War Poems of Wilfred Owen (Paperback)

*****
An excellent edition of an outstanding poet

31 Oct 2008

This review is intended to serve two different audiences: in the first part I'll talk about Owen's poetry, and why, if you've not done so before, you should, must and absolutely have to spend some time getting to grips with his writing; and in the second part I'll deal with the ins and outs of this particular edition of his verse (there being a great many available on the market.)

So, why be so insistent that you read Owen? Well, he was in many ways the most talented poet writing in English in the First World War, and his poems go furthest to communicate the experience of the men who fought in the trenches to readers almost a century away from the battles he saw. His most famous poems, such as "Anthem for Doomed Youth" and "Dulce et decorum est" are lyrical, elegant pieces of poetry that present intensely moving images of what Owen himself described as "the pity of war", and no-one will ever forget the image of the young man who was a second too slow to put his gas mask on. These poems are his most traditional, owing a clear debt to Keats and Shelley, and it seems as though in them he is writing the final verses of the great Victorian century of poetry. Yet there is much more to his writing: some of his poetry shows the early shoots of modernism, for example in the more allusive (and elusive) "Strange Meeting" and "Insensibilty", in which Owen seems to be looking forward, using language and techniques not unlike those of Eliot and Pound. For me, though, the poem which has moved me every time I have read it for over 15 years is "Futility", a tender and beautiful lament for a young man killed just before dawn. It is true that 90 years have passed since Owen died, but his poetry remains for us the defining account of the Great War.

So to the second part of this review. Owen is back on the A-level syllabus, and many readers will want to know if this book will help them in their studies. And the short answer is, yes. John Stallworthy is an excellent editor: honest and open about the choices he has made, and uncricitical in his provision of a great variety of alternative views and interpretations. His notes, which follow every poem, are wonderfully generous (citing whole other poems where necessary), and each poem is given a brief account of the circumstances in which it was produced. His introduction is excellent, describing Owen's life and literary influences (an understanding of which is essential if you are to really get to grips with his work), and giving readings of some of his more famous works. In all, I could not wish for a better edition of his war poetry: early and incomplete works are also provided, and the feeling one gets is of first rate scholarship.

I will be honest that for some time I had an ambivalent relationship with Owen's work, beeing too much distracted by the apparent simplicity of his more famous work, and not appreciating the remarkable creative process, and in particular his engagement with the poetic tradition, that lies behind his work. Using this edition has restored my enjoyment, and I am hugely greatful for it. I cannot recommend it highly enough.

Stanford:Choral and Organ Works

****
Flawed, but wonderful nonetheless
3rd November, 2008

Stanford in C. There are few phrases so evocative for any musician who has spent any period of time performing English church music. The words are redolent with faded Victorian pomp, a little like those glass cases full of stuffed birds, or a large, overstuffed armchair. The phrases move along in their steady four-four rhythm, with a gently plodding bass-line below, and occasional moments where the basses get a rest, and the top voices drift away on a melody that would rather like to be limpid, but had a little too much for lunch. But, despite all this, and it is so easy to mock Stanford, I love his music. His evening service in C maybe a little full of hubris, but his service in G is charming, and the three latin motets are genuinely well written. And for those reasons alone, you should buy this disc, and have a jolly good enjoyable listen to it, perhaps with a glass of sherry, and a leg of mutton to wash it all down.

But that's not quite the full picture. The choir of St John's College, Cambridge, are a very fine group indeed, and their series of English choral music for Naxos has been a very welcome addition to the catalogue. Much of their singing is excellent: Christopher Robinson trains the boys to sing with incision and great intonation, and out of the ranks of the young, male choral scholars have come some of the finest singers of this current generation (there are one or two present on this disc, for good measure.) They can be thrilling, and they can be blended, but I can't help feeling the performances are not very well balanced. For example, in the middle of "For Lo, I Raise Up", there is a beautiful passage of very sensitive writing, but Robinson forces the crescendo of the line almost beyond breaking point, and any sense of mood is gone for good. And what's more, there are some really quite unpleasant noises that come out of the speakers when one listens attentively: the trebles can be harsh (and dominated by Oliver LePage-Dean, who is - admittedly - excellent, but it makes for tiring listening), and the alto line in the early bars of the C major Magnificat seems to have been replaced by enthusiastic chickens. One can only hope they were free range. My suspicion is that the budget nature of the recording has something to do with this, and that takes which otherwise should not have been put onto the CD were included for the lack of any alternatives. In any case, I don't think this singing represents John's at their best.

But here's the thing: why are we consigning Stanford to the dusty recesses of Choral Evensong when he has so much more to offer? Performed with organ his music is, it is true, a bit flat-footed, but that's not the way he wanted it to be heard. His music was written for a large choir with an orchestra, and he wrote for orchestra with real skill, and there is some thrilling orchestration to be found (I recently experienced the Evening Service in A to the accompaniment of a full orchestra, and the effect was a revelation: suddenly Stanford's talent became clear to me.) So, should any passing record producers stumble across my review, here's my challenge to you: do a disc of Stanford using the chorus and orchestra of La Scala. I think it would sound bloody great.

Hamlet (Norton Critical Editions) (Paperback)

****
Very useful, but caution is advised
11 Nov 2008

There are a great many editions of Hamlet available at the moment, and, as it is a play that is never far from the syllabuses of A-level boards and university English departments, there are a great many people who need a copy of the text that they can trust, and which will give them the level of support they need to get the most out of this text. The Norton Critical Edition of "Hamlet" will, of course, be of great service to some people, but many readers will be better off elsewhere. In short (as I've realised this review is getting rather long), if you're studying the play for AS level, then this is probably not the best book for you: try the Cambridge School Shakespeare instead, and add the York notes for extra depth and background information. If you're at A2 or university, then the more detailed text of the Oxford (my preference) or Arden editions will be of greater use. So, that rather begs the question, who is this book good for?

To answer that, let's look at what the book actually does. Norton Critical Editions receive their name from the selection of critical material which they provide in the form of extended appendices to the main text. In this case, there is a very useful section on "Intellectual Contexts", which includes contemporary writings on such topics as Melancholy, ghosts, and also gives excerpts from Montaigne's "Apology", which bears striking similarities to Hamlet's speech early in Act 2 on "what a piece of work is man." In terms of enriching one's appreciation of the terms of reference in which Shakespeare's plays were understood, these texts are invaluable, but their provision seems arbitrary: no justification is given for their selection, and there is no direct evidence that Shakespeare read any of them (even the Montaigne essay is the subject of debate amongst critics as to whether or not Shakespeare had read it, or whether it was itself simply part of a wider discussion at the time about human nature). Moreover, there are countless more omissions than there can be inclusions - there is no Greek mythology, no Garden of Eden, no early English tragedy against which to judge the play-within-a-play - so one is left feeling a little adrift, especially if your knowledge of the period is not very strong.

The "critical" part of this edition comes in the form of a very generous selection of essays and responses to the play, including some early criticism (although it would have been nice to have some contemporary writing on drama too), going back to the early 18th century, and with a liberal selection of big names, including Hazlitt, Goethe, Coleridge, Wilson Knight, Eliot, Lawrence and Lewis. These have been well edited to leave only the apposite passages, and in many cases are an absolute delight to read. Lawrence's comment that Hamlet seems "a creeping, unclean thing" is well worth remembering in the light of Goethe's pure "soul unfit", and Bradley's essay on the play is excellent (it's a spirited defence of Claudius).

This is a very attractive package, and it is for the critical material that I can award the book four stars, but there are some significant drawbacks. Firstly, the text of the play itself is nothing more than a cleaned up version of the first quarto, with no indication as to where the Folio (or any other texts) vary from it. Moreover, the editing of the text is niggardly in its provision of supporting notes and explanations, which means that it really is only of use if you have another, fuller version of the play (like the Oxford edition) to hand. Lastly, there is no introduction, so the editorial principles cannot be set out, leaving us rather in the dark as to what choices were made, and what the rationale was behind those choices.

In the end, we are left with a really useful book that is not really very useful, as you'll always need other texts to hand to get the most out of it. If you're planning on doing serious work on the play, then yes, I can recommend it, and, if someone else is paying for your books, then it's a fantastic addition to your shelf, but for other readers, I can't quite see how it all fits together.

The Brabant Ensemble - Morales - Magnificat

****
An excellent recording, but there is a caveat
4 Oct 2008

Amazon reviews are a funny old business. My experience has led me to believe that people only really say reviews are helpful if they award a product five stars, and that more moderate reviews are either overlooked or deemed unhelpful. Perhaps people see a helpful review as one which confirms a decision they have already made, and anything which might cause them to reconsider is just a nuisance. I don't know. But despite my desire for popular reviews, I'm not going to award five stars, and I have a good reason for it. However, if you want a disc of outstanding music sung with precision, beauty of line and great taste, then look no further. Morales was the first great master of Spanish music, setting the stage for a century of musical splendour to match the apogee of the nation's star on the world stage, and his writing is moving, understated, emotionally intense and exquisite throughout. The Lamentations are real masterpieces, and the other motets distinctive and no less well crafted. Moreover, the singing by the Brabant Ensemble is of the highest order, well blended, tasteful and possessing a fine tone.

