About the Podcast

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New Podcast

Ok, folks, I’m gonna need your input on this one.

I’ve been thinking about the direction of the podcast lately, and I’ve come to a few conclusions, and I’m going to put them down on paper here. First, the episodes I’ve done so far (as infrequent as they’ve been) have a few problems with them.

  1. Appeal. First, let me be clear: I don’t have any issues with my listeners, who have always been extremely sympathetic and kind. But I’ve never been completely clear about who I’m making the podcast for, and I think its quality and clarity have suffered because of that. As far as I can tell from feedback (though I’m probably wrong about this), outside of people I know personally, I have precisely two listeners. I think, as does Benjamin Zander in this excellent video I blogged about before, that classical music is for everybody, and I really want to spread the word, rather than just being one more show for the established classical-heads.
  2. Quality. Some of the episodes I’ve been very happy with. Others really not so, and I can only apologise for that. On the Rite of Spring episode, for example, my voice was wrecked, and I was tired too, and improvising without really knowing what my point was, which made the cast extremely boring to listen to. I don’t really think that’s acceptable, given that an awful lot of classical podcasts and radio shows out there already (a) appeal only to people who already listen to classical music, and (b) are pretty insanely dull for people who don’t. I don’t want to be a part of that.
  3. Output. Not to put too fine a point on it, my output has been piss-poor. Again, were I my boss, I’d be fired by now, and it’s little wonder that I have so few listeners if I can only struggle to put out one episode every couple of months. Yes, I’ve been busy, but I’ve also been lazy, and I don’t want to continue with that in the future.

But:

  • As regards appeal, I’m not really that interested in only talking about the basics. I’m not a musicologist at heart, but I do like to get a little way under the skin of the music I’m talking about.
  • I’m also sure not only that is classical music for everybody, but all classical music is for everybody. For the sake of audience figures, many outputs of classical music only play the established classics, and (like so much in music education) seem to assume that music history stops in about 1915. This is absurd – there is a wealth of newer music out there, which can be as meaningful as the established stuff to people who open their minds to it. I’ve often found that people who don’t like “classical” music love the stuff from the twentieth century or later, once they’re exposed to it. The fact that they’re not exposed to it is due to several things, but ranked high among them is the fact that classical stations (or any stations) in general just don’t bother promoting it.

So:

What I’m thinking of is this: I have found that I’m able to send out a weekly show, approximately every week, but rather than sending out a single show on a weekly basis, I’ll be doing two, alternating every week, as follows:

  • Classical Introductions, version 2: This will be a show for absolute beginners. It will cover the basics of classical music, without getting into anything too deeply. Likely it’ll start off with profiles of the major eras of music history, and the stand-out composers, and the fundamental parts of music, that is, what to listen for.
  • Classical Explorations: This will be a show more like the one I’m doing at the moment, where I examine a single piece of music at greater length (again, without getting too deep, but more so than Introductions). It will be for people who have some experience of the basics of classical music, and who want to learn more. I think I’ll also use this show once in a while to talk more generally about the lives of composers and the evolution of different forms of music, like the symphony and so on.

To avoid confusion, I’ll be taking down the episodes of Classical Introductions I’ve done so far, but of course I’ll be re-doing those episodes anyways. The focus, of course, will stay on public domain/creative commons/otherwise free music which can be easily found.

Whatever happens probably won’t happen until July at the earliest. I’m going to be scripting and recording for this month, so that I can build up a store of episodes and hopefully not fall quite so far behind myself.

But, if you have any feedback, tips or pointers, now is the time. The email address is at the end of every show, or you can just leave a comment below.

Thanks again to all my listeners. See you soon.

Couple forcibly separated, abused and robbed. By the state. Oh, and they’re gay.

7 Comments
Politics

Hey, all, sorry I haven’t been much of a blogger (or podcaster, or anysuch other) lately, but I have been moved to write by discovering this story. It’s been responded to here. Just a disclaimer: These are the only sources on this that I’ve seen, so it’s possible it’s not true. (I’m not familiar with NCLR, but I’m told by a gay friend that it’s a reliable source.) Sadly, my instinct tells me it probably is true.

