and the pushing out of repertoire boundaries are not so happy. Yes, some productions have been more successful than others and there've been a few turkeys - but the same is true round the corner at Covent Garden, which is funded to another tune altogether.
Without Berry we might never have had such stupendous efforts as Martinu's Giulietta - a gorgeous opera and Richard Jones production to match - which didn't sell, but shouldn't have been missed for the world. We wouldn't have had Weinberg's The Passenger. We wouldn't have had that now-classic Peter Grimes. We wouldn't have had the glorious Jones production of Meistersingers coming to London from its Welsh origins, or the David McVicar all-UK-star Rosenkavalier - two of the best evenings I've ever had at any opera house anywhere in the world. And we wouldn't have had Terry Gilliam's Berliozes. I rest my case.
If change is needed at ENO - and, sadly, it seems that it is - that change has to be in its pricing policies, the way it sells itself, and maybe the pressing ahead of creative outreach and education work, a field in which it is sometimes perceived to be lagging behind. Artistically, dear ENO, keep your vision and ambition. Please keep believing that where there's a will, there's a way.
Anthony Whitworth-Jones, who is heading the board's artistic committee, is one of the most experienced people in the business, with both Glyndebourne and Garsington long under his belt; one senses a safe pair of hands in which confidence can be placed, and this can only be a good thing. Good luck to you all.
A treat from Munich
Grab a coffee, let in the sunshine and enjoy this Jonas Plus fix from Munich's Königsplatz, which took place a couple of weeks ago on 27 June. With Kaufmann, Anna Netrebko, Ildar Abdrazakov, Thomas Hampson and the Janacek Philharmonic of Ostrava conducted by Claudio Vandelli.
Not so long now until I'm off to Munich myself for the annual end of the opera festival rapidly followed by a little excursion to another part of Bavaria where there's a Wagner festival...so it's good to get in the mood for the summer from underneath a heap of work, nice though the work is.
Not so long now until I'm off to Munich myself for the annual end of the opera festival rapidly followed by a little excursion to another part of Bavaria where there's a Wagner festival...so it's good to get in the mood for the summer from underneath a heap of work, nice though the work is.
Thursday, July 09, 2015
"Self-taught" is not the panacea you think
The other day I went to Cambridge and had a fascinating chat with Stephen Layton, the inspirational director of Trinity College Choir. Layton is one of those rare people who not only lives for music, but whom you can't help seeing does so. You see it in the way his face illuminates as he talks about the composers he loves to perform - whether it's Byrd, Purcell or Eriks Esenvalds - and the disarming sincerity with which he recalls his own start in musical life: he came from a council estate background and found that music "gives me something to live for". He won a scholarship to Eton, came to King's Cambridge as organ scholar, and the rest is history.
We got talking about how many of the best-known British conductors come out of Cambridge. Some musicians of my acquaintance are cynical about this. They think it's the old boys' network that ensures the career advancement. Now, I can't be sure how much of a role that does play. But one thing is clear. Cambridge University is (or used to be - I hope it still is) a melting pot of multi-talented people. If you have the gumption to get an orchestra together and conduct it, you can do so. Nobody will help you, but the raw material will be there: students to recruit to your band, chapels to perform in, halls to hire if you raise the money, college bars in which to put up posters. If you step up, take the initiative and make it happen, you can ensure that you have more opportunities to stand in front of an actual orchestra and perform than many conservatory conducting students will ever get. You won't find any conducting lessons in the music faculty - you might as well be studying languages, medicine or anthropology - but you might have the chance to teach yourself by learning on the job the hard way.
And for some, indeed for most of us, that experience will teach you the things you never forget. You learn to teach yourself by being forced to work out, from within, how it's done.
Some of the best instrumental teachers will leave their students with this attitude and the analytical ability to keep working it out for themselves long after they have finished their formal studies. (That was how I tackled, in my thirties, pieces of piano music I wouldn't have been able to get near as a student. You work out what the problem is, what you need to be able to do, and how to practise in such a way that it becomes physically possible.)
So, to some degree, all musicians need to be "self-taught", because a musical career is an ongoing process in which if you don't keep moving forwards, you move backwards. If you work hard in a systematic way, you'll improve. If you don't, your abilities will ossify. And this is true at any and every age.
But let's face it: you will probably also have some advantage in terms of technique if you have actually had some formal tuition (and this goes for conductors too).
Therefore the fuss attending one young competitor of the Tchaikovsky Competition has reached a point where it risks being seriously misunderstood.
Articles have been appearing saying that Lucas Debargue, fourth prize winner, is "self-taught". Even though his biography makes it perfectly clear that he went to the Paris Conservatoire. It seems he was a late starter: taking up piano from 11 (as opposed to 3), and serious music studies from 20 (not 12). That's not quite the same thing.
