First, here's my latest from the Indy, about Vivaldi, which was in the paper on Monday. Meant to put it up here earlier, but was up against some deadlines.
Now, to the title. I'm working on a piece for BBC Music Magazine's education issue comparing the merits of different types of schooling for budding musicians in Britain. I've talked to 5 musicians so far and am about to talk to another 2 or 3. So far, the following points have leapt out at me:
1. Nobody under the age of 35 has yet had a good word to say about music provision in UK state schools.
2. Most of the musicians who went to a conservatoire say that they regret not having gone to university.
3. Most of the musicians who went to university said it was very, very hard to combine academic work with enough practising.
4. Private education at a good school today costs an absolute fortune, even if you win a 'music scholarship'.
I'm reaching the conclusion that what counts is really only your personal fibre. If you've got the guts and the determination, it doesn't matter where you study. All these places are getting it wrong in their own sweet ways. Self-reliance is the only possible answer.
I am extremely glad that I don't have to go through any of that again.
Wednesday, November 24, 2004
Sunday, November 21, 2004
The British Amateur 2: The Music Society
It's one of those funny things about Britain: the only thing you can take for granted when you go anywhere smallish to give a concert is that it will be cold. And that nobody will have thought to put heating on earlier in the day to warm the place up in time. Yesterday was one of the coldest days we've had in Britain this year. We turned up for Beloved Clara to find that in the school hall a bottle of champagne could have chilled itself to perfection unaided on the piano keyboard. Lucy and the actors were huddling backstage in the Geography Room, wearing their coats, when Tom and I arrived - and their initial, tentative inquiry 'Any chance of a cup of tea?' had been met with the bizarre response: 'NO.' (One did turn up, mysteriously, later on.)
Tom is his orchestra's health and safety representative: it's his job, when the LPO meets chilly conditions, to do something about it. Old habits die hard, so he turned the full force of which he is capable on the poor, unsuspecting person who was supposed to have dealt with this earlier but hadn't. It's not for nothing that they nickname our Tom "General Eisnerhower"... First they brought down several blowy heaters and put them near the piano, which was fine for 30 seconds until the fuse blew. And only then, somehow, somewhere, somebody was finally raised, I think through sheer terror of Tom, to flick the switch that put the heating on in the hall. By the interval, I was just about ready to remove my gloves - and I was only listening. I don't know how Lucy managed to move her fingers - but somehow she did, and, I'm glad to say, very beautifully indeed.
When Tom and I go anywhere to do a concert, we take the following kit with us:
2 lamps, one to sit on the piano, one for Tom's music stand
An extension lead
At least one adapter
A small blowy or two-bar heater
A thermos flask of coffee
Water
Bananas
Chocolate
I think we may need to add draught excluder and fingerless gloves to the list.
Over in the States, what is the comparable situation - if it is indeed comparable? Over in Germany, Norway, France, Lithuania, Holland, indeed everywhere where you, dear readers, may be, how do things match up? Is the mentality the same - nobody takes responsibility and f-ups occur at every intervening stage before things prove, as they always miraculously seem to, all right on the night? Here there seems to be a predominant sense that if you insist something is done properly, you are somehow not terribly British. I am not trying to malign amateur music-making itself, which is a fine and life-enhancing tradition. Amateurish organisation, however, stops only just short of sabotage - and is really rather silly.
Tom is his orchestra's health and safety representative: it's his job, when the LPO meets chilly conditions, to do something about it. Old habits die hard, so he turned the full force of which he is capable on the poor, unsuspecting person who was supposed to have dealt with this earlier but hadn't. It's not for nothing that they nickname our Tom "General Eisnerhower"... First they brought down several blowy heaters and put them near the piano, which was fine for 30 seconds until the fuse blew. And only then, somehow, somewhere, somebody was finally raised, I think through sheer terror of Tom, to flick the switch that put the heating on in the hall. By the interval, I was just about ready to remove my gloves - and I was only listening. I don't know how Lucy managed to move her fingers - but somehow she did, and, I'm glad to say, very beautifully indeed.
When Tom and I go anywhere to do a concert, we take the following kit with us:
2 lamps, one to sit on the piano, one for Tom's music stand
An extension lead
At least one adapter
A small blowy or two-bar heater
A thermos flask of coffee
Water
Bananas
Chocolate
I think we may need to add draught excluder and fingerless gloves to the list.
