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to Chapter 25
26
Where now?
The influence of– folk music – popular
music on classical – classical music on popular. Acoustic and electronic
instruments. Electronic Music. The three Tenors – ‘popular’ classical
music. Increasing ‘classical-crossover’ – steep decline in symphonic
recordings. Up dating opera productions. Hope for the future.
At neither the International Society
for Music in Education conference in Innsbruck in 1985, when I chose
as the subject for my talk ‘The Symphony Orchestra: into the 21st
century’, nor a year later at the Wheatland Foundation conference,
did any of us anticipate how soon so many people would have computers
that would give them access to music programmes and radio stations
world-wide. Or that they would be able to download and record music
so easily. By the late 1990s and the start of the 21st century mobile
phones and mp3 had become commonplace and a few years later so had
the iPod.
Composers have always found inspiration
from, or been influenced by, the popular music in their environment
– their own folk music – from Haydn who drew on Croatian and Gypsy
melodies to Bartók, Kodály, Vaughan Williams and Charles
Ives who made use of American folk tunes and ragtime dances. Once
composed, commercial popular music began to replace folk music
as ‘the music of the people’ to some extent popular and classical
music gained inspiration from each other.
Not long after the beginning of the
20th century some classical composers, though they did not borrow
melodies, started to use the rhythms and stylistic effects of the
new popular music – ragtime and jazz. Debussy in 1908 for the Golliwog’s
Cakewalk, Stravinsky for his Ragtime for 11 Instruments
in 1918 and Milhaud in 1922 in La création du monde
and a Jazz Symphony and a Jazz Sonata by George Antheil
are early examples.
Examples of another form of crossover,
that between the popular music of the first half of the 20th century,
jazz, and western classical music, were two compositions premiered
in the 1950s. The Swiss composer Rolf Liebermann’s Concerto for
Jazz Band and Symphony Orchestra, written in 1954, not only combines
jazz and symphonic music but makes use of serialism as well. It has
had a number of performances and was still being played in 2003 when
it was in the programme of the New York Pops at Carnegie Hall. Another
serialist attracted to the hybrid jazz/orchestra was Matyás
Seiber who came to England from Hungary in 1935, when he was already
30. He had always been interested in jazz and when he received a commission
from the London Philharmonic in 1958 decided to collaborate with John
Dankworth to compose Improvisations for Jazz Band and Symphony
Orchestra. Richard Rodney Bennett, best known for his film and
concert music, was asked by the great American tenor saxophonist
Stan Getz if he would compose a concerto for him. Bennett’s
wide musical sympathies, which include both jazz and serialism – the
latter no doubt as a result of his study in Paris with Pierre Boulez
– made him an ideal choice. However, this was his first venture into
crossover. Unfortunately, Getz died in 1990, before the concerto was
completed. The first performance had to wait until 1992 when the very
fine British saxophonist John Harle played it at the Proms.
In 1922, George Gershwin, then only
24, composed a short 25 minute jazz opera Blue Monday, which
was orchestrated by Will Vodery. Paul Whiteman who had conducted the
1922 performance was so impressed that he asked Gershwin to compose
a symphonic jazz piece for him to conduct at a concert he was planning.
It was for this concert in 1924 that Gershwin composed his best known
work, The Rhapsody in Blue, which was orchestrated by Ferde
Grofé. The concert in New York’s Aeolian Hall was a major event
and attended by amongst many Stravinsky, Rakhmaninov, Kreisler, Heifetz,
Stokowski and other notable musicians. When the following year Blue
Monday, now renamed 135th Street, was given a concert performance
in Carnegie Hall, it was re-orchestrated by Ferde Grofé. After
that Gershwin went on to compose (and orchestrate himself), the Concerto
in F for piano and orchestra, An American in Paris and the
opera Porgy and Bess, at the same time as he was composing
popular songs – Fascinating Rhythm, The Man I Love, and countless
other wonderful songs and musicals – Oh Kay!, Funny Face,
Strike up the Band and the music for Fred Astaire and Ginger Rodgers
films. All before his early death at 39.
Gershwin, though not a classically trained
composer, was the first to compose what might be called symphonic
jazz and has probably been the most successful in composing jazz orientated
music for the symphony orchestra. However, he was not the first to
compose a serious piece in the style that had originated in the southern
states of America at the beginning of the century. In 1911 the Negro
composer Scott Joplin, best known for his Maple Leaf Rag and
The Entertainer, published at his own expense Treemonisha,
his attempt to create an indigenous black
opera. It received a single concert performance with piano accompaniment
in 1915 but, to his great disappointment, failed to gain approval.
However, a staged revival in 1975 by the Houston Grand Opera Company
with a new orchestration by Gunther Schuller, who also conducted the
performances, was a very considerable success. It is reported that
the finale A Real Slow Drag had to be encored three times.
After the performances in Houston the opera was taken on tour and
recorded in 1976 by Deutsche Grammophon. I heard A Real Slow Drag
when it was played at the Proms, sung by Jeíssye Norman with
chorus and orchestra, in a very exciting performance which was enthusiastically
received by the Prom audience.
While in the past it was classical
composers finding inspiration in popular music, since the beginning
of the 20th century the tide has turned and it has been popular music
that has been raiding the classical repertoire. I remember I’m
Always Chasing Rainbows, based on the Fantasie Impromptu in
C Sharp Minor by Chopin, still being very popular when I was a
child in the late 1920s and early 1930s. Amongst many classical compositions
that were used in popular music in the 1930s, 40s, and 50s, were a
Mozart piano sonata, which became In an Eighteenth-Century
Drawing Room, Song of India, Tommy Dorsey’s arrangement
of one of the themes in Scheherazade
by Rimsky-Korsakov and Summer Moon,
based on the Berceuse from Stravinsky’s ballet music for
The Firebird, which Lauritz Melchior sang with considerable
success. George Forrest and Robert Wright, who had had a big success,
first in New York and then in 1946 in London with Song of Norway,
a reworking of themes from the music of Grieg, then plundered
the music by Borodin for Kismet, an even bigger success. During
its London run in 1953 I played in the orchestra a number of times.
Forrest and Wright had arranged the music tastefully, but could not
escape trivialising Borodin’s original. The best known song Stranger
in Paradise was based on a melody from the Polovtsian Dances
in Borodin’s opera Prince Igor and the String Quartet
in D provided Baubles, Bangles and Beads and And this
is my Beloved , the quartet’s lovely second movement, originally
in 3/4 time now changed to 4/4. Even that could not wholly spoil
this wonderful music. I wonder if those who had not heard Borodin’s
music before (the large majority) will have enjoyed it any less, in
its somewhat debased form, than those of us who had enjoyed the original?