An elderly gay couple in the US – surprisingly, in liberal California – have just been put through the most horrifying and inhuman series of loops that I’ve ever come across in a news story. The two men, Clay and Harold, had lived together for twenty years, and had secured all the legal paperwork ensuring that they were named on each other’s wills, that had power of attorney over each other, etc., etc. But when Harold was hospitalised after a fall, these directives were ignored, and worse. To begin with, Clay was refused hospital visitation rights.

It’s here that these gay rights horror stories usually stop, but it’s here that this one gets so much worse. The county ignored Clay and appealed to a judge to allow them to make medical decisions on his behalf. They referred in their appeal to Clay as Harold’s “roommate.” From the article:

The court denied their efforts, but did grant the county limited access to one of Harold’s bank accounts to pay for his care.

They then went to the house that Harold and Clay had lived in, moved Clay out to a nursing home against his will (and separate from the home in which they’d put Harold), auctioned off all of their belongings without “making any effort to determine which items belonged to whom,” terminated the lease on the house and gave it to a landlord.

Harold has since died, alone, in a nursing home. Clay has been stripped of all his possessions, except for a photo album willed to him by Harold. He has been released from the nursing home, and is now suing the county with the help of a lawyer, Anne Dennis, who was appointed by the court. I wish him the best of luck.

———————————-

I’m trying to be as fair-minded as I can with the following sentence, so I apologise for the qualifiers I may use:

I don’t see any way that anyone other than the most narrow-minded homophobic bigot could see this as anything other than a tragedy and an affront to the dignity of these two men specifically and to humanity generally.

Leaving aside for a moment the gay argument (I’ll come to it), these men had everything they owned taken from them, including their home, for the sake of medical bills. It’s the kind of story that can only come from America (and I don’t know how much the new health care bill will help), but that alone is outrageous. It is, in point of fact, robbery, by the state of its citizens. I often wondered when the tea party were marching in their idiot masses over the past year why they did not protest this kind of thing, because in the US it’s not an uncommon occurrence for healthcare costs to bankrupt a person or a family. In the case of Clay and Harold, as far as I’m aware, bankruptcy was not declared, but they lost their house and everything that made it a home. I do think, though, that if this were a straight couple, it would be all over the news, rather than reported on a couple of obscure blogs in the corners of the internet as it is now.

Because the gay issue is important here. There is no way that any straight couple, married or “civil partners” or otherwise, would be treated the way these men were treated. Hospital visitation rights are a common call among gay rights activists, and it seems like so small a thing, but it is utterly important. Think of someone in your life right now who you love; who means the world to you, and imagine they are seriously injured. Imagine being told, maybe a hundred feet from where they’re lying, that you’re not allowed to see them. That though you have lived with them for years (or in the case of Clay and Harold, decades), that you don’t count as close enough. This argument alone should stand as sufficient for gay marriage and equal rights for gay people to become law, but it is not the only argument that can be made. But time and again politicians at best refuse to touch it and at worst make abhorrent slippery slope arguments equating homosexuality with paedophilia and bestiality.

Certainly the refusal of visitation was not the greatest indignity forced upon these men. I read a novel (David Mitchell’s Cloud Atlas. Highly recommended. Amazon UK and US) a few years ago which told the story of a man imprisoned in a nursing home against his will. It was told comically, but was memorably frightening. I always assumed it to be, to some extent, hyperbole. Reading how Clay was ejected from his house and shipped off to a home so that his possessions could be sold to pay the medical bills of his dying lover, and how he needed the help of a lawyer to get out, makes me less sure. The state refused to acknowledge in court that they were lovers (the referral to Clay as Harold’s “roommate” I found particularly chilling), but this did not stop them from treating their possessions and property as those of a single unit, like, say, a family unit. Here the state has it both ways, neither of which works particularly to the advantage of the state – at best, what did they get out of it? A few hundred thousand dollars, maybe? – but both of which are disastrous to the men involved. The worst of both worlds. This was abusive, malicious and needless.

