Northampton Symphony Orchestra concert

17 December 2021

Because of the intervention of the Covid-19 pandemic, it has been two years since the last Northampton Symphony Orchestra Christmas Cracker concert - which always feels to me like the official start of Christmas. All last week, amid scary news about the rapid spread of the Omicron variant, I was convinced that this year’s concert was going to be cancelled at the last minute. So it was wonderful to find myself back on the stage of the Spinney Theatre in Northampton on Sunday afternoon in front of a sold-out audience (albeit with restricted numbers to allow for social distancing). The audience, and most of the orchestra, had to wear face masks throughout, and there were no mince pies, mulled wine or carol singing. Nevertheless it felt fantastic to be back playing the usual mix of Christmas tunes and film music after such a long break. Over the years, the traditional smattering of Santa hats and reindeer antlers amongst the orchestra has evolved into an increasingly competitive fancy dress competition. Those of us in the horn section prepared for our performance of Klaus Badelt’s music from ‘Pirates of the Caribbean’ with matching pirate hats, some elaborate pirate outfits, cutlasses and one 6-foot parrot costume! The centrepiece of the Christmas Cracker concert is always a narrated piece: this year we returned to ‘The Snowman’ by Howard Blake, with excellent storytelling by our compere Alan Bell and a brilliant solo rendition of ‘Walking in the Air’ by young soprano Elizabeth Aston. Another highlight for me was the stunning flute solo by Graham Tear in the final bars of ‘Han Solo and the Princess’ by John Williams (from ‘The Empire Strikes Back’). We finished the afternoon, of course, with an encore performance of Leroy Anderson’s ‘Sleigh Ride’ - and, at least in that moment, normality was restored. It was a lovely concert: a happy and moving experience.

‘Blue as the Turquoise Night’ by Eric Jacobsen, Kayhan Kalhor and Sandeep Das

10 December 2021

I first discovered the Iranian musician Kayhan Kalhor through his 2004 album with Ali Akbar Moradi, ‘In the Mirror of the Sky’. Kalhor plays the kamancheh - a Persian bowed string instrument - and combines Iranian classical music with Kurdish folk music. His playing has a beautiful, eerie quality. I love ‘Silent City’, the album he made with the Brooklyn Rider string quartet In 2008 which creates a stunning ambient sound world, like a film score for an imaginary film. This week I have been listening to ‘Blue as the Turquoise Night’, a new album by Kayhan Kalhor, Eric Jacobsen and Sandeep Das. It’s an interesting collection of pieces including ‘Blue as the Turquoise Night of Neyshabur’, a four-movement work composed by Kayhan Kalhor for Yo-Yo Ma’s Silkroad Ensemble, here featuring Kalhor’s kamancheh soaring over a full string orchestra, accompanied by Sandeep Das on tabla. But the track that has really caught my attention is the sublime ‘Atashgah’, composed for Kayhan Kalhor and Brooklyn Rider by Colin Jacobsen, one of the quartet’s violinists, here in a version for string orchestra conducted by the composer’s brother Eric Jacobsen. Kalhor’s kamancheh has an improvised conversational quality, appearing to tell a passionate story that builds to a joyous conclusion backed by luscious string harmonies. In complete contrast, the album also includes two Balkan tunes featuring the New York Gypsy All Stars and an RD Burman Bollywood composition arranged for tabla and strings. It’s an odd but fascinating mixture.