Few contemporary composers seem to
have drawn on rock music for inspiration to any extent so far though
from the late 1950s and until the present time a surprising number
of pop and rock artists and groups have incorporated extracts from
or allusions to classical music. Elvis Presley had two massive hits:
the first It’s Now or Never making use of O Sole Mio, which
many years earlier had served Caruso very well. It had another outing
as the backing for a long-running TV advert for a well-know ice-cream.
The other, I Can’t Help Falling in Love With You included
an old favourite Plaisir d’Amour, by the 18th century composer
Padre Giovanni Martini. An example of classic rock’s borrowing from
another genre was Procol Harum’s number one hit in the UK charts in
the 1960s A Whiter Shade of Pale. In this they made use of
Bach’s Air on the G String (often mistakenly written in Internet
record advertisements as Air on a G String – a rather unfortunate
error) and Sleepers Awake, from his Cantata no.140. Annie’s
Song, with a little help from the big tune in the second movement
of Tchaikovsky’s 5th Symphony provided both John Denver and the flautist
James Galway with major hits and, more recently, Muse, a hard rock
band, which has quite frequently blended classical music elements
with their own, sampled some of Rakhmaninov’s Second Piano Concerto
for their song Space Dementia in their album Origin of Symmetry.
In 1967 the group the Moody Blues
was asked to make a rock version of Dvorak’s New World Symphony,
but succeeded in persuading the record company to let them write their
own composition instead. Probably the first example of crossover of
pop group and symphony orchestra was when this group recorded Days
of Future Past, which was orchestrated by the well-known composer
and arranger Peter Knight, with the London Festival Orchestra. For
their subsequent adventures into this kind of composition they used
the mellotron (a synthesiser that contains samples of all the orchestral
instruments), which was no doubt considerably cheaper than engaging
an orchestra.
A more interesting example of pop
and symphony crossover was when in 1969 Deep Purple, a hard rock-group
joined the Royal Philharmonic Orchestra for a concert in the Royal
Albert Hall to play Jon Lord’s Concerto for Group and Orchestra,
conducted by Malcolm Arnold (later Sir Malcolm). The rehearsals did
not go well – the orchestra which had been rehearsing Arnold’s 6th
Symphony (the first piece in the concert) were not too happy to be
working with a pop group and it seems not too co-operative either.
It took all Malcolm’s charm plus, at one point some extremely strong
language, to pull things together. A recording of this concert (not
including the symphony) was issued in 1970. 30 years later, in 1999,
Deep Purple did two performances (one now issued as a DVD) of Concerto
for Group and Orchestra, this time with the London Symphony Orchestra..
Malcolm Arnold was to have conducted but sadly by then he was not
well enough and Paul Mann took his place.
In 1970, the year after their very
successful concert, Malcolm Arnold again conducted the group, this
time with the orchestra of the Light Music Society, in another piece
by Jon Lord, his Gemini Suite, which had been commissioned
by the BBC.. It was recorded ‘live’ at the concert, but not
issued until many years later as Gemini Suite Live. A year
after the concert a studio recording of a revised version of the Suite
was issued under its original title.
A number of composers have tried to
combine western classical music with that of another culture. One
of the first was John Mayer who from the 1950s was blending Indian
and Western music. Born in India he came to Britain as a very young
man to study violin and composition at the Royal Academy of Music.
He joined the Royal Philharmonic Orchestra as a violinist whilst I
was in the orchestra and we became friends. In fact, in 1960 he composed
several short exercises for my tutor First Tunes and Studies.
A few years earlier Sir Charles Groves, then conductor of the Liverpool
Philharmonic Orchestra, commissioned Mayer to compose a piece for
his orchestra and in 1958 they gave the first performance of Mayer’s
Dance Suite, for sitar, flute, tabla, tambura and orchestra
– it would probably now be called ‘crossover’..
In 1966 Mayer teamed up with the great
Jamaican alto saxophonist Joe Harriott to form an ensemble Indo-Jazz
Fusions: The Joe Harriott-John Mayer Double Quintet. The band combined
elements of classical, jazz and Indian music, with on the Indo side
John Mayer on violin and harpsichord, plus sitar, flute tabla and
tambura, and on the jazz side Joe Harriott on alto plus trumpet, piano,
bass, and drums. The band had considerable success and made some very
good recordings. When Joe Harriott died in 1973 Mayer decided to close
the band down and it was not until more than twenty years later that
he decided in 1995 to re-form the band again, this time as John Mayer’s
Indo-Jazz Fusions, with a group of much younger musicians. He said
that he felt that this new group out-performed the Harriott-era ensemble
because now they had far more familiarity and facility with Hindustani
improvisational techniques. This group produced several CDs and continued
until Mayer’s death in 2004.
It is not possible to write about
the effect that the cross-fertilisation of so many varied musics has
brought about without mentioning Frank Zappa. He was one of the most
remarkably gifted and eclectic performers and composers of our time.
In his relatively short life – he was born in 1940 and died aged only
52 in 1993 – he played and composed in every style from blues to avant-garde,
taking in jazz , many forms of rock, including rock-opera, and the
most contemporary techniques of classical music of his era on the
way. In his own compositions of orchestral music he was particularly
influenced when a very young man by Stravinsky and Webern and in particular
by Edgard Varèse and included sprechstimme (a kind of
speaking/singing voice) in a similar way to Arnold Schoenberg and
Alban Berg.
Zappa recorded a programme of his
own music with the London Symphony Orchestra, conducted by Kent Nagano
and in 1992, a year before his death, he had a tremendous success
in Frankfurt at a concert of his own work with the Ensemble Modern.
His recorded legacy of every kind of popular (and
unpopular) music is immense. It includes recordings with his group
The Mothers of Invention, jazz and, quite
amazingly, a recording he made in collaboration
with Pierre Boulez at IRCAM. On Boulez Conducts Zappa: The Perfect
Stranger a number of the tracks are played by the Ensemble InterContemporain,
conducted by Pierre Boulez and the rest are played by Zappa on the synclavier
(a cross between a synthesiser and a computer, an instrument that became
a favourite for Zappa ), under the strange name the Barking Pumpkin
Digital Gratification Consort.
