To curate a festival these days is to put oneself in the firing line. There is every chance that all one will earn is the charge of stirring up apathy. It is a risk; and there will be no knowing how it has gone until it is much too late to withdraw gracefully. In the
This week, I have been mostly listening to Parsifal. Not the St Matthew Passion, which is my usual Passiontide fare. And, boy, it’s been quite an experience. You have to be in the mood for the Bach, but for the Wagner you really have to be in the mood. Parsifal is nearly five hours long.
It is coming to something when relatively young pop stars die not of drugs or misadventure but, essentially, of old age and decay. Frankie Knuckles, the house DJ and producer, breathed his last recently at the age of just 59, and several ageing ex-clubbers of my acquaintance told me that it was the end of
W.H.Auden once wrote: ‘Real artists are not nice people. All their best feelings go into their work and life has the residue’ — which puts those who aspire to be artists in a bit of a quandary. Is it a measure of one’s success as a ‘real artist’ that one is not a nice person?
‘The truth is,’ says Gordon Back, lowering his voice, ‘that if the violin finalists from the BBC Young Musician of the Year were to enter the Menuhin Competition, they wouldn’t make it to the first round.’ Not through the first round, note, but to the first round: they wouldn’t be good enough to compete. Back
Earworm: what a wonderful word. It describes, as nothing else quite can, the effect a really invasive melody can have on your consciousness. Hear the song once and you will hear it again and again, on a loop in your brain. At the pub quiz the other night, the answer to a question was Brotherhood
One of the unlooked-for side effects of the financial crisis has been what might be called the desocialising of music funding. Whereas once many arts organisations could expect to survive solely on public money, just recently there has been an almost unseemly rush to tap private sources of cash. The time lag between the original
I love a good hymn, so long as I’m not expected to sing it. Lusty declarations of faith sound ridiculous coming out of my mouth and embarrass the hell out of me, so I pretend that I’ve forgotten to pick up a hymnbook on my way in. If someone shoots me an accusatory glance, then
Every musical career has its own narrative, and most of them include at least one comeback. To come back, you first have to go away; then you have to stay away; and finally, when everyone has forgotten your name, you wander nonchalantly back under the arc-lights and wave modestly to screaming fans and waiting reporters.
Not long ago the great conductors of classical music were general practitioners. They expected to give satisfactory interpretations of music written from the beginnings of symphonic composition to the present day, and audiences took it for granted that, if they knew what they were doing with Mozart and Beethoven, they could be trusted with Handel
Fellini’s credo ‘the visionary is the only true realist’ could also be applied to the life of Claudio Abbado, who died earlier this week in Bologna at the age of 80. It would be wrong to think of Abbado as a dreamer, for conducting at the angelic heights to which he ascended is a matter
About 30 years ago, not long before he died, my father bought an LP of Sir Clifford Curzon playing Schubert’s last piano sonata, in B flat D960. He was slightly defensive about the purchase. You see, he already had a record of Alfred Brendel playing the same piece. ‘It’s a bit of an extravagance,’ he
Three months until spring. Four months until the start of the cricket season. And only nine months until the radio starts playing ‘Merry Xmas Everybody’ again. Or have you heard enough of Christmas songs by now? Many of us had heard enough of them by Christmas 1988. Every October they return. The first strains of
As Lang Lang walked from the stage at the Royal Albert Hall in November, a little girl emerged from the audience to embrace him. It was a disarming moment that seemed to symbolise the impact of the 31-year-old Chinese pianist. He has rock star appeal. And then, for Lang Lang, the end was the beginning.
Looking through the list of composers who celebrate some sort of anniversary in 2014 is a depressing business. I don’t think I have ever seen such an anonymous collection of small-time nobodies, and yet for them to appear on a list at all suggests that they did something of note, and that someone has heard
Beethoven’s Hammerklavier Sonata is thrilling and brain-twisting. Its nickname derives from the fact that it was published as a sonata ‘for the hammer-action keyboard’, which just means a piano. But the notion of hammering suits this work. It’s his longest sonata — a late one, No. 29 in B flat, Op. 106 — and a
Albums of the year? What a good question. Some years we can answer it, some years we can’t. The essence of pop music is its newness, its absolute determination to upgrade itself and keep on upgrading itself, often beyond anyone’s interest in its upgrading itself. Accordingly, there are some years when the paid-up music obsessive
The most celebrated Christmas carol, ‘Silent Night’, belongs to Austria. Father Joseph Mohr, the priest at Oberndorf, a small village near Salzburg, wrote it in 1818. Set to music by Franz Xaver Gruber, it was sung on Christmas Eve at the church of St Nicholas: Stille Nacht, heilige Nacht. It is the most celebrated carol
While the airwaves resonate with celebrations of Britten’s birth, I cannot help thinking that what was happening in Paris at that very moment was light-years away, not only from Lowestoft, but also from London. The cultural distance between the two metropolises can never have been greater than it was in 1913, and one can only
When I first met John Tavener in 1977, he was still largely known for his dramatic cantata The Whale, which had been performed at the Proms in 1969. By then both John and his Whale had acquired considerable glitter, partly by having the veteran newscaster Alvar Lidell associated with it, and partly through its eventual
