John Tusa speaks out

John Tusa, the chief of the Barbican Centre and one of the biggest, most intelligent, heavyweight, tell-it-like-it-is visionaries in British arts administration, has an important article in The Times today about how sick he is of mealy-mouthed government arts policy, the 'meddling bureaucrats' who make the rules, and the idiotic justifications that are constantly demanded for continued support - usually at pathetically low levels - of our world-class cultural institutions.

Here's an extract:

"...I’m sick to death, too, with justifying the arts as if there was something specially problematical about doing so, as if funding the arts is irrational or even unnatural. Thinking about the arts, judging their value, explaining particular trends in the arts — this is an essential part of a human activity that takes itself seriously. What is a waste of time is being required to justify the arts as if millennia of arts activity required justifying anew, as if a failure to justify them could — or should — lead to the end of the activity altogether..."

Read the whole thing here.

Meanwhile, The Guardian the other day ran an article about how 35 per cent of opera chorus singers suffer from 'wet burping'.

Commodities market

In other words, the London International Book Fair. I was going to write a long, philosophical post about how one grows up studying literature at school and revering the great authors past and present, then goes into the seething mass of languages and deals that make up the event in (this year) Earl's Court only to find that a book isn't seen as a work of art but as a commodity and how, as a writer, one suddenly understands that one is a commodity too, and how one does technically know this already but actually experiencing it is different..... But it's quite fun being a commodity, and I had some excellent meetings. So, fine.

Meanwhile, a big 'Indy-panic' the last couple of days, which has been even more fun than being a commodity! Watch this #.

Korngold update #3

Korngold enthusiasts should get themselves to West Norfolk in September. Yes, the West Norfolk Music Festival is running one of the most astonishing Korngold bonanzas I've come across. It's to be held in Stoke Ferry, Norfolk, from 8 to 15 September. I haven't yet tracked down any further details on the internet, eg box office phone number, but will update this as soon as I can. Here's a small selection of the festival's content, as sent to me by Brendan Carroll.

Songs & Arias from Die tote Stadt and the other operas to be given by Swedish tenor Jan Stromberg
Violin Sonata in G major, op.6 to be given by Swedish Artist - Fredrik Paulsson;
Cello Concerto - soloist tbc;
String Sextet in D major, op.10;
The 3 String Quartets to be given by the Solaris String Quartet;
The Piano Quintet - the same quartet with pianist Raphael Terroni;
The 3 Piano Sonatas & other substantial solo piano works (including some premieres) to be given variously by artists including Raphael Terroni, Martin Sturfalt, Vadim Peaceman;
Further songs to be given by the contralto Phillida Bannister
The Piano Trio Opus 1.

That should keep them busy! More soon.

Mayerling, yet again

W-h-e-w!!!!!!!!

Went to Mayerling at Covent Garden last night, starring the one and only Carlos Acosta as the crazed Crown Prince Rudolf of the Austro-Hungarian Empire (pic above not from this ballet, but hey...). Feel teh power. It's not just the jump, the stage presence, the technique, the body - this guy can convey character through movement with one gesture, the dissolution of a whole psyche in a single step. His Mary Vetsera was Leanne Benjamin, transforming from ditzy 17-year-old to breathtaking sexpot in the flash of a toe, her limbs as free as flames. Supporting roles - surely as demanding as any lead - included more of the Royal Ballet's finest, Mara Galeazzi, Gemma Bond, Zenaida Yanowsky and plenty others. The only weak spot was the orchestra, which had a bit of an off-night, but let's forgive them this once.

I wonder if Mayerling is deliberately a twisted inversion of The Sleeping Beauty? Instead of awakening the heroine, the prince kills her and himself. He's led to her by another woman - this Lilac Fairy is his ex-mistress. The Rose Adagio? No, the Mephisto Waltz: stunning choreography for sought-after woman - a prostitute - and four lovers. The Wedding pas de deux at the end of Act I is effectively a rape, in which the woman is horrifically complicit, and features a fish-dive pose. The young girl grows up - Mary is a child with her hair in ribbons at the beginning - but her fulfillment is a suicide pact. The King and Queen - Emperor and Empress - are at it too, both with lovers attendant. There's a hunting scene...in which the prince accidentally kills a member of the court. The opening scene is called 'prologue', and it's not a christening but a funeral.

When Mayerling was first performed, back (if I remember right) in the 1980s, it got a lot of stick from the critics. Too many characters - how do you keep track of all Rudolf's women?! [you read the story]. You can't convey in dance that Countess Larisch is his ex-mistress! [you can, very effectively]. What are those Hungarians doing, whispering in Rudolf's ear? You can't do separatist politics in dance! [never mind the whispering, watch 'em dance!] And all those prostitutes parading their wares, yeuk! [ref Schiele, with Mitzi Caspar looking fresh out of Klimt?]. What a very nasty story! [so's Romeo and Juliet]. Twenty-five years on, or thereabouts, this ballet is clearly one of Kenneth MacMillan's masterpieces.

BBC Music Mag CD awards well afloat

Spent a happy spring day yesterday at the BBC Music Magazine CD Awards bash on a boat on the Thames.

What with the bubbly, the excellent food, the passing riverside panoramas and the company of congenial colleagues, the event was altogether friendlier and more informal than certain comparable ceremonies. Moreover it recognised, on the whole, recordings that were highly deserving but often less than obvious choices, and largely from the smaller independent labels rather than what's left of the big hitters.

Here goes:

The Vocal category was also Disc of the Year: Soile Isokoski in Sibelius's Luonnotar and other orchestral songs, with the Helsinki PO conducted by Leif Segerstam (Ondine).

Romanian pianist Luiza Borac's second disc of Enescu's phenomenal piano music (Avie) scooped Instrumental.

A Dvorak disc full of dancing delights from the youthful Czech Smetana Trio (Supraphon) walked away with the Chamber award, despite strong competition.

