Tuesday, 2 November 2010
John Cage’s support growing silently
God alone knows what goes on in the minds of bookies, but this seems to be a newsworthy change in the odds. Here's the Ladbrokes release in full
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ODDS THAT John Cage grabs the Christmas Number One spot with his single ‘The Sound of Silence 4,33’ have been slashed by bookies Ladbrokes from 33/1 to 5/1.
Jon Morter who masterminded Rage Against The Machine’s success last year is now behind this campaign and has overseen Facebook numbers swell from 4,000 to 44,000 in a few days.
Alex Donohue of Ladbrokes said: “We learnt a harsh lesson last year when it comes to the power of social media campaigns. The top man in the business is behind this one now and punters are piling in as a result.”
Ladbrokes latest betting
2010 UK Christmas number one Single
Matt Cardle 5/2
The Trashmen 3/1
One Direction 4/1
Jon Cage 5/1
Rage Against The Machine 20/1
Susan Boyle 25/1
Gamu Nhengu 25/1
Thursday, 28 October 2010
Cage ahead of Justin Bieber for Christmas No 1!
In response to an enquiry by Classical Music, here is the Ladbrokes press release in full:
///////////////////////////////////
Punters say bird is the word for Christmas Number One
SURFIN’ BIRD by the Trashmen is now just 3/1 with Ladbrokes to be the Christmas Number One single this year.
The single’s Facebook campaign boasts half a million members. Another Facebook-driven tilt at the top comes from John Cage whose 4’33” (The track of silence) has only 50 thousand followers, and is accordingly given odds of 14/1.
Alex Donohue of Ladbrokes said: “The Surfin’ Bird Facebook campaign is gaining some serious momentum which we can’t ignore. If it is a success we will be shelling out thousands.”
Ladbrokes latest betting
2010 UK Christmas number one Single
Matt Cardle 7/4
The Trashmen 3/1
One Direction 7/2
Rebecca Ferguson 8/1
Aiden Grimshaw 13/1
Rage Against The Machine 13/1
Mary Byrne 13/1
Cher Lloyd 13/1
Jon Cage 14/1
Susan Boyle 15/1
Take That 15/1
Gamu Nhengu 15/1
Olly Murs 25/1
JLS 25/1
Justin Bieber 25/1
Treyc Cohen 25/1
Leona Lewis 25/1
Tinie Tempah 25/1
Wham 25/1
Wagner Fiuza-Carriho 25/1
Joe McElderry 33/1
Cliff Richard 33/1
Alexandra Burke 33/1
Jedward 33/1
Cee Lo Green 33/1
George Michael 33/1
Lady Gaga 33/1
Eva Cassidy 33/1
The Wanted 40/1
Mariah Carey 50/1
Eminem 50/1
Rihanna 50/1
Cheryl Cole 50/1
Britney Spears 50/1
Bruno Mars 50/1
The Saturdays 50/1
Michael Jackson 50/1
Katie Waissel 50/1
Belle Amie 66/1
Kate Perry 66/1
Enrique Iglesias 66/1
Kylie Minogue 66/1
Boyzone 66/1
Travis McCoy 66/1
The Beatles 66/1
Diana Vickers 66/1
Paije Richardson 75/1
Taio Cruz 75/1
John Adeley 100/1
Julio Iglesias 100/1
Professor Green 100/1
Plan B 100/1
Swedish House Mafia 100/1
Diva Fever 100/1
Michael Buble 125/1
Storm Lee 150/1
Robyn 150/1
Peter Andre 150/1
Katie Price 200/1
///////////////////////////////////
Punters say bird is the word for Christmas Number One
SURFIN’ BIRD by the Trashmen is now just 3/1 with Ladbrokes to be the Christmas Number One single this year.
The single’s Facebook campaign boasts half a million members. Another Facebook-driven tilt at the top comes from John Cage whose 4’33” (The track of silence) has only 50 thousand followers, and is accordingly given odds of 14/1.
Alex Donohue of Ladbrokes said: “The Surfin’ Bird Facebook campaign is gaining some serious momentum which we can’t ignore. If it is a success we will be shelling out thousands.”