So why only four stars? Well, for the simple reason that this disc is yet another beautifully performed selection of polyphonic choral music by a professional ensemble consisting mostly of singers who began their careers at Oxbridge colleges. And there's the rub: this is, sadly, nothing new. There are now dozens of ensembles out there (and I have commented in another review on the practice drawing on a relatively limited pool of singers to make up the bulk of Britain's professional choirs), each of which promises to perform unjustly neglected music, but I must admit they are pretty hard to tell apart. With the exception of the fantastically barmy i fagiolini, they perform the repertoire in a very safe way, one that fits our preconceptions of how the music "should" sound.

So here is my challenge to the directors of Britain's early music groups: do something new! Yes, performance styles have changed over the past three decades, but surely now it's time to do something really radical with these "early dots". Be imaginative, outrageous even, but please don't give us any more of this sort of performance.

Christian Gerhaher - Robert Schumann "Melancholie"

*****

One of the finest Schumann recitals I have heard" 20th July 2008

There are a great many great recordings of some of the music on this disc. In the case of the wonderful Opus 39 cycle, which forms the heart of this record, there have been performances by such great names as Matthias Goerne, Ian Bostridge and Kate Royal (in collaboration with Graham Johnson on his excellent Hyperion series), so this new CD is entering a crowded marketplace. However, do not let the big names sway you before you consider buying this. Goerne's tone can at times be reedy and not entirely pleasant, and anyone who has read any of my other reviews will know of my intense allergy to Bostridge. Yes, the man has a pleasant, light tenor voice, but his interpretation seems hysterical, neurotic at times, and I can bear no more than about 5 minutes of his disc which combines "Dichterliebe" with Opus 39. In the case of Johnson, I must admit I have enormous admiration for his projects, but his playing rarely gains my affection - it can seem at times almost a little clinical for my tastes.

So what does Christain Gerhaher have to offer? He is a young man (and a trained doctor, should you ever fall ill at one of his concerts) who has released some very well received discs, but he has not achieved anything like the superstar status of his contemporary Goerne. His voice is a classic baritone: expressive, controlled and capable of dramatic excursions into high registers without any hint of roughness or effort, and warm enough at the lower end to drive the grittier lines in Schumann's writing. But above all it is a voice that is hugely enjoyable just to listen to, and through which to experience wonderful music.

And that is where the success of this disc lies: Opus 39 is for me a unique achievement in Schumann's output in that it is so distinctly different from all his other cycles. Even on a disc with as restrictive a title as "Melancholie", Opus 39 seems to glow with the calm reflectiveness that characterises so much of Eichendorff's poetry. Where Heine (whose poetry supplied "Dichterliebe" and Opus 24) is full of sardonic, ironic and bitter energy, Eichendorff prefers to find redemption in solitude. That is not to say he is all sweetness and light, though: the final line of "Auf einer Burg" is heartbreaking, nothing less.

I have written a lot about Opus 39, but for me the joy of this disc was finding new works that I otherwise overlook. Gerhaher takes some small sets in complete form, and makes "melancholic" selections from others, and the contrast with Opus 39 is striking. The opening song could almost be by Wolf, and Schumann's remarkable range is demonstrated in his settings of poems by poets as great and diverse as Goethe and Chamisso. In fact, I can think of few other discs where the line-up of poets is as formidable as this!

Unfortunately, there is one small drawback which should be considered, or at least allowed for when you buy this disc, especially considering the quality and power of the poetry contained within. The texts are provided, but without translations of any kind, so, unless you are an avid reader of German romantic lyrics (and I must admit that I do fall into that category), you may want to use the excellent Lied and Art Songs page to find good translations. However, this is only a minor disappointment when taken into consideration against the achievements of this CD. Gerhaher has brought wonderful repertoire to life in a considered, powerful and intensely musical way, employing his outstanding voice to great effect. I know I will be enjoying this disc for many years to come.

Julie Otsuka: When the Emperor Was Divine

****
Captivating 9th June, 2008

This is Julie Otsuka's first novel, and it draws on her heritage as an American of Japanese descent, exploring the experience of a Japanese family during the Second World War, when thousands of Americans with connections to Japan were internet, and families separated from one another. There is no suggestion that this work is autobiographical, and there is a long list of credits at the back citing other works of reference from which Otsuka has drawn her material. However, that should not be taken as to imply that the novel is merely derivative: it is a beautiful and deeply engaging narrative, told with imagination.

The story is told by four different voices, one for each of the chapters of the novel, and one for each of the members of the family. The opening chapter, in which the mother takes her leave of the family home, and must dispose of its contents as best she can, is deeply moving and tenderly evoked. Similarly effective is the depiction of the train journey, told by the daughter. The bulk of the novel, at least in terms of pages, is given to the son, who relates the family's stay in an internment camp in the middle of the desert, where dust coats every surface and people are shot for reaching through the barbed wire to touch a beautiful flower. The final chapter, and the briefest of the (already slim) novel, is allocated to the father, and is a striking, even strident piece of writing, whose tone shatters the peace of the rest of the book. Technically it is a demanding challenge, and I am not sure Otsuka quite achieves it fully, but it is memorable in many ways.

Where this novel shines is in its material and its sense of distance. On the one hand it reminds us that the War, which so often is depicted as a simple struggle between good and evil, required moral compromises on the part of the Allies that cannot simply be put down to expediency, but might perhaps reflect a darker undertone to the societies which committed them. Moreover, it is interesting to reflect on this as a counterpart to the fascinating "Letters from Iwo Jima", which again goes some way to redressing the balance in terms of who narrates and controls our memory of this extraordinary period.

So why four, and not five stars? The books qualities are many, and the technical device of four different narrators is hugely impressive. The writing is often first-rate, and avoids sentimentality with admirable success. However, I was left feeling a little short-changed at the end, given the book's enormous promise in the first chapter. It is certain that the balance is not quite right: I have never entirely been convinced by wide-eyed children as narrators of novels, as I feel a little pressured to make an implied moral judgement, which I do not like at all.

However, I would gladly press this book into anyone's hand and recommend that they read it, not because it is the greatest novel they will ever read, but because it does give great pleasure to read and later to reflect on, and that, I suppose, is why we pick up books in the first place.

Pentax K200D 18-55mm Lens Kit

*****
Excellent Alternative to the Usual Canon and Nikon Suspects
30th May 2008


This is Pentax's second "entry level" digital SLR camera, following their very successful K100d, and it is entering a very crowded marketplace. In fact, many people who wish to graduate from "point and shoot" cameras will never even get as far as the K200d, such is the dominance of other models by Canon, Nikon and Sony. However, by ignoring this excellent camera, they are missing out on a trick.

So what is it that the Pentax does that, for example, the Sony A350, Nikon D60 and Canon 450i don't do? Well, for a start, it might be worth explaining that it in many ways it does exactly the same as those three big name models. It takes excellent pictures, offering rich, strong colours and it copes pretty well with even quite low-light situations. It offers a range of preset modes, which fiddle with a whole range of settings to help out novices users, and it offers the standard range of Av, Tv, P and M modes for more flexibility. It comes with a standard kit lens of 18-55mm, which allows for a pretty broad wide-angle shot (though by no means a true fish-eye) through to about 4x apparent magnification of the subject. The 50-200mm lens is a worthwhile addition, and performs very well in a range of situations. The camera is relatively small (compared to semi-pro and professional DSLRs), but boasts a large, bright screen and yet isn't too cluttered with buttons.

So what makes it special? Why did I spend my money on this, and not a Sony (for its live view), an Olympus (for its small size) or a Nikon (for the ability to borrow my mate's amazing collection of lenses)? Well, there were a number of reasons:
- The feel: I have quite large hands (I'm 6'5") and found the Olympus and Canon to be very uncomfortable when I tried it in a shop. It fits well in my hand, and, while heavier than the competition, I only began to tire after a whole day of using it (about 500 shots).
- The viewfinder: the viewfinder is bright and clear, and I find it very comfortable to use. The viewfinder on the Sony, in contrast, was far too small for me because of the extra live-view sensor they have crammed in next to the pentaprism.
- The weatherproofing: unlike any of its competitors the camera is splash- and dust-proof, which, allied to the anti-dust system in the body, makes it a very attractive package.
- The system: Pentax are an old firm with an outstanding reputation in the world of optics and imaging, and their digital SLRs are all designed so that virtually any lens (from about the 1950s onwards) can be used with their cameras. This is in stark contrast to Nikon's decision to take the auto-focus motor out of the D60, which severely limits the range of lenses available which can auto-focus. One of Pentax's specialities is its very compact prime lenses, and I cannot wait to get my hands on the 70mm 2.4 limited, which looks simply stunning for portrait photography.
- The power: the Pentax uses AA batteries, which many Nikon and Canon users scoff at, believing it impossible that ordinary batteries will last more than a dozen or so shots. In one day's shooting of about 500 frames, including a fair few with flash, the lithium batteries which are supplied in the box did not even register on the power display. With high-quality 2500 or 2700 mAh rechargables you can expect about 6-700 shots, which is as good as any proprietary battery in a Sony, Canon or Nikon. Moreover, I know that, should my batteries run out, I can pop into any shop and get enough power to keep going for the rest of the day: a luxury which is denied to other brands.
- Being different! You see Canons and Nikons everywhere you look (there are over 30 million photos taken using a 450i on Flickr), but Pentax is something else, and I really value that.

