brisbane hate

The revival of interest in Mieczyslaw Weinberg's music began with his opera The Passenger a few years back. But now, with the centenary of his birth falling in 2019, the floodgates have opened at last. Next season the Wigmore Hall is hosting a complete cycle of his string quartets. Mirga Grazynite-Tyla has brought his Symphony No.21 (the man was very prolific) to the CBSO this season and, along with Gidon Kremer, has been focusing much attention on him at Symphony Hall. And on Sunday the bass-baritone Mark Glanville and pianist Mark Verter are giving a concert devoted entirely to his songs at the Purcell Room here in London. It is entitled - poignantly and appositely - Citizen of Nowhere. I went to interview Mark about it and you can read the full story in The JC. Below are some pertinent extracts. Meanwhile: please come and hear them! Mieczyslaw Weinberg The name of Mieczyslaw Weinberg was virtually unknown in western Europe until his opera  The Passenger , set partly in Auschw...

Tasmin Little Photo: Paul Mitchell Last week Tasmin Little, one of the UK's top violin soloists, announced that she has decided to 'hang up her concert gown' in 2020. Plenty to do, she says, but no more concerts. Here's the story from The Strad. A flood of tributes has been pouring in and I'm adding to that. But I can't deny that here the news initially came as a shock. It so happens that Tasmin is one of my oldest and dearest friends. We're the same age and got to know each other when we were 17 - long before I had any notion I'd become a journalist. She is the first of our circle - possibly the first of any of my immediate 'peer group' - to hint at the word 'retire'. Not that she's said 'retire' as such - her website says that she will be 'ending her concert career' - but effectively this means retiring from the stage. It pulls one up short: whaddaya mean,  ' retire'? We're only 17...aren't we? Heaven...

Bravo to Nicola Benedetti, who on Tuesday launches a series of Youtube presentations for would-be young (and less young) violinists and their teachers. She is also launching a charitable foundation focused on music education. Above, the first, introductory video. In The Times, applause from Richard Morrison. Below, Nicky's own intro to the intro. Splendid when fine musicians decide to share their expertise, and especially when the musician in question is as natural and charismatic a communicator as Nicky. More power to her elbow! Nicky writes: I have some news which I am super excited to share with you all. Over the coming year, I intend to expand my commitment to the education of young people and the supporting of music teachers by establishing a charitable organisation. The Benedetti Foundation plans to focus on providing enrichment, inspiration and variation to the UK’s education system and communities. The ambition is to carry out a series of orchestra-based weekend workshops,...

The Hastings International Piano Competition held a launch reception in the House of Commons last night, thanks to the town's MP, one Amber Rudd, aka the Work and Pensions Secretary, who agreed to host the event. Pleased to hear her voicing support for a contest and festival that, she said, helps to bring classical music to local people who may never have encountered it before in their home environment, giving them the chance to experience the best music in the world on their own doorstep. Amber Rudd introduces the competition. photo: JD I can't help remembering that Ghost Variations begins with Jelly d'Arányi playing the Brahms Violin Concerto in Hastings in 1933. Adrian Boult, no less, stepped in to conduct when the intended conductor went down with appendicitis. And the concert was reviewed [luckily for novelists doing research] in The Times. Those, as one might say, were the days. World-class music-making used to be absolutely standard fare in Hastings and similar town...

What spurs a new piece of music into existence? Where do composers find their inspiration? Here is a wonderful insight from someone who knows all about it.  Stephen Johnson's extremely moving How Shostakovich Changed My Mind was one of my Books of the Year for the Sunday Times, so it was a particular joy that he wrote a couple of weeks ago to tell me about his new Clarinet Quintet, 'Angel's Arc', which receives its world premiere next Thursday. At the time I was in South Africa, cuddling lion cubs and so forth, which made writing something myself a bit tricky. Fortunately Stephen - author, journalist and composer - was only too happy to pen us a guest post. Here  he reveals how the piece took shape in his imagination , with a range of vivid and varied references that mirrors his splendid book - from the literary and the biblical to the natural, the emotional and even the feline.  Enjoy. And do go and hear his new quintet if you can - full performance listings are at th...

The Apothecary's Rose, from my garden. It should work magic, if I only knew how. I decided not to make any new year resolutions because they're expected  to be  gloriously positive and, as you'll know from yesterday's Mood Ludwig, that's not where I am right now. So I'm not going to do it. Not going to think about practising the piano and then not do it. Not going to decide not to eat chocolate. Not going to promise myself to go running three times a week. Not going to stop procrastinating - you can't teach a middle-aged catwoman new tricks. And I'm not going to not post as many cat pictures. So I'm not going to pledge to do anything except be myself  to  the best of my ability.  Current mood: KAPUSTIN Here is the annual reminder of what JDCMB is and isn't. Darlings, a very warm welcome to all readers, whoever and wherever you may be. JDCMB is Jessica Duchen's Classical Music Blog. It's a relatively random and succinctly spontaneous colle...

Current mood: LUDWIG Everyone is sending out their end-of-year messages of thanks, gratitude, invocation of blessings and marvels at the wonders around us, and I'd like to join in. Only it's difficult, because I am mad as hell about what has happened to my home country during the course of 2018 and terrified out of any remaining wits about what will happen in 2019. I haven't been blogging much, because to be interested in blogging you have to not mind 'sweating the small stuff' and currently I mind this very much indeed. Oooh, a mispronunciation on Radio 3! Oooh, clapping between movements! Ooooh-ahhh, a soloist in a short skirt. WOW! I've been lucky to have some excellent guest posts this year. I've given the floor whenever possible to those who make the arguments best: Anna Lapwood on gender equality for choristers, Dame Sarah Connolly on the implications for the music world of Brexit, and more. It's not that I don't want to write. It's that I ...