Archive for the Music Category

The Flowers in the Field: The Somme Remembered

Posted in Music, Poetry with tags , , , , , , on July 1, 2016 by telescoper

I’ve posted this at 7.20am on 1st July 2016. Precisely one hundred years ago, following a heavy artillery bombardment that had been going on for a week, an enormous mine was exploded  under a fortified position at Hawthorn Ridge near Beaumont Hamel on the River Somme in France. Here is footage of the actual explosion:

Ten minutes later, the first French and British troops went “over the top” on the first day of the Battle of the Somme. It was to be the bloodiest day in the history of the British Army.

Here is an edited version of a piece I wrote some time ago about this battle and its aftermath.

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Twelve summers ago, in 2004, I spent an enjoyable day walking in the beautiful Peak District of Derbyshire followed by an evening at the opera in the pleasant spa town of Buxton, where there is an annual music festival. The opera I saw was A Turn of the Screw, by Benjamin Britten: a little incongruous for Buxton’s fine little Opera House which is decorated with chintzy Edwardiana and which was probably intended for performances of Gilbert & Sullivan light comic operettas rather than stark tales of psychological terror set to unsettling atonal music.

When Buxton’s theatre was built, in 1903, the town was a fashionable resort at which the well-to-do could take the waters and relax in the comfort of one of the many smart hotels.

Arriving over an hour before the opera started, I took a walk around the place and ended up on a small hill overlooking the town centre where I found the local war memorial. This is typical of the sort of thing one can see in small towns the length and breadth of Britain. It lists the names and dates of those killed during the “Great War” (1914-1918). Actually, it lists the names but mostly there is only one date, 1916.

The 1st Battalion of the Nottingham and Derbyshire Regiment (known as the Sherwood Foresters) took part in the Battle of the Somme that started on 1st July 1916. For many of them it ended that day too; some of their names are listed on Buxton’s memorial.

On the first day of this offensive, the British Army suffered 58,000 casualties as, all along the western front, troops walked slowly and defencelessly into concentrated fire from heavy machine guns that were supposed to have been knocked out by the artillery barrage that preceded the attack. The bombardment had been almost entirely ineffective, and it finished well before the British advance started, so the Germans had plenty of time to return to their positions and wait for the advancing British. It had also been believed that the artillery shells would have cut the barbed wire protecting German positions. It didn’t. British and French troops who got entangled were sitting ducks. Carnage ensued.

Rather than calling off the attack in the face of the horrific slaughter, the powers that be carried on sending troops over the top to their doom for months on end. By the end of the battle (in November that year) the British losses were a staggering 420,000, while those on the German side were estimated at half a million. The territory gained at such a heavy price was negligible.

These numbers are beyond comprehension, but their impact on places like Buxton was measurably real. Buxton became a town of widows. The loss of manpower made it impossible for many businesses to continue when peace returned in 1918 and a steep economic decline followed. It never fully recovered from the devastation of 1916 and its pre-war posterity never returned.

And the carnage didn’t end on the Somme. As the “Great War” stumbled on, battle after battle degenerated into bloody fiasco. Just a year later the Third Battle of Ypres saw another 310,000 dead on the British side as another major assault on the German defences faltered in the mud of Passchendaele. By the end of the War on 11th November 1918, losses on both sides were counted in millions.

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I decided to end this piece with the following video featuring music by George Butterworth (A Shropshire Lad: Rhapsody for Orchestra, inspired by the poetry of A.E. Housman, and one of the few surviving complete works of this composer). Images of present-day Shropshire are interspersed with photographs taken on the Somme in 1916. I chose this because George Butterworth too lost his life in the Battle of the Somme (on 5th August 1916). Lest we forget.

Lacrimosa

Posted in Music with tags , , on June 17, 2016 by telescoper

Mozart died before he could complete his Requiem. And of  this movement, Lacrimosa, only the first eight bars are known to have been written by him. Nevertheless, even a small piece of Mozart’s genius was enough to create a work of tragic beauty which is a suitable tribute for all those whose lives have been cut short. I hope I don’t have to say any more about why I’m posting it now at the end of this  horrible week.