This really is an excellent camera, and I would urge you strongly to consider it if you're looking at a digital SLR. That isn't to say it doesn't have its drawbacks, but none is a deal-breaker for me. True, it isn't as simple to use as the Nikon D60, and it doesn't have the high resolution of the Canon or its enormous screen. It is aimed at people who want to take photographs properly, and it takes some learning to get the best out of it. However, with patience you will have a tool that is flexible, powerful and very satisfying to use.

I am, I suppose, proud to say: I'm a Pentaxian!

Cantus Cölln - Bach Motets

****
A more than valid alternative 3rd April 2008

In this country we are, I feel, very bad at looking beyond our own shores when it comes to choral music. This, of course, can be attributed to the remarkable strength of professional singing, from college chapel choirs up to the many outstanding ensembles that make all sorts of wonderful music. However, this strength is also in some ways a weakness. The system which produces all these excellent singers is, by and large, that of the university choral scholarship, followed by cutting one's teeth in the shark-pond of London professional singing (this, of course, does a disservice to the many excellent singers from outside the capitol, but it is true for the majority). Because of this, a certain approach, and a certain style are fostered: one of perfect sight-singing, purity of tone and unobtrusive "blend". I would not for a second criticise the results this achieves, but I would argue that it is definitely worth, once in a while, listening to something completely different!

Cantus Cölln are a very small ensemble from (as you might expect) Germany. They have been making records for about 20 years now, cracking out an impressive 30 discs in that time, largely specialising in German Baroque repertoire, and garnering a large clutch of awards for their pains. This disc (which was first recorded in 1997), is fairly typical of their output, combining a choir of soloists (if that's not an oxymoron) with small instrumental forces, and the results are very convincing indeed. The singing is excellent, and the vocal colour is entirely unlike the "English" approach: these singers prefer expression over machine-gun accuracy, which leads at times to slight infelicities in tuning and blend, but lends the performance a satisfyingly distinctive character.

It should be noted that this approach to singing Bach (which is also favoured by Paul McCreesh's Gabrieli Consort) has its merits and drawbacks. On the positive side, the individual vocal lines are beautifully expressed, and the listener is impressed by the clarity with which they can hear every single note on the page. On the downside, individual voices cannot hope to match the weight and dramatic range of a larger force, meaning dynamic contrast can be sacrificed. Moreover, the human ear is so well attuned to picking out different voices that listening can become ever so slightly wearing for long periods. (This point is, however, only a very, very minor one).

So, this disc is a matter of taste: if you want a very musical, very satisfyingly different way of "doing" Bach, you will find a great deal here to enjoy.

Death of a Naturalist

*****

Strong 28 Mar 2008

Returning to this book some ten years after I first encountered Seamus Heaney (under the inescapably unfortunate constellation of GCSE English coursework) I was a little unsure what I would encounter. Those first readings of "Mid-term Break" left me slightly puzzled: these were clearly moving, often quite funny stories, but I didn't "get" the poetry. I couldn't tell what it was that Heaney was doing with language. In short, it all seemed a little, well, pointless.

But now, rather older, and maybe a little wiser (though that's hardly a great improvement: I was a particularly useless example of a 15 year old boy), I find in Heaney a stunning ability to weave language into something that is far more than the sum of its parts. There is a denseness to his poetry, not in the sense of obscurantism or difficulty, but in the sound it makes when you read it, in the weight of the syllables in your mouth, that sets him apart from any other poet I know. And this is not to claim some sort of affective fallacy, whereby the weight of his verse evokes the weight of the Irish soil, but to mark his writing out as something more firm, more resilient, than texts that could be so easily dismissed by a rather glib, arrogant young man.

And now I turn again and again to Heaney, seeing in his writing great thought, close observation and honesty, and I am grateful for the time that has passed.

Purcell: Choral and Organ Music

****

A very good overview 28 Mar 2008

Purcell is well served on disc these days, with excellent recordings (particularly those by the Kings Consort) easily available. This budget offering from Naxos is entering a crowded marketplace, and, on the surface at least, has little to distinguish it from the competition. The choir is the usual bunch of professionals, polished in word and deed, and the accompaniment comes only from a chamber organ (you don't even get a nice gut of baroque strings to fiddle away in the background (I'm not sure what the collective noun for baroque strings are: a gut seems suitable, but at times I would find "murder" or "mob" more appropriate. Clearly "gaggle" is the only apposite word for a group of oboes.))

So why do I give this disc 4 stars? Well, there is the repertoire: Purcell's full anthems (unlike his verse anthems, which are extended compositions with long solo passages and, as I infer above, orchestral accompaniment) are relatively short, quite condensed compositions, but that is where their quality lies. Often the writing seems closer to the early masters of English Protestant music (think Gibbons and Weelkes) than Vivaldi or Handel, but this is more often than not a strength, as it is Purcell's remarkable gift as a composer to create music which simultaneously allows for clear expression of the text, allied to beautiful and moving music. One need only listen to "O God, Thou art my God" to hear this demonstrated to the fullest extent.

The Oxford Camerata's discography largely consists of Renaissance and Medieval music, but I believe that it is in this, slightly later, repertoire, that Summerly really comes into his own. The balance, blend and quality of the singing is outstanding, and I have enjoyed this CD for many years now (I must have owned it for nearly 10 years). If you want a budget, one-disc introduction to a great composer, buy this.

A.A. Gill - Previous Convictions

***

As diverting as it is insubstantial 26 Mar 2008

This is a collection of articles and essays by A.A. Gill from a period of about 20 years, covering everything from the Glastonbury festival, to beetles, to modern Haiti. They are, by and large, fairly short piecees, and many are very funny, so they make for entertaining little bursts of reading.

It is not, however, a book which I can enjoy reading for any length of time, and that can be put down to a number of reasons. It must be admitted, I accept, that Gill is an excellent prose stylist, but there is at times a slight glibness about the writing that suggests deep and meaningful insights, but they are never really developed or rewarded. The description is frequently masterful: Gill's evocation of the appalling squalor of Haiti is striking, but it often ends there. But these merits cannot carry the book as a whole.

For this book can never really be successful as a book, simply because of its origins. These are journalistic pieces, and must perforce lack the thoroughness and rigour of more literary writing, regardless of the panache of the prose. When Gill writes about his father's dementia (in what is a touching and thoughtful piece), the reader is offered no more than a brief vignette, with no more than a passing gesture towards the wider issues which the article raises.

So, a recommendation? For holiday reading, or to take on the train, this is a very good book. As a book itself, it is frustrating.

Schubert - Winterreise

*****
A very fine performance 20 Mar 2008

review in two parts. Part A is for those who don't yet know Schubert's masterpiece, and B is for those who do, and are in the business of choosing a particular recording.

A. "Winterreise" is a song-cycle written by the great Austrian composer Franz Schubert towards the end of his life. The name "song-cycle" can be a little confusing for some people, as it implies that the music begins and ends in the same place. What is the case is that these are narrative works, in which the singer is the main character, and who relates his experiences through a series of songs. In the case of "Winterreise", these songs describe the character's experience of being driven out of his lover's house, and wandering through a frozen landscape. His sanity gradually slips away from him, and he ends up begging from an old hurdy-gurdy player in a village.

The story is, as you can tell, harrowing, in particular because of the momentary glimmers of hope that appear, such as the sound of the post-horn, which the wanderer convinces himself is bringing a letter from his beloved. However, his isolation and abandonment are all too clear to him, and, despite anger and intense longing, he seems at the end to have accepted his fate as one who will forever be cut off from the world.

The music which Schubert uses to tell this story is remarkable both in its simplicity and complexity. He uses one singer, accompanied by a piano, and yet the range of moods and textures which he achieves is itself extraordinary. One can almost see the glitter of leaves at the start of "Der Lindenbaum", and "Der Stuermische Morgen" is as powerful as any orchestral score. What makes these songs so powerful is, though, the intensity of the emotions that run through them: there is no sentimentality here.

So, if you don't yet know "Winterreise", buy it immediately and set aside an evening to immerse yourself in this extraordinary piece of music.

B. Any recording of "Winterreise" is up against some stiff competition from a wide range of different singers, and there is, of course, the gargantuan figure of Dietrich Fischer-Dieskau against whom all will be measured. I do not wish to give a blow-by-blow account of where this version differs from its fellows, or which is better for each individual song, but to argue that this live recording has a great deal to offer, and, while not definitive by any means (and wouldn't a definitive version be dull!), is well worth listening to. Goerne is a pupil of Dieskau, and one can detect the old master's influence on his approach, but he is, unlike the older man, a baritone through and through, and his singing reflects this. He is acutely sensitive to the text, he can create a very satisfying range of vocal and emotional colours. Moreover, in this version he is accompanied by the wonderful Alfred Brendel. While Brendel may not be as renowned an accompanist as Graham Johnson (whose complete recording of Schubert's songs has established a new precedent in thoroughness and dedication to the cause), he is one of the finest pianists of his era, and his interaction with Goerne demonstrates his phenomenal musicianship to the full.

