Hi all. It's Friday afternoon and it's been a mixed week, to put it politely.
Last weekend was rather glorious: a trip to The Globe for a matinee performance of As You Like It with my students (and ex-students, and their kids) and colleagues. I have to confess to having a heart of stone when it comes to Shakespearian comedy, despite being well aware (before you all write in) that comedy = happy endings in those days. However, this performance was a triumph. It was already ahead of last year's Antony and Cleopatra because lightning and thunder were conspicuously absent. All the coincidences and unconvincing doubling were played up and the knob gags and so on were done like panto, which I thought really worked. The actors from star to bit part were seriously impressive, doing everything from saucy bits to tenderness so well: I could even see a few people wiping away tears as the couples got hitched and Rosalind was reunited with her father (sorry to ruin the ending for you). I definitely wasn't one of them. Not at all.
So that was good: fine theatre, Greek food with friends, catching up with our graduates and then driving home past Walsall Stadium in the rain where – I found out later – Elton John was performing to the more tasteless of some other friends. I wasn't sure whom to feel sorriest for: them for preferring Elton John to – for example – rolling around in shattered glass, or Elton John for going from private jets and global fame to standing in the rain next to a motorway in the shabbiest, tiniest football stadia for miles. It's no dignified way to end a career.
After that, the week nosedived quite significantly. There were high points - presenting a preliminary version of the politicians' novels project to our staff conference and seeing other colleagues' research (one paper on Victorian prisoners was called Pros and Cons: I do love a good pun), and meeting our external examiners, who think we do a marvellous job. If only our management would say the same. Sadly, however, and with some truly wonderful exceptions, it's beginning to feel like there's nothing we can say or do which would persuade them not to treat us as some kind of incomprehensible enemy. There's an awful lot I can't say in public, but it's been one of those weeks in which jobs.ac.uk has been refreshed constantly.
My own worries aside, most of the week was taken up by preparing for and representing my professorial colleagues, 19 of whom have been shortlisted for redundancy. Why 19? Because 20 triggers a range of legal responsibilities which might impede management's (ahem) 'determined' style. It's been a long time since this institution felt or behaved like a collegiate body united by a set of educational values. Instead we get corporate platitudes and a 'leadership' (they love that word, and attend seminars on what it means) which derives its tactics and sense of self-worth from episodes of The Apprentice.
This time some of the professors are in line for the sack and others are up for bonus payments (as are lots of the senior management team, who consume lots of carrots but never catch sight of a stick). I have bored a lot of them with my views on this, and intend to carry on (what's the point of being a governor otherwise?) but I may as well rehearse the arguments here. Why stop at boring those around me when I can do it to The Internet?
In the corporate world, ordinary employees receive a salary for doing their jobs well, and get sacked for not doing them well (or, thanks to the Tories, for pretty much any non-existent infringement). The senior executives get massive salaries but can't be expected to do their jobs well without even more massive bonus payments. These are supposedly performance-linked, which has led to – inter alia – the banking crash. If you're offered a bonus for hitting targets, you're going to suggest short-term ones which are easy to fix rather than ones which are good for the organisation. Nor, if you're a bonus recipient, should you ever mention your sneaking suspicion that success is rarely attributable to individuals.
However, if you temporarily forget that corporate stupidity affects the wider economy and society, you might just about justify this on free-market capitalist grounds. My problem is that academia has been invaded by these corporate blackmailers, in person or in spirit. Fewer and fewer senior educational managers are academics, and those who are have sold out to the discourse of leadership and reward. It's below-inflation pay settlements for the workforce, and retainers and performance bonuses for themselves. These are, of course, in case they take their talent elsewhere. Personally I would invite anyone making such veiled threats to try their luck, but I'm heavily outnumbered on the board and the decisions are made in private sub-committees by people who speak the same language.
What is success in relation to a Higher Education institution? Is it increased recruitment? We could pack them in - but we might not be able to serve their needs successfully. Is is 'student satisfaction'? We have the National Student Survey, invoked in hushed terms at every meeting. We could ace that: just give everyone high grades and replace the library with a corporately-branded coffee area (this is why in the US the American Football coach is more highly-paid than the vice-chancellor). Is it attainment? We can fiddle with the grading algorithm like all the other universities. For every Key Performance Indicator, there's a way to fiddle the result so that someone gets a fat cheque at the end, as though any achievement – meaningful or not – is the result of one go-getting Leader.