‘A Thousand Ships’ by Natalie Haynes

3 December 2021

I’ve written here before about my enthusiasm for BBC Radio 4’s ‘Natalie Haynes Stands Up for the Classics’ (reviewed here in July 2020) in which the comedian and classicist Natalie Haynes takes a fresh look at the ancient world. I’ve now finally got around to reading ‘A Thousand Ships’ - Natalie Haynes’ version of the Trojan War through the eyes of the women. The book is a surprisingly straightforward retelling of all the familiar stories, albeit from welcome new perspectives. We get Clytemnestra’s take on her revenge against her husband Agamemnon, Cassandra’s frustration with having to live with the curse of her foresight and, best of all, Penelope’s increasingly exasperated unanswered letters to her absent husband Odysseus as he manages to take 10 years to return from his victory at Troy. These letters take a Joyce Grenfell-like approach to the Odyssey. Although she starts the book with the fall of Troy, Natalie Haynes fills in all the backstories in the way a sophisticated modern TV show would. ‘A Thousand Ships’ is, necessarily, very episodic - more a series of short stories - but by alternating between the various characters, and using flashbacks to create a non-linear narrative, keeps us engaged throughout.

'Crossroads' by Jonathan Franzen

26 November 2021

Jonathan Franzen is a fascinating and impressive writer but his incredibly lengthy novels can sometimes feel like hard work. His masterpiece was ‘The Corrections’ (2001), which cleverly made the reader sympathise simultaneously with people who held completely opposing points of view – turning apparently unlikeable characters into sympathetic people. But his subsequent novels ‘Freedom’ (reviewed here in April 2012) and ‘Purity’ (reviewed here in February 2016) felt like increasingly diminishing returns - a trend continued by his new book ‘Crossroads’, which I have just finished reading as an unabridged audio book, narrated by David Pittu. ‘Crossroads’ is another doorstop of a novel (592 pages) which focuses like ‘The Corrections’ on the members of a family, in this case Russ Hildebrandt - a pastor in New Prospect, Illinois, his wife and four children. Set initially in 1971, we see the Hildebrandts’ domestic life, and their involvement in the church youth group (Crossroads), through the eyes of each of the family members in turn (apart from the youngest child Judson whose perspective we sadly never get). As in his other novels, Jonathan Franzen very cleverly shows us the same events from different points of view, constantly upending the assumptions and sympathies we have formed. It’s a very impressive technique, brilliantly used in the first half of the novel which revolves around the events of a single day, painstakingly sketching in the details and backstories as we alternate between the five viewpoints. The second half of the book stretches the same approach over a longer timeframe. Although it’s wonderfully written, and often very funny, it felt too slow and too long, and all five protagonists - despite having vast archives of mitigating reasons for their behaviour, which are gradually revealed to explain their actions - ultimately all remained quite annoying and unlikeable. Jonathan Franzen always seems to be trying to write the great American novel - saying something about the state of the country through the minutiae of family life - and ‘Crossroads’ reminded me of another book with similar ambitions, Philip Roth’s ‘American Pastoral’, which I also found very impressive but quite hard work to read. Set against the backdrop of the Vietnam War, there is a lot of sex, drugs and religion in ‘Crossroads’ but it could have done with a bit more light relief.

Market Harborough Orchestra play-through

17 November 2021

I first encountered the 'Sonatina no. 2 for 16 Winds' by Richard Strauss ('From the Happy Workshop') in 2016 when I performed the piece in Northampton with the Heliotrope Chamber Ensemble (reviewed here in April 2016). The Sonatina was one of the last works Strauss wrote and was intended as a tribute to the wind music of Mozart. It’s incredibly difficult but huge fun to play. It was lovely last Saturday to have another chance to get to grips with this wonderful piece of music in a play-through with members of the Market Harborough Orchestra. Like many amateur music groups, the Market Harborough Orchestra has not yet restarted regular weekly rehearsals after the break imposed by lockdown. Wary of committing to a programme of concerts during this ongoing period of uncertainty, the orchestra is instead organising an occasional series of one-off Saturday sessions for its members to play through a range of repertoire. It was very enjoyable to spend a couple of hours on Saturday afternoon working on the intricacies of the Strauss Sonatina with conductor Stephen Bell, before ‘performing’ the work to ourselves.