Frank Zappa was, perhaps more than
anyone else, a one-man melting pot of the world’s music – the complete
crossover man. This extraordinary and quite frequently outrageous
and satirical man, as well as being a remarkably creative musician,
was also a virtuoso guitarist, an accomplished commercial artist,
a recording and mastering engineer and a skilled producer of his own
work..
As long ago as 1907 there was an interest
in how electricity could be harnessed to increase the vocabulary of
sounds that could be used to compose music. In his book Sketch
for a New Aesthetic of Music published that year Ferruccio Busoni
discussed the use of electrical and other new sound sources in future
music. He wrote of the future of music: Music as art, our so-called
occidental music, is hardly four hundred years old; its state is one
of development, perhaps the very first stage of a development beyond
present conception. And we talk of ‘classics’ and ‘hallowed traditions’!
And we have talked of them for a long time! We have formulated rules,
stated principles, laid down laws — we apply laws made for maturity
to a child that knows nothing of responsibility! This child-music
– it floats on air! It touches not the earth with its feet. It knows
no law of gravitation. It is well nigh incorporeal. Its material is
transparent. It is sonorous air. It is almost Nature herself. It is
free! But freedom is something that mankind has never wholly comprehended,
never realised to the full. Man can neither recognise nor acknowledge
it. He disavows the mission of this child; he hangs weights upon it.
This buoyant creature must walk decently, like anyone else. It may
scarcely be allowed to leap — when it were its joy to follow the line
of the rainbow, and to break sunbeams with the clouds!
Varèse, a pupil of Busoni,
was influenced by him to a great extent. When he was still studying
at the Paris Conservatoire he was already saying ‘I refuse to submit
to sounds that have already been heard. Rules do not make a work of
art. You have the right to compose what you want to, in the way you
want to. I long for instruments obedient to my thought and whim, with
their contribution of a whole new world of unsuspected sounds, which
will lend themselves to the exigencies of my inner rhythm’
I recall that in the 1940s while I was still a student
I had one of those small, six or seven inch, 78 rpm records with pieces
by Varèse on it. They were both extremely avant garde – Ionisation,
written for percussion instruments, and Octandre for woodwind
and brass. Varèse felt constrained by the conventions of
the orchestral palette and believed that composition could be freed
by the use of electronic devices. He said, ‘The raw material of music
is sound’ and he became so frustrated that he was unable to continue
composing with the sounds produced by the instruments available to him.
He felt that composers were obsessed with tradition and were limited
by the composers who had preceded them. He anticipated that a machine
would be invented that would provide opportunities to explore a far
greater range of pitch and volume and release us from the restrictions
of the tempered scale.
Once the tape recorder had been perfected
in the early 1940s it was not long before composers were splicing
together a variety of sounds, musical, mechanical and natural, to
produce what came to be called Musique concrète, which has
been used most effectively as background music for radio, TV and films.
It has also been used with success by both classical and popular composers
that include Pierre Boulez, the Beatles, Karlheinz Stockhausen, Pink
Floyd and Iannis Xenakis.
For a long time Varèse ceased
to compose until in the 1950s when composers had started using some
of the new technologies that had become available – he was already
in his seventies – he came to life again. Probably the first important
composition to use taped sounds and acoustic instruments was his Deserts,
composed between 1950 and 1954. His next composition Poeme Electronique
was performed in the Philips pavilion, at the World Fair in 1958,
largely through the efforts of the great architect Le Corbusier. The
pavilion was designed under Le Corbusier’s direction by another composer
Iannis Xenakis (also an architect), one of whose works was also played
at this concert.
Poeme Electronique includes
a great variety of recorded sounds which were heard by visitors to
the pavilion from the 425 loudspeakers positioned around the hall.
It is hardly surprising that further performances have been limited
– if, indeed, there have been any. In 2006 the Library of Congress
issued a recording using the tapes that Varese had made for the original
performance.
From the 1950s onwards more and more
devices were invented that enabled music to be composed entirely without
instrumentalists or with a combination of acoustic and electronic
instruments. Compositions that combined acoustic and electronic instruments
such as Turangalîla-Symphonie by Olivier Messiaen, first
performed in 1949, which requires a very large orchestra and an ondes
Martenot, still remain in the orchestral repertoire. By the 1960s
synthesisers were becoming more manageable and in the 1970s both classical
and rock musicians were making more use of them. In 1977 IRCAM opened
at the Pompidou Centre in Paris, under Pierre Boulez’s direction with
Luciano Berio and Vinko Globokar also involved. By then a variety
of synthesisers were being used by virtually all rock bands. It was
already unusual to see an acoustic instrument being played in any
of the bands and when they were they would be electronically enhanced.
They needed to be if they were to be heard. To begin with the groups
used analogue synthesisers but by the late 1970s a number of digital
synthesisers would become available as well as synclaviers, samplers
and other electronic devices.
Radio, TV and film were quick to make
use of the effects that the electronic instruments could provide.
In the 1950s the BBC Radiophonic Workshop started to use them to provide
music and effects of all kinds and the ever popular TV series Dr.
Who has from 1963 to the present day always used these instruments
to provide background music. A particularly effective use of the unearthly
sounds these instruments can produce was in the 1971 film A Clockwork
Orange.
I have never had any involvement in
playing in any rock or pop groups. My only personal contact with this
field of music has been through Rick Wakeman. In the late 1960s when
he was a student at the Royal College of Music – his principal study
was the piano – he came to me for clarinet lessons, his second study.
It was clear to me from the start that his interest in playing the
clarinet was minimal, but he was an agreeable chap and I got him talking
about what interested him. I don’t think he learned much from me about
playing the clarinet since I doubt that he made any attempt to play
it from one lesson to the next. However, I did learn a good deal about
pop and rock music from him. It was not long before he left and within
a year or two I was seeing his name as a prominent keyboard player,
first of all in 1971 with a very successful band at that time, Yes.
His use of electronic keyboards became legendary, and on videos
I have seen him surrounded by a vast array of keyboards, usually playing
two at a time and going swiftly from one pair to another. He was something
of a showman, as many pop and rock stars are, frequently appearing
wearing a silver cape.
A few years later I received a phone
call from the BBC asking me if I would take part in a programme they
were making about Wakeman. His fame was such that they were making
a documentary about his life and wanted to include something about
his time at the College. As it seems he had told them I was the only
one at the College that he had any time for would I be willing to
be interviewed whilst giving a lesson at the Royal College of Music?
