Not quite normal

Back in the Royal Festival Hall: Chineke! takes the stage

I'm astonished to realise that my schedule this past week has been a closish mirror to business as usual - without feeling remotely as if it is. It has included, among other things, a couple of interviews, but on Zoom rather than face to physical face; and two concerts to review, both with world-class performances, but in front of scant, distanced, masked-up audiences, and one evening featuring the new-look pandemic-era 21st-century orchestral layout in which every player has their own music stand. There was even a press launch to "attend" - for the exil.arte centre in Vienna's new exhibition about Jan Kiepura and Martha Eggerth, with their son Marjan and his wife Jane Kiepura taking questions, but beamed in from all corners of Europe and America direct to my study in sunny Sheen. 

I was a guest on Radio 3's Music Matters the other night after the Chineke! concert, but broadcast live from a corner of the Royal Festival Hall that used to be where the receptions were held (Radio 3 is in residence at the hall for a fortnight). Instead of standing with glass in hand gazing out at the London Eye and anticipating a packed-out concert with standing ovation, we were tucked into a corner with tables, microphones and wires, trying to figure out how to get the microphone black foam 'socks' out of their packaging. I caught my 11.03pm train home, but instead of the usual scrummage of passengers sporting theatre programmes, John Lewis bags and excess alcohol-breath, there was...nobody. Nobody else at all. 

It's good that we can find ways, now and then, to keep on keeping on, but my goodness, it's weird. "Are you optimistic for the future?" asked Tom Service on Music Matters. I had to struggle for a few seconds, and then explained that I'm not a particularly optimistic person in any case, but that even if I'm not optimistic per se, I look at the quantity of creativity and invention and adaptability around us and that gives me hope. Hope is different from optimism. 

Here are a few links if you want to read some more or listen back to the broadcast:

Review of Stephen Kovacevich's 80th birthday concert at the Wigmore Hall...

Review of Chineke! at the RFH with Jeneba Kanneh-Mason and more...

BBC Radio 3 Music Matters, live from the Royal Festival Hall...

'Immortal': the difficult stuff

I was saddened to hear the other day that the celebrated musicologist Maynard Solomon has died, aged 90. I have admired his writings for many, many years, I love his book on Mozart and have found his articles about Beethoven absolutely invaluable when working on Immortal, especially his explorations of the composer's conversation books. He sounds a fascinating person and I am only sorry that I never had the chance to meet him. Here is an excellent obituary from the New York Times.

This is a good moment to put some "difficult stuff" about Immortal briefly under the spotlight and get it, hopefully, out of the way.

Maynard Solomon's theory of the Immortal Beloved was that the woman in question was Antonie Brentano, the wife of one of Beethoven's closest friends and supporters. There were two principal reasons: first, that she was definitely in Prague on the right day in 1812; secondly, that Solomon undertook a sort of posthumous psychoanalysis of Beethoven which seemed to support this theory. His suggestion has been much approved and amplified, notably by the writer and scholar Susan Lund, who has worked on Beethoven since the 1970s and has written a novel, a play and a factual book about it. 

Josephine - 'Pepi'

The theory has also been widely contested, even objected to, the alternative being that the Immortal Beloved was Josephine Brunsvik. Chief among the scholars exploring in this direction was the late Rita Steblin, whose articles and books have been a mainstay of my own information (I was devastated to hear that she died a year ago, leaving some important research unfinished). Before that, Marie-Elisabeth Tellenbach had written a fascinating, extremely detailed book on the Josephine theory and the zealous John Klapproth translated into English some crucial early texts on the subject, including La Mara (1920s) who had published some of Therese's memoirs. Some of these writers entered into spirited and occasionally angry exchanges with Solomon on the Josephine v Antonie topic. 

