'What We Can Know' by Ian McEwan

10 August 2026

Ian McEwan's 2024 novel 'What We Can Know' is an impressive achievement. A historian in the year 2119 is researching the work of the early 21st century poet Francis Blundy and, in particular, his legendary missing poem from 2014, 'A Corona for Vivien'. To frame this scholarly literary detective story, McEwan has constructed a detailed history of the next 100 years, complete with climate disasters, nuclear war and more. But what he is really exploring is the unreliability of historical written sources, control of one's own narrative and the making of myths. It's an incredibly clever novel which I think I enjoyed all the more because I hadn't heard anything about it before reading and had no idea where it was going.

'Lady Oracle' by Margaret Atwood

5 August 2026

'Lady Oracle' is an early novel by Margaret Atwood, first published in 1976. I hadn't heard of the book when I started reading it and had no idea what to expect. I found the opening chapters, in which the narrator arrives at her holiday home in Italy, having apparently faked her own death, quite confusing, but once she started to tell the story of her childhood in Toronto the novel grabbed my attention. With hindsight it was fun coming to this tale without any prior knowledge of it, so I won't give much away here. I enjoyed the book but I still feel a bit unsure what I thought of it. On the face of it, its quite a miserable story - but it is told with a comic flair and boasts a cast of brilliantly eccentric characters (who all seem to have the habit of reappearing just when you had forgotten them!). 'Lady Oracle' does have the feel of an early work, perhaps throwing too many ideas into the mix. But it is clearly written by a skillful author - and the fact that the first person narrator is also a novelist makes it hard to know how much of her account of her life we should believe. An intriguing and entertaining read.

WOMAD 2026

29 July 2026

When the WOMAD Festival moved to Charlton Park in Wiltshire in 2007 (reviewed here in August 2007) that first festival at the new site was beset by problems, exacerbated by the constant rain that created a sea of mud. Last weekend's first post-Charlton Park WOMAD, at the festival's new home of Neston Park near Corsham in Wiltshire, seemed to have learned much from the 2007 experience - and also benefited from near perfect weather. For the first outing at this new venue (after a fallow year with no festival in 2025), everything seemed to go extremely smoothly. Neston Park feels smaller than Charlton Park (the WOMAD programme described it as "more intimate") but the numbers attending seemed to fit the space well. I soon got the hang of the new layout of the festival arena (though it took me until Saturday afternoon to realise that the beautiful path through the sunflower field provided a handy shortcut between the two halves of the arena). I'm not sure they had got the positioning of all the stages quite right but I expect the necessary tweaks will be in place by next year's festival. And, for me, 2026 was, musically, the best WOMAD for quite a while. I saw 23 performances over the three days, including 15 full sets, and there were many many highlights. It was great to see WOMAD founder Peter Gabriel on stage on Saturday afternoon to pay tribute to the WOMAD Festival Director Chris Smith who is retiring after 20 years in charge. Later in the day I found myself standing immediately behind Peter Gabriel in the crowd in the Sunflower Tent, watching the band LYR, featuring the Poet Laureate Simon Armitage. I really enjoyed Derya Yıldırım & Grup Şimşek and their 1970s psychedelic version of traditional Anatolian folk music. I was charmed by the intergenerational group representing the Lăutăresele Şaraimanic project that celebrates music from the variety of different ethnic communities in Romania. While these performances of Anatolian and Romanian folk music presented the traditional in an innovative modern way, the Mexican brass band Mixanteña de Santa Cecilia performed music from the Pacific coast of Mexico in a way that appeared to be completely historically authentic, with traditional costumes and dancers, but was no less thrilling. Bénin International Musical's "incendiary voodoo sound of West Africa" was engaging and varied. And I loved the Brooklyn disco funk of Say She She. Amidst these big danceable shows on the main stage, I'm pleased I also found the time to see Pakistani musician Ustad Noor Bakhsh on the smaller Village Stage. He plays the benju - a zither with typewriter-style keys, played like a lap-steel guitar - and he only found international recognition when already in his late seventies. His hypnotic fast-picking tunes found an enthusiastic audience at WOMAD and provided a beautiful opportunity for contemplation. But my favourite moments of the 2026 WOMAD Festival were the polyphonic vocals of the Occitan group Barrut from Southern France and the high energy singing and dancing of Galician female folk trio Tanxugueiras from Northern Spain. In both cases I found myself thrilled to have chosen to be at those stages at that time and thinking I will remember these performances for many years.