As above, I can heartily recommend this version. I have enjoyed it for several years, and I am sure you will do too.

Giles Wemmbley-Hogg: Goes Off, Series 2

*****
Pure Comedy Gold 20 Mar 2008

Marcus Brigestocke is a many of a great many talents, but they all seem to be united in two greater gifts: the first is to make people laugh (a great deal), and the second is to identify and expose the (frequently wilful) short-sightedness which characterises so much of human behaviour. Many will know him from The Now Show on Radio 4, where his angry young man rants against policies and practices that destroy the environment have made him a personal favourite of mine.

But it was in the guise of the delightfully idiotic Giles Wemmbley-Hogg (two m's, two g's, from Budley Salterton) that I first encountered his art, and it remains one of my favourite comedy series for radio. For those who don't know, Wemmbley-Hogg is a rather dim young man, only recently out of Charterhouse, off on his travels around the world. For anyone who has ever "travelled" abroad (and I use the word advisedly: this is not tourism, but rather the backpacking, earnest and frankly impossibly annoying habit of young people on gap years (before, after or during university) who wish to experience a country on an "authentic" level, away from the corrupting influence of modern tourism and western culture. Except that these people largely deserve nothing but contempt: their world view consists largely of vacuous platitudes about how profoundly they have been changed by the poverty/landscape/injustices/local culture that surround them in any given location, and their entire source of knowledge is the Lonely Planet to whichever country is unfortunate enough to have merited their arrival, much like a plague of locusts, this year. These are people who will scoff at anyone who deigns to pay a premium to a rickshaw driver who lives in his vehicle and for whom foreign tourists offer at least a brief respite from the appalling conditions of his existence. These people strut around, deriving almost pornographic pleasure from the poverty of the poor individuals who surround them, and yet whose understanding of local economic or political conditions could be written on the back of a fag packet.) Having written that, I find myself rather liking Giles. He is, frankly, too stupid to hold any of the views which so irritate me, and his bumbling innocence throws light on the more self-serving habits of the "gap-year generation" which he inhabits.

I'm not sure if this is a review, really, but to gesture in that direction, I will say that this is a very, very funny audiobook, and if you enjoyed the first series, you'll love this.

Lalande: Music for The Sun King

*****
A rarity, and one to be snapped up! 19 Mar 2008

A relatively obscure recording of French baroque church music would seem at first sight to be an unlikely subject of a case at the High Court, but this disc achieved that remarkable notoriety, and was immediately thereafter taken out of print. I do not wish to go into the rights and wrongs of the matter, but the case concerned the extent to which editors of musical scores can claim rights as composers, and, to put it bluntly, the record company lost. Which is a great, great shame, as this really is an excellent disc, presenting music by a composer who has been rather overshadowed by the greater luminaries of his age such as Rameau, Couperin and Lully.

The CD includes two "grand-motettes" (the Te Deum and Venite) which were performed at the court of Louis XIV. Given that King's predilection for all things gold and shiny, it is only natural that the music for the chapel royal should be equally grand. So, to accompany the royal religiosity, we have a large choir, a small choir of soloists and an orchestra replete with brass, wind and percussion. And what a great noise they make! In typical French style the counterpoint is restrained, but the rhythms are elegant, even swinging at times, and contrast is achieved through variety of orchestration and vocal scoring.

The works themselves consist of many short sections, varying in tempo, and many last less than a minute. There are some entirely solo sections, but the majority are either for small groups of soloists or the larger choir, lending a very satisfying variety to the whole.

A real highlight of the disc is the inclusion of the single movement "Panis Angelicus", taken from another motet, and sung quite exquisitely by Caroline Sampson, who possesses an excellent voice for this repertoire. And the same can be said for the other soloists: James Mustard and Jonathan Gunthorpe are outstanding bass soloists, and James Gilchrist and Paul Agnew provide excellent tenor work. The other soprano part is taken by Natalie Clinton-Griffith, whose light tone contrasts pleasingly with Sampson's richer sound. The choir is as good as we have come to expect from Ex Cathedra (that is, very good indeed), and the orchestral playing is full of flair, but always technically spot-on.

So, not only will this disc be an interesting addition to the other banned CDs in your collection, but also provide hours of real listening pleasure.

Bach: St Matthew Passion

***
Bach for its time 10 Mar 2008

I was once in a pub and overheard a conversation between two elderly chaps, who were praising the virtues of the organ in the church next door (where I had just spent a rather hungover couple of hours rather wishing it would play a little quieter), and they both agreed that "it plays Bach wonderfully". This gave me pause for thought: the instrument is indeed well suited in tone and colour to the energy and counterpoint of Bach's fugues, but surely they have missed the point - it is the player who plays Bach well, not the instrument. Perhaps the same could be said of this version. The singers are, as the other reviewer remarks, the finest of their generation, but Klemperer ultimately uses them in such a fashion as to make the experience of listening to this an exercise more in endurance, rather than a moving spiritual journey.

I have awarded the disc 3 stars, and each of them is well and truly deserved. The most prominent role is of course that of the Evangelist, sung by Peter Pears, who restricts himself to telling the story without too many histrionics or drawing too much attention to himself (it is hard, though, to agree with the other reviewer, who describes Pears as "castrato" - if anything, that term could apply to Bostridge on the more recent recording by Herreweghe. Pears sings with a full tone throughout, and very impressive it is too.) Moreover, Dietrich Fischer-Dieskau's Christus is a revelation: it is common practice nowadays for Christus to be dark and massive-toned, but the writing itself suggests a baritone, rather than a bass, should sing the role (there are too many top E's for a low bass to be really comfortable.) The result is that Dieskau introduces a calmly reflective quality to the character that is most welcome. Think saving victim, rather than the Church mililtant. The other soloists are also first-rank in every case. Schwarzkopf is a model of control and beautiful tone; Christa Ludwig is gorgeous (if a little swoopy); Gedda is stunning and Walter Berry sings wonderfully. It is interesting to reflect that these were (with the exception of Pears and Dieskau), first and foremost singers of opera, yet the size of their voices does not get in the way at all of the music - rather, it allows more colour and flexibility, especially at the extreme ends of the range, than many modern specialist baroque singers, (and it could be said that this criticism applies more to singers of 20 years ago than now), who often possess one colour which quickly runs out into harshness when drama is called for. It reminds me a little of the recordings Karl Richter made in the 1960s with singers from the Stuttgart Opera.

However, therein lies the difference: Richter was happy to carry over the excitement, colour, and even adrenalin from the operatic stage into his Bach, and it made for a thrilling result. Not, perhaps, as we would do it today, but nonetheless thrilling. Klemperer, however, has taken a different line, opting for reverence over excitement. The other reviewer clearly likes this very much (saying they project "the words with meaning and feeling in good German diction"), but to my ears what they perceive as feeling for the text is in fact an approach that drains the work of dramatic intensity, which cannot be compensated for by good enunciation. In short, it is far too slow, even allowing for the taste of the time, and the opening chorus can only be said to lumber, rather than pulse with menace, as it should. While the soloists are capable of sustaining the arias, the choruses are by and large very dull: where all the meaning of the text is crying out for a dramatic outpouring of sound, the effect is simply pedestrian. Sadly, this is the undoing of the whole disc.

So can I recommend this recording? There is, indeed, much here that no modern conductor could ever even hope to achieve, largely owing to the remarkable range of voices on display. However, it is simply too slow to be genuinely moving. So who should buy it? If you already own other recordings, this is a fascinating insight into how Bach was performed before the "rediscovery" of early music at the end of the 1960s, and the singers recommend themselves with no further qualification needed. However, if you do not yet know this work, I urge you to look elsewhere, perhaps to Gardiner's recording with Rolfe-Johnson as the evangelist, or to Herreweghe's newer disc (marred only by the choice of Ian Bostridge as the storyteller). I myself look forward with great interest to when the outstanding Balthasar-Neumann-Chor from Germany decide to undertake this project.

Bach: Matthäus-Passion

****
Very fine, but with some reservations 25 Feb 2008

The St Matthew Passion by Bach occupies a unique place in the world of music: its scale, intensity and expressive range set it apart even from the grandest operas, and yet it is music which was composed for the Good Friday service in Leipzig's Thomaskirche, where Bach was organist. The term "passion" refers to the story of Christ's suffering and crucifixion at Calvary; the bulk of the story is told by a tenor Evangelist and Christ's words are sung by a bass. As was traditional, verses from chorales are placed throughout the work, allowing the congregation to take part in the narrative, and solo singers and choruses are allowed the opportunity to comment or reflect on the action taking place.

This rather dry definition, while giving an impression of the different forms of music to be found herein, but words cannot even come close to the incredible dramatic force which Bach achieves in this work. The music ranges from breathtaking stillness (as in "Aus Liebe", sung by a soprano) to virtuoso solo singing ("Geduld", sung by the tenor, is a fine example), to grandly-scaled choruses (as in "O Mensch, bewein") and fabulously expressive writing for the Evangelist (whose part is incredibly demanding, calling for a top Bb right at the end of the work, after about 3 hours of singing!).

