Northampton Symphony Orchestra concert
20 November 2024
Back in the summer, when I told a group of my friends who have rarely or never been to see me play in the Northampton Symphony Orchestra, that our next concert was going to include Holst's 'The Planets', they all immediately booked tickets, months in advance. And they were not the only ones who wanted to see this particularly popular piece of classical music: our performance sold out weeks ago and we amassed a waiting list of 80 people hoping for returns. On Saturday evening our packed audience, huge orchestra and women's chorus meant there wasn't a spare seat in Christchurch, Northampton. The first half of the concert started with Leopold Stokowski's arrangement of the 'Toccata and Fugue' by JS Bach - famously conducted by Stokowski alongside Mickey Mouse in 'Fantasia'. We then played the 'Four Last Songs' by Richard Strauss - one of my favourite pieces of music - with the excellent Northampton-based Irish soprano Alison Roddy (who sang Hamilton Harty’s setting of ‘Ode to a Nightingale’ with NSO last year, reviewed here in June 2023). Alison gave a stunning performance and the orchestra’s leader Richard Smith played the achingly beautiful violin solo in ‘Beim Schlafengehen’ wonderfully. I had previously played the 'Four Last Songs' with the City of Peterborough Symphony Orchestra (twice), Milton Keynes Sinfonia and Northampton Symphony Orchestra but Saturday was the first time I have played the first horn part with its gorgeous solo in 'September'. This was a nerve-racking and emotional moment for me as it brought back memories of the last time we played the 'Four Last Songs' with NSO in 2010 (reviewed here in November 2010) when the horn solo was played beautifully by David Lack in his first appearance with the orchestra for 18 months after treatment for cancer. Dave died in 2014 and is still fondly remembered and much missed. 'The Planets' by Gustav Holst is in the top ten most popular requests from BBC Radio 4’s ‘Your Desert Island Discs’. It's a piece many of us grew up knowing: my Mum and Dad had a LP of 'The Planets' which my brother and I used to play over and over when we were little. We last performed 'The Planets' with NSO at the Derngate in Northampton in 2011 (reviewed here in June 2011). Every performance feels like a very special occasion. The piece requires a vast orchestra (including two harps, two timpanists, organ and quadruple winds) plus a women's chorus whose ethereal wordless harmonies drift us off into outer space at the end of the final movement 'Neptune'. I thought our performance on Saturday went incredibly well. Conductor John Gibbons kept us from wallowing in the weightier moments, maintaining a brisk delicacy to many of the movements that demonstrated how well written and orchestrated this popular piece is. Getting to know 'The Planets' again over the past few months I can see its influence on so much of the best film music. This was the first time I have played the first horn part in 'The Planets' and I enjoyed playing the exposed solos at the beginning of 'Venus'. There were brilliant solos from across the orchestra (too many to mention them all but I was particularly impressed by Peter May's tenor tuba solo in 'Mars'). And the women from the Northampton Bach Choir provided a chillingly beautiful delicate moment to finish an amazing concert. We livestreamed our performance of 'The Planets' to give those who hadn't managed to get tickets a chance to see it and you can watch the recording at: https://www.youtube.com/live/hfZlcSSB1AQ?si=NhFFuVbqccyOFEzU (wind forwards to 21 mins).