'When the Wind Blows' by Cyril Hare

28 July 2026

Gareth Coles and I have enjoyed a long-running debate about the rules of detective fiction over many years. I have written here several times (initially in May 2014) about my own first two rules: 1. The reader should not know any more than the detective and 2. The detective should work out 'who done it' from the clues they unearth, rather than being handed the solution on a plate by a turn of events. I'm very grateful to Gareth for giving me a copy of 'When the Wind Blows' by Cyril Hare - a detective novel that could have been designed specifically with new in mind. A murder mystery very much in the style of the golden age of detective fiction (though published a little later, in 1949), it not only follows my rules but revolves around a symphony concert by a local amateur orchestra. Cyril Hare was the pen name of the judge Gordon Clark. He was a prolific writer of detective stories and 'When the Wind Blows' demonstrates his legal knowledge. Though it deals with a brutal murder, the book has a gentle comic tone that reminded me of 'Three Men in a Boat' by Jerome K Jerome. It unintentionally reveals much about the social norms of they period, some aspects of which feel quite uncomfortably dated now. But, although it is set more than 75 years ago, I can confirm that the description of an amateur orchestra committee meeting remains hilariously accurate! 

'Whistler' by Ann Patchett

26 July 2026

From the knowledge I cleaned from 'These Precious Days', Ann Patchett's book of essays (reviewed here in June 2026), on starting to read her new novel, 'Whistler' (as an unabridged audio book, narrated by the author), I quickly realised that this was going to be a particularly autobiographical novel. Daphne, through whose eyes we discover this story, has three fathers (her biological father followed by two stepfathers) - as does Ann Patchett herself. There are several other links between the character and her author. And 'Whistler', like the essays in 'These Precious Days' focuses on themes of mortality, family relationships, storytelling and the writing process. It's a confident, mature novel that is beautifully constructed. Several times, something is referred to that hasn't yet been explained and I found myself flicking back to see if I had missed something. But soon you realise you can trust Ann Patchett: everything will be explained in time. You are in safe hands and the way stories are told is part of the story she is telling. 'Whistler' is a deceptively simple family tale - beautiful, sad, moving and funny.

'Les Liaisons Dangereuses' by Christopher Hampton

23 July 2026

Christopher Hampton's play 'Les Liaisons Dangereuses', based on the novel by Pierre Choderlos de Laclos, was first staged by the Royal Shakespeare Company in 1985 with a cast including Alan Rickman, Lindsay Duncan, Juliet Stevenson and Fiona Shaw. In that production the part of the naïve teenager Cécile de Volanges was played by Lesley Manville. 41 years later, Lesley Manville takes the lead as the Marquise de Merteuil in Marianne Elliott's new production of the play for the National Theatre, which we saw in a NT Live screening at the Rufus Centre in Flitwick on Wednesday. Lesley Manville is wonderful, as is her partner in crime Aidan Turner as the Vicomte de Valmont who plays his part with a lupine glee - like the wolf in Red Riding Hood. Marianne Elliott's production is on a grand scale, with an extensive cast, wonderfully choreographed by Tom Jackson Greaves. But I think the play worked better on the intimate stage of the Donmar Warehouse in Josie Rourke's 2016 production (reviewed here in January 2016). Christopher Hampton's script is delicious, with its Oscar Wilde-like reversal of conventional morals, but the seduction scenes now feel very uncomfortable, the perpetrators' eventual comeuppance never excusing the damage done to their victims. 