Tom Robinson

12 November 2021

Drapers’ Hall is one of the few Regency buildings in Coventry. It was built in 1831-2 as the headquarters of the Coventry Drapers’ Guild but was last used as a youth magistrates’ court over 30 years ago. Working with The Princes’ Foundation, Historic Coventry Trust has restored the building as a home for Coventry Music Service and a music and events venue. On Thursday evening we were at Drapers’ Hall for the first public event there for more than 30 years, a concert by Tom Robinson. The building, right in the centre of Coventry next to the Cathedral and opposite the Herbert Art Gallery and Museum, is in Greek Revival style and consists of a series of grand ceremonial spaces lit by rooflights. It reminded me of the Assembly Rooms in Edinburgh and Bath. Regular readers will know I am a big fan of Tom Robinson who we saw perform many times across the country in the 1990s. He spent many years away from touring when he became a regular presenter on BBC 6 Music so it’s been great rediscovering him since he started performing live again (reviewed here in August 2014, November 2015 and October 2017). Thursday’s concert at Drapers’ Hall was a solo performance drawing on Tom’s extensive back catalogue of songs and anecdotes. Now 71 years old he has lost none of his energy, wit, musicality and political passion - adding additional verses to many of his older songs to reference climate change, Brexit and the current UK government. Tom Robinson has always generously supported emerging young artists and it was lovely to see him introducing local singer/songwriter Dolly Mavies, who he had featured recently on his BBC Introducing Mixtape programme, to open the evening at the beautifully refurbished Drapers’ Hall.

'The Midnight Library' by Matt Haig

5 November 2021

Matt Haig’s novel ‘How to Stop Time’ (reviewed here in February 2018) had a great premise and was very enjoyable but felt like a short story expanded into a novel. Reading his 2020 novel ‘The Midnight Library’ I was reminded what an engaging writer he is but I also thought this was another missed opportunity for what could have been a more substantial story. In ‘The Midnight Library’ Norah Seed is frustrated by her life, weighed down by regrets and what-ifs, and considering ending it all. Suddenly she is transported to a magical library filled with books outlining all the lives she could have led if she had made different choices. Opening each book plunges her into an alternate version of herself - and leaves her having to quickly work out what and who she is supposed to know. This reminded me of the sudden-death role-play experienced by the narrator of Stuart Turton’s ‘The Seven Deaths of Evelyn Hardcastle’ (reviewed here in April 2019) and of 'The Time Traveller's Wife' by Audrey Niffenegger (reviewed here in August 2006). ‘The Midnight Library’ is another take on Frank Capra’s ‘It’s a Wonderful Life’: the alternatives naturally make Norah begin to appreciate what she had in her original life and help her to find a way through her despair. You can imagine ‘The Midnight Library’ as a Richard Curtis film. The alternate realities are very entertaining and initially it’s a gripping read but I felt the narrative needed a few more twists to really take advantage of this inventive structure.