Labels: Concerts, Music
Bellowhead
15 November 2024
On Sunday, almost exactly nine years since we saw the great folk big band Bellowhead at the Riverside Theatre in Aylesbury on their farewell tour (reviewed here in November 2015), we were back at the Riverside to see the glorious return of Bellowhead. Initially reunited for a one-off live online performance in 2020 (reviewed here in December 2020) Bellowhead are now touring again and it was wonderful to see them live once more. The band seemed to be having a ball and you could feel the warmth from an enthusiastic sold-out audience that was revelling in an opportunity they had not expected to come around again. Bellowhead paid tribute to their former colleague Paul Sartin who died of a heart attack in 2022, at the age of 51. But this was a joyous celebration of which he would have been proud. I think I had a smile on my face through the whole performance: this is life-affirming joyous music, performed with gusto, mischief and glee. Possibly the best gig I have ever been to. This fan video from their recent appearance in Nottingham gives a flavour of the atmosphere on this reunion tour: https://www.youtube.com/watch?v=MiD6-yBYqwM
Labels: Concerts, Music
'Othello' by William Shakespeare
7 November 2024
On Saturday we were at the Royal Shakespeare Theatre in Stratford-upon-Avon to see Tim Carroll’s new RSC production of ‘Othello’. After seeing Clint Dyer’s National Theatre production of ‘Othello’ set in a 1930s fascist state (reviewed here in March 2023) and Iqbal Khan’s RSC production in a contemporary setting with scenes of water-boarding and torture (reviewed here in June 2015), this was a much more conventional version of the play. Judith Bowden’s sparse set features a bare stage without furniture and simple but effective use of gauze curtains and beautiful Elizabethan costumes. This simplicity serves to focus all our attention on the acting, which is excellent throughout. The four principals are particularly strong: The English-American actor John Douglas Thompson plays Othello with an American accent, emphasising his role as the outsider; Will Keen is a quietly hissing Iago; Juliet Rylance’s Desdemona has a confident, cheerful positivity; and Anastasia Hille as Emilia visibly wears her guilt for the support she knows she should not have given Iago. James Oxley’s unaccompanied choral music (sung by the cast) provides a beautiful but sinister backdrop to the emerging tragedy.
Labels: Drama, Theatre
Tom Robinson
1 November 2024
We are long-time fans of Tom Robinson (last reviewed here in January 2024) and last Friday we made a first visit to Club 85 in Hitchin to see the latest incarnation of the Tom Robinson Band playing songs from the albums ‘Power in the Darkness’ (1978) and ‘TRB Two’ (1979). As always Tom introduced in the support slot a young musician he has been championing on his BBC 6 Music radio show. Rob Green is a 19-year-old alt-soul/pop singer songwriter from Nottingham who writes lovely thoughtful songs and gave a very cheerful, confident performance. The Tom Robinson Band were in great form. You can see their encore performance of ‘War Baby’ featuring Tom, Lee Forsyth Griffiths and Rob Green at: https://www.youtube.com/watch?v=vzyR84nrPrI
Labels: Concerts, Music
Henry Normal and Nigel Planer
23 October 2023
I've been a fan of the poet/comedian Henry Normal for 30 years: I last saw him at the Ampthill Literary Festival in 2022 (reviewed here in April 2022). One of the first times I saw him was on our first ever visit to the Edinburgh International Book Festival in 1995 when he appeared alongside the comedian and actor Nigel Planer. This was a fascinating and memorable session in which Nigel Planer, who had been writing poetry since his teens, read some of his poems in public for the first time. He was incredibly nervous and Henry Normal was very supportive. So it was fascinating this week - almost 30 years later - to get to see Henry Normal and Nigel Planer on stage together again at The Stables in Wavendon. Nigel Planer has now published several books of poetry and a novel and was much more confident, his delivery showing his skill as an actor. After performing separately the two of them came together for a Q&A session which reflected on their careers across TV, film and radio and their memories of working with Rik Mayall, Adrian Edmondson, Linda Smith, Steve Coogan and others.