The BBC had to get permission from the College, which they gave, though
I don’t think it did anything to enhance my reputation there. On the
other hand when the programme was broadcast I was able to bathe in
reflected glory. I was amazed at the number of neighbours and acquaintances
who saw the programme and were impressed at my being in it.
In a previous chapter I have written
about light music, the music that a great many people enjoyed. They
preferred Ketelbey, Eric Coates, selections from operas and ballets
(‘the tuneful bits’)the music played in restaurants, and the BBC Music
While You Work and other light music broadcasts. I remember when
I was a young man hearing them say, ‘I like music – but not that heavy
stuff ‘. Later light music orchestras like those of George Melachrino,
Eric Robinson and Mantovani captured the same audience. In the 1960s
two other groups that became very popular with this audience were
the Play Bach Trio and the Swingle Singers.
The Play Bach Trio, also known as
the Jacques Loussier Trio, consisted of Jacques Loussier on piano
plus double bass and percussion. The trio used Bach’s compositions
as the basis for their tasteful jazz improvisations which, though
some serious music lovers hated what they felt was sacrilege and the
debasing of great music, continued to record and give concerts until
they disbanded in 1980 having sold over six million records.
The Swingle Singers, an a cappella
group of eight singers, with bass and drums to define the
rhythm, began in 1962 when a group of freelance session singers working
in Paris became tired of always singing background vocals - oo’s
and ah’s – behind people like Charles Aznavour and Edith Piaf.
They decided that in their spare time they would try out Ward Swingle’s
suggestion and read through some of the preludes and fugues from Bach’s
Well-Tempered Clavier just to see if they were singable. They
found that they were swinging Bach’s music quite naturally and as
there were no words they improvised a kind of scat singing. By 1963
they felt confident enough to approach Philips with the idea that
they might make a record. Philips agreed and when the recording, Bach’s
Greatest Hits came out in the US it quickly became a great success.
For the next 10 years between touring
they recorded about a dozen albums covering an extraordinary range
of music, from Bach to Berio and Mozart to the Beatles and all sung
in the same style as their first Bach recording. The classical music
critics’ response ranged from enthusiastic to hostile. As with the
Jacques Loussier Play Bach Trio there were some critics and
music lovers who were appalled and one or two musicians I knew even
believed that it was a sign of moral corruption.
In 1969 the Swingle Singers were asked
by the New York Philharmonic Orchestra if they would premiere Sinfonia,
a large work for orchestra and 8 voices composed by Luciano Berio.
The premiere was conducted by Berio himself and recorded live by CBS.
It was a couple of years after Ward Swingle had decided to disband
the group in France and came to England in 1973 that Gavin Henderson,
then manager of the Philharmonia, and I met Swingle and some other
members of the group he had formed in Britain with the idea of them
doing a performance of Sinfonia with the Philharmonia. At that
time the Philharmonia did not have sufficient funds to risk putting
on a concert that might not provide a large enough audience to cover
the cost of mounting it. I think we were rather put off because we
learned that they had tried a few times to combine works of Berio
with their traditional repertoire and found that although the audience
accepted arrangements of Bach, madrigals, folk songs and jazz standards,
they drew the line at Berio. To quote Ward himself, ‘People sometimes
come to a Sinfonia performance expecting to hear something
like our ‘doo-boo-doo’ Bach – they generally look for the nearest
exit after the first movement. Could they possibly have been expecting
the Sinfonia from Bach’s Second Harpsichord Partita?’
In 1981 the group were asked to make
another recording of Berio’s Sinfonia , with Pierre Boulez.
conducting. In his book Swingle Singing. Ward Swingle recounts
how Boulez, after a very loud and dissonant orchestral passage, stopped
the orchestra and asked the 2nd bassoon player, ‘In the 9th bar of
letter I, shouldn’t that be an F-sharp?’ The bassoon player realised
his mistake but just couldn’t believe that Boulez could have heard
it. I remember similar incidents when Boulez was conducting the Philharmonia.
Both the Jacques Loussier Trio and
the Swingle Singers showed yet again that the vast majority of people
wanted music with a tune. It doesn’t matter whether it is classical
music, jazz, pop, rock or music from another culture, if it has a
good tune, one that can be sung or hummed, even if somewhat inaccurately,
they will be enjoyed. The multi-million sales of the Royal Philharmonic’s
recordings proved that once again. The first of the Hooked
on Classics series was issued in 1981 and continued successfully
for a number of years and is reputed to have sold over ten million
albums. The arrangements were made and conducted by Louis Clark who
had been the arranger for the Electric Light Orchestra. His arrangements
consisted mainly of adding a rhythmic beat to extracts from well-known
works by classical composers. The beat would be fast or slow depending
on the item. This small selection gives some idea of the eclectic
repertoire covered by the original records issued on LPs: excerpts
from; Also Sprach Zarathustra by Richard Strauss, the march
Colonel Bogey by Kenneth Alford, Haydn’s Trumpet Concerto,
the Rhapsody in Blue by George Gershwin, Bach’s Ave Maria,
Capriccio Italien by Tchaikovsky, Mozart’s Rondo Alla Turca,
a Violin Concerto by Vivaldi and the Gymnopédie No 2
by Erik Satie.
Again, though these recordings sold
in their millions, there were those who were unhappy about what was
being done to classical music. A review in the All Music Guide
is a good example of the strength of feeling these recordings evoked:
Devoid of any true musical worth, Hooked on Classics places many
familiar classical themes to an oppressive synthetic drum track. These
medleys are only of interest to those who always liked the tunes in
classical music but wished there was a stronger backbeat.
By the 1990s there were so many forms
of ‘popular music’ – what should we call them – pop, rock? Even ‘popular’
is not accurate as some of them have a more limited audience for their
concerts and recordings than classical music has. On the other hand
some have vast audiences. As a musician I have always been interested
in what new music was being composed whether it was in my own field
of classical and light music or rock and pop, but after the 1960s
I found that it was only occasionally that I played or heard a new
work with much pleasure. I listened if possible to the same piece
several times to see if it would become more agreeable. In the main
it did not. It seemed to me that all music was becoming increasingly
cerebral or aggressive.
