Music

Thursday

Damian Thompson

Forward thinking

The award of a knighthood to the composer James MacMillan will have ruined last weekend for lots of unsavoury people: the Guardian arts desk, which decided he’d lost his mojo as soon as he turned his back on the left; Kirsty Wark, whose squawking is mimicked in MacMillan’s Scotch Bestiary; the SNP, which he detests; and, most of all, the Nats’ religious front organisation, the Scottish Catholic Bishops’ Conference. OK, enough point-scoring. MacMillan has been honoured because he turns out glorious music. He’s also rare among living composers in having worked out an answer to the question raised when John Cage pushed sound to the point where nothing short of

Thursday

Peter Phillips

Evolutionary road

As Sepp Blatter has so affectingly remarked, the organisation he formerly headed needs evolution, not revolution. There is a consensus that this is also what David Pickard will bring to the Proms, when he takes over after this season. Of course, Pickard’s job is going to be more complex than Blatter’s ever was. The challenge for Pickard is that however hard he tries to please most of the people most of the time, the modalities of running the Proms mean that he cannot be friends with everyone — and for him there will be no short cuts. What do we expect from the Proms these days? Despite all the flurry

Thursday

Dot Wordsworth

Eurovision-speak

Like a reluctantly remembered nightmare, last week’s Eurovision Song Contest already seems very distant. But, in the manner of the Sand people in Star Wars, the nations of Eurovision will no doubt soon be back, and in greater numbers. Disappointingly, with scarcely an alien tongue displayed apart from Montenegrin, the chosen language was poor English. Since it is hard (for those not native speakers) to make out the sense of songs in English, the logic seemed to be to write them nonsensically from the outset. Sweden’s winning song had a thing about natural history, but showed a feeble grasp of fundamentals. ‘Go sing it like a hummingbird,’ it said, ‘The

Thursday

Anna Picard

Lost boys

In Beryl Bainbridge’s novel An Awfully Big Adventure the producer Meredith Potter issues a doughty injunction on the subject of staging Peter Pan: ‘I am not qualified to judge whether the grief his mother felt on the death of his elder brother had an adverse effect on Mr Barrie’s emotional development, nor do I care one way or the other. We all have our crosses to bear. Sufficient to say that I regard the play as pure make-believe. I don’t want any truck with symbolic interpretations.’ Symbolic interpretation hangs heavily over the rough-and-tumble jumble of Janacek, Beethoven, Stravinsky, Satie, Handel, Vivaldi, sea shanties and klezmer in Lavinia Greenlaw and Richard

Thursday

Peter Phillips

Mexican wave

Tours that start in Mexico have a nasty habit of repeating on one. Of all the British groups touring in the United States at the moment, we were the only one to launch our efforts there. But the upshot is that, two weeks later and safely in New York, I am still directing a sea of unnaturally white faces. I am often asked what happens when someone falls ill on stage. The answer is that they leave it, while trying to give the impression that this is all part of the evening’s entertainment. The resulting sense of unease can be felt by everyone in the room, but is perhaps worst

Damian Thompson Damian Thompson

The rudeness of John Eliot Gardiner

Sir John Eliot Gardiner is talented almost beyond measure. His Monteverdi Choir, English Baroque Soloists and stupidly named Orchestre Révolutionnaire et Romantique have notched up one triumph after another over the decades: benchmark recordings of the Monteverdi Vespers and Bach B minor Mass, the finest period-instrument Beethoven symphony cycle and a cantata pilgrimage of live performances of all the Bach sacred cantatas. His recordings of Mozart operas are dazzling. At 72, Gardiner is at his artistic peak. His live re-recordings of the Beethoven Fifth, Seventh and Missa Solemnis eclipse their predecessors and in its second account of the Bach motets the Monteverdi Choir sings with such eerie precision, infused with

Thursday

Philip Clark

Mistress of modernism

Everyone keeps talking about classical music’s image problem, and proposals on the table designed to rescue the music from apparent extinction have included the suggestion that conductors ought to face audiences rather than orchestras, and the cunning plan, mooted by Julian Lloyd Webber, that we stop calling it ‘classical music’. But what classical music really needs right now are more performers like Barbara Hannigan, whose embrace of music is absolute; whose solution to the problem of what classical music might represent in our increasingly fragmented culture is not to go into denial but to dive deeper, forever deeper, inside music. Hannigan has anchored her reputation around high-wire modernism. When a