Northampton Symphony Orchestra concert

27 October 2021

Last Saturday I played in my first live concert since the moving experience of performing Beethoven’s ‘Symphony No 5’ with Milton Keynes Sinfonia just before the start of the first lockdown in March 2020 (reviewed here in March 2020). This was the first Northampton Symphony Orchestra concert since we played Bruckner’s ‘Symphony No 4’ in February last year (reviewed here in February 2020) and it felt wonderful to be back in front of a live audience again. Saturday’s concert at St Matthew’s Church in Northampton was a spectacular return for the NSO, marking the centenary of the birth, in Northampton, of the composer Sir Malcom Arnold - who actually played in the NSO himself as a young man. We started with Arnold’s ‘A Grand Grand Festival Overture’, a notorious piece which features three vacuum cleaners and a floor polisher. It was quite an achievement - by several members of the orchestra - merely to track down the vintage vacuum cleaners needed to make the required sound. Our four soloists did a great job cleaning the floor of the church in precise formation, co-ordinated by elaborate hand signals from conductor John Gibbons, before all four were felled by rifle shots aimed by the NSO’s newly appointed President - our recently retired principal trumpet, Nick Bunker. Quite what the new orchestra leader Emily Groom made of this eccentric introduction to the NSO I am not sure but the audience certainly enjoyed the bizarre spectacle. We followed the overture with a completely different example of Malcolm Arnold’s orchestral writing, his ‘Symphony No 2’, composed in 1953. Although the symphony features some of Arnold’s trademark jollity (particularly in the final movement) it is quite a serious piece with a stunning, bleak, Mahlerian slow movement. The symphony, and especially the slow movement, has really grown on me during our rehearsals. I think our performance went very well, with beautiful playing from Naomi Muller on clarinet in the sparse opening to the first movement and a very impressive bassoon solo from Sian Bunker at the beginning of the third movement. We finished the concert in more familiar territory with the ever-popular ‘Symphony No 3’ by Camille Saint-Saens - the ‘Organ Symphony’. It’s a lovely piece with a surprisingly challenging Third Horn part, wonderfully played by Callie Scully. The famous moment when the thunderous organ chords, played by Justin Miller, herald the start of the finale felt incredibly emotional: it was so good to return to live music after the long break caused by the pandemic.

‘Redhead by the Side of the Road’ by Anne Tyler

21 October 2021

Regular readers will remember I am a big fan of the novels of Anne Tyler (see, for example, 'Noah's Compass' reviewed here in May 2010, 'The Beginners Goodbye' reviewed here in March 2013 and 'Dinner at the Homesick Restaurant' reviewed here in July 2014). In 2015 she suggested that her new novel, 'A Spool of Blue Thread' (reviewed here in March 2015) might be her last, but she has subsequently published two more short novels - 'Vinegar Girl' (reviewed here in July 2016) and ‘Redhead by the Side of the Road’ which I have just finished reading. ‘Redhead by the Side of the Road’ feels like a return to vintage Anne Tyler: it features suburban Baltimore life, polite but strained family relationships and a quirky small business. Much like Macon Leary in ‘The Accidental Tourist’, Micah Mortimer is a thoughtful, sensible, slightly dull and lonely protagonist, dominated by his more extroverted siblings. The unexpected arrival on his doorstep of a teenage boy threatens to upset the balanced equilibrium of Micah’s life and makes him reassess his choices. As always, Anne Tyler writes a gentle, poignant, humorous and heart-warming story. My only disappointment was that this short book (less than 200 pages) feels like an extract from a much longer novel. I longed to see more of Micah’s eccentric family and to see what happened to him next.

'Fargo' by Noah Hawley

15 October 2021

I have written here before (in October 2017) about my love of ‘Fargo’, Noah Hawley’s superlative TV series inspired by the 1996 Coen Brothers film. Each season of the show is a self-contained story with a completely different set of characters in a different place and a different time - but always eerily familiar to the previous seasons and the film. The fourth season, which I’ve just finished watching, takes us further back in time, to 1950 in Kansas City, Missouri, and almost acts as an origin story for the other three - showing the early development of gang warfare between various immigrant communities. It’s possibly the most violent ‘Fargo’ (and that’s saying something!) but it’s also incredibly funny - a very darkly comic version of ‘The Godfather’. Chris Rock gets lead billing as the head of the African-American crime syndicate, Jason Schwartzman is wonderful as the hopelessly out-of-his-depth leader of the Sardinian Fadda family and Ben Wishaw is the sole survivor of the Irish family that previously ruled the city. But, as usual, Noah Hawley gives the women the best parts with E'myri Crutchfield playing the still, calm, sensible teenager at the heart of the storm, J. Nicole Brooks fearsome as a gang leader’s wife protecting her children and Jessie Buckley stealing the show as the gloriously deranged serial-killer nurse Oraetta Mayflower. This season’s beautiful surreal digression is (for no particular reason) a very subtle homage to ‘The Wizard of Oz’. There is also one magnificent moment of simple slapstick which completely punctured the violent tension of the plot and had me roaring with laughter, leaving me totally unprepared for the brutal sting in the tale that follows. It was great to spot some recurring ‘Fargo’ motifs and more New Orleans brass bands on the soundtrack. But the real pleasure of ‘Fargo’ is the delicious slow plotting which gradually reveals clarity from confusion and very satisfyingly brings comeuppance to those who deserve it, in the most unexpected ways.