So far, so seedily familiar. That boat has sailed. We all expect academic executives to behave (dress, speak) like those they see as their peers in the private sector. Whenever I say anything like this to them you can see the eyes roll as they wonder if I've just arrived from a WEA class circa 1937. But even though I'm not and never expect to be a professor, I want to weep at this extension of corporate amorality from administration to education (and oh yes, my appraisal includes the category 'appearance' but not 'intellect'):
In fact it's worse: the executives find ways to blame everybody for failure, while jealously guarding the rewards of success. With the professors, they're getting both carrot and stick. Nobody here doubts that some the profs may be exhausted, burned out or distracted (some might even just be plain lazy), but the management's decision to arbitrarily select a couple of appraisal points without any critical judgement smacks of contempt. It implies that professors are educational colossi, striding across the pedagogical landscape without any involvement with the rest of the place. It suggests that their achievements are the result of heroic solo labour, and their failures are purely personal. Never mind that the benchmarks are artificial, that research funding is not distributed fairly either here or in the sector as a whole, that other duties other than grant income or REF-able research is valuable and essential. Never mind that giving a Prof all the time needed for those papers requires everyone else to do their teaching and pastoral work, and diverts resources from collective effort to the Heroic model.
No: let's treat them as isolated demigods, masters of their own fates, regardless of local or wider conditions: educational, financial or emotional.
I'm reminded of a cheap TV show from some years back: Pets Win Prizes. This is what bothers me most about the Night of the Long Professorial Knives. Despite the protestations of fair play and impartial criteria, it seems to me that the twin approaches of the sack for some and cash rewards for others is the final power-play by an administration (not just here) that has got above itself. In theory – very much in theory, sadly – the Professors are the academic conscience of a university, particular one that isn't run by the academic staff. Their reputations and body of work enables them to contribute to the fundamental values and direction of the institution, informed by long experience and critical abilities. The title of 'professor' contains within itself a statement that what they do is more than a job: they profess a set of beliefs or values which transcend their formal terms of employment.
All this goes out of the window once the professor is left wondering whether the next phone call is to had her the price of a good holiday or summon her to an exit interview. Who will challenge (constructively or not) anything that happens when their are such serious consequences? You'd have to be hard as nails to resist the tide in this way or – like me – resigned to finding fulfilment in my small but steady academic niche rather than in the warm glow of management's regard. It's not good enough. My colleagues and I are summarily dismissed as union hacks: we would say this, wouldn't we? We no longer have any impact because the academic staff, like all the others, are no longer colleagues of the executive but work for it and should just shut up. This is why some of the executive refers to 'the university' when they mean themselves. I was always under the impression that 'the university' includes students, academics, support staff, the executive and all sorts of other people. The point of having a confident, self-critical and autonomous professoriate is that they can keep a check on the executive's schemes without being dismissed – as I and my UCU colleagues are – of being the 'usual suspects'. They might not always live up to this role, but they never will if they can be fired at will or be handed tips by an avuncular VC.
Last night, I went to Symphony Hall to see Andris Nelsons' last performance as conductor or the City of Birmingham Symphony Orchestra. Between the pieces, members of the orchestra spoke movingly of their relationship with him, and afterwards Nelsons gave a lovely speech about them, and the value of music and the arts to society. It was blindingly obvious that to him, the old model of the conductor as some sort of musical Mussolini bending the orchestral peons to his will was completely outdated. Instead, Nelsons built on the existing skills of the orchestra and introduced them to new ways of seeing music, to new repertoires, to new horizons. With collective goodwill, both he and the members of the CBSO part company improved by the experience.
I think it's time university executives shook off the embarrassing management models of Enron and Lehman Brothers. Universities have been around a hell of a lot longer than these corporate monsters, and contain enough collective wisdom to succeed on their own terms. These fads come and go, and we should rise above them. Let's learn from the orchestra, the convent, the commune rather than fall for every airport self-help huckster breezing through.