Vivid, vivacious Vivaldi in the red monk's opera 'Griselda' from French conductor Jean-Christophe Spinozi (Naive).

Orchestral went to Mariss Jansons and the Concertgebouw for a towering Shostakovich 7th (RCO Live).

Choral was more Sibelius, this time Kullervo from the LSO & LS Chorus under Colin Davis.

Premiere recording of the year CD was Juliane Banse in orchestral songs by Charles Koechlin, staggeringly gorgeous (Hanssler).

The Paavel Haas Quartet was Newcomer of the Year for their debut disc of Janacek and their namesake. More bouncing Czechs on Supraphon!

Technical excellence award (for tonmeistering) went to Zemlinsky's Lyric Symphony (Schafer, Goerne, Orchestre de Paris/Eschenbach) (Capriccio).

DVD of the year was of course David McVicar's all-singing-all-dancing Bollywoodish 'Giulio Cesare' from Glyndebourne, starring Danielle de Niese et al (Opus Arte).

Among the acceptance speeches, an array of delicious accents and personalities that someone would have had to invent if they didn't exist. The artists arrived from far and wide, and Jean-Christophe Spinozi and Mariss Jansons had been filmed giving their thank-yous from overseas, respectively in lavish and characteristic French sparkle and Russian soul. Luiza Borac, who's Romanian, flew in from Hannover; the Smetana Trio and Paavel Haas Quartet landed from Prague; and I doubt that anyone will forget in a hurry Finnish conductor Leif Segerstam's contribution. After regaling us with a larger-than-his beard evocation of Sibelius's vitality, atmospheres and basic utter genius, the vociferous veteran maestro built up to a glorious climax: "I love this music, life and the world!!!" Isokoski herself arrived as a graceful conclusion to the day, meeting the boat at Victoria Embankment on its return and boarding to deliver her acknowledgements fresh from rehearsal at the Wigmore Hall.

I was on the jury this year and ploughed my way through what I'm told amounted to 187 discs (at times, admittedly, they felt like the Sorcerer's Apprentice's dividing brooms!), all of which had been awarded the top-ranking five stars by one or other of the magazine's critics. We whittled the lot down to three discs in each category, which were then placed before BBC Radio 3 listeners for their vote. In rocked 38,000 voters.

Our discussion sessions naturally produced a good few disagreements, but highly stimulating ones. I don't mind confessing to having shot down one or two clay pigeons; and some of my favourites similarly bit the dust in the talons of my sharp-eared colleauges. Most of my favourite discs of last year weren't even there, not having been accorded five stars by their reviewers, while I certainly wouldn't have given five-star ranking to all of those 187 discs. But that's life, and that's music criticism for you. I also encountered some true revelations, astonishing myself by falling head over heels in love with Andreas Staier's harpsichord playing (harpsichord? moi?!). The end results are more than satisfactory: IMHO, all of the ultimate winners are simply marvellous.

There were the usual jibes during the introductory speeches, of course, at rival magazines and radio stations and the harbingers of doom. After reading Peter Maxwell Davies's speech for the Incorporated Society of Musicians conference, one couldn't help but feel depressed - lots of problems, not exactly a plethora of practical solutions - but the best suggestion yet about how to improve matters came yesterday from the awards' presenter, James Naughtie: 'Just get on with it'.

I'm glad to say the reception was sponsored by Taittinger.

I haven't linked to every one of the award-winning discs above, but further information should soon be available and I'll update this as soon as poss.

Sibelius and co

...my piece about him was in today's Independent.

The Indy also ran a very good read the other day - stars pick their musical nightmares. Mostly pop, but some intriguing points. For instance, nobody gives as their ultimate hell 'listening to classical music'. Rather they pick on a few appalling pop groups and teen trends, anti-social levels of volume, one or two old-time rockers and the annoyance of mobile phone noises. Only one singled out jazz.

When Josh went busking...

The Washington Post's Gene Weingarten has a fascinating article about what happened when Joshua Bell was persuaded to go busking to see how rush-hour commuters responded. Here's a taster:

"If we can't take the time out of our lives to stay a moment and listen to one of the best musicians on Earth play some of the best music ever written; if the surge of modern life so overpowers us that we are deaf and blind to something like that -- then what else are we missing?"

Read the whole thing here. Thanks to Alex Ross and Justin Davidson for the link.

Meanwhile, Josh has scooped the Avery Fisher Prize and has a new disc out (follow that link to his website for more details).

New page

I've added (more accurately, Horst has added for me) a new page to my website for my stage works.

Corin Long

I'm so sorry to report that the Royal Philharmonic Orchestra's principal double bass, Corin Long, has died in a diving accident in Spain. Corin was a sought-after professor at the Royal Academy and Trinity College of Music in London, a beloved colleague to London's orchestral musicians, a busy and popular chamber music player, and much more besides. He will be sorely missed.

A little A.E. Housman

LOVELIEST of trees, the cherry now
Is hung with bloom along the bough,
And stands about the woodland ride
Wearing white for Eastertide.

Now, of my threescore years and ten,
Twenty will not come again,
And take from seventy springs a score,
It only leaves me fifty more.

And since to look at things in bloom
Fifty springs are little room,
About the woodlands I will go
To see the cherry hung with snow.

Ahhh....This was the first poem I ever memorised (probably the last, too) when I was about 10, at which age the 20-year-old poet seems immeasurably and unreachably mature.... Oh, f(&*.

Strad fad?

The Indy this morning has the news that an anonymous bidder has just paid the second-highest price ever for a Stradivarius: £1.38m. And he thinks he got a bargain.

How do you buy one of these beauts if you're a musician? Mostly you don't. Otherwise, you beg, you borrow, you court wealthy people who collect the ruddy things, and if you are lucky enough to have one, you make sure you've got every piece of documentation under the sun to prove that what you have really is what you think you have, in case it isn't. It's a fiddly business, if you'll pardon the awful pun.