Labels: Books, Comedy
BBC Young Musician 2024
23 October 2024
I've followed the biennial BBC Young Musician competition closely since it started in 1978 and I have written here about it every two years since 2006. You can read all my previous posts about BBC Young Musician at: http://culturaldessert.blogspot.com/search/label/BBCYoungMusician. BBC Young Musician 2024, which came to its climax last weekend, saw some significant changes to the format, doing away with the instrumental categories that have defined the competition since it began. Rather than separating the contestants into strings, woodwind, brass, piano and percussion until the grand final, this year 50 young musicians were auditioned to select the 12 best players, regardless of instrument. Two quarter finals and a semi-final then reduced the field to 3 for the concerto final (broadcast on Sunday). I was surprised how well this radical change worked: it allowed the same three judges to oversee the entire competition (rather than having specialists for each of the instrument categories) and by broadcasting excerpts of all 50 auditions the television audience saw many more young musicians than in previous years and saw more of those who made it right through to the final, building our understanding of their personalities and musicality. But the lack of categories did seem to further favour string players and pianists (who were already the most common overall winners of the competition) - with no brass players or percussionists (and only two wind players) making it beyond the initial auditions. (Though I suppose you could argue that the category format may have previously prevented many more outstanding pianists or string players from getting to the concerto final.) The standard of contestants seemed even higher than in previous years, with many 'wow' moments throughout the various rounds. And I think Sunday's concerto final at Bristol Beacon was one of the best ever, in that I think all three finalists will go on to be well-known professional musicians - comparable with the 2016 final (which featured Sheku Kanneh-Mason, Ben Goldscheider and Jess Gillam - now firmly established as the perfect TV presenter for BBC Young Musician). But I did have some criticisms of the final. After the 2022 final restored the incredible spectacle of a concert consisting of five full concertos it was a great shame that we were restricted to three concertos again this year. And, by doing away with the instrumental categories, for the first time ever the final featured two musicians playing the same instrument. The fact that both pianists then chose to play the same concerto (Rachmaninov's 2nd Piano Concerto) was an amazing and fascinating twist but even further reduced the sense of the final as a concert. Comparing two very different performances of the same work was surprisingly compelling - and reminded me of the experience of playing the Rachmaninov 2nd Piano Concerto with the Northampton Symphony Orchestra in two consecutive concerts in 2019 with two different pianists who took contrasting approaches to the piece (reviewed here in October and November 2019). I was also disappointed that the concerto final was not broadcast live. Knowing that it had been recorded a few weeks ago made me paranoid about accidentally reading something online that would give away who won - making me feel like Bob and Terry in that episode of 'The Likely Lads' where they are desperately trying to avoid finding out the result of a football match so they can watch the highlights later without knowing. The insights into each movement of the concertos provided by BBC National Orchestra of Wales conductor Ben Gernon were really interesting and helpful but inserting these video clips between the movements in the broadcast ruined the atmosphere of the live performance. I was surprised by the dropping of the tradition of a performance at the end of the concerto final by the winner of the previous BBC Young Musician competition and the disappearance of the Walter Todds Bursary, previously awarded to a performer or performers who show great promise but do not reach the Final. But these are minor quibbles: the TV coverage continues to be beautifully put-together, entertaining, serious and respectful. And all three 2024 finalists - Ryan Wang, Shlomi Shahaf, and Jacky Zhang - gave thrilling performances, with Ryan Wang an outstanding winner.
Labels: BBCYoungMusician, Music, TV
'The New Real' by David Edgar
23 October 2024
On Saturday we were at The Other Place in Stratford-upon-Avon to see the Royal Shakespeare Company/Headlong production of 'The New Real' - a new play by David Edgar, directed by Holly Race Roughan. This reminded me a lot of David Edgar's 'Playing With Fire' which we saw at the National Theatre in 2005 (starring Emma Fielding and David Troughton - reviewed here in October 2005). In that play a New Labour high-flyer is sent north from London to sort out an ailing local authority with disastrous results. 'The New Real' uses a similar device, but on a global scale. The demise of communism in Eastern Europe, following the fall of the Berlin Wall in 1989, led to many newly independent nascent democracies seeking the expertise of America and the West to develop their electoral processes. David Edgar's dark satire shows how this may have inadvertently instigated the wave of populism in Eastern Europe that then swept West to the UK and USA. In 'The New Real' two American political strategists (played by Martina Laird and Lloyd Owen), who have worked together successfully on US election campaigns, end up advising rival candidates in the presidential election in a fictional former Soviet state, resorting to increasingly underhand tactics to avoid losing their personal battle with each other. Caught in the middle of this feud is their British pollster Caro Wheeler (the excellent Jodie McNee) - who provides the moral conscience. The play is a fascinating thought-piece, though sometimes hindered as a drama by a George Bernard Shaw-like tendency to have the characters engage in long, rigorous, debates of ideas that feel like essays rather than dialogue. Nonetheless it was enjoyable, thought-provoking and very well acted.