Over in the States, what is the comparable situation - if it is indeed comparable? Over in Germany, Norway, France, Lithuania, Holland, indeed everywhere where you, dear readers, may be, how do things match up? Is the mentality the same - nobody takes responsibility and f-ups occur at every intervening stage before things prove, as they always miraculously seem to, all right on the night? Here there seems to be a predominant sense that if you insist something is done properly, you are somehow not terribly British. I am not trying to malign amateur music-making itself, which is a fine and life-enhancing tradition. Amateurish organisation, however, stops only just short of sabotage - and is really rather silly.
Thursday, November 18, 2004
Hello to Berlin
Back from a delicious few days hearing and interviewing the Beaux Arts Trio in Berlin. Fascinating city, as ever; every time I go there (this was my 3rd trip in 14 months) there are new buildings to see, cranes in new places, a gleaming new century imposing itself on relics of all the others. Berlin must be the city that best encompasses the whole of 20th-century European history.
Not that I saw much of it this time, because my quarry, the trio - known pleasingly as the BAT - were far too interesting. Pianist Menahem Pressler, who is over 80, is one of my great piano heroes and the person I would most have loved to study with 20 years ago. The 'old' trio's recordings, with Isidore Cohen and Bernard Greenhouse, were among my father's favourites and we used to listen to them all the time when I was about 14, especially the Dvorak 'Dumky' Trio. I think that the sound of Pressler's playing somehow got under my skin at that time through sheer familiarity with this record, and I realise now that it's been my pianistic ideal ever since. And the Dumky was the second half of their Berlin concert.
In place of Cohen and Greenhouse the trio now has Daniel Hope and Antonio Meneses. But the piano sound is just the same - silvery, sparkly, silken joie de vivre, full of soul and humanity, from someone who should be recognised as one of the world's great pianists but, because he has played primarily in a trio for 50 years and taught devotedly in Indiana for half that time, is not sufficiently familiar to the wider public. Just a few notes into the Dvorak, I entered a time warp and found myself back in the house where I grew up, going through it room by room, object by object, and watching Dad enjoying the music... Of course, he died years ago, as did my mother, and I spent most of the trio fighting back serious lump in throat.
Almost as moving, and more astonishing, was the impression I had that Pressler and Hope, despite the 50-year difference in their ages, are somehow cut from the same spiritual cloth. Musically they were a perfect match and during the interviews each in turn seemed to be trying to win at praising the other. They are performing the Faure A major Sonata together in Paris in January and I intend to try to go. Pressler calls Dan and Antonio 'my boys', which is very sweet indeed. I sat next to Pressler at dinner and we got on wonderfully. He is just as he sounds.
Apropos de Faure, Tom and I played that same sonata in a private concert last Sunday and I thought it went pretty well. Or, to put it another way, I didn't f*** up. And Tom was excellent, despite the frustration of trying to play in tune while the piano was out of tune. The audience seemed to love it and they gave us two very nice bottles of champagne.
Not that I saw much of it this time, because my quarry, the trio - known pleasingly as the BAT - were far too interesting. Pianist Menahem Pressler, who is over 80, is one of my great piano heroes and the person I would most have loved to study with 20 years ago. The 'old' trio's recordings, with Isidore Cohen and Bernard Greenhouse, were among my father's favourites and we used to listen to them all the time when I was about 14, especially the Dvorak 'Dumky' Trio. I think that the sound of Pressler's playing somehow got under my skin at that time through sheer familiarity with this record, and I realise now that it's been my pianistic ideal ever since. And the Dumky was the second half of their Berlin concert.
In place of Cohen and Greenhouse the trio now has Daniel Hope and Antonio Meneses. But the piano sound is just the same - silvery, sparkly, silken joie de vivre, full of soul and humanity, from someone who should be recognised as one of the world's great pianists but, because he has played primarily in a trio for 50 years and taught devotedly in Indiana for half that time, is not sufficiently familiar to the wider public. Just a few notes into the Dvorak, I entered a time warp and found myself back in the house where I grew up, going through it room by room, object by object, and watching Dad enjoying the music... Of course, he died years ago, as did my mother, and I spent most of the trio fighting back serious lump in throat.