But if you saw the BBC's Being Beethoven series recently, you will have noticed (or you might not - it went by very fast and in almost sheepish tone) that one of the Viennese academics acknowledges, after much "we don't know who she really was", that they do now think there is a 90 per cent likelihood that the Immortal Beloved was Josephine. Ninety per cent is not a small figure. The doubt remains because the traces of this affair were extremely well concealed at the time. It's impossible to prove the final ten per cent without digging up Beethoven and the person - or indeed more than one person - who may have been his illegitimate child and doing a DNA test. I doubt that is going to happen any time soon. 

The fascinating thing about either theory, Antonie or Josephine, is that both present Beethoven with a possible "love child" at the crucial moment. Antonie's youngest son was born about three weeks before Josephine's daughter in spring 1813. So whichever of these infants was the one to whom he could never be a father, the likely outcome - his obsession with adopting his nephew - still applies and makes sense.

It's true, too, that we don't know for certain, and that last 10 per cent of doubt is why I have tackled Immortal in the way I have: a fictional first-person narrative from a not necessarily reliable observer, leaving a little room for a question mark around the potential of Antonie. I'm not a zealot about this (I've died on a few hills before and this isn't going to be another, especially not when we are facing the biggest crisis to hit the world in my whole lifetime...). I do know that the Josephine theory looks, walks and quacks like a duck; the Beethoven-Haus in Bonn favours her as the likely solution; and I can't deny that I am not wholly in favour of psychoanalysing someone who is not present to speak for himself, though I find the nephew explanation perfectly plausible. 

Antonie Brentano

Let's cut to the chase: the problem with the Josephine v Antonie dilemma is that it is not really about Josephine and Antonie, or not any more. It is about today's factions. The fact is that if the Immortal Beloved was Josephine, it means Solomon's solution is not correct, which would be a painful admission for his disciples and admirers. Moreover, on Josephine's side it's unfortunate that Klapproth - who died several years ago - entered into some startlingly belligerent and rather wild-toned arguments about it, even with scholars of the calibre of Jan Swafford (whose book stays sensibly neutral on the issue, though seems unusually in favour of Bettina Brentano). It's not impossible that Klapproth harmed his own cause through sheer obsessiveness; moreover, his translations are not of the quality one could wish for, but their existence may perhaps have prevented others from producing more lucid ones. 

Rita Steblin's clear, rational, scholarly writings have clarified much, however; she confirmed that Josephine expressed a wish to consult someone in Prague at the right time, and furthermore revealed that as late as 1818 Therese was mooting to her sister a possibility that they could consider going to London with Beethoven (see her article in The Musical Times, summer 2019). Steblin's involvement was key to the turnaround. There are probably power struggles rumbling away beneath the entire situation, and it's quite likely that they could involve the reverence sometimes accorded to senior male scholars, the propensity back in the 20th century for squishing away the women who see things differently...and much more besides.

This is a topic that can get under your skin. I'm not surprised it provokes obsession - and some of the texts in existence are almost terrifying in this respect. That was one reason that I hesitated for several years before plunging into writing Immortal. It is dangerous, disturbing and disruptive. 

But it's also a fantastic story, strong and important enough to become known beyond academia, especially as it potentially casts fresh light on some of Beethoven's music. I've found that it's better recognised in Germany and, indeed, Hungary (the Brunsviks were Hungarian) than it is in English-speaking countries. Few writers of my outlook would be able to resist it, so...here we are. 

Immortal is a novel because it couldn't be anything else. It travels from the spheres of Jane Austen at the beginning towards the emotions of Tristan and Isolde at the end. If you like it, great; if not, a pity; either way, it is not intended as a definitive statement on the ultimate truth. I'll leave that to academia and, possibly, the DNA lab. Meanwhile I heartily recommend that readers should also explore the writings of Solomon and Lund, weigh up the theories and decide for themselves. In the end, that's all we can actually do. 

Letting Music Live

Where? Parliament Square, London; Centenary Square, Birmingham. When? Tuesday 6 October, 12 noon. 