Ladbrokes latest betting
2010 UK Christmas number one Single
Matt Cardle 7/4
The Trashmen 3/1
One Direction 7/2
Rebecca Ferguson 8/1
Aiden Grimshaw 13/1
Rage Against The Machine 13/1
Mary Byrne 13/1
Cher Lloyd 13/1
Jon Cage 14/1
Susan Boyle 15/1
Take That 15/1
Gamu Nhengu 15/1
Olly Murs 25/1
JLS 25/1
Justin Bieber 25/1
Treyc Cohen 25/1
Leona Lewis 25/1
Tinie Tempah 25/1
Wham 25/1
Wagner Fiuza-Carriho 25/1
Joe McElderry 33/1
Cliff Richard 33/1
Alexandra Burke 33/1
Jedward 33/1
Cee Lo Green 33/1
George Michael 33/1
Lady Gaga 33/1
Eva Cassidy 33/1
The Wanted 40/1
Mariah Carey 50/1
Eminem 50/1
Rihanna 50/1
Cheryl Cole 50/1
Britney Spears 50/1
Bruno Mars 50/1
The Saturdays 50/1
Michael Jackson 50/1
Katie Waissel 50/1
Belle Amie 66/1
Kate Perry 66/1
Enrique Iglesias 66/1
Kylie Minogue 66/1
Boyzone 66/1
Travis McCoy 66/1
The Beatles 66/1
Diana Vickers 66/1
Paije Richardson 75/1
Taio Cruz 75/1
John Adeley 100/1
Julio Iglesias 100/1
Professor Green 100/1
Plan B 100/1
Swedish House Mafia 100/1
Diva Fever 100/1
Michael Buble 125/1
Storm Lee 150/1
Robyn 150/1
Peter Andre 150/1
Katie Price 200/1
Thursday, 14 October 2010
Clutching at Strauss
There are many reasons why an orchestral career might never get off the ground. But, among viola players anyway, the most likely destroyer of your dreams will be a guy called Don.
If you get accepted for an orchestral audition it is almost guaranteed that you'll be asked to prepare excerpts from Richard Strauss's bodice-ripper Don Juan. It's also almost guaranteed that you'll bollocks it up, and what's more, it's a pretty good bet that you'll go on bollocksing it up for the rest of your life.
The one comforting thought is that if you somehow manage to beat the odds on the day - nailing the rest of your audition pieces along the way, of course - and get the job, you'll never have to play it right again! At least, you'll never have to play it again all on your own under the intense scrutiny of an audience bent on judging you, looking for any reason to criticise.
Which makes Martin Stegner, a viola player with the Berlin Philharmonic, a Straussian hero in his own right.
Stegner plays the excerpt - one assumes voluntarily, but is there a slight look of 'I can't believe I'm having to go through this again' in his expression? - as part of an online tutorial to aid candidates applying for the latest YouTube Symphony Orchestra project. YTSO 2011 is a week of orchestral rehearsals, masterclasses and chamber music culminating in a concert at Sydney Opera House, and it follows from the inaugural YTSO at Carnegie Hall in 2009.
In order to participate, musicians must post videos of themselves performing set repertoire and orchestral excerpts (and yes, of course the viola list includes Don Juan). These are whittled down by a panel which will include conductor Michael Tilson Thomas and members of the LSO and Berlin Phil, before YouTube users get to vote for the final selection online. The prize: an all-expenses paid trip to Sydney to meet and play with fellow musicians from around the world.
You have until 28 November to submit your audition video, online public voting runs from 10 to 17 December, and the event itself runs from 13-20 March 2011 with the final concert streamed live. Tune in and you'll see the viola section, all people who, for once, will have managed not to succumb to that fateful Don.
If you get accepted for an orchestral audition it is almost guaranteed that you'll be asked to prepare excerpts from Richard Strauss's bodice-ripper Don Juan. It's also almost guaranteed that you'll bollocks it up, and what's more, it's a pretty good bet that you'll go on bollocksing it up for the rest of your life.
The one comforting thought is that if you somehow manage to beat the odds on the day - nailing the rest of your audition pieces along the way, of course - and get the job, you'll never have to play it right again! At least, you'll never have to play it again all on your own under the intense scrutiny of an audience bent on judging you, looking for any reason to criticise.
Which makes Martin Stegner, a viola player with the Berlin Philharmonic, a Straussian hero in his own right.
Stegner plays the excerpt - one assumes voluntarily, but is there a slight look of 'I can't believe I'm having to go through this again' in his expression? - as part of an online tutorial to aid candidates applying for the latest YouTube Symphony Orchestra project. YTSO 2011 is a week of orchestral rehearsals, masterclasses and chamber music culminating in a concert at Sydney Opera House, and it follows from the inaugural YTSO at Carnegie Hall in 2009.