It's dangerous to overplay the "self-taught" card because, sad to say, a large part of the British public thinks music happens by magic. That it's something for "fun". That it doesn't take hard work to be good at it. That if you want your kids to have music in their lives as something to enjoy, they don't have to practise every day (despite the fact that it'll be a lot more fun in the end if they can play decently). They seem to believe, too, that if you by-pass all the traditional channels but follow your dream in any case, you'll be bound to come out as some kind of genius. That traditional studies are somehow bad and the inspiration of the moment is good, indeed is everything.
Pardon my French, but this is bollocks. Britain's Got Talent probably has a lot to answer for, but please note: it was won by a dog.
It bothers me, too, that this attitude is something that might somehow give governments carte blanche to cut funding for music education.
There are people, for sure, who can indeed make some headway on raw talent. But music does not happen by magic. Music happens, for the vast majority of people wishing to make it, by hard graft, long hours of solitary slog, gritty determination and personal sacrifice. Yes, you can teach yourself and many important lessons will be learned that way. But "self-taught" does not mean miracles. "Self-taught" means you did that work, but maybe you did more of it on your own than others might - and maybe you'd have done even better if you'd had good tuition from the get-go. By all means, praise a wonderful young pianist with a slightly unconventional approach. But please don't mistake it for a miracle.
We got talking about how many of the best-known British conductors come out of Cambridge. Some musicians of my acquaintance are cynical about this. They think it's the old boys' network that ensures the career advancement. Now, I can't be sure how much of a role that does play. But one thing is clear. Cambridge University is (or used to be - I hope it still is) a melting pot of multi-talented people. If you have the gumption to get an orchestra together and conduct it, you can do so. Nobody will help you, but the raw material will be there: students to recruit to your band, chapels to perform in, halls to hire if you raise the money, college bars in which to put up posters. If you step up, take the initiative and make it happen, you can ensure that you have more opportunities to stand in front of an actual orchestra and perform than many conservatory conducting students will ever get. You won't find any conducting lessons in the music faculty - you might as well be studying languages, medicine or anthropology - but you might have the chance to teach yourself by learning on the job the hard way.
And for some, indeed for most of us, that experience will teach you the things you never forget. You learn to teach yourself by being forced to work out, from within, how it's done.
Some of the best instrumental teachers will leave their students with this attitude and the analytical ability to keep working it out for themselves long after they have finished their formal studies. (That was how I tackled, in my thirties, pieces of piano music I wouldn't have been able to get near as a student. You work out what the problem is, what you need to be able to do, and how to practise in such a way that it becomes physically possible.)
So, to some degree, all musicians need to be "self-taught", because a musical career is an ongoing process in which if you don't keep moving forwards, you move backwards. If you work hard in a systematic way, you'll improve. If you don't, your abilities will ossify. And this is true at any and every age.
But let's face it: you will probably also have some advantage in terms of technique if you have actually had some formal tuition (and this goes for conductors too).
Therefore the fuss attending one young competitor of the Tchaikovsky Competition has reached a point where it risks being seriously misunderstood.
Articles have been appearing saying that Lucas Debargue, fourth prize winner, is "self-taught". Even though his biography makes it perfectly clear that he went to the Paris Conservatoire. It seems he was a late starter: taking up piano from 11 (as opposed to 3), and serious music studies from 20 (not 12). That's not quite the same thing.
It's dangerous to overplay the "self-taught" card because, sad to say, a large part of the British public thinks music happens by magic. That it's something for "fun". That it doesn't take hard work to be good at it. That if you want your kids to have music in their lives as something to enjoy, they don't have to practise every day (despite the fact that it'll be a lot more fun in the end if they can play decently). They seem to believe, too, that if you by-pass all the traditional channels but follow your dream in any case, you'll be bound to come out as some kind of genius. That traditional studies are somehow bad and the inspiration of the moment is good, indeed is everything.
 |
| Britain's got canine talent |
It bothers me, too, that this attitude is something that might somehow give governments carte blanche to cut funding for music education.
There are people, for sure, who can indeed make some headway on raw talent. But music does not happen by magic. Music happens, for the vast majority of people wishing to make it, by hard graft, long hours of solitary slog, gritty determination and personal sacrifice. Yes, you can teach yourself and many important lessons will be learned that way. But "self-taught" does not mean miracles. "Self-taught" means you did that work, but maybe you did more of it on your own than others might - and maybe you'd have done even better if you'd had good tuition from the get-go. By all means, praise a wonderful young pianist with a slightly unconventional approach. But please don't mistake it for a miracle.
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