tag:blogger.com,1999:blog-21395163849464410972024-03-06T19:34:25.876-08:00Orpheus ComplexThoughts on classical music in London, on the web and beyond. By Gavin Dixon.Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.comBlogger222125tag:blogger.com,1999:blog-2139516384946441097.post-9896424954575192932018-11-11T04:20:00.000-08:002018-11-11T04:20:18.559-08:00The Silver Tassie BBC SO Wigglesworth<!--[if gte mso 9]><xml>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;">★</span></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;">★</span></span>★★★</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"> </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">The <a href="https://www.bbc.co.uk/symphonyorchestra" target="_blank">BBC Symphony</a>’s Total Immersion weekend looked
like a conceptual nightmare on paper – a contemporary music festival to
commemorate the First World War? – but this centrepiece proved inspired
programming. Mark-Anthony Turnage’s <i style="mso-bidi-font-style: normal;">The
Silver Tassie</i>, based on the 1928 anti-war play by Seán O’Casey, libretto by
Amanda Holden, was written in the late 90s for <a href="https://www.eno.org/" target="_blank">English National Opera</a>. It was
soon taken up by companies in Ireland and Germany, but the most recent
performance anywhere was the ENO revival in 2002. It is a big opera, and no doubt
expensive to stage, but, as this performance demonstrated, it is a strong and
musically compelling work.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">The story, of an enthusiastic footballer crippled on
service in the Great War, then ostracised by his community, wouldn’t seem an
obvious vehicle for Turnage’s jazz-inflected, propulsive Modernism. Turnage
makes the most of the musical episodes in the story, but these are always well integrated
into the music. The whole score is alive with invention and energy, and Turnage
finds an ideal pace and span for almost every scene. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">This was a concert performance, with a minimal
staging concept, directed by Kenneth Richardson. Singers sang from stands, and
there were a few props, most notably a football trophy and a wheelchair. Some
lighting effects and dry ice were included too, but Richardson mostly trusted the
music to provide atmosphere and drama. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHlCNfu9Jxg9iW0bwpv8gIakw4-xfn40vdK6sM21R7kAmiNKcbCcE1YMVh7gPJBnXzO1y2O5RjPn66DrpOCFUzaxDkKLblrxcIrwP98Ml51RA1VE57cJwRvmHqSaFP0RI8qDq5r5osSSOn/s1600/Debbie+Scanlan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1500" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHlCNfu9Jxg9iW0bwpv8gIakw4-xfn40vdK6sM21R7kAmiNKcbCcE1YMVh7gPJBnXzO1y2O5RjPn66DrpOCFUzaxDkKLblrxcIrwP98Ml51RA1VE57cJwRvmHqSaFP0RI8qDq5r5osSSOn/s320/Debbie+Scanlan.jpg" width="320" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">Act I begins at home, and its real kitchen sink
drama (Dublin, we presume, but no Irish accents). Harry and Barney (<a href="https://www.askonasholt.co.uk/artists/ashley-riches/" target="_blank">AshleyRiches</a>, pictured above, and Alexander Robin Baker) return victorious from a football
championship, their trophy the eponymous Silver Tassie. Meanwhile, Harry’s
parents (Mark le Brocq and Susan Bickley) have to deal with a domestic episode
upstairs, sheltering Mrs Foran (Claire Booth) from her abusive husband Teddy
(Marcus Farnsworth), before Harry, Barney and Teddy all leave for the front. Throughout
all this, Susie (Sally Matthews), a god-fearing neighbour, dishes out biblical condemnations
of all involved. Strong casting all round here. Ashley Riches commands the
stage. His baritone isn’t huge, but his tone is focussed and his singing always
expressive. Marcus Farnsworth is suitably menacing, and Claire Booth suitably
frenetic. Sally Matthews is luxury casting as Susie, as is Louise Adler as
Harry’s girlfriend, Jessie. Turnage engages closely with the text, his vocal
writing working closely with the poetry of O’Casey’s lines. He was helped by
excellent diction from the cast (amplified to counter balance problems, but
never to distraction).</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivtE9zfrW2qr16kq-5T04SrHywbjO11M_R3Aj7huxeCVa70D-QeZClw3deC1HzatzWcTZ4yZNn8RMoLbMdJda9lAwllVIV1PkyG2UKBbg5pjQmmHewbiAYIP7vDqCekBOIdjOk-586uBl2/s1600/542a6239c7c7facf16486a561f6885ed.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1108" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivtE9zfrW2qr16kq-5T04SrHywbjO11M_R3Aj7huxeCVa70D-QeZClw3deC1HzatzWcTZ4yZNn8RMoLbMdJda9lAwllVIV1PkyG2UKBbg5pjQmmHewbiAYIP7vDqCekBOIdjOk-586uBl2/s320/542a6239c7c7facf16486a561f6885ed.jpg" width="231" /></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">None of the leads appear in Act II, which takes
place in the trenches and instead featured the gentlemen of the <a href="https://www.bbc.co.uk/singers" target="_blank">BBC Singers</a>.
The act opens with a monologue from ‘The Croucher’ (an excellent Brindley Sherratt,
standing in for an indisposed John Tomlinson), a death-like figure, casting
dark prophesies in Old Testament verses. The whole act is beautifully surreal,
especially as Turnage gives it an eerily quiet mood, most of the dialogue given
to singers in the chorus, who all handle it well. A boys’ choir (Finchley
Children’s Music Group) makes an appearance as stretcher-bearers, another
surreal twist, and the act culminates with a game of football. This was the one
scene that could have used more staging, although having the boys reacting as a
crowd of enthusiastic spectators made for a convincing substitute.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">Act III takes place in a military hospital. Harry is
now in a wheelchair and Teddy has been blinded. Harry is bitter, and Turnage
twists his musical ideas, now expressed with spite and irony. He manages it,
and with impressive subtlety. Only one section feels over-wrought, the end of
the act, where it becomes clear that Jessie has left Harry for Barney – a
pivotal moment in the story, but drawn out too far in the music. In the final
act, all the characters return for a dance, and emotions come to a head.
Turnage employs an onstage band, another challenge for concert performance. But
the instruments are grouped separately stage right, and the effect still works.
All the lead characters are now transformed: Harry is bitter, Teddy has become
sympathetic, Barney has become brutal, and Susie has lost her inhibitions.
There is plenty of melodrama here too, but Turnage focuses as much on these
transformed figures, compellingly rendered by all the cast.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"><a href="http://www.grovesartists.com/artist/ryan-wigglesworth/" target="_blank">Ryan Wigglesworth</a> is a dynamic conductor, but not
flamboyant, and his agile but controlled technique is ideal for Turnage’s
score. He also has plenty of opera experience, which shines through in his
pacing and keen communication with the singers. An excellent performance too
from the BBC Symphony Orchestra: focussed, precise and always well-balanced. They
were as much the stars in this long-awaited and richly deserved revival. Too
bad it was a one-off. <span style="mso-spacerun: yes;"><br /></span></span></div>
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<i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">This
performance was broadcast live on BBC Radio 3 and is available to listen on
demand for 29 days at: </span><a href="https://www.bbc.co.uk/programmes/m00013zc"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">https://www.bbc.co.uk/programmes/m00013zc</span></a></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"><span style="mso-spacerun: yes;"></span></span></div>
Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com1tag:blogger.com,1999:blog-2139516384946441097.post-52099933970750176072017-10-24T03:21:00.001-07:002017-10-24T03:23:47.554-07:00Visit to Teldex Studios Berlin<!--[if gte mso 9]><xml>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">I’m just back from a weekend
in Berlin, to interview Antoine Tamestit about his recording of Jörg Widmann’s
Viola Concerto – look out for the feature in the February 2018 issue of <i style="mso-bidi-font-style: normal;">The</i> <i style="mso-bidi-font-style: normal;">Strad</i>.
While there, I got the opportunity to sit in on recording sessions for the
coupling on the CD, Tamestit’s arrangements of Widmann’s Violin and Cello Duos,
some viola and cello, others for violin and viola. Much of my work involves
writing and editing reviews of classical recordings, but most talk about the
actual production process is speculative, so the visit to Teldex Studios proved
very interesting. What follows is a photo diary of the day, showing how it’s
done, with no secrets left untold – though when I made that threat to producer
Martin Sauer, he laughed ‘we have no secrets!’, so I’m holding him to that.</span></div>
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<br /></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">The studio is in a quiet residential
suburb in the south-west of the city. Like many recording studios, it was
previously a ballroom. </span></div>
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<br /></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">The interior walls are a
patchwork of acoustic panelling and exposed battens, where the reverberation
has been fine tuned for optimum resonance. The main control room is on the
former stage (see the ominous window below), though for this session a smaller
room was used, more convenient for chamber work.</span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">The producer for the day,
Martin Sauer (below centre) is a legend in the industry (check out this <a href="https://www.discogs.com/artist/424574-Martin-Sauer?sort=year%2Casc&limit=500&filter_anv=0&type=Credits&page=1" target="_blank">list of credits</a>). He works both for the studio itself, which is an independent company,
and for Harmonia Mundi, for whom this recording was being made. Martin
explained that the name, Teldex, reflected the studio’s history (I’m
paraphrasing his excellent English – he spoke English to me, German to the
engineer and French to the artists, all fluently). The studio had previously belonged
to Teldec, but became independent in 2002 (plenty more about the company that
their website, <a href="http://www.teldexstudio.de/" target="_blank">http://www.teldexstudio.de/</a>)
taking several producers with it, including Martin. </span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Since then, it’s done well
for awards, and this display of Grammys greets visitors at the door, about half
of them are Martin’s.</span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">But down to business. The
schedule looked punishing, nine movements, all in the can by the end of the
day. I was surprised how musical Martin’s input was in the proceedings, making
regular suggestions, mostly about balance but also about more subtle interpretive
issues. He doesn’t do much contemporary music, he tells me, as their isn’t the commercial
demand, about once every two years. So, for this session he had to rely on the
performers, as they’d worked with the composer, then he added ‘ ... of course,
if it was Brahms ... <span style="mso-spacerun: yes;"> </span>’ Even so, as the
recording got under way, he was really getting into the music ...</span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">... and annotating thoroughly
...</span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">A brief lunch break offered
a chance to look around the place. All sorts of strange things collect in
recording studios. At a stretch of the imagination, I could think of reasons
for the barometer, but the vintage motorbike?</span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Martin showed me the studio
archive – very impressive! Every session is recorded onto a 500GB hard drive,
which is filed in one of these boxes along with the annotated score. The
artists named on these box spines are astonishing; everybody who’s anybody has
been through here at some stage.</span></div>
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<span style="font-family: "arial" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Here are a few more images.
The picture at the bottom is of Martin (right) with the artists (L-R) Antoine Tamestit,
Marc Bouchkov and Bruno Philippe. Thanks to them for their hospitality, and
good luck with the edit, as they say. Look out for the album, on Harmonia Mundi
early next year – it should be a good one, it sounded great in the studio –
and, as mentioned above, my interview with Antoine in <i style="mso-bidi-font-style: normal;">The Strad</i> next February.</span></div>
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Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com2tag:blogger.com,1999:blog-2139516384946441097.post-78676751937946206602017-10-04T06:26:00.000-07:002018-09-23T03:47:26.807-07:00Schnittke Studies – Second Review<!--[if gte mso 9]><xml>
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I’ve just received another excellent review for our
<i>Schnittke Studies</i> volume, this time by Ivan Moody in the Musicological Annual.
Thanks Ivan for your perceptive reading and encouraging words, and for the
contributions to my (still mercifully brief!) errata list. (The review can be found <a href="https://revije.ff.uni-lj.si/MuzikoloskiZbornik/article/view/7416/7121" target="_blank">here</a> in pdf for easier reading.)</div>
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Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com1tag:blogger.com,1999:blog-2139516384946441097.post-51376630156130593982017-08-03T07:10:00.000-07:002017-08-03T07:12:03.593-07:00Schnittke Studies – First Review<div class="separator" style="clear: both; text-align: center;">
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<span class="mh6"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-latin;">I’m more used to reviewing than being
reviewed, so I’ve been awaiting coverage of our <i style="mso-bidi-font-style: normal;">Schnittke Studies</i> volume with some trepidation. But if this first
review is anything to go by, I needn’t have worried. It’s by Ian Power and
appears in the July 2017 issue of Tempo (Vol. 71, Issue 281, pp. 114-115). Thanks to
Ian for his sympathetic and perceptive reading. I’m particularly pleased that
his judgement throughout is framed in relation to the book’s stated aims.</span></span></div>
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<span class="mh6"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-latin;">I hope CUP don’t mind my reproducing
the whole review here - if anyone from
the publisher is reading this and does take issue, drop me a line and I’ll take
it down.</span></span><br />
<br />
<span class="mh6"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-latin;"><span class="mh6"><span style="font-size: 12.0pt; line-height: 115%; mso-bidi-font-family: Calibri; mso-bidi-font-size: 11.0pt; mso-bidi-theme-font: minor-latin;">(just click on the text if it's too small to read)<span style="mso-spacerun: yes;"> </span></span></span></span></span></div>
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Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com8tag:blogger.com,1999:blog-2139516384946441097.post-25709451211716769282017-06-04T08:26:00.001-07:002017-06-04T15:02:12.920-07:00Between the Lands: Alexander Ivashkin Remembered – Conference Report<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN29qx4ZDzXnLjWqczOsQWzNPhj6eUhuRbCg4dpGYTdnrqzHvvn115D5YgBPw5D01x897cdM4vUjCDHdR_GqxCkujVkH2UNDNry6iOu8z1lQ5HsTUDbCMKjkMfkttRC0IIkpICC2kt5SCg/s1600/Ivashkin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1317" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN29qx4ZDzXnLjWqczOsQWzNPhj6eUhuRbCg4dpGYTdnrqzHvvn115D5YgBPw5D01x897cdM4vUjCDHdR_GqxCkujVkH2UNDNry6iOu8z1lQ5HsTUDbCMKjkMfkttRC0IIkpICC2kt5SCg/s400/Ivashkin.jpg" width="327" /></a></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">This conference
was convened to celebrate the legacy of Professor Alexander Ivashkin, and its
two days seemed woefully brief, given his huge range of interests and
activities. We left with the feeling that even a week would have barely
scratched the surface. Fortunately, the papers and recitals at least touched on
every important aspect of his career, giving a good overview of his research
and performing interests. The event was hosted by Goldsmiths, where Ivashkin
served for many years as Chair of Performance and Postgraduate Studies as well
as Director of the Centre for Russian Music. It was organised, with typical
energy and boundless enthusiasm, by his widow, fellow cellist Natalia
Pavlutskaya, who was ably assisted by Elena Artamonova, one of Ivashkin’s many
former students at the event. An honourable mention, too, to Imogen
Burman-Mitchell, Events Manager at Goldsmiths, for organising the logistics of
five varied recitals over the two days, all of which ran without incident, and
even began and ended on schedule – no mean feat.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Elena Artamonova
opened proceedings with a broad survey of Ivashkin’s career, an excellent
framework to which later presentations could add detail. She was the only
speaker to address Ivashkin’s career in Moscow in the 1970s and 80s, and her
discussion of his doctoral work on Charles Ives was particularly interesting.
I’ve long fostered an ambition to tackle Ivashkin’s monograph Charles Ives and
the Music of the 20th Century (1991), and this put me one step closer to
dusting off the Russian dictionary and getting to it. Artamonova pointed out
that the book is about far more than just Ives’ music, and the broad,
contextual nature of Ivashkin’s research in general was a recurring theme of
the papers that followed. Another angle of Ivashkin’s personality was explored
by Olga Tabachnikova in her ‘Alexander Ivashkin and the Theme of Russian
Irrationalism’. Anybody who knew Ivashkin personally will know that esoteric
knowledge systems—Theosophy and Chinese astrology, for example—where sources
endless fascination to him, so it was fitting to hear about this aspect of his
personality, especially within the context of his writings on Russian culture.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Despite his
undeniable authority on Ives, Penderecki, and many other 20th-century
composers, Ivashkin is likely to remain most closely associated with the music
of Alfred Schnittke. Fittingly, then, several papers discussed Ivashkin’s work
on Schnittke, his publications, of course, but also his performances and
recordings. Svetlana Savenko (the only visitor from Russia to reach
us, visa complications preventing several others), talked about how Ivashkin
had studied the funereal aspects of Schnittke’s music of the 1970s, Victoria
Adamenko (in absentia, I read her paper) looked at Schnittke’s Pasternak
settings, Paolo Eustachi Ivaskhin’s performances of the Second Cello Concerto,
and I gave a survey of the Schnittke-related events that Ivashkin had organised
in the UK in the years since the composer’s death.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The conference
also aimed to reflect the sheer breadth of Ivashkin’s academic interests, and
so included several presentations of new research in areas close to his heart,
if not directly related to his work. Vladimir Marchenkov presented a theory of
music as ‘Ludic Transformation of Time’, and
Razia Sultanova presented a paper based on her recent research into the
cultural activities of Muslim migrants in Moscow. Two papers were presented on Soviet-era music:</span><span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"> Daniel Elphick gave an incisive
analysis of the Socialist Realist strictures guiding Soviet chamber music, and Amrei Flechsig discussed the representation of laughter in Soviet operas.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Many of Ivashkin’s teaching and research activities were
related directly to performance studies, and this too was reflected in the
conference programme, with several friends and former pupils giving
performance-related presentations. Nicholas Walker discussed Balakirev’s piano
playing, Magdalini Nikolaidou the interpretation of Rachmaninov’s
Études-Tableaux, and Valerie Welbanks the extended techniques employed by
Roger Redgate in his Black Icons, a cello concerto written for Ivashkin. The
spirit of Ivashkin was particularly close in these
presentations—Ivashkin very often illustrated his talks with playing, on the
piano or the cello, moving fluidly between speaking and playing, and in several
instances here we were treated to similarly enlightening combinations. Also, in
the cello/performance category was a stimulating discussion from Rebecca Turner
about the cello music that Ivashkin commissioned and performed in his decade in
New Zealand in the 1990s. This was particularly valuable for its coverage of
this period of Ivashkin’s career, but also for how it demonstrated his
continual curiosity, coming to a new land and immediately engaging with the
musical culture there. Turner described how Ivashkin had worked closely with a
range of New Zealand composers as well as engaging with the traditional music
of Polynesian islanders.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">Naturally, live
performances made up a significant part of the conference, and, as with the
talks, the music covered a broad range of Ivashkin’s musical interests and was
mainly presented by former colleagues and students. The highlight was Dmitri
Alexeev performing the Scriabin op. 11 Preludes—world-class piano playing of
the Russian school. On the subject of world famous Russian musicians, the Alexeev
performance was followed by the unveiling of a permanent memorial to Ivashkin
at Goldsmiths, a portrait of him with Mstislav Rostropovich on the occasion of
Rostropovich being awarded an honorary doctorate at the college. The other
recitals were given by former students and colleagues, focussing primarily on
Russian repertoire—Viktoria Zora, Elena Artamonova and Rebecca Turner gave an
excellent performance of the Schnittke String Trio, in a recital that also
included Prokofiev and Rachmaninov from Mikhail Bozylev, recipient of the
recently instigated Alexander Ivashkin Scholarship at Goldsmiths. A piano
recital by Andrew Zolinsky brought the post-Soviet connection right up to date,
with recent works by Mansurian, Knaifel and Silvestrov. I was particularly
drawn to the Knaifel Postludia, although most people I spoke to,
including the pianist himself, felt the Silvestrov Third Sonata was the
highlight of the programme. The Ligeti Quartet (of which Val Welbanks is
cellist) also ventured into adventurous territory with the John Cage Quartet in
Four Parts and Gubaidulina’s most recent work for string quartet, Reflections
on the Theme B-A-C-H.</span></div>
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<span style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">A fitting
tribute, then, to the musical and scholarly activities of Alexander Ivashkin.
