Huge, huge thanks to everyone who wrote in with advice about the laptop computer. My first choice is indeed 12" Mac Powerbook. I spent a happy afternoon the other day tapping away on keyboards in Tottenham Court Road and it was by far the best in terms of keyboard comfort, carry-around weight and ease of use. BUT...the other day I went back to try to buy one for real and found that there was not a 12" Powerbook in stock anywhere in central London! I'm obviously not the only person who wants one...Since then I've reassessed the situation and worked out that as I'm not likely to be going away for any length of time until September (ouch!), there's really no urgency about it after all. Hmmm...
I should really have been in the Royal Festival Hall listening to Mahler 6 right now, but the Tomcat has injured his back pulling the bag out of the kitchen bin (I kid you not) and has had to take some time off work. Bad backs are a nightmare, as I know only too well from my experience last May, and there's no way on earth I'm going to let him sit in one spot with fiddle at the ready for 6 hours' rehearsal a day in his current state.
More alarming is that I'm not so sorry not to be at this concert. Mahler 6 is Tom's favourite of Big Gustav's output, but it's one of those symphonies that leaves me thinking, 'Come on, Gus, go see Freud and stop inflicting all this angst on your poor old listeners...' And friends in the band tell us that the Maestro (or is it Madame Piano Soloist?) insists they play the Mozart piano concerto with no vibrato. Not even on the long notes, as is recommended by Leopold, if someone had but bothered looking.
How come Leopold provides exercises for practising what we today call vibrato, several years before Wolfgang was born, and gives ample indication that the fiddlers around him were using FAR TOO MUCH WOBBLE HABITUALLY, and conductors still come along bright eyed and bushy tailed telling orchestras to use NONE? Nine times out of ten, it sounds frightful. What I want to know is, how many of them have so much as glanced at this text, let alone dared to form their own interpretations of it based on facts rather than hearsay?!?!? To judge from the squeaks and moans being emitted by some of today's highest profile musicians, not a great many.
Wednesday, March 09, 2005
Thursday, March 03, 2005
On the town, on the news?!
Reeling slightly after seeing an item on the 10pm BBC news about ENO's new production of 'On The Town'. Apparently it is newsworthy that a national opera company is putting on a marvellous piece of music theatre by a 20th-century genius who happened to use clever lyrics, jazzy rhythms and lots of dancing. The thing is, 'On the Town', shock horror, is officially classified as A MUSICAL! And an OPERA company is doing it! And, horror of ultimate horrors, the tickets are selling well! Oh my Gaaaaahd, we're all going to die......not.
I mean, really. This is great stuff. Why on earth shouldn't an opera company do it? That way we can hear the music played as well as it ought to be, singing that is above the average school production (which was the miserable level of what I heard when I went to see 'West Side Story' in a major London venue a few years ago) and enjoy a wonderfully refurbished opera house without having to nod off while someone tootles through some bel canto twiddling, and without wanting to commit rapid hari kiri after subjecting oneself to Berg. I know what I'd rather see. And hey, I'm supposed to be educated and well-informed about opera. Some famous composer (whose name I can't remember at this time of evening) once said that there are only two kinds of music, good and bad. Implication, ditch the stupid classifications that cater only for the ubersnobs. I say, bring on the Bernstein!
I mean, really. This is great stuff. Why on earth shouldn't an opera company do it? That way we can hear the music played as well as it ought to be, singing that is above the average school production (which was the miserable level of what I heard when I went to see 'West Side Story' in a major London venue a few years ago) and enjoy a wonderfully refurbished opera house without having to nod off while someone tootles through some bel canto twiddling, and without wanting to commit rapid hari kiri after subjecting oneself to Berg. I know what I'd rather see. And hey, I'm supposed to be educated and well-informed about opera. Some famous composer (whose name I can't remember at this time of evening) once said that there are only two kinds of music, good and bad. Implication, ditch the stupid classifications that cater only for the ubersnobs. I say, bring on the Bernstein!
Monday, February 28, 2005
One year on...