BBC Philharmonic Orchestra Prom

22 July 2026

On Tuesday we were at the Royal Albert Hall in London for our first visit to the BBC Proms in many years. The BBC Philharmonic Orchestra, conducted by John Storgårds, were in impressive form. The programme opened with 'Tales of a Summer Sea' - a piece by Betsy Jolas, who is due to celebrate her 100th birthday this year. This was a belated UK premiere for her 1977 reworking of elements of the incidental music she wrote in 1962 for a production of 'The Tempest'. It's an atmospheric piece that conjures up the power of the ocean through a large orchestra including masses of percussion and two sets of timpani. We then heard Sueye Park perform the Sibelius 'Violin Concerto' - one of my favourite pieces and one I have played in the orchestra for on several occasions. Sueye Park played beautifully and delicately but the acoustics of the vast Albert Hall made it quite a strain to hear the solo violin. John Storgårds restrained the orchestra volume very effectively but I would have preferred to hear both soloist and accompaniment a little more off the leash. The second half of the concert featured 'Also sprach Zarathustra' - Richard Strauss's orchestral tone poem inspired by Friedrich Nietzsche's huge poem. The opening fanfare must be one of the most famous moments in classical music, from its use in the film '2001: A Space Odyssey', but the 35 minutes that follow are rarely heard. Which is a shame as it is a great piece - powerful, playful, spectacular and serene. Though I know the work from recordings, I had never heard it live before and it was really helpful to see it performed in order to make sense of the different sections of the music and the instrumentation. It was wonderful to hear the mighty Albert Hall organ. The tubular bells chiming midnight, heralding the quiet, enigmatic ending of the piece, rang out brilliantly from the balcony at the top of the Albert Hall. It was a very entertaining concert, excellently performed.

London Athletics Meet 2026

22 July 2026

On Saturday we made our annual visit to the London Stadium in the Queen Elizabeth Olympic Park for the Diamond League London Athletics Meet. I was looking forward to our first opportunity to see the remarkable world record-holder poll vaulter Armand Duplantis, but sadly he had to withdraw from the competition part-way through with an injury - though  he still managed to come in second place. We also saw Keely Hodgkinson beating Femke Broeders-Bol in an exciting 800m. But the highlight of a brilliant sunny afternoon of athletics was seeing Josh Kerr break the world record for the mile - a record that had stood for 27 years. His final lap was a thrilling race against the clock with the whole sold-out crowd of 60,000 on its feet cheering him on.

Buckingham Music Festival

16 July 2026

On Wednesday, we made a first visit to the Buckingham Music Festival at the Radcliffe Centre, a lovely converted church concert venue in the middle of Buckingham (where we previously saw the Adderbury Ensemble, reviewed here in October 2024). In the morning we saw a piano recital by Craig Greene which featured three early sonatas by Mozart, Beethoven and Brahms. Mozart's Piano Sonata No. 3 was composed in 1775 during his early years visiting Munich. Beethoven's Piano Sonata No. 1 was composed in 1795 and dedicated to his teacher, Joseph Haydn. And Brahms' Piano Sonata No. 1 was his Opus 1, composed in 1853 when he was just 20. It was fascinating to hear the contrast in these early works by the three composers, brilliantly played by Craig Greene, and to hear the development in the use of the piano over a relatively short period of time from the 1770s to the 1850s. The hall was packed for this morning recital. After lunch, we returned to the Radcliffe Centre for a performance by Oxus, a string quartet from Oxford, who presented a programme 'From the Steppes of Central Asia', inspired by the peoples and vast landscapes of the Caucasus and beyond. This featured movements from string quartets by Prokofiev, Shostakovich, Tchaikovsky and Borodin, which drew on local folk music across Russia and Ukraine. They also played arrangements of traditional pieces, including a Ukrainian folk song, music collected in Kazakhstan, an Armenian traditional tune, and finishing with a medley from 'Fiddler on the Roof'. It was a very entertaining and varied programme, nicely introduced by the members of the quartet. A very pleasant way to spend a Wednesday afternoon.