Last night was a transcendent experience. This morning I sat next to a dignified and professional man as he begged for his job, his livelihood and his personal and professional pride, watched across the table by a man in a suit who kept saying that he didn't have time for this. For all the abstract points I've outlined above, this is what it comes down too: sleek bonus-seeking sharks forcing honest people to justify their existence in the most reductive terms.
Progress, eh? Anyway, I'm off to a funeral, which in this context seems about the right way to end the week.
Showing posts with label CBSO. Show all posts
Showing posts with label CBSO. Show all posts
Friday, 19 June 2015
Monday, 27 April 2015
And now, some music
Escaping the misery of the election, my union casework, the discovery that the Teachers' Pension Scheme appears to think I've made no contributions since 2008 and the realisation that even if they do find them I need to work until 2049 to qualify for a full pension at the tender age of, er, 74, I went off to Symphony Hall for an evening's music last week.
On the bill was Elgar's Cockaigne, his Cello Concerto, Frank Bridge's Lament for Strings and Tippett's Second Symphony.
As always, the CBSO played wonderfully, though there were moments in the Cello Concerto when the conductor allowed the orchestra to drown out the soloist, Alban Gerhardt. All I can say about Cockaigne is: just say no, kids.
I suppose it's a lovely Edwardian period piece, but it's not that far removed from what we used to call 'light classical'. However, it was useful in the sense that programming it alongside the Cello Concerto really showed how Elgar made the leap into the musical elite. Viewed slightly differently, you could see the two pieces as demonstrating the impact of modernism, World War One and other traumatic experiences on classical music. Cockaigne is cheerful, nice, hummable stuff: if it were a play we'd call it 'well-made'. The Cello Concerto isn't exactly serialist – the orchestral parts are pretty conventional – but the counterpoint between them and the soloist does destabilise the prettiness previously inherent in British classical music up to this point (Vaughan Williams' work also makes this leap, despite the efforts of Classic FM to hide the fact). The Cello Concerto is passionate, raw and sometimes anguished.
Rather wonderfully, Gardner played an encore - Bach 's Cello Suite No. 6 and therefore amongst my favourite pieces of music ever.
Hearing it live was wonderful: Gardner's phrasing really brought out the repetition and variations which proved – to me at least – that the suites were designed to develop a cellist's skills. It's both passionate and hypnotic, which to me is the essence of JS Bach's work.
After the interval came Frank Bridge's Lament for Strings. I've a soft spot for the overlooked Bridge, but this piece was unknown to me. It's actually a lament for a young girl drowned in the Titanic disaster, whom Bridge probably read about in the newspapers. Only 5 minutes long, it rather passed me by, though further hearings have revealed a subtlety I missed at the concert hall.
I went to this concert for the Cello Concerto, which is one of my favourite pieces, but the Tippett Symphony was a revelation: I like some of his work but didn't know this one. It's still good-mannered in that English way, but new, dissonant ideas are clearly coming through in this 1950s work. It also reminded me, somehow, of Copland and even Charles Ives.
Anyway, no doubt I'll be back to political moaning soon. Not tomorrow though: I'm off to the House of Lordsto take my rightful place on the red benches for a work thing. If they let me in.
On the bill was Elgar's Cockaigne, his Cello Concerto, Frank Bridge's Lament for Strings and Tippett's Second Symphony.
As always, the CBSO played wonderfully, though there were moments in the Cello Concerto when the conductor allowed the orchestra to drown out the soloist, Alban Gerhardt. All I can say about Cockaigne is: just say no, kids.
I suppose it's a lovely Edwardian period piece, but it's not that far removed from what we used to call 'light classical'. However, it was useful in the sense that programming it alongside the Cello Concerto really showed how Elgar made the leap into the musical elite. Viewed slightly differently, you could see the two pieces as demonstrating the impact of modernism, World War One and other traumatic experiences on classical music. Cockaigne is cheerful, nice, hummable stuff: if it were a play we'd call it 'well-made'. The Cello Concerto isn't exactly serialist – the orchestral parts are pretty conventional – but the counterpoint between them and the soloist does destabilise the prettiness previously inherent in British classical music up to this point (Vaughan Williams' work also makes this leap, despite the efforts of Classic FM to hide the fact). The Cello Concerto is passionate, raw and sometimes anguished.