Cav/Pag and WNO

Posted in Opera with tags , , , , , on June 7, 2016 by telescoper

Well, I’m back in Brighton after a short break either side of my nth birthday (where n→∞). As is traditional on such occasions I spent the evening of the day in question at the Wales Millennium Centre for a night at the Opera:

WNO

On the bill for Saturday night were Cavalleria Rusticana and Pagliacci, two short operas written (respectively) by Pietro Mascagni and Ruggero Leoncavallo. Both works are in the verismo tradition of late 19th Century Italian opera and have central themes of love, jealousy, betrayal revenge and murder. So idea fare for a birthday treat!

The “Cav/Pag” package is quite a familiar pairing to opera goers. They weren’t actually written to be performed together, though it is believed that Leoncavallo wrote his piece Pagliacci in response to the success of Cavalleria Rusticana. The compositional style and orchestration are not dissimilar and often the principals are played by the same singers. The latter was the case with Saturday’s production, at least in terms of the two male roles: Gwyn Hughes Jones (shown below as Canio in Pagliacci; he also sang Turiddu in Cavalleria Rusticana) sang both tenor parts, while David Kempster (baritone) played Alfio (Cav) and Tonio (Pag). Both were excellent throughout.

Pagliacci.GwynHughesJones(Canio).Photocredit-BillCooper1244a

These two productions of this combo differ very much in their look and feel. Cavalleria Rusticana is beautifully staged, in a conventional 19th Century rural Italian setting. The lighting is particularly impressive: the opening looks like a scene from a painting by a Grand Master. The excellent chorus of Welsh National Opera is very much to the fore, especially in the famous Easter Hymn, and the principal soprano Camilla Roberts sang the role of Santuzza with great depth of expression. Carlo Rizzi conducted the Orchestra of Welsh National Opera.

Pagliacci is given a more modern setting – costumes were generally around the 1950s – but still set in Italy. The set is much plainer and the lighting harsher. The chorus has less to do in terms of singing, but provides colour and movement to the drama. Although the two male principals were good I felt the cast overall was weaker. Meeta Raval (Nedda) sang her part well enough, and got some good laughs in the moments of comedy, but she didn’t have the emotional depth needed to make her part really come alive. Gyula Nagy (as Nedda’s lover Silvio) also sang well enough, but really needs to take some acting lessons..

The big set-piece in Pagliacci is Vesti La Giubba, a powerfully emotional tenor ara which never fails to move. Enrico Caruso’s version of this was the hit record of its day.

Although there were some shortcomings it was still a very enjoyable evening of music drama. Indeed it was the last night in Cardiff for this season, Welsh National Opera’s 70th. The company’s debut when it gave its first performance – as an amateur organisation – on 15th April 1946, was a double bill of Cavalleria Rustica and Pagliacci

I’d therefore like to end by wishing Welsh National Opera a very happy birthday and send my deepest thanks for providing me with so many hours of pleasure through their performance. Long may they continue!

 

 

Jazz and Physics

Posted in History, Jazz, The Universe and Stuff with tags , on May 26, 2016 by telescoper

No time for a full post today, so I’ll just share this intriguing picture I found on the interwebs of two great figures from very different fields: Jazz trumpet legend Louis Armstrong and pioneering quantum physicist, Niels Bohr.

Armstrong-Bohr

When I first saw this I assumed it had been photoshopped, but I’m reliably informed that the picture is genuine and that it was taken in Copenhagen in 1959. Other than that I know nothing of the circumstances in which it was taken. I’d love to hear from anyone who knows the full story!