Tomorrow will mark the first anniversary of my blog! I still can't get over the fact that I can type this in the comfort of my south-west London study at 8.38am and by 8.48 am some total stranger may be reading it on the other side of the world.
I don't know exactly how many visitors I've had during this time because I've had some ructions with webcounters along the way (there's now an invisible one!), but currently I'm averaging about 100 visitors per day. There's usually a dip at weekends, which suggests most of you log on at work! :-). I had my highest number of hits when I posted a picture of my cat, Solti!
There have been hits from 59 different countries from Los Angeles to Taipei to Chile to Kyrgystan.
I've discovered that bloggers are marvellous, strong-minded, helpful and idealistic people! You're marvellous, the lot of you! Some will go to extraordinary lengths to help out other people whom they've never met and wouldn't recognise if they bumped into them. Everyone experiences - I think - a sense almost of relief that blogs exist. This is a medium in which you really can speak your mind and nobody can tell you what your opinions ought to be.
Having so said, I'm still astonished at the way anonymous viewers hiding behind self-appointed watchdog-type nicknames are simply waiting to leap out of the woodwork to tear you to shreds the second you dare to admit that you don't like Christmas...
My most unlikely referrer was probably: http://ecksteingirlsbasketball.blogspot.com/. And some of the strangest Google queries that have led people to the site have been, in no particular order: 'Where can I find magic mushrooms in Scunthorpe'; 'latkes en francais' (please note, they taste the same in both languages!); 'Serkin rowing' (did he?); 'Ukranian poppyseed cake'; 'Real tomcat meow recordings sound effect download' (is that what my husband is doing in his spare time?!?); and last but by no means least, 'violin fetish' (erm, not unreasonable, this...)
Of course, the danger is that one uses a blog as a way of keeping friends and family scattered all over the place up to date with one's news - so apologies to anyone who's found they get fewer e-mails from me these days - don't worry, I still love you all!
Finally, I wish I could say that my book deal is the result of blogging, but it isn't. I started that book over a year before starting the blog and the fact that it's going to be published is the result of little more than a fantastic agent and some extremely good luck!
I don't know exactly how many visitors I've had during this time because I've had some ructions with webcounters along the way (there's now an invisible one!), but currently I'm averaging about 100 visitors per day. There's usually a dip at weekends, which suggests most of you log on at work! :-). I had my highest number of hits when I posted a picture of my cat, Solti!
There have been hits from 59 different countries from Los Angeles to Taipei to Chile to Kyrgystan.
I've discovered that bloggers are marvellous, strong-minded, helpful and idealistic people! You're marvellous, the lot of you! Some will go to extraordinary lengths to help out other people whom they've never met and wouldn't recognise if they bumped into them. Everyone experiences - I think - a sense almost of relief that blogs exist. This is a medium in which you really can speak your mind and nobody can tell you what your opinions ought to be.
Having so said, I'm still astonished at the way anonymous viewers hiding behind self-appointed watchdog-type nicknames are simply waiting to leap out of the woodwork to tear you to shreds the second you dare to admit that you don't like Christmas...
My most unlikely referrer was probably: http://ecksteingirlsbasketball.blogspot.com/. And some of the strangest Google queries that have led people to the site have been, in no particular order: 'Where can I find magic mushrooms in Scunthorpe'; 'latkes en francais' (please note, they taste the same in both languages!); 'Serkin rowing' (did he?); 'Ukranian poppyseed cake'; 'Real tomcat meow recordings sound effect download' (is that what my husband is doing in his spare time?!?); and last but by no means least, 'violin fetish' (erm, not unreasonable, this...)
Of course, the danger is that one uses a blog as a way of keeping friends and family scattered all over the place up to date with one's news - so apologies to anyone who's found they get fewer e-mails from me these days - don't worry, I still love you all!
Finally, I wish I could say that my book deal is the result of blogging, but it isn't. I started that book over a year before starting the blog and the fact that it's going to be published is the result of little more than a fantastic agent and some extremely good luck!
Sunday, February 27, 2005
Any suggestions?
