nigella lawson eton mess
squid colouring pages
wigmore hall incident
che cos’ e’ eton mess
brian duffy david bailey terence donovan
richard strauss quote recipe
rourke before and after mickey
renee fleming endlessly
big library in manchester
eat and mess
captain beefheart eric morecambe
who is jimmy white’s girlfriend
tracey emin fournier st
how long to leave eton mess to stand
Archive for wigmore hall
nigella lawson eton mess
BBC Radio 3 pulled the plug on the broadcast of this recital, announcing a “disruption” at the Wigmore Hall. Listeners were startled to hear singing interrupt Mozart’s String Quartet in D major K. 575. I think the broadcast should have continued, but of course it is typical of the craven cowardice of the BBC that it did not.
Within an hour, the incident was reported in the Jewish Chronicle (and nowhere else):
A lunchtime performance by the Jerusalem Quartet at London’s Wigmore Hall, being broadcast live on BBC Radio Three, was taken off air partway through the concert on Monday afternoon after protesters disrupted the event. But the musicians played on and completed the Mozart and Ravel concert programme.
The clash came after four or five pro-Palestinian protesters bought tickets for the concert, and, about five to ten minutes into the music, began shouting and heckling the Israeli musicians. They shouted: “The Quartet, who are cultural ambassadors for the state of Israel, are promoting the interests of Israel and all its policies against the Palestinians, to the British public.”
The demonstrators were taken away by Wigmore Hall security officers and a decision was taken by the concert hall management to take the broadcast off-air “in order to deny these people publicity.”
A clearly shaken John Gilhooly, director of the Wigmore Hall, told the JC: “It is such a pity that music has become politicised.”
John Gilhooly should sit down and have a chat with the members of the Jerusalem Quartet about politicising music.
No doubt the protestors are feeling very pleased with themselves (they organised the demonstration through Twitter), but beyond making John Gilhooly sweat and irritating a couple of hundred people who couldn’t care less about the plight of Palestinians, what did they achieve?
Absolutely … nothing.
It’s one of the great ironies of the classical concert experience – the most explosive, exhilarating music is often greeted by total silence. Let our applause be heard, says Alex Ross, who gave the Royal Philharmic Society lecture at the Wigmore Hall, London.
I have a lot of time for Alex Ross, and I say that as someone not massively keen on music journalism. He is a tireless champion of cutting through all the tiresome “traditions” that permeate the environment of “classical” music performance, and which seems so beloved of dullards everywhere. When to clap? What should I wear? And so on.
In “The Rest is Noise” I like the connections Ross makes with jazz and so-called “difficult” modern music. He’s not on virgin territory here: Wilfrid Mellers’ “Music in a New Found Land” pioneered this approach, albeit to American music only. That book however was a drier read; I finished Ross’s book even before it had been published in the UK, and found it to be one of the most readable music histories I’d encountered for a long time.
However, I find myself at odds with his point about how ubiquitous some elements of modernism has become. Whilst he’s not wrong to suggest many modernist touches have become a staple of horror film soundtracks, I think it’s a dangerous route to go down. It gives the impression that much 20th century music is designed simply to be eerie and unsettling. Some of it surely is, but we only need to hear the use of Bartók in Kubrick’s “The Shining” to see how great music can be damned by excursions into popular culture.