Showing posts with label Boulez. Show all posts
Showing posts with label Boulez. Show all posts

Tuesday, 4 October 2011

Boulez or...



...this, the oak in autumn (except that heat- and light-wise it could have been a high-summer Sunday on Hampstead Heath)? Well, there was never any competition: I've done my galley years with Boulez and though his conducting of Ravel's complete Daphnis and Chloe with his British chums the BBC Symphony Orchestra a couple of years ago was a truly great performance, I think I've squeezed what juice there is out of his own music. So even one of the seven concerts over the weekend, since I wasn't duty bound to cover them (Igor has done a splendid job over on The Arts Desk), was not an option.

On the other hand I'm so glad a friend of ours, who shall remain anonymous for reasons TBA, decided to hold a small 50th birthday picnic in Kenwood on Sunday afternoon. The Indian summer which has been gracing us until today held out, we lost the route as usual on the way from Hampstead tube and found ourselves - which I was perfectly happy about, since I knew roughly the direction - in a glade of oak so profuse that acorns were plopping not just all around us but on my very head.



This place still amazes me, above all on such a day when the shade was both magical and welcoming. What a mixture of luck and perseverance that, as Richard Mabey tells us in The Unofficial Countryside, Sir Thomas Maryon Wilson faded in his attempts at development and enclosure in the early 19th century. A writer in Household Words, probably Dickens, laid an appropriate curse on the would-be encloser:

May his dreams be redolent of Smithfield, may nightmare tread with donkey hoofs on his chest, and may visions of angry laundresses [whom Sir Thomas tried to charge for spreading out their washing to dry on the heath] scald his brain with weak tea!

The dastardly capitalist did not prevail, and after his death, writes Mabey, 'the Metropolitan Board of Works were able to purchase the Manorial rights of the heath'. The 1871 Hampstead Heath Act resisted park-prettification, 'its natural aspect and state being as far as may be preserved'.


And it has been, to Mabey's and our delight. Mixed blessings followed: at the end of the 19th century the London County Council both tidied and tree-planted, so it seems that we may in part have this anti-natural organisation to thank for some of the shady groves. Even against this there was a swiftish reaction from the newly-formed Hampstead Heath Protection Society. The great pleasure of the northern zone is how you come out of the shadows into meadows, how you leave behind the crowds and then find them again all enjoying peaceful picnics in the sun. There's something incredibly moving about the ease and co-operation of so many people and dogs out relishing the fair weather and the public space, a kind of democratic ideal.


As we did, under a big oak near the house with its fabulous collection of paintings (courtesy of the Iveagh Bequest, may it always remain free to all). I should hasten to point out that the two cyclists below were a) nothing to do with us and b) disembarked just after striking the lawn.


Our consumption and chat, including more quality time with our lovely goddaughters, was decidedly leisurely, though there was - as in all good gatherings - a nodal point as our host donned a former girlfriend's bathing top, skirt and hat and went off to brave the women's pond. We stayed put, expecting some kind of sparagmos a la Bacchae, hairy limbs floating in the pond, but in fact all that happened were some incredulous mutterings in the queue and a bit of half-hearted stirring from two attendants. Whether the experience of being 'a lady' marks a whole new adventure in our host's more-than-midway journey I couldn't possibly say. But we all left happy and sunkissed.

Tuesday, 14 June 2011

Hallelujah Adams



For many folk I've spoken to, Alex Ross's The Rest is Noise has become a bible of information about 20th (and 21st) century music. It's extremely well-written if necessarily biased towards what the author likes, to judge from what I've dipped in to (what, not a word about Jimmy MacMillan?), but for authenticity it can't beat John Adams's autobiographical journey through the thickets of what he calls 'the partisan orthodoxies and prejudices that dominated my generation'.

Yes, he was there when Boulez ruled with his dogma, 'a technocrat bristling with all the gleaming armaments of his specialized field'. He was bewitched by the freer experimentation of Cage and company: was it any more than 'Dadaist doodling'? Much more, he fairly concedes, but judiciously lists its limitations. He was engaged by the promise of minimalism, describing Reich's early work as 'a sound world that was carefully organized, musically engaging and sensually appealing...To me, it felt like the pleasure principle had been invited back into the listening experience'. The cabin'd aspect of minimalism, Glass's static brand especially, is then tactfully touched upon.

But Adams was also beguiled by the best of the popular music of his time, by the revelation and the long-term promise of Wagner when driving along listening to Act 1 of Götterdämmerung, and later by Peter Sellars's eclectic knowledge of musics outside the 'western hegemony'. The book also offers lucid clarification of the issues behind his operas, from Nixon and Mao in '72 through the Palestinian problem to a terrific exposition of nuclear power and the diverse branches to the basic Indian spiritual fairy-tale of A Flowering Tree.

If you don't think you have time to read the entire book, the short last chapter, 'Garage Sale of the Mind', is the best ever precis I've read of the crossroads at which we now stand, the notion that complexity isn't necessarily progress but that easy promise isn't the solution either. This fits with the swivels of his own all-embracing musical language: the other week I reeled again at the daring, gnarly counterpoint of his Chamber Symphony in a dazzling performance by the Aurora Orchestra under Nicholas Collon, and loved going back and listening to the CD again.


It was looking up what Adams had to say about the Chamber Symphony as a result that finally led me to read the book from cover to cover.

I realise how many of the scores I still need to catch up with: being a bit of a sucker for stylish CD presentation - which in this case sometimes features wonderful nature studies by the composer's photographer wife, Deborah O'Grady - I have to update with the Nonesuch releases following on from the Earbox, including Son of Chamber Symphony. I'm not saying every work is a masterpiece, but it's always engaging, never dull. The world is a much better place for Adams's music.And the wordsmith continues to do good with an inspirational speech to students, reproduced in full on his blog.


Anyway, I'm proud of my Earbox, which I got the great, easygoing man to sign along with my '88 Edinburgh Nixon in China programme after we'd done a fun talk before one of his BBCSO concerts. And I'm proud, too, that he said to the admin as we came off stage: 'he's really good, you should ask us to do this again'. But that's blowing my own trumpet in the manner of some of my esteemed but not very modest fellow-bloggers...