Do you know the song, “Danny Boy”? ‘Course you do. The pipes, the pipes are calling. Do you know who wrote the words? Almost certainly not. Frederic Edward Weatherly was born in England in 1848. He was a successful barrister – the photograph shows him in 1895, in his legal robes – but he was […]
Category: Nineteenth Century
Chopin and the stingray
Whenever I hear Chopin, it makes me touch a scar on my hand, just between my right thumb and forefinger. The scar, you see, carries a story. Not long after finishing secondary school – just on 30 years ago now – I went snorkelling with some friends near an old ruined pier. It was a […]
The beauty and the sadness
On record covers, the great composers of classical music always look like solid members of the establishment. The cover design tends to emphasise this: lots of pillars, porcelain, baroque filigree, guys in powdered wigs. Unthreatening, respectable, venerated – and dull. Rubbish, all of it, and it so betrays both the musicians and the music. These […]
I mused a little while ago about how the Soviet Union, as oppressive and bureaucratic a society as ever shot a dissident, managed to produce great art. Pianist Sviatoslav Richter (no relation to the earthquake guy) personifies the paradox. Born just before the Bolshevik Revolution, Richter’s father was German by origin. During the Second World […]
What matters is the jam
Folk music is my first love. Like a lot of first loves, we have had our ups and downs. Folk music, you see, has a scene, and with a scene comes purists. Tedious people. I was at the more liberal and inclusive end of earnest debates about what could or should be labelled “folk music”, […]
What it says on the tin
In all of music, is there a more romantic instrument than the cello? Rhetorical question. ‘Course not. If you want to hook someone on classical music, take them to see a good cellist play. Or even just play a recording, and you could do worse than this, one of the most demanding cello pieces ever […]
Waking from a nightmare
I first heard this piece of music used on a talking book, a version of Mary Shelley’s Frankenstein. It came in at the beginning and end of each chapter. The music is wonderfully suited to Mary’s tale of gothic horror, could almost have been written for it, though there is no direct connection. “Night on […]