In order to participate, musicians must post videos of themselves performing set repertoire and orchestral excerpts (and yes, of course the viola list includes Don Juan). These are whittled down by a panel which will include conductor Michael Tilson Thomas and members of the LSO and Berlin Phil, before YouTube users get to vote for the final selection online. The prize: an all-expenses paid trip to Sydney to meet and play with fellow musicians from around the world.
You have until 28 November to submit your audition video, online public voting runs from 10 to 17 December, and the event itself runs from 13-20 March 2011 with the final concert streamed live. Tune in and you'll see the viola section, all people who, for once, will have managed not to succumb to that fateful Don.
Tuesday, 13 July 2010
Musos needed for Sky series
#sleepingrough #£££ etc
Sky Arts is making a reality programme featuring four chosen artists travelling Europe using just the power of their art to survive.
Barlines has been assured that although there might be an element of sleeping in dirty hostels and travelling rough, the musos will always be accompanied by a member of production who will make sure their safety is a priority.
There is a fee of £5,000 per artist.
Here's the press release in full:
//////////////
Opera Singers, Classical Musicians, Visual Artists needed for new Sky Arts series.
Could you journey from Athens to the Edinburgh Festival surviving solely on your artistic talent? Could you trade your skills in return for food, accommodation and travel? Could you make the 4000 kilometer journey in just five weeks... and then put on a show / exhibition at the end?
If you are a chutzpah-fueled cultural adventurer who believes in the power of art, we'd love to hear from you.
Illuminations Television is looking for four contributors for a forthcoming Sky Arts series, The Art of Survival.
Two pairs of Artistes and Artists and Musicians will compete against each other - and the winners will be the couple who make the most money from touting their work and skills.
You’ll need available from 30th July to 5th September 2010, over 18 and from the United Kingdom. Males and females wanted. Auditions will take place in London, the week beginning 19th July. Contributors will audition separately, not as teams.
We’ll even pay you for this. In return for going hungry and probably sleeping all over Greece, Italy, Switzerland, Germany and France, we're delighted to offer a fee of £5000 to each of the four contributors. The winners will claim the equivalent value of the fee again.
To apply, please email: artsurvival@illuminationsmedia.co.uk
with the following before Monday 19th July:
• A CV, detailing performance / exhibition history and qualifications
• A link / profile video, demonstrating their work / performance skills
• A photo
• A phone number
Sky Arts is making a reality programme featuring four chosen artists travelling Europe using just the power of their art to survive.
Barlines has been assured that although there might be an element of sleeping in dirty hostels and travelling rough, the musos will always be accompanied by a member of production who will make sure their safety is a priority.
There is a fee of £5,000 per artist.
Here's the press release in full:
//////////////
Opera Singers, Classical Musicians, Visual Artists needed for new Sky Arts series.
Could you journey from Athens to the Edinburgh Festival surviving solely on your artistic talent? Could you trade your skills in return for food, accommodation and travel? Could you make the 4000 kilometer journey in just five weeks... and then put on a show / exhibition at the end?
If you are a chutzpah-fueled cultural adventurer who believes in the power of art, we'd love to hear from you.
Illuminations Television is looking for four contributors for a forthcoming Sky Arts series, The Art of Survival.
Two pairs of Artistes and Artists and Musicians will compete against each other - and the winners will be the couple who make the most money from touting their work and skills.
You’ll need available from 30th July to 5th September 2010, over 18 and from the United Kingdom. Males and females wanted. Auditions will take place in London, the week beginning 19th July. Contributors will audition separately, not as teams.
We’ll even pay you for this. In return for going hungry and probably sleeping all over Greece, Italy, Switzerland, Germany and France, we're delighted to offer a fee of £5000 to each of the four contributors. The winners will claim the equivalent value of the fee again.
To apply, please email: artsurvival@illuminationsmedia.co.uk
with the following before Monday 19th July:
• A CV, detailing performance / exhibition history and qualifications
• A link / profile video, demonstrating their work / performance skills
• A photo
• A phone number
Monday, 22 March 2010
Global auto-tune mashup
OK, that's a bit harsh, Barlines loves this stuff, but how on earth did all those people get it together when the chiselled Mr Whitacre has no discernible third beat?
Even harsher, and actually we cried a bit, just like with the Youtube Symphony Orchestra Global Mashup. Here's the thing in real-life YouTube:
Even harsher, and actually we cried a bit, just like with the Youtube Symphony Orchestra Global Mashup. Here's the thing in real-life YouTube:
Wednesday, 10 March 2010
Opera loses world-class tenor
All members of the Rhinegold Towers were saddened by the news of Philip Langridge’s death from cancer earlier this month at the age of 70. Making appearances on opera stages across Europe and America, he was closely associated with the works of Birtwistle and Janáček. However, it is perhaps his leading roles in the operas by Benjamin Britten which gained him the highest level of recognition.