I need to buy a laptop computer. A lot of running around this spring/summer, one novel to edit, another to write, plus articles, not to mention blogging = portable electronic pal required. I get completely boggled by the choice, though. Does anyone have any recommendations for a good one?
I need:
to be able to type on it easily (often typing on a laptop keyboard feels like playing the harpsichord when you're used to a Steinway);
plenty of battery time
something as light and carryable as possible
broadband internet connection anywhere/everywhere (I know there's a term for this, but can't remember it)
to get at e-mail no matter what & send large files via e-mail
readable screen
it would be nice to play CDs & DVDs on it
Would be nice if it was Mac compatible in some way. I adore my iMac, which is safely rooted to my study desk, but am not sure that I want to fork out the necessary ££££s for the laptop equivalent!
Any advice would be greatly appreciated...
I need:
to be able to type on it easily (often typing on a laptop keyboard feels like playing the harpsichord when you're used to a Steinway);
plenty of battery time
something as light and carryable as possible
broadband internet connection anywhere/everywhere (I know there's a term for this, but can't remember it)
to get at e-mail no matter what & send large files via e-mail
readable screen
it would be nice to play CDs & DVDs on it
Would be nice if it was Mac compatible in some way. I adore my iMac, which is safely rooted to my study desk, but am not sure that I want to fork out the necessary ££££s for the laptop equivalent!
Any advice would be greatly appreciated...
Saturday, February 26, 2005
Catching up
Rather a fallow blog-week for me, I fear. Here are a few things that have been happening...
Tom has been on tour - Ljubljana, three places in Germany beginning with F and, to end, Basel. The major excitement seems to have been some official list that was circulated to the orchestra inadvertently revealing everybody's normally well-concealed middle names and dates of birth. Plus lots of snow, beautiful European shoebox concert halls and excellent audiences, Tom says, and stunning performances by their soloist, Christian Tetzlaff, who makes a more beautiful sound on his inexpensive modern fiddle than most others do on Strads. It ain't what you've got, it's what you do with it.
I went to hear Piotr Anderszewski at the Queen Elizabeth Hall on Wednesday. Completely sold out, and not an easy programme at all - the first half was the Bach French Overture and the Szymanowski Metopes (Chopin took up the second half). Glorious playing, especially the Poles; most of all, the Chopin B minor Sonata. Once again, anyone who insists that audiences are declining should really have been there; they should also note that Grigory Sokolov's next recital, which is not until 15 APRIL, is ALREADY sold out. Which is no less than this absolutely unbelievable artist deserves. I'm glad he's gaining the prestige that is his due.
Meanwhile I am staring at my computer screen with increasing terror at the idea of what I soon have to do with it...
Tom has been on tour - Ljubljana, three places in Germany beginning with F and, to end, Basel. The major excitement seems to have been some official list that was circulated to the orchestra inadvertently revealing everybody's normally well-concealed middle names and dates of birth. Plus lots of snow, beautiful European shoebox concert halls and excellent audiences, Tom says, and stunning performances by their soloist, Christian Tetzlaff, who makes a more beautiful sound on his inexpensive modern fiddle than most others do on Strads. It ain't what you've got, it's what you do with it.
I went to hear Piotr Anderszewski at the Queen Elizabeth Hall on Wednesday. Completely sold out, and not an easy programme at all - the first half was the Bach French Overture and the Szymanowski Metopes (Chopin took up the second half). Glorious playing, especially the Poles; most of all, the Chopin B minor Sonata. Once again, anyone who insists that audiences are declining should really have been there; they should also note that Grigory Sokolov's next recital, which is not until 15 APRIL, is ALREADY sold out. Which is no less than this absolutely unbelievable artist deserves. I'm glad he's gaining the prestige that is his due.
Meanwhile I am staring at my computer screen with increasing terror at the idea of what I soon have to do with it...
Tuesday, February 22, 2005
Insomnia
I can't sleep. I've had quite a large dose of whisky and still can't sleep, mainly because my brain is overloaded. Also, it's snowing here - most uncharacteristic for London in these days of global warming - and I'm wondering how I'll get to the library tomorrow to look for the books I need for my next Indy feature. For those of you beyond these sunny shores, all we need here is an inch of snow and the entire infrastructure of the country grinds to a halt. "The wrong kind of snow" has gone down in history as ye late lamented British Rail's excuse for everything packing up at the slightest excuse...