How expensive is a good fiddle? How long is a piece of string? How good is the performer? These are all infinitely variable. The violin used to be my 'second instrument' and once I had a friend who worked with a violin dealer in the West End. When I visited, he took down a violin from the wall and said 'have a go'. I played a couple of scales and adored it. It was the right size for me (smallish), had a beautiful sweet tone, had been made in Spain sometime in the late 18th century and cost £30,000. (We're talking 1989 here.) Then he took down another violin and said 'now try this one'. I didn't like it at all. It was loud, harsh, too big, I don't know what it was but it cost £60,000. I couldn't get my head around that.

The online auction house Tarisio held several days of viewing before its latest auction a few weeks back. They were selling a Nicolo Amati, and a fiddle-fanatic friend from the orchestra reported that it was absolutely gorgeous. For elaborate reasons I particularly wanted to see and hear a Nicolo Amati close to, so I grabbed my resident fiddler and took him off to Great Marlborough Street, where he began to play the Korngold concerto on the violin, which had a label inside saying Guarneri. The sound that came out was nothing short of heavenly: even, resonant, responsive, focused... Poor Tom turned green with longing.

This fiddle had an interesting history. It had been considered a Guarneri for most of its lifetime, but had been reassessed by Beare's and reidentified as an Amati; Guarneri having been apprenticed to Amati in Cremona, some confusion seemed not impossible. Moreover, it had belonged to the author of Le petit prince, Antoine de St Exupery. Romantique, n'est-ce pas?

It sold in the end for a figure in the region of £110,000. Compared to £1.38m, it doesn't sound much. But still way out of reach for most normal musicians.

The orchestra wife's guide to surviving Aldeburgh

1. Watch Tony Palmer's film about Benjamin Britten to check the place's raison d'etre.

2. Pack heated pad for cold tootsies. The Suffolk coast is that land that climate change forgot to warm up, even if it may one day swallow the whole place.

3. Book lovely b&b in exquisite village of Orford and spend happy evening at the Butley Orford Oysterage. They catch their own fish and have their own oyster beds.

4. Discover that am wearing same daily uniform as Vladi - blue jeans, brown leather jacket and floppy hair. I should have been a conductor. Next life, perhaps.

5. Find tranquil corner of office buildings to tap on word processor while hubby and co slog out guts in the hall. After much trial and error, discover that the ladies' bandroom is the warmest spot in Snape, having no windows and therefore no draughts.

6. Eat too much breakfast and drink way too much coffee.

7. Concert part 1: wallow in Tchaikovsky Serenade for Strings, favourite piece that Tom hasn't played for donkey's years.

8. Concert part 2: enjoy world premiere of lovely new piece by Mark-Anthony Turnage, then hair-raise through stunning Britten Frank Bridge Variations, a piece that Tom has never played before at all.

9. Hit the A12.

10. Realise that forgot to say to Tom, "WHERE'S YOUR VIOLIN?" before setting out for home.......

Chopin and the nightingale

Done your homework? Read the story? Good. Now read it again with the following in mind: the Emperor as the dying Chopin. And the nightingale as Jenny Lind. And, possibly, the artificial nightingale as Countess Delfina Potocka...

Have a look at this extraordinary stuff from Icons of Europe, under which auspices a whole book has appeared on the subject of Chopin's relationship with the great Swedish soprano Jenny Lind. It seems that Chopin was the love of the 'Swedish Nightingale''s life. Everybody loved her - notably, Hans Christian Andersen - but she wanted to marry Chopin; and after his death she put tremendous philanthropic efforts into raising funds to combat tuberculosis.

My only problem with the suggested interpretation of The Nightingale is that the story was published in 1843 and Chopin didn't die until 1849. But was this a case of life imitating art? Such things happen...Either way, it's a fascinating notion.

Andersen...

Please follow this link and read this exquisite story by Hans Christian Andersen. Tomorrow I'll explain why.

Philling up the Coliseum

If you fancy going to see Philip Glass's opera about Mahatma Ghandi, Satyagraha, free of charge at the London Coliseum on 5 April, Sky-Arts-sponsored bloggers ArtsWOM have some comps to give their readers. Have a look at their post & email them direct for more details & tix.

More info about the opera & the ENO production here. It's the opera's London stage premiere and the composer's supposed to be there in person. ArtsWOM tells me that their only condition is that anyone taking up the tickets should please talk about the show on their own blogs/outlets/forums.

So, will Glass generally induce a glacial glare, or gleaming gladness? Either way, it should be an event...and I may have to give it a go, too, having (blush) never heard any Glass live in concert, at least not since a CD launch in a converted cavern somewhere in Docklands, back in the days when CDs still had launches like that. Maybe it's time to face the music and reflect...

a bit of fun...

Matthew/Sohothedog has some fun for the weekend with this unusual quiz! Here goes:

1. Name an opera you love for the libretto, even though you don't particularly like the music.
Tosca. I'm not kidding.
2. Name a piece you wish Glenn Gould had played.
Michael Nyman's music for The Piano.

3. If you had to choose: Charles Ives or Carl Ruggles?
Would compromise and go to The Ivy for lunch instead.

4. Name a piece you're glad Glenn Gould never played.
Debussy, La plus que lente.

5. What's your favorite unlikely solo passage in the repertoire?
The tweetybird unaccompanied violin passage in Enescu's Impressions d'enfance.The cuckoo ain't bad either.

6. What's a Euro-trash high-concept opera production you'd love to see? (No Mortier-haters get to duck this one, either—be creative.)
Wagner's Ring performed according to the composer's instructions with designs taken from Arthur Rackham's drawings. Wild!

7. Name an instance of non-standard concert dress you wish you hadn't seen.
Jean-Yves Thibaudet's red socks.

8. What aging rock-and-roll star do you wish had tried composing large-scale chorus and orchestra works instead of Paul McCartney?
Whatstheirnames from Abba.