There are many fantastic performances of Philip available on YouTube and the many CDs released during his career. We have selected a few of our favourites for the Barlines Blog.
There are many fantastic performances of Philip available on YouTube and the many CDs released during his career. We have selected a few of our favourites for the Barlines Blog.
Tuesday, 9 March 2010
Long live the loop
Barlines' favourite cello hellraiser Samara Ginsberg took her instrument to the ENO loop factory on Sunday, to take part in Anna Meredith's session on Philip Glass' Satyagraha.
There are lessons to be learned here; surely if they could set up some loops in the pit at the Coli for performances of Glass' work it would save much tears and RSI on the part of ENO's valiant woodwind...
There are lessons to be learned here; surely if they could set up some loops in the pit at the Coli for performances of Glass' work it would save much tears and RSI on the part of ENO's valiant woodwind...
Saturday, 27 February 2010
Rhinegold Singers taste victory
The Rhinegold Singers have emerged victorious, with all limbs intact, from the first round of the Office Choir Competition. This is despite the fact that, due to the creepily similar 'red and black' dress codes of all the choirs involved, the Apothecaries' Hall looked more like the set of The Cook, the thief, his wife & her lover, than a civilised vocal contest. And when I say vocal contest, of course, I mean BRUTAL MEAT RIPPING SMACKDOWN.
Thursday, 25 February 2010
John's college
To play this composer's oboe concerto, you will require, among more regular items of percussionry (such as the waterphone and lion's roar): 10 'or so' tin cans, 5 scaffolding bars, 4 car wheels, 2 spring coils and and oxygen cylinder. And they're letting him loose on Dartington?!
Actually, the appointment, from 2011, of John Woolrich as artistic director for the next three years of the 60+ years old summer school and festival could be a stroke of genius. Dartington is nothing if not eclectic. So who better to take over the reins than the classical music's foremost Selecta. Over the years, his concert programmes (he has been closely involved with Britten Sinfonia and is associate artistic director at the Aldeburgh Festival) have become renowned for their intelligent mixing of old and new, familiar and unfamiliar. Always he puts the focus on the qualities of individual pieces, which the audience can inspect as if they were curious samples picked out from a larger, less defined musical landscape.
It's the same in his own music, which might draw inspiration from Monteverdi (eg the short piece for viola and strings, Ulysses Awakes) or surrealist art (The Elephant from Celebes) - as well as the local builders' merchant.
Actually, the appointment, from 2011, of John Woolrich as artistic director for the next three years of the 60+ years old summer school and festival could be a stroke of genius. Dartington is nothing if not eclectic. So who better to take over the reins than the classical music's foremost Selecta. Over the years, his concert programmes (he has been closely involved with Britten Sinfonia and is associate artistic director at the Aldeburgh Festival) have become renowned for their intelligent mixing of old and new, familiar and unfamiliar. Always he puts the focus on the qualities of individual pieces, which the audience can inspect as if they were curious samples picked out from a larger, less defined musical landscape.
It's the same in his own music, which might draw inspiration from Monteverdi (eg the short piece for viola and strings, Ulysses Awakes) or surrealist art (The Elephant from Celebes) - as well as the local builders' merchant.
Tuesday, 16 February 2010
The music of everyday life
You all know what I mean. That jingle preceding the railway station announcement which, though a simple arpeggio, reminds you unfailingly of the last movement of Telemann's viola concerto. The signal indicating that the doors of the tube train are about to close - it's the theme from the Alpine Symphony, right? Or is it Dvorak 7? Or is it just a random falling minor third?
Then there were the automatic hand driers in the toilets of my university library which, when starting, sounded exactly like the very opening of Walton's viola concerto. Or the Samsung ML-2010 mono laser printer which produces a tritone when in action. What the devil...?
Yes, as Martha and the Vandellas foresaw, there is music, sweet music everywhere (if not swinging, swaying and records playing). And, for sure, you'll have your own examples of musical themes that are insinuated in the fabric of your day-to-day life.
Take car horns - they always seem to parp out a major second, or a minor third. How brusque, when all the driver wants to do is toot a cheery greeting or gently alert a dozy pedestrian to his presence! And so intrusive for the poor bystander who happens to be nearby. So why not provide motorists with a choice of horn: what about a nice major third when politeness is required, and leave the surlier intervals for, ahem, emergencies only.