Rather wonderfully, Gardner played an encore - Bach 's Cello Suite No. 6 and therefore amongst my favourite pieces of music ever.
Hearing it live was wonderful: Gardner's phrasing really brought out the repetition and variations which proved – to me at least – that the suites were designed to develop a cellist's skills. It's both passionate and hypnotic, which to me is the essence of JS Bach's work.
After the interval came Frank Bridge's Lament for Strings. I've a soft spot for the overlooked Bridge, but this piece was unknown to me. It's actually a lament for a young girl drowned in the Titanic disaster, whom Bridge probably read about in the newspapers. Only 5 minutes long, it rather passed me by, though further hearings have revealed a subtlety I missed at the concert hall.
I went to this concert for the Cello Concerto, which is one of my favourite pieces, but the Tippett Symphony was a revelation: I like some of his work but didn't know this one. It's still good-mannered in that English way, but new, dissonant ideas are clearly coming through in this 1950s work. It also reminded me, somehow, of Copland and even Charles Ives.
Anyway, no doubt I'll be back to political moaning soon. Not tomorrow though: I'm off to the House of Lords
Wednesday, 29 May 2013
Not so Little Britten
Hi everybody. I'm in a darkened conference room in Brighton, attending the annual conference of my union, UCU. Being academics or academic-related, we call it Congress because we're posh. Or perhaps because some lonely teachers are hoping to engage in some horizontal Congress…
Brighton looks lovely: the road from the station runs directly downhill to the sea, so the jaded pedestrian heads towards a patch of deep blue which comes to dominate the horizon, before reaching the seafront and an expanse of the briny stuff. The town's a mix of chi-chi style (sorry to ruin it everybody) and agreeably seedy murk. All very reminiscent of Graham Greene's Brighton Rock and Julie Burchill's gloriously tacky Sugar Rush.
Congress itself is a bizarre mix of the serious-minded, the political grandstanders and an academic support group. The SWP, behaving as if they aren't a bunch of rape apologists who should be ashamed of themselves, ring the building, though there's a disappointing absence of most of the other left groups (not that I think the SWP is left anymore). There's students' union style shenanigans with motions and composite motions and amendments of course, lots of freebies and all sorts of fringe events. I just went to one on excessive workload. Ironically, I couldn't give it my full attention because I'm marking essays and reading an MA dissertation at the same time.
However, before I dive headlong into UCU life as one of Mr Gove's 'Blob' and a 'Marxist Enemy of Promise' (I now have a badge), I wanted to prolong last night's joy and sadness a little longer. I went to Birmingham's Symphony Hall for a performance of Benjamin Britten's War Requiem. Conducted by Andris Nelsons and performed by the CBSO, CBSO Chorus, CBSO Youth Choir (hidden away to tremendous effect) and soloists Erin Wall, Mark Padmore and Hanno Müller-Brachmann, it was a performance I'm never going to forget.
I'm not a huge Britten fan – mostly from ignorance, I confess: I love the more experimental work of Vaughan Williams, Turnage, Maxwell-Davies and the Wilsons, and all sorts of other modern(ist) British composers, but other than Peter Grimes, I don't know too much Britten. Now my eyes (and ears) have been opened. The War Requiem, composed for the opening of Coventry Cathedral in 1962, is just astonishing. Britten being a gay lefty, I was expecting great things rather than the usual propagandist nationalist nonsense, and I was more than provided for. It's structured for a mini chamber orchestra, a full orchestra, a huge choir, 3 soloists, a children's choir, organ and piano. The text is split between the Latin text of a Requiem Mass and various excerpts from the kind of war poetry governments dislike. There's no bombast or jingoism here: it's an excoriating, heartbreaking attack on the political systems which lead to mass slaughter. It's angry, sad and relentlessly serious. The sound reflects the sentiment: there's little respite, although there are moments of utter beauty. This isn't music designed to legitimise destruction and murder, to tidy it up and place war beyond politics and debate: it's a lament for the waste and inhumanity. I can easily understand why Shostakovich listened to the Requiem obsessively and pressed it on all his friends.