Almost as moving, and more astonishing, was the impression I had that Pressler and Hope, despite the 50-year difference in their ages, are somehow cut from the same spiritual cloth. Musically they were a perfect match and during the interviews each in turn seemed to be trying to win at praising the other. They are performing the Faure A major Sonata together in Paris in January and I intend to try to go. Pressler calls Dan and Antonio 'my boys', which is very sweet indeed. I sat next to Pressler at dinner and we got on wonderfully. He is just as he sounds.
Apropos de Faure, Tom and I played that same sonata in a private concert last Sunday and I thought it went pretty well. Or, to put it another way, I didn't f*** up. And Tom was excellent, despite the frustration of trying to play in tune while the piano was out of tune. The audience seemed to love it and they gave us two very nice bottles of champagne.
Saturday, November 13, 2004
Schumannalia
It's been a good year for me work-wise, though I touch every piece of wood in sight as I write this. First, I'm back in a national paper (Indy) on a regular basis after a break of several years since Guardian days. Now I'm back reviewing CDs for BBC Music Magazine after a break of around 2 years, following the magazine's recent office move and staff changes. As a freelancer, one is extremely dependent on the personal taste of whoever happens to be in charge at the editorial level - it's a rare blessing when this actually works for one, instead of against!
They've sent me a CD of Schumann piano music, the Etudes Symphonique and the Fantasie Op.17, and I have to write a 'benchmark' review - ie, compare this one to 'the best recording currently available'. Apart from the obvious thought - omygod, not another disc of Schumann, can't he do something more original? - this presents the dilemma that there are so many fine recordings of these piece already that picking 'the best' is an uncomfortable task. For Schumann generally, I tend to gravitate to ancient jobs like Cortot - I don't believe anybody has ever played this music with such profound understanding as he did. But given crackles and wrong notes, this may not qualify as 'the best' for such an occasion. For the Fantasie, arch-rival Gramophone gives Richter as their Recommended Recording - but then, they also recommend Bostridge in Dichterliebe, which I find very hard to swallow (come on, guys, haven't you ever heard Fischer-Dieskau accompanied by Eschenbach?), so I'm dubious about trusting this.
It's interesting to see that on the Amazon.co.uk list that responds to my 'Schumann Etudes Symphoniques' search (total: 74 recordings), sorted according to best-sellers, dead pianists feature as much, if not more than, living ones. Incredibly, Gieseking seems to be their No.1 seller. Then Pletnev, Ashkenazy and, good heavens, Moiseiwitsch; followed by Wilhelm Kempff and Cortot before Pogorelich with his pretty-boy photo from decades back. And so it goes on.
So, do I plump for personal favourite Cortot or should I plough through a dozen Good Contemporary Bets (Pletnev is just too idiosyncratic for me, by the way) before finding someone to compare this new, unfortunate, unsuspecting pianist to? Well, I have to give a concert myself tomorrow... so maybe I'll worry about it once that's over... Meanwhile, anybody got any more personal top choices for CDs of these pieces?
They've sent me a CD of Schumann piano music, the Etudes Symphonique and the Fantasie Op.17, and I have to write a 'benchmark' review - ie, compare this one to 'the best recording currently available'. Apart from the obvious thought - omygod, not another disc of Schumann, can't he do something more original? - this presents the dilemma that there are so many fine recordings of these piece already that picking 'the best' is an uncomfortable task. For Schumann generally, I tend to gravitate to ancient jobs like Cortot - I don't believe anybody has ever played this music with such profound understanding as he did. But given crackles and wrong notes, this may not qualify as 'the best' for such an occasion. For the Fantasie, arch-rival Gramophone gives Richter as their Recommended Recording - but then, they also recommend Bostridge in Dichterliebe, which I find very hard to swallow (come on, guys, haven't you ever heard Fischer-Dieskau accompanied by Eschenbach?), so I'm dubious about trusting this.
It's interesting to see that on the Amazon.co.uk list that responds to my 'Schumann Etudes Symphoniques' search (total: 74 recordings), sorted according to best-sellers, dead pianists feature as much, if not more than, living ones. Incredibly, Gieseking seems to be their No.1 seller. Then Pletnev, Ashkenazy and, good heavens, Moiseiwitsch; followed by Wilhelm Kempff and Cortot before Pogorelich with his pretty-boy photo from decades back. And so it goes on.