The programme often seemed to move in diverse and unrelated directions, but
this only served to demonstrate the sheer breadth of Ivashkin’s musical
interests. And the event closed with a performance that brought us right back to
the man himself—a solo cello recital of music close to his heart. The cellist
was Sebastian Hurtaud, a winner of the Adam Cello Competition in New Zealand,
which Ivashkin and Pavlutskaya founded. A Bach Cello Suite (No. 5) opened,
followed by Britten’s First Suite, which appears on Ivashkin’s very last
commercial recording. And to end, Klingende Buchstaben, a piece written for
Ivashkin by Alfred Schnittke and based on the letters of his name: A fitting
coda to a memorable and moving celebration. Clearly, Ivashkin’s legacy lives
on.</span></div>
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<br />Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com0tag:blogger.com,1999:blog-2139516384946441097.post-46231900488520067122016-12-09T05:18:00.000-08:002016-12-10T03:17:26.840-08:00NEW OPERAS IN 2017<!--[if gte mso 9]><xml>
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<![endif]-->A quick round-up of the new operas being presented by major houses in the year ahead. Some fascinating projects here. I’ll do my best to get to the British ones, and look forward to reading reviews of the others. If I’ve missed anything important, please post a link in the comments. Thanks.<br />
<br />
<u>FEBRUARY</u><br />
Scartazzini: <i>Edward II</i>. Deutsche Oper Berlin<br />
Librettist Thomas Jonigk has adapted Marlowe’s <i>Edward II</i> for Swiss composer Andrea Scartazzini, and the result is an exploration of society’s attitudes towards homosexuality, in the 14th century and today. Expect atmospheric, minimalist stagecraft from director Christof Loy and brisk, dynamic musical direction from conductor Thomas Søndergard. <a href="http://www.deutscheoperberlin.de/en_EN/calendar/edward-ii.13754741" target="_blank">http://www.deutscheoperberlin.de/en_EN/calendar/edward-ii.13754741 </a><br />
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(image: Ruth Tromboukis)<br />
<br />
<u>MARCH</u><br />
Wigglesworth: <i>The Winter’s Tale</i>. English National Opera<br />
Given the company’s recent woes, it is great to see that ENO is continuing its composer-in-residence scheme, the present incumbent an occasional conductor there too, Ryan Wigglesworth. <i>The Winter’s Tale</i> sounds like an excellent company piece, directed by Shakespeare specialist Rory Kinnear and starring a host of ENO regulars: Iain Paterson,<br />
Sophie Bevan, Leigh Melrose and Susan Bickley. Let’s just hope he’s written something substantial for the chorus too. <a href="https://www.eno.org/whats-on/the-winters-tale/" target="_blank">https://www.eno.org/whats-on/the-winters-tale/ </a><br />
<br />
Bolcom: <i>Dinner at Eight</i>. Minnesota Opera <br />
Good to hear that William Bolcom, now in his late 70s, is still going strong.<i> Dinner at Eight</i> is a 30s-era social comedy, the libretto by Mark Cambell based on a play by George S. Kaufman and Edna Ferber. Bolcom promises a score that mixes musical theatre with opera – an ideal project for his eclectic talents. Laura Claycomb leads the cast. <a href="http://www.mnopera.org/season/2016-2017/dinner-at-eight/">http://www.mnopera.org/season/2016-2017/dinner-at-eight/</a> <br />
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Paterson: <i>The 8th Door</i>. Scottish Opera<br />
This collaboration between composer Lliam Paterson and director Matthew Lenton is a prequel to Bluebeard’s Castle, a clever idea given the problems of programming Bartók’s one-acter. It will have to cope with the inevitable comparisons, but the two creators assure us it will be ‘equally groundbreaking’, so presumably no falling back on pastiche. <a href="https://www.scottishopera.org.uk/our-operas/16-17/bluebeards-castle-the-8th-door">https://www.scottishopera.org.uk/our-operas/16-17/bluebeards-castle-the-8th-door</a><br />
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<span id="goog_1936257996"></span><span id="goog_1936257997"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWmD90-dXOrF9aiBvpumKbipJOTxLLJZm6OnuHEN6rRfQXSEcfeX7eQ_6cw5sD6TmlF8R2k8JnRgxlwGVRAjujxUl_jub239LBh9kn6y8AJd6gmMQb9Ov0Sw1DqDk_QDyIzuIOR_DvB2Tn/s1600/Bluebeard_opera.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWmD90-dXOrF9aiBvpumKbipJOTxLLJZm6OnuHEN6rRfQXSEcfeX7eQ_6cw5sD6TmlF8R2k8JnRgxlwGVRAjujxUl_jub239LBh9kn6y8AJd6gmMQb9Ov0Sw1DqDk_QDyIzuIOR_DvB2Tn/s320/Bluebeard_opera.jpg" width="320" /></a><u></u><br />
<br />
<u>APRIL</u><br />
Dorman: <i>Wahnfried</i>. Badisches Staatstheater Karlsruhe<br />
An interesting twist in the ongoing saga of Wagner’s music in Israel. <i>Wahnfried</i>, by Israeli (though U.S.-based) composer Anver Dorman, tells of Houston Stewart Chamberlain and his relationship with the Wagner family, consolidating the composer’s anti-Semitic image in the early years of the 20th century. It’s the sort of material more often covered in Regie Ring cycles, so it will be interesting to find out what a dedicated opera can do with it. Seasoned Wagnerian Keith Warner directs. <a href="http://www.staatstheater.karlsruhe.de/programm/info/2379/">http://www.staatstheater.karlsruhe.de/programm/info/2379/</a> <br />
<br />
<u>JUNE</u><br />
Brett Dean: <i>Hamlet</i>. Glyndebourne<br />
Commissioned for Glyndebourne’s Shakespeare anniversary celebrations, and delayed by only a year (not bad for contemporary opera), Brett Dean’s <i>Hamlet </i>promises much. The composer has already put out a few teasers, his Second String Quartet is subtitled “And Once I played Ophelia” and draws on the Ophelia character in the opera. From this, it is clear that Matthew Jocelyn’s libretto strays a good way from the original, with plenty of self-referential postmodern additions. The first production (of many, no doubt) is directed by Neil Armfield, who also directed the premiere of Dean’s Bliss, and conducted by Vladimir Jurowski, a welcome return for the company’s inspiring former Music Director. <a href="http://www.glyndebourne.com/tickets-and-whats-on/events/2017/hamlet/">http://www.glyndebourne.com/tickets-and-whats-on/events/2017/hamlet/</a> <br />
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<u>JULY </u><br />
R. Panufnik: <i>Silver Birch</i>. Garsington<br />
Garsington are describing their new commission as a ‘people’s opera’, and performances will involve six professional singers and a cast of 150 local people. The libretto is by Jessica Duchen and is based on the war poetry of Siegfried Sassoon, a regular visitor to Garsington Manor. <a href="https://www.garsingtonopera.org/performance/silver-birch">https://www.garsingtonopera.org/performance/silver-birch</a> <br />
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Bates: <i>The (R)evolution of Steve Jobs</i>. Santa Fe Opera<br />
This new opera from Mason Bates and librettist Mark Campbell will apparently ‘illuminate a side of Steve Jobs that we’ve never seen before’, namely his quest for spiritual enlightenment though Buddhism. To that end, the score involves Tibetan prayer bowls and Chinese gongs, heard in concert with electronic samples from early Macs. Intriguing. <a href="https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs" target="_blank">https://www.santafeopera.org/operas-and-ticketing/the-revolution-of-steve-jobs</a><br />
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Sallinen: <i>The Castle in the Water</i>. Savonlinna Opera Festival<br />
Composer Aulis Sallinen’s relationship with the Savonlinna Opera Festival goes back to <i>The Horsemen</i> in 1975. This new opera celebrates the centenary of Finland’s independence and sets poetry by Lassi Nummi about the Olavinlinna Castle, where the festival takes place. <a href="http://www.operafestival.fi/news/Premiere-of-Aulis-Sallinen%E2%80%99s-The-Castle-in-the-Water-at-the-2017-Savonlinna-Opera-Festival/32589/8707a3d2-7b33-47da-ad9f-765ad92a3f1f">http://www.operafestival.fi/news/Premiere-of-Aulis-Sallinen%E2%80%99s-The-Castle-in-the-Water-at-the-2017-Savonlinna-Opera-Festival/32589/8707a3d2-7b33-47da-ad9f-765ad92a3f1f</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghsBDV7hPFIZwoT5akJ-X7vbhyphenhyphenqvpDsUoCGiT9cQm1T6_WmYDUdtMo-4r9OvvsNs50EpMfBIbb92aKw_6bKqVf2QsS3D_6-vPK7S799qBjPJjddxA_1PwdPxIs-sIvBRrRZ32qiQZ0QR1p/s1600/88879Castle-in-the-Water.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghsBDV7hPFIZwoT5akJ-X7vbhyphenhyphenqvpDsUoCGiT9cQm1T6_WmYDUdtMo-4r9OvvsNs50EpMfBIbb92aKw_6bKqVf2QsS3D_6-vPK7S799qBjPJjddxA_1PwdPxIs-sIvBRrRZ32qiQZ0QR1p/s320/88879Castle-in-the-Water.jpg" width="320" /></a><br />
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<u>AUGUST</u><br />
Bjarnason: Brødre (Brothers). Den Jyske Opera, Aarhus<br />
One of three film-to-stage projects to mark the Aarhus European Capital of Culture 2017, this is Kaspar Holten’s first directing job since leaving the Royal Opera. The libretto, by Kerstin Perski, is based on the 2004 film directed by Susanne Bier, about a Danish soldier struggling to cope with his experiences in Afghanistan. Holten promises an ‘intense, unique experience for the audience’, in Daníel Bjarnason’s ‘innovative and funky musical universe’.<a href="http://www.jyske-opera.dk/en/whats-on/aarhus-2017/brothers-broedre/" target="_blank"> http://www.jyske-opera.dk/en/whats-on/aarhus-2017/brothers-broedre/</a><u><br /></u><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifzSQ8KyKBPUGZ7MGsEtJiMsheoSEmxtWXzGD_R0EEycSEA1YqqvWIsGAeNziUHBRxzx0hALpB46nM5EdbjerllNhVjUoiJlgF6CIqjbvE-bxxklkCKufhfnFMlpBAtlcNoYY0LoDejxNV/s1600/Brothers.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="116" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifzSQ8KyKBPUGZ7MGsEtJiMsheoSEmxtWXzGD_R0EEycSEA1YqqvWIsGAeNziUHBRxzx0hALpB46nM5EdbjerllNhVjUoiJlgF6CIqjbvE-bxxklkCKufhfnFMlpBAtlcNoYY0LoDejxNV/s320/Brothers.jpg" width="320" /></a><br />
<br />
<u>NOVEMBER</u><br />
John Adams: <i>Girls of the Golden West</i>. San Francisco Opera<br />
John Adams teams up again with Peter Sellars, who is both librettist and director for this new opera about the California gold rush. It’s based on actual events, drawing on the letters of ‘Dame Shirley’, a doctor’s wife who spent 18 months in a mining camp in the Sierra Nevada in the 1850s. Mark Twain and original gold rush songs feature in the libretto too. Just don’t mention Puccini. The opera is a co-commission with Dallas Opera, Dutch National Opera and La Fenice: <a href="http://sfopera.com/about-us/press-room/press-releases/girls-west/">http://sfopera.com/about-us/press-room/press-releases/girls-west/</a><br />
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<br />
<u>FURTHER AHEAD</u><br />
The Royal Opera has two highly anticipated commissions in the works for 2018, an as yet unnamed <a href="http://www.roh.org.uk/news/the-royal-opera-commissions-new-work-from-george-benjamin-and-martin-crimp" target="_blank">new opera</a> from George Benjamin and Martin Crimp, and a sequel to Unsuk Chin’s popular <i>Alice in Wonderland</i>. Meanwhile, Kurtág’s much-delayed <i>Endgame </i>looks <a href="http://www.therestisnoise.com/2016/08/kurt%C3%A1gs-endgame.htm" target="_blank">set for Salzburg in 2018</a>. It’s ‘confidently expected’, apparently, and should be worth the wait. And on the subject of long waits, Osvaldo Golijov’s Euripides opera for the Met has <a href="http://www.nytimes.com/2016/11/29/arts/music/osvaldo-golijovs-new-opera-for-the-met-is-called-off.html?_r=0" target="_blank">now been cancelled</a>, giving the more reliable Nico Muhly a chance to stand in with his Hitchcock-themed <i>Marnie. </i><br />
<br />Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com1tag:blogger.com,1999:blog-2139516384946441097.post-83460630782898065502016-01-30T16:39:00.001-08:002016-01-30T16:39:41.721-08:00Raskatov Green Mass London Philharmonic JurowskiBeethoven: Symphony No. 6<br />
Raskatov: Green Mass (world premiere)<br />
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<div style="margin-bottom: .0001pt; margin: 0cm;">
Iestyn Davies<em> </em>countertenor<br />
Mark Padmore<em> </em>tenor<br />
Nikolay Didenko bass<br />
Clare College Choir, Cambridge</div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
Vladimir Jurowski conductor<strong></strong></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
London Philharmonic
Orchestra</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWEMOG0t9OGfR0S5LT03kMTThsxlVN861lLGJ3qoKeWpUQd6JiFCrJZZuC7cVpadkLYMyn_vYf-HSwAYOUw7xgWlBa2WTa6Jtf_8eSNWHJz-xIQ2xO2TOSVEQIyobM8BMzZNhnrIZX5lj3/s1600/Rastakov.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWEMOG0t9OGfR0S5LT03kMTThsxlVN861lLGJ3qoKeWpUQd6JiFCrJZZuC7cVpadkLYMyn_vYf-HSwAYOUw7xgWlBa2WTa6Jtf_8eSNWHJz-xIQ2xO2TOSVEQIyobM8BMzZNhnrIZX5lj3/s320/Rastakov.jpg" width="320" /></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Alexander
Raskatov (pictured above, image <span class="ircsu">M.F. Plissart)</span> is best
known in the UK for his opera <i>A Dog’s Heart</i>, staged at ENO in 2010. The
music there is anarchic, stylistically diverse and bleakly comical at every
turn. But there is another side to the composer, a spiritual depth that informs
his religious music, especially his choral works. The style there is unified
and focussed, still distinctive, but refined in a way that his more overtly
dramatic orchestral works are not.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Those
two sides come together in Raskatov’s <i>Green Mass</i>, premiered this evening
by the London Philharmonic under Vladimir Jurowski. It’s a huge work, 80
minutes of music for large orchestra, choir and four soloists. The piece
explores two ideas, a setting of the Mass ordinary for these huge forces, and a
celebration of nature, as expressed in poems by Blake, Georg Trakl, Velimir
Khlebnikov, Apollinaire and Francis of Assisi, interspersed between the Mass
movements. Raskatov is often accused of incoherency, so there is a clear danger
here of the piece sounding like two separate works spliced together. In fact,
it is impressively coherent. Raskatov’s trademark eclecticism is apparent
throughout, and in every moment it feels like he is reaching out to find a new
effect or musical device to deploy across the performing forces. But by doing
this as much in the Mass movements as the poem settings, an uneasy, and
paradoxical, continuity emerges.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Even
so, the work also gives the impression that it is based on a more simple Mass
setting, subsumed within the more complex orchestral and choral textures, and
periodically rising to the surface to offer spiritual guidance amongst the
chaos. The Kyrie opens with a simple three-note figure in the choir, each note
held by the orchestra to create a simple dissonance: the two aspects of the
work seem to start from a single source, and as the movement continues, the
choir maintains the simplicity, while the orchestra increases the complexity
and uncertainly beneath.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Blake’s
“The Wild Flower’s Song” is set here for countertenor, the ever dependable
Iestyn Davies. Here, for the first and last time, Raskatov indulges in pastoral
tone painting, with the woodwinds singing birdcalls and fluttering in the
breeze. The Gloria remains upbeat, the tone, if not the style, approaching <i>Carmina
Burana</i>. Mark Padmore then sings Traktl’s “Lebensalter”, his German
pronunciation a better match for the text than the rhythms of Raskatov’s
setting. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“Clotilde”
by Apollinaire is sung by soprano Elena Vassilieva. She is also the composer’s
wife, and Raskatov regularly writes for her astonishing vocal abilities. She is
a modern-music soprano in the <i>Pierrot lunaire</i> mould, and this movement
displays her extraordinary vocal acrobatics in the upper register. Vassilieva
must be well into her 60s, but it is difficult to imagine any other singer,
whatever their age, matching this. The final song “Preghiera” of St. Francis is
set for the four soloists, accompanied only by a collection of wind chimes, set
in continuous motion by electric fans pointing upwards from beneath. It’s an eerie
and magical effect, evoking nature, but in an abstract way ideal for the
context.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">In
the final two Mass movements, the Benedictus and the Agnus Dei, the fog lifts
and a more straightforward, consonant style emerges, especially in the choir,
which was often supported by radiant chorales in the brass. What is Raskatov
trying to tell us here? That the religious dimension of the work redeems all?