Muzak, or elevator music as it was
sometimes called, because of its omnipresence in America in their
lifts – I remember hearing it first when I was in the USA in 1950
with the Royal Philharmonic Orchestra as we zoomed up and down twenty
floors or more to our bedrooms – was musical
wallpaper, but not unpleasant. Nor was ska, which became reggae in
the late 1960s, or, as far as I was concerned the pop music into the
60s. But from the 1970s onwards I found the bewildering variety of
genres and sub-genres of rock, with a few exceptions each louder and
more aggressive than the last, less and less agreeable. Was this just
because I was getting older – I was still only in my early fifties
then – or because the environment was becoming more violent and producing
a music that reflected the anger and resentment that seemed to be
growing ever stronger? First punk rock and then hip hop and rap, part
of a culture that includes graffiti, break-dancing and a particular
attitude to dress, often seems to be one of the most aggressive.
Hip hop and many of the versions of
rock that appeared from the late1980s, various electric dance musics
–techno, rave, trance, drum and bass and ambient music, to name but
a few – used samplers, which allow sounds
already recorded, whether music, mechanical or natural, to be re-recorded
and made into a ‘composition’, sometimes by over-recording, over-lapping,
adding new elements from an instrumentalist and a number of other
techniques.
I had for sometime wondered why quite
a few young men wore their trousers hanging from their hips in a way
that I found less than attractive. It was a long time before I learned
the reason for this fashion favoured by devotees of breakdancing to
hip hop music, that includes jazz-rap and gangsta-rap. Breakdancing
requires a great deal of energy and freedom of movement calling for
clothes that are loose fitting. Baggy trousers are important. But
why did they have to be worn as if they were about to fall down? I
found out later that this form of dancing originated in the Bronx,
in the 1980s a derelict and violent area of New York where gang warfare
was rife. Many of the young men and some young women had at one time
or another served a prison sentence during which their belts had been
removed for obvious reasons. No doubt a combination of old habits
and the wish to be comfortable when dancing – it is suggested that
gang wars developed into gang dancing contests – resulted in this
style of dress.
The heading ‘Music’ in British
newspapers and magazines now nearly always refers only to pop and
rock music. The New York Times also lists its news items about music
in this way. Jazz, which had been such an influence on the early rock
musicians and has continued to be an influence, now has a long enough
history to cohabit with classical music on BBC Radio 3 and is often
reviewed on the same page as classical music in up-market newspapers.
Every month The Observer includes a colour supplement
of about seventy-five pages called the Observer Music Monthly.
It covers most forms of popular music and sometimes the rock influenced
world music, but very seldom mentions classical and jazz.
The BBC’s magazine Radio Times,
with sales of 1.1 million each week, has the second largest distribution
of any magazine in Britain and is therefore seen, if not read, by
a very large number of people. In July, during the 2006 BBC Prom season,
nowhere throughout its 138 pages was there a section, or even a paragraph,
about what is now called Classical music, a genre that also includes
so much else that is not rock or pop. On the page headed MUSIC, now
solely concerned with rock music, there was a highlighted section
‘This Week’s Music Choices’. The six choices for one week were: programmes
about a new pop artist and her group; the Queen of Hip-Hop Soul; the
Art of Pop; the Cambridge Folk Festival; the Queens of Heartache and
a programme about a rock star whose behaviour as a result of his taking
psychedelic drugs such as LSD led him to behave in such a disruptive
and erratic way that his group had to engage another guitarist to
back him up when he was hardly able to play.
To realise the extent that attitudes
have changed one needs to recall that in1927, when Chappell's withdrew
its financial support for the Promenade Concerts, the newly established
British Broadcasting Corporation – the BBC – with Sir John Reith’s
slogan ‘to inform, educate and entertain’, took over the promotion
of the Proms. For the next three years the concerts were given by
'Sir Henry Wood and his Symphony Orchestra', until in 1930 the BBC
established the BBC Symphony Orchestra, the first full-time symphony
orchestra in Britain, and subsequently created a number of regional
orchestras. The BBC has, to its very great credit, continued to promote
the Proms for over seventy five years. But, clearly the spirit of
Sir John no longer inhabits the Radio Times.
Of course rock is now no longer an
infant or an adolescent music having been with us for over fifty years.
Everyone under the age of sixty born into every economic class will
have lived in an environment surrounded by this genre of music. Evidence
for the effect this has had is provided by two excellent long-running
programmes on BBC radio and TV.
The basis of the Radio 4 programme
Desert Island Discs, which has been running for over sixty
years, is that someone who has distinguished themselves in some way
in politics, industry, business, sport, the arts or one of the professions
is interviewed and chooses eight records they would wish to take if
they were marooned on a desert island. In the past the choices were
usually of classical and light music, some songs from musicals and
jazz. Now it is predominantly of contemporary popular music of some
kind.
University Challenge broadcast
on BBC 2 pits two teams from different universities against each other
to answer a number of wide-ranging difficult questions. These require
considerable knowledge in many subjects that include the sciences,
history, geography, politics, music and the arts. The average age
of the four person teams is about twenty-one. These programmes have
been so successful that they now do some programmes called University
Challenge: the Professionals. Again two teams, average age forty-five
to fifty-five,are pitted against each other to answer similar questions.
When questions on music require answers it is clear that both age
groups in general are poorly informed, but usually better informed
about popular than classical music. Extracts that are selected from
classical music that have been used as backing for TV advertisements
are more likely to be correctly answered than others.
Can it be that, as well as being tuneful,
compositions such as the Verdi Requiem, Copland’s ballet music
for Rodeo, Carmina Burana by Carl Orff, Dvorak’s New World
Symphony,and one of Mozart’s piano concertos, which was
used as background music for the film Elvira Madigan and which
is now often called by the title of the film, rather than the boring
‘No.21’, were chosen because they are all out of copyright
and incur no royalties?
The concert held the evening before
the 1990 FIFA World Cup in Rome, held to raise money for José
Carreras’s International Leukaemia Foundation – he had recently recovered
from leukaemia – also gave his friends Plácido Domingo and
Luciano Pavarotti the opportunity to welcome him back after his successful
treatment. It was a great success and was the start of The Three Tenors
phenomenon. They repeated their success at subsequent Cup Finals in
Los Angeles (1994), Paris (1998) and Yokohama (2002). They also gave
concerts in other towns to enormous audiences, usually in large out-door
venues and did not restrict their repertoire to only operatic extracts.