Thursday

The Spectator

Barometer | 16 April 2015

Out of tune The use of a song, ‘Love Natural’ by the Crystal Fighters, at the launch of the Labour manifesto backfired when the band’s drummer urged people to vote Green instead. Some other campaign songs whose writers disowned the campaign: — Ronald Reagan used ‘Born in the USA’ by Bruce Springsteen for his re-election campaign against Springsteen’s wishes. — In 2008, Barack Obama was asked to stop using ‘Soul Man’ by Sam Moore. — In the same year Jackson Browne sued the Ohio Republican party for using his ‘Running on Empty’ for John McCain’s election campaign. — The Conservatives in 2005 used ‘Everybody’s Changing’ by the band Keane at

Damian Thompson Damian Thompson

The legend returns

Daniel Barenboim is back in town: the South Bank is mounting a ‘Barenboim Project 2015’ in which he’s playing the Schubert piano sonatas and conducting his magnificent Berlin Staatskapelle in Elgar’s Second Symphony and Beethoven’s First Piano Concerto, with Martha Argerich as soloist (if she doesn’t cancel yet again, in which case I assume Barenboim will do it himself). As usual, the arts luvvies are wetting themselves. I remember being at a newspaper morning conference when he was about to play the Beethoven piano concertos at the South Bank. The arts editor — who knew zilch about the respective merits of classical pianists — announced this as if it were

Thursday

Marcus Berkmann

End of the Rainbow

The golden age of pop music may be long gone, but the golden age of pop musicians’ obituaries is definitely with us. Soon I shall have to start apologising for returning to this subject with such regularity, but barely a week now seems to pass without some rock legend turning his or her eminent toes up. Last week it was John Renbourn, gruff beardy guitarist for Pentangle, and the week before Daevid Allen, who founded Soft Machine and about 73 different manifestations of Gong. On social media Nick Hornby asked us to name which dead people we had seen live (when they were alive, obviously). His list included Bobby Womack,

Philip Hensher

That unmistakable touch of Glass

Philip Glass is by now surely up there in the Telemann class among the most prolific composers in history. There must be an explanation, preferably a non-defamatory one, for how his technique has enabled him to produce such an enormous quantity of music. A glance at my iPod shows that Varese’s collected works are over in 150 minutes: Berg, Ravel and Debussy each managed to produce between ten and 15 hours of music at most. Glass’s style, which has been called ‘minimalist’, though he doesn’t accept the label, works on a bigger scale. He has written 25 operas, some, like Einstein on the Beach, as long as Die Meistersinger. He

Thursday

Taki

Even a perfect opera such as Don Giovanni improves with a good red

End of season is always bittersweet, the melting snows a bit like autumn leaves. But the days are longer and soon spring will chase away any remaining winter blues. The Eagle Club’s closing is a perennial festive day, with speeches by our president Urs Hodler, an almost teary goodbye to our very own Pino — who has seated and fed us for 44 years — and the Taki Cup awards, won the past two years by my son J.T. in record time: 34 minutes to conquer the highest mountain in Gstaad. (Charlotte Cotton was only five minutes slower, an amazing feat for a young woman.) It was a hell of

Peter Phillips

Our hero worship of Bach is to blame for rubbish like ‘Written By Mrs Bach’

My impression that Bach has come to rival Shakespeare as a flawless reference point in the cultural life of the nation has recently received some further corroboration. Remember the fuss that some academics, in the hope of recognition, created around the authorship of the bard’s works and where it got them? I don’t know how far the non-specialist public has been swayed by the BBC4 television programme entitled Written By Mrs Bach, but the Earl of Oxford came to mind as I watched it. The claims in the programme are so obviously rubbish that I would have thought the average film company might have thought twice about filming it, let