Northampton Symphony Orchestra concert

14 July 2026

Our traditional, season-ending, short, Sunday afternoon Northampton Symphony Orchestra concert for the Friends of the Orchestra, is always a lovely way to mark the start of the summer. It's also a great opportunity for the orchestra to play repertoire that wouldn't fit into one of our normal concerts. It's a chance for us, and our audience, to explore shorter pieces for a smaller orchestra. At this year's Friends' concert at Christchurch in Northampton on Sunday we played Schubert's 'Symphony No. 8' (the 'Unfinished Symphony'). I hadn't played this popular work for many years and had forgotten what a lovely piece it is. There is something very satisfying about playing a classical symphony that is so cleverly constructed and beautifully written but less technically challenging than some of the repertoire we usually play, providing the opportunity to play much more carefully and precisely. I would agree with our percussionist, Keith Crompton, who said to me after the concert that he thought the Schubert was the best the orchestra had played for a long time. Conductor John Gibbons drew a lovely, rich sound from the orchestra and kept the rhythms clear and steady. We continued our tradition of featuring the latest Northamptonshire Music and Performing Arts Trust soloists competition winners. Amy played the final section of the Glazunov 'Saxophone Concerto' very impressively. And Stan gave a stunning performance of the last two movements of the lovely 'Concertino for Trombone' by Ferdinand David. When Felix Mendelssohn was asked to compose a trombone concerto he declined due to time restraints but passed the task to the leader of his Gewandhaus Orchestra, Ferdinand David. The resulting Concertino was dedicated to the Gewandhaus trombonist Karl Traugott Queisser, who first performed it, with Mendelssohn conducting, in 1837. We also played the catchy 'Folk Song Suite' by Vaughan Williams and we finished the concert with the Rossini overture ‘The Thieving Magpie’ which featured excellent solos by Harriet Brown (oboe), Helen Taylor (flute), Rob Reid (clarinet), Sian Bunker (bassoon) and Ian Jones (horn). 

'Four Last Songs' by Linda Hutcheon and Michael Hutcheon

14 July 2026

I have written here several times (particularly in November 2010 and November 2024) about my long personal connection to the 'Four Last Songs' by Richard Strauss. I am grateful to Lindsey Jackson for remembering this and giving me a copy of Linda and Michael Hutcheon's 2015 book 'Four Last Songs' which explores aging and creativity by looking at the late works of four composers: Verdi, Strauss, Messiaen and Britten. The Hutcheons are academics at the University of Toronto (a literary theorist and a physician). As they both entered their sixties they became increasingly interested in continuing creativity in older age, and their book felt a very timely read for me as I started my retirement. By examining the later lives of the four composers, they look at whether their last compositions try to sum up their lives and their achievements or to point forward through an unexpected change in style. Verdi, famous for his very successful tragic operas, deliberately chose to end his career by writing a comic opera, 'Falstaff', to send a message to other Italian composers warning against the increasing 'Germanism' of Italian opera. The late works of Richard Strauss, including the 'Four Last Songs', seem to reject his previous exploration of modernism and revert to 'being Strauss'. Messiaen decided to spend his last years writing his first opera - the incredibly ambitious 'Saint Francois d'Assise'. Britten's last opera 'Death in Venice' deals specifically with aging, creativity and death. The Hutcheons' short book is fascinating - fairly academic in tone but with plenty of background about the context of the composers' later years - and made me want to listen more attentively to their (and other composers') late works.   