A few scattered snow showers earlier this evening didn't stop me getting to the Wigmore Hall to hear Gidon Kremer, who was playing there for the first time in 21 years. Not only a fantastic chance to catch him in an acoustic that flatters his sound - I've only experienced him before in the RFH and the Verbier tent - but also a marvellous, apparently eclectic but well-planned programme that would actually have worked nearly as well in Ronnie Scott's. Lots of exciting contemporary & near-contemporary stuff based around the influence, in one way or another, of Bach. With Kremer was the Russian percussionist Andrei Pushkarev, who blended wonderfully with Kremer's intelligence and driven conviction, but nearly stole the show with his own fabulous, jazzy transcriptions for vibraphone of some of Bach's 2-part inventions. I was on the edge of my seat all the way through. And I think Piazzolla is TOP.
Kremer seems to perform as he does not because he's a violinist, but because he's a thirsty, questing, creative musician in every sense. So many violinists seem to be hung up on purely violinistic questions: wonderful sound, great technique, etc, which on this instrument are so complex that they risk becoming an end in themselves. Kremer goes way beyond that. Some of us loved his Bach Chaconne - completely unbaroquey, completely Kremer, completely convincing (apart from some odd upbow retakes that puzzled me a bit). Others didn't. Why is it that some concert-goers hear a so-called baroque fiddler play this thing with a curved bow and no vibrato and instantly think that anything different from that has nothing to do with Bach?!? (I was, as you can see, eavesdropping on the row behind...) That's the amazing thing about Bach, as Pushkarev proved on his vibraphone: this music can take any number of arrangements, updating, adaptation etc etc and still emerge as strong and vital and marvellous as it was the day it was written.
No wonder I can't sleep.
Images are haunting me too of snowflakes on Oxford Street - the only thing that can turn that place into something magical - and poems on the underground and half-glimpsed parallel universes and eleventh dimensions that, I understand, may exist, but then again may not.
A few scattered snow showers earlier this evening didn't stop me getting to the Wigmore Hall to hear Gidon Kremer, who was playing there for the first time in 21 years. Not only a fantastic chance to catch him in an acoustic that flatters his sound - I've only experienced him before in the RFH and the Verbier tent - but also a marvellous, apparently eclectic but well-planned programme that would actually have worked nearly as well in Ronnie Scott's. Lots of exciting contemporary & near-contemporary stuff based around the influence, in one way or another, of Bach. With Kremer was the Russian percussionist Andrei Pushkarev, who blended wonderfully with Kremer's intelligence and driven conviction, but nearly stole the show with his own fabulous, jazzy transcriptions for vibraphone of some of Bach's 2-part inventions. I was on the edge of my seat all the way through. And I think Piazzolla is TOP.
Kremer seems to perform as he does not because he's a violinist, but because he's a thirsty, questing, creative musician in every sense. So many violinists seem to be hung up on purely violinistic questions: wonderful sound, great technique, etc, which on this instrument are so complex that they risk becoming an end in themselves. Kremer goes way beyond that. Some of us loved his Bach Chaconne - completely unbaroquey, completely Kremer, completely convincing (apart from some odd upbow retakes that puzzled me a bit). Others didn't. Why is it that some concert-goers hear a so-called baroque fiddler play this thing with a curved bow and no vibrato and instantly think that anything different from that has nothing to do with Bach?!? (I was, as you can see, eavesdropping on the row behind...) That's the amazing thing about Bach, as Pushkarev proved on his vibraphone: this music can take any number of arrangements, updating, adaptation etc etc and still emerge as strong and vital and marvellous as it was the day it was written.
No wonder I can't sleep.
Images are haunting me too of snowflakes on Oxford Street - the only thing that can turn that place into something magical - and poems on the underground and half-glimpsed parallel universes and eleventh dimensions that, I understand, may exist, but then again may not.
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