To bring this music to life is, it seems hardly necessary to say, a mammoth task. Not only must a conductor have at his disposal singers and instrumentalists of the highest quality, but also be able to control the drama and pace of a performance lasting over three hours. In the case of this recording, Herreweghe achieves these criteria in almost every respect, and this is a fine disc, although there are some disappointing aspects which should be balanced with the clear strengths.

To deal firstly with the pace and drama of the performance, Herreweghe does a very sound job. The tempos are varied, erring on the quicker side, but very few numbers feel rushed (it is disappointing that the wonderful bass aria "Mache dich, mein Herze, rein", is a little too fast, seeming too restless to my ears). Overall, though, there are very few complaints.

On the subject of singers and musicians, the picture is again largely very positive. The choir is, as a unit, excellent - perfectly in tune and very disciplined, although some of the "step-out" roles (where singers from the choir portray roles such as Herod, Peter and the High Priests) are less successful. The orchestra is outstanding 99% of the time, but it is very disappointing that the viola da gamba player on the bass aria "Komm, suesses Kreuz" seems to be suffering an asthma attack during the piece. While I am all in favour of performers engaging fully with the music, this "heavy breathing" is taking it a step too far.

But what of the soloists? Another reviewer on this page argues that the presence of Ian Bostridge (as the Evangelist) and counter-tenor Andreas Scholl should be enticement enough for any buyer, but I would counsel against getting one's hopes up too much. In the case of Scholl, his tone is, it must be said, fabulous, but at times I feel a little disconnected from the meaning of the music when listening to all this glorious sound - his "Erbarme Dich" is just too forthright to really communicate the sense of a plea for mercy. Bostridge is yet more troubling. I have heard live performances where he makes the most appalling hash of some of the difficult passages (yodelling like a lusty Swiss mountaineer), and he is quite simply far too self-indulgent far too often. While a sense of drama is vital to deliver this passage successfully, he veers at times dangerously close to histrionics, and often gets in the way of the narrative. And at other times his voice just is not very pleasant to listen to. The other singers are a mixed bag. Franz-Josef Selig (Christus), is very fine, with a massive, dark tone, and Werner Güra (tenor arias) is brilliant (he is far too under-rated in this country). The soprano soloist Sibylla Rubens sings beautifully, and is very musical. Less felicitous is the bass soloist Dietrich Henschel, who at times simply runs out of room at the bottom of his range (as in "Mache Dich"), and at others is too monochromatic and metallic to be pleasant to listen to.

So the question remains, can I recommend this CD? On balance, yes, and there is an enormous here to really enjoy. There are other fine recordings around, though (Anthony Rolfe-Johnson on Gardiner's recording is a more listenable Evangelist than Bostridge), so you might want to look at some more reviews before shelling out your £25 for this.

Bach - Mass in B minor

*****
A fascinating recording of a masterpiece 17 Feb 2008

As so often with this sort of music, this review must serve two purposes: put simply, some people know the music, and some don't. I'll start with those people who don't know the music, and say that this work by Bach is quite simply one of the greatest achievements in music from all times and all cultures. Taking the words of the Roman Catholic communion service (hence "Mass in B Minor") Bach created a colossal work which ranges from thrilling, exhilarating writing for 8 different voice parts and full orchestra, through to quiet, meditative movements for solo voice which reflect on the essence of what it means to be human. To listen to it from start to finish is a great undertaking: with this recording you will need almost 2 hours, but you can put on any part of it and find what can only be described as music of complete genius. Add it to your collection today.

For those who already know the work, this is a recording that I can recommend wholeheartedly, as it offers a genuinely exciting alternative to the major "brand names" in the Baroque music world. There are very fine recordings by great conductors, with some stellar line-ups of soloists on offer (Herreweghe trumps almost everyone with his incredible array of singers), but this is a breath of fresh air. The Baltasar-Neumann-Ensemble is a relatively new group to join the fray, but it brings with it a director who made his name with some fascinating work on early operas, whose sense of drama and above all of pace sets him apart from his peers. Where Gardiner can at times seem mechanical and hurried, and Herreweghe over-indulgent (at least in his version of the Agnus Dei, no matter how wonderfully Andreas Scholl sings it), Hengelbrock allows slow movements to breathe naturally, but can inject real fire and pace when he needs it (witness the Et Resurrexit).

And this vision of the music is thrillingly brought to life by an outstanding choir and orchestra. Technically there is some breathtaking work on this recording (again to mention the basses on the Et Resurrexit, where in the tricky central passage they fly through the runs with real style, and yet never putting a foot wrong.) The phrasing is incisive and very musical, and the overall effect quite stunning.

Where this recording deliberately sets itself apart from its competitors is in its soloists. Whereas most other groups bring in big names to attract the customers, Hengelbrock makes use of his own singers to "step out" and deliver the various solo and duet arias. These are technically tough works, and while none of the singers has a voice quite as brilliant as a Scholl or Kooy, they give excellent and moving performances. And I believe there is more value to be found here: because the same singers perform both chorus and solo items, the quality of sound is consistent throughout, so that the noise the sopranos make, for example, does not suddenly give way to a welter of full-throated opera for one number, and then switch back to a nice, polite chorus sound. For me this is a very pleasant revelation, and the variety of singers used adds real interest to listening for long periods.

This is a long review, and it has gone on for long enough. Buy this CD.

Tye/Mundy: Vocal Works

*****
One of my favourite early music discs 2 Feb 2008

Time has not been particularly kind to either Christopher Tye or William Mundy. In the former's case, the flowering of his genius came just at that crucial time in English musical history when the old Catholic way of life was abandoned, and with it went a spectacular tradition of choral singing. Mundy was young enough at the Reformation to continue composing after the switch to Protestantism, but the musical dogma of that time, which enforced dry, lifeless psalm settings and syllabic hymns, has left his reputation sullied by music he clearly would rather not have written.

Thankfully, though, this disc brings to life the music that these men would have wished to be remembered by. In Mundy's case there is the glorious motet "Peccavimus", which is full of deep Lenten sorrow and powerful emotions, which bears happy comparison with his other great work "Vox Patris" (not on this disc). From Tye there is the sublime mass setting "Euge Bone", a work that can justifiably be described as a true masterpiece of its era. Each movement carries with it a different mood and colour, from the beautifully introspective setting of the Agnus Dei (especially the third "gimel" section for upper voices over a quietly moving bass line) to the majesty of the Sanctus, and the dramatic brilliance of the Benedictus.

Jeremy Summerly's Oxford Camerata give this music a wonderful performance, full of feeling and yet technically outstanding too. The recorded sound here is intimate, and this serves the music well, as you find yourself surrounded and entwined in the weaving, mellifluous lines of the polyphony. I bought this CD nearly somewhere around 9 years ago, and I have never tired of it.

Return of the Brecker Brothers

****
A welcome return, but not quite a return to form 1 Feb 2008

The 1970s were a nervy time for jazz: Miles was making electric albums with rude words in the title, Weather Report were producing strange aural soundscapes, and up in New York a bunch of young men with terrifying techniques and amplifiers were scaring the living daylights out of anyone who happened to cross their paths. They were the Brecker Brothers, formed by the brothers Randy (on trumpet) and his tenor-playing brother Michael. Their music was fast, funky and great fun, and perhaps best described by the title of their live album "Heavy-Metal Bebop". But, as is the nature of these things, the group disbanded in the early '80s, and the two men went their separate ways. Both made tons of money playing as session men on other people's albums (and produced some excellent music), and Michael recorded a series of excellent solo albums that were much closer to what one might call "jazz" than the Brecker Brothers material.

But, as is the nature of these things, a record company had the bright idea that, in 1992, the Brecker Brothers might re-form, and get some albums together, and this, The Return of the Brecker Brothers, was the result. And far from mimicking the headlong blowing madness of the seventies, this is a much more urbane affair, drawing together everything from African sounds to abstract funk influences. The opening number - Song for Barry - is a highlight in terms of the originality of the material, and Above and Below demonstrates a much more jazz-led approach to the work, with some great synth playing. Spherical is an exciting tune, and Michael's muscular, light-speed tenor is demonstrated to the full.

Having said that, there are some really dire numbers which go little further than providing a hip-hop loop for the brothers to blow over (King of the Lobby is awful, and Randy's comic vocal on That's All There Is To It does no-one any favours).

So this isn't a classic album, treading as it does a slightly unsteady path between lift-music and great arrangements, but it does provide some very enjoyable music. If you want my advice, get their follow-up album Out of the Loop, or, even better, go for the really early 70s stuff like East River, which has aged much better than this.

Anita O'day Swings Cole Porter With Billy May

****
Swinging and great fun 31 Jan 2008

Anita O'day is one of those jazz singers whose career never quite hit the heights of the greats (think Ella, Lady Day, Sarah Vaughan), but whose contribution to the music is considerable. Early records show a young woman with a big, powerful voice, and this later offering provides just as much punch, but with more finesse and style. The repertoire is great - all the classic Cole Porter songs are here - and the arrangements swing all the way. It's hardly revolutionary stuff, but then it is a hugely enjoyable jazz record that has given me several years of listening pleasure.

Madrigals for a Tudor King

****
Very good singing indeed 10 Jan 2008

This disc has appeared on the Obsidian label, new to the music marketplace in 2007, but their first few offerings have been very well received in the press. Reading a little between the lines, it seems that Obsidian is the means by which Alamire, also a new entrant to the cut-throat world of early music, can get their recordings out into the wide world, but it would be entirely unfair to accuse this of being a vanity project: these are serious records of serious music for serious listeners, exploring parts of the repertoire that are poorly represented on disc.