Then there were the automatic hand driers in the toilets of my university library which, when starting, sounded exactly like the very opening of Walton's viola concerto. Or the Samsung ML-2010 mono laser printer which produces a tritone when in action. What the devil...?
Yes, as Martha and the Vandellas foresaw, there is music, sweet music everywhere (if not swinging, swaying and records playing). And, for sure, you'll have your own examples of musical themes that are insinuated in the fabric of your day-to-day life.
Take car horns - they always seem to parp out a major second, or a minor third. How brusque, when all the driver wants to do is toot a cheery greeting or gently alert a dozy pedestrian to his presence! And so intrusive for the poor bystander who happens to be nearby. So why not provide motorists with a choice of horn: what about a nice major third when politeness is required, and leave the surlier intervals for, ahem, emergencies only.
Monday, 15 February 2010
And it could have been a night to marimba...!
Viola d'Odio was mightily disappointed to discover that this week's performance of Steve Reich's Drumming at the Queen Elizabeth Hall, featuring a starry line-up of Britain's kings of hitting things at the right time and led by Colin Currie (not pictured), is sold out.
For many, Drumming is one of those pieces which, when heard for the first time, comes as a revelation, almost euphorically so. And its fans come from all kinds of musical traditions and backgrounds. So it's not that surprising that all the seats should have gone.
I suppose I can't really complain - c'est la vie and un reminder to have a little more foresight. But a couple of thoughts nag. Firstly, my attention was drawn to the event because it featured in the Guardian Guide's Preview section. Why preview an event which anybody without a ticket will be unable to attend having read the article?
Given the piece's cult popularity (if that's not a contradiction) and the illustriousness of the performers involved, the Southbank Centre has missed a trick in not programming more than one performance - my second irritation. It could have run for a week and sold out each night!
For many, Drumming is one of those pieces which, when heard for the first time, comes as a revelation, almost euphorically so. And its fans come from all kinds of musical traditions and backgrounds. So it's not that surprising that all the seats should have gone.
I suppose I can't really complain - c'est la vie and un reminder to have a little more foresight. But a couple of thoughts nag. Firstly, my attention was drawn to the event because it featured in the Guardian Guide's Preview section. Why preview an event which anybody without a ticket will be unable to attend having read the article?
Given the piece's cult popularity (if that's not a contradiction) and the illustriousness of the performers involved, the Southbank Centre has missed a trick in not programming more than one performance - my second irritation. It could have run for a week and sold out each night!
Wednesday, 20 January 2010
From Russia with love
All hail the opera divas of Anna Netrebko and Dmitri Hvorostovsky! Bringing charm and glamour to London’s Royal Festival Hall, as part of its ‘International Voices Series’, the pair took us on a journey of ‘favourite classics and hidden gems from the most popular composers of opera’.
And with neither wanting to be outdone by the other, both displayed flamboyant dress changes that would have put the costume department of ‘Strictly Come Dancing’ to shame – and those shoes! Whoever knew Hvorostovsky could look so good in heels? And need we mention the Katherine Jenkins’ Barbie Doll pass-me-down dress for Netrebko?
Clothing aside, this was a concert of the highest calibre with both singers on top form. However, concerts of opera appetizers such as this can all too often turn into a ragbag, and it took a while for things to settle into place here as well, with both singers making surprising choices for their opening arias. First up was Dmitri Hvorostovsky with a highly challenging ‘Wolfram’s Aria’ from Tannhäuser, and not even his dazzling Colgate grin could mask the difficulty of this aria, with its traitorous legato lines and phrases that sit right on the pasaggio of the voice.
It wasn’t long though before the gems were brought out and things were able to really get going. Both chose arias from Gounod’s Faust to wow the audience; Hvorostovsky first displaying graceful legato lines in ‘Avant de quitter ces lieux’ before Netrebko glittered with the ‘Jewel Song’. There’s no doubt that Netrebko has an incredibly warm pallet of colours and tones but in some of the more spritly repertoire, her covered tone can sometimes seem to thicken the sound when it really needs to ping like light on jewel. Notably, it was the Jewel Song from Faust in this programme which lacked the sparkle this aria requires but her charisma and presence still made this a charming performance.
After the interval, came a selection of Italian and Russian pieces and it was Arditi’s ‘Il bacio’ by Netrebko and Verdi’s ‘Cortigiani vil razza’ which showed the singers at their best.