Thursday

The Spectator

A censored hymn to motorway misery

Service record The government is to form a design panel to improve motorway services stations. These have not always charmed the British public, not least the very first: Watford Gap services, which opened in 1959 on the same day as the first stretch of the M1. — It quickly became a night-time haunt of rock stars travelling between gigs, but not all were impressed by the food. In 1977 the folk singer Roy Harper recorded a track on his Bullinamingvase album called ‘Watford Gap’ and containing the lyrics: ‘…And the people came to worship on their death-defying wheels,/ fancy-dressed as shovels for their death-defying meals…Watford Gap, Watford Gap, a plate

Thursday

Anna Picard

Alice in Wonderland at the Barbican reviewed: too much miaowing

Charles Lutwidge Dodgson loved little girls. He loved to tell them stories, he loved to feed them jam, he loved to set them puzzles, and he loved to take their photographs. On 25 March, 1863, he composed a list of 107 prepubescent portrait subjects, arranged alphabetically by forename. Below the Agneses came the Alices, including Alice Liddell, the little girl for whom he created Alice in Wonderland. Mostly good-mannered, occasionally lachrymose and stuffed full of half-remembered governess-led learning, the fictional Alice displays behaviour quite out of step with her age. Instead of doing what she is told to do by the creatures she meets, she behaves like an adolescent (though

Camilla Swift Camilla Swift

Why choirgirls are a bad idea

Boys, by Edward Bell Boy or girl, it isn’t easy being a full-time chorister, but the rewards are vast. For me, it was a good two years before the homesickness fully dissipated, and I was a veteran nine-year-old before I started really having fun. A year later the school became co-ed and our elite band had to adjust to the sudden arrival of girls. For a brief moment I thought they were even going to infiltrate the ranks of the choir. I couldn’t articulate why, but I remember thinking that would have been a bad thing. Very aware of the limitations of my own voice, I developed an obsession with

Friday

Kasia Maciejowska

MoMA’s new Björk exhibition cramps the singer’s style

Was intimacy the goal of Björk at MoMA? Co-curated by the Icelandic musician herself and Klaus Biesenbach, MoMA chief curator at large, the exhibition allows for a closer look at the objects that go into her productions, from custom-made instruments to haute-couture costumes and personal notebooks. The centrepiece, however, is the new commission Black Lake. At a press conference on Tuesday, Biesenbach made much of the live experience of museums in contrast to the detachment of seeing art through phones. The problem is, Björk’s exhibition isn’t live. It’s quite the opposite. The culprit is the narrative installation called Songlines. An audio component entreats you to take it slow and to consider the device hanging around

Thursday

Matthew Parris

Skunk has changed me. But art has changed me, too

Two recent preoccupations have led me to the same reflection. The first is a Channel 4 programme on the effects of the super-strength cannabis known as ‘skunk’, in which I’ve been participating: about to be broadcast as I write. The second is the artist inmate of Dachau, Zoran Mušic, whose life my guest for one of my Great Lives programmes on BBC Radio chose to celebrate. We recorded that discussion some weeks ago for transmission later. Both have led me to reflect on the nature of templates, and the theory of Gestalt. A template (for those unfamiliar with carpentry or metalwork) is a pattern to follow: the pattern takes the

Thursday

Peter Phillips

There’s nothing wrong with getting into Thomas Tallis on the back of Fifty Shades of Grey

Great works of art may have a strange afterlife. Deracinated from the world that created them they are at the mercy of what people think is important centuries later. Nothing shows this more clearly than the contribution that Tallis’s ‘Spem in alium’ has made to Fifty Shades of Grey. In case you are none the wiser, ‘Spem in alium’ is probably the most complex piece of music to come from the 16th century, and just possibly from any century. Written for 40 independent voices, it is unlikely to be sung with every note in place, though any sort of approximation shows just how majestic it is. Whether this was in

Thursday

Igor Toronyi-Lalic

Why we should say farewell to the ENO

It’s easy to forget what a mess of an art form opera once was. For its first 100 years it had no name, it had no fixed address, it didn’t really know who it was or what it was doing. You’d find it at schools, at weddings, at political functions. It was an artistic whore for hire. Embroiled in an epic tug-of-war as to which of the three art forms — word, music or dance — should be primary, it was also lithe and experimental. In fact, it was more like performance art than anything you’ll witness in a modern opera house. Why this historical detour? To remind us not