9. If you had to choose: Carl Nielsen or Jean Sibelius?
Sibelius, but my husband might kill me for that.

10. If it was scientifically proven that Beethoven's 9th Symphony caused irreversible brain damage, would you still listen to it?
Yesdht3icbeutnaoehfgbnauedw278r&!*

Reality check

Nothing like a baby bear for bringing back a sense of perspective. This is Knut, the polar bear cub that is being hand-reared at Berlin Zoo after his mum rejected him, despite "animal rights" activists saying he should be killed rather than let a hellable horralump of a human anywhere near him. The pic (photo by Franka Bruns/AP) can be found at The Guardian, which, if you're friendly towards bears, has ten more. Have a nice weekend.

Can't find my Russian dictionary

But need it for an appropriate expletive in response to this alarming story reported by Matthew Guerrieri yesterday, with a link to the Arizona Daily Star which has the details. It seems that Rachmaninov's great-great grandson is planning to have his famous forefather's works rearranged so that they can be re-copyrighted. This is deeply unsettling.

I'm not convinced that Jane Austen's descendents would have been quick to scribble adverbs all over Pride and Prejudice in order to declare it a new work and pull in even more £££s. And can you imagine a member of the Shakespeare clan rewording for similar purposes - "To exist or to exist not, that is the decision..."

Though I'm as prone as any writer to get stewed up about authors' and composers' rights, a sensible line does need to be drawn, doesn't it? Shades of the Hyperion-Lionel Sawkins case...where will the issue go from here?

Hooray!

David Hurwitz at Classics Today has succeeded in writing the article I've been trying to write for 20 years about the deeply misguided modern practice of forbidding vibrato in violin playing of certain eras and types. You'll need more than two cups of coffee - it's 115 pages long.

To celebrate, here's George Enescu - one of my personal heroes - playing Corelli (audio only, though from Youtube).

Kiri wins her case

The Indy tells us today that Kiri has won the court case of the flying knickers. The promoter sued her for breach of contract, wanting £820,000 in damages. Turns out she hadn't signed a contract, so she couldn't have breached it. Duh.

"Dame Kiri is obviously a dame, and I mean that with great respect," said the head of the promotion company.

If you can't beat 'em...

... join 'em! A warm welcome, please, for NORMAN LEBRECHT'S brand new blog on Artsjournal, linked to his new book, with the priceless title SLIPPED DISC. Welcome to the blogosphere, Uncle Norman, and we hope you enjoy the roller-coaster you're about to discover!

'Too Much Mozart'

Too Much Mozart, a short story I've written to accompany a new CD of the Mozart Sinfonia Concertante, is now available to read online at my permawebsite: follow the link from the news page. The recording will be released on the Avie label later in the spring and features Philippe Graffin (violin and director), Nobuko Imai (viola) and Het Brabants Orkest; the story will be published in the CD booklet.

Adieu, Ernst Haefliger

The wonderful Swiss tenor Ernst Haefliger has died, aged 87. Obituary from Playbill Arts here (thanks to Rich at High & Low Notes for the link). Another at The Guardian here.

A time of things turning up

First it was a Rachmaninov manuscript in a Co-op bag. Now it's Chopin's piano. His long-lost Pleyel has pitched up, lurking in the Cobbe Collection at Hatchlands (above) in Surrey, identified by the excellent Chopin scholar Jean-Jacques Eigeldinger (editor of Chopin, pianist and teacher as seen by his pupils - a.k.a. my Chopin Bible). The story was in The Times the other day, but [cue my Technotwit signature theme] I couldn't find it on their website, so a magazine-based friend with his finger on the pulse has kindly sent me this link to the article (in English) from Turkey. Time to head for Hatchlands to hear it! In general, their programme of concerts is well worth checking out.

The journalist comments, with accuracy, 'Chopin died long before his own performances could be recorded'. Shades of a sorry occasion when a magazine that shall remain nameless ran a nice little trick on 1 April, declaring that an early cylinder recording of Chopin playing his own Minute Waltz had turned up buried at the bottom of a garden belonging to an unfortunate, unrecognised pioneer of recorded sound. Said mag had included it on their cover CD. Guess who fell straight into the trap...

Good morning

Woke up to find my name and Elgar's splashed all over the business section of today's Indy. Stephen King argues that poor old Edu should never have been on the £20 note at all and represents 'a peculiar celebration of mediocrity'. I got very excited for a second, thinking a world-famous thriller writer was reading my work; but no, this Stephen King is head of economics for HSBC. He says that Elgar would never have got onto a banknote at all if Mozart, Beethoven or Bach had been British. He accuses all British composers of being second-rate, with the exception of Lennon & McCartney.

He's right in that we've had a handful of worthwhile composers, but never anybody to touch the top-notch greats (I still think Elgar's concertos are top-notch, but I take his point). The question is: if Elgar's mediocre but the best we have (King doesn't appear to mention Britten, let alone Orlando Gibbons), why should that be? I've been thinking this over for the last three hours and have a number of ideas on the subject, but after drafting a lengthy post at least five times I reckon they require a book, not a blog, and would upset an awful lot of probably blameless people. Come on, folks: your ideas, please!

By the way, I wouldn't dream of trying to write about economics, though I deeply regret having missed director Adam Curtis's new series The Trap so far.

UPDATE, 5pm: Blimey, guv'nor, my Elgar story has made it to Italy - Operachic found it in Milan's Corriere della Sera... Mille grazie, amica! [sorry, my Italian is hopeless...]

Elgar lives, even if not on the £20 note

This is what I've been doing this week.

Prikrastna! E bellissimo!

Blimey! The missing manuscript of Rachmaninov's Second Symphony has turned up, in a Co-op bag. Geoffrey Norris authenticated it and has the story in today's Daily Telegraph. Big thanks to Anna/Robin Hill for the tip-off.

