I'm off on holiday for a bit, doing some interesting things a long way south. See you soon. Until then, here's a clue...
and another, just because I love this one so much too...
"This is the story of how we begin to remember..."
Saturday, April 08, 2017
Seriously, though, this is going to be a fun evening. Among Ghost Variations' sibling books at Unbound is Jennie Ensor's brilliant psychological thriller Blind Side, set at the time of the 7/7 London tube bombings. Both books are based around real events, as well as sharing a theme of the "outsider" in London, so we've got together to do some joint talks and discussions.
On 4 May at 6.30pm we'll be at The Sheen Bookshop, 375 Upper Richmond Road, London SW14, to talk about the hows and whys of crafting fiction out of reality. There'll be wine, discussions, readings, questions etc, and your modest £2 entrance fee is redeemable against the price of one of our books (though of course we hope you'll buy both!). Do join us if you can.
You can book in advance at Eventbrite here, or phone/email the shop to reserve a place: 020 8876 1717 or firstname.lastname@example.org .
Friday, April 07, 2017
Scholarships can change lives. I feel lucky to be on a panel that gives enviable opportunities to youngsters on the basis of their musical talent. But my goodness, it's a tricky task.
In these weird times, there's nothing more inspiring and encouraging than encountering gifted young musicians, because they give us hope for the future. These teenagers, born in the 21st century, possess the same communicative, expressive instinct and passion that has always driven music-making through the centuries, through different vogues, epochs and lands. The thread continues. It's very much with us. And it's not going away.
Over the past few years I've been privileged to be on the jury panel for a biennial international music competition at Whitgift School in Croydon. The Whitgift International Music Competition is open to potential students from all over the world and the winners get a cash prize and/or a full scholarship to the school (perhaps the sole drawback is that it's a school and competition only for boys). Past winners, including some remarkable young violinists from Moldova, have gone on to study at various London music colleges and they are now reaching the stage at which I'm going to start looking out for them in much bigger competitions and concert halls. Until this year, the focus was on strings, but this time we opened it up to wind and brass - with inspiring results.
It's been an intense week. With so many gifted teenagers, how on earth do you "rank" them? Occasionally you do find someone who steps on to a stage and simply belongs there, connects with the listeners and knows how to make music from the heart and gut. Step forward, clarinettist Marian Bozhidarov from Bulgaria, and trumpeter Albert Baciu, from Moldova: two splendid young musicians with incipient star quality whose progress I'm looking forward enormously to following. They won joint first prize in the senior wind and brass category.
Our string players were more difficult to choose from, because each was so superb, yet in a totally individual way. Sometimes a performance is almost note-perfect, yet doesn't entirely connect with the listener on a musical level; other times there are insecurities and slips, yet you can be moved almost to tears by the most beautiful, natural and heartfelt phrasing, and you suspect that with further study and polish that person has extraordinary potential; and in other cases you suspect that the candidate's choice of repertoire doesn't necessarily show their strengths to best effect, yet that's all there is to go on. It's particularly complex when you know your jury's choices will change someone's life, especially if they choose to take up the scholarship they are offered from the other side of Europe or, in some cases, the world.
Our first prize in the senior strings went to the 17-year-old violinist Krystof Kohout from the Czech Republic, second to Chiu Chun John Lui from Hong Kong and third to Joel David Munday from Exeter (also both violinists). In the junior section, the winner was the violist Junyi Li, with splendid performances from Mark Reinski of London (playing the almost impossible Concerto Pathétique by Ernst) taking second prize and Iohan Coman from Romania in third place. But everyone gave performances that were gorgeous in their own ways - for instance, I won't forget in a hurry the Bartók Romanian Dances as played by Arsim Gashi of Kosovo. It was an absolute joy to listen to them.
In the end, I suspect some of these boys will make it no matter what happens, prize or none, because they have the sheer fire in the belly to do so. Technique can be taught; discipline can be taught to some; but there's that something else that has to be present from the start and can't be imparted...
Here's a video from 2012 about Whitgift's first Moldovan scholarship winner, Grig Cuciuc, who five years on is now finishing his stint at the Royal College of Music. It shows some of the challenges, chances and ambitions that scholarships such as Whitgift's and subsequently the one he won from Edelweiss can support.
Sunday, April 02, 2017
In case you were wondering: yesterday's post was indeed an April Fool's joke. That doesn't mean, though, that there are not some extremely serious concerns about the effects of Brexit on the British musical scene, which is international through and through. Many thanks to the extraordinary number of people who logged on to read about the London Hamburger Orchestra!
Saturday, April 01, 2017
|New home: the Elbphilharmonie, Hamburg|
The London Philharmonic Orchestra has allegedly accepted a remarkable offer from the City of Hamburg to move to Germany after Brexit, adopting a new home base at the magnificent Elbphilharmonie. The UK orchestra is thought to be planning its migration for the year 2021, allowing time for Brexit negotiations to end and the 120-odd families involved to make relocation plans.
The deal is thought to include a substantial pay rise as well as improved working conditions that are standard amongst orchestras in Germany. The musicians can also expect to enjoy the facilities of the splendid new hall, which opened in January this year.
A Hamburg city representative declared: "Just as centres such as Frankfurt and Paris can't wait to get their hands on the business of British banks wishing to escape the effects of a hard Brexit, so we also are eager to welcome the finest arts organisations whose business operations will be made much easier if they can continue within the single market of the EU."
Asked about the expense to the city of supporting a British orchestra in addition to its own, the representative gave a shrug and a smile, saying: "This is a prosperous place with its feet on the ground and an enlightened approach to long-term thinking. We invest in the arts as a vital contributor to a proud and prosperous future for all people in our country. We value music as a symbol of humanity, unity and cultural enrichment. Musicians here are artists, and top-level, highly respected professionals besides. We like to treat them accordingly and show them how much they are valued."
The orchestra will continue to perform the concerts of its residency at Southbank Centre, but expects to find the exchange rate with the plunging pound favourable when paid in Euros.
While some members of the ensemble are said to be worried about the language, a spokesperson for the orchestra said: "Music is a universal language and will continue to unite us as it always has."
Asked what they would miss about London, some musicians remarked sarcastically: "The ruinously expensive hour-and-a-half commute to work on unreliable trains. And the cost of living was already ridiculous here even without the inflation Brexit is bringing." Others, however, praised the diversity, open-mindedness and enthusiasm of British audiences.
Although the deal reportedly divided opinion among the players at first, the clinching factor is reported to be a practice already known in Cologne, where every member of the orchestra is handed a glass of lager as they step off stage at the end of the concert. The Londoners on the Elbe are to receive a mug each of the excellent local Bergdorferbier after every performance.
The orchestra's name will be changed to reflect its new binational status. It will henceforth be known as the London Hamburger Orchestra.