The icing on the cake came in the form of Tchaikovsky’s ‘Closing Duet’ which was emotionally and beautifully performed, drawing the audience in to every nuance of this touching piece.
And with neither wanting to be outdone by the other, both displayed flamboyant dress changes that would have put the costume department of ‘Strictly Come Dancing’ to shame – and those shoes! Whoever knew Hvorostovsky could look so good in heels? And need we mention the Katherine Jenkins’ Barbie Doll pass-me-down dress for Netrebko?
Clothing aside, this was a concert of the highest calibre with both singers on top form. However, concerts of opera appetizers such as this can all too often turn into a ragbag, and it took a while for things to settle into place here as well, with both singers making surprising choices for their opening arias. First up was Dmitri Hvorostovsky with a highly challenging ‘Wolfram’s Aria’ from Tannhäuser, and not even his dazzling Colgate grin could mask the difficulty of this aria, with its traitorous legato lines and phrases that sit right on the pasaggio of the voice.
It wasn’t long though before the gems were brought out and things were able to really get going. Both chose arias from Gounod’s Faust to wow the audience; Hvorostovsky first displaying graceful legato lines in ‘Avant de quitter ces lieux’ before Netrebko glittered with the ‘Jewel Song’. There’s no doubt that Netrebko has an incredibly warm pallet of colours and tones but in some of the more spritly repertoire, her covered tone can sometimes seem to thicken the sound when it really needs to ping like light on jewel. Notably, it was the Jewel Song from Faust in this programme which lacked the sparkle this aria requires but her charisma and presence still made this a charming performance.
After the interval, came a selection of Italian and Russian pieces and it was Arditi’s ‘Il bacio’ by Netrebko and Verdi’s ‘Cortigiani vil razza’ which showed the singers at their best.
The icing on the cake came in the form of Tchaikovsky’s ‘Closing Duet’ which was emotionally and beautifully performed, drawing the audience in to every nuance of this touching piece.
Monday, 18 January 2010
Who you calling A Pariah?
The classical music world, in Britain at least, is getting its knickers in a twist about the appointment of Alexander Prior as assistant to the guest conductors (does that sound slightly contrived to you?) at the Seattle Symphony, an orchestra which, conspiracy fans, is both going through a period of industrial dispute and on the hunt for a new music director to take over from current boss Gerard Schwarz when he steps down as music director in 2011 and which therefore might just possibly welcome some positive publicity.
We'll leave others to decide just how graceless were his reported remarks on his job offer and only offer the advice that people are more likely to want to work with you if a) you do not make them feel that they are exploitable footsoldiers in your quest for world domination and b) that you have a musical vision which does not totally conflict with the aims of the orchestras you are hoping will hire you.
Instead, we'll chuckle ruefully about the fact that the loser - let's call him the loser - of last year's Leeds International Conductors Competition is getting the press, when the actual winner, Geoffrey Paterson isn't, at least for the time being. Since his success (he was awarded the audience prize as well as the main jury prize), Paterson has been working on projects at the Royal Opera (he is, as a repetiteur, a graduate of its opera studio) and Opera North - so much for that good old British institutional ageism Prior blubs about. And we also hear rumours of a new chamber group to be launched in April, a crack band of young professionals under his direction that will focus on classics of modern music - the first programme will feature music by Ligeti and Boulez. The contrast with Prior's avowed musical conservatism really needs no comment.
We'll leave others to decide just how graceless were his reported remarks on his job offer and only offer the advice that people are more likely to want to work with you if a) you do not make them feel that they are exploitable footsoldiers in your quest for world domination and b) that you have a musical vision which does not totally conflict with the aims of the orchestras you are hoping will hire you.
Instead, we'll chuckle ruefully about the fact that the loser - let's call him the loser - of last year's Leeds International Conductors Competition is getting the press, when the actual winner, Geoffrey Paterson isn't, at least for the time being. Since his success (he was awarded the audience prize as well as the main jury prize), Paterson has been working on projects at the Royal Opera (he is, as a repetiteur, a graduate of its opera studio) and Opera North - so much for that good old British institutional ageism Prior blubs about. And we also hear rumours of a new chamber group to be launched in April, a crack band of young professionals under his direction that will focus on classics of modern music - the first programme will feature music by Ligeti and Boulez. The contrast with Prior's avowed musical conservatism really needs no comment.
Friday, 8 January 2010
Coming to a TV near you!