Meanwhile I'm still wiping off smudged mascara after seeing La Boheme at English National Opera last night, in their now classic production, set in the 1950s, by the late Steven Pimlott with the sparkling translation - now viewable in surtitles - by Jeremy Sams. Odd thing about opera (Lieder too, for that matter): it's pure masochism. The more you cry, the better it's been. Hmm. Boheme gets to me every time, but this was simply superb, with ace performances all round, especially from Mary Plazas (Mimi), Peter Auty (Rodolfo), Giselle Allen (Musetta) and Mark Stone (Marcello). Before the show I was too busy talking to our congenial companions for the evening - some of the staff of a new blog sponsored by Sky Arts, ArtsWOM (=Word Of Mouth) - to notice who was conducting, but was very impressed by the pacing, sensitivity and use of silence. It turned out to be Xian Zhang, clearly a maestra to watch out for in future.

When Steven met Slava

Ace cellist Steven Isserlis has a personal tribute to Rostropovich in today's Grauniad. Steven's one of those rare musicians who writes so well that he could put the rest of us out of a job. Here's a tempting extract:

Not surprisingly, considering the energy and passion with which Slava approaches every aspect of his life, he has a fearsome temperament. Once, his younger daughter Olga, who was studying the cello, thought her father had gone out, and settled down to read when she should have been practising. Unfortunately for her, Slava returned unexpectedly. Furious, he picked up her cello, brandished it and started chasing her with it, telling her to stop so that he could kill her (a request that she not unreasonably chose to ignore). Eventually, she ran out of the house, but he kept after her - and goodness knows what would have happened had they not passed Shostakovich, who happened to be walking nearby. He pleaded with Slava to calm down, and order was eventually restored; but I'm sure Olga learned to practise more diligently after that - or at least to lock her door.

Read the rest here.

NOTE: This is Post No. 501 on JDCMB.
EXTRA NOTE TO LONDON READERS/SELF: Don't forget to show up at Sheen Library for talk tonight.

Tomorrow

I'm doing a talk about ALICIA'S GIFT at East Sheen Library tomorrow evening, with readings given by the actress Geraldine Moffatt, who does the different voices better than I ever could. 7.30pm start, wine & nibbles included in the £2 ticket. All welcome! Full details here.

well done

DJ Mills is right: it's Samuel Coleridge-Taylor, in an article written in 1911, the year before his untimely death.

I liked Steve's suggestion of Prince Charles, though! I find it intriguing that, apart from the gently archaic language, the sentiments SCT expresses here are seen as something that could still be said today, nearly a century later (albeit just by one relatively isolated part of the audience).

Must dash - am having an Indy Panic, results in paper (I hope) on Friday.

Who said this?

Who said this? Answer tomorrow. Suggestions welcome in the interim (no prize offered).

"...few recent compositions really move one - though many of them astonish. It seems as if the composers would wish to be classed with the flying man in his endeavours to 'go one better' than the last...much of the music of the period reminds one of the automobile and the airship. It is daring, clever, complex and utterly mechanical.

The question is - Should an imaginative Art follow such lines? Should it not rather come from the heart as well as the brain?

Of course, a fine technical equipment is a very desirable thing, and nothing of worth can be accomplished without it; but should 'What do you think of my cleverness?' be stamped so aggressively over nearly every score that we hear?

The lack of human passion in English music may be (personally I think is) merely transitory. It is being pushed aside only while the big technical Dreadnought is in its most engrossing stage of development. Soon the builders will have the time to love again - when the turmoil is hushed somewhat - to give the world a few tender and personal touches amidst the strife, which will 'make us feel again also'."

Speaking of new music...

In the light of the Gant/Wordsworth debacle, here's another take on attitudes to new work of debated quality.

In today's Independent, I have an interview with Simon Keenlyside, who is singing Prospero in the revival at Covent Garden of Ades's smash-hit opera The Tempest, which opens tonight. I believe he's one of today's most fascinating baritones, a man with a brain as astute and analytical as any scientist, maybe more so than some.

Some of you may remember that Keenlyside took the leading role in Lorin Maazel's 1984 at Covent Garden a couple of years ago. Now, that opera must have been among the most critically reviled creations to hit the London scene this decade, partly because Maazel was known to be funding its staging himself, partly perhaps because some people knew something that others of us didn't until we heard it. I was willing to give it a chance, but Tom and I were both so disappointed with the music that we voted with our feet at the interval. But the production team and the cast nevertheless gave that opera everything they had. The standards were world-class in every respect. One audience member has since assured me that it was the best evening he'd ever spent in the theatre.

I asked Simon Keenlyside about 1984 in the interview, but in the end decided not to include the topic in this article, since space is limited and of course we were focusing on The Tempest which is a very different kettle of Calibans. His answer was still very interesting. I don't generally include what you could call out-takes of interviews here in blogland, but under the circumstances, I will - because he found countless positive things to draw out of the experience. Here is a slightly edited transcript:

JD: I saw you in 1984 and thought you were magnificent, but I must admit I had some problems with the piece.

SK: My job, if I accept the job, is – what’s that expression? Put up or shut up... If you’re booked to do a job, why would you want to pull the carpet out from under your own feet? If you’re on a stage, you’ve got to commit yourself 100%. And I’m not going to comment on the music, you wouldn’t expect me to of course, but I once read an old soldier saying that he always went to a man’s weaknesses through his strengths, so I’ll go as far as the strengths. I thought it was a good evening in the theatre. Whatever you think about the piece, I found a lot of worth in it and found it very enjoyable to do. Also I had Robert Lepage to deal with, which was an absolute privilege. Maazel is a brilliant man – just to be under his baton is a privilege. I’ve never seen anyone with such control, such ability to run a recipe like that and still have room in his head to talk to you. It’s great... Besides, people pay a lot of money for those tickets, and how can I argue my corner about opera, about music, if I think 'These people have paid a lot of money, they‘re in an uncertain state and we’re not committed to it?' I think most people are committed on stage, even if you didn’t like it. All of us have to take part in productions we can’t bear, we have no control but we’ve still got to give it our all...

