Korngold for beginners

Yesterday at The Rest is Noise we had fun introducing newcomers to the wonderful world of Erich Wolfgang Korngold. Ben Winters of the Open University gave a fascinating talk about the composer's years in America; the two of us then had quite a wide-ranging discussion, and some interesting questions came from the audience. Later on, I took part in a "bites" session with a political economist, a film historian and an art historian; each of us picked a topic that involved America finding its voice in the first half of the 20th century. Mine was Korngold and opera; I played, among other things, an extract of Marietta's Lute Song from Die tote Stadt.

It's easy to think Korngold has been rehabilitated, especially now that I've been on his case for more than two decades, but after the talk several people wanted to know, wide-eyed and open-eared, what this opera was and where they could hear more of it. It's so beautiful, they said. Why do we never hear it? The extract was too short, they said. They wanted to hear the rest.

This is an aria, indeed an opera, for anyone who has ever loved and lost.

Here is an interpretation of Marietta's Lied from the opera film Aria (1987), with some exquisite shots of Bruges, where the opera is set. (Warning: involves a bit of arty nudity.)

Korngold and The Rest is Noise

Anyone coming to the Southbank today for The Rest is Noise? This weekend the festival has reached America and I've been roped in to help show how Korngold did too.

At 12.30pm in the Purcell Room, I'm introducing Ben Winters from the Open University, who'll talk about Korngold in the US, which we'll then discuss further, and there'll be time for audience questions. At 5pm I'm also joining in an hour of short talks around American topics to bring in the matter of Korngold and opera - that will be in the Blue Bar, Level 4, Royal Festival Hall. (Yes, I know - it wasn't an American issue, but a Viennese one. But that is sort of the point...)

Please join us!

If you haven't been able to get to this extraordinary festival, you can listen to some of the talks on the website: here is the link to the Berlin in the 20s-30s section, beginning with Alex Ross on 'How music became so politicised': http://therestisnoise.southbankcentre.co.uk/explore/berlin-in-the-20s-and-30s/#1

In which Kaufmann says he "can't wait" to sing Tannhauser

Go for it, Jonas!

Three easy ways to get into opera

La Voix Humaine from washmedia on Vimeo.

1. Combine exploring opera with your passion for the piano. If you're heading to the Institut Francais's big three-day keyboardfest, It's All About Piano - starting today and running through Sunday - catch the screening of Poulenc's one-woman opera La Voix Humaine, filmed with the one and only Felicity Lott - with piano accompaniment, in which version it's been recorded for the first time, delivered by the brilliant Graham Johnson. Sneak preview above. The screening is tonight at 8pm - and if you turn up at 6pm you can hear Nick van Bloss play the Goldberg Variations and a four-hands programme from Lidija and Sanja Bizjak at 7pm.

2. Pop over to CultureKicks for my latest post, which is called "How to get into opera in under six minutes". You'll find a quick guide to Rigoletto, a film of its astonishing quartet 'Bella figlia d'amore' and a short explanation of why it shows to perfection what opera can do that just cannot be done nearly so well in any other art form... (Lovely editor there then said "What about Wagner?" to which the response can only be: "Well, what about Wagner...?" Watch that space.)

3. Listen to Andris Nelsons conducting. I've just been in Birmingham doing some pre-concert talks for the CBSO's Beethoven Cycle, which he, their music director, is doing for the first time. Honest to goodness, guv, this guy is amazing. Not sure I've seen anything so purely energetic and with so much warmth since...well, who? Jansons? Solti? The atmosphere in Symphony Hall - which was sold out - really had to be experienced. Nelsons, who hails from Latvia, cut his musical teeth as an orchestral trumpeter and started off, as so many great maestri do, in the opera house, and he's married to the soprano Kristine Opolais, who's currently wowing ROH crowds in Tosca.

He conducted his first Ring Cycle at the age of 26 and is now a favourite at Bayreuth. Hear his Beethoven and you can tell why. The structures are clear, but the emotion is allowed to blaze: there's enough rhythmic strength to build a castle, but enough flexibility to let in the sunshine. The characters and personalities that shine out of each of Beethoven's symphonies are as distinct as those of any opera. Perhaps, in this conductor's hands, music is inherently operatic?

It was an absolute privilege to have introduced this extraordinary concert. Great turnout for the talks, too, especially for yesterday's matinee, where a door-count estimate suggested we had nearly 500. Thanks for your warm reception, dear friends, and I hope you all enjoyed hearing about the slow movement of Beethoven 7 through the narrative of Rosa Parks and the American civil rights movement. 