The Dream of Gerontius

Posted in Music with tags , , , , , on May 23, 2016 by telescoper

Just a quick lunchtime post to mention that I took yesterday (Sunday) evening off to attend a concert at the Brighton Dome which was part of the annual Brighton Festival. The perf0rmance consisted of just one piece: The Dream of Gerontius by Sir Edward Elgar, performed by the City of Birmingham Symphony Orchestra (conducted by Edward Gardner) together with the Brighton Festival Chorus.

I happen to know a couple of people who sing with the Brighton Festival Chorus. Both were a bit nervous ahead of last night’s performance because it’s a challenging work and although they’ve been rehearsing the choral passages themselves, they only had a short time to practice together with the orchestra. Reading about the performance history of this work, their fears might have been justified: the first performance, in Birmingham in 1900, was a shambles, largely due to inadequate rehearsal time, and it took some time for it to become established in the repertoire. As it turned out, however, they had nothing to worry about. I thought the Chorus was magnificent, as was the Orchestra and indeed the three soloists: Alice Coote (Mezzo), Robert Murray (Tenor) and Matthew Rose (Bass). I particularly liked Matthew Rose’s performance. He cut an imposing figure on the platform, towering over the other musicians, and his sonorous bass tones projected wonderfully.

Although I began by saying that the concert was “just one piece”, The Dream of Gerontius is a very substantial work, lasting over 90 minutes (excluding the interval). It requires a large choir (well over a hundred voices last night) as well as large orchestral forces, including two harps and a big brass section. I’m sure it’s a handful to perform, but last night’s concert was well-controlled and at times simply beautiful.

It’s basically a setting of a long poem, describing the journey of a dying man towards death. It takes a very Roman-Catholic view of Paradise, Purgatory, and the Last Judgement and this may have contributed to its initial lack of popularity in (Protestant) England; it found greater favour in Germany in the years after its first performance.

I’m actually not the biggest fan of Elgar, generally speaking. He’s often very rhythmically unimaginative and predictable, as in the opening passage of Part 1 in last night’s performance which plodded along for a quite a while before getting going. However, there are some thrilling passages too. This work does sound surprisingly modern at times and at others is very reminiscent of Richard Strauss, at least to my ears.

Anyway, an excellent performance of a profound and challenging work. I’m glad to say that it attracted a full house too, though the majority of the audience were (like me) not in the first flush of youth..

P.S. I texted a friend that I was at The Dream of Gerontius, but autocorrect turned it into The Dream of Geronimo. As far as I know there’s no choral work with that title, but perhaps there should be!

Listening and Seeing (and Mahler)

Posted in Biographical, Music with tags , , , , on May 14, 2016 by telescoper

Three things led me to post this recording. One is that this piece (though not this performance) was one of the late Harry Kroto’s selections for Desert Island Discs. Another is that I had occasion to sort out my CD collection recently and I realised in doing so that I had more recordings of this Symphony than any other. And the third is that I heard a discussion on Radio 3 recently in which a record company executive noted that while sales of opera performances on DVD were very healthy, it was very difficult to sell DVDs of symphonic concerts. I am not particularly surprised by that but I have to say that I love the visual as well as the auditory experience of a classical concert. A large group of talented people coming together to make music is a great thing to watch, and it also helps understand the music a bit too. I’d much rather go to a live concert (even a mediocre one) than listen to a CD (even a very good one), but failing that I’d definitely go for a DVD.

All of this provides an excuse to show this film of the Vienna Philharmonic under the baton of Leonard Bernstein playing the gorgeous third moment (marked Ruhevoll) of Symphony No. 4 in G Major by Gustav Mahler. My favourite recording of this symphony is actually by Von Karajan with the Berlin Philharmonic on Deutsche Grammophon, but this is well worth watching to see the communication between Lenny and the band. And if you think Mahler is always gloomy and angst-ridden, hopefully this will make you change your mind.