UPDATE, 5.55pm: Over at On An Overgrown Path, Pliable casts some extremely interesting light on the background to the Gant/Wordsworth story. It seems that the political leanings and writings of the work's commissioner, R Atkinson frere, may be not irrelevant and will be highly uncomfortable, not to say repugnant, to much of the British arts community. Pliable applauds Wordsworth's decision. He may be right.

Decomposition?

Yesterday The Times carried a most extraordinary story. It seems that on 25 February the estimable maestro Barry Wordsworth decided at the last moment to drop a world premiere from a concert with the Brighton Philharmonic Orchestra. The work, entitled A British Symphony, had been commissioned from the composer Andrew Gant by Rowan Atkinson's businessman brother, Rodney.

Gant is organist, choirmaster and composer at the Chapel Royal, inviting comparison with some of the most distinguished British composers in history - Byrd, Gibbons and Purcell were official organists there. One GF Handel wrote Zadok the Priest while he was in post as official composer to George II.

Wordsworth had decided he 'did not believe' in the piece. But was this unprofessionalism, a middish-life crisis, something vaguely political (the title suggests a patriotism deeply unfashionable on these shores) or real artistic integrity? Unfortunately, we haven't heard the piece, so we can't say.

Can you imagine the works that would never have been performed if their conductors had decided not to believe in them? Tannhauser might never have hit 1860s Paris. Otto Klemperer might have ditched some Korngold (I remember reading he refused to take a bow after conducting Die tote Stadt for the first time. That's his problem.) On the other hand, we might never have had to suffer a single note of...well, don't get me started.

If we don't hear new works, though, we can't assess them - finito. Any artistic 'age' is going to produce mountains of dross and a few really great pieces, and while sometimes it's clear which is which, sometimes also it is not. So it's worth sitting through the occasional piece of c*)p - and conducting it, if that's your job. Who knows, someone somewhere might like it.

Waters of March...

Home again and all of a sudden it's spring.

Waters of March by Antonio Carlos Jobim

A stick, a stone,
It's the end of the road,
It's the rest of a stump,
It's a little alone

It's a sliver of glass,
It is life, it's the sun,
It is night, it is death,
It's a trap, it's a gun

The oak when it blooms,
A fox in the brush,
A knot in the wood,
The song of a thrush

The wood of the wind,
A cliff, a fall,
A scratch, a lump,
It is nothing at all

It's the wind blowing free,
It's the end of the slope,
It's a beam, it's a void,
It's a hunch, it's a hope

And the river bank talks
of the waters of March,
It's the end of the strain,
The joy in your heart...

I adore this song. See Elis Regina and Tom Jobim sing the bossa nova classic here...

Publication day!

ALICIA'S GIFT is out today! And I am sitting, unexpectedly, on a balcony in the sunshine, gazing at the Atlantic Ocean. British Airways, in its infinite wisdom, managed to change the time of our flight home yesterday without letting us know. Could be worse...

Obrigado!

I'm in Madeira, so not much proper blogging - sun, swimming pool, madeira, more madeira, fresh seafood and more madeira...mmmmmm... But many, many cheers to The Sunday Times for today's referral to this blog re Hattogate! They have an interview with William Barrington-Coupe about What Really Happened. Read it here.

If you've found this blog via that referral and want to see why, follow the Joyce Hatto label at the bottom of the post. Meanwhile regular readers can lie back and think of Canciones Argentinas, playing on the iPod by the sea.

Back sooner than I'd like to be.

Rachmaninov did have big hands

People keep writing to tell me that Rachmaninov had big hands, and this is why:

http://www.youtube.com/watch?v=ifKKlhYF53w

1 March

I'm fond of seasonal things, fruit, veg, flowers et al at the Right Time of Year, so trying out some seasonal colours for the blog. Blues and silvers for Jan/Feb; but now it's March and the daffodils are out.

Thanks to Stephen Pollard and Brian Micklethwait, who are both as bowled over as I am by Sokolov playing Prokofiev. Stephen reminds us that GS is playing at the Wigmore Hall on 6 June, but concert is sold out. Tickets still available for the Barbican concert next year...10 May 2008.

William Wilberforce lives on

Oh, sod it, I've got a new mousemat & keyboard ridge thing, both with a gel support for sore wrists, and if I don't write this up now, I never will. So, let's hear it for Errollyn Wallen (above centre), whose new piece 'Mighty River' nearly brought down William Wilberforce's church on Clapham Common on Saturday night.

The work was commissioned for this very special concert (mentioned on JDCMB last week) commemorating the 200th anniversary of the act of parliament that resulted in the abolition of the slave trade. It opens with a horn solo based on 'Amazing Grace'; as the music progresses, it really is as if you're travelling down a wide, glowing river with a pulse of life entirely its own, observing flashes of detail and beauty and drama that pass by on the rich tapestry all around. The orchestration is luminous, the mood at once expansive and intimate, the influences perhaps more John Adamsy than we'd have expected so far from Errollyn; and the impact was huge. The Philharmonia seems thrilled with it and in a speech later on, their inimitable chief exec David Whelton promised that it'll have plenty more airings, which it should.

And so should the Coleridge-Taylor Violin Concerto, which Philippe played with immense beauty and conviction. The slow movement was applauded in its own right; as it progressed, I could just feel the buzz in the church while everyone asked each other 'Ever heard this thing before? No, nor me, but why not? It's incredible!'

Last but not least, conductor Martyn Brabbins led the whole audience in a new arrangement of 'Amazing Grace' by supertalented Philharmonia fiddler Julian Milone - and as it went down a treat at the end of the first half, we did it again at the end of the second. I was horrified when I saw it on the programme ('what, they want us to sing, are you kidding?!?!?') but soon found myself swept up in the atmosphere of fervour, celebration and sheer humanity. A marvellous, unforgettable evening.

Holy Trinity is a wonderful venue, without a doubt, and the collaboration of church and art is something that even a confirmed atheist/agnostic like me can applaud and encourage. But this programme should take place next somewhere three times the size - ideally the Royal Festival Hall - and as part of the mainstream season. Coleridge-Taylor (above left), having been half African and an idealistic black activist in his day, was a perfect choice for the evening, but the concerto is so wonderful that it should be part of the mainstream repertoire. Go hear it.