Labels: Drama, Theatre
Adderbury Ensemble concert
23 October 2024
Regular readers may have noticed that I don’t go to a lot of chamber music concerts: I’m not sure why, because those few occasions I have been persuaded to attend have always been really enjoyable. And the fact that I first wrote these exact words here in November 2009 (after attending a performance in Bedford by the Galliard Ensemble), and haven't featured much chamber music here since, rather reinforces the point. Last Friday we were at the Radcliffe Centre in Buckingham for a string quartet recital by the Adderbury Ensemble from North Oxfordshire. It was a lovely concert, featuring quartets by Haydn and Shostakovich and the original string quartet version of the 'Simple Symphony' by Benjamin Britten. The Adderbury Ensemble finished the performance with a couple of arrangements by the Danish String Quartet of traditional Scandinavian songs and dance tunes (from the excellent album 'Wood Works').
Labels: Concerts, Music
'Death at the Sign of the Rook' by Kate Atkinson
17 October 2024
It's been five years since Kate Atkinson's last Jackson Brodie novel ('Big Sky', reviewed here in July 2019) and I had forgotten how brilliantly entertaining these light-touch crime stories are. 'Death at the Sign of the Rook', the sixth novel in the Jackson Brodie series (which I've just finished reading as an unabridged audio book, narrated by Jason Isaacs) is a mischievously metatextual homage to the classic country house murder mystery. Kate Atkinson effectively inserts Jackson Brodie into an Agatha Christie plot, complete with a dowager marchioness, a local vicar and a butler. Brodie finds himself a participant in a murder mystery game being staged in the present day in a stately home - but it feels like he has stepped back in time to the age of a very different kind of detective. It's an incredibly enjoyable comic novel in which even the most clichéd characters are carefully and believably drawn. And Kate Atkinson's usual technique of alternating points of view to build a plot which none of the participants fully understand proves particularly entertaining and effective. Although there are references to the earlier books in the series 'Death at the Sign of the Rook' is a self-contained story which would be enjoyable whether or not you have read the other Jackson Brodie novels.
Labels: Books
'Tom Lake' by Ann Patchett
17 October 2024
I’ve never seen Thornton Wilder’s play ‘Our Town’ but I was aware of its ubiquitous status among repertory and community theatre groups across the USA. Ann Patchett’s latest novel ‘Tom Lake’ focuses on a production of ‘Our Town’ in which the actors seem increasingly confused with their characters. I was looking forward to ‘Tom Lake’, having enjoyed Patchett’s earlier books 'Bel Canto' (reviewed here in December 2023), 'State of Wonder' (reviewed here in January 2024) and ‘Run’ (reviewed here in June 2024). Not content with its allusions to ‘Our Town’, ‘Tom Lake’ features three sisters marooned with their parents, during the Covid-19 pandemic, in the family cherry orchard - creating a number of Chekhovian references. Ann Patchett uses lockdown as the excuse for a clever narrative structure in which Lara is finally telling her grown-up daughters the full story of her brief acting career and her relationship with a man who would go on to become a famous movie star. All of this happened before Lara married the girls’ father but, as in any family, the children have probably been told some of the story at an age when they didn’t fully understand or remember it. Their enforced family time during lockdown finally provides the opportunity to unpick the details of their mother’s youth - or as much as she decides to reveal to them. It’s a beautifully written and meticulously constructed novel, with its revelations carefully timed.