This is not, however, to suggest that the music is of that variety which, when first you hear it, causes you to think "now I see why this has been left unrecorded for so long." It must be admitted that there is occasionally a habit among aficionados of square notes and Latin texts to confuse new discoveries with quality, but in this case the repertoire being presented is of genuine worth, and it is given sensitive and thoughtful performances.

Verdelot belongs to that generation of composers which have come somewhat into vogue in the past three or so years among the early music scene, as he lived between the two apparent golden ages of Renaissance music: those of Josquin and Palestrina. Both of those seams have been heavily mined by every ensemble out there: The Clerks Group have made outstanding discs of Josquin, Obrecht and Ockeghem; the Tallis Scholars have made Palestrina's Missa Papae Marcelli their own; and the Cardinall's Musick have given Byrd a truly memorable series of recordings. The period around 1520-1550, at least for music from Continental Europe, however, has been a little overlooked: in England the last of the great Catholic composers were enjoying their polyphonic heyday (think Taverner, Sheppard and Ludford), and much has been recorded from that time, but on the continent it is only really Gombert and Morales who from this period have attained any real fame in the modern era (and Gombert was only dragged out of the specialists' clutches by the Tallis Scholars in their relatively recent disc of his Magnificats.) As such, it would be fair to say that Philippe Verdelot's name is one which, although known to many who perform and listen to early music, is not rated alongside greater luminaries of his age.

And that is not to say that he deserves to be considered an equal to Tallis or Josquin, but that he wrote some very fine, very moving music which is very enjoyable indeed to listen to when sung by a good group such as Alamire. These madrigals are all very short (the longest is just over three and a half minutes) and set texts in Italian by Petrarch, Machiavelli and other lesser known writers. Some are for six voices, but most bring together fewer singers to the accompaniment of lute or harp. This allows for a very pleasing diversity of moods, sonorities and textures, demonstrating expressive solo singing and some expert ensemble work.

Alamire clearly are well-worth looking out for, especially if they continue producing discs of this interest and quality. A very worthwhile addition to your collection.

Cowon iAUDIO A3 60GB

*****
Expensive, but exceptional 1 Jan 2008

Rocking in at almost double the price of the most expensive iPod, this most recent portable media player from Cowon would seem to have an almost impossible task if it is to win hearts, minds and customers away from Apple's all-conquering mp3 player. Its strength, however, comes from the fact that it deliberately avoids taking Apple on at a game they've got pretty much stitched up, and offers features and functionality that make the iPod look like nothing more than a beautifully presented toy for grownups.

Cowon have never been big in the UK market, but they are hugely popular in the US and Asia, and are widely regarded as manufacturers of very high quality products aimed at "serious" users. The a3 fits this model in every way, offering functionality that requires a degree of learning to make the most of, but the flexibility and quality are outstanding.

What attracted me to this player is the sheer range of formats (both music and video) that it supports, and the simplicity of using it. It requires no specific software to use (unlike the distinctly clunky Creative Media Browser or the appalling iTunes), and is customisable in almost every possible way. The sound quality is brilliant: I used to own an iRiver H320 which beat any iPod in terms of sound, yet this, when listened to through my Sennheiser PX100s, offers spacious, lively sound with excellent bass and clear treble. I have tried it with everything from heavy-duty drum'n'bass through to Grieg songs for soprano and piano, and it is perfectly comfortable with all of them.

Another important feature for me was the recording function this offers. For a brief period I owned a Creative Zen Vision:M, which offered a record function, but only through the dreadful built-in microphone. I recently recorded a rehearsal of solo voice and piano using a Sony microphone in FLAC (lossless) format (a range of mp3 formats are also available) and the results were terriffic. And what's more, this machine can record video too! I've not had the chance to try it, but one needs only to plug a TV or DVD into the machine and it will record and encode the file (at a range of different qualities depending on your needs).

Playing this lot back is a pleasure in the simplicity of the interface, which is mostly controlled through a small "jog-lever". There are four buttons, three of which offer different functions according to the context (which is always clearly displayed at the bottom of the screen). And this brings me on to the screen. It is quite simply outstanding. It is large, clear and bright, and can be read easily from any angle, so when it comes to viewing photos or films it really is excellent.

This is not an iPod killer, and never sets out to be, but rather an excellent piece of equipment for people who take listening to, watching and recording media seriously.

Song of the Black Swan

*****
Excellent disc 28 Dec 2007

I first encountered these performances on Radio 3, where I was impressed by the beauty of line and musicality of the playing by both Blake and Webb. Listening to the whole disc has confirmed these impressions, and given me the great pleasure of an hour or so's utterly charming music.

All but two of the works are arrangements from other sources, including some song adaptations, and the results are sensitive and musically very satisfying. As Webb remarks in her liner notes, the sonorities of the two instruments are "obviously complimentary", yet the two performers have achieved a rich range of textures, dynamics and moods across the 19 tracks on offer. Above all, though, there is none of the aggressive quality which a piano can bring to music in this performance, and the abiding impression is one of calm reflection, even in the more lively pieces.

It is frequently the case that arrangements of famous works are looked at askance by "serious" classical music fans, yet this disc presents works from composers as diverse as Lennox Berkely, Gershwin and Debussy in a new and excellent way.

The Cambridge Companion to John Donne

*****
An excellent overview 28 Oct 2007

The Cambridge Companions series really is a godsend to anyone looking for a well edited, thorough, and yet also manageable guide to an author's output, and this Companion to John Donne is as good as any I have used to date. The 16 essays cover all the ground one would expect of a volume such as this, including a useful biography, and thematic overviews of the main areas of his writing. The quality of the contributors is very high indeed (only Judith Sherer Herz, in her postmodern take on "Reading and rereading Donne's poetry", allows herself to slip into the jargon (and consequent sloppiness of thought) of Lit.Crit.

There are, however, some gems on offer here, and the book is worth the purchase alone for A.S. Byatt's wonderful meditation on Donne which concludes the volume. Somehow it seems right that the final word on a great poet should be given to a writer of great sensitivity and thoughtfulness, rather than an English Professor with a sharpened pen and a department to run.

This is clearly aimed at undergraduates and above: if you are doing Donne for your A-levels then I suggest the York Notes volume would suit you better, but for anyone studying or teaching the great man, this is an indispensable starting point for reflection and research.

Annie Proulx - Postcards

****
Not perfect, but imaginative and striking 28 Oct 2007

Some people really do not like this book. Some have given it one star in a review, and others have complained that it does not stand up next to Proulx's much more famous "The Shipping News", yet I feel moved to come to its defence. This is Proulx's first novel, and, for those who do now know the storyline, it begins with the collapse of a family unit on a small farm and goes on to chart the progress (in inverted commas) of the members of that family across the geography and time of the United States in the 20th century.

The fiercest accusation levelled at this book is that it lacks a plot, and I would be inclined to agree, but this is not necessarily a bad thing. Indeed, I often find that otherwise good books are spoiled by their plots, and many of my favourites have no plot at all. This is an episodic, thematic approach to writing, but one could argue that this is perhaps closer to how we experience the world than a meticulously planned thriller which leads you by the nose to its ravishing conclusion.

Proulx does take a gloomy view of the world in this book, but again that is to be applauded, but that places it in a very fine tradition of American writing (think of how relentlessly depressing "The Grapes of Wrath" is, and that book is twice as long as this). It is not perfect, and it needs to be read quickly for it not to become slightly tiresome, but it is a fine, and adventurous piece of fiction.

Cookin' With the Miles Davis Quintet

*****
Wonderful music 28 Oct 2007

1956 was a good year for Miles Davis. In two days in the studio he fulfilled the requirements of his contract with Prestige, and produced four brilliant albums to boot. The band - the first "great quintet" of Davis, Coltrane, Garland, Jones and Chambers - was playing supremely well, and the material was an exciting mix of perfectly-delivered standards and newer jazz compositions.

It would be wrong to argue that any one of the four albums recorded in 1956 (the others are Relaxin', Workin' and Steamin' all "with the Miles Davis Quintet") is better than the others, as each demonstrates moments of inspired genius in different ways, but this is for me one to which I turn more frequently than the others. There is one obvious reason for this, which is Paul Chambers' bass playing on "My Funny Valentine", yet the overall effect is important too. This feels like a club set, with its mix of easy swing and straightahead workouts, and the final pairing of Tune-Up and When Lights are Low works brilliantly.

As I suggested in my review of Relaxin, this is an album that every lover of jazz music simply must own, but its appeal will stretch far beyond this one corner of the musical world. Anyone with a serious interest in music will find here imagination, musicianship and playing of the very highest order, and one of the great albums of the 20th century.

Relaxin' With The Miles Davis Quintet

*****
Iconic, and rightly so 27 Oct 2007

This is one of four albums recorded in a remarkable two day session when Miles was working to finish a contract with Impulse records so that he could start a more lucrative deal with Columbia. He had four discs left to make, so he simply took his band into the studio and recorded non-stop.