'The Barbecue at No. 9' by Jennie Godfrey

9 July 2026

Having enjoyed Jennie Godfrey's debut novel 'The List of Suspicious Things', in which a young girl in West Yorkshire in the 1970s attempts to identify the Yorkshire Ripper (reviewed here in July 2025), I was intrigued to learn that her new book is set in 1985 on the day of the Live Aid concert - a period that could have been my Mastermind specialist subject. 'The Barbecue at No. 9', which I read as an unabridged audio book (narrated by Gemma Whelan, Josh Dylan, Raffey Cassidy and Stephen Mangan) uses Live Aid as a backdrop and timeline for a gathering of neighbours. The Gordon family have invited all the other inhabitants of Delmont Close - many of whom have never previously met - to a barbecue in their garden to celebrate the occasion of the charity concert. At first I found it difficult to take in the substantial cast of characters (particularly listening to the audio book where it is difficult to skip back to check the names and house numbers). But soon I realised that the four narrators represented the four principal characters whose stories were going to be explored in depth. As with 'The List of Suspicious Things', Jennie Godfrey's writing reminded me of the novels of Joanna Cannon (including ‘The Trouble with Goats and Sheep’, set in the long hot summer of 1976, reviewed here in January 2022). The alternating stories of multiple, otherwise unconnected, individuals united in a moment also reminded me of Liane Moriarty's novel 'Here One Moment' (reviewed here in January 2025). You can tell there are going to be some twists and revelations but it took me a while to work them out. 'The Barbecue at No. 9' is enjoyable, entertaining and satisfying and I'm pleased to report that the Live Aid references were obviously well-researched.

Wimbledon 2026

4 July 2026

We had a lovely day at Wimbledon yesterday. It was a beautiful sunny day, not a cloud in the sky, but not too hot, with temperatures going up to 25 degrees and an occasional gentle breeze. We had tickets for Court 3 where we saw three entertaining third round singles matches. We watched the No 11 seed Belinda Bencic play Anna Kalinskaya, seeded 19 (who we saw playing doubles with Sorana Cirstea at Wimbledon last year, reviewed here in July 2025). This was an enthralling three set match with both players making plenty of mistakes. But Bencic always looked the better player and ended up pulling through. 

We then watched one of the most bizarre tennis matches we've seen at Wimbledon. Jan-Lennard Struff of Germany beat the No 8 seed, Daniil Medvedev, in straight sets, despite Medvedev leading 4-1 in the second and 5-2 in the third. Medvedev seemed to lose the match by getting increasingly frustrated, going through a phase of exaggerated gestures, followed by a period of sarcastic mutterings as he struggled to beat the huge, Struff serve. But he continued to play brilliantly on occasion, and just when we thought Struff would pull ahead in the face of Medvedev's dips, Struff's first serve appeared to desert him with both players struggling to close out the third set. Arguably the match was won on one amazing moment: Medvedev appeared to have played a brilliant winner with the ball legitimately going around the side of the net and back into court. But Struff asked for a video replay and, after several minutes delay, the replay on the big screen clearly showed that the ball had gone past the other side of the net post, through a gap in the net and out the other side, giving the point to Struff. 

Finally, we watched Karolina Muchava, the No 10 seed, playing Mananchaya Sawangkaew of Thailand, the world number 164 who was appearing in her first Wimbledon, having only played one Grand Slam before this, the 2026 Australian Open where she went out in the first round. She had got through to the third round at Wimbledon having beaten Maja Chwalinska, the recent French Open finalist, on the way. At first, we feared this match might be incredibly one-sided, as Muchova took an early lead. But Sawangkaew showed no fear and played very impressively, pushing the second set to a tiebreak before departing to huge cheers.