They included items as varied as Torero Quiera by Manuel
Panella Miguel Roai, You’ll Never Walk Alone by Rodgers and
Hammerstein, Granada by Augustín Lara, I’m Dreaming
of a White Christmas and Amazing Grace. These concerts
shown on TV and available on recordings appealed to the world-wide
audiences that enjoyed concerts put on by Raymond Gubbay and others,
the Classic FM type broadcasts and the recordings and concerts by
artists such as the Jacques Loussier Trio and the Swingle Singers.
As might be expected there were opera
buffs who scorned the selection of bits out of the operas, torn from
their proper settings and sometimes sung by all three tenors at the
same time, while there were others who felt that these concerts brought
opera to many who had previously had no contact with it before, though
there is no evidence that the audiences at opera houses increased
as a result of this exposure. Rather it proved, once again, that what
the majority of people enjoy is ‘a good tune’. Not long before he
died Sir Thomas Beecham put it more succinctly: he is quoted as saying,
‘The function of music is to release us from the tyranny of conscious
thought.’ Recent enquiries into whether the sound of music can
actually help those experiencing pain seem to suggest that it can.
At the same time there is sufficient evidence that some forms of rock
have very much the opposite effect. Perhaps neither of these phenomena
should surprise us: mothers have been singing lullabies to their infants,
lovers serenading and warriors singing, dancing and marching to victory
or defeat, as far back in time as we have any information.
The vastly greater profits made by the
record company, in spite of the tremendous fees paid to the three
tenors and their conductors Zubin Mehta and James Levine, accelerated
the classical record industry’s decision to follow the path taken
by popular music, which had shown for at least thirty years that the
crossover of genres increased sales. It was around this time that
I first became aware of the phrase Classical Crossover. The sale of
classical recordings, however successful even in the halcyon times
from the 1950s into the 1980s, had never matched in number and therefore
profitability that of other more popular music recordings. The up-front
cost of engaging a symphony orchestra, a famous conductor and perhaps
a soloist is so much greater than for other music,
and more sessions are required to produce a symphony lasting anything
from thirty to fifty minutes or longer; furthermore,
as a rule, because of its complexity, less music
can be successfully recorded in each three hour session. This has
always been reflected in the recording fees the Musicians’ Union has
agreed for the members of symphony orchestras, which from the start
of recording have always been lower than for the recording of all
other forms of music, which require fewer musicians, take less time
to record and sell in greater numbers.
The tradition of symphony orchestras
playing non-symphonic music goes back a long way. Four years after
the formation of the Boston Symphony Orchestra in 1881 the Boston
Pops Orchestra was founded as an off-shoot of the symphony orchestra
– in effect the symphony orchestra without its principal players,
what in America they call their ‘first chair men’. The major orchestras
all had co- principals, as the BBC Symphony Orchestra had in 1930
when my father was the co-principal clarinet with Frederick Thurston.
The Pops Orchestra’s programmes consisted of light classical music,
tunes from the current hit musicals, and sometimes a novelty piece.
The Pops programs are much the same now except that the items from
musicals and the novelty pieces have changed. From 1930, when Arthur
Fiedler became its principal conductor, the orchestra is reputed to
have sold the most recordings of any orchestra – in total over 50
million, in a variety of formats. The most popular has been Sleigh
Ride by Leroy Anderson, not a piece usually found in a symphony
orchestra’s repertoire. Since 1980 John Williams, famous for his film
music that includes Star Wars and Indiana Jones, has
been their principal conductor. Of a number of other Pops orchestras
in America the Cincinnati Pops Orchestra, under its conductor Erich
Kunzel, has since 1977 probably been the most successful and like
the Boston Pops has made many recordings.
The continuing success of the Three
Tenors throughout the 1990s led the record companies to search for
other recordings that would sell in their millions – The Three
Tenors in Concert sold ten million copies. In 1992 the recording
of the contemporary Polish composer Henryk Górecki’s Third
Symphony, for soprano and orchestra, sold more than 1 million CDs
and for a time was played regularly on Classic FM. Even more remarkable
was the success of Chant, a record of Gregorian chant sung
by Benedictine monks in northern Spain, which achieved sales of over
four million copies.
Increasing numbers of easy listening
albums of extracts from the most popular classical music and opera
and recordings of lighter music played by outstanding artists like
Itzhak Perlman and Joshua Bell began to appear in place of new recordings
by the orchestras. In 1995 the young violinist Vanessa Mae released
an album The Violin Player that featured her playing a fusion
of classics, pop, rock and techno – compositions that ranged from
Bach to rock. She was also featured emerging from the sea with her
dress wet and clinging to her shapely body. Being young, attractive,
and if possible sexy, became a feature of what was by then becoming
known as Classical Crossover.
For many years the Grammy Awards for
Classical Music had been the most prestigious prizes for classical
music and musicians. In 1999 a new category was added – Best Classical
Crossover Album. The first one was awarded to the cellist Yo-Yo Ma
for his recording of Soul of the Tango - The Music of Astor Piazzolla.
Some of the most recent winners have been the violinist Joshua
Bell with the percussionist Evelyn Glennie and others for Perpetual
Motion, André Previn with the London Symphony Orchestra
for Previn Conducts Korngold (the film music for Sea Hawk; Captain
Blood, etc.) and in 2006 The Turtle Island String Quartet and the
Ying Quartet for 4+four. This is one of the most interesting
awards so far. Turtle Island String Quartet, an innovative string
group, improvises and arranges an extraordinary range of music that
includes jazz standards classical, country, rock, New Age, swing,
Latin and Middle Eastern music. On this particular album they have
collaborated with the Ying Quartet and include their usual variety
of sources plus a re-arranged version of Darius Milhaud’s La Création
du Monde.
A year later, in 2000, the British
Phonographic Industry (BPI), the organisation of record companies,
decided to start the Classical Brit. awards. The Brit Awards, the
pop industry’s awards, had for many years been a very successful marketing
device and it was hoped that the Classical Brits would do the same
for the ailing classical market. Until then there had only been the
Gramophone Awards for classical music. Voting for the awards was by
a committee that included industry executives, representatives from
the media, the British Association of Record Dealers, members of the
Musicians Union, lawyers, promoters, and orchestra leaders. I have
always been interested in who the ‘orchestra leaders’ have been as
I have never come across anyone who admitted being involved in the
voting, The categories in the first year were: British Artist of the
Year, Female Artist of the Year, Album of the Year, Young British
Classical Performer and Outstanding Contribution to Music. The award
for Best Album of the Year is voted for by listeners to Classic FM.