This description may make the results seem underwhelming, but one or two caveats should be made: firstly, the band ought to be described. This was the first of Miles' two great quintets, featuring John Coltrane on tenor, Red Garland on piano, Paul Chambers on bass and Philly Joe Jones on drums. It is perhaps no exaggeration that Coltrane, Chambers and Jones were each the finest performers on their respective instruments, and Garland was himself a very very talented musician indeed.

And the nature of the session left its mark on the performances. Whereas Miles' later albums would each bear the mark of a distinct artistic project, these were as close as it is possible to get to "live" studio performances of the repertoire that this group played day in, day out. As a result there may be less sense of breaking new ground, there is a terrific sense of five men working in absolute harmony with one another, interacting on a level that defies rational explanation. The playing is quite simply phenomenal, from the swinging opening number through to the headlong drive of "Oleo" and the charming "It Could Happen To You".

This is an album that every lover of music should own. Fans of jazz music must have a remarkable document in the history of a one of the greatest groups in the history of the genre. Everyone else will be getting a disc of wonderful, exciting, thrillingly played music that represents a true genius at work. To coin a phrase from M&S, this is more than just jazz music: this is a masterpiece.

Debussy; Dutilleux; Ravel - String Quartets

*****
Excellent repertoire played by an excellent ensemble 26 Oct 2007

This review must, I suppose, serve two purposes. If on the one hand you do not know the Ravel or Debussy string quartets, buy this cd immediately. This is music of the highest quality, written by composers at the height of their powers, which demonstrates their unique gifts for melody and colour.

For those who might be comparing different discs, then I can make the same recommendation as above, and without the slightest reservation. The Belcea Quartet are one of the most talented new groups performing this repertoire, and they are rapidly establishing themselves as serious competition for the older and more famous groups out there. This is an excellent performance.

The Green Mile

***
Compelling, but questionable 26 Oct 2007

There is something compelling about setting a film which explores the resilience of the human condition in a prison, and many good movies have come of it. The most famous, and one which all too often is claimed to be someone's "favourite film", is The Shawshank Redemption, but there are of course countless other, and better examples. This epic (it runs at well over 3 hours) seems cast very much in Shawshank's mould, and it is a gripping narrative, but it is not without some major flaws.

The storyline, which is very simple and clearly signposted from the beginning, concerns the Death Row block in a prison in a Southern gaol which bears the nickname "The Green Mile". Its chief warder, Paul Edgecomb (played by Tom Hanks), is a man of good manners, grace and consideration, both to his colleagues and inmates, and the world over which he presides should be a happy one. However, this is a Hollywood movie, so of course he has a bladder infection and the nephew of the state governor's wife (played by Doug Hutchison) is a small-minded, almost psychopathic youth whose motivation for working on the Mile is to see people fry. So much, so predictable. The prisoners range from the silent and meaningful Native American Arlen Bitterbuck to the "problem child" Wild Bill Wharton (who neither really wild nor problematic at all, and would certainly not cause a hardened prison guard even the slightest concern), but the overwhelming impression is that these are "good guys" who did something stoopid and now have to pay for it all with their lives.

And then there is John Coffey, a character of true Stephen King vintage. This giant of a man (and he is played magnificently by Michael Clerk Duncan) is brought in convicted of the murder of two little girls, having been found cradling their blood-stained corpses in his arms. He, however, can barely string a sentence together, yet possesses magical healing powers which can restore health to both Tom Hanks (more's the pity) and a pet mouse (which out-acts Hanks for every second it's on screen).

So what does this film do well? As I have suggested above, it is a gripping narrative, and the slow pace never drags. Moreover, there are some excellent performances (if a little too much in the "dryly humorous good-natured Southerner" mould from the supporting cast (led by David Morse). The camera-work is at times imaginative, and the locations outside the prison are full of southern grandeur. There are even moments of wit, and the tear-jerking is kept to a minimum.

Unfortunately, there is an awful lot wrong with this film. Firstly, Hanks is ridiculously one-dimensional as a character, relying on the twinkle in his eye and good manners to get him in and out of any situation. Never once does he hint at human weakness (his tearful confession of doubt to his wife feels like an afterthought), and the effect of this is to turn the story in to a fairy-tale, which renders its moral value void. Moreover, there are points in the film when the direction degenerates into pure pantomime, such as during the execution of the loveable madman Eduard Delacroix). Simply put, the scene goes on far too long and turns what should have been a shocking, appalling act of cruelty into a ludicrous sequence of cliches and over-the-top acting. And while I do not wish to spoil the ending, it should be noted that the coda (in which Edgecomb reflects on his life since those dramatic events on the Green Mile) undoes all the good work of the movie to that point.

These flaws (and they are only a selection) are, however, subsidiary to the fundamental problem with the film, which is the assumptions about race that the viewer is invited to make in order to believe the premise of the story. In essence, it would be impossible to make this film the other way around, with black prison guards and an old white prisoner, because our cultural expectations of black people differ so markedly from those of European origin. Non-white people are, if this film is to be believed, mystical and mysterious, in touch with strange forces that lie beyond the bounds of science and rational inquiry, yet which return us to those origins which we had forgotten. The figure of the illiterate, retarded black giant (all bulging muscles, sinews and sweating skin) is only a step away from the much more unpleasant images of Uncle Tom that once were all too common in our culture. Time and space do not permit me to explore this idea further, but movies like this, with their comfortably reassuring reassertion that whites learn something from blacks but don't really get forced to change the social order in any significant way, do perhaps more harm than good.

Bach: Cantatas, BWV140 & 147

***
Not entirely successful 25 Oct 2007

Of the two cantatas on offer on this disc the first, "Wachet Auf", has become hugely well known through innumerable alternative versions of its central movement, in which the choral melody is accompanied by an utterly charming string obbligato. As a whole work, however, it is not well represented in recordings, and does not often receive live performances. A brief survey of other discs currently available returned only the old Helmut Rilling recording from the 1960s, a more recent version by Harnoncourt, and some other sessions by ensembles I had never heard of. It has not yet appeared on Gardiner's beautifully packaged new versions, and Suzuki's Bach Collegium Japan have also neglected it thus far.

In all honesty, I must admit that their decisions seem justified when one engages with the music itself, as this is not Bach's finest hour. True, there are some moments of sublime inspiration, but much of "Wachet Auf" seems distinctly workmanlike: the opening chorus, for example, wears very thin very quickly, and the two duets between soprano and bass (representing the soul and Christ) seem fidgety and almost slightly rushed. The second cantata ("Herz und Mund und Tat und Leben") is a more ambitious and overall much more successful affair, with much more variety in its writing for chorus, and the solo arias offer the sort of quality one expects of Bach.

Given the lack of other options (at least ones recorded within the last decade), this disc would seem to be the best possible choice. However, there are some caveats. The performance overall is very polished and professional, and the chorus singing is excellent (if a little monochromatic), but it feels a little like a rushed job. The acoustic of St Andrew's Church in Fontmell Magna is dry (it is not a large building) and while this makes for a very "present" sound, in which every detail comes through, at times any unevenness is very difficult to disguise (such as the oboe obbligato in "Wachet Auf"). Moreover, there are points when the echo is nothing if not a little "bathroomy": one need only listen to the soprano aria "Bereite dir, Jesu" to hear a reverberation that would not be out of place in a railway waiting room. The soloists are a good team, but Ruth Holton is too straight for my taste, sounding too much like a treble and not really colouring the music in a way that conveys the text. Similarly, Stephen Varcoe (whom normally I rate very highly indeed) comes across as strangely underpowered and lacking in warmth.

Can I recommend this recording? I would say at the time of writing (October 2007), yes, as it is the best of a pretty average bunch, but I would suggest waiting until Suzuki and Gardiner have released newer versions before going for this one.

Ockeghem: Requiem; Missa Fors Seulement

*****
Outstanding 31 Aug 2007

The Clerks' Group have over the past few years gained a very strong reputation for themselves in the small, but very competitive field of early music, largely through the strength of their personnel and choice of repertoire. For the former they turn to established professionals who will be well known to anyone with even a passing interest in groups such as The Tallis Scholars, The Cardinall's Musick and the Sixteen, but their approach is much more rehearsal-intensive, and consequently the ensemble is more satisfying than groups which meet for only short periods of time and rely on the preternatural sight-reading abilities of their singers. Their repertoire is similarly interesting: they have made the music of the Low Countries in the 15th and early 16th centuries their own, and have dug up some fascinating new works alongside well-established pieces.

This disc presents the earliest complete setting of the Requiem for polyphonic voices, as well as chansons by Pierre de la Rue, Ockeghem and Brumel. The requiem is a stark, spare piece, which seems to turn its back on warmth and happiness. The chansons, in contrast, are a much more passionate group of pieces. The original was written by de la Rue, but Ockeghem and Brumel later developed the work each in their own fashion. By far the most interesting is that by Brumel, in which the bass, Robert MacDonald, produces some fabulous low notes to underpin a rich harmonic texture.

In all, a very fine disc of early music. Buy it.