Time to show parliament what's what in the music world, which is in graver peril than ever before. Under the auspices of a new banner, Let Music Live, convened by violinist Jessie Murphy, 400 professionals - chiefly freelancers, as most are - will be setting out to show that music is still alive and ready to work...

The arts culture sector contributes enormous amounts to the UK economy every year, but has yet to receive anything more than a kick in the teeth from the government. Despite that promise of £1.57bn of help, months later not much actual money has yet been distributed to the people who need it - if any. And that's the ones who do "qualify". Even performers who are household names in the musical and theatrical worlds have had no work or income since March and still fall through the "safety net", such as it is, "qualifying" for no support whatever. 

Please note that due to social distancing restrictions numbers are strictly controlled. Anyone who wants to attend Parliament Square must please contact the organisers first at letmusicliveuk@gmail.com.

400 freelance professional musicians from all parts of the industry will be joined in support by leading musical figures including David Hill, Raphael Wallfisch, Emma Johnson and Tasmin Little, to perform in Parliament Square and Centenary Square, Birmingham, shining a light on the need for targeted support for freelance musicians and all those who work in the arts and entertainment sector. They are also joined in solidarity by the Musicians' Union, The Musicians' Answering Service, Emily Eavis and more.
 
Conducted by renowned director David Hill in Parliament Square, the freelance musicians will perform a short section of 'Mars' from Holst's The Planets before standing in silence for two minutes. The 20% of the piece that they will perform represents the maximum 20% support that freelancers receive from the government through the SEISS grant. The two-minute silence represents the 45% of musicians currently not covered by the SEISS grant (MU). The event will be Covid-safe, adhering strictly to social distancing regulations, facilitated by support from #WeMakeEvents.

The arts and culture industry contributes £10.8 billion a year directly to the UK economy (ONS), with growth in creative industries previously running at five times that of the rest of the economy. With effective short-term support, freelance musicians will continue to make a positive impact.
 
For every £1 directly spent on music and events, an extra £2 is generated in the wider economy (ACE), powering a network of businesses across the country. Supporting freelance musicians means supporting the wider economy.

Let Music Live calls on the Government:

• to recognise that freelance musicians are an economic asset. It is essential they invest in freelancers so that they can continue to support the intricate network of businesses that rely on arts and events for their footfall.
• for sector-specific support to reopen, including a subsidised concert ticket scheme while social distancing restrictions remain, and Government-backed insurance for live events and theatre performances.
• for targeted support for those skilled workforces forced to remain closed by Covid restrictions, so that freelance musicians are still there to bring music to everyone when this is over. 

32 not out: a Beethoven piano festival with a few major differences

Moving music online may have reduced audiences in one way, but it's expanded them in others. Next weekend, on 3 and 4 October, you can log on from anywhere on earth to see all the Beethoven piano sonatas being played in a festival in a tiny 12th-century church in west London. Hugh Mather, who runs the series at St Mary's Perivale, has put together what looks like an extraordinary logistical feat: 32 pianists for 32 sonatas. Here he tells me why and how - and what Beethoven has meant to us in these troubled times. You can see the whole festival line-up here:  http://www.st-marys-perivale.org.uk/events-beethovenfestival3.shtml 

Amit Yahav performs at St Mary's Perivale

JD: Why did you decide to have a festival of the Beethoven piano sonatas at St Mary’s Perivale, given that Beethoven was already to be so extensively celebrated this year in the “upper echelons” of the music world?

HM: We obviously had to mark the great 250^th anniversary in some way. I had organised three similar cycles of the sonatas with 32 pianists at St Barnabas Ealing in 2009, 2012 and 2014, so I knew the format works. Our strong suit is the large number of superb pianists who live in or around London. A sonata cycle was the obvious way of giving 32 of them a chance to perform, and the opportunity for listeners to re-discover many of the lesser-played works. Unfortunately the virus has led to many other festivals being cancelled, and we are now one of the few big Beethoven events still happening. Our friends in the Beethoven Piano Society of Europe are also putting on a similar cycle, but spread over the whole year, rather than a weekend, and in different venues. I had also planned to present all 10 violin sonatas played by 20 musicians in a single day, but that will have to wait till next year.  