'Going Gently' by David Nobbs

7 October 2021

David Nobbs is a celebrated comic writer whose many successes include the TV series ‘The Fall and Rise of Reginald Perrin’, ‘A Bit of a  Do’ and ‘Love on a Branch Line’. I’ve just finished reading his novel ‘Going Gently’, first published in 2000. Framing the story of someone’s life by having them reflect on their journey while lying on their deathbed is not a particularly original technique, but David Nobbs uses it to create an entertaining and poignant family saga. Kate lies paralysed in a hospital bed, approaching her 100th birthday, but although she cannot speak her mind is still alert and she spends her time reliving her long and eventful life. Her reminiscences - of her strict presbyterian upbringing in South Wales, her (many) husbands and children and her rise to celebrity status - are interspersed with the conversations happening around her bed between doctors, visitors and other patients. Kate’s life is a remarkable tale, verging on the ridiculous, but which manages to keep just on the right side of plausibility to draw the reader’s sympathy. Nobbs creates a vast cast of comic characters who we warm to despite their quirks and faults. ‘Going Gently’ is a really enjoyable read.

Stirlingshire

1 October 2021

35 years ago, in September 1986, I walked the West Highland Way long distance footpath from Milngavie on the outskirts of Glasgow to Fort William. This 96-mile route was then fairly new: it officially opened in 1980, becoming Scotland's first officially designated Long Distance Route. Last week was a trip down memory lane for me as we had a lovely holiday in a cottage situated on the early part of the West Highland Way at Gartness in Stirlingshire, near to the south end of Loch Lomond. All week there was a steady stream of walkers past our front door and it was great to walk a few sections of the route again after so many years. Loch Lomond is one of the most beautiful places I have ever been, and it’s huge - nearly 23 miles long and between 1 and 5 miles across. We walked along the east shore of the loch from Cashel to Sallochy, and from Balmaha up Conic Hill for the view back across the loch. We also enjoyed walks in the Great Forest of Loch Ard, near the start of the River Forth at Aberfolye, and from the remote Stronachlachar Pier along the shore of Loch Katrine. We were very lucky with the weather, seeing plenty of sunshine and only a little drizzle. It was wonderful to return to this stunning part of the country after so long.

‘A Gentleman in Moscow’ by Amor Towles

17 September 2021

‘A Gentleman in Moscow’ by Amor Towles (which I have just finished reading as an unabridged audio book, narrated by Nicholas Guy Smith) is perhaps the ultimate lockdown novel. Count Alexander Ilyich Rostov is very much part of the aristocracy the Russian revolution intended to overthrow but, because he appears to have written some pro-revolutionary poetry, the Bolsheviks don’t know what to do with him. Their compromise, in 1922, is to place him under indefinite house arrest in the Metropol Hotel in Moscow. Moved from his grand hotel suite to a small spartan room on the top floor, the Count lives for years as a permanent guest, dining in the hotel restaurant, reading the newspaper in the lobby and having his hair cut by the hotel barber. A polite and thoughtful gentleman, he gradually becomes good friends with many of the hotel staff and some of the regular returning guests. Meanwhile the world outside the hotel moves on and Amor Towles cleverly shows us a dramatic period in Russian history through the microcosm of the hotel. This technique reminded me of the history of 20th century Germany recounted through its effect on the inhabitants of a small rural village in Edgar Reitz’s magnificent epic film ‘Heimat’. ‘A Gentleman in Moscow’ is a remarkable book - charming, moving, clever and witty. It ranks with my two favourite recent historical novels - ‘Golden Hill’ by Francis Spufford (reviewed here in August 2017) and ‘Now We Shall Be Entirely Free’ by Andrew Miller (reviewed here in April 2020) - beautifully written, historically fascinating and playful. Nicholas Guy Smith’s narration is brilliant, particularly his characterisation of the novel’s many voices, but it is occasionally odd to hear this English narrator using the American author’s pronunciation (eg of basil and oregano) in this tale of the early 20th-century Soviet Union. Alexander Rostov is a wonderfully well drawn character: by the end of the novel he feels like a well-loved family member - slightly old-fashioned, occasionally pompous, but perceptive and caring, and deeply loved, by his friends, his colleagues and us readers.