That year the British Artist of the
Year Award was given to the fourteen year old Charlotte Church whose
recording Voice of an Angel, on which she sang arias, sacred
and traditional songs had been a big success. Three years later on
Dream a Dream she sang mostly Christmas carols and pop songs.
This was the start of her future career as a pop singer. The other
awards were received by Martha Argerich, Bryn Terfel, Andrea Bocelli
(for Sacred Arias, the Album of the Year), Daniel Harding and
Nigel Kennedy. In the following years the categories changed and additional
categories were added. In 2001 the Album of the Year was Russell Watson’s
The Voice; in 2002 the Biggest-selling Classical Album was
Russell Watson’s Encore and the Outstanding Contribution to
Music went Andrea Bocelli who in 1993 won the Album of the Year with
Sentimento; the 1994 Album of the Year was won by Bryn Terfel
with Bryn; in 2005 and 2006 the Album of the Year went to Katherine
Jenkins.
When Peter Gelb, then the President
of Sony Classical, said in 1997 ‘For the classical record industry,
the writing is already on the wall’, I wonder if he foresaw the extent
to which this would have come true by 2006? By then the major labels
were only infrequently producing new recordings. The smaller companies,
Harmonia Mundi, Hyperion, Chandos, Opera Rara and the low-cost phenomenon
Naxos continued to be more successful.
By 2006 a number of major orchestras
in Europe and the USA – the first in Britain had been the London Symphony
Orchestra in 1999 – began issuing recordings on their own labels.
The Musicians’ Union was obliged to allow the orchestras to record
their concert performances without any additional fee to the musicians
on the understanding that when the sales provided sufficient profit
the musicians would receive a share. This did away with the cost previously
incurred of paying a large number of musicians for recording the music
in the studio and, of course it reduced the income earned by the musicians.
As the average sales for each recording has been in the 8000/12,000
range the profit required to pay an orchestra of eighty has yet to
be reached. However, in the circumstances the musicians are glad if
the recordings act as a spur to audiences attending their concerts.
It is now even possible at the end of some concerts to buy a recording
of the first part of the concert you have just attended.
There is not a lot that can be done
to change the format of the symphony concert in order to make it more
attractive to those who have been affected by the popular music with
which they have been surrounded all their lives and the changed listening
habits that the new means of communication have brought about. Various
attempts have been made – by the orchestra wearing a more contemporary
style of dress; changing the time the concerts are held so as to make
it easier for the audience to come straight from work or having a
shorter, one hour concert at lunch time; creating a more friendly,
intimate atmosphere by the conductor talking to the audience about
the programme; having a glass of wine before or after the concert
with an opportunity to meet and talk to members of the orchestra –
but nothing has made any real difference.
It has been much easier in the opera
house to bring productions more up to date . Among Jonathan Miller’s
many opera productions both his 1982 production of Verdi’s Rigoletto
for which the setting of the opera is changed from Mantua to Little
Italy, with the Mafia replacing the Duke’s court, and his version
of Bizet’s Carmen which he up-dated to Franco’s Spain, were
extremely successful. The American Peter Sellars’s productions have
been rather more radical (though some of Miller’s later productions
followed suit). Sellars set Mozart’s Così fan tutte
in a diner on Cape Cod, The Marriage of Figaro in a grand apartment
in Trump Tower in New York and Don Giovanni in New York’s Spanish
Harlem. His production of Don Giovanni that I saw, with sub-titles
in English, so changed not only the milieu but changed the characters
in such a way that it seemed to me the nature of the work became distorted.
But this was as nothing compared with
what Glyndebourne decided to do as part of their education programme.
For several years they have tried to stimulate an interest in opera
in children, believing that if you catch them young enough a future
audience will be created. Misper, for the under twelves, and
Zoei intended for teenagers are both original works by John
Lunn. They were written for and performed by the children themselves,
in collaboration with professionals. They received praise from the
critics but have not maintained a place in Glyndebourne’s repertoire
nor been put on elsewhere. Zoe was shown on Channel 4 but had
poor viewing figures. Then in 2005 an ‘operatic thriller’ in three
acts, Tangier Tattoo, again by John Lunn was mounted, this
time aimed at an older audience, the eighteen to thirty year olds.
The general director David Pickard said ‘It’s quite racy – that’s
partly because we wanted to create a piece that that particular age
group could relate to’. Like the previous two Lunn operas the story
had similar ingredients to many TV series and plays – sex, violence,
intrigue and mystery. Depending on the age range of the audience the
degree of each element has varied. The music for Tangier Tango
is very loud, making use of elements of pop music and electronic samples,
so that the singers had to be ‘miked’. Even though operas have sometimes
failed because the story and libretto have been unsatisfactory, in
the end if the music is really good even a stupid story will not wreck
it. Lunn’s music does not seem to have been strong enough to attract
a young or an older audience.
I was saddened, remembering the wonderful
performances I had been so fortunate to take part in at Glyndebourne,
to read that the following year, in yet another endeavour to attract
a younger audience, Glyndebourne had asked the rapper Paradise to
create a hip hop opera from Mozart’s Così fan tutte. When
he was asked how he came to be involved in this project he said ‘…they
wanted to reach the youth, because they felt their target audience
was too narrow, about 65 and over. They wanted to tap into the youth
culture as well, and a guy in Germany actually came up with the idea
of ‘hip h’opera’, fusing elements of hip hop and opera…’. In March
2006. the transformation of Così fan tutte into
School 4 Lovers by rapper Paradise and the producer and saxophonist
Charlie Parker changed the setting from Naples to an inner city estate
and the role of Don Alfonso was played by the rapper Paradise who
said this fusion was ‘ neither culture shock, nor culture clash
– this is cultural evolution!’
The comments in the press, before
the opera was actually produced, about the kind of ‘street’ language
co-opted into the adaptation called Hip-Hop Così: ‘School
4 Lovers’ were unfavourable. I have been unable to find out whether
any of the three performances that the opera house told me were sold
out were attended by the critics, as there seem to have been no reviews.
However, it seems to me we do not need to be worried on Mozart’s or
his librettist Da Ponte’s behalf. This masterpiece has survived several
centuries and even though it had to wait until 1910 for Beecham to
give its first unexpurgated performance in Britain it has lost none
of its beauty and insight. What is so worrying is that because no
work of our own time is attractive enough to entice an audience it
was considered necessary to distort and even cannibalise one of the
most beautiful operas in order to provide contemporary entertainment.