JD: You have a different pianist for each sonata - a major contrast from most Beethoven cycles which are attempted like a solo Everest-climb by individual pianists. Why did you decide on this?   

HM: Simply because the format is infinitely more interesting and enjoyable with 32 different pianists!   I have at least 15 CD or LP sets of the complete sonatas, but I always skip around to hear different pianists and their various sonorities and approaches. Even if Schnabel were reincarnated, I would get slightly bored in hearing the same sort of sound and aesthetics for 14 hours, whereas with different pianists it is endlessly fascinating. And we have a superb team of pianists who will each have something special to offer and will all sound very different from each other. I guarantee a very high standard of performance throughout the cycle, and it will be compelling viewing and listening for anyone interested in Beethoven or fine piano-playing.       

JD: What were the issues involved in putting it together? Organising 32 pianists sounds like a logistical nightmare… 

HM: Actually it was surprisingly easy. I wrote to a carefully selected group of pianists in early January, asking them if they would like to participate, and if so, which sonatas they would like to perform. A handful of pianists were unable to participate because it was expected to clash with the Warsaw Chopin competition (since postponed), but otherwise virtually all instantly agreed to play, and I am very happy with our current team !    

To put this in perspective, I have a database of 160 very good pianists who have asked for a solo recital slot. Our venue is always popular because we pay our musicians, we have a nice piano and we provide a high quality recording. So I could easily construct teams to play 2 or 3 cycles! As regards choice of sonatas, nearly all offered the 'Appassionata' and 'Moonlight', etc, but I asked them to specify less familiar sonatas which they would be prepared to play in 9 months' time. From previous festivals, I know that the difficult sonatas to fix are Op 2 no 2, Op 22, Op 31 no 1, Op 54 and the two Op 49s. The jigsaw fell into place over the spring, before the lockdown in March.  

St Mary's Perivale

JD: It’s wonderful that you can livestream concerts from St Mary’s, even without a physical audience. How has COVID-19 affected your plans in terms of the pianists themselves? Have many had to drop out, and how do you replace them?  

HM: The original team of 32 pianists in January included a very good Polish pianist – Michal Szymanowski – who obviously had to cancel because of travel restrictions, and two other pianists cancelled because of other considerations, but otherwise the team is virtually unchanged. I recently advertised on Facebook for replacements to play Op 13 and Op 79 and within 24 hours received offers from 20 and eight pianists respectively. With such a large team of musicians, I suspect there may be at least one to three cancellations next week, and I will need to find a replacement at short notice! That is the worst aspect of the whole project.

JD: What are the technical challenges of relaying concerts on the internet? How does St Mary’s manage this?  

HM: Our video and streaming facilities were developed over several years by a group of retired BBC personnel, led by Simon Shute and George Auckland, who live in Ealing and are longstanding friends.    The system now comprises 7 high definition cameras and 2 high quality microphones permanently installed in the church. It was developed as an adjunct to our concerts, initially to provide recordings for our musicians, and it only realized its full potential in the lockdown, since when we have become, in effect, a broadcasting studio! Since then we have streamed 28 live concerts and 53 concert recordings.  Our superb technical team provide their services free of charge, in keeping with everyone else at Perivale, so we have been able to install broadcast quality video systems remarkably cheaply.

     

JD: Do you think concerts change substantially without an audience? How do performers cope without that live feedback? 

HM: Broadcast concerts, viewed at home, are inevitably a poor substitute for the ‘real thing’, and I can’t wait to return to having a ‘live’ audience enjoying a communal experience again. Nevertheless, the concerts have filled a void in many peoples’ lives, providing much entertainment and solace, and they have enabled us to support so many musicians over the past few months of financial hardship, from viewers’ donations. Performing in an empty venue is indeed slightly nerve-racking, rather like a professional broadcast, but most of our musicians are experienced performers and soon get used to it.