Suntou Susso and the Gambian Superstars

2 July 2026

Last Friday we were at The Stables in Wavendon to see Suntou Susso and the Gambian Superstars. Suntou Susso is a Gambian griot in the tradition of the hereditary musicians whose songs chronicled history and tradition across the Mandé Empire of West Africa (like the late great Malian kora virtuoso Toumani Diabaté, reviewed here in May 2008). Suntou Susso is a singer, songwriter and kora player with a very likable personality. He had the audience up dancing, almost from the start, on one of the hottest days of the year. He was backed by a very impressive six piece band of brilliant musicians, playing a mixture of traditional and contemporary instruments, who are clearly having lots of fun. It was mostly fast and frantic dance music: one tune with a slightly slower reggae beat provided a nice contrast. I also particularly enjoyed the couple of more contemplative solo pieces with Suntou Susso accompanying himself on kora. It was a very enjoyable evening that left the audience and the band smiling.

'Small Things Like These' by Claire Keegan

26 June 2026

I'm grateful to Gavin Stride for giving me a copy of 'Small Things Like These' by Claire Keegan. This very short novel (just over 100 pages long) was shortlisted for the 2022 Booker Prize. Set in New Ross, a small town in County Wexford in Ireland, in 1985, it tackles the appalling history of the Magdalen laundries. Now infamous as a shameful period in the history of Ireland and the Catholic Church, in 1985 the practice of incarcerating unmarried mothers and separating them from their babies was still largely unknown. (Ireland's last Magdalen laundry wasn't closed down until 1996). Claire Keegan tackles this difficult subject through the eyes of one man who starts to become aware of what has been happening under his nose. Her writing is sparse and poetic with every word carefully chosen. The opening paragraphs, which conjure up the town and its inhabitants, made me think of 'Under Milk Wood' by Dylan Thomas. This is also clearly Colm Tóibín territory: New Ross is just 20 miles from Tóibín's Enniscorthy and the careful period description of an Irish small town reminded me a lot of  'Long Island' by Colm Tóibín (reviewed here in July 2025). Keegan brilliantly gives you a perfect understanding of the relationship between two characters through the briefest exchange of dialogue, particularly (like Colm Tóibín) by what is not said. I also loved the quiet, understated symbolism of a new pair of shoes. 'Small Things Like These' is an almost Dickensian Christmas short story which never becomes whimsical or twee. It's a beautiful miniature that explores a dark subject with gentleness and hope.

'These Precious Days' by Ann Patchett

24 June 2026

I'm very grateful to fellow Ann Patchett fan Jess Plant for giving me a copy of 'These Precious Days' - Patchett's 2021 collection of non-fiction essays. I discovered Ann Patchett somewhat belatedly in 2023, reading her brilliant 2001 novel ‘Bel Canto’ (reviewed here in December 2023). Since then I have read and enjoyed her five subsequent novels (reviewed here, January 2024 - June 2025). 'These Precious Days' is an engaging and enjoyable collection of pieces on a variety of topics which gives you a rounded picture of the author, her personality, childhood, career, family and friends. Some of her pieces reminded me in their structure and tone of the comic essays of David Sedaris (reviewed here in June 2015). There are some very moving essays in 'These Precious Days' and Ann Patchett is particularly thought-provoking on the difficult topic of mortality. She is also very interesting on the business of being a writer and on her writing process. When I wrote here about her 2007 novel 'Run' (reviewed here in June 2024) I noted that Ann Patchett reminded me of the great contemporary American novelist Anne Tyler. So it was satisfying to discover, in the essay 'Cover Stories', that the publisher of Patchett's first novel hired the artist who had painted the cover illustration for Tyler's 'Breathing Lessons' in the hope of attracting Anne Tyler fans. Thirty years later Patchett says people still tell her that her novels remind them of Tyler's. Reading Ann Patchett's essays certainly makes you want to visit her book shop, Parnassus Books in Nashville. And I'm now really looking forward to reading her recently published tenth novel 'Whistler'.