Entitled Pop star to Opera star, ITV’s new classical ‘reality’ show has already managed to cause a substantial stir in the media, even before it hits our screens on 15 January. The mere thought of it causes my pulse to race, teeth to clench and arguments to commence, with many people trying to fathom the intended result for the creation of such a programme.
Firstly, to call this programme a ‘reality’ show is simply obscured – for what exactly are they suggesting is ‘real’, or for that matter, truly reflective of the opera singing? I can see that the intention behind this programme is good enough – pop singers from Kym Marsh to Jimmy Osmond, who, I’m assuming have an interest in classical music – are given some first-rate tuition (in some cases) to help them use their voices in a classical way. But I can’t help but think that this is all one big plug to encourage ‘opera for the masses’. Not that I’m suggesting this isn’t appropriate, in principle. I still believe that, in many cases, opera is assumed to be a form of entertainment reserved for the elite and therefore inaccessible to many, but this isn’t to say that there isn’t equally a lot of initiative being taken by opera companies, from small amateur groups right through to the international establishments to encourage a wider audience. However, I’m reserved to think that creating a show of this sort will do anything to support this ideal. On the contrary, surely it will only prove the point that opera is a specialist art and that it is damn well hard to perform.
And if the thought of celebrities bashing out their renditions of opera favourites wasn’t enough to encourage you to take up an evening class, or read a good book, it has been rumoured that the judging panel will include the likes of Katherine Jenkins, Russell Watson and even Paul Potts – none of whom have notably sung in a professional opera production! However, the show will also see contestants coached by Mexican tenor, Ronaldo Villazón, the one genuine operatic singer in the line-up.
I’m intrigued to see how well this programme will be received and the response it creates. If anything, it is bound to encourage an interest in opera to a wider audience, but I can’t help but think that it’s just another money-making programme following this current media frenzy for music-based reality shows.
Wednesday, 25 November 2009
Taras Blubber
It was after a performance of Janacek's gutsy triptych of death Taras Bulba that I let slip to my friends in the audience my embarrassing condition. It's one that is shared by many other musicians and it's time to confront the stigma.
For despite our reputation for hard-nosed cynicism and lack of sentimentality, many of us are afflicted by an inclination to tearfulness at certain passages of music - and I mean real jerked tears of the most pathetic kind. It's not easy reading music through misty eyes (let alone the sheer indignity of it all) so you'd have thought it preferable to prevent it happening. But the only cure I know is to disengage from the music and go through the motions a little, robbing the performer of a uniquely intense experience. Damn you, music!
So now Taras Bulba - rather, a specific passage towards the end of the superb coda - can be added to my personal list of music to get all emotional about. This includes the end of Sibelius 2 (another coda); a 2-bar passage in Sibelius 4 (in which dread turns to hope which turns to rapture which ebbs away to desolation. 2 bars!); the end of the 1st movement of Brahms 4 (another coda!); the insane fugue in Shostakovich 4; 'Erbame dich' from Bach's St Matthew Passion.
My list could go on. But it's time for others to fess up. What's guaranteed to get your ducts to water?
For despite our reputation for hard-nosed cynicism and lack of sentimentality, many of us are afflicted by an inclination to tearfulness at certain passages of music - and I mean real jerked tears of the most pathetic kind. It's not easy reading music through misty eyes (let alone the sheer indignity of it all) so you'd have thought it preferable to prevent it happening. But the only cure I know is to disengage from the music and go through the motions a little, robbing the performer of a uniquely intense experience. Damn you, music!
So now Taras Bulba - rather, a specific passage towards the end of the superb coda - can be added to my personal list of music to get all emotional about. This includes the end of Sibelius 2 (another coda); a 2-bar passage in Sibelius 4 (in which dread turns to hope which turns to rapture which ebbs away to desolation. 2 bars!); the end of the 1st movement of Brahms 4 (another coda!); the insane fugue in Shostakovich 4; 'Erbame dich' from Bach's St Matthew Passion.
My list could go on. But it's time for others to fess up. What's guaranteed to get your ducts to water?
Monday, 23 November 2009
Truly unbelievable
Check out this story about a £560,000 hole in the LPO's accounts. The industry can do without these characters, and there is a worrying string of these stories this year, with the alleged fraud perpetrated against the King's Music website, and Peter Maxwell Davies's agent making off with a similar sum in the approach to the composer's 75th birthday.
