Cold but fine; this is going to be the last
reasonable day until well into next week according to the forecast. The rain symbol, with no coy sun peeping
behind it, is in the ascendant for the foreseeable future. And my mood will plummet, as I now seem to
live by Ruskin’s Pathetic Fallacy. That
is one reason that life in the UK does seem impossible at the moment, or an
indeed at any moment in the future unless global warming becomes much more
dramatic than it is at the moment.
As I type highlights from Monteverdi’s
L’Orfeo are playing in the background conducted by Nikolaus Harnoncourt with
the Concentus musicus Wien and Berberian, Hansmann, Kozma, Van Egmond with
other nymphs, shepherds and the Capella antiqua München on a Das Alte Werk disc
that would have been beyond my purse before the internet destroyed
recording. I am having the time of my
life in indulging my slightest tastes in music as the whole edifice of the
music industry comes crashing down in a proliferation of impossible-to-resist
box sets of scrumptious harmony.
For Proust it was a bit of cake and tea,
but for me it is usually music which instantly transports me to a time and
place where I first heard it or where I heard it significantly. L’Orfeo will always be associated with Room
816, Neuadd Lewis Jones, Singleton Park, Swansea when Jim, a bearded, breast
stroke swimming, flute playing student asked if he could play a record he
needed to listen to for one of his courses.
I complied and then immediately confiscated the record. Once you listen to the Toccata it is
imprinted on your mind. I loved it and
since, I have heard various versions – there is no definitive score to help
musicologists, or rather the lack of score is god’s gift to musicologists who
can make a career by suggesting various scores of their devising as the
‘authentic’ version that Monteverdi might have had in mind when he wrote this
proto-opera.
Since I was in college there has been an
explosion of interest in so-called Early Music.
We have seen the rise of the counter-tenor, the development of modern
original instruments, the increasing sophistication of musicology associated
with Early Music and the truly stunning sound which we now expect when we
listen to it. You listen to some early
recordings of Early Music and you will astonished by the roughness of the
rendition. The music may be great but
the performance was usually more worthy than polished.
I sometimes wonder if the musical sound
that you get in Catalonia when people are building their human castles is more
akin to what would have been heard in Britain in the church orchestras that
used to accompany the singing. The sound
is raucous, not without a certain uncompromising energy, but you can also see
why some members of the clergy would have looked towards the organ as a far
more civilized way of providing music rather than the undisciplined gang screeching
away, drowning out the congregation and
sometime the clergy as well!
I am just grateful that I can appreciate
the advances in recording technique as well as technology that allow me to have
an almost unparalleled musical experience.
A far fuller one than the generations of musicians that actually
produced most of the music!
I wonder if anyone has done a study about
the differences in ‘learning’ music nowadays compared with those brought up
with the record player? My generation of
listeners will still probably still know ‘side 1’ of a given piece of music
better than the remaining movements. The
inertia of failing to turn the record over to get the rest is something that
was real. Now the whole of the disc
plays without your having to do anything except listen! And listen without clicks, hiss and
jumps. Truly, I live in a very different
musical world from the one in which I gleefully accepted my first classical
records and got to know The Nutcracker, Peer Gynt, The Planets, The Polovtsian
Dances, The Ritual Fire Music and what was contained on Immortal Melodies. If I try I can even remember some of the
record labels: Golden Guinea, Ace of Clubs – and the artwork on the covers even
better. Now all gone and I have multiple
versions in much high quality sound, though possibly not in better
versions! My musical memory is nowhere
near good enough to remember the personality of the music!
It is now much later in the night. This writing started in the afternoon when my
hopes were all pinned on Toni’s recollection (I gave in and admitted that I had
lost something) of where it might be. It
was not a location (at that time) in Castelldefels – and perhaps the phrase in
parenthesis gives you some idea of where the actual location might have
been. So, it was well after six before
we got there.
Our setting off was fraught. My TomTom had run out of battery and the
other Garmin that I had (come on, you didn’t seriously think that I had only a
single GPS did you?) was flat and the bloody lighter socket in the so-called
courtesy car did not work. We relied on
memory to get to the garage in a distant town in the dark. Toni likes to know where he is going, he is
not one to relish the unexpected and rely on luck to get himself through. So two failed GPS and a broken socket did not
set, shall we say, a soothing atmosphere for our jaunt.
In a silence broken only by recriminations
we finally got to the re-spray place – on a fairly direct route as it turned
out and sank with luxurious delight into the palatial, safe comfort of our
car. The SCCC (so-called courtesy car)
was relinquished with unseemly haste and we were off back to civilization while
riding in civilization. The smooth
silence of the ride was in marked contrast to the opposite of all that we
arrived in.
And eventually that which was lost was duly
found. So if anything happens in the UK
I will now be able to travel there without the panic of having to find the
British Consulate and arrange emergency papers to replace my passport. You can see why I was a trifle worried; but,
as with books, wallets, computers (but not pens) things come back to me. Generally.
To celebrate the return of decent transport
and important papers we went to La Fusta and had our usual tapas and I had a
small jug of sangria. It seemed the
least we could do.
I am continuing to load up my computer with
my new discs and marvelling at some of the delights I have in store. Out of sequence, but irresistible, was a
piece by Thomas Tomkins (1572-1656) called, ‘A Sad Pavan for these Distracted
Times’ played on the virginal. If he had
lived for another decade he would have had even more reason to write such a
thing!
Toni might be going to watch his nephew
play in a nearby location tomorrow, so I will devote the day, or at least the
morning to getting on with the next stage in my writing course. We have now reached the writing of ‘Setting’ and
it was no surprise that the first writer to be mentioned in this chapter of the
Big Red Book was Thomas Hardy and his creation of Egdon Heath – though I am
glad to say that the monumental of the character-like landscape which Hardy can
write is not necessarily held out as a good example to follow for us. Thank god.
Now to load up another disc to burden the
hard drive of this over-worked computer.
Let music un-tune the sky!