Northampton Symphony Orchestra concert

23 June 2026

I've been a member of Northampton Symphony Orchestra for 26 years but last Saturday was the first time I can remember us dedicating a whole concert to a single piece of music. Any Gustav Mahler Symphony is a significant undertaking for an orchestra, but Mahler's 'Symphony No 3', which we played at St Matthew's in Northampton, brings some particular challenges. As well as being the longest of his symphonies, its six movements lasting around 95 to 110 minutes, it requires a massive orchestra, a mezzo-soprano soloist, a ladies choir and a children's choir. It was an amazing experience being one of 160 performers on Saturday (including an orchestra of more than 100 players).

NSO rehearsing Mahler 'Symphony No 3' in St Matthew's

I wasn't familiar with the 3rd symphony until we started to rehearse it and I found it quite difficult to appreciate at first. While there were clearly some beautiful, brilliant (and many seemingly impossible) passages, playing through one or two of the movements at a time they felt as if they came from completely different pieces. But as I got to know the symphony better I began to spot the use of common thematic material across the very different feeling movements and the work as a whole began to make more sense to me. Again I was reminded that there is no better way to understand and appreciate complex music than by playing it.

Flugelhorn solo from the balcony

Although there are plenty of tricky passages for the first horn player, Mahler 3 doesn't feature the substantial horn solos that terrified me when we played Mahler 6 in 2011 (reviewed here in November 2011). In the third symphony, while challenging solos throughout the orchestra were impressively conquered by NSO players, the limelight belongs to three instruments that have lengthy, exposed solos. John Whittall gave a fantastic performance of the commanding operatic trombone solo in the first movement. And Dan Newitt's beautiful Flugelhorn solo in the third movement, played from high up in the balcony at the back of the church, was stunning. But I would also like to praise the incredibly delicate, quiet bass drum solos that punctuate several sections of the symphony, played carefully and precisely by Henry Taylor.

Mezzo-soprano Rachel Roper was wonderful in the fourth and fifth movements. And the children's choir from the Malcolm Arnold Academy and ladies' chorus from the Northampton Bach Choir, directed by Simon Toyne, added a magical feel to the fifth movement.

NSO conductor John Gibbons deserves huge congratulations for pulling this enormous piece together and guiding us through a very impressive performance - and for conducting the whole symphony with one hand, with his left arm in a sling following a recent accident.

I suspect any performance of Mahler's 'Symphony No 3' feels like a significant event. It was amazing to be in the room to hear it live, let alone to play a part in the performance, and it was wonderful to be part of a brilliant horn section of nine players. I think our realisation of this massive undertaking was a triumph and I really enjoyed it.

NSO Horns

Afterwards, one member of our audience told us she was overwhelmed, saying "It's my absolute favourite piece of music and I never thought I would hear it live." This is an important reminder of the role amateur orchestras play in sharing lesser performed music with local audiences. While our performance of Mahler's 'Symphony No 3' definitely included a few minor mistakes (from me at least), it was much more exciting to hear it live than to listen to a recording.

'Ghost Writer' by David Tristram

15 June 2026

David Tristram is one of the UK's most popular and performed comedy playwrights. On average, one of his 29 published comedies is being performed somewhere in the world every single day. Like Alan Ayckbourn he writes plays that are well suited to amateur productions, usually requiring a single simple set. We first discovered David Tristram at one of our first visits to TADS, our local amateur theatre group in Toddington, in 2009 when we saw the gloriously silly murder mystery 'Inspector Drake and the Black Widow' (reviewed here in April 2009). On Saturday we were back at TADS for their latest David Tristram production, 'Ghost Writer' - a haunting comedy thriller. Like a contemporary version of Noel Coward's 'Blithe Spirit', playwright Edward (Rory White) is visited by the ghost of his dead wife Ruby (Jude Stacy) who tells him they need to find out which of the other actors in their company murdered her. Ruby persuades Edward to use Hamlet's 'play within the play' technique to try to reveal the guilty party. David Sachon's production brilliantly handles the required comic timing and crosstalk scenes (where only Edward can see or hear Ruby's ghost and everyone else assumes his comments to her are meant for them). The cast of six are all very impressive, with Andrew Naish's bright orange wig almost stealing the show. And the references to, and quotes from, 'Hamlet' are cleverly used. A very entertaining and enjoyable farce, excellently performed.