'Anything Goes' by Cole Porter

9 September 2021

Last Saturday we were at The Barbican in London to see ‘Anything Goes’ - our first visit to a theatre since March 2020. Cole Porter’s 1934 musical was written as feelgood escapism for a depression-era audience, making it perfect for 2021. Director and choreographer Kathleen Marshall has revived her 2011 Broadway production of ‘Anything Goes’, bringing its star Sutton Foster (who won a Tony Award for her New York performance as Reno Sweeney) to make her London debut. Foster is a mesmerizing stage presence, leading a huge cast but she always seems to be the focal point. It’s hard to go wrong with a score that features songs including ‘I Get a Kick Out of You’, ‘You’re The Top’, ‘It’s De-lovely’ and ‘Anything Goes’. The title song tap number which closes the first half of the show is worth the price of admission on its own. There is great support from British veterans Robert Lindsay, Felicity Kendal and Gary Wilmot, and Samuel Edwards impresses as the male lead Billy Crocker. But this is Sutton Foster’s show - a song and dance masterclass. And it was wonderfully emotional to be part of a sold-out audience brought to its feet by an old-fashioned stage musical. It was a joyous occasion. Watch the trailer at: https://www.youtube.com/watch?v=LgKQSYBRRC0

SV Musicology - Female Composers Map

3 September 2021

Sakira Ventura is a music teacher from Valencia who has been working to put female composers on the map, literally. Her interactive online map features more than 500 composers - many of them previously forgotten or neglected: https://svmusicology.com/mapa?lang=en It’s great fun delving into the map at random and reading the short biographies before following the links to Wikipedia and Spotify. I’ve been listening to ‘All Things Majestic’ - an orchestral suite by the contemporary American composer Jennifer Higdon which is a tribute to America’s National Parks, inspired by the breathtaking landscapes of the Teton mountain range. I’ve also enjoyed the gentle, thoughtful instrumental music of the young Jordanian-Canadian film composer Suad Bushnaq, including her score for the 2015 film ‘Al Munataf (The Curve)’. Sakira Ventura admits she still has a long way to go to map female composers: she has already identified at least another 500 to be added to the website. I was a little disappointed by the absence of Ruth Gipps, whose wonderful Horn Concerto I discovered earlier this year through the performance by Annemarie Federle in the BBC Young Musician final. But if you’re stuck for something new to listen to the map is a great place to start. More details at: https://www.theguardian.com/music/2021/aug/19/they-deserve-a-place-in-history-music-teacher-makes-map-of-female-composers

'A Midsummer Night's Dream' by William Shakespeare

26 August 2021

Of all the touring companies presenting summer open-air theatre, I think we have seen more Chapterhouse productions than any of the others. I’ve reviewed 8 of their performances here, including my first ever experience of watching ‘A Midsummer Night’s Dream’ (reviewed here in July 2009). Last Friday we saw the latest Chapterhouse production of ‘A Midsummer Night’s Dream’ in the beautiful setting of the Swiss Garden at Shuttleworth, Old Warden. It was a lovely evening and a really enjoyable performance - a straightforward but high-quality presentation of the play with some excellent acting. But the highlight (ironically) was the moment, minutes from the end, when the power was lost and the floodlights went out, plunging us all into darkness. The audience instantly produced torches and mobile phones to illuminate the stage and the actors finished their comic dance, humming in place of the recorded music. Puck’s epilogue, which begins “If we shadows have offended …” got a big laugh and then we picked up our garden chairs and the remnants of our picnics and carefully found our way out of the Swiss Garden by torchlight after a magical evening.