It's appalling to reflect that slavery still affects millions of people all over the world. Join the fight for freedom 1807-2007 here.


UPDATE, 1 MARCH, 10.20pm: Bob Morris writes to alert us to this article in the New Yorker about 'Amazing Grace', a new film about William Wilberforce starring Ioan Gruffud. A thought-provoking piece, recommended reading. Thanks, Bob!

A note from Addenbrooke's

Addenbrooke's Hospital writes to me as follows:

Addenbrooke's Hospital takes patient confidentiality very seriously and would never give permission for patient details to be divulged without consent of the individual or next of kin.

UPDATE, Wednesday 28 Feb, 5pm: I've decided [entirely on my own choice] to remove certain elements from Hatto discussions from view wholesale. Nobody is trying to censor my blog, though conspiracy theorists will obviously think so. It is quite simply that I'm sick of the whole thing, and am very happy to leave that screenplay to someone else.

Now, back to the glory of Grigory...

Having a break...

I've done my hand in through excessive hattogate surfing. Not a good idea, especially with lots of deadlines to meet. So I need to stop all unnecessary typing for a while and make sure I don't end up with RSI. I'll be taking a week or so off blogging as from now...

...so it seems like a good time to show you the following: a good example of the utterly staggering piano genius that is Grigory Sokolov!

Magic in the making

I'm off now for the rest of the weekend - work, concert and visiting family all day tomorrow - so here is some magic from the only video of this artist I could find on Youtube. It was apparently recorded in Milan in 1998 and this young man has come a long way since. I believe that he's about to go much further, too... Dear friend Opera Chic, I'll do a deal with you: you can have Rolando, we'll share Juan Diego, but Jonas must be mine!

Please welcome: Jonas Kaufmann in Cosi fan tutte.

Live music 4ever!

I realised Hattogate was getting out of hand when I found I had a blister on my wrist from contact with mouse-mat edge. The conspiracy theories and Chinese whispers seem to be getting crazier and crazier and I have received a comment or two here that I've not posted because they're way off the deep end - more like something out of sci fi, somewhere between George Orwell and Dr Who, than this rather heart-rending, sorry tale.

What put it all in perspective was this: last night some musician friends came round and played us a violin concerto in the front room. Moments like this, you feel so fortunate that you wonder what you've done to deserve it. I mean, honestly: a friend you'd normally have a good laugh with over a cuppa picks up a piece of wood with four strings and a bow, and suddenly it's as if the Alps have taken over your lounge. It was absolutely incredible: breathtaking, uplifting, the works.

My problem with the Hatto business is that it's all about recording. Not live performance. Music is about communication, isn't it? It's a direct path from soul to soul - composer-musician-audience - and essentially this can only take place during real-time, one-off performance. I have a fine library of CDs that I enjoy hearing, but none that can move or stir me to that extent - with the possible exception of musicians like Cortot, Thibaud and Enescu who recorded live, wrong notes and all, a very long time ago. Of course recordings crucially fill the gap for anyone who doesn't have access to a concert hall or a piano, but given a choice, I would pick live performance every time.

Live music, especially at such close quarters, is one of the seven wonders of the world. I'm now trying to think what the other six could be.

For Hattogate addicts

A very long and fascinating article on Musicweb International by pianist and critic Christopher Howell, in case you haven't already seen it. You'll need at least 2 cups of coffee for this one.

UPDATE: Andrys has made an extremely useful page containing all the links anybody could want on this topic. Essential reading and some audio interviews too.

I have to get back to writing about other things today: a top singer, an innovative chamber ensemble and teaching organisation and five CDs for review require urgent attention, plus I've got a friend coming round to play through a violin concerto tonight (with piano, not orchestra) (with a real pianist).

what the...

On an Overgrown Path has distressing news that there is to be no more live music on BBC Radio 3 after 7pm except the Proms and the occasional one-off.

They're losing a lot more than that: namely, the plot. And so, consequently, are we.

Meanwhile, Norman Lebrecht suggests that Proms supremo Nick Kenyon is tipped to take over from John Tusa as top dog at the Barbican...

Now...

...The Telegraph has an article in which William Barrington-Coupe says that his wife Joyce Hatto's recordings were genuine. He 'can't explain some of the things they say are there'. He also points out wryly that if he'd wanted to make a lot more money, he'd have used a Russian name for the pianist.

The real Uchida

So today I had a call asking me to go on BBC Radio 4 to talk about Hattogate. Dropped everything and ran to Broadcasting House...only to discover, when I got there, that the programme also had to fit in Art Garfunkel and Robert de Niro, who were real, so the finer details of how easy or otherwise it is to tell the difference between...well, you get the drift, my spot was off. So to speak. It was nice to have been asked...

But in the Broadcasting House foyer (where, my dears, you see everyone who is anyone), I bumped into Mitsuko Uchida, who was on her way to Radio 3 to appear on In Tune. Now there's one truly great artist - a pianist you couldn't fake if you tried. Her playing could never have been anybody else's. I've often felt that for her, the piano is like a second voice box. It's part of her, indivisible from her personality, indeed her soul, and that's how it ought to be.

She's playing Mozart piano concertos with the LSO and Colin Davis at the Barbican on Wednesday and Thursday. Further details here and here. UPDATE: BOTH CONCERTS are now sold out. Earlier this evening, there were seats available for Wednesday, but...

UPDATE: To hear Mitsuko's interview on In Tune, go here, browse the Radio Player for In Tune and click on MON. You can listen to it online for the rest of this week.

Here's a treat for those of us who can't get to the concerts:

More...

David Hurwitz has a splendid editorial about the Hatto-trick [sorry, couldn't resist that!] at Classics Today.

Alex Ross makes some astute comments: the recordings are not forgery, but plagiarism.