As to the CBSO's performance - they and the conductor Andris Nelsons proved yet again why they're one of the best ensembles in the world at the moment. This difficult, complex music wasn't just performed technically well: the dynamics and the emotional effects were perfect. The children's choir was disturbing and ethereal and the largely amateur CBSO Chorus wrung every ounce of suffering and desolation from their parts. For me, the test of a good choir isn't power and volume: it's the ability to maintain beauty, diction and control in the quietest passages. The Requiem demanded total control and the Chorus demonstrated once again just how amazing they are.
At the end of the 88 minutes, performed without an interval (thankfully), the audience was stunned into silence. I've never heard such a long, profound silence after the baton went down. I was moved to tears, both by the subject matter and the performance and I think others were too. Nelsons stood there, slumped, exhausted and spent, until finally he exchanged weary, emotional hugs with the singers - they'd been through the emotional wringer and the event transcended the usual very British reserve seen on platforms.
Here's the whole thing, not by the CBSO (you can buy their DVD though). It's one of the most profound, moving experiences you might ever have. Take some time to listen to it.
Brighton looks lovely: the road from the station runs directly downhill to the sea, so the jaded pedestrian heads towards a patch of deep blue which comes to dominate the horizon, before reaching the seafront and an expanse of the briny stuff. The town's a mix of chi-chi style (sorry to ruin it everybody) and agreeably seedy murk. All very reminiscent of Graham Greene's Brighton Rock and Julie Burchill's gloriously tacky Sugar Rush.
Congress itself is a bizarre mix of the serious-minded, the political grandstanders and an academic support group. The SWP, behaving as if they aren't a bunch of rape apologists who should be ashamed of themselves, ring the building, though there's a disappointing absence of most of the other left groups (not that I think the SWP is left anymore). There's students' union style shenanigans with motions and composite motions and amendments of course, lots of freebies and all sorts of fringe events. I just went to one on excessive workload. Ironically, I couldn't give it my full attention because I'm marking essays and reading an MA dissertation at the same time.
However, before I dive headlong into UCU life as one of Mr Gove's 'Blob' and a 'Marxist Enemy of Promise' (I now have a badge), I wanted to prolong last night's joy and sadness a little longer. I went to Birmingham's Symphony Hall for a performance of Benjamin Britten's War Requiem. Conducted by Andris Nelsons and performed by the CBSO, CBSO Chorus, CBSO Youth Choir (hidden away to tremendous effect) and soloists Erin Wall, Mark Padmore and Hanno Müller-Brachmann, it was a performance I'm never going to forget.
I'm not a huge Britten fan – mostly from ignorance, I confess: I love the more experimental work of Vaughan Williams, Turnage, Maxwell-Davies and the Wilsons, and all sorts of other modern(ist) British composers, but other than Peter Grimes, I don't know too much Britten. Now my eyes (and ears) have been opened. The War Requiem, composed for the opening of Coventry Cathedral in 1962, is just astonishing. Britten being a gay lefty, I was expecting great things rather than the usual propagandist nationalist nonsense, and I was more than provided for. It's structured for a mini chamber orchestra, a full orchestra, a huge choir, 3 soloists, a children's choir, organ and piano. The text is split between the Latin text of a Requiem Mass and various excerpts from the kind of war poetry governments dislike. There's no bombast or jingoism here: it's an excoriating, heartbreaking attack on the political systems which lead to mass slaughter. It's angry, sad and relentlessly serious. The sound reflects the sentiment: there's little respite, although there are moments of utter beauty. This isn't music designed to legitimise destruction and murder, to tidy it up and place war beyond politics and debate: it's a lament for the waste and inhumanity. I can easily understand why Shostakovich listened to the Requiem obsessively and pressed it on all his friends.
As to the CBSO's performance - they and the conductor Andris Nelsons proved yet again why they're one of the best ensembles in the world at the moment. This difficult, complex music wasn't just performed technically well: the dynamics and the emotional effects were perfect. The children's choir was disturbing and ethereal and the largely amateur CBSO Chorus wrung every ounce of suffering and desolation from their parts. For me, the test of a good choir isn't power and volume: it's the ability to maintain beauty, diction and control in the quietest passages. The Requiem demanded total control and the Chorus demonstrated once again just how amazing they are.