'Blast from the Past' by Ben Elton

20 August 2021

Having enjoyed ‘Time and Time Again’ (reviewed here in January 2021) I have been reading another Ben Elton novel, ‘Blast from the Past’ - a gripping thriller published in 1998. It’s not always a comfortable read - dealing with themes of sexual politics and sexual violence - but I certainly wanted to know what happened. The structure of the book feels more like a stage play, set mostly in a single room on a single night, with flashbacks to fill in the characters and how they came to know each other. The chapters are incredibly short, creating a fast-paced story which starts intriguing and builds to genuinely thrilling, with a series of great plot twists. It’s not entirely believable and the characters are not that sympathetic but it’s an exciting and unpredictable read.

'Macbeth' by William Shakespeare

12 August 2021

Last Saturday we returned to Wrest Park in Silsoe to see an open-air production of ‘Macbeth’ by the Lord Chamberlain’s Men. We’ve seen this company twice before, performing ‘Twelfth Night’ (reviewed here in August 2009) and ‘A Midsummer Night’s Dream’ (reviewed here in July 2019). The Lord Chamberlain’s Men is an all male outdoor theatre company, a re-creation of Shakespeare’s original troupe of travelling players. They specialise in traditional performances of Shakespeare plays. There are no modern references, props or gimmicks, just a group of excellent actors in full Elizabethan costume – with all the female parts played by men. Their ‘Macbeth’ was therefore a very different version to the production by the Handlebards that we saw in June at Luton Hoo Estate (reviewed here in June 2021) - a charmingly silly romp by three female actors. Saturday’s performance was conventional, clear, extremely well-acted and gripping. It was slickly presented at a fair pace, without any gaps between scenes, taking us through the story (with some sensible cuts) in a mere 95 minutes without an interval. It was lovely to be part of a huge audience for some great live theatre in a beautiful setting.

'The Eternal Rocks Beneath' by Katherine Priddy

5 August 2021

I’ve been enjoying ‘The Eternal Rocks Beneath’, the debut album by English folk singer/songwriter Katherine Priddy. This is a varied collection of original songs which includes traditional English folk, acoustic pop and Celtic styles. She is a fan of Nick Drake and you can hear his influence in her delicate vocals over gentle guitar arpeggios. Many of the songs are backed by string quartet, with some guest contributions on folk fiddle and tin whistle. Some of her writing and her vocal delivery reminded me of the great Kirsty MacColl (particularly on the upbeat ‘Letters from a Travelling Man’, accompanied by swinging double bass and banjo) and there is a also a flavour of my favourite English folk singer Ruth Notman (last reviewed here in November 2019) to the album (especially in the higher range vocals on ‘The Isle of Eigg’). ‘The Eternal Rocks Beneath’ is a lovely album - here is a sample: https://www.youtube.com/watch?v=jJW3bjff02I

‘This Must Be the Place’ by Maggie O'Farrell

29 July 2021 

I really enjoyed reading Maggie O'Farrell’s 2016 novel ‘This Must Be the Place’ - a exquisitely plotted jigsaw puzzle narrative which flits backwards and forwards in time to piece together the story of a reclusive former film star hiding from the world in Donegal, her American second husband and their families. Each chapter pulls the rug from under the reader as we shift to a different perspective and question what we had previously assumed but the gradual filling-in of the narrative is very satisfying and Maggie O’Farrell builds an extended cast of sympathetic characters.