Soho the Dog, whose blog I' m afraid I hadn't seen before, is sniffing out some interesting angles too.

Pliable of On An Overgrown Path has been trying to get some answers from Hatto's husband and the owner of the Concert Artist record label, William Barrington-Coupe.

A commentator on one of the newsgroups demanded to know when someone would volunteer to write the screenplay. HELLO, OVER HERE!!!

Meanwhile, I've been to hear a very real concert by Marc-Andre Hamelin (and found that I do have to wait to hear him play Op.111 after all, because the programme involved only Op..109 and 110. [only?!?])...The Beethoven was beautifully thought out, the pacing and emotional shape of Op.110 especially so. But it's his exquisite-toned, other-worldly Schubert B flat Sonata that will stay with me forever.

More Hatto links

....Why would anyone do a thing like that? Is it perhaps the most brilliant form of revenge ever devised, served stone cold and calling the bluff of the entire recording industry - possibly the whole music business? It may be some time before we know the truth...

Anyone hooked on the Hatto scandal will find interesting reading & discussions at Piano Street, where the latest post from Alistair Hinton (curator & director of the Sorabji Archive) says this:

"I think that we'll really just have to wait and see - and wait and see we will surely be able to do, for this, as I have suggested, is unlikely to go away again now and, given the sheer number of other parties with potential involvement (other artists, other record companies, etc.), it is likely also to run and run when it finally does get to court. Robert von Bahr of BIS in Sweden has so far commented, albeit rather wryly and in a carefully owrded manner that could be taken to imply that he'll not likely be reticent with the ammunition if and when he may believe it becomes necessary to use it. The sheer scale of this fraud - IF it is such (and I do stress the "if") is such as to ensure that the case may well drag on into next year even on its own merits alone, but if it becomes the tip of the iceberg in the industry as a whole (which is not entirely inconceivable), then we could be looking at decades of litigation rather than merely months or years in a massive multiplicity of cases."

There's also a Google group with some good threads.

Thanks to Stephen Pollard, Opera Chic and Lisa for shoutouts.

OMG...was Joyce Hatto faked?

Breaking news on Gramophone's website reveals one of the most extraordinary stories to have come our way, ever.

A few years ago, Gramophone's critics began to rave about an unknown British pianist, a lady named Joyce Hatto [above, photo Vivienne of London 1973, reproduced on Musicweb International]. Just look at this review, by one of their leading piano men, from the Awards issue 2006:

Celebrating Hatto's mastery and musicianship

Recorded between 1990 and 2004, these performances are reissued in brilliantly refurbished and clarified sound, forming part of a 100-CD discography. Indeed, it is no exaggeration to say that no other pianist, male or female, would even have considered such a comprehensive undertaking.

Doubting Thomases, of which there are apparently many, may well wonder how Joyce Hatto achieved such unalloyed mastery and musicianship when tragically beset with ill-health. But others will surely celebrate an awe-inspiring triumph of mind over matter, of the indomitable nature of the human spirit.

Even in the most daunting repertoire, her poise in the face of one pianistic storm after another is a source of astonishment. Her warmth, affection, ease and humanity strike you at every turn, her scale and command without a hint of superficial or hard-nosed virtuosity. Here, Liszt's occasional histrionics and theatricality are tempered with the most aristocratic quality.

In Preludio, the dazzling curtain-raiser, Hatto yields nothing to any other pianist in fearless authority, while the notorious difficulties of Feux follets are resolved with a surpassing fluency and vivacity. She is no less gloriously responsive to La ricordanza's heady romanticism (for Busoni, 'like a packet of yellowed love letters') and Etudes Nos 10-12 are natural triumphs of an unswerving vision and poetry, concluding performances that form a rare tribute to their symphonic weight and breadth, the quasi-orchestral might of Liszt's outsize opus.

The same attributes apply to Hatto's Chopin-Godowsky. And whether you consider Godowsky's elaborations delectable or outrageous - or both - you will only hear pure music from this pianist. Listen to her in Ignis fatuus (No 4) where, as Hatto herself ruefully puts it, Godowsky adds a few extra hours to your practice, or in the 'touch of paprika' she notes in the coda of No 7; in No 27 where Godowsky turns innocence into experience and sophistication with a vengeance, or in No 8 in what Hatto calls 'a riot of bravura ingenuity' ' you can only listen and wonder. Amazingly, she has all the time in the world to make her points in the turbulence of No 20 and what gentle sparkle, what unforced brilliance in 'Badinage', where Godowsky so mischievously gives you two Etudes for the price of one.

Joyce Hatto may well be 'the greatest pianist no one has heard of'; her work demands a book rather than just a review.

I heard rumours some time ago querying the authenticity, or otherwise, of Hatto's recordings, but didn't take much notice: British critics are notorious for ignoring home-grown female pianistic talent, so Hatto's lifetime of neglected genius didn't seem unconvincing. But recently another Gramophone piano critic had a strange experience. He popped the Liszt disc into his computer's CD player and iTunes identified it...as a recording on BIS by the Hungarian pianist Laszlo Simon. Gramophone sent off both recordings to have their wavelengths checked. They turned out to be identical - except for two tracks, which were identical with a CD called Nojima Plays Liszt.

The plot thickens. The engineer checking the waves thought the Godowsky, so glowingly reviewed, sounded a little odd. Sure enough, it turned out that the recording had been 'stretched' by 15.112 per cent ("all the time in the world," eh?). When the 'stretch' was undone, the soundwaves proved identical with a recording by Carlo Grante. And her Rachmaninov piano concertos recordings? Yefim Bronfman on Sony.

If her glorious Liszt recordings really are Laszlo Simon's, I think he can open some champagne.

Here is the evidence, from Pristine Classical.

Read more on the Gramophone website here.

Here's her obituary from The Guardian, describing her as 'one of the greatest pianists Britain has ever produced'...

An interview with her from Musicweb International.

And a fascinating article about her by Ates Orga.

The mind boggles. Updates when I have any.