Charles Mingus - Blues and Roots

*****

An excellent album, and an excellent introduction to Charles Mingus 28 Aug 2007

Charles Mingus is a somewhat daunting figure in jazz music, and his records are not only musical adventures, but to delve even into the field of anthropology and psychology. Knowing where to start is difficult (Mingus' first major album's title was in Latin!), and the later records are conceptually so broad that they could put the casual listener off. This is not to say that they are not great music - they are stunning - but if you are looking to get into one of jazz music's most exciting and individual band leaders, you could do a lot worse than start with this disc.

This album was recorded at an exciting time in Mingus' life and work. His ensemble had grown to what could be described as a small big-band of around 9 musicians, and he was drawing on a feast of ideas which were coming out of the Jazz Workshops in New York City. He recorded three great albums in this period, of which "Mingus Ah Um" is probably the most famous, and although "Blues and Roots" does not quite match it in the brilliance of its execution, it remains a thrilling, highly musical and enormously enjoyable jazz record.

It was the producer Nesuhi Ertegün who put forward the idea for "Blues and Roots", partly to refute criticism of Mingus which claimed he did not swing hard enough, and also to provide "a barrage of soul music: churchy, blues, swinging, earthy." If nothing else, this album succeeds on this scale a hundred times over. However, Mingus himself went on to say "blues can do more than just swing", and it is in this dimension that the album provides such lasting musical food for thought.

The swing of the album is set off powerfully in the opening number - "Wednesday Night Prayer Meeting" with its pulsating bass line. "Moanin" (track 3) swings like nothing on earth: Pepper Adams' baritone sax provides the bass ostinato figure and Dannie Richmond drives the ensemble into a frenzy of blues-soaked figures. However, this track also demonstrates the ability to change texture and mood that makes the album so satisfying: no sooner has the climax of the ensemble playing been reached, than the horn players all drop out and a much lighter solo section is introduced. Mingus uses these shifts and changes to brilliant effect throughout the disc, so that at no point does any one texture become monotonous or dragging.

The other side to the album is to be found in the variety of feelings which Mingus achieves with a relatively small force of instrumentalists. "Tensions", for example, is edgy and the horn players provide a figure that sits uneasily over the rhythm section's work. It should be noted that the bass solo on this track is vintage Mingus.

I mentioned above that this album is not as great as its very near contemporary "Ah Um", but it is still a great album, and one which really should be in your collection. What it does do is provide is fantastic musicians blowing great tracks that pulse and surge with energy.

"The Merchant's Prologue and Tale" (York Notes Advanced)

****

Serves its purpose very well indeed 27 Aug 2007

The York Notes series have their admirers and detractors, and it should be admitted that the unfortunate side-effect of the books is whole sets of essays which all toe the same critical line. However, inasmuch as they provide what might be described as a "safety net" to cover all the main points of a text, they do a very good job.

And this book does that job as well as any other. It is easily digestible in size (120 pages in all), and there is a useful glossary to cover the technical terms which are employed. What appeals most to me, however, is the way in which it admits not only a standard "Lit. Crit." reading into its coverage of the Tale, but also a more linguistic focus, which makes the book of use to someone doing a Language & Literature A-level, for example.

In all, a tidy little volume: the only reason it does not receive 5 stars is because it gives a slightly wayward definition of "trope" in its glossary. That aside, I would recommend it most highly to any A-level or university undergraduate student.

Art Pepper - Modern Jazz Classics

****

Get it while you can! 24 Aug 2007

If ever there were a jazz musician who took the stereotype of the hard-living, rebellious hipster to its ultimate extension, it was Art Pepper. In and out of jail and mental asylums over the course of his career, his brand of fluid, Bird-inspired alto playing remains one of those great what-if's in the history of jazz music. Albums such as "Meets the Rhythm Section" have acquired cult status owing to the myths which have grown up about Pepper coming out of jail and the next day going straight into the recording studio to jam with Miles Davis' own rhythm section. Whatever the truth of these stories, it remains the fact that Pepper possessed a fantastic alto sound, and his gift for deeply musical improvisation remains rarely equalled.

This disc is unique in his output, in that it teams Pepper with a full big band (which itself contains many of the great session men of the day (Mel Lewis appears on drums, Pete Candoli on trumpet and Herb Geller leads the sax section) to perform swinging arrangements of some great bop numbers. In some ways the disc was already anachronistic at the time of its recording in 1959: Bop had moved on and big, closely scored ensembles were no longer breaking new ground in jazz. However, the selection of tracks, teamed to enjoyable arrangements, makes this a disc that bears many listenings.

Perhaps its greatest attraction is that it features Pepper not only playing alto, but also tenor sax and clarinet. His tenor sound is not as smooth as his alto, but it's fascinating to hear a man adapt his playing to the demands of a new instrument.

This disc is difficult to get hold of (I found my copy lurking at the back of a second hand record store), and it's a shame that it should be out of the catalogues, so my recommendation is: get yourself a copy, and enjoy something very different from Art Pepper.

The Holy Blood and the Holy Grail

**

Gripping, but unfortunately complete rubbish 20 Aug 2007

Having read this book three times, I feel it might be interesting to offer three short reviews of it, charting my changing opinions as my acquaintance with it grew better.

Reading 1: Truly a thrilling read; inspirational, even. In the single sitting it took to complete the book, I found almost every received idea which I had hitherto accepted as single fact overturned and revealed either as entirely false, or as having a meaning far beyond anything I had ever imagined. History was laid bare, opened up to reveal a great network not only of people but of ideas that had shaped and guided European history for one-and-a-half millennia. The authors had uncovered a remarkable society which had survived in secret since the Dark Ages, and which sought to restore the blood line of Christ to the throne of Europe. My life would never be the same again.

Reading 2: I was baffled. This was no longer the same book which I had devoured so eagerly two years before. Those passages which had so dazzled me were flat, or I could no longer identify them, and the pace had gone. It took me a period of reflection to work out why, but I realised that the book relies on its breakneck pace to keep its narrative going, and that a reader who already knows what is coming around the corner is at a major disadvantage. The nature of this disadvantage is serious: at a second reading one is automatically more critical and scrutinises the evidence more closely, and it was in doing this that, on the one hand the narrative fell apart, but on the other, the glaring flaws in logic, scholarship and writing became apparent. Ideas which were presented as hypotheses in one chapter suddenly became fact in the next, and became the basis for yet more hypotheses which in turn were morphed into incontrovertible truths. The sheer sloppiness of the historical approach shocked me: lack of evidence was taken to be evidence in itself, and absence of proof served to prove anything which lacked evidence. The approach of the book revealed itself to be nothing more than that of a spy novel: a series of clues lead to the revelation of a great global conspiracy. Sadly, that is not the way that good scholarship works. While the effect may be thrilling, what is all too easy to see is that not one of the pieces of evidence which was used to present the case stands up to even the slightest scrutiny, and it is at that point that the book ceases to be worthwhile.

Reading 3: perhaps more motivated by nostalgia than anything else, I returned again to the book to see if I had judged it unduly harshly on my previous reading. If anything, I realised that I had been too lenient. The whole premise of this book (that Christ's bloodline survived in a dynasty of early medieval French kings, later to be taken up by the Cathars, the Knights Templar and a quasi-Masonic organisation) defies rational inquiry, and ignores not only any sane assessment of how history operates, but also the significance of the claim were it to have any merit whatsoever. On the one hand it is nonsensical to believe that there is a shadowy organisation which has lurked in the background of history for one-and-a-half thousand years, and, especially when its leading lights were as disparate as Isaac Newton and Claude Debussy (of course Newton is famous for his interest in masonic matters, but Debussy was hardly in a position to usher in revolution on a political scale, regardless of his brilliance as a composer.) Moreover, it matters not one jot whether Christ's bloodline survived through Mary Madgalene - his children would simply belong to the House of David just as he had done. They would not be Gods, or even able to do especially clever card tricks: the point, if one subscribes to Christian theology, of Christ, is that he was uniquely human and divine. His significance as a human on earth came to an end when he ascended into heaven.

This is one of those galling books which captures the popular imagination and spreads its memes around in the most insidious way, although it would be deeply unfair to accuse the authors of anything so sinister. What they are guilty of is a credulously sloppy approach to writing history, in which unproven and insubstantial evidence is adduced and shoehorned into an absurd thesis which, as they themselves admit, can never itself be proved. Don't waste your time here.

F Scott Fitzgerald - Tender Is the Night

*****

Beautiful Writing 24 Jun 2007

This review is intentionally very short, as other reviews consider the novel in more detail. It is worth noting that this novel demonstrates Fitzgerald's skill as a writer to the full, and is a pleasure to read.

The purpose of this review is to clarify a point raised in another review, which asks about why this Popular Classics edition appears to present a corrupt, or at least unauthorised text. The reason for this is that it follows the structure of the novel as set out in the 1951 revision, edited by Malcolm Cowley, based on notes and corrections made by Fitzgerald himself. This revision of the original 1934 text rearranges the novel into chronological order, and divides the text into a different number of sections. This is why the Spark Notes referred to by another reviewer are confusing: they describe the 1934 text. It should be noted that, according to the Penguin Modern Classics edition at least, current critical thinking prefers the 1934 edition, as Cowley's interventions in the later edition make it unclear the extent to which Fitzgerald's intentions were followed.

Of course, no exam board would ever bother to be clear as to which text is to be studied: that would be far too easy for us all, wouldn't it?