At the end of the 88 minutes, performed without an interval (thankfully), the audience was stunned into silence. I've never heard such a long, profound silence after the baton went down. I was moved to tears, both by the subject matter and the performance and I think others were too. Nelsons stood there, slumped, exhausted and spent, until finally he exchanged weary, emotional hugs with the singers - they'd been through the emotional wringer and the event transcended the usual very British reserve seen on platforms.
Here's the whole thing, not by the CBSO (you can buy their DVD though). It's one of the most profound, moving experiences you might ever have. Take some time to listen to it.
Monday, 1 October 2012
Monstrous Monday
Morning everybody. Lots to do today in my new guise as a fully-functioning researching and teaching machine. Ahem. Never mind that both this morning's dissertation supervision students are late for their appointments…
The plan for the day is a) finishing taking notes on Alan Plater's Beiderbecke trilogy for a joint paper. Done! Then I'm going to be reading more on nineteenth-century travel writing for a paper I'm doing on George Borrow and O M Edwards - must stop reading and start writing at some point. I'm also teaching Media, Culture and Society, though it's tempting to think that one new concept is probably enough for some of these students. I also have to contact all my union members, organise a class trip to a reading which may or may not collide with some visiting speakers, and and and there's definitely something else, but at this point my brain is leaking out onto my corduroy shoulders so, you know, whatever.
However, I do recall the weekend with some clarity, which for me is quite an achievement. Firstly, the nearest (in age, of five) sibling got married in New Zealand. I'm assured by text messages that everything went ahead so congratulations to them both. Secondly, I went to a concert by the magnificent CBSO in Symphony Hall. On the programme was some Weber (fun short overture), Bruch's First Violin Concerto, and Tchaikovsky's 5th Symphony. The Bruch was glorious 19th-century virtuoso stuff - new to me as I tend towards the 20th century, but lovely.
Here's Yossif Ivanov, the soloist. His playing was magnificent, and the tone of his 1699 Stradivarius (the Lady Tennant) was just stunning. Though I have to say that when he turned up with a goatee, a Mao shirt and long waistcoat, I was strongly reminded of Little Britain's deluded hypnotist ('look into the eyes, not around the eyes, into the eyes; and you're under').
Then after the interval was the much more substantial Tchaikovsky - aside from a slightly drifting third movement, it was stunning: powerful, moving and beautifully played.
Here's Joshua Bell playing the Bruch:
and the Bolivar Orchestra playing the fourth movement of the Tchaikovsky:
The plan for the day is a) finishing taking notes on Alan Plater's Beiderbecke trilogy for a joint paper. Done! Then I'm going to be reading more on nineteenth-century travel writing for a paper I'm doing on George Borrow and O M Edwards - must stop reading and start writing at some point. I'm also teaching Media, Culture and Society, though it's tempting to think that one new concept is probably enough for some of these students. I also have to contact all my union members, organise a class trip to a reading which may or may not collide with some visiting speakers, and and and there's definitely something else, but at this point my brain is leaking out onto my corduroy shoulders so, you know, whatever.
However, I do recall the weekend with some clarity, which for me is quite an achievement. Firstly, the nearest (in age, of five) sibling got married in New Zealand. I'm assured by text messages that everything went ahead so congratulations to them both. Secondly, I went to a concert by the magnificent CBSO in Symphony Hall. On the programme was some Weber (fun short overture), Bruch's First Violin Concerto, and Tchaikovsky's 5th Symphony. The Bruch was glorious 19th-century virtuoso stuff - new to me as I tend towards the 20th century, but lovely.
Here's Yossif Ivanov, the soloist. His playing was magnificent, and the tone of his 1699 Stradivarius (the Lady Tennant) was just stunning. Though I have to say that when he turned up with a goatee, a Mao shirt and long waistcoat, I was strongly reminded of Little Britain's deluded hypnotist ('look into the eyes, not around the eyes, into the eyes; and you're under').
Then after the interval was the much more substantial Tchaikovsky - aside from a slightly drifting third movement, it was stunning: powerful, moving and beautifully played.
Here's Joshua Bell playing the Bruch:
and the Bolivar Orchestra playing the fourth movement of the Tchaikovsky:
Monday, 17 September 2012
Sisyphus, reporting for duty
Greetings, minions.