JD: As a pianist yourself, can you tell us something about what makes the Beethoven sonatas such an extraordinarily special body of works? Do you have any personal favourites among them? If so, which and why?

HM: The Beethoven sonatas have been called the ‘New Testament’ of the piano literature. They cover such a remarkable range, from the early classically-based works to the late transcendental sonatas, and there are few if any weak pieces among them. I love them all, and have listened to them all my life, but I didn’t have time to study many of them, on top of my medical career. My favourite will always be the 'Hammerklavier', for personal reasons. After graduating in medicine in 1971, I took a few months off to study the piano with Jimmy Gibb at the Guildhall, and decided to learn the great work, which I played at an open recital at the Guildhall in 1972. Then I got married to Felicity Light, who was a medical student, so I had to earn a living, and returned to a frantically busy career, which precluded serious practice for years. So I have only learned and played about 5 of the sonatas in public. The 'Hammerklavier' has stayed with me ever since, and I played it in our complete Beethoven cycles at St Barnabas in 2009 and 2014. The slow movement still moves me to tears every time I hear or play it – one of the most profound and transcendental pieces ever written. 

JD: Medicine and music are often deemed to “go together”. While writing ‘Immortal’ I’ve been fascinated to learn that Beethoven occasionally practised almost an early form of music therapy: he would improvise for friends who were suffering grief, bereavement, depression etc, and his musical response to their frame of mind would bring them the relief of tears. During this weird year, I’ve gone back to my piano and playing Beethoven has brought me energy, positivity and renewed enthusiasm for life. Do you find he has a similar effect?

HM: The link between medicine and music is indeed widespread. As for Beethoven, one can spend a lifetime exploring these wonderful masterpieces, and I never tire of them. I particularly enjoy all the early sonatas which people rarely play in recitals, as well as the immortal late sonatas. Part of the joy of our festival will be a re-acquaintance with some of the less-commonly played works. In the lockdown I have been re-listening to the late string quartets and have found them to be life-enhancing and deeply enriching, and appropriate listening material for this strange and depressing time. At the risk of sounding pompous, Beethoven’s compositions really do encapsulate every facet of the human experience, rather like Shakespeare. We hope to show that in our great festival at St Mary’s Perivale on 3 and 4 October.

Beethoven Festival, St Mary's Perivale, 3 and 4 October, is online here: http://www.st-marys-perivale.org.uk/events-beethovenfestival3.shtml 

Can conductors change the world? A guest post by Rebecca Miller

I've been astounded, these past tricky months, at the explosion of creative thinking and doing by musicians around what can feel like a very shattered world. The news in the papers is universally awful: a third of MU members are thinking of leaving the profession, while the ISM has found that 64 per cent of musicians are considering the same, and there are eye-watering redundancies at many of our leading concert halls. And yet things have come about in six short months that we'd never have dreamed of a year ago, from ENO staging a drive-in La Bohème in the car park at Alexandra Palace, to the ability to tune in online to performances from far and wide, many of which are fortunately starting to charge for viewing, which they should. 

With education and social life suffering abominably, creative initiatives that bring people together online for stimulating discussions and masterclasses are coming into their own. Among the best I've come across is Beyond Borders, devised by the conductor Rebecca Miller, which is launching on 2 October, aiming to gather musicians, educators and music industry leaders from all over the world. I'm delighted that she has written us a guest post. Please follow the links at the end to sign up and take part. JD

  

Can conductors change the world? 

A guest post by conductor Rebecca Miller

 

Who is this crazy woman spouting about conducting masterclasses when the world is falling apart? What relevance do orchestras have to us today? Why should we try to save them? Can orchestras make the world a better place? How? What makes a community? How can we fix the world? 