 

 

Extraordinary Rendition

Posted in Music, Opera with tags , , , on May 6, 2016 by telescoper

Here’s something to end the week with: a piece from my favourite Mozart opera, The Magic Flute, in a version that’s itself very rarely heard. Fortunately. This is what Florence Foster Jenkins – the opera singer to end all opera singers – did with Der Hölle Rache kocht in meinem Herzen. For some reason Sony admits to owning the copyright of this, so you’ll have to click through to Youtube to hear it in its full glory.

Nothing Compares

Posted in Biographical, Music with tags , , on April 25, 2016 by telescoper

For some reason I just remembered this morning that a song that is full of nostalgia for me was written by Prince, who died last week. The version I still have on vinyl was a huge hit for Sinead O’Connor in 1990:

Incidentally, I once saw Sinead O’Connor in person at the Zap Club in Brighton during my previous incarnation here as a research student and postdoc. I literally bumped into her trying to get to the bar to buy a drink. When she turned around I was staggered to see such a beautiful face looking at me, although to be honest I did for a moment assume she was a boy. It was, I should explain, a gay night at the club. Fortunately she was very nice and friendly and forgave my clumsiness with a gracious smile.

There aren’t many any other pop videos done like this, almost entirely in close-up. Can anyone think of any others?

 

 

Buddy DeFranco Plays Rhythm Changes

Posted in Jazz with tags , , , on April 21, 2016 by telescoper

The late great Buddy DeFranco was the musician who finally convinced me that I’d never be any good at playing the clarinet, though I still make the occasional half-hearted attempt. He nevertheless remains a musical hero of mine, not least because he was one of the few people to play clarinet in a “modern” style. I found this transcription of one of his solos on Youtube a while ago and thought I’d share it here. Twelve choruses of rhythm changes at a brisk tempo provide the foundation for a great jazz musician who unleashes a flood of improvisation. Feel free to play along at home!

Panama

Posted in History, Jazz with tags , , , on April 4, 2016 by telescoper

For some reason today’s news made me think of this famous old record by Bunk Johnson.

Bunk Johnson was born in New Orleans way back in 1879 and he made his name playing trumpet in the very early days of jazz, including – if his own account can be believed – a stint with the legendary Buddy Bolden.  He was regarded by many, including Louis Armstrong no less, as one of the top trumpeters in New Orleans in the period between 1905 and 1915. Jazz had begun with the  marching bands that performed in New Orleans but then largely moved into the bordellos of Storyville, the biggest (legal) red light district in the history of the United States. When Storyville was closed down in 1917 most professional jazz musicians lost their only source of regular income. However, a few years later, in 1919, the United States Senate proposed the 18th Amendment to the Constitution which prohibited the manufacture, distribution and sale of alcohol for human consumption and ushered in the era of Prohibition. This turned Chicago into a bootlegger’s paradise and jazz musicians flocked there to perform in the numerous speakeasies. That’s why the great New Orleans Jazz records of the 1920s were all made in Chicago and it also caused the music to evolve in new directions.  Bunk Johnson did not join the mass exodus to Chicago and his career faded into obscurity, ending entirely in 1931 when he had his front teeth knocked out in a brawl and could no longer play the trumpet.

However, in 1942, Bunk Johnson was rediscovered as a very old man by some young jazz fans who travelled to New Orleans and recorded him playing with a band of local musicians in the basement of a house courtesy of a new set of dentures. Despite the poor sound quality of the recording, the resulting tracks proved incredibly popular, ushering in the New Orleans Revival that began in the United States and then propagated across to Europe after the war to the extent that many revivalist bands even sedulously acquired the “recorded-in-a-garage” sound. Bunk Johnson passed away in 1947 but George Lewis, who plays clarinet on this track, carried the flag for “authentic” New Orleans jazz for many years after that, visiting Europe on many occasions. My Dad played the drums with him a few times..

P.S. I’ve always felt particularly sorry for  Walter Decou, who played piano on the famous Bunk Johnson records of 1942, because apparently he was pounding away like a good ‘un but you can barely hear a note from him on any of them!