It is difficult to see how this fits into the environmental theme. But then, the
two ideas, the liturgical and the natural, are so closely interconnected
throughout the work, that, in this optimistic ending, it feels like there are
no losers.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
London Philharmonic gave an excellent performance. Despite the huge orchestra,
filled with unusual instruments, balances were always finely judged. <span style="mso-spacerun: yes;"> </span>Vocally, the performance was less secure. The
four soloists made for a curious ensemble, Vassilieva’s coloratura sitting
uneasily with the purer tone of Iestyn Davies, Mark Padmore and bass Nikolay
Didenko. But this was in the spirit of the piece, just another stylistic juxtaposition
for Raskatov to work with. The composer stymied a proposed second performance
of the work, by an American orchestra, on the grounds that they could not
provide a professional choir, so it was surprising to see the Choir of Clare
College, Cambridge singing this evening. The young choristers handled the
unusual techniques and textures well, although it sometimes seemed that the
composer had a more bottom-heavy, Russian sound in mind. All of the vocalists
were in the choir stalls, the soloists there presumably because the huge
orchestra left no room for them at the front of the stage, and all were
amplified. This seemed like a last minute solution to a balance problem, one
that would have taken a larger stage and a large choir to resolve otherwise.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
concert opened with Beethoven’s Sixth Symphony, an obvious choice, but one that
in retrospect only went to demonstrate the pastoral tone painting that Raskatov
largely avoids. A pared-down London Philharmonic performed with a large tone,
but with Jurowski maintaining disciplined tempos throughout. A mix-and-match approach
to instrumentation saw the otherwise modern band accompanied by natural
trumpets and period timpani in the storm, the former elegantly crisp, but the
latter somewhat tubby. A competent performance of the Beethoven, but one that
seemed to acknowledge that it was there mainly as a support act. </span></div>
<strong></strong>Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com0tag:blogger.com,1999:blog-2139516384946441097.post-26131596800514497232016-01-06T06:06:00.000-08:002016-01-06T10:17:06.406-08:00BOULEZ IS DEAD<!--[if gte mso 9]><xml>
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<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">“To
take a stand regarding Schoenberg?”</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">So
Boulez began the famous <a href="http://www.ubu.com/papers/Boulez-Schoenberg+Is+Dead.pdf" target="_blank">diatribe against his predecessor</a>, written soon enough after his death to add a calculated
sense of disrespect. Now Boulez himself has left us, and, just as in 1951, the
event feels like the ending of an era: Whatever the manifold achievements of
the two men, their greatest historical legacy is to have defined their times.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">But
the difference in attitude is revealing. If we write “To take a stand regarding
Boulez” no question mark is necessary. He made it his life’s work to define a
polemic in which you were either with him or against him. His attitudes may have
seemed to soften in later years, particularly with the increasing breadth of
his conducting repertoire, but he kept his corner, and nothing in his later
work could give rise to the accusations of regression that formed the main
point of attack in his essay on Schoenberg.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">By
then, the Modernists had found a new figurehead, Anton Webern, whose aesthetic
trajectory seemed to move in the opposite direction to Schoenberg’s, and who
therefore was a better fit for the dialectical/progressive model for musical
history that Boulez and his contemporaries attempted to foster. And for all his
achievements as a composer, conductor and electronic music pioneer, it is the
staggering success of that project that made him the defining figure of his
times. Serialism, in its purest form, became not only an ideal
but a necessity. As he famously said in 1952, “<span class="tgc">I … assert that
any musician who has not experienced – I do not say understood, but in all
exactness, experienced – the necessity for serialism is useless.” And if you
were on the wrong side of this debate, you were on the wrong side of history,
something else that could only be stated in extremes, as when Boulez’ colleague
</span>René Leibowitz in 1955 described Sibelius as “the world’s worst
composer.”</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">How
times change. What would either of these statements sound like if uttered
today? Petulant, certainly, but also indicative of the marginal status, and
even irrelevance, of the speaker. For these are no longer times of aesthetic
polarity. The culture that Boulez fostered (along with many other composers of
his generation, though most others in action rather than word) of new music as
us against them, right vs wrong, and all based on purely aesthetic criteria,
already seems like a distant memory. Modernist music of the sort Boulez
championed is still with us – its progress continues – but its insularity has
evaporated, and with it any sense of authority or higher moral purpose. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Boulez
leaves us much: an impressive and unique catalogue of works, an enviable
discography – and let’s not forget IRCAM. Yet his musical ideology has predeceased
him by several decades. Just as the post-war generation could take the
repertoire they had inherited but had to find a new framework in which to
affirm its relevance, so Boulez’ successors must argue the case for his music in
an environment already broadly hostile to its underlying assumptions. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Therefore,
I do not hesitate to write, not out of any desire to provoke a stupid scandal,
but equally without bashful hypocrisy and pointless melancholy:</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">BOULEZ
IS DEAD</span></div>
Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com0tag:blogger.com,1999:blog-2139516384946441097.post-22920416871153827162015-11-02T03:44:00.001-08:002015-11-02T03:44:14.016-08:00Opera Looks Expensive<div style="text-align: justify;">
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<![endif]-->Opera is perceived as expensive, when actually it’s not. From out outreach perspective, it’s a lose-lose situation, and something the whole culture needs to address. Several bloggers have been writing on this subject recently, mostly in response to a television interview, in which Gavin Esler posed questions to Jonas Kaufmann based on the assumption of opera’s expense. <a href="https://twitter.com/chaconato" target="_blank">@chaconato</a> has done sterling work in demonstrating that <a href="http://thepassacagliatest.com/2015/10/18/opera-tickets-are-not-expensive/" target="_blank">opera tickets are not expensive</a>, and that in fact they are relatively cheap. </div>
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So clearly this is an image problem. Bob Shingleton <a href="http://www.overgrownpath.com/2015/10/why-opera-tickets-are-perceived-as.html" target="_blank">agrees</a>. He thinks one of the culprits is online streaming, especially when offered free. Opera tickets seem expensive by comparison with free, so his argument goes. I’m inclined to disagree with this thesis, but I’ll readily admit that is because I value and enjoy webstreams of concerts and opera performances, and like to think that I don’t associate their financial cost with their artistic and cultural value. </div>
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That, of course, is where I’m deluding myself. The capitalist impulse to quantify value in material terms is innate. It’s not the only way we judge things, but it is always in the mix somewhere. This is where opera’s image and cultural status become a problem. Opera must defend a precarious position in the world of theatre, one that is predicated on the notion of “high art”. That is what separates it from the much larger, more profitable – and more expensive – world of commercial musical theatre. </div>
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The distinction is fundamental to the survival of opera; it’s what justifies the public subsidy that keeps it afloat. Generic distinctions do separate the two art forms, but so too do the actual experiences of seeing and hearing them. Opera maintains its “high art” appearance by looking expensive - that basic equation between financial and artistic value. Just look at the décor of the Royal Opera House or the Coliseum. Then there is the dress code, something that few opera advocates have ever made any serious efforts to defend (John Christie’s explanation that it is out of respect for the performers a rare and tenuous effort). </div>
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The fact is that opera needs to be seen as superior and special. It must present itself with the trappings of aristocracy, whoever its target audience might actually be. It’s an integral part of what makes opera distinctive – and eligible for subsidy on artistic grounds. The irony is deep and entrenched: that opera must look expensive to qualify for the funding that keeps it cheap.</div>
Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com0tag:blogger.com,1999:blog-2139516384946441097.post-86339407351899181532015-09-30T06:51:00.000-07:002015-09-30T06:51:18.625-07:00Lebrecht, Sokolov…and Sokolov’s wife<!--[if gte mso 9]><xml>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Grigory Sokolov’s refusal of the Cremona Award, on
account its having previously been presented to Norman Lebrecht, has generated
much debate about the cause of their antagonism. Some have speculated that it’s
a result of a <a href="https://web.archive.org/web/20140408022656/http:/www.artsjournal.com/slippeddisc/2013/04/greatest-living-pianist-wont-play-in-britain.html" target="_blank">blogpost</a> Lebrecht wrote in 2013 questioning Sokolov’s greatness on the curious
grounds of his not being willing to perform in the UK. But a reply to my <a href="http://www.orpheuscomplex.blogspot.co.uk/2015/09/evidence-grigory-sokolov-refused.html" target="_blank">previouspost on this story</a>, from one ‘ADGO’, points to a more compelling reason.
Here is the message in full:</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">“As Lebrecht refused to
post my comment on his blog Slippedisc, I will copy-paste it here for all to
read. He cannot bury his shameless actions forever.<br />
<br />
Recall last year that soon after Sokolov's wife passed away, the pianist
published a cryptic letter which began, 'To my astonishment, I have learned
about some delirious inventions made on the subject of my wife's life'. This
can be read in full on Sokolov's website or on AMC. The cause of that was most
likely Norman Lebrecht's blog post in which he speculated about Sokolov
marrying his dead cousin's wife, going into detail about the apparent Sokolov
family tree. You can find this blog post still on Slippedisc, and the links at
the bottom of it which lead to the old Sokolov website. Click any of those
links and you'll see a message which states that Norman Lebrecht should not be
believed. Lebrecht's rash and shameless speculation about Sokolov's recently
deceased wife is most likely the reason why Sokolov refuses to associate with
him. I want to make this clear as it is the only sensible public explanation
for Sokolov's refusal. There may be private reasons no one can know about, but
the public one is there for all to see. <br />
<br />
On another matter....I've attended Sokolov's recitals for nearly 15 years and
he is without doubt the greatest pianist I've ever heard. If you can't hear him
in the UK--which I used to--then take a trip to Brussels or Amsterdam and it'll
most likely turn into one of the great concert experiences of your life.”</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Lebrecht’s post is here: <a href="http://slippedisc.com/2014/01/sad-news-greatest-living-pianist-loses-his-wife/" target="_blank">http://slippedisc.com/2014/01/sad-news-greatest-living-pianist-loses-his-wife/</a></span></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">And Sokolov’s response here: <a href="http://www.rogev.com/berner/122.htm" target="_blank">http://www.rogev.com/berner/122.htm</a></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">As the earlier version of Lebrecht’s post on
Sokolov’s site shows, “</span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">his wife was also his cousin’s widow” originally
read “his wife was also his aunt”, a more lurid claim and, as it turns out, a
false one. Lebrecht could probably have avoided this whole incident if he had
issued an acknowledged correction and an apology, rather than the “update” we
get instead. But, of course, that’s not how Lebrecht works.</span></div>
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<![endif]-->Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com2tag:blogger.com,1999:blog-2139516384946441097.post-62956659083644084772015-09-27T12:17:00.001-07:002015-09-28T11:41:40.648-07:00Evidence Grigory Sokolov refused the Cremona Music Award<!--[if gte mso 9]><xml>
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<img alt="" src="http://www.grigory-sokolov.com/Letters/cremona_ru.png" height="320" width="240" /> </div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
A fascinating document came to
light this morning, a letter from Grigory Sokolov to the committee of the
Mondomusica Festival, apparently turning down the Cremona Music Award on the
grounds that it would mean he appeared on a list with Norman Lebrecht, a
previous winner. His closing line is particularly incendiary “According to my
ideas about elementary decency, it is shame to be in the same award-winners
list with Lebrecht.”</div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
But is it real? The website on
which it appears, <a href="http://www.grigory-sokolov.com/">http://www.grigory-sokolov.com</a>,
has no official links with Sokolov or his management. From what I can gather,
it is registered in Australia and hosted in Israel. Given the antagonism that
Lebrecht generates, there could be no shortage of potential candidates for a
forgery, although the handwriting is impressively similar to that on a Sokolov
<a href="http://www.amcmusic.com/letter-of-grigory-sokolov-original-version-in-russian/" target="_blank">letter</a> that does appear on his management’s website.</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
Well, here's proof at least
that he was announced as a winner of the award, but that he had been removed
from the list by the time they were actually presented. Here is the <a href="http://www.cremonamondomusica.it/en/cremona-music-award-2015-edition/" target="_blank">webpage</a>
announcing the winners today:</div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJSq0ucRZjYFnNGHzQMvTztco-u9WLoVMuGdzjQNxJQrVukLnbl6SdtqkqkIqXE4sl6iYNy_sduZX286SJ3C_Q3OmKAuvwUHkoRlrpWK1pZxqSRYNUx5rGjJ40_FvX2M1lOXfQbRTUvPVl/s1600/Sokolov2small.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="224" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJSq0ucRZjYFnNGHzQMvTztco-u9WLoVMuGdzjQNxJQrVukLnbl6SdtqkqkIqXE4sl6iYNy_sduZX286SJ3C_Q3OmKAuvwUHkoRlrpWK1pZxqSRYNUx5rGjJ40_FvX2M1lOXfQbRTUvPVl/s640/Sokolov2small.jpg" width="640" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0bDawio0MTgJuHrMR5UrajgWeaGLbgEwE8pCB1HQOEQy3Fk5ffVa_8pO31ctF4z5PfJ0mEtQnRYi14-AbkjKuXQvvI-i5QsBba9D-WKknRSHrjCLsdo4kUtO0g3k2Jp0eyWuD8OP53pfx/s1600/Sokolov2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7fWNWPAbLz8Vy33oe1ATjehM_Tc3FMdDGKFafEkf8xctxJF9PorwSn-vETVxzr1FQs1LBueVFD5xygSj2H5fns-VlGALKdrWB7T4ekz0RDawAoC9G2dmI2Y6rhPuPlAoBToM4IfMS9SyV/s1600/Sokolov1small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
<div class="MsoNormal" style="text-align: justify;">
And here is how it looked on 12
September, four days before the date on the letter (courtesy of the <a href="http://webcache.googleusercontent.com/search?q=cache:JG8vq0fNgggJ:www.cremonamondomusica.it/en/cremona-music-award-2015-edition/+&cd=4&hl=en&ct=clnk&gl=uk" target="_blank">Google cache</a>).</div>
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<br /></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP8cdfpdzWH9f5RMvdl25hyphenhyphenGPPpv_YOJ1l3vssYjGG23wquTeoO6ykYkXFG0Y5BIvSgdeR6sb0pfbA7D8PCReb6h1XkRsfShUuEGk3-pBcKr0wjPERq_IzeZS6OkFJttwdKaeIRhfD3ifu/s1600/Sokolov1small.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP8cdfpdzWH9f5RMvdl25hyphenhyphenGPPpv_YOJ1l3vssYjGG23wquTeoO6ykYkXFG0Y5BIvSgdeR6sb0pfbA7D8PCReb6h1XkRsfShUuEGk3-pBcKr0wjPERq_IzeZS6OkFJttwdKaeIRhfD3ifu/s640/Sokolov1small.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPQ2X1ztDWNQueOyd-LrVWlJLkGJFACiRPS99wsEq3NVGEh7E50cz-Nm8ocvxt76cQb9N3l-94xVON1rNkfHWVcHjjl7GktFp8k50fOaDZweJ0XxHGKF9R98HS-dJAn8erHrXqoSCiwNr8/s1600/Sokolov1small.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwckBN_Chden-aAd9opn0Iy83nNFKneOh3m8J4ZJPTu68F5ipeDvVpvyslI3vSyjX_fRR45_GuMSYliGAI1MKnE33HOy1VECAPunYoAHcF3NpMEe26z7EdbVVTdl19IPErYURBl5CORmwM/s1600/Sokolov1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
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No doubt the details will all
become clear in due course, including the Lebrecht connection, for which I’ve
no proof here. But it certainly seems that Sokolov turned down the award.<br />
<br />
<br />
<i>UPDATE (28/9/15):</i><i> Gramophone Magazine confirmed the letter to be genuine today, after contacting Sokolov's General Manager, Franco Panozzo. For more on the story, please visit: <a href="http://www.gramophone.co.uk/classical-music-news/grigory-sokolov-refuses-award-previously-been-won-by-norman-lebrecht" target="_blank">http://www.gramophone.co.uk/classical-music-news/grigory-sokolov-refuses-award-previously-been-won-by-norman-lebrecht</a></i> </div>
Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com4tag:blogger.com,1999:blog-2139516384946441097.post-73362098179277575812015-05-28T02:51:00.002-07:002015-05-28T02:54:35.464-07:00Marsyas Trio Elena Firsova CD Launch<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">A Triple Portrait: The
new CD from the Marsyas Trio presents chamber music by Elena Firsova. The Trio is
made up of flute (Helen Vidovich), cello (Valerie Welbanks) and piano (Fei
Ren), and they are joined on the recording by a violin, viola and two voices.