 

(…just a small insight into the current state of my mind)

 

From darkness to light

 People often ask me if I have a favourite composer. I usually laugh and say, ‘that’s impossible to say - it’s like asking me which of my children I like best’. But if I had to choose one at gunpoint, I would choose Beethoven. Of all the composers who mastered the art of finding light through the darkness… for me, it is Beethoven. Of all the composers who excelled in imagination through extreme limitations… for me, it is Beethoven. 

 

Throughout lockdown, throughout the darkness, the despair, the fear, the longing, I have found a token of strange and sombre comfort somewhere - it wasn’t in Beethoven, but it was in the knowledge that everyone in the world is in the same plight - that everyone is in this isolation - together; that everyone in the world is affected in some way by COVID and that we are all fighting the same fight. When else has it been that the whole world fights the same problem at the same time? That we are completely united as a world, against a single cause? As humans, as societies, we are usually wrapped up in our own problems - we often don’t pay enough attention to the problems of others. But here we are, every single person in the world has heard of COVID, is affected by COVID, wants to rid the world of COVID. 

 

That unified purpose - that’s what an orchestra does on stage. We are all committed to one objective - to play this piece, at this time, on this day, for this audience, to the best of our abilities. Nothing else matters at this moment. It doesn’t matter who the person is next to us - what is the shape their violin, or what is the colour of their skin. All we care about is getting it right - getting it better, and better, as we strive further and further towards an unattainable perfection. 

 

I started Beyond Borders out of isolation, out of a desire to overcome the restrictions on human contact - to bring people together, from across the world, in ways and for discussions and sessions that previously didn’t seem possible. I think we have all accepted - like it or not - that digital meetings and conferences are a way of the present and likely a way of the future - and I have decided to embrace it, rather than reject it. So I turn back to Beethoven. To find the light out of the darkness. To create something imaginative out of extreme limitations. 

 

Beyond Borders aims to bring people throughout the world together through online sessions and masterclasses - to discuss and contemplate community, leadership, and orchestras, but through the eyes of a conductor. Individual sessions and masterclass series - details here and more below.

 

So… can conductors change the world? 

 

I’m passionate about changing the world. I have been ever since I was little. I did realise at some point, however, that I cannot change it all myself. And I probably can’t change very much about it. But in my own little way, each day, I try to at least make small changes. 

 

I want a world that is kinder, more respectful, more empathetic, and that listens more to each other. Through Beyond Borders I’m trying to take my small corner of the world - conducting an orchestra - and shed a light on the relevance to society of this rather strange and seemingly mysterious job. 

 

I’m passionate about teaching my conducting students that the ‘stick technique’ (arm waving) is only a very small portion of ‘the job’. The majority of the job is actually the people skills, the collaboration, the leadership, the big ideas, and of course all the intense study of the music and its context that is the basis for all of the former. In order to lead you must be able to offer - at the very least - knowledge, ideas, and context, and then hopefully you’re also able to add a dollop of inspiration, trust, and enabling. 

 

I bang on and on in my conducting lessons about stepping outside of yourself - what’s the view like from the other side? What do your co-collaborators need from you? Do you understand their position? Do you understand what they need in order to do what you are asking of them? That you serve the musicians - your team - not the other way around. 

 

For me these skills - putting yourself in context, viewing yourself from the outside, and having a wide perspective - are life skills. And I hope that my students - conducting and orchestral - take these pieces of advice and apply them to their wider lives as human beings. I am convinced that by widening the perspective of a few young conductors, that I am in my own tiny little way, changing the world - just one conductor at a time. And that’s OK with me. 

 

 

I hope you’ll join me at Beyond Borders - whether as a participant, as a guest at one of our sessions, or as a member of our mailing list to start. We will be rolling out sessions on orchestras, community, conducting, and leadership. 

Our first offering is a master class series that touches on all of these topics - Making Waves - October 2-4th, with some fantastic guests from the industry. Please join with us - to help bring the world together and to work towards a kinder and more collaborative society. 

 

Rebecca Miller 

 

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