'Birnam Wood' by Eleanor Catton

15 June 2026

During my time as a charity chief executive, I remember a very interesting debate with my board of trustees when we were trying to establish formal guidelines for who the organisation would accept funding from. Charity trustees have a duty to focus on what is in the best interests of the charity, regardless of their own personal values and ethics. We concluded that decisions about the appropriateness of potential sponsors and donors should therefore be based only on the publicly stated purpose and values of the organisation and on whether acceptance of funding would be detrimental to the achievement of the organisation's purpose. I was reminded of this debate by Eleanor Catton's novel 'Birnam Wood', which tells the story of a small guerrilla gardening collective in New Zealand that is suddenly offered a huge donation by an American tech billionaire. The members of Birnam Wood are faced with the dilemma of weighing their distrust of the donor, his motives and what he stands for against the good they could do for their cause with his money. The novel starts as an intriguing moral and political argument but morphs into an increasingly tense thriller. The reference to 'Macbeth' in the title is clearly not accidental and, while Catton's novel doesn't mirror the plot of the play exactly, it definitely has the feel of a Shakespearean tragedy. Eleanor Catton won the Booker Prize for her previous novel 'The Luminaries' (reviewed here in December 2013). 'Birnam Wood' is a very different book but equally impressive. The third person narrative voice switches perspectives between the main characters, showing us slightly different understandings of the same events. Cleverly, only we can see that all the protagonists have misunderstood at least one aspect of what is going on. 'Birnam Wood' is a brilliantly written, gripping, intricately-plotted tale, punctuated by three shocking moments that completely took me by surprise.

Switzerland

8 June 2026

We had a wonderful holiday in Switzerland to celebrate the start of my retirement. We started in Basel in the north of the country, next to the borders with France and Germany, where our first challenge was to leave the airport through the Switzerland exit rather than end up in the wrong country! Basel is a lovely small city, with a pretty old town on either side of the impressive Rhine river. We visited the Fondation Beyeler art gallery - a stunning Renzo Piano building set in a beautiful garden with views of the nearby hills - to see an exhibition of Paul Cezanne paintings. We also attended an orchestral concert at the Stadtcasino concert hall which featured four concertos played by students from the Basel Academy of Music, accompanied by the Basel Symphony Orchestra. After Basel we travelled by train to Wengen in the Jungfrau region - a car-free village halfway up a mountain, only accessible via a cogwheel train. Our self-catering chalet was just outside Wengen and the view from our balcony was beautiful, looking down the Lauterbrunnen valley and across the three mountains - Jungfrau, Mönch and Eiger. As we sat on the balcony in the late afternoon we heard the increasing sound of cowbells and watched the cows being walked downhill for milking right past our cottage. We had a wonderful week in the mountains, catching the cable cars and mountain railways, walking, taking a cruise on Lake Brienz and soaking up the amazing views. From Wengen we moved on to Bern - the capital of Switzerland - which has a very pretty old city contained within a loop of the river Aare. It reminded us of Edinburgh's old town, with its cobbled streets and tall, thin, many storied buildings - but with added porticos (like we saw in Bologna). We visited the Einsteinhaus museum - in the apartment in which Einstein had once lived - and the Zentrum Paul Klee - another stunning modern building, by Renzo Piano, which holds 4,000 works by Paul Klee and displays a small selection on rotation. Finally we had a couple of days in Geneva where we travelled across the edge of Lake Geneva on the Mouette water buses, giving us beautiful views of the water and showing us how quickly you can get out of the city into lovely countryside. You can see a selection of my photos from Switzerland at: https://culturaloutlook.blogspot.com/search/label/Switzerland2026