RIP Pauline Oliveros

Pauline Oliveros (1932-2016). Photo: Deep Listening Institute

This year, as everyone has already noted, has taken many amazing people out of this world. The latest is the composer Pauline Oliveros, creator of the concept of Deep Listening and music to match, who has died at the age of 84.

“In hearing, the ears take in all the sound waves and particles and deliver them to the audio cortex where the listening takes place. We cannot turn off our ears–the ears are always taking in sound information–but we can turn off our listening. I feel that listening is the basis of creativity and culture. How you’re listening, is how you develop a culture and how a community of people listens, is what creates their culture.” -- Pauline Oliveros, 2003

Read more about her here.

Here is A Love Song by and for her.



What is Deep Listening?

Deep Listening Institute (DLI) promotes the music and Deep Listening practice of pioneer composer Pauline Oliveros, providing a unique approach to music, literature, art, meditation, technology and healing.  DLI fosters creative innovation across boundaries and across abilities, among artists and audience, musicians and non-musicians, healers and the physically or cognitively challenged, and children of all ages.  This ever-growing community of musicians, artists, scientists and certified Deep Listening practitioners strives for a heightened consciousness of the world of sound and the sound of the world. 

Deep Listening Institute has merged with RPI to become

Center for Deep LIstening at Rensselaer 

under the direction of Tomie Hahn.  

For information on programs please contact Hahnt at RPI.edu. 

CDL website:   http://www.deeplistening.rpi.edu/

FaceBook:  https://www.facebook.com/groups/570842616417932/

360 degrees of conducting

Susanna Mälkki with the New York Philharmonic last year. Photo: Chris Lee

I had a terrific interview with the conductor Susanna Mälkki for Opera News, ahead of her debut at the Met, New York, with Saariaho's L'amour de loin.

Here's the whole article, with a little taster below...

WITH CONSCIOUSNESS about the situation of women conductors expanding, and creative initiatives springing up around the world to combat the inequality, observers might conclude that the battle is almost won. This is not entirely the case. “I think the biggest change actually is on the public side,” says Mälkki. “I’ve met a lot of musicians who have been totally fine about a woman conducting, but it’s taken such a long time for the business to catch up with it—and also the press. And I think those two have been the slowest to react, because they may have been wanting to cherish old images of—well, you know what I’m referring to!” Indeed—the grand maestros of the past, those controlling, all-powerful alpha-males. 

Even so, the role’s challenges in reality have nothing to do with gender. “I think conducting is a 360 degrees kind of work, because there are so many different responsibilities,” Mälkki says. “It’s a job where you should be everything to everybody. People have so many different expectations, and these can be sometimes really disconnected from the music at hand. I think the pragmatic side and the pragmatic training for it—keeping one’s feet on the ground and concentrating on the music—has definitely helped me, and little by little I’ve developed my way to deal with the rest.

“In terms of music-making, what I find interesting to see in retrospect is that working with living composers has always been such a central, essential and natural part of my work as a conductor—and that’s going back to the basics. That’s what this profession is about. Therefore I’ve been following the other discussion feeling sometimes frustrated and sometimes amused, because I’ve been happy to be working on the real issues with real substance all the time—and contemporary composers have been extremely happy with what I’ve been doing.” ...

http://www.operanews.com/Opera_News_Magazine/2016/12/Features/360_Degrees.html

Tomorrow: Hungarian Dances is at The Sage, Gateshead!

Tomorrow I'm off to Gateshead to present the Hungarian Dances Concert of the Novel at The Sage, our violinist Bradley Creswick's home hall - and, indeed, home hall of the project, which was premiered there in 09, having been suggested to the Fiddles on Fire Festival by a canny librarian. Bradley, who on other days leads the Royal Northern Sinfonia, plays the living daylights out of the Gypsy repertoire - expect some surprises! - and he and Margaret Fingerhut have been working together since their college years. It's incredible to be on stage with them, and super-exciting when it's at The Sage, one of the best arts centres in the country.

Looking forward to seeing lots of North-East friends and enjoying Newcastle-Gateshead, which is not unlike Budapest: two different cities joined by a magnificent river and its bridges.

More info and booking here. (And if you are into praying, please pray for no disruption on the railways...the weather is a bit wild...)

