Greg Sandow has this on creating the 'concert companion' - rather like an audio guide for going around art exhibitions.
I'm always amazed by the number of people in the musical sphere who think that knowing something about the music's background and structure can add nothing to one's enjoyment, or who think alternatively that only the most specialised academic labels will do for such matters. In the art world, audio guides are taken for granted. You'd be surprised to turn up at an exhibition, pay for your ticket and not be offered one. And would you try to put together a bookshelf together without reading the instructions? (well...)
In music, even top orchestras still sometimes print dry, useless, outdated programme notes, some concerts provide none at all - it costs money to print them - and many recitalists are still scared witless by the idea of talking to their audiences. What in heaven's name is so alarming to the establishment about accessible, non-patronising background notes? And what's so alarming to a musician about saying a few words before you play? It's nowhere near as frightening as playing the piano!
Seriously, though, an audio-guide 'concert companion' sounds like an exceptionally useful tool. I wonder how long it'll take British orchestras to catch up with the idea. Sweepstake, anyone? I say five years. Ten if we get a Tory government next.
Sunday, October 24, 2004
Thursday, October 21, 2004
End games
To the Festival Hall last night to hear Stephen Kovacevich playing Beethoven (Op.31 No.2 and Op.109) and Schubert (B flat D960). Glorious, soul-enriching music-making: intimacy, inspiration and gentle philosophy that didn't shout at the back row but instead pulled the attention quietly in towards the platform.
But one major bugbear: a small number of people insisted on clapping a) before the last chord of Op.109 had died away, before Stephen had even lifted his hands from the keyboard, and b) after the first movement of the Schubert B flat.
I don't care if this sounds 'elitist' (the most dangerous and misused word of the English language over the last decade). If you clap between movements in a work which your programme clearly tells you has four of them, you are stupid. But if you break the magic spell of music before the artist does, you are an insensitive, moronic idiot. You are wrecking the experience for everyone in the hall, including the musicians themselves. Music isn't only about sound. It is equally about silence and its magic lies in its use of silence - during, before, after and in between.
After a post-recital drink in the People's Palace, my friends and I came downstairs to find the pianist in the foyer, happily munching his way through the world's best-earned Big Mac. Stephen, we said, how do YOU feel when people clap in the wrong places? He told us that it didn't worry him so much after the first movement of the Schubert, but at the almost-end of the Beethoven sonata it made him absolutely furious. You might expect it to be more bothersome between movements, but no: it's the quality of silent rapture that carries a work away back into the ether that is most precious and vulnerable.
Can't halls bear to make announcements about this? Yesterday we had to sit through a five-minute speech about fundraising before they let Stephen onto the platform (any thoughts of donating money to the South Bank Centre must have evaporated instantly). Why could they not add, 'Make sure your mobile phones are dead and please do not applaud until the music has come to a complete stop...'?
It's very easy: DO NOT CLAP UNTIL THE END OF THE END.
Finito.
But one major bugbear: a small number of people insisted on clapping a) before the last chord of Op.109 had died away, before Stephen had even lifted his hands from the keyboard, and b) after the first movement of the Schubert B flat.
I don't care if this sounds 'elitist' (the most dangerous and misused word of the English language over the last decade). If you clap between movements in a work which your programme clearly tells you has four of them, you are stupid. But if you break the magic spell of music before the artist does, you are an insensitive, moronic idiot. You are wrecking the experience for everyone in the hall, including the musicians themselves. Music isn't only about sound. It is equally about silence and its magic lies in its use of silence - during, before, after and in between.
After a post-recital drink in the People's Palace, my friends and I came downstairs to find the pianist in the foyer, happily munching his way through the world's best-earned Big Mac. Stephen, we said, how do YOU feel when people clap in the wrong places? He told us that it didn't worry him so much after the first movement of the Schubert, but at the almost-end of the Beethoven sonata it made him absolutely furious. You might expect it to be more bothersome between movements, but no: it's the quality of silent rapture that carries a work away back into the ether that is most precious and vulnerable.
Can't halls bear to make announcements about this? Yesterday we had to sit through a five-minute speech about fundraising before they let Stephen onto the platform (any thoughts of donating money to the South Bank Centre must have evaporated instantly). Why could they not add, 'Make sure your mobile phones are dead and please do not applaud until the music has come to a complete stop...'?
It's very easy: DO NOT CLAP UNTIL THE END OF THE END.
Finito.
Wednesday, October 20, 2004
Asking for trouble
If you name your cat after a fierce Hungarian conductor, you can bet he'll get into trouble. Solti appeared this morning with a cat war wound on his face and had to be taken to the vet to have the abcess lanced. Now he looks like an extra-mean feline Long John Silver, minus parrot (wouldn't put it past him to catch one, though).
Tom is currently in Brazil with the BBC Symphony Orchestra (he normally plays for the London Philharmonic, but these things happen sometimes). He reports that Sao Paolo in the rain looks like Manchester, Rio has great food, and Leonidas Kavakos, who's the soloist for Berg and Sibelius violin concertos, is one of the three top fiddlers on earth.
I've adored everything I've heard Kavakos play, and I find it most encouraging to reflect that here is someone who matches none of the International Star stereotypes yet knocks the spots off the majority of those that do. He's Greek. He has a moustache. He wears glasses. He is (I think) about 40. He doesn't have to be photographed in jeans or hugging wolves. It's not just technique, it's what you choose to do with that technique. This man doesn't only have a fiddle - he has a brain. And also, I think, a sense of humour. Read my review of his Ravel and Enescu CD on ECM here (scroll down to January 2004).