So there is an eclectic mix of sound colours here, but Firsova’s style is
focussed and distinctive, bringing unity to the programme. Firsova and the Trio
have been working together for several years, and the work that gives the disc
its title was commissioned by the ensemble in 2011. It has certainly been a
fruitful partnership, with the young players making a real commitment to
Firsova’s lyrical but often challenging music.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">As a launch event, the
Trio gave a recital on 6 May. This turned out to be just a few weeks after
Firsova’s 65<sup>th</sup> birthday, to which the event was also dedicated. It
took place at the Marylebone home of Bob and Elizabeth Boas, a fabulous
Georgian townhouse which regularly hosts performances by up-and-coming
performers. I was invited to give a presentation at the start of the event, a
short conversation with the composer. Here we are:</span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhNt3vZGQSk0nMf10lmYxKT4IlQ-qbLWDLnvjcVHEZLPNoteIAJ_MqihQkwVJb5EMbtnuaxiGhcatbSiSuTaX7ptuGR2ClnUggfO_FMK-Eep_3ltrusXh01_A6opXR8hhUJN80jX4JfasH/s1600/DSC_0547.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhNt3vZGQSk0nMf10lmYxKT4IlQ-qbLWDLnvjcVHEZLPNoteIAJ_MqihQkwVJb5EMbtnuaxiGhcatbSiSuTaX7ptuGR2ClnUggfO_FMK-Eep_3ltrusXh01_A6opXR8hhUJN80jX4JfasH/s400/DSC_0547.JPG" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxwguPn-4AgYK23EZMCD2rEvvBwLbZRn4ZqOoQyRAAG1ZC2Ypv3PSy8Qgrl24VrCdK32lMRdUmxq2ofqr6ON6RS0QsgYU3V6btHpoU9lyXmfjEV82EzKASoicVDAzB5mMnRhHDVRfqeBln/s1600/DSC_0547.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
<br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Four of Firsova’s works
were included in the concert. <i>Night Songs</i>, op. 125, is a sombre setting
of Osip Mandelstam, a poet whose work permeates Firsova’s music. <i>Lost Vision</i>,
op. 137, is a volatile piano piece, its composition triggered by a misdiagnosis
suggesting that Firsova was about to lose her sight. <i>Meditation in the
Japanese Garden</i>, op. 54, dates back to Firsova’s first months in the UK,
when the family was based at Dartington, a time of great tranquillity it would
seem. And to conclude, <i>Tender is the Sorro</i>w, op. 130, a reflective piece
for a larger ensemble, with violin and viola, dedicated to the memory of
Firsova’s aunt, but just as significantly, dating from 2010, at the start of
the Trio’s collaboration with the composer.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxzycOndlVQgIGvdwWiV0YMAbNqlzZgcVb6HFQJKmR67kjn_GTsBzZXaS2NrWMnoEowtky-8BGDPTIlTRMUaY3fRzw1yTMh_XTSnc-19FjhmlcR5nJndIWO2mthsD0WVGcwbQQHjpliI1x/s1600/DSC_0616.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxzycOndlVQgIGvdwWiV0YMAbNqlzZgcVb6HFQJKmR67kjn_GTsBzZXaS2NrWMnoEowtky-8BGDPTIlTRMUaY3fRzw1yTMh_XTSnc-19FjhmlcR5nJndIWO2mthsD0WVGcwbQQHjpliI1x/s400/DSC_0616.JPG" width="400" /></a></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Left to right: Valerie Welbanks, Patrick Dawkins, Elena Firsova, Helen Vidovich, Fei Ren, Morgan Goff </span></div>
<br />
<br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">As a bonus, we were
also treated to an exhibition of artwork by Firsova’s son, Philip Firsov. He
was commissioned by the ensemble to create a piece for the cover of the CD and,
given the group’s name, he came up with something suitably gruesome. His work
is vivid, but finely nuanced in colour and texture. There is a strong Russian
dimension too, I was reminded of Oscar Rabin, though Firsov was only a young
child when the family moved to the UK. Check out his excellent website <a href="http://www.philipfirsov.com/" target="_blank">here</a>.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX0PWrBNRwdMYgPlkXAX71DIc_HchEbXjKL0Rp3Dz69hnm9eqvfuevAZqWnW37C3e-hq9-jX0cdTgyEPhOyeSyTlgUp0inpvaAM_6dyc9XRNNPbZ2TLkEJtS9xdiCLa76zO3daG8VODK3e/s1600/DSC_0660.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX0PWrBNRwdMYgPlkXAX71DIc_HchEbXjKL0Rp3Dz69hnm9eqvfuevAZqWnW37C3e-hq9-jX0cdTgyEPhOyeSyTlgUp0inpvaAM_6dyc9XRNNPbZ2TLkEJtS9xdiCLa76zO3daG8VODK3e/s400/DSC_0660.JPG" width="400" /></a></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">An excellent evening
all round, and the ideal way to launch the Marsyas Trio’s debut recording. (It's on the Meridian label: CDE 84635).
Review to follow – watch this space.</span></div>
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Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com3tag:blogger.com,1999:blog-2139516384946441097.post-51322625594483395192015-04-26T02:21:00.002-07:002015-04-26T02:21:50.088-07:00Saffron Hall: A Musical Miracle in North Essex<!--[if gte mso 9]><xml>
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It has taken me a year and a half to make a visit the new concert hall in Saffron Walden, but now I wish I’d gone sooner. What a venue! Saffron Hall’s story is well-known: It is in the grounds of a state school and was funded through a single contribution of £10m, from an anonymous donor though a local charity, The Yellow Car Charitable Trust. </div>
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<br /><br />The Saffron Hall Trust had the good sense or fortune to hire Angela Dixon, then Head of Music at the Barbican, to run the venue. She has put together a <a href="http://saffronhall.com/whats-on/">truly staggering programme of events</a>, every concert by a performer or ensemble of international standing. Last night it was the Czech Philharmonic with Jiří Bělohlávek and Chloë Hanslip, and what a spectacular show it was. <br /><br />The hall was full to capacity, though that is more the rule than the exception. When Nicola Benedetti recently performed here, she ended up repeating the concert the following night, filling the 750-seat venue on both occasions. The venue’s publicity stresses “in the community” both as its location and its ethos. In fact, Saffron Walden is only eight miles from Cambridge, one of several English cities (you can guess what I’m building up to here) in desperate need of a good concert hall. Until that happens, Saffron Hall looks likely to become its de facto venue. Already, the supposedly Cambridge-based Britten Sinfonia has put down roots here. And why not? It is a fabulous venue. Cambridge’s loss is Saffron’s gain. <br /><br />The big news is the acoustic. The Czech Philharmonic is always going to sound good, but the orchestra’s sound was just spectacular here. The warm, rich string tone was projected with clarity and intimacy. The woodwind soloists, too, had all the required detail, the brass their requisite power. And all this heard from the cheapest seats at the very back of the hall (very reasonable ticket pricing incidentally, yet another virtue of the Trust’s miraculous financial model). The Hall is wood-lined, and although nominally rectangular, it’s not a shoebox. It is more square than the longer hall designs that are more common for new halls, and many of the sides and corners – around the back of the stage and the back of the auditorium, are offset to give a more rounded feel. The acoustic gives the orchestral sound just the right amount of space, a resonance with an enriching but never distracting warmth. The primary virtue is how natural the hall allows the orchestra to sound. It isn’t one of those venues that draws attention to itself with a signature sound, the performers always come first. <br /><br />Could it be better? Well, I could imagine a little more immediacy for the woodwind solos; they are always crystal clear but you are aware of the distance (at least to the cheap seats). A little more bass projection would be nice too, and I wonder if Bělohlávek positioned the double basses along the back of the stage to counter this. And just while I’m grumbling, the foyer space is a bit crammed, and there is a surprising lack of toilets – even the gents were queuing in the interval. </div>
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<br /><br />But the hall itself is a spectacular success, and an unexpected treat for anybody who ventures this way. It also puts an interesting perspective on London and its current plight. It is notable that the Czech Philharmonic missed London out of their six-city UK tour. And while it is unlikely that acoustics played a big part in that decision, Saffron Hall certainly did them more favours than Cadogan, their usual London bolthole (ironic, given that Cadogan has probably the best acoustic of any London orchestral venue). <br /><br />Realistically, though, this hall would not be suitable for London. It only has 750 seats, so it is hard to see how that would be viable. In fact, its size is one of its assets, acoustically speaking – most of the great orchestral venues of the world are on this sort of scale – the real challenge for acousticians is to retain that intimacy and clarity but triple the size. <br /><br />The management won’t thank me for this, but perhaps the answer is for London to appropriate this venue in the same way that Cambridge has. After all we call nearby Stansted Airport “London Stansted” and find a way of getting there when we need a cheap flight. I understand that a free bus service was laid on last night to the nearest station, so measures are in place. If nothing else, those who are arguing against a new concert hall for London should come and hear the results in Saffron Walden. This is what we are missing out on. This is how an orchestra should sound. <br /><br /><a href="http://saffronhall.com/">http://saffronhall.com/</a></div>
Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com1tag:blogger.com,1999:blog-2139516384946441097.post-84569703257793798142015-02-13T03:39:00.000-08:002015-02-13T03:39:21.640-08:00Music is Power<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLSbPAN_9WTTLdRRUC-Lfkr08UfvZIoHs1XvvlpOCEwhxfHu20OrvNXe9fSQiEXqajQI1AobruPJylR-uc2IpXA-iWD5bCl3qKUaeI2jzrCtLsxToSzY35O2oHTKR6PjGXtaDO8iyWz6IY/s1600/Les+gurning.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLSbPAN_9WTTLdRRUC-Lfkr08UfvZIoHs1XvvlpOCEwhxfHu20OrvNXe9fSQiEXqajQI1AobruPJylR-uc2IpXA-iWD5bCl3qKUaeI2jzrCtLsxToSzY35O2oHTKR6PjGXtaDO8iyWz6IY/s1600/Les+gurning.jpg" /></a></div>
<h1 style="text-align: justify;">
<span style="font-size: 12.0pt; font-weight: normal;">Stand
up for something and you’ll get smeared - that seems to be a given in British
classical music journalism these days. Musicians are more susceptible to
political smears than most artists it seems: the motivations and supposed
deficiencies of their work are always open to divisive interpretations that the
music itself cannot contest. This morning we heard from Damian Thompson about “<a href="http://www.spectator.co.uk/arts/music/9437552/was-simon-rattle-too-new-labour-for-the-berlin-philharmonic/">Classical
music's greatest political butt-kissers</a>”. Gergiev, Pollini, Dudamel and the
entire El Sistema are the predictable targets, but Rattle gets a poke too; apparently
he’s New Labour.</span></h1>
<h1 style="text-align: justify;">
<span style="font-size: 12.0pt; font-weight: normal;">Thompson
has his axes to grind of course, but he undermines every argument he makes by
equating the politics he dislikes with poor musicianship. The famously
communist Pollini, we are told, “</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; mso-ansi-language: EN-US;">these days plays the piano with all
the dexterity of Les Dawson”. Rattle has “been a disappointment” in Berlin, and
when the Philharmonic replace him with the nationalist Christian Thielemann,
they’ll get the discipline that Rattle is too liberal to impose.</span></h1>
<h1 style="text-align: justify;">
<span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; mso-ansi-language: EN-US;">None of which is true. Pollini is
in his 70s, but he is as fine a pianist as ever, just listen to the <a href="http://www.classical-cd-reviews.com/2015/01/beethoven-piano-sonatas-16-20-pollini.html">last
volume in his recently completed Beethoven sonata cycle</a>. Rattle’s time in
Berlin has been a success by almost every available measure – whatever complaints
the players may have had didn’t stop them voting him into office in the first
place and then voting to renew his contract. And Thielemann gets disciplined performances
because of the time and care he puts into preparation and rehearsal, not
because he’s a Nazi.</span></h1>
<h1 style="text-align: justify;">
<span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; mso-ansi-language: EN-US;">It’s an easy trap to fall into, and
recent examples from across the political spectrum are numerous. Just look at
Gergiev’s recent fall from grace in the UK. When it was fashionable to boycott
his concerts (<a href="http://orpheuscomplex.blogspot.co.uk/2013/11/the-time-has-come-to-boycott-gergiev.html">and
I suggested doing so for a time</a>), many who should have known better appended
their comments about his politics with views on his artistry – as if that were
at all relevant. And now Gergiev can do no right. I haven’t noticed any
significant deterioration in his work in recently, but it’s not often you’ll
read a positive review, in English anyway.</span></h1>
<h1 style="text-align: justify;">
<span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; mso-ansi-language: EN-US;">So, it’s back to the old debate
about music and politics. But don’t worry, there’s no need to open up that can
of worms again, as the issues here are quite contained. Namely: When a musician
is of high standing, they have a power that can be harnessed for political
ends, and not always their own. The debate about the Israel Philharmonic at the
Proms a few years ago only mattered because the IPO is an excellent orchestra.
That is why is has the power to promote the State of Israel, and even by
extension its government’s policies. Similarly with the </span><span style="font-size: 12.0pt; font-weight: normal;">Simón Bolívar Symphony Orchestra,
and it seems hypocritical not to treat visits from both orchestras in a similar
light.</span></h1>
<h1 style="text-align: justify;">
<span style="font-size: 12.0pt; font-weight: normal;">These
and other musicians face two lines of attack. The first is to suggest they are naïve
pawns in political games beyond their knowledge or control. Thompson indulges
that one, quoting an unnamed but ‘renowned’ conductor as saying of the Simón
Bolívar musicians “</span><span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; mso-ansi-language: EN-US;">Politics isn’t something they’ve thought deeply
about. They just slip into the soft-left consensus”. I can’t speak for them,
but I can for many listeners, and when Thompson says “El Sistema exported
pro-Chavez propaganda as well as Mahler symphonies to gullible global audiences”
he is taking his argument too far. Audiences are well aware of the political
context in which classical performances take place. If not, then why has
Gergiev become such a toxic brand that the World Orchestra for Peace can now
barely half fill the Albert Hall, a venue that until recently they always
filled to capacity.</span></h1>
<h1 style="text-align: justify;">
<span lang="EN-US" style="font-size: 12.0pt; font-weight: normal; mso-ansi-language: EN-US;">The other line of attack is easier
but more insidious: to claim that the musicians you disagree with are no good.
In theory it is an effective policy: If Maurizio Pollini does indeed sound like
Les Dawson then his political views must also be junk, right? And if nobody in Berlin
likes Simon Rattle, he must be wrong about everything. But it doesn’t work like
that. Great musicians have political and social power simply by virtue of their
being great musicians. Saying it ain’t so doesn’t change anything.</span><span style="font-size: 12.0pt; font-weight: normal;"></span></h1>
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<br /></div>
Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com1tag:blogger.com,1999:blog-2139516384946441097.post-27729249124485579742014-11-24T04:24:00.002-08:002014-11-24T12:47:21.146-08:00Alfred Schnittke at 80<!--[if gte mso 9]><xml>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Today
would have been Alfred Schnittke’s 80th birthday. He didn’t live to see it of
course; he died in 1998 following a decade of desperately poor health. But he’s
still with us in spirit. His music has gone up and down in popularity since his
death, but it has never disappeared. In fact, a handful of his works, covering
a variety of genres, have achieved central positions in the repertoire. His
historical status is secure.</span></div>
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Schnittke has always been a controversial figure. In the years since his death,
the new music world has increasingly polarised into conservative and
progressive tendencies. Composers of tonal neo-Romantic music have been embraced
by the establishment (at least in the English-speaking world) and no longer
feel the need to make excuses or highbrow theoretical justifications for what
they do. Schnittke is not among that company, but for many of his critics, the
concept of polystylism is just such a justification, an intellectual disguise
for reactionary tendencies. </span></div>
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He really belongs with the Modernists. But today’s advocates of Frankfurt
School progressive values are increasingly besieged and isolated, and have
little time for a composer who was very consciously at the edge of that world.
In fact, Schnittke actively sought to destabilise the progressive paradigm, to
challenge its insularity and claims to superiority. So perhaps it is of little
surprise that he has ended up largely excluded from what remains of it.</span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><br />
Schnittke came to global attention in the mid-1980s. He was the right man at
the right time for the classical music world. Just as organisations –
orchestras and record labels in particular – began to acknowledge the cultural
stagnation they were causing through the continual recycling of an Imaginary
Museum of Musical Works, Schnittke provided a revealing, and damning,
self-image through which to play out that Angst. The whole phenomenon was a
process, a fast one at that, and transience was inevitable. Another problem was
the marketing line that presented Schnittke as the heir to Shostakovich, a
valid comparison in some ways, but one with little relevance past the fall of
the Soviet Union. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><br />
The fact that Schnittke lived and worked through the Soviet times has added an
extra dimension to the debates about progression and reaction, populism and
artistic worth. The American scholar Peter J. Schmelz argues that Schnittke’s
advocates push his dissidence too far, and that his use of tonal idioms aligns
Schnittke’s music with state cultural policy. Put crudely, polystylism is
Socialist Realism. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><br />
It is a provocative polemic that contains a good deal of unhelpful exaggeration
itself. Listening to Russian academics railing against this view brings back
unwelcome memories of the Shostakovich Testimony debate, though it is unlikely
to come to that. But Schmelz’s argument demonstrates how difficult it is to
untangle the cultural politics of music written in Soviet times. Schnittke’s
own political views were conservative, though he would probably use the term
“traditional” himself, but his artistic outlook was not. He was much like
Stravinsky, determined to retain and promote established cultural values, but
in radical ways.</span><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><br />
Perhaps that is why Schnittke’s reputation is so complex today, and so
different in different parts of the world. In Russia, he is still a central
figure in new music, but different generations approach his music with
different agendas. However indifferent he himself felt about the political
struggles of the 1980s, his music became a symbol of resistance, and many in
Russia still hear it in those terms. That has caused a generation divide, with
many younger musicians treating Schnittke as music of the Soviet past, with little
relevance to the new Russia. On the other hand, the explicitly religious music
he was writing (often covertly) from the 1970s parallels the resurgence of the
Orthodox Church, creating a continuity into modern times. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><br />
In the West, Schnittke remains closely connected with the Russian diaspora. His
global reputation was established by leading Soviet musicians touring his music
in the 1980s, particularly Gennady Rozhdestvensky, Gidon Kremer, Yuri Bashmet
and Mark Lubotsky. Another important name here is Mstislav Rostropovich,
already living in the West, but as keen as any of his colleagues in Russia to
promote Schnittke’s work. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><br />
Many performers of Schnittke’s generation continue to champion his music. Their
recorded legacy is also formidable. Almost all of Schnittke’s major works have
extensive discographies, and in many cases the benchmark recording is the
first, with the dedicatees providing versions that have yet to be surpassed.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><br />
Younger performers needn’t lose heart though. Schnittke’s music demands interpretation,
it needs performers who can give individuality and emotion (another factor that
puts it at the peripheries of Modernism). There are many significant textual
issues with Schnittke’s scores, because whenever a performer suggested a change
in rehearsal, he invariably said yes. He wasn’t interested in performers simply
giving a presentation of the notes on the page, he expected them to live the
music and to reimagine it in every performance. As a result, the recorded
legacy of the music’s first performers is not definitive, whatever its quality.