The Spanish director Calixto Bieito’s
staging, first for Barcelona and then for English National Opera,
of Un ballo in maschera by Verdi, in which in the opening scene
the conspirators are found sitting on the toilet with their trousers
down was even more disagreeable than School 4 Lovers. Still,
we must be grateful that so far we have been spared his violation
of Mozart’s The Abduction from the Seraglio for the Komische
Oper in Berlin. He decided that this opera is about prostitution,
drug abuse and sadistic violence. The details are too disgusting to
describe and would certainly have received an x certificate if it
had been a film.
The changes in life style and listening
habits referred to earlier have over the past twenty years or so had
an increasing effect on the music profession. By the end of the 1990s
the reduction in the amount of work available and the earning capacity
of musicians in Britain had declined sufficiently for the Musicians’
Union to commission a survey of musicians’ employment in the period
between 1978 and 1998. The report of the research carried out at Westminster
University, Nice Work if you can get it! A survey of Musicians’
Employment, was published in 2000. In comparing the situation
with twenty years earlier the researchers found that less work was
available in all sectors of the profession – less live performance,
broadcasting, recording and teaching than previously and that fees
in general were worth less in real terms. It was also noted that in
a number of orchestras fewer musicians were now being employed.
The decline had been felt most keenly
by orchestral musicians for whom broadcasting and recording had been
an important source of income for both those in the London orchestras
and free-lance players. The report showed that not only had there
had been a reduction in employment but also that the number of players
engaged full-time in the contract orchestras, in which average salaries
remained pitifully low, had also declined over the previous twenty
years. Since the end of the 1990s more young free-lance classical
musicians had been obliged to create their own small chamber groups
and become far more entrepreneurial and self-promoting than had been
necessary in the past. The number leaving the conservatoires has continued
to be far greater than the profession can absorb so that quite a number
have had to find additional employment outside performing and teaching
in order to survive financially.
I use the term orchestral musician
to mean all those who are not jazz, pop or rock musicians of any kind.
By the nature of the number of years required before entering the
profession orchestral and chamber musicians hope from the start to
remain professional performers throughout their lives. This has rarely
been the case for pop and rock musicians because the nature of their
music is far more ephemeral. With the notable exception of a few groups
such as the Rolling Stones and the Who and some individual artists
who have been exceptionally successful the great majority of pop and
rock musicians remain working for only a few years. For those who
compose their own music and lyrics it is difficult to continue to
be creative over many years and performers in this genre need to be
able to reinvent themselves as fashion changes. Many who set out seeking
fame and fortune abandon their quest within quite a short time when
they find it eludes them. Even the Beatles, probably the most successful
and influential group – they are credited with having sold over a
billion records before 1990 – remained together for less than ten
years.
While attendance at art galleries
for exhibitions of masterpieces of the past are increasing and those
for contemporary painting, sculpture, installations and light shows
are attracting even larger crowds, why is it that concert attendance
continues to decline and cause concern and programmes of contemporary
music appear to still drive the average music lover away?
Not only is going to a concert so
much more expensive than going to an art gallery, but going to a concert
has become unnecessary: One can now listen to music whenever and wherever
one is so much more conveniently and cheaply. Perhaps even more important
is the freedom that a visit to any form of art provides in contrast
to the need to commit oneself to two hours of passive concentration
when attending a concert. At a concert one cannot go back and forth
to a phrase or passage one has enjoyed as one can go back and look
at a picture or a piece of sculpture – nor as one can when listening
to a recording.
A piece of contemporary art in whatever
form can be ignored or passed by quite quickly whereas if one is listening
to a piece of music in a concert hall it requires considerable courage
to get up in the middle of a performance, disturb one’s neighbours
and walk out. While new classical music composers have been addressing
an ever decreasing audience, the music of the past has for the last
fifty years been trying to reinvent itself. On the one hand there
are those who play Mozart in a style that purports to be ‘authentic’
and on what pretend to be ‘original instruments’, though they are
reproductions, with improved intonation without which they would be
unacceptable to a modern audience. On the other there are those willing
to turn classical music into ‘easy listening’ and happy to change
the story, the words and the culture of operas so as to imitate our
own contemporary culture.
Having been involved in the music
profession, the music business and now the music industry for over
sixty years I am saddened that the profession I have known is being
swept away and that the music I love and which in the first twenty
years as a player seemed to be growing in popularity has fallen on
such hard times. But I am not surprised. As Chairman of the Philharmonia,
in the mid-1970s I suggested to my colleagues, who were already becoming
concerned for the future, that as much as we all loved the music we
played and the life we were lucky enough to enjoy, it would not go
on for ever – nothing ever has or ever will. We had seen other thriving
industries disappear; coal mines closed, the steel industry collapse,
shipbuilding and fishing ...
The Musicians’ Union, in the past,
when I had been involved in negotiating with employers at every level
from night club owners to representatives of the BBC, ITV and the
major record companies, had then been able to be effective on behalf
of its members and could rely on their support because it represented
their wishes. With the changes in the law that made the ‘closed-shop’
illegal together with a reduction in employment opportunities and
sufficient financial support for symphony orchestras and opera houses,
the Musicians’ Union ability to bargain on behalf of its members has
been substantially reduced
A time when everything is valued
in terms of how much money it can make is not one that is good for
the performing arts and this is especially so for classical music,
which is so labour intensive. While popular music, responding to the
current mood throughout the world, becomes either more aggressive
or maudlin, classical music and jazz have become increasingly more
cerebral. And while the advances in communication technology have
made the commercialisation of popular music one of the most profitable
industries, classical music is attempting to fight a rearguard action.
In a world rife with conflict of every
kind and when it seems we are bent on destroying our own environment
it is difficult to be optimistic. But out of the old something new
always grows. There is so much new technology young people are using
in remarkably inventive ways that perhaps this is the way music will
go. No doubt in the 17th century when musicians were playing recorders,
natural trumpets and viols and before the well tempered scale which
adjusted the notes within an octave so it became possible to modulate
from one key to another, they would be astounded to see the instruments
we play and the music we take for granted. However music is provided
and whatever it will sound like, I hope it will provide as much pleasure
and inspiration as the music I have known has given me. For thinking
and feeling people, contemplating the future is not easy. But of one
thing we can be absolutely certain: as long as there are men and women
there will be music.