Sorry. It's induction week, so my authoritarian tendencies are coming to the fore. I keep thinking of the driving instructor's assertion to Cher in Clueless (my favourite Jane Austen adaptation, sadly not available on Youtube): 'as far as you're concerned, I'm the Messiah'.
However, despite the myriad opportunities to terrify new students, the week is actually going to be one of semi-controlled panic, and very little blogging. We have multiple meetings with the freshers and with our colleagues (none of whom could possible be described as 'fresh') and a mind-numbing set of administrative duties. I'm not sure what the collective term for academics is, but 'a grumble' will do nicely. Just ask one about electronic module guide formatting and retire to a safe distance.
Anyway, I prepared for the onslaught by going to a mighty fine concert on Saturday: the City of Birmingham Symphony Orchestra and Chorus playing some Richard Strauss and Mahler's Symphony No. 2, The Resurrection. The Strauss was fairly unremarkable: glutinous late-Romantic stew despite being composed well into the 20th-century, but the Mahler was magnificent. Being a fan mainly of dissonant 20th-century classical music, I was surprised by the modernity of the symphony. It was 19th-century in the massive scale of musical forces: eight double basses, a contrabassoon, multiple percussionists, French horns, more instruments off-stage and ('at last') Tubular Bells, but there was a lot more light and shade than I expected. The soprano (Sarah Fox) and mezzo-soprano Mijoko Fujimura sung with total control, and the delicacy of the CBSO Chorus in the pianissimo section was breathtaking - about 1.13.25 in this version:
Some sections of the symphony meandered a little - not the orchestra's fault but the composer's - but the final movement is a monster, and I could understand why the ovation was one of the longest I've ever seen: so long, in fact, that many of the rather senior crowd might well lose their disability benefits if anyone from ATOS was there. I also enjoyed spotting the sections which have been lifted wholesale by Hollywood soundtrack composers. Too be expected, I suppose: most of the studio musicians were German refugees with similar training and an ear for the dramatic. In recent years, I'd wager Howard Shore was listening to a lot of Mahler and Dvorak's Requiem Mass when he wrote the Lord of the Rings music, and there's a Mahlerian air to some of Alexander Courage's Star Trek theme (the show's creator Gene Roddenbury ripped him off by writing lyrics which were deliberately never used, thus claiming 50% of the royalties).
Right. Time to do some more work. Laters!
Sorry. It's induction week, so my authoritarian tendencies are coming to the fore. I keep thinking of the driving instructor's assertion to Cher in Clueless (my favourite Jane Austen adaptation, sadly not available on Youtube): 'as far as you're concerned, I'm the Messiah'.
However, despite the myriad opportunities to terrify new students, the week is actually going to be one of semi-controlled panic, and very little blogging. We have multiple meetings with the freshers and with our colleagues (none of whom could possible be described as 'fresh') and a mind-numbing set of administrative duties. I'm not sure what the collective term for academics is, but 'a grumble' will do nicely. Just ask one about electronic module guide formatting and retire to a safe distance.
Anyway, I prepared for the onslaught by going to a mighty fine concert on Saturday: the City of Birmingham Symphony Orchestra and Chorus playing some Richard Strauss and Mahler's Symphony No. 2, The Resurrection. The Strauss was fairly unremarkable: glutinous late-Romantic stew despite being composed well into the 20th-century, but the Mahler was magnificent. Being a fan mainly of dissonant 20th-century classical music, I was surprised by the modernity of the symphony. It was 19th-century in the massive scale of musical forces: eight double basses, a contrabassoon, multiple percussionists, French horns, more instruments off-stage and ('at last') Tubular Bells, but there was a lot more light and shade than I expected. The soprano (Sarah Fox) and mezzo-soprano Mijoko Fujimura sung with total control, and the delicacy of the CBSO Chorus in the pianissimo section was breathtaking - about 1.13.25 in this version:
Some sections of the symphony meandered a little - not the orchestra's fault but the composer's - but the final movement is a monster, and I could understand why the ovation was one of the longest I've ever seen: so long, in fact, that many of the rather senior crowd might well lose their disability benefits if anyone from ATOS was there. I also enjoyed spotting the sections which have been lifted wholesale by Hollywood soundtrack composers. Too be expected, I suppose: most of the studio musicians were German refugees with similar training and an ear for the dramatic. In recent years, I'd wager Howard Shore was listening to a lot of Mahler and Dvorak's Requiem Mass when he wrote the Lord of the Rings music, and there's a Mahlerian air to some of Alexander Courage's Star Trek theme (the show's creator Gene Roddenbury ripped him off by writing lyrics which were deliberately never used, thus claiming 50% of the royalties).