Performers continue to be drawn to Schnittke’s music for just this reason, and
every new performance and recording has something different to say about it. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><br />
Some lament the passing of Schnittke’s period of extreme popularity, and it is
a great shame that his orchestral music is not played more. But, from the sheer
number and quality of recent recordings, it is clear that his solo, chamber and
choral music is as popular as ever. Schnittke’s legacy remains complex, with
scholars and commentators likely to debate its significance and value for years
to come, but the music itself lives on because it continues to inspire and
engage musicians from one generation to the next.</span></div>
<br />
<i></i>Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com0tag:blogger.com,1999:blog-2139516384946441097.post-24544401982244319962014-09-16T04:12:00.001-07:002014-09-16T04:12:47.494-07:00Scottish Broadcasting Corporation Symphony Orchestra
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUhxYOZ79mxWSaK4jAjKLOrOPrUIHSJBQWbqger8bH17fFBWjGVSmmAgC0EDSnB88uENsMfUXzSRs7ErznDGaHz5rtikPj6CPoPXEPIIWEWh-RnEh-6lobPBZhyWO0NmTXDaIV3w2s8bmS/s1600/SBO+LOGO.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUhxYOZ79mxWSaK4jAjKLOrOPrUIHSJBQWbqger8bH17fFBWjGVSmmAgC0EDSnB88uENsMfUXzSRs7ErznDGaHz5rtikPj6CPoPXEPIIWEWh-RnEh-6lobPBZhyWO0NmTXDaIV3w2s8bmS/s1600/SBO+LOGO.png" /></a> </div>
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 6pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"></span> </div>
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 6pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Yesterday,
Norman Lebrecht published a </span><a href="http://slippedisc.com/2014/09/scotland-will-lose-orchestra-the-morning-after-independence/"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="color: blue;">blog post</span></span></a><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> entitled:
Scotland will lose an orchestra ‘the morning after independence.’ The text that
follows doesn’t mention a source for this, suggesting he is quoting himself.
Instead it gives a précis of an argument, first raised in January by critic Ken
Walton, that the BBC Scottish Symphony Orchestra would disband in the event of
a yes vote in the independence referendum. Lebrecht tells us “</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">The BBCSSO is funded from
London...” as if to imply it is funded by London, and then goes on to speculate
about how the, as yet unnamed, new Controller of Radio 3 might make economies
to their budget. He concludes with a reference to “a journalistic view from
Scotland,” which, he says, “does not markedly differ.”<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 6pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;">Well
actually it does. It differs quite a lot. The link is to </span><a href="http://www.theguardian.com/music/2014/sep/13/classical-music-scene-if-indepdent-scotland-kate-molleson"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><span style="color: blue;">an article by Kate Molleson</span></span></a><span style="font-family: "Times New Roman","serif"; font-size: 12pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"> published in the Guardian on
Saturday, an excellent survey of the issues raised for classical music in
Scotland by the referendum, and far more balanced and informative than either
Lebrecht’s polemic or this one. Molleson cites the SNP’s white paper on the
foundation of a Scottish Broadcasting Corporation, which would</span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> “initially be
founded on the staff and assets of BBC Scotland”. The implication is that this
would include the BBC’s Scottish musicians. That’s not explicitly stated, but nor
is it denied.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 6pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Molleson
spoke to Fiona Hyslop, Scotland’s Cabinet Secretary for Culture and External
Affairs. Hyslop points out that “only two-thirds of the revenue from Scottish
license fees is currently spent on BBC Scotland”, and that therefore “the
future SBS could be more lucrative, and more culturally ambitious, than the
present BBC Scotland.” Exciting talk, especially coming from a cabinet minister
(imagine hearing such statements in Westminster).<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 6pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Clearly,
there is some uncertainty here, but all the indications are that a fledging SBC
would have both the resources and the motivation to maintain the BBC SSO as a
flagship ensemble for the new corporation. The political climate in Scotland,
as demonstrated by Hyslop herself, is far friendlier to the arts than in
Westminster. And the orchestra itself is in a perfect position to represent the
increasingly dominant nationalist sentiment and pride. It is, as Molleson
notes, one of the finest orchestras in Europe, and it is currently led by
Donald Runnicles, perhaps the best, certainly the best-regarded, Scottish
conductor since Alexander Gibson.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 6pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">A </span><a href="http://www.heraldscotland.com/comment/letters/the-biggest-threat-to-the-future-of-the-bbc-sso-comes-from-the-corporation-itself.25322272"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="color: blue;">letter from the
Scottish composer Bill Sweeney</span></span></a><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"> appeared in the Herald on Monday making
some very sensible points on this issue. The biggest threat to the BBC SSO, he
says, is the BBC itself, and that “Previous axe-swings have rid [the
corporation] of the BBC Big Band, Scottish Radio, Northern Dance, Midland Light,
Northern Ireland and Training Orchestras without much concern for UK-national
or regional sensibilities.” The letter is followed<span style="mso-spacerun: yes;"> </span>- same link – by one from veteran broadcaster
John Purser, who recounts depressing details of the BBC’s last try at disbanding
the BBC SSO, in 1987. Scare stories about the end of public broadcasting north
of the border are, says Sweeney “based on the idea that Scots do not have
enough appetite for culture or enough smeddum to preserve and develop the rich
and multifarious artistic landscape that is so evident around us.” He goes on
“I suspect - and hope - that we will see a more positive interpretation of our
cultural prospects expressed this Thursday.”<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 6pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Right.
Not that you’ll ever read views like these expressed in the (British) national
press, which, presumably to further its own ends, has been deliberately
underestimating the Scots’ smeddum throughout the debate. But the arts are not
under threat, and the BBC SSO is in an excellent position to thrive in an
independent Scotland. As with so many other aspects of the referendum, the
London-based media insists on presenting as a crisis what can, and should, be
seen as an opportunity.<o:p></o:p></span></div>
Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com1tag:blogger.com,1999:blog-2139516384946441097.post-78115136788616338482014-09-12T03:28:00.002-07:002014-09-12T03:28:54.531-07:00How I Learned to Stop Worrying and Love the Proms<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCAi7HHhlL-xQp5IrOqRnxRYA0T2G_v7UuUK5v3F8AxJTsdfXt_a36XDNdN__gEyidJXplxsQCEwFdViGrcftZbDDpBgNnLfNfAWvJqozR8dZt-2QhE-nQPUfldme2L_nJGL6TkZgd6qam/s1600/Strangelove_RAH.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCAi7HHhlL-xQp5IrOqRnxRYA0T2G_v7UuUK5v3F8AxJTsdfXt_a36XDNdN__gEyidJXplxsQCEwFdViGrcftZbDDpBgNnLfNfAWvJqozR8dZt-2QhE-nQPUfldme2L_nJGL6TkZgd6qam/s1600/Strangelove_RAH.jpg" height="400" width="343" /></a></div>
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<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">What
a great Proms season! A packed two months of music making, the quality almost
continuously high, and a good number of real standout performances. Of the
concerts I attended, almost all were excellent: Iván Fischer’s Brahms,
Runnicles’ <i>Salome</i>, the Seoul Philharmonic. The CBeebies Prom got a
middling writeup from me, but my then three-year-old daughter loved it, and has
talked about little else since. Gergiev’s Mahler was the only dud I got to, and
Rattle’s <i>Matthew Passion</i> was the only one I heard on the radio and was
glad to have missed.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">But
all up, the Proms team has done us proud, and done far more than just keep
London’s musical life ticking over while its resident orchestras are away on
their summer tours. How lucky we are to have this festival, unparalleled in
both scale and quality.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">I’ve
complained about many aspects of the Proms before, and all those issues remain.
First there’s the Albert Hall (in case the image above is misleading – I’m not suggesting
we drop it on Russia). The <a href="http://orpheuscomplex.blogspot.co.uk/2010/07/how-to-improve-albert-hall-acoustic.html">acoustic
is a much-discussed and divisive issue</a>. All I’ll add is this: Don’t sit in
the circle whatever you do; you’re better off at home listening on the radio.
Then there is farcical charade of only publishing the programme <a href="http://orpheuscomplex.blogspot.co.uk/2014/04/time-to-end-proms-embargo.html">ten
weeks before the season begins</a>. There’s the bizarre territorial politics of
the Arena. And don’t get me started on the Last Night. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">None
of this is going to change anytime soon, so let’s accept the Proms for what it
is and just enjoy it. The flipside to the acoustic issue at the Albert Hall is
the atmosphere that the venue is able to generate, and that’s a precious thing.
A highly anticipated concert here attracts a buzzing audience, and the enthusiasm
of Prommers is regularly cited by performers as a reason why the event is so
special to them. And every concert is a real event – just look at the social
media coverage. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">This
year’s season marks the end of Roger Wright’s tenure, and he leaves the festival
as strong and vibrant as ever. Not so with Radio 3 sadly, but it’s difficult to
tell how many of the station’s recent woes are down to him. Wright will be
succeeded by separate controllers of the Proms and Radio 3, and the former job
certainly looks the more attractive. Hopefully, the new director of the Proms
can find similarly effective ways to gently reinvent the traditions, and
possibly even deal with some of the bigger problems too. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">In
the mean time, I’m off to my last Prom of the year; a star orchestra (the
Gewandhaus) doing the Beethoven Nine. That’s one of the few persistent Proms traditions
I’m not going to complain about. Saturday’s flag-waiving aside, this looks set
to be a fitting conclusion to a great season.</span></div>
Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com0tag:blogger.com,1999:blog-2139516384946441097.post-71355640332216022862014-09-04T03:46:00.002-07:002014-09-04T03:57:36.120-07:00Classical Music Documentaries Online<!--[if gte mso 9]><xml>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">There
seems to be an increasing number of classical music documentaries on YouTube
these days, but it’s hard work keeping track of them. So I’ve drawn up a list,
as much for my own benefit as anybody else’s. A quick trawl around the site
(and I’ll confess, that’s all I’ve done) pulls up all sorts of things I never
knew existed. A lot of these documentaries date from the 1980s and 90s, a time
when television, in the UK at least, took arts coverage more seriously than it
does today. There are some real gems from Barrie Gavin and Tony Palmer, and
later John Bridcut and Bruno Monsaingeon. I’ve stretched the definition of ‘documentary’
to include Ken Russell’s extravagances – it seemed a shame not to, and most of
them seem to be here.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">A
large proportion of these programmes were made by the BBC, and I don’t know if
the Beeb is aware that they are currently online. My hope is that the
Corporation considers accessibility to be an aspect of its public service remit
and is therefore happy to let us see them. If not, I hope this post won’t
hasten their demise. On that subject, please leave me a message if you find any
of these links are now dead. Also, if there is anything I’ve missed (and I’m
sure there is), please put a link in the comments and I’ll add it. In the mean
time: Enjoy!</span></div>
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<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">BACH</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Bach: A Passionate Life (John Eliot Gardiner) </span></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=SOO8IC8_VaY">https://www.youtube.com/watch?v=SOO8IC8_VaY</a> </span></span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">Great Composers: Bach (BBC 1997)</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=MkKd1fjgqKI" target="_blank">https://www.youtube.com/watch?v=MkKd1fjgqKI</a>
</span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">BABBITT</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">Babbitt: Portrait of a Serial Composer
(Robert Hilferty)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=sf_Zfpq3gqk" target="_blank">https://www.youtube.com/watch?v=sf_Zfpq3gqk</a>
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">BEETHOVEN</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">BBC Great Composers: Beethoven </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=aNoZw6Im86k" target="_blank">https://www.youtube.com/watch?v=aNoZw6Im86k</a>
</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">The Genius of Beethoven </span></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=aD_tbzrUj2k" target="_blank">https://www.youtube.com/watch?v=aD_tbzrUj2k</a></span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">Beethoven's Eroica (Simon Cellan Jones BBC
2003)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=UtA7m3viB70" target="_blank">https://www.youtube.com/watch?v=UtA7m3viB70</a>
</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">BERG</span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">Alban Berg documentary (Barrie Gavin, BBC)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=oCHEwV0BnJM" target="_blank">https://www.youtube.com/watch?v=oCHEwV0BnJM</a>
</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">NADIA BOULANGER</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Mademoiselle Nadia Boulanger (Bruno Monsaingeon)</span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=kW7GiX4-hPc" target="_blank">https://www.youtube.com/watch?v=kW7GiX4-hPc</a>
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">CAGE</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">Four American Composers: John<span style="mso-spacerun: yes;">
</span>Cage (Peter Greenaway, 1983)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=Sbp4rkenEak&index=26&list=PL7769C5E4C596C737" target="_blank">https://www.youtube.com/watch?v=Sbp4rkenEak</a>
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">CHOPIN</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">The Women Behind The Music (James Rhodes, BBC, 2010)</span></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=4rOOLm3n6GY" target="_blank">https://www.youtube.com/watch?v=4rOOLm3n6GY</a></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">DEBUSSY</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">The Debussy Film (Ken Russell, 1965)</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=KsdAIYmSHAg" target="_blank">https://www.youtube.com/watch?v=KsdAIYmSHAg</a>
</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">DELIUS</span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">Delius: Composer, Lover, Enigma (John
Bridcut)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=uTVhBhPzPQA" target="_blank">https://www.youtube.com/watch?v=uTVhBhPzPQA</a>
</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><span style="mso-spacerun: yes;"> </span></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">ELGAR</span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">Elgar: Portrait of a Composer (Ken Russell)</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=JM2YGJCjAEA" target="_blank">https://www.youtube.com/watch?v=JM2YGJCjAEA</a>
</span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">Elgar - Fantasy of a Composer on a Bicycle (Ken
Russell 2002) </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=lQPMzK6GdTE" target="_blank">https://www.youtube.com/watch?v=lQPMzK6GdTE</a>
</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">GLASS</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Glass - A Portrait of Philip In Twelve Parts (Scott Hicks,
2007)</span></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=lGaG5VJqgZg" target="_blank">https://www.youtube.com/watch?v=lGaG5VJqgZg</a>
</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">GUBAIDULINA</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">Portrait of Sofia Gubaidulina (BBC, 1990)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=uwnEtWW0hWI" target="_blank">https://www.youtube.com/watch?v=uwnEtWW0hWI</a>
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">HANDEL</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">George Frederick Handel BBC Documentary</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=HnKFUNizi4E" target="_blank">https://www.youtube.com/watch?v=HnKFUNizi4E</a>
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">LISZT</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">Liszt in the World (University of California Television)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=n-ilb3jfWao" target="_blank">https://www.youtube.com/watch?v=n-ilb3jfWao</a>
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">MAHLER</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">BBC Great Composer</span></span><span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "MS Mincho"; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">s: </span></span><span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Mahler </span></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=OnBNFRzdkIM" target="_blank">https://www.youtube.com/watch?v=OnBNFRzdkIM</a>
</span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">Mahler (Ken Russell, 1974)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=tolbBo5yVC8" target="_blank">https://www.youtube.com/watch?v=tolbBo5yVC8</a>
<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">What The Universe Tells Me (Documentary on
Mahler's 3rd Symphony) </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=bArhdP88dGE" target="_blank">https://www.youtube.com/watch?v=bArhdP88dGE</a>
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">MARTINŮ</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">The Mystery of Dr Martinu (Ken Russell)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=nUnwST5R3vQ" target="_blank">https://www.youtube.com/watch?v=nUnwST5R3vQ</a>
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">MEREDITH MONK</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">Four American Composers: Meredith Monk (Peter Greenaway, 1983)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=f_Xj3ID-ybw&index=18&list=PL7769C5E4C596C737" target="_blank">https://www.youtube.com/watch?v=f_Xj3ID-ybw&index=18&list=PL7769C5E4C596C737</a>
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">MOZART</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">BBC Great Composers: Mozart</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=Nyt1asgJPZ0" target="_blank">https://www.youtube.com/watch?v=Nyt1asgJPZ0</a>
</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">BBC - The Genius of Mozart.</span></span><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=dc4XdUu-G5Q" target="_blank">https://www.youtube.com/watch?v=dc4XdUu-G5Q</a>
</span></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">PROKOFIEV </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">The Prodigal Son (BBC, 1991?)</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=pWAkNidQCo8" target="_blank">https://www.youtube.com/watch?v=pWAkNidQCo8</a>
<span style="mso-spacerun: yes;"> </span></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">PUCCINI</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">BBC Great Composers</span></span><span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "MS Mincho"; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">:</span></span><span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> Puccini </span></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=bpYAntNU-V8" target="_blank">https://www.youtube.com/watch?v=bpYAntNU-V8</a>
</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">RACHMANINOFF</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Harvest of Sorrow (Tony Palmer)</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=vi3MU9JnL7E" target="_blank">https://www.youtube.com/watch?v=vi3MU9JnL7E</a>
<span style="mso-spacerun: yes;"> </span></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">REICH</span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">Steve Reich - South Bank Show (2006)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=e_pR1sHHeQU" target="_blank">https://www.youtube.com/watch?v=e_pR1sHHeQU</a>
</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">SCHNITTKE</span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">The Unreal World of Alfred Schnittke (BBC
1990)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=6sHnQKs8LUM" target="_blank">https://www.youtube.com/watch?v=6sHnQKs8LUM</a>
</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">SCHOENBERG</span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">Bogeyman -- Prophet – Guardian (Barrie
Gavin, 1974)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=fqZc_fgUtGI" target="_blank">https://www.youtube.com/watch?v=fqZc_fgUtGI</a>