So, do I plump for personal favourite Cortot or should I plough through a dozen Good Contemporary Bets (Pletnev is just too idiosyncratic for me, by the way) before finding someone to compare this new, unfortunate, unsuspecting pianist to? Well, I have to give a concert myself tomorrow... so maybe I'll worry about it once that's over... Meanwhile, anybody got any more personal top choices for CDs of these pieces?
Friday, November 12, 2004
Yo Sufi
Went to the South Bank last night with a friend who is investigating Sufi music. We had a Japanese feast at Yo Sushi (we turned it into Yo Sufi for the occasion!), which is near the London Eye and jolly nice, and then settled into the Queen Elizabeth Hall for the Whirling Dervishes of Turkey.
They didn't so much whirl as twirl, rather gently. Five men in long cream-coloured robes and tall fezes. They went round and round and round and round and round, arms gently raised, heads leaning to one side, eyes closed, while a four-piece group played intricate and meditative music full of quarter-tones on beautiful instruments that bore strong resemblances to Renaissance lute, recorder and viol (mini model). Unfortuantely there were no programmes for the occasion, and I think this was a major ommission. My friend and I remained completely in the dark about a) what the instruments are called, b) what the music signified, c) to what end the dervishes twirl, if any, d) the history of this tradition and e) how on earth they manage not to get dizzy. I tried it when I got home and lasted about 25 seconds before nearly falling over.
The following will not sound tremendously politically correct, but after a while I couldn't help wondering quite what we were doing there (we weren't the only ones in the half-full hall who sloped off home at the interval). Sure, it's impressive and the music is different and fascinating in its own way. But thinking back a number of years to my days sub-editing on Southbank Magazine, which is a marketing tool and diary for the SBC, produced by the BBC, I was reminded of the way in which these types of evening were pushed rather at the expense of classical concerts. Classical wasn't cool and trendy enough - if they could have a picture of someone in a bright ethnic costume on the front cover, even Helene Grimaud wouldn't have stood a chance. A piano? Oh dear me... And these decisions were made by the centre, not by the editors. One reason I gently divorced myself from Southbank was the fact that the line we had to take - not so much politically correct as culturally correct - got up my nose to the point of inducing real depression. Now, I LIKE much of this stuff! I'm all for it! I loved talking to the world-musicy people I had to interview while I was there. I think the rise of world music is one of the most exciting cultural developments of the last decade or two - and it beats the hell out of mass-produced pop. But I don't see why classical music has to be 'positively' marginalised because of it.
Hopefully my friend found the evening useful. This morning I am operating in ever-decreasing circles.
They didn't so much whirl as twirl, rather gently. Five men in long cream-coloured robes and tall fezes. They went round and round and round and round and round, arms gently raised, heads leaning to one side, eyes closed, while a four-piece group played intricate and meditative music full of quarter-tones on beautiful instruments that bore strong resemblances to Renaissance lute, recorder and viol (mini model). Unfortuantely there were no programmes for the occasion, and I think this was a major ommission. My friend and I remained completely in the dark about a) what the instruments are called, b) what the music signified, c) to what end the dervishes twirl, if any, d) the history of this tradition and e) how on earth they manage not to get dizzy. I tried it when I got home and lasted about 25 seconds before nearly falling over.
The following will not sound tremendously politically correct, but after a while I couldn't help wondering quite what we were doing there (we weren't the only ones in the half-full hall who sloped off home at the interval). Sure, it's impressive and the music is different and fascinating in its own way. But thinking back a number of years to my days sub-editing on Southbank Magazine, which is a marketing tool and diary for the SBC, produced by the BBC, I was reminded of the way in which these types of evening were pushed rather at the expense of classical concerts. Classical wasn't cool and trendy enough - if they could have a picture of someone in a bright ethnic costume on the front cover, even Helene Grimaud wouldn't have stood a chance. A piano? Oh dear me... And these decisions were made by the centre, not by the editors. One reason I gently divorced myself from Southbank was the fact that the line we had to take - not so much politically correct as culturally correct - got up my nose to the point of inducing real depression. Now, I LIKE much of this stuff! I'm all for it! I loved talking to the world-musicy people I had to interview while I was there. I think the rise of world music is one of the most exciting cultural developments of the last decade or two - and it beats the hell out of mass-produced pop. But I don't see why classical music has to be 'positively' marginalised because of it.
Hopefully my friend found the evening useful. This morning I am operating in ever-decreasing circles.
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