Right. Time to do some more work. Laters!
Friday, 17 September 2010
Getting Mahlered
I wandered over to Brummidge last night for a performance of Mahler's 8th Symphony, with the CBSO, the CBSO Chorus, CBSO Youth Chorus, CBSO Children's Chorus (the only ones who sang from memory) and the Hallé Choir, conducted by Andris Nelsons, their hotshot star. The solo singers were Marina Shaguch, Erin Wall, Carolyn Sampson, Katarina Karnéus , Mihoko Fujimura , Sergei Semishkur, Christopher Maltman and Stephen Gadd.
As you can probably tell, it's a monster - a choir of several hundred, a massive orchestra supplemented by pianos, organ and all sorts of other bits and pieces. I'm not a huge fan of Mahler or his period, but the 8th is currently hailed as the greatest symphony of all, so I thought I should slip along.
It was an astonishing experience. The hall was completely packed - I got a seat right on the top level, eyeballing the lighting rig, high enough to make me a bit queasy leaning over the rail to watch the musicians. There was a huge buzz of expectation - if you're going to perform The Big One, you've got to get it right. It's the classical experience - massive choirs and huge set pieces literally shaking the hall, but also delicate solos, moments of tenderness and calm, crescendos and tiny, quiet interludes - the soloists have to be at the top of their game, but without a brilliant choir and orchestra, it can't be done.
It was done last night, in some style. The choir spilled out into the arena. A second brass section was installed in the upper circle. Singers appeared amongst the audience - one appeared silently a few yards from me, delivered the most beautiful solo, and glided away - and the children were as convincing as the adults, despite singing in Latin and German for 85 minutes without a break. Everything was perfect - the orchestra, the choirs, the soloists. No weaknesses, no languors, everyone responding to perfection in response to a conductor they clearly loved. It's the most complete musical experience I've ever seen.
The crowd went wild at the end. I've been to some amazing concerts, but I've never seen 1000 pensioners (mostly) express genuine ecstasy before - stamping, whistling, demanding multiple bows from the performers. I was dazed at the end, genuinely overcome not only by the sheer noise, but by the artistic ability on display.
As you can probably tell, it's a monster - a choir of several hundred, a massive orchestra supplemented by pianos, organ and all sorts of other bits and pieces. I'm not a huge fan of Mahler or his period, but the 8th is currently hailed as the greatest symphony of all, so I thought I should slip along.
It was an astonishing experience. The hall was completely packed - I got a seat right on the top level, eyeballing the lighting rig, high enough to make me a bit queasy leaning over the rail to watch the musicians. There was a huge buzz of expectation - if you're going to perform The Big One, you've got to get it right. It's the classical experience - massive choirs and huge set pieces literally shaking the hall, but also delicate solos, moments of tenderness and calm, crescendos and tiny, quiet interludes - the soloists have to be at the top of their game, but without a brilliant choir and orchestra, it can't be done.
It was done last night, in some style. The choir spilled out into the arena. A second brass section was installed in the upper circle. Singers appeared amongst the audience - one appeared silently a few yards from me, delivered the most beautiful solo, and glided away - and the children were as convincing as the adults, despite singing in Latin and German for 85 minutes without a break. Everything was perfect - the orchestra, the choirs, the soloists. No weaknesses, no languors, everyone responding to perfection in response to a conductor they clearly loved. It's the most complete musical experience I've ever seen.
The crowd went wild at the end. I've been to some amazing concerts, but I've never seen 1000 pensioners (mostly) express genuine ecstasy before - stamping, whistling, demanding multiple bows from the performers. I was dazed at the end, genuinely overcome not only by the sheer noise, but by the artistic ability on display.
Here's Rattle conducting the National Youth Orchestra in the opening and closing sections. Even if you hate classical music, turn it up loud and give it a go.
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