</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">SCHUBERT</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Schubert Documentary</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=QOeS93VATck" target="_blank">https://www.youtube.com/watch?v=QOeS93VATck</a>
</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">STRAVINSKY</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Igor Stravinsky Documentary </span></span><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=FSJQwkBKKBo" target="_blank">https://www.youtube.com/watch?v=FSJQwkBKKBo</a>
</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">SHOSTAKOVICH</span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">Shostakovich against Stalin, The war
symphonies (Larry Weinstein)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=--fSOJzGJnM" target="_blank">https://www.youtube.com/watch?v=--fSOJzGJnM</a>
</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">STRAUSS</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Richard Strauss -Remembered</span></span><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=O0ImK5CpSmo" target="_blank">https://www.youtube.com/watch?v=O0ImK5CpSmo</a>
</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">TCHAIKOVSKY</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">BBC Great Composers: Tchaikovsky</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=Nyt1asgJPZ0" target="_blank">https://www.youtube.com/watch?v=Nyt1asgJPZ0</a>
</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">WAGNER</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">BBC Great Composers: "Richard Wagner" </span></span><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=3Q5_LV7xOL4" target="_blank">https://www.youtube.com/watch?v=3Q5_LV7xOL4</a>
</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">VICTORIA</span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">Tomás Luis de Victoria - God's Composer
(Simon Russell Beale, BBC)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=3j3H3Tzj9YU">https://www.youtube.com/watch?v=3j3H3Tzj9YU</a>
</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">VAUGHAN WILLIAMS<br />
<span class="watch-title">The Passions of Vaughan Williams (John Bridcut, BBC,
2008)</span></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=mUjWo-diK-Y">https://www.youtube.com/watch?v=mUjWo-diK-Y</a>
</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">VIVALDI</span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">Vivaldi and the women of the Pieta</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=153WVp8QJQ0">https://www.youtube.com/watch?v=153WVp8QJQ0</a>
</span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">PERFORMERS</span></u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">PABLO CASALS</span></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Pablo Casals - BBC documentary </span></span><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=Z20GwENK1-w">https://www.youtube.com/watch?v=Z20GwENK1-w</a>
</span></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">WILHELM FURTWÄNGLER</span></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Wilhelm Furtwängler Documentary (BR/BBC c. 1970)</span></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=lvCRFK4vyys">https://www.youtube.com/watch?v=lvCRFK4vyys</a>
</span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">GLENN GOULD</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">Glenn Gould – Off The Record (CBC 1959)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=pL9YjM1BqgY">https://www.youtube.com/watch?v=pL9YjM1BqgY</a>
</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Glenn Gould On The Record</span></span><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"></span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=JeymIwZ7Yk4">https://www.youtube.com/watch?v=JeymIwZ7Yk4</a>
</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Thirty-Two Short Films About Glenn Gould (Francois Girard
1993) </span></span><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"></span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=twV8YZut2nw">https://www.youtube.com/watch?v=twV8YZut2nw</a>
</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Genius within The inner life of Glenn Gould (2009)</span></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=2-gEI4VBEDk">https://www.youtube.com/watch?v=2-gEI4VBEDk</a>
</span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">BENJAMIN GROSVENOR</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Imagine Being a Concert Pianist </span></span><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"></span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=Sl3Mtq99fio">https://www.youtube.com/watch?v=Sl3Mtq99fio</a>
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">EDITA GRUBEROVA </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">The art of Belcanto - Edita Gruberova </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=rqEwtVWeD3U">https://www.youtube.com/watch?v=rqEwtVWeD3U</a>
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">GERALD MOORE</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">How to Sing Bel Canto: World Singers (1961) </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=0F4c3NSZMnw">https://www.youtube.com/watch?v=0F4c3NSZMnw</a>
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">ANNE-SOPHIE MUTTER</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">Anne-Sophie Mutter Documentary "A
Portrait" </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=iMw9AY5-K9E">https://www.youtube.com/watch?v=iMw9AY5-K9E</a>
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">SVIATOSLAV RICHTER</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Sviatoslav Richter The Enigma (Bruno Monsaingeon 1998)</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=yfJVpjI3wJM">https://www.youtube.com/watch?v=yfJVpjI3wJM</a>
</span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">MSTISLAV ROSTROPOVICH</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Rostropovich The Genius of the Cello (BBC, 2011)</span></span><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"></span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=3DVtT20tGiE">https://www.youtube.com/watch?v=3DVtT20tGiE</a>
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">GEORG SOLTI</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Maestro or Mephisto: The Real Georg Solti (2002)</span></span><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"></span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=2O-ClNBcZF0">https://www.youtube.com/watch?v=2O-ClNBcZF0</a>
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">LEOPOLD STOKOWSKI</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Stokowski at 88 (1970)</span></span><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"></span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=Lt9HLz5v_k0">https://www.youtube.com/watch?v=Lt9HLz5v_k0</a>
</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">JOAN SUTHERLAND</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">The Reluctant Prima Donna </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=R0wQ_Xsiaas">https://www.youtube.com/watch?v=R0wQ_Xsiaas</a>
</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">KIRI TE KANAWA</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">What Makes a Great Soprano? </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="http://www.youtube.com/watch?v=p0t544MZNhA">http://www.youtube.com/watch?v=p0t544MZNhA</a>
</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">ARTURO TOSCANINI</span></div>
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<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Toscanini "The Maestro revisited" (1967) </span></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=o0dgrjNxXSY">https://www.youtube.com/watch?v=o0dgrjNxXSY</a>
</span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<i><span style="font-size: 12.0pt; font-style: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">ROLANDO VILLAZÓN</span></i><i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"></span></i></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">What Makes a Great Tenor?</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=3A66Adiz0pY">https://www.youtube.com/watch?v=3A66Adiz0pY</a>
</span></h1>
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<br /></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">INSTRUMENTS</span></u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">GUITAR</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Imagine - The Story of the Guitar</span></span><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"></span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=Mjg5EbTW-dw">https://www.youtube.com/watch?v=Mjg5EbTW-dw</a>
</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">HARP</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">The Harp - BBC Documentary </span></span><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"></span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=I_ImURf8KUE">https://www.youtube.com/watch?v=I_ImURf8KUE</a>
</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;">VIOLIN </span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">The Art of Violin </span></span><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"></span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=2or09nXBUPg">https://www.youtube.com/watch?v=2or09nXBUPg</a>
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">GENERAL</span></u><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<br /></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Birth of the symphony: Handel to Haydn (AAM)</span></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=a8jp2FKmDKM">https://www.youtube.com/watch?v=a8jp2FKmDKM</a>
</span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;">In The Ocean - A Film About The Classical
Avant Garde:</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=h0NwiTHIhGM">https://www.youtube.com/watch?v=h0NwiTHIhGM</a>
</span></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"> </span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Howard Goodall's Story of Music (BBC 2013)</span></span><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"></span></h1>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=MkKd1fjgqKI">https://www.youtube.com/watch?v=MkKd1fjgqKI</a>
</span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<br /></div>
<h1 style="margin-bottom: .0001pt; margin: 0cm;">
<span class="watch-title"><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;">Leaving Home - Orchestral Music in the 20th Century</span></span><span style="font-size: 12.0pt; font-weight: normal; mso-ascii-font-family: "Times New Roman"; mso-ascii-theme-font: major-bidi; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: major-bidi; mso-hansi-font-family: "Times New Roman"; mso-hansi-theme-font: major-bidi;"></span></h1>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; mso-outline-level: 1;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-ascii-theme-font: major-bidi; mso-bidi-theme-font: major-bidi; mso-hansi-theme-font: major-bidi;"><a href="https://www.youtube.com/watch?v=QQJz7GBtSaE">https://www.youtube.com/watch?v=QQJz7GBtSaE</a>
</span></div>
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Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com21tag:blogger.com,1999:blog-2139516384946441097.post-63071386303988456592014-07-30T02:51:00.000-07:002014-07-30T03:51:57.839-07:00Dark Times for UK-Russian Cultural Relations<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr9hSNqTAetP-nd_Vf3-QXgfXReQU5Iy4uveMYcS7nrR125wMfzoXz0hj5lMCi7b7LE8gKqPLe-7a9zGU_q2_LbTUXBmGhXjOKAxeQ7rolVvt5L73fh-4CaLrbnZzdoG-oqC_kecbCb9Kv/s1600/UK-Russia-logo590x332.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr9hSNqTAetP-nd_Vf3-QXgfXReQU5Iy4uveMYcS7nrR125wMfzoXz0hj5lMCi7b7LE8gKqPLe-7a9zGU_q2_LbTUXBmGhXjOKAxeQ7rolVvt5L73fh-4CaLrbnZzdoG-oqC_kecbCb9Kv/s1600/UK-Russia-logo590x332.jpg" height="180" width="320" /></a></div>
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<br /></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">The <a href="http://ukrussia2014.ru/en/">2014
UK-Russia Year of Culture</a> has its work cut out. Events in the two
countries are intended to bring their peoples together through a celebration of
their respective contemporary cultures. But now, understandably, the British
government has cut it loose and <a href="http://www.heraldscotland.com/politics/referendum-news/scottish-ministers-withdraw-support-for-uk-russia-year-of-culture.24865079">no
officials will be participating from now on</a>. Russia, quite comically, is
trying to give the image of business as usual. Fat chance of that.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">But the show goes on. None of the exhibitions or
shows in either country has been cancelled, and all will take place with or
without diplomats in attendance. (In fact, most have already taken place – if the
British Council was calculating that worsening diplomatic relations would make
later events more difficult, then that was a good call.)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">The lack of political involvement could turn out to
be a blessing in disguise. As diplomatic relations sour, the need for cultural
collaboration becomes all the greater, even when the context makes that an
increasingly unlikely proposition.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">Even before the current standoff, British attitudes
to contemporary Russian culture and society were jaded, and well beyond
anything that Putin or his regime could be blamed for. Putin himself has become
a bogeyman for the Western media, a position that suits him well, and that will
probably further his aims. But it is as much a result of suspicion of Russians
in general as it is of his actions. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">Popular attitudes in the West to Russia are deeply
paradoxical. Typically, the representation of Russia in an English-language
newspaper will begin with a front page story about corruption or some other
evil in the Russian government, probably based in fact but reported in terms of
Cold War stereotypes and clichés that make corruption in Slavic lands a
foregone conclusion. Then you turn to the second page and find an effusive
review of the latest <a href="http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/romeo-and-juliet-royal-opera-house-ballet-review-an-explosive-yet-creaking-production-9635205.html">Mariinsky
tour to Covent Garden</a>. That Russian culture is OK because it is old (an
image that Russian opera and ballet companies feed with the stiflingly traditional
fare they always take on tour). Nineteenth century Russian culture has become
like Classical Greek culture – it has nothing to do with the people who
actually live there now. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">Contemporary Russian culture gets a rough ride in
the West. Vladimir Jurowski, to his credit, has promoted a number of living
Russian composers – Martynov and Raskatov among others - with the London
Philharmonic. He hasn’t been thanked for it though, and the reviews have been
universally negative (confession: I’ve been responsible for a few myself). But it
is incumbent upon Western audiences to hear new music in terms of its cultural
context, or at least not to dismiss it just for failing to meet our current modernist
and individualist paradigms.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">What’s left of the UK-Russia Year of Culture looks
unlikely to tackle any of these issues in any depth, but anything that it can
do to help is in the interests of both peoples. The recent activities of the
Putin administration are rapidly forcing a pariah status on Russia. The West is
right to impose sanctions and to put pressure on the government through by any necessary
diplomatic means. But the cultural corollary helps nobody, and if we continue
to distance ourselves from modern Russia, its culture and society, while still
celebrating the Tchaikovsky ballets it periodically sends us, then sceptical Russians
are right to see our view of them as deeply hypocritical. <span style="mso-spacerun: yes;"> </span></span></div>
Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com0tag:blogger.com,1999:blog-2139516384946441097.post-86376769849825431842014-07-15T05:42:00.000-07:002014-07-15T05:42:52.201-07:00Crimea - The Opera<!--[if gte mso 9]><xml>
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8-YSWe54eyM49wLmsIz2onzm7Qz1pVkoI5aewDbyfsPMEFx1x0T8Zx7rf3LX0cAjn9tKpbbEGBoueScG7aH3DK7RuJpCAoOn9XYKL_oL1-asQT-5sVTLu2jJEHx2NyVWQl_seDPR_yma6/s1600/DSC_0352.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8-YSWe54eyM49wLmsIz2onzm7Qz1pVkoI5aewDbyfsPMEFx1x0T8Zx7rf3LX0cAjn9tKpbbEGBoueScG7aH3DK7RuJpCAoOn9XYKL_oL1-asQT-5sVTLu2jJEHx2NyVWQl_seDPR_yma6/s1600/DSC_0352.JPG" height="180" width="320" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">St
Petersburg Chamber Opera</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Public life is changing
fast in Russia, and like all other media, the arts are increasingly put to the
service of unchecked nationalist propaganda. I was in St Petersburg last week
and attended the press conference and dress rehearsal for a new opera
production, <i style="mso-bidi-font-style: normal;">Crimea</i>. Both were quite
chilling, not only for the extreme rightwing messages being put across, but
also for the fact the whole enterprise was presented as if it were business as
usual, with no hint of dissent (even from the press), and not even a suggestion
that any other interpretation of the Crimea conflict could be possible.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Echoes of the Stalin
era resonate through this production, but that’s entirely deliberate. It is
based on <i style="mso-bidi-font-style: normal;">Sevastopoltsy</i>, written in
1946 by Marian Koval. The original is about the siege of Sevastopol in 1941-2.
Clearly, the subject of the original opera serves the new production well, but
so too does the Socialist Realist score, all patriotic marches and mass songs.
In Koval’s opera, the Soviet stand against the Nazi aggressors is compared with
similar events in the Crimea War (the Russians lost that one, of course, a fact
this opera chooses to brush over).</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">For the new production,
the opera has been renamed to the more apposite <i style="mso-bidi-font-style: normal;">Crimea</i>, and the libretto completely rewritten. The work now takes
the two previous conflicts as models for the more recent one. Comparisons
between1942 and 2014 are easily drawn. The Germans remain the aggressors, or
among them at least. Angela Merkel is among the vilified politicians, and
footage is shown of her on a screen that only a few minutes earlier showed
Luftwaffe bombers. Comparisons between the Russian leaders of the three
centuries are more problematic, but are overcome by the introduction of a sharp-suited
modern-day narrator, Putin in all but name.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The production is being
staged at the St Petersburg Chamber Opera, a small company based in a large
town house near the Mariinsky. It is the brainchild of the company’s artistic
director, Yuri Alexandrov. He held court at the press conference ahead of the
dress rehearsal, and expounded at some length the motivations behind the
project. There was a lot of political rhetoric here, all coming from a position
of absolute certainty and conviction. Crimea belongs to Russia and always has,
that was a given. The new Ukrainian administration didn’t get too much of a
hard time. Russia’s quarrel is not with the Ukrainians, Alexandrov explained,
it is with the Americans. And the Europeans? They are just blind. Despite the
clear propaganda aims of this project, Alexandrov seemed convinced that he was
merely presenting “the truth” and that there was no polemic dimension to it at
all.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6ww9GyrZQDv0kvVZoMFSFjEmgAaE4hxT9-qQIT0uFDs3Z293BQu2RxsuyD2fHoQePPmPw_31pDIwzMMjxdsbOJG0aF0VOlSWxwwhnNDSRAsXBRpWjaG8UquAPr5lCTuwcEE0HXoH1t_FB/s1600/DSC_0354.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6ww9GyrZQDv0kvVZoMFSFjEmgAaE4hxT9-qQIT0uFDs3Z293BQu2RxsuyD2fHoQePPmPw_31pDIwzMMjxdsbOJG0aF0VOlSWxwwhnNDSRAsXBRpWjaG8UquAPr5lCTuwcEE0HXoH1t_FB/s1600/DSC_0354.JPG" height="180" width="320" /></a></div>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The
Creative Team. Alexandrov second from the right.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The new work is
described as an “opera-meeting”, and Alexandrov was keen to present it as a radical
genre-busting enterprise, in which the audience play a crucial role in the performance.
In fact, it was nothing of the sort. The performance is staged in the round,
bringing all the blood and gore closer to the audience than is comfortable.
There is some Q&A, but it amounts to the audience shouting “da” or “net” on
cue in response to political slogans. And for the mass song that forms the
finale, a dozen or so cast members planted in the audience suddenly run on to
join the chorus, as if to imply general consent on the part of all present.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Alexandrov clearly
assumes his views are shared by everybody involved. Certainly, the cast and
crew entered into the project with a rare enthusiasm. I don’t think I’ve ever
seen an opera performance sung and acted with as much commitment and passion as
this. There are many children in this production (used for emotional
manipulation purposes of course) and Alexandrov explained that many of them had
postponed their holidays to appear. They won’t be visiting the Crimea this summer,
he mused, but their work here would ensure that they will always be able to do
so in the future.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Considering the
contentious views he was presenting in the press conference, Alexandrov got a
very easy time in the questions afterwards. One journalist asked if references
to Stalin in the original had been replaced directly with references to Putin,
on the grounds that the syllable structure and rhyme could be retained.
