Music and Opera

Every new product, whatever it is, needs a bit of ‘buzz’, and indeed vast numbers of people around the world make a decent living trying to generate that ‘buzz’, while the rest of us spend much of our time trying to ignore it. Last week, though, much chatter was to be had in music-loving circles about the new single from Daft Punk, a French duo who make dance music and dress up as robots whenever they play live. I bought their 2001 album Discovery, which was awash with references to old soft-rock hits of the late 1970s, and was so influential you could hear blatant steals from it on countless

Being an English pianist must be a lonely calling at times. There is no native tradition like the ones that, say, German or Russian musicians are heir to, so many superb pianists have been unjustly overlooked. It used to be said of John Ogdon that, had he been born Ogdonski, in Minsk rather than Mansfield, his profile would have been greater. Perhaps; but would he have been a finer musician? If you were born in Huyton, the son of a docker, the odds against gaining international recognition are greater still. Yet, in his 42nd year, that is where Paul Lewis stands today as he approaches the final furlong of a

When you can do anything you like, what do you do? In Bryan Ferry’s case, the answer seems to be ‘make a 1920s instrumental jazz record out of some of my old songs’. I have to admit that the mere idea of The Jazz Age (BMG), which is credited to The Bryan Ferry Orchestra, appealed to me not at all, and it seems that I wasn’t alone in this, for the record, released just before Christmas, reached only number 50 in the charts and may end up selling something adjacent to Bugger All. The first time you play it, it’s essentially a parlour game. Which one is ‘Slave To Love’?

I’ve just been reunited with a man whose pungent and patronising views on great composers have haunted me for more than 30 years. His name is Gervase Hughes, and I’ve discovered from Wikipedia that he was an upmarket travel agent who died in 1984. I had no idea, because I knew him only through his book Fifty Famous Composers, published as a Pan paperback in 1972, which mentions his short career as an opera conductor but not his main source of income, which was apparently ‘offering European tours in Rolls-Royce cars’. I lent Fifty Famous Composers (an expanded edition of The Pan Book of Great Composers, 1964) to a friend

I haven’t heard the David Bowie album yet, but the Amazon order is in and Postie has been alerted as to the importance of the delivery. How often these days do any of us feel so excited about an imminent release? The ten-year gap between Bowie albums might have something to do with it, but the 30-year gap between decent Bowie albums is probably more relevant. And all this is down to the excellence of the single. Gary Kemp of Spandau Ballet wept the first time he heard ‘Where Are We Now?’, and I was blubbing well into the song’s third or fourth week on Radio 2. Nostalgia for lost

Johnny Marr’s at it again. ‘David Cameron is not allowed to like my music,’ he fumes. He revives his disgust for Cameron’s love of The Smiths at least once every three months. God knows why he bothers. A bid to get his once famous name back in the papers? Or perhaps he likes to madden Tories? Ever since Cameron appeared on  Desert Island Discs, Tories have winced at the furious and occasionally bemused response from musicians name-checked by Dave. Marr was, as we know, most put out to find ‘The Charming Man’ on the list; and Paul Weller of The Jam was lost as to why Cameron liked ‘Eton Rifles’. Weller memorably said: ‘Which part of

You would think that asking for and receiving the names of the judges of a set of BBC awards would be a straightforward matter. The corporation’s own awards guidelines, available on its website, demand transparency. So it was surprising that when I asked who chose the winners of the BBC Radio 2 Folk Awards, thinking I’d write about them in my music blog, The Glamour Cave, I was told it was a secret. It was a more unpleasant surprise that a follow-up Freedom of Information request was denied on the grounds that the award ceremony, in the view of the BBC’s FoI department, was protected as ‘journalism’. If an awards

The question of who is going to buy EMI Classics took up most of 2012 and seems destined to run well into the new year. Given that the catalogue in question is probably the most extensive ever put together, containing priceless recordings from the earliest days of so many great artists that it would be otiose even to start listing them in this confined space, you might think that here was the sale of the century let alone of the year. In fact, no one seems to want it. The reason for putting such a property up for sale is that Universal, which already owned much of the music industry,

Is there anything more essential to one’s well-being than the sound of an English choir at evensong? Is there, for that matter, any word in our language more beautiful than ‘evensong’, with its evocation of architecture, music and the Anglican liturgy? This is the season to reflect on such matters. On Christmas Eve, Cambridge once again becomes the centre of the world for two hours as the choristers of King’s College celebrate the famous festival of carols and lessons and two days before, in St John’s, Smith Square, the choir of Trinity College will perform Bach’s Christmas Oratorio with the Orchestra of the Age of the Enlightenment. Moreover, they will