Creative interpretations of the law – remember that Clay, legally, had power of attorney and power over medical directives – allowed this abuse to take place. This is why in civilised countries gay marriage must be legalised, and must be given the same status as straight marriage. There must be one law for straight couples and gay couples, not “separate but equal,” but the same law. Remember that “separate but equal” must by necessity lead to “but some are more equal than others” (if you’ll excuse me misquoting Orwell). Clay is suing the state, and with any luck will be successful, but that will not restore the three months he spent imprisoned away from his dying lover. The only possible good that might come of this is if it mobilises people to get gay rights on the agenda and get some modicum of gay equality into law.

The extremity of this story has set a fire in me the way few things do, and I want it to spread. Please, comment, repost, retweet if you Twitter or link if you Facebook. Let this story grow.

Flash Opera!

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Arts, Music

This video just cheered me right up.

Also, as someone who tries to spread classical music, I found it gratifying how quickly the crowd gathered, and how willing they were to stay. Classical music is for everyone, but musicians need to make more of an effort to spread it.

Thanks to the inimitable @stephenfry for posting this on Twitter.

P. S. Yes, there are new episodes of Classical Introductions coming. Sorry about the delay (again), but I think I’ve sorted out some important issues that have been holding me up.

Classical Introductions Episode 11: Four Notes from Beethoven’s Fifth Symphony

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New Podcast

Episode 11 of Classical Introductions features Beethoven’s fifth symphony. The recording I used for this podcast can be found here.

Few composers can be said to have changed the face of music forever, but Ludwig van Beethoven is one of those rare exceptions. This episode of Classical Introductions looks at his fifth symphony, and specifically at how the incredibly famous four opening notes influence the rest of the symphony. Beethoven’s innovative spirit can be found throughout this masterpiece, from the introduction of entirely new instruments in the trombones and tuba to the conclusion of the third movement which leads without a break into the fourth, but his extensive use of this single, simple motif to build such a complex structure was, at the time, unique, and had a profound impact on later composers.

The recording is by the NBC Symphony Orchestra, conducted by Arturo Toscanini, and once again has been taken from the amazing online resource archive.org.

Good old British Media

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Politics

The front-page headline from the Daily Telegraph screamed at me as I bought my milk and apple juice just now,

Hanging Crowd Bays for Blood as Blair Faces his Inquisitors

I mean, for goodness sake, Telegraph, at least pretend to be objective.

As much as this is a great sentence – try saying it in a fearsome, guttural voice, like this – it really leaves the reader in absolutely no doubt what side the article takes.

Besides, it’s hardly true. The crowd, which isn’t hanging (yes, I know what they meant, but they’re not, en masse, calling for his hanging either), is not baying for blood, and the use of the term inquisitors is obviously psychologically linked to the inquisition more than it is to the Iraq inquiry.

And let’s be fair. Blair lied, it would seem knowingly, in order to lead his country to an unjust, unnecessary and illegal war, which has further destabilised the middle-east and given countless muslims cause to fight what they see as an attempt at imperial rule from the west. He should be brought to justice for this, but he won’t. The Iraq inquiry, founded and staffed by the Labour party, is not a trial, and will not resolve any of the important issues.

Digging a little further into the article, we find:

A man grabbed a megaphone, with a let’s-get- down-to-business manner. “Tony Blair …” he shouted. The crowd answered, like the response in a Pentecostalist church. “War criminal!”

See? Those people protesting Blair have a religious fervour. They’re calling for blood, in the face of all rationality. They have “the same sense of seething resentment, and the hunger for justice – or revenge – that one sees at crown courts as child murderers are whisked past in prison vans, their heads covered in blankets.”

And how is Blair taking all this anarchic yelling? In a “narcoleptic” hearing room, after being treated to a description of his attire (“a blue suit, white shirt and red tie”) we find that “his expression [is] grave, with a flicker of apprehension.” Later, on facing a difficult question, he “assumed the bashful look of a schoolboy caught with his hand in the sweet jar.” The article comments later that this questioner is the only one who is not “polite, even courtly,” but cheerfully drops in the adjective “beady” to describe him.

Throughout this article, this simpering (I’m not writing a newspaper article – I’m allowed be biased), pity-Blair tone is adopted, often explicitly but sometimes subtly. The last couple of sentences, though, really do take the cake.