Alexandrov responded with approval to the idea (there aren’t any references to
Stalin in the original so it wasn’t an option) and explained that this performance
was intended as the just the first step. Hopefully, he said, the company would then
take the show to Moscow. There is a point near the end that would be ideal for
Putin to give an address as part of the performance. Then we could have a real
conversation, he said, not just a theatrical one. </span><span style="mso-spacerun: yes;"> </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigLmL8jpHRpfaCgxH_HpYN3bJQVzIyi4jeYWq43EbdMb0OIEkTsotNJ53hGHs5jekq1oUFfjupnvK2kZwRVJ9T03G4phCxCExcAhpE7_rOELzuDvhdjh8Rcq3zt4eQmRppUbcpD8hh1FA0/s1600/DSC_0357.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigLmL8jpHRpfaCgxH_HpYN3bJQVzIyi4jeYWq43EbdMb0OIEkTsotNJ53hGHs5jekq1oUFfjupnvK2kZwRVJ9T03G4phCxCExcAhpE7_rOELzuDvhdjh8Rcq3zt4eQmRppUbcpD8hh1FA0/s1600/DSC_0357.JPG" height="360" width="640" /></a></div>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The
action takes place on a map of Crimea.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghXAUcqzJWAZYpaaVx6HuMJ9dJP0cxoQpfXDp7R3gdIkR8ujahUS8g-u7fDc5VxrkrS6F9wqXwQg-G1SNI5XcPc5ROdPYBrwFQJglXv4Ge9QLxrO-RMRq0kxwM4f8caj-QU-ZQ2EY7-Hb-/s1600/DSC_0360.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghXAUcqzJWAZYpaaVx6HuMJ9dJP0cxoQpfXDp7R3gdIkR8ujahUS8g-u7fDc5VxrkrS6F9wqXwQg-G1SNI5XcPc5ROdPYBrwFQJglXv4Ge9QLxrO-RMRq0kxwM4f8caj-QU-ZQ2EY7-Hb-/s1600/DSC_0360.JPG" height="640" width="360" /></a></div>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The
modern-day narrator. Let’s call him “Putin”.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkG57v0I3HRHOMW6wVc4lajA2D5ROT-_r1qspMISn_Kp2UkWsoSEvTkvwbTdGQ37ycGLHm4TfDGayLLnhNwRRr4kog1bhqtnZqsFMTw-U_BC1QhCr49Ka4cbwa9SWr9jmmOzlRoxBnlZV6/s1600/DSC_0365.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkG57v0I3HRHOMW6wVc4lajA2D5ROT-_r1qspMISn_Kp2UkWsoSEvTkvwbTdGQ37ycGLHm4TfDGayLLnhNwRRr4kog1bhqtnZqsFMTw-U_BC1QhCr49Ka4cbwa9SWr9jmmOzlRoxBnlZV6/s1600/DSC_0365.JPG" height="640" width="360" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Nurses
carrying bloodied bandages, and distributing them to the audience.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoTwYJbR-NHKqQFWK-e28ia5kxEiamSV9_6R45M15EmBN-q3fr1akvSBY9tkyp8IO-X94RGJmNC9wNYGpaWjN78bGbcAa2l2_0r67-A8wXyws8Xv-ngWevsPdx5EgikJ4FPVr-5PotbycN/s1600/DSC_0371.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoTwYJbR-NHKqQFWK-e28ia5kxEiamSV9_6R45M15EmBN-q3fr1akvSBY9tkyp8IO-X94RGJmNC9wNYGpaWjN78bGbcAa2l2_0r67-A8wXyws8Xv-ngWevsPdx5EgikJ4FPVr-5PotbycN/s1600/DSC_0371.JPG" height="624" width="640" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Things
are good for the ethnic Russians, before the Turks/Germans/Ukrainians arrive.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLyygHakkz2TpzETn2iF6p-hjwgO1vMNgfEFm5nH7iZypaQo-69jbAlGmPYbHTpEXTKnPb4xNAyzTaxEGsTOd81TbMHhYMwRVWcqEuHrZIKAs2LHwtAVj-AO5MPFtfQNW6iILccu6jhyphenhyphennu/s1600/DSC_0375.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLyygHakkz2TpzETn2iF6p-hjwgO1vMNgfEFm5nH7iZypaQo-69jbAlGmPYbHTpEXTKnPb4xNAyzTaxEGsTOd81TbMHhYMwRVWcqEuHrZIKAs2LHwtAVj-AO5MPFtfQNW6iILccu6jhyphenhyphennu/s1600/DSC_0375.JPG" height="640" width="360" /></a></div>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">War
and pestilence.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKGazY2nPAFY1M4r7Zbl960oINBCnFGbPX_iZtYPHVNfXoFlf2mgwby0_zj0LVok0purWSUU9mEyx9dC-GGlMMA5WXCk0ETpLM7dTGUX2SYhGtFENstOEBi9LrXxkY-IqnDWFInPadurJM/s1600/DSC_0383.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKGazY2nPAFY1M4r7Zbl960oINBCnFGbPX_iZtYPHVNfXoFlf2mgwby0_zj0LVok0purWSUU9mEyx9dC-GGlMMA5WXCk0ETpLM7dTGUX2SYhGtFENstOEBi9LrXxkY-IqnDWFInPadurJM/s1600/DSC_0383.JPG" height="640" width="360" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The
Soviet/Russian Navy restores order.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguTmt3Xovr0kud1hWSQUKtAze2fNHBbB3wkbNFfToq5dxxiPVKNfWS2fWR5KLGdwg-HakcLHQP3nZoWL8_pCbHL4_5jw1vD92t9Jg1EIsbYD_GksgjaGzUvPovjvOF1cpK3s6PELYtpZ-1/s1600/DSC_0388.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguTmt3Xovr0kud1hWSQUKtAze2fNHBbB3wkbNFfToq5dxxiPVKNfWS2fWR5KLGdwg-HakcLHQP3nZoWL8_pCbHL4_5jw1vD92t9Jg1EIsbYD_GksgjaGzUvPovjvOF1cpK3s6PELYtpZ-1/s1600/DSC_0388.JPG" height="640" width="360" /></a></div>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Refugees,
on their way to Rastov probably.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdgaaJ1R2kc8i5SF87QRknfEls5k6O4D4I6ceUERY2FlZen-3IeFYnnH325oBpNywZH502Qq4mkIYUlT8YRkITKJgz7BAGkOicBEe6Yq4C22Bm5fTBJbNVcm5v2eJU5Z74GutoQsN-q_XT/s1600/DSC_0389.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdgaaJ1R2kc8i5SF87QRknfEls5k6O4D4I6ceUERY2FlZen-3IeFYnnH325oBpNywZH502Qq4mkIYUlT8YRkITKJgz7BAGkOicBEe6Yq4C22Bm5fTBJbNVcm5v2eJU5Z74GutoQsN-q_XT/s1600/DSC_0389.JPG" height="360" width="640" /></a></div>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Maidan
protests, or riots rather.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4yoLNJCZvl4tfwSiK9DzUhwRyvGYnX5UFRvdaJI5XTCXqArr4RxtgsgCFnLq3LOVWRnWXglDBihPUp0A_GLTiiPtoQd1YHFKwKVx6P_fS49-MbsBnctck5uXNZV-KBQEScQffjM_pxO5R/s1600/DSC_0391.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4yoLNJCZvl4tfwSiK9DzUhwRyvGYnX5UFRvdaJI5XTCXqArr4RxtgsgCFnLq3LOVWRnWXglDBihPUp0A_GLTiiPtoQd1YHFKwKVx6P_fS49-MbsBnctck5uXNZV-KBQEScQffjM_pxO5R/s1600/DSC_0391.JPG" height="640" width="360" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The
children implore “Putin” to help them.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoyg1QFtqVmuEHGnqhg2gzbQdDMyVy4K1mOksKWfD_BWgBMTYWJBL60XFvL_t4AcLMefI6K0El578-xuiRfSF9aRVYOOjmr_DXmPzYStzc75Rm3kiR6kEjUlhDOUWCp60BuDFhjq82B7Jj/s1600/DSC_0392.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoyg1QFtqVmuEHGnqhg2gzbQdDMyVy4K1mOksKWfD_BWgBMTYWJBL60XFvL_t4AcLMefI6K0El578-xuiRfSF9aRVYOOjmr_DXmPzYStzc75Rm3kiR6kEjUlhDOUWCp60BuDFhjq82B7Jj/s1600/DSC_0392.JPG" height="640" width="360" /></a></div>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">This
girl cries “Must we be forced to give up our native language?” then puts the microphone
under the nose of an audience member for a response.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN-XjsjKylgAwojSPWiwpv0X3TK19sJ5DBuDbIlNjOSuvfzD50gQTQLdaMoF6lb4e1bf_jxuLxRq_aQQsmLH6IWoObADQilqlRVuKgYPA74Rd2C67Kq1M3G4H4cD_I-5hlgO9gu-oUXfx8/s1600/DSC_0393.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjN-XjsjKylgAwojSPWiwpv0X3TK19sJ5DBuDbIlNjOSuvfzD50gQTQLdaMoF6lb4e1bf_jxuLxRq_aQQsmLH6IWoObADQilqlRVuKgYPA74Rd2C67Kq1M3G4H4cD_I-5hlgO9gu-oUXfx8/s1600/DSC_0393.JPG" height="640" width="360" /></a></div>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Don’t
worry, “Putin” won’t let that happen.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisX0dpCZ5J-Ttyyxt7qKIDoyvg2XS3lkGISzNJBf8Eyf56seNvhhiG8XkMsucqJB4mMYVfppR-a53jckje8T7p57ME3Ig_QQzEe_G_sAVAD0rwtPfkZ4yk_Huj1_nQnPjjJ_fJ6DQsJRec/s1600/DSC_0399.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisX0dpCZ5J-Ttyyxt7qKIDoyvg2XS3lkGISzNJBf8Eyf56seNvhhiG8XkMsucqJB4mMYVfppR-a53jckje8T7p57ME3Ig_QQzEe_G_sAVAD0rwtPfkZ4yk_Huj1_nQnPjjJ_fJ6DQsJRec/s1600/DSC_0399.JPG" height="360" width="640" /></a></div>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Ukrainian
president Petro Poroshenko. He’s the bad guy.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlNuvOAkQYo-7G0N2MJpGHJUDYm8h7Lef8MpQPY5YqjI9tH28d7Ysbr67q7ozh4VbL_lQozRSlj9iN5utKeo3oLabtAjB7V3I9wlEAwg7oeR3UPaKrfXLcel_01cJkrcDIJ1EIqofaVYd5/s1600/DSC_0402.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlNuvOAkQYo-7G0N2MJpGHJUDYm8h7Lef8MpQPY5YqjI9tH28d7Ysbr67q7ozh4VbL_lQozRSlj9iN5utKeo3oLabtAjB7V3I9wlEAwg7oeR3UPaKrfXLcel_01cJkrcDIJ1EIqofaVYd5/s1600/DSC_0402.JPG" height="640" width="360" /></a></div>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">The
Tartars. Life is easy for them now they are protected by the Russians.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI6K2W95DRr1ppWyWX6MG33kibkjiJVoYYMd4bAc2ITMkxQCZkZ6MyCY40K464Xj0QgAUKxzzPJcj6VChhJeYKo-AE2bcZTTZVn_HAEQKHuFEUg8PO5i7iGK6idsCvVqXu7iMeVxh7Y04r/s1600/DSC_0413.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI6K2W95DRr1ppWyWX6MG33kibkjiJVoYYMd4bAc2ITMkxQCZkZ6MyCY40K464Xj0QgAUKxzzPJcj6VChhJeYKo-AE2bcZTTZVn_HAEQKHuFEUg8PO5i7iGK6idsCvVqXu7iMeVxh7Y04r/s1600/DSC_0413.JPG" height="360" width="640" /></a></div>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Crimeans
celebrate Russian takeover.</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDVZl1I5WhyDeaCU6qGhkpEPLbWwwnwWPvllx5mHk3ijXqE7kpMCrJK-H2GSC4IHJpQwAxz7Gc0SzzLT5LK3wajv-6-61A92aGRSiAqb1BnOIfbrd2rLs4QrEaxN_fVJMTg9yOeAhgRvRW/s1600/DSC_0414.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDVZl1I5WhyDeaCU6qGhkpEPLbWwwnwWPvllx5mHk3ijXqE7kpMCrJK-H2GSC4IHJpQwAxz7Gc0SzzLT5LK3wajv-6-61A92aGRSiAqb1BnOIfbrd2rLs4QrEaxN_fVJMTg9yOeAhgRvRW/s1600/DSC_0414.JPG" height="360" width="640" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Grand
Finale. “The uniforms of the Russian troops are like angels' wings protecting
us.”</span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Front page
of the Metro (Petersburg’s free commuter paper, state-owned of course) the next
day. The article inside was headed with a quote from Alexandrov “Our position
is clear: Crimea is ours”. </span><a href="http://www.metronews.ru/novosti/operu-pro-krym-pokazhut-v-peterburge/Tpongh---C7kwWLGRZPS/"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">http://www.metronews.ru/novosti/operu-pro-krym-pokazhut-v-peterburge/Tpongh---C7kwWLGRZPS/</span></a><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"></span></div>
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<br /></div>
Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com3tag:blogger.com,1999:blog-2139516384946441097.post-5078256437033299602014-07-11T04:52:00.001-07:002014-07-11T05:01:00.547-07:00Jurowski Conducts Britten’s “Gay Requiem” in Moscow<!--[if gte mso 9]><xml>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">I was in Russia this week and heard about a
remarkable concert earlier in the year, which doesn’t seem to have registered
with the Western press. At the start of April, the London Philharmonic gave a
performance of Britten’s <i style="mso-bidi-font-style: normal;">War Requiem</i>
in Moscow under Vladimir Jurowski, a very high profile civic event linked to
the year of cultural collaboration between Britain and Russia, and attended by
a good number of high level dignitaries. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">It is customary in Russia to give an address before
concerts, and on this occasion Jurowski himself introduced the work. One of the
points he made, quite emphatically, is that the work is a celebration of love,
and specifically of homosexual love. He talks about the fact that Britten and
Pears’ relationship had been illegal under British law and about the evils of institutional
homophobia.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">Given the current political climate in Russia, this
was an extraordinarily brave move. A friend of mine who was there says that
the VIPs in the audience all sat ashen-faced as Jurowski elaborated his point.
Clearly, Jurowski exaggerated the matter; under other circumstances he would
probably be unlikely to characterise this as a gay requiem. But his motivations
for doing so here are clear. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">A review of the concert published soon after (read
it <a href="http://www.forbes.ru/mneniya-column/tsennosti/253923-muzyka-protiv-voiny-kak-rekviem-brittena-zvuchit-v-segodnyashnei-mos" target="_blank">here</a>)
discussed Jurowski’s opening remarks at length, which is very unusual as
critics usually ignore these addresses. The critic, Sergei Medvedev
writes:</span></div>
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<span class="notranslate"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">“Vladimir Jurowski has once again
demonstrated not only that he is a great conductor, but also that he refuses to
conform. This sets him apart from other well-known Russian conductors and is so
important now in our cold spring of 2014, in a country obsessed with searching
out its enemies and in the grip of paranoid homophobia.”</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span class="notranslate"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">I’ll happily second those views.
The most distressing aspect of what is happening in Russia now is the fact that
so few people are willing to make a public stand of defiance. But Jurowski has,
and congratulations to him.</span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span class="notranslate"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">A video of Jurowski’s speech can
be found at: <a href="https://www.youtube.com/watch?v=5xYrg0m-QA4#t=13" target="_blank">https://www.youtube.com/watch?v=5xYrg0m-QA4#t=13</a>.
The relevant section begins around 7:30. If anybody with a better grasp of
Russian than me could translate this section, I’d be most grateful. </span></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"></span></div>
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<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Saariaho:
<i style="mso-bidi-font-style: normal;">Maan varjot</i> (UK premiere)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Sibelius:
Violin Concerto</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Sibelius:
Symphony No. 2</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Olivier
Latry (organ)</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Lisa
Batiashvili (violin)<br />
Philharmonia Orchestra</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Esa-Pekka
Salonen, conductor</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Royal
Festival Hall, 16 June 2014</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNDNI6zSIiKNR0UUVhbEOcmNgEF05225Y1hOKzCT7u4NgmGQtVPdalq6jD0KWTh6FtgvwMU9QMmzT0EMTK2_n5TKhA01wFoP-1EkL_wt5pKtkm3DK2FRhtwzyz0atpOAzCqHm-nk5_4FcA/s1600/Lisa_Batiashvili.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNDNI6zSIiKNR0UUVhbEOcmNgEF05225Y1hOKzCT7u4NgmGQtVPdalq6jD0KWTh6FtgvwMU9QMmzT0EMTK2_n5TKhA01wFoP-1EkL_wt5pKtkm3DK2FRhtwzyz0atpOAzCqHm-nk5_4FcA/s1600/Lisa_Batiashvili.jpg" /></a></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Esa-Pekka
Salonen hasn’t conducted much Sibelius in London. But given he’s (among many
other things) a Finnish music specialist, audiences here could well have
anticipated that he’d demonstrate a mastery of the music. This evening he did
exactly that, showing not only that he’s learned well from his many Finnish predecessors,
but that he also has his own distinctive vision. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
Violin Concerto and Second Symphony were presented in an all-Finnish programme
that began with the UK premiere of a new work by Kaija Saariaho, <i style="mso-bidi-font-style: normal;">Maan varjot</i>, a co-commission with three
other orchestras that was given its first performance in Montreal at the end of
last month. Its presentation here marked one of the final stages of the “Pull
Out all the Stops” festival celebrating the restoration of the RFH organ. True
to form, Saariaho avoided the idea of the guest instrument being a concertante
soloist, and the relationship between organ and orchestra was complex
throughout. The score is filled with her trademark subtleties and complexities,
the textures often involving all or most of the orchestra, but rarely loud.
Tremolos or complex woven lines in the middle voices, the violas for example or
the woodwinds, create a subtly textured bed upon which to rest longer lines in
the upper and lower voices. The organ occasionally rises to a position of
dominance, but more often supports the orchestral textures with inscrutable,
complex harmonies in the upper register or pulsing bass notes from the pedals.
The work is structured in three movements, the character of which suggest, at
least tangentially, a concerto format. The slow second movement gave Saariaho
the opportunity to explore more intimate relationships between sections of the
orchestra and corresponding registrations in the organ. The last movement
begins with a toccata flourish from the organ, but that’s Saariaho’s single
concession to triumphalism, and the music soon returns to her more muted and
complex textures. The piece was played well, by orchestra and soloist alike.
The composer seemingly had little interest in showcasing the talents of the
celebrity organist for whom it was written, Olivier Latry, or even the
capabilities of the newly-restored organ, a shame on both counts. Still, this
was a great demonstration of the benefits that the newly restored organ will
bring to concert life here, making performances like this possible, and without
stealing the show.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">In
the event, the show belonged to Lisa Batiashvili, whose Sibelius Violin
Concerto was one of the standout performances of the season. Her casual mastery
of what is considered by many the most difficult concerto in the repertoire
seemed to be a given from the very first notes. But the style, poise, elegance,
and carefully regulated drama she brought to the work put her into another
league. Batiashvili has an utterly distinctive tone, which she maintains through
even the knottiest of passagework. It is complex and warm, slightly nasal and
in some ways introverted. But it’s very elegant and it has a singing quality to
it. The only quality it lacks is the grand, strident character that Sibelius
sometimes demands, especially in the finale. A constructive tension quickly emerged
in this performance between soloist and conductor; Salonen gave a more opulent
and symphonic reading, while Batiashvili maintained a more intimate tone. But
it worked well. There were never any balance problems, and the orchestra’s
responsiveness to the soloist held the performance together, even when their
expressive aims diverged. Batiashvili’s understated mastery really came into
its own in the last pages, where the music gets more and more flamboyant in its
virtuosity, and yet she continually refuses to break her controlled demeanour.
The crowd went wild, and rightly so, this was a very special performance.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">It
was followed by a short encore, a recent arrangement of a Ukrainian folksong by
a Georgian composer (I didn’t catch the name), part of a work he describes as <i style="mso-bidi-font-style: normal;">Requiem for Ukraine</i>. Again, Batiashvili
used her calm, focussed stage presence to impressively powerful effect, this
time for more political ends. The political influence exerted by classical
musicians is an issue of seemingly endless debate, but Batishvili demonstrated
here that making your point with no great fuss or fanfare, using the direct
line of communication that your talent permits, has far greater power and
resonance than some of the more gratuitous stunts we have recently seen from
other performers.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
Sebelius Second got a revisionist reading in some ways from Salonen, yet not to
the point of antagonising more traditional tastes. Phrasing was often clipped,
tempos were always provisional, and clarity of texture always took precedence
over atmosphere. Yet, despite all this micromanagement, the bigger picture was
never compromised, and the playing was suitably expansive when required. The
orchestra was on top form, especially the strings, with all those pizzicatos in
the cellos and basses given with absolute precision. Given that the concert
opened with what must have been a very difficult new work, it was impressive
that Salonen also found the time to rehearse, and rehearse well, the more
familiar symphony. Once or twice his approach seemed a little too constricted.