Labels: Books
Tuscany
17 October 2024
We had a wonderful holiday in Tuscany last week, visiting Florence, San Gimignano, Volterra, Siena and Lucca. In Florence we visited the Uffizi Gallery and the Bargello Museum, immersing ourselves in works from Giotto to the Renaissance giants Leonardo Da Vinci, Michelangelo and Raphael. Bizarrely, by contrast, in Volterra we came across an excellent exhibition of works by Banksy ('Realismo Capitalista'), at the Centro Studi Espositivo, which was really interesting. We loved the Tuscan hill towns of San Gimignano and Volterra - imposing small walled cities, with high buildings lining both sides of the paved pedestrianised roads within the city walls. San Gimignano is known as the Medieval Manhattan for its amazing skyline of high towers. The main square in Siena - Piazza del Campo - is a stunning sight: the setting for the annual Palio di Siena horse race is a huge, sloping expanse of paved tiles in diagonal slices fanning out from the Palazzo Publicco (city hall) towards a crescent of high balconied buildings. And in Lucca we walked right around the city walls - really a large fortified grassy mound rather than a wall, with a broad tarmac road along the top, encased by pretty avenues of plane trees. It was a lovely sunny autumnal day with the leaves drifting down onto the walls and lots of people walking or cycling around the perimeter of the old town.
Labels: Exhibitions, Holidays
'Empire' podcast: 'America: The Empire of Liberty'
3 October 2024
After a bit of a break, I've recently returned to listening to the excellent Empire podcast hosted by Anita Anand and William Dalrymple (originally reviewed here in January 2023). In particular, I've been listening to the series about America, which started with episode 148 (May 2024). The episodes on the Founding Fathers, George Washington, John Adams, Benjamin Franklin et al. and the American Revolution were very engaging, connecting me back to the excellent 2008 TV miniseries 'John Adams' starring Paul Giamatti and Laura Linney.
But it's the exploration of the Native American populations that covered the continent prior to the arrival of the Europeans in the 1500s that have been truly fascinating. Before European contact, Native American cultures in North America were highly diverse. I hadn't realised their degree of urbanisation. Around the year 1000 CE, Cahokia in present-day Illinois was a central city with a population of over 10,000 people. Part of a larger civilisation that included many satellite cities, Cahokia's central plaza was the size of 30 football fields, surrounded by large flat-topped pyramids used for religious and political purposes. Similar large-scale urban centres existed throughout North America, challenging the traditional narrative of Native Americans living solely in small scattered settlements. Francis Spufford's novel ‘Cahokia Jazz’ (reviewed here in February 2024) constructs a parallel universe in which the city of Cahokia is still going strong in the 1920s, dominated by a First Nations people who are led by a hereditary monarchy and have embraced a version of European Catholicism. In reality many of these Native American cities were abandoned by the 1500s, with populations living in more spread-out communities.
Contrary to the common portrayal of Native Americans as one monolithic group, there were hundreds of distinct nations across North America, each with its own customs, languages, political structures and territories. The notion of an empty continent ripe for the taking by the Europeans is now completely refuted. And the treatment of Native Americans by the United States government was often brutal and genocidal. The Indian Removal Act of 1830, which forced the relocation of tribes along the 'Trail of Tears', dispossessed Native Americans of their lands through horrific extermination campaigns including the use of poison. Chillingly, this policy of Indian removal in the 19th century influenced ethnic cleansing in other parts of the world, from Russia to German South West Africa to Nazi Germany. Russian officers in the Caucasus region in the 1840s saw the forced expulsion of Native Americans as a model for their own treatment of the Circassian people, one governor reportedly telling an American visitor that "Circassians are just like your American Indians" shortly before Russia deported 500,000 people. Even Adolf Hitler drew upon the American example when justifying the Nazi conquest of Eastern Europe, equating indigenous inhabitants with Indians and declaring that the Volga River would be their Mississippi, echoing the displacement of Native Americans from their lands.
The podcast format is very engaging, particularly the episodes with a guest historian, an expert in the relevant topic, to be quizzed by the hosts. I especially enjoyed the episode with Kathleen Duval discussing her book ‘Native Nations, a Millennium in North America’. The Empire podcast continues to be a rich source of fascinating, vibrant and relevant history, making me want to rush off and read all the books on the topic that they mention. All episodes of ‘Empire’ are available to download at: https://podcasts.apple.com/gb/podcast/empire/id1639561921
Labels: Radio