“And is there anything you’d like to add?” Mr Blair looked at him, as if to say, “Are you kidding?” “No”, he said. He walked quickly from the room. There was a smattering of boos from the audience, then shockingly, a shout, “You are a liar.” And another. “And a murderer.”

Outside the baying intensified – less a hanging crowd, it seemed, than a lynch mob. But the pontiff manqué had left by a side entrance. They hadn’t landed a glove on him.

So, after another attempt to vilify the protesters (poor Tony!), we even have this “journalist” putting words in Blair’s mouth. Lucky thing, too. If it weren’t for writing of this calibre, the Telegraph’s audience wouldn’t know what to think.

Classical Introductions Episode 10: Bach – Brandenburg Concerto No. 3 in G

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New Podcast

Episode 10 of Classical Introductions features the third of J. S. Bach’s Brandenburg Concertos, in G major. The recording I used for this podcast can be downloaded from here.

This concerto grosso is written for nine solo string instruments, with accompaniment from the basso continuo. It features two bright, exciting ritornello movements sandwiching one of the strangest slow middle movements in all classical music.

The recording is by Musica Florea, playing on period instruments and directed by Marek Štryncl, and available from the Czech radio station rozhlas.cz. Many thanks once again to those involved in the recording and the staff at the website for allowing me to use the recordings for my podcast.

Why You Love Classical Music

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Arts, Music

I think you should watch this video. Trust me.

Akhnaten

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Arts, Music

For those of you who don’t like animated films that much, here’s another post.

I’ve recently been addicted to this track by Philip Glass, which is the opening of his opera Akhnaten. It’s strange. I really shouldn’t like Philip Glass – to a large extent, he embodies everything I don’t like in music, but so often when I hear a new piece, I respond to it on an instinctive level. I suppose it goes to show that, no matter how much we try to apply objectivity and reason to art, it is, ultimately, something to which we must bring subjectivity, and some part of ourselves. I get lost in the swirling, hypnotic arpeggios of Philip Glass, and this track seems particularly good. The declamations at the end always make me smile.

And yes, I’ve ordered the CD. [Amazon UK/Amazon US]

Animated Horror

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Arts, Film

I’m a big fan of animation, as readers of this blog will already know. I’m particularly fond of animated horror, which seems to me to touch a deeper place in the psyche than the generic stuff. It also tends to concentrate less on gore and more on scaring you to the depths of your self. Last year’s Coraline was a great example of this – the best I’ve ever seen of a full-length animated horror film but I thought I’d share a few less well-known ones here.

I here present to you three of my favourite animated shorts. First, a CGI short called Alma, is also newest, with a nice innocent opening, and an ending as dark as it is inevitable. (Thanks to Dee for finding this for me.)

Incidentally, this video may answer some questions for anyone who’s curious as to where I’ve been lately.

Second up is The Cat With Hands, a creepy, stylish little gothic story I first came upon through Neil Gaiman’s blog.

Last, and by far my favourite, is another stylised gothic short, The Sandman. This stop-motion animation I first saw flicking through channels when I was about eleven or twelve, and is the only film to have ever cost me sleep (and quite a lot of it at that). It took me years to track it down, having been desperate to see it again, but I never forgot the last scene, which plays over the closing credits. Many thanks to Paddy, who unwittingly found this for me.

Classical Introductions Episode 9: Haydn – Symphony No. 94, ‘Surprise’

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New Podcast

Episode 9 of Classical Introductions features Symphony No. 94, also known as the Surprise Symphony, by Joseph Haydn. The recording I used for this episode can be downloaded here.

Haydn’s 108 symphonies show a gradual evolution of the form from the humble beginnings of the form to the foundation on which all symphonies after his time were built. Symphony No. 94 is one of his mature symphonies, from the twelve London Symphonies he wrote during his time in that city, and it features both his clever musical games as well as some moments of sublime inspiration. In many ways, this symphony is archetypal of the form, and is an ideal introduction to the Classical symphony.

The recording I used in this episode was made by the Boston Symphony Orchestra, conducted by Sergei Koussevitsky, in 1929, and has been released into the public domain. Once again, I am thankful to the users of the excellent online resource archive.org for making so many great early recordings available.