The build-up into the finale for example wasn’t so much a process of tension
and release as just a carefully graded crescendo. But it was clear that Salonen
always knew what he was doing. It turned out the reason he had underplayed that
particular passage was so as not to pre-empt the similarly dramatic lead into
the coda. And the ending was just magnificent. Like Batiashvili at the end of
the concerto, Salonen gave us understated power here, with plenty of volume
from the orchestra, but plenty of detail too. In the end, it turned out that
Salonen had provided all the qualities that make a Sibelius performance great,
the grandeur, the majesty, the expressive focus, but he’s done it in a
distinctive way that was all his own. </span></div>
Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com0tag:blogger.com,1999:blog-2139516384946441097.post-53422841555727534792014-06-13T00:04:00.001-07:002014-06-13T00:04:19.954-07:00Tabea Zimmermann Wigmore Hall 12 June 2014 <!--[if gte mso 9]><xml>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt;">Bach: Sonata No. 1 for Solo Violin</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt;">Kurtág: Three pieces from <i style="mso-bidi-font-style: normal;">Signs, Games and Messages</i></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt;">Reger: Suite in G Minor op. 131d/1</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt;">Hindemith: Sonata for Solo Viola op. 25/1</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt;">Bach: Cello Suite No. 3</span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDfYBH8s74jnxp0N7c33iYr3hwRkGRdsTVHSg6K5cjEavpjEW-og0jHMxaFpH41NM1QZ5fXQOKbO1mToRV0r5YWwYXXr6xsATmZwm650aFAxQLlF5SlLF2kXkLVvYUCB5EAudzNQMHOVTP/s1600/Tabea_Zimmermann.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDfYBH8s74jnxp0N7c33iYr3hwRkGRdsTVHSg6K5cjEavpjEW-og0jHMxaFpH41NM1QZ5fXQOKbO1mToRV0r5YWwYXXr6xsATmZwm650aFAxQLlF5SlLF2kXkLVvYUCB5EAudzNQMHOVTP/s1600/Tabea_Zimmermann.jpg" height="320" width="213" /></a></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt;">Tabea Zimmermann this evening gave a whistlestop
tour of major contributions to the solo viola repertoire down the centuries.
Bach has long been a member of that pantheon, despite not having written any
works for solo viola. But by framing the programme with transcriptions of
Bach’s violin and cello works, Zimmermann was able to show just how influential
they have been in this repertoire. That provided a useful handle on the more
recent works, some of which is fairly demanding on the listener. Yet nothing
ever seemed a challenge, thanks largely to Zimmermann’s engaging but unassuming
musicianship, and to her warm and always engaging tone.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt;">The Wigmore Hall acoustic is ideal for many
instrumental combinations, but it’s not usually put to the service of a solo
viola. As it turns out, the sound here is about as ideal as could be imagined
for this alto-cum-tenor instrument, particularly in Zimmermann’s hands. Her
playing style is very definite, and often strident. The acoustic picks up the
details of her quiet playing, sharing the intimacy to all present, but
amplifies and projects the louder passages, particularly in the lower
registers, which it imbues with a rich, cello-like sonority.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt;">That was as true of the Bach Violin Sonata as it was
of his Cello Suite, perhaps more so. No mention was made it the programme of
how much transposition had taken place in the arrangement for viola, but plenty
of this music was in the instrument’s lowest register. Zimmermann’s performance
was gutsy and visceral, with plenty of rubato shaping the phrases. The only
clue that the work was not originally for viola was the presto finale. It’s a
fingerbuster on the violin, but on the larger viola the challenges are even greater.
Yet Zimmermann made no concessions, playing it as fast as any violinist, and
with just as much clarity and grace.</span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt;">The three pieces from <i style="mso-bidi-font-style: normal;">Signs, Games and Messages</i> are typical Kurtág: short, aphoristic,
but otherwise almost impossible to describe in words. The second of them had
been written for Zimmermann, and listening to her performance of all three, it
was clear why her playing of his music had inspired the composer. When he
writes <i style="mso-bidi-font-style: normal;">pp</i> ornaments, wholly
disembodied and appearing in the very highest register, for example, she dispatches
them with ease. His guttural glissandos retain their edge under her bow, but
seem as natural as any other playing technique. And her ability to switch
between the absolute extremes of dynamic from one bowstroke to the next gives
her the advantage over almost any other player approaching this repertoire.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt;">In any other context, the Reger Suite would seem to
be music of extremes, but following Kurtág it seemed positively genteel. In
fact, the more useful comparison here was with the Bach that opened the
programme, and not only for the similarities. It is a commonplace to say that
Reger’s solo string suites are modelled on Bach, but in fact there is more
going on. Zimmermann emphasises all the Baroque counterpoint, but also
acknowledges the music’s late Romantic dimension, all those lyrical lines and
chromatic transitions. But there is plenty of counterpoint (or
pseudo-counterpoint) in here too, which she presents with clarity and zest.
Like the Bach Sonata, Reger’s Suite ends with a fast movement, and the
technical virtuosity here was extraordinary.</span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt;">Anybody who has heard Zimmermann’s recent recordings
of Hindemith’s solo viola works will know that this is music in which she particularly
excels. The Op. 25/1 Sonata that opened the second half was the highlight, and the
focal point, of the programme. However appropriate the music of the other
composers may have seemed to the viola’s qualities, it was clear from this work
that Hindemith had the clear advantage of actually playing the instrument
himself. The music is often brash, and often austere, but there is a beguiling beauty
to it as well, and Zimmermann perfectly captured its many paradoxes. Hindemith
writes big-boned, muscular music for the viola, which is ideal for Zimmermann
as that is exactly the style in which she excels most. She’s capable of subtlety
and nuance as well, of course, but the very forward, direct and honest style of
Hindemith’s mature music brings out all her best qualities.</span></div>
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<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt;">That was really the climax of the recital. It ended
with Bach’s Third Cello Suite, but that felt more like an epilogue. The
dimensions of this music are smaller and more intimate, and Zimmermann made no
effort to expand it to the scale of the previous works. Instead, we heard a
performance of great agility and refinement. The sound of the bow against the
strings occasionally crept in under the narrower tone, and the attacks on notes
became as important as their pitches. For the final movement, the Gigue,
Zimmermann adopted a positively rustic tone, folky and earthy, with the music
propelled by an insistent underlying rhythm. </span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB; mso-font-kerning: 18.0pt;">A varied programme then, but one that showed off
many aspects of Zimmermann’s prodigious talent. The Wigmore acoustic served her
well, although the sheer confidence and body in her tone suggested that she’d
sound good anywhere. The recital didn’t fill the hall, or even come close,
which was a shame, but was received with rapt attention and rapturous applause
by the small but enthusiastic audience. </span><span style="mso-fareast-language: EN-GB;"></span></div>
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<br /></div>
Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com0tag:blogger.com,1999:blog-2139516384946441097.post-64066935331237771882014-06-06T01:49:00.000-07:002014-06-06T01:49:17.510-07:00Philharmonia, Westbroek, Dohnányi, RFH 5 June 2014 <!--[if gte mso 9]><xml>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">Christoph von Dohnányi: cond</span></div>
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<em><span style="font-size: 12.0pt; font-style: normal; mso-bidi-font-size: 11.0pt; mso-bidi-font-style: italic;">Eva</span></em><span class="st"><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">-</span></i></span><em><span style="font-size: 12.0pt; font-style: normal; mso-bidi-font-size: 11.0pt; mso-bidi-font-style: italic;">Maria Westbroek: soprano</span></em></div>
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<em><span style="font-size: 12.0pt; font-style: normal; mso-bidi-font-size: 11.0pt; mso-bidi-font-style: italic;">Philharmonia Orchestra</span></em><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;"></span></div>
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<br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2pXTHbsSWPrFRjt4L8PFGHAA9TF1MIvzS0H_aPNmlyVBeuARuf4nVBcZv2_8vS24ZOJwLgIaaPtKWZclmxUBcTfCJgi0g-uCGaD9ITANinsqHu1JaClxxpoDCkGSLdmuG3d8M-8_IlJIx/s1600/dohnanyi.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2pXTHbsSWPrFRjt4L8PFGHAA9TF1MIvzS0H_aPNmlyVBeuARuf4nVBcZv2_8vS24ZOJwLgIaaPtKWZclmxUBcTfCJgi0g-uCGaD9ITANinsqHu1JaClxxpoDCkGSLdmuG3d8M-8_IlJIx/s1600/dohnanyi.jpg" height="193" width="200" /></a></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">As the final, ethereal chord of the Bruckner’s great
Adagio faded to silence at the end of this evening’s concert, somebody behind
me whispered to their companion that the conductor, Christoph von Dohnányi is
84 years old. I’d never have guessed. He’s the kind of conductor who seems
eternally young, always in control and always focussing his orchestra on the
interpretation he has in mind. In fact, there were a few holes in this
evening’s performance, and in retrospect it may be fair to blame these on a lack
of vigour from the podium. In general, though, the results were serviceable, in
only rarely inspired.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">In the first half, <em><span style="font-style: normal; mso-bidi-font-style: italic;">Eva</span></em><span class="st"><i style="mso-bidi-font-style: normal;">-</i></span><em><span style="font-style: normal; mso-bidi-font-style: italic;">Maria Westbroek sang Strauss’ </span>Four Last Songs</em><em><span style="font-style: normal; mso-bidi-font-style: italic;">. She is a real presence,
and effortlessly dominates proceedings. Her performance was very “operatic”,
her voice rich and vibrato-laden, her every phrase deliberate and emphatic. There
was much of her trademark Sieglinde here (although thankfully little of her
Anna Nicole Smith) and her grand musical gestures often seemed out of scale
with Strauss’ more intimate ideas. While everything she sang was elegant, much
of it lacked delicacy. So, for example, her pickup from the violin solo in the
third song was a sudden switch from introverted nuance to big, brassy tones.
(That impression was amplified by the sheer quality of the violin solo, from
Zsolt-Tihamér Visontay, the horn solo by Katy Wooley in the previous song also
deserves a mention). In general though, Westbroek provided a Struassian
rendition, but one that would have been more at home in </span>Salome </em><em><span style="font-style: normal; mso-bidi-font-style: italic;">or </span>Elektra</em><em><span style="font-style: normal; mso-bidi-font-style: italic;"> than here.</span></em></span></div>
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<em><span style="font-size: 12.0pt; font-style: normal; mso-bidi-font-size: 11.0pt; mso-bidi-font-style: italic;">The original programme for this concert
began with </span></em><em><span style="font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">Leonore</span></em><em><span style="font-size: 12.0pt; font-style: normal; mso-bidi-font-size: 11.0pt; mso-bidi-font-style: italic;"> 3 and ended with Mahler
1. The reasons for replacing both with Bruckner 9 were not stated, and where
perhaps down to a whim of the conductor. If so, concessions can certainly be
made given his advancing years. He has some experience with Bruckner’s
symphonies, especially with the Cleveland Orchestra, but for London audiences
his relationship with this composer comes as news. His reading of the Ninth was
focussed and dynamic (not to labour the point, but impressively dynamic for his
age). It was a little rough round the edges, and not everything worked, but
there was enough great music making here to make it worthwhile. </span></em><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">Dohnányi
had clearly focussed his rehearsal time on certain key passages, and at many of
the important structural junctures, clear lines came shining through in the
strings or woodwinds, leading the way into the following section. He adopted a
wide range of tempos, usually sticking to his guns once a section was in
progress and rarely shaping phrases with overt rubato. But accelerandos often
went from very slow to very fast in a short space of time, and the tuttis they
prepared tended to be very loud. So loud, in fact, that the players often lost
control of their tone, especially the brass section.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">The Scherzo was on the fast side, and the sense of
propulsion that Dohnányi injected made up for a lack of punch in the accents.
In fact, this happened throughout the symphony, with Dohnányi looking for
weight and power from his players but never quite finding it. Some of the orchestral
playing was sloppy, especially the ensemble in the tuttis. In one, near the end
of the first movement, it sounded briefly as if the whole thing was about to
fall apart. But the quality of the playing came and went. The opening of the
Scherzo sounded reasonable the first time round, but by the time the Da Capo
came around, they had regained their form and the contrast between the two
renditions was striking. </span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-bidi-font-size: 11.0pt;">Fortunately, the final Adagio
worked better. Dohnányi again adopted a wide range of tempos, some, but not
all, on the fast side. But now the players did everything he wanted of them,
and the unity of ensemble, especially in the strings focused and directed the
long, lyrical lines. It seemed throughout the symphony, and in the Strauss too,
that Dohnányi<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>was looking for a more direct and open sound
than the orchestra were used to, but in the Adagio he and they found the ideal
middle ground. And the final passages were sublime, both the flute solo and the
Wagner tuba chorale emaphatic and clear, but also nuanced and finely balanced.
The whole concert seemed to be a journey towards this point, it was just a
shame that it only really came together at the very end.</span></div>
Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com2tag:blogger.com,1999:blog-2139516384946441097.post-13819119987411093872014-05-02T01:56:00.001-07:002014-05-02T01:56:55.252-07:00Nikolaj Znaider, London Symphony Orchestra, Barbican 1 May 2014<!--[if gte mso 9]><xml>
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<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Strauss:
<i style="mso-bidi-font-style: normal;">Don Juan</i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Brahms:
Double Concerto</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Strauss:
<i style="mso-bidi-font-style: normal;">Also Sprach Zarathustra</i></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Nikolaj
Znaider (conductor), Roman Simovic (violin), Tim Hugh (cello), London Symphony
Orchestra, Barbican, London, 1 May 2014</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRIyLNe8WQ0En4KKGljNr-SMazpz2VcZ00IUxFNxxFnwSd8Ut3mXJvtctWyibFMHslXWaTIzn0gWxn0f2-JWohcS2MxzlQde62KTEOedrTkgqmbul5TNwIbIkg9lgX3rbx6qXKKc3NWv_-/s1600/Nikolaj_Znaider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRIyLNe8WQ0En4KKGljNr-SMazpz2VcZ00IUxFNxxFnwSd8Ut3mXJvtctWyibFMHslXWaTIzn0gWxn0f2-JWohcS2MxzlQde62KTEOedrTkgqmbul5TNwIbIkg9lgX3rbx6qXKKc3NWv_-/s1600/Nikolaj_Znaider.jpg" height="203" width="320" /></a></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">If
you are one of the greatest violinists of your generation, pursuing a second
career as a conductor is always going to involve overcoming prejudices. Nikolaj
Znaider has faced that challenge head-on, and has persuaded the kind of people
who matter, including Valery Gergiev, who has appointed him Principal Guest
Conductor of the Mariinsky Orchestra. His guest appearances on the podiums of
the world now match the prestige of his concerto engagements. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">And
yet the suspicion of moonlighting persists. This evening’s performance seemed
very much like the work of a great musician who has yet to fully master the
role of conductor. His musicianship is unquestionable, and his many years as a
concerto soloist have given him the ability to effortlessly maintain control of
the proceedings – an important transferable skill. But conducting demands more,
and many aspects of the performance suggested that his skills here are still
developing. He isn’t a particularly dynamic presence on the podium. His baton
technique is reasonable, but is based on a very limited vocabulary of gestures.
And his communication with the orchestra lacks dynamism and spontaneity,
especially in these demanding works.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Don Juan</span></i><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> is a virtuoso
showpiece, as much for the conductor as for the orchestra, so Znaider was
playing high stakes by opening his concert with it. He launched the work well,
pushing the players to greater heights of energy and lyricism with every
phrase. But when the excitement of the opening died down, the quieter music
exposed a reluctance to shape or structure the music. Tempos remained stiff
throughout. Transitions were awkward, and sudden outbursts seemed to surprise
the conductor more than they did the audience. Gradual build-ups worked better,
and Znaider has an impressive ability to drive into climaxes. But when the
drama subsides, the music becomes frustratingly rigid. A lack of atmosphere is
the greatest failing, at least of Znaider’s Strauss, and the quiet ending of <i style="mso-bidi-font-style: normal;">Don Juan</i> seemed curiously arbitrary here,
as if the conductor had lost interest long before the delicate closing bars.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">The
Brahms Double Concerto suffered less. Znaider’s methodical approach better
suited the formality of Brahms’ traditional structuring. This evening’s
soloists, Roman Simovic and Tim Hugh, are leader and principal cello of the
orchestra. The clear benefit is innate chemistry between the two, the result of
regular duetting in orchestral contexts (and there was some of this from them
in <i style="mso-bidi-font-style: normal;">Zarathustra</i> later on). The matching
of timbre and phrasing between the two soloists was ideal, and the fiendish
octave passagework in the first movement was precisely co-ordinated. The
disadvantage was a certain lack of bravura from either player, neither of whom
held the stage or dominated proceedings the way a true concert soloists might,
like, say...Nikolaj Znaider. The interactions between soloists and orchestra
also spoke of long collaboration. Generally, the violin and cello stood out
from the ensemble as they should, but on the occasions when Brahms requires
them to gradually fade into the string section they do so magnificently.</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: 6.0pt; text-align: justify;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Znaider
was on better form with <i style="mso-bidi-font-style: normal;">Zarathustra</i>.
He clearly knows this work well (both Strauss works were conducted without a
score) and the problematic architecture here was presented as both meaningful
and logical. The orchestra was on excellent form throughout the concert, but
Znaider made some entries difficult with ambiguous cues. Even so, his tempo
relationships were all very astute, if, again, the transitions between them
were sometimes awkward. Climaxes were thrilling, something both orchestra and
conductor should take credit for. But, as with <i style="mso-bidi-font-style: normal;">Don Juan</i>, the quieter music was more problematic. The waltzes were
all very four-square (OK, three-square), and the ending lacked mystery. Znaider
clearly does not share Strauss’ fascination with Nietzsche’s description of the
void, and all the discussion of darkness and night in the work’s programme had
little bearing on the way he performed it. The results were certainly engaging,
but always seemed two-dimensional. Perhaps Znaider is programming Strauss as a
challenge to himself, an exercise to fill in the musical requirements of a
conductor that he has not developed through violin playing. If so, that’s all
very laudable, but the London Symphony Orchestra deserves a more experienced
guide through this music, especially as this evening they demonstrated a flair
for it that few other orchestras, anywhere in the world, could match.</span></div>
Gavin Dixonhttp://www.blogger.com/profile/14964697822945501178noreply@blogger.com0