Wednesday 18 March 2015

The Edinburgh International Festival launched its programme this morning, and it looks rather good. I was curious to see what music would be included at this stage, as the classical music programme was launched separately some time ago. Sure enough, The Hub is going to be an amplified music venue, long overdue as part of the festival. It’s a wonderful space, but to be honest a difficult venue for acoustic music, so I really hope they can make it work.

But I am rather perplexed at the separating out of classical music from the rest. Yes, its audience wants a list of performers and a list of pieces rather than an account of the experience, and the core classical European festival audience books its diaries up months in advance. However, the implication (hinted at here) is that other kinds of music have more in common with the rest of the arts world, and therefore, unlike their precious classical cousins, they can exist in the same performance spaces, and be promoted and discussed at the same time.

To be honest, I agree. The classical music world and its way of doing things can at times seem utterly disjointed from other forms of culture, and to an extent irrelevant to them. I moan about this a great deal. But separating it and its audiences further from the rest of the arts is no way to do anything about it.

Thursday 26 February 2015
Annandale Water Services
I'm on my way back from a welcome day out in Cumbria. The sun shone, the hills looked great, the air was fresh etc.
I had a morning meeting in Keswick with Andrew and Gill from Splash Classics about our fiddle band gig in August, with a chance to look in the theatre and have a think about promotion. These days I rarely drive for longer than an hour at a time, so I was wary of making the journey (I like travelling by train), but it was really valuable to stand on the stage and get ideas for how the shows will go, and also to talk about how we might get some attention for them: a very useful meeting I think.
And while I was in Cumbria, where I haven't really spent much time since working for Pocket Theatre in the late 1980s, I had the chance to visit Ursula Leveaux for lunch, something I used to do a lot from the early 90s onwards, when she lived in Edinburgh and we would both be playing in the Scottish Chamber Orchestra. No nostalgia necessary today, but we had time for a walk around Great Langdale in the sunshine, keeping company with the Herdwick sheep.
Oh yes, and our Purcell album comes out next week: you might have noticed that it has sneaked onto our albums page where you can sneakily buy your copy before the release date ...
Friday 23 January 2015

I signed off the proofs for the Purcell CD booklet this morning, and as I write, Barnaby Brown is behind me at a table, editing video of Bill Taylor playing four-note pibrochs on a 9th-century lyre. Last night I was on telly playing keyboards in Grit (watch it online here), and a huge pile of 18th- and 19th-century fiddle books await my attention to choose repertoire for the ConCal fiddle band project in the summer. I’ve even been out to some gigs at Celtic Connections this year: special mention to Sarah-Jane Summers and Juhani Silvola for being effortlessly virtuosic and brilliant, and great company too. Now that I’ve tried Skruf snus, I never need do so again (I thought Juhani was carrying some hair product around with him for some reason).

Thursday 1 January 2015

A Good New Year to everyone, unless of course you think UKIP are a good idea, in which case it’s probably better that some gentle form of crisis befalls you, to bring you to your senses early in the year. Today I’ve been reading this account of how exciting Scottish politics has been in 2014: as predicted in my blog of 5 January last year, my office door does indeed now carry a ‘Don’t Blame Me, I Voted Yes’ sticker, but I hadn’t guessed that the losing side in the referendum would seem to have easily won in terms of voter engagement, and in optimistically looking to the future. We’ve seen an alternative to the top-down control of the ‘big parties’ in action, and it actually works. It’s fascinating.

What I should have been blogging about here, and would have been if I hadn’t been tweeting about it all the time anyway, is that our Purcell album is in the very final stages of completion. I’m just waiting to see the final version of the booklet, and it is sounding really rather brilliant, if I say so myself. I don’t think everyone will like it (I genuinely look forward to the early music police giving it a pasting), but the combination of our musicians using their ears with some very daring singing is really striking, all captured lovingly in Aldeburgh back on 1 April 2013 by Matt Parkin and mixed with his usual great sensitivity by Calum Malcolm. And Joe Davie made us some great paintings …

CD cover

We’ll post a sneak preview track or two soon, before unveiling the whole thing in March.

This year’s main ConCal project will be our reimagining of Nathaniel Gow’s fiddle band, for which I hope to spend January choosing tunes. We have a wonderfully diverse collection of Scotland’s fiddle players taking part in this, and at this point I really don’t have much of an idea what it will sound like, but knowing that the right people will be in the room is enough. When we did Revenge of the Folksingers we didn’t even know what the songs were on the first day of rehearsal …

But for the next couple of weeks I’ll be a bit preoccupied with preparations for the opening night of Celtic Connections and the live version of Martyn Bennett’s Grit that Greg has been planning for, well, years actually. I don’t think I’m the only person who said “I’ll play in that, anything you like”, and now I’m trying to work out just how many virtual instruments my iPad mini can cope with simultaneously, while also listening to the album in forensic detail to doublecheck the actual notes. Fortunately Grit repays this kind of close listening many times over. Yesterday afternoon I was trying to disentangle just what Martyn had done with the Gregorian chant samples in Blackbird, so that the choir can reproduce it live. And I’m still slightly nervous about being entrusted with Kirsten’s piano improvisation in Wedding, but it’ll be fine: it’s also a great reason to insist on Glasgow Royal Concert Hall giving us an upright piano to use rather than one of their Steinways (I enjoy turning down concert halls’ expensive pianos very much).