Help the resuscitation of a lost genius

Writing a piece about the Golden Age of Pianists for Primephonic, I couldn't resist including one of the most startling, inspiring and terrifying musicians I have yet encountered on record: the Hungarian pianist Ervin Nyiregyházi. You may not have heard of him, but maybe it's time you did. All you can expect of him is the unexpected.



Kevin Bazzana's biography reveals the life of a man who lurched between genius and mental breakdown, from wild success to sleeping rough in the subway, from wife to wife - ten of them (eat your heart out, Henry VIII) - yet who was never anything less than his own true self.

The cover to be. Photo: Yoshimasa Hating

Tomoyuki Sawado of Sonnetto Classics is having a Kickstarter to raise funds to release Nyiregyházi's comeback recital of 1972 on CD. Please have a listen and consider contributing. He has 9 days left to raise the remaining 49 per cent. More details at the Kickstarter page here.

My Primephonic article explores what exactly the magic of those so-called Golden Age artists was about. It's not a comprehensive survey or a Top 300 list or similar, and is designed for general music lovers as well as serious pianophiles. I chose a selection of pianists from different places, with contrasting personalities and life stories, and wondered what brings them together under the same umbrella. It's a personal choice and assessment. There are probably 50 more who could have been included, yet the article is already double its intended length.

Anyway, hope you enjoy it. And do take a look at that Kickstarter.

You want it darker?

Listening to Christoph Prégardien singing Lieder by Mahler, Schubert and Schumann the other night at the Wimbledon International Music Festival, I couldn't help wondering if that's where Leonard Cohen got it from. The journey to the darkest regions of the human heart dates not from today's finest singer-songwriters, perhaps not even from Mahler, but from the 1820s. Schubert's settings of Heinrich Heine in his last song cycle, Schwanengesang, are a strong contender for the title of bleakest, most nihilistic music in history, should we ever need to present such an accolade. Their intense pain is only increased by their beauty - and by the craftsmanship by which Schubert is able to kick our guts out with the upward step of one semitone in 'Der Doppelgänger'.

Christoph Prégardien. Photo: Medici.tv

There's something almost masochistic about a really good Lieder recital. We're put through the crushing emotions of lost love, of longing for death, of self-imposed suicidal isolation, and the more it hurts, the better the singer is presenting it. We're put through an emotional mangle and sometimes we weep. And the more of that there is, the more likely we are to offer him/her a standing ovation at the end. Because actually we come out feeling better.

Is that because it's over? Nope. It's good, old-fashioned, Greek catharsis. We have the chance, listening to these songs, to go into the secret, suppressed chambers of our own hearts and concentrate on feeling, unimpeded, the emotions we might not want to let out otherwise. It hurts, but it's an experience, a meditation and a release.

The fact that Christoph Prégardien was singing in Wimbledon at all is quite a triumph for the WIMF, whose programming these days wouldn't disgrace a festival three times its weight in the centre of some gorgeous European capital, rather than suburban south-west London, where we all go wombling free (even Alfred Brendel, who lives north of the river, was in the audience for this one). Prégardien's artistry is streamlined, focused, essential: with beauty of tenor tone absolutely intact - he is 60 - diction impeccable, emotions of text and tone fused and explored to the last degree, he is the consummate Lieder singer. His partnership with the excellent pianist Sholto Kynoch matched all of that. He brought splendour, agony and ecstasy to Mahler's Lieder eines Fahrenden Gesellen first; bitterness, irony and a heady intelligence to Schumann's Dichterliebe in the second half; and those Schubert Heine settings in between are still alive and reverberating with wonder and horror somewhere in my subconscious several days on. You want it darker? Try Schubert.

Incidentally, the artistic director of the WIMF, Anthony Wilkinson, has for some years been spearheading an effort to get a world-class concert hall built in Wimbledon; and at the moment, he tells me, things are progressing quite well. More power to his elbow.

The festival continues with a feast of great music-making until 27 November: Christian Tetzlaff in solo Bach and Bartók, Tabea Zimmermann and Dénes Várjon, Michael Collins, Raphael Wallfisch, a Klezmer night with Balkan Voices, the Tetzlaff Quartet, the Bach Christmas Oratorio and more. Wimbledon is a short train ride from Waterloo, or take the southbound District Line to the end.