Last but not least, it was a special treat to run into our old friend Norman Perryman, the musical "kinetic artist", whose beautiful paintings and portraits are part of the Symphony Hall visual brand. Here he is beside his magnificent picture suggested by Elgar, Gerontius, which hangs in the foyer at level 4. Glad to say he was in town to start work on a portrait of Nelsons.

A bit of Bach for Easter?

Like, er, nine hours of it with John Eliot Gardiner and friends? Sounds OK to me. He's putting on a Bach Marathon at no less a venue than the Royal Albert Hall, with a stellar line-up of soloists and speakers. It's on 1 April and it is no joke.
 

It's a kaleidoscopic celebration of the single most seminal figure in the history of music, whether in works for one violin or for full chorus, soloists and orchestra. Alongside the concerts, lectures and discussions draw in a plethora of experts both musical and scientific, and the day culminates in a complete performance of the B Minor Mass. Gardiner's the man of the moment for Bach. He's fronting a new BBC documentary about the composer, which is being shown the day before the RAH bonanza, and his biography of Bach will be published in the autumn. Somewhere along the way he might have time to stop and celebrate his own 70th birthday, but don't count on it - he's a very busy person.

"It’s a celebration," says JEG. "Really, a celebration of the decade since we did the Bach cantata pilgrimage. Working through the cantatas in such a concentrated span led to me and the group reacquainting ourselves with the really big pieces – the B minor Mass, the two Passions, the Christmas oratorio, etc – and one’s whole perspective on those pieces has changed as a result of the cantatas. One sees them not as isolated peaks but as being part of the whole connective tissue of Bach’s church music. The cantatas are really the foundation of it all and the passions, the Mass and the oratorios are outcrops: they grew out of the cantatas. 

"Our original plan was to do the St John Passion in the first half and the B minor Mass at the end. Unfortunately we couldn’t raise enough money to make that work, but what we have now is still an incredibly rich cross section from both ends of Bach’s life, in many different genres. The violin D minor partita, the cellos suites, the Goldberg Vairations, lots of organ pieces and the best of the motets. We have one of the earliest but also most magnificent of the cantatas that he wrote for Easter Day, and then the culmination is the B minor Mass."

Intriguingly, though, the Bach Marathon seems to be part of a growing trend in the classical music sphere towards grand-scale occasions packed with tempting talks and bonus treats. 

They're all at it these days. The BBC Symphony Orchestra has scored major hits with its Total Immersion days devoted to contemporary composers such as Jonathan Harvey, Oliver Knussen and Toru Takemitsu. The Barbican is shortly to have a May Marathon weekend, curated by the hotshot young American composer Nico Muhly. Meanwhile BBC Radio 3 has taken to devoting a week or so of its schedules from time to time to the work of just one composer and, this year, a whole month to the Baroque era. And over at the Southbank Centre, the year-long festival The Rest is Noise is going further still, with weekend after weekend devoted to concerts, talks and films exploring 20^th-century culture, setting the developing story of classical music in crucial context. 

Gardiner has strong views on the necessity of this development. “I think it puts the spotlight on how limiting one-off concerts can be,” he says. “They can, of course, be fantastic. But when things are loosened up from that unit of a single event and related to a much wider experience, it allows people to get their shoulders underneath the surface of the water and relish what they find there – whether it’s in terms of variety of genres, a much broader approach towards a single composer or a phenomenon like The Rest is Noise. I think it shouldn’t be regarded as something freakish or exceptional. It should be welcomed as a corrective to the fixation on individual concerts.” He is convinced we’ll be seeing much more of this in future.

I reckon he's right. There’s a growing appetite for events at which we can learn a lot about one topic very, very quickly. It’s possible that pressures on people’s time and energy mean a one-day feast is more likely to draw a crowd than an ongoing course. But perhaps the crucial factor, certainly in the case of Gardiner’s Bach, is that it is more about celebration than didacticism. Everyone can take from it what they want: you can go to a single concert, or to the full gamut, plus lectures on the universality of this composer’s art by the likes of the science writer Anna Starkey and the jazz musician Julian Joseph. 

“It’s a chance in a lifetime,” says Gardiner. He hopes his audience will take away “a sense of how unbelievably varied Bach’s oeuvre is and what a towering genius he is. One can perceive just from listening to his music what an enormous impact he had on subsequent musicians, both in classical music right up until our own times, but also in the worlds of jazz and of pop music. It can all be traced back to him.” 

Bach Marathon, Royal Albert Hall, 1 April, 1pm onwards. Box office: 0845 401 5045