Incidentally, in case anyone is wondering why I have a violin fetish despite being a pianist, it all goes back to when I fell in love with my violin teacher in 1984...Talk about asking for trouble.
Tom is currently in Brazil with the BBC Symphony Orchestra (he normally plays for the London Philharmonic, but these things happen sometimes). He reports that Sao Paolo in the rain looks like Manchester, Rio has great food, and Leonidas Kavakos, who's the soloist for Berg and Sibelius violin concertos, is one of the three top fiddlers on earth.
I've adored everything I've heard Kavakos play, and I find it most encouraging to reflect that here is someone who matches none of the International Star stereotypes yet knocks the spots off the majority of those that do. He's Greek. He has a moustache. He wears glasses. He is (I think) about 40. He doesn't have to be photographed in jeans or hugging wolves. It's not just technique, it's what you choose to do with that technique. This man doesn't only have a fiddle - he has a brain. And also, I think, a sense of humour. Read my review of his Ravel and Enescu CD on ECM here (scroll down to January 2004).
Incidentally, in case anyone is wondering why I have a violin fetish despite being a pianist, it all goes back to when I fell in love with my violin teacher in 1984...Talk about asking for trouble.
Sunday, October 17, 2004
Latest violin epiphany
A friend recently lent us a DVD of a violinist whom we knew by name but nothing more. We sat transfixed, watching the film of him playing Sibelius in the mid 1950s. This man has a sound that can slice through your abdomen like the world's finest butterknife; the intensity is heartbreaking, the consistency silky and substantial from foreground to background, the integrity total. We read the booklet and first discovered he was born in 1933 - a moment of excitement realising that he could, should, still be alive - until a paragraph later came the shock that he committed suicide at the age of 49.
Little clue is given to his character, his motivation, his problems. All that remains is the testimony of his musicianship. I sent off at once for a set in the EMI 'Les introuvables' series (EMI being EMI, you have to get it from France, but that's easy with amazon.fr). It arrived yesterday, including two different recordings of the Faure A major sonata made a few years apart - the first as tender and delicate as a mountain stream, the other smouldering and sparking like a volcano, yet each perfect in its own way - but they are almost upstaged by his account of Faure's Second Sonata in E minor, which is often thought 'difficult' yet which he lights up with visionary luminescence, generous tone and intuitively perfect phrasing. One senses from such white-hot playing that for this person life and music were serious matters - that perhaps his sensitivity and personal standards were too high to allow him to deal with reality.
His name is Christian Ferras.
This is the DVD. This is the CD set.
Meanwhile, Alex Ross has the most eloquent words about Korngold I've seen in a long time here.
Little clue is given to his character, his motivation, his problems. All that remains is the testimony of his musicianship. I sent off at once for a set in the EMI 'Les introuvables' series (EMI being EMI, you have to get it from France, but that's easy with amazon.fr). It arrived yesterday, including two different recordings of the Faure A major sonata made a few years apart - the first as tender and delicate as a mountain stream, the other smouldering and sparking like a volcano, yet each perfect in its own way - but they are almost upstaged by his account of Faure's Second Sonata in E minor, which is often thought 'difficult' yet which he lights up with visionary luminescence, generous tone and intuitively perfect phrasing. One senses from such white-hot playing that for this person life and music were serious matters - that perhaps his sensitivity and personal standards were too high to allow him to deal with reality.
His name is Christian Ferras.
This is the DVD. This is the CD set.
Meanwhile, Alex Ross has the most eloquent words about Korngold I've seen in a long time here.
Thursday, October 14, 2004
Damsel in major computer distress
HELP!!!! Any computer wizards out there? I came back late last night in the middle of what's been the Week From The Depths of Hell to find that my internet connection won't work. I am a technoignorama [good word...] and Tom (who, to be fair, isn't much better) is away on tour in Brazil.
It isn't as simple as it sounds. My computer and Tom's are networked together on a single broadband connection in which Tom's is the closest to the telephone source. His works fine, hence I am on it now. All I can get out of my Internet Explorer and Entourage, though, is 'The Specified Server Could Not Be Found'.
What's going on? Is it my computer hardware? Software? The network? (yes I HAVE checked that the wires are plugged in.) Do I need to reinstall all my software, will it help, will I lose all my info if I do so? Who do I call? The Mac man? The friend who set up our network, which worked absolutely perfectly until Tom and his suitcase and violin vanished Heathrowards yesterday? I think actually I need Superman.
Anyone out there got any SENSIBLE AND HELPFUL SUGGESTIONS? ***PLEASE?!?!?***
It isn't as simple as it sounds. My computer and Tom's are networked together on a single broadband connection in which Tom's is the closest to the telephone source. His works fine, hence I am on it now. All I can get out of my Internet Explorer and Entourage, though, is 'The Specified Server Could Not Be Found'.
What's going on? Is it my computer hardware? Software? The network? (yes I HAVE checked that the wires are plugged in.) Do I need to reinstall all my software, will it help, will I lose all my info if I do so? Who do I call? The Mac man? The friend who set up our network, which worked absolutely perfectly until Tom and his suitcase and violin vanished Heathrowards yesterday? I think actually I need Superman.
Anyone out there got any SENSIBLE AND HELPFUL SUGGESTIONS? ***PLEASE?!?!?***
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