Equally we can do without the Evening Standard claiming the Star Wars soundtrack as one of the LPO's big successes. I mean, they have almost certainly recorded it at some point, but you don't mess with the LSO on this one:
Equally we can do without the Evening Standard claiming the Star Wars soundtrack as one of the LPO's big successes. I mean, they have almost certainly recorded it at some point, but you don't mess with the LSO on this one:
Seminal, fluid piano
All hail the freely-tempered and hairy-armed Geoff Smith, who has battled what he describes as 'complacency, conservatism and cultural prejudice' to get the backing to develop his fluid piano. Well done Smith, the Guardian, and, we have to say, us, for getting it out there. Watch this space.
Wednesday, 18 November 2009
Omnes una manet Knox
It's tough, learning to play contemporary music, so those who make it a specialism are tough people. All of which clearly makes Garth Knox - for 8 years the viola player with the Arditti Quartet, former member of Boulez's Ensemble Intercontemporain, and collaborator as a soloist with contemporary composers both well-known and not - some kind of muscled brute.
But Knox is not one to keep it all to himself. As well as his diverse teaching and performing activies (which include work in dance and theatre projects), he is also the composer of Viola Spaces, a set of studies whose admirable aim is to give students a way of practising contemporary techniques. You never know, I may even get hold of a copy myself.
Anyway, on his website Knox gives some sample performances of the studies. Here's a good one:
You can also watch him (or is it John Malkovich?), together with 3 fresh-faced apostles, run through his version of Marin Marais's Les Folies d'Espagne in which each variation demonstrates one of the techniques practised in the studies.
As I said, it's tough learning to play contemporary music. But Knox's website makes it easy to create your own contemporary viola masterpiece simply by playing the examples simultaneously. I recommend setting off the Marais variations first, then turning on the studies ad libitum to create a veritable palimpsest of viola sounds.
But Knox is not one to keep it all to himself. As well as his diverse teaching and performing activies (which include work in dance and theatre projects), he is also the composer of Viola Spaces, a set of studies whose admirable aim is to give students a way of practising contemporary techniques. You never know, I may even get hold of a copy myself.
Anyway, on his website Knox gives some sample performances of the studies. Here's a good one:
You can also watch him (or is it John Malkovich?), together with 3 fresh-faced apostles, run through his version of Marin Marais's Les Folies d'Espagne in which each variation demonstrates one of the techniques practised in the studies.
As I said, it's tough learning to play contemporary music. But Knox's website makes it easy to create your own contemporary viola masterpiece simply by playing the examples simultaneously. I recommend setting off the Marais variations first, then turning on the studies ad libitum to create a veritable palimpsest of viola sounds.
Wednesday, 11 November 2009
World Barlines Day: 19 November
Classic FM has announced the first-ever ‘national listening day’. It is being held in association with the RPS’s Hear Here!, which they style 'the first classical music project dedicated to listening’.
Two bold 'firsts', the second of which, I am certain, is the most outrageous lie since Handel told Francesca Cuzzoni and Faustina Bordoni that he had two penises (Barlines Top five UK listening projects explicitly dedicated to Classical Music found after a cursory Google search: 5, 4, 3, 2, 1).
But the first 'first' is a different matter. Although national governments are the only bodies that can nominate a proper national holiday, anyone can nominate a themed day and stick the word ‘National’ or even the word ‘World’ on it, and institutions from the smallest charity up to the United Nations do just that. Normally they are either in the spirit of fun (Talk like a Pirate Day, International Day of Slayer etc) or they are organised in order to raise awareness, such as World Aids Day, National Stress Awareness day, Carers Rights Day etc. If there is fundraising involved it tends to be for an extremely good cause, such as the British Legion selling poppies prior to Remembrance Sunday.
It is unheard of that a commercial organisation will be asked to create a national day for its own gain. The RPS asking Classic FM to host a national listening day is a bit like the Royal Society of Medicine inviting Cadbury to sell mini rolls in aid of the first-ever ‘Eat Mini Rolls Day’.
If it is this easy we want in on the game. Barlines wants its own day. National Listen to Classic FM Plug Itself Day, or whatever it’s called, is on Tuesday 17 November. We can’t choose anything on the following weekend, because the Saturday is No Music Day, and the Sunday is St Cecilia’s Day. We propose something on the Thursday, with a slightly more liberal remit. How about the first-ever 'World Smelling day, on which you are allowed to play a Bit of Music'?. How about it? The first-ever classical music project dedicated to smelling! 19 November, remember the date. Tell us what you smelled! And what you listened to while you were doing it!
Monday, 9 November 2009
Britten OWNS Richter
Watch Benjamin Britten mess with the best pianist in the world! This will never get old - the mischievous smile, the sweat pouring off Sviatoslav Richter's brow...
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