
The chaos which has come to Madrid with heavy snowfalls makes me a little more jocose about the rather dull weather here in Castelldefels.
I am conscious that Hadyn is expecting something rather warmer and sun orientated when he arrives in a little over a week’s time, but there are always concerts and galleries to take away the sting of contrary weather.
I am (sort of) looking forward to my first visit actually inside the unfinished approximation of what Gaudi had in mind for La Sagrada Familla. Perhaps physical proximity and admiration of the detail of the construction will change my rather jaundiced view of this structure. Great and interesting building it certainly is and as a distant iconic outline silhouetted against the Barcelona skyline it is one of my favourite reference points but ‘up close’ is a very different thing.
I do not think that it is possible to build a Gaudi building without Gaudi. Gaudi’s way of building was to modify the building as it progressed. Gaudi was prepared to give his workers their head to change his ideas and have a major input as far as the appearance of the building was concerned – but he was there to authorize and to oversee the project. Without him it cannot be a true Gaudi building.
In the past great churches and cathedrals have taken long periods to construct – certainly more than a single lifetime. Santa Maria del Mar in Barcelona is certainly an exception taking only 50 years to complete, but most of the buildings were collaborative and are none the worse for that. Gaudi’s building I maintain is and should be an exception. My approach would have been to have stopped the building at Gaudi’s death; roofed over what was there with a transparent structure and made the most of it.
I am not sure how well people know what is going to be built on the site.
The largest tower has still to be constructed, complete with giant cross, and the whole profile of the church will change dramatically. I think there are plans for the cross to be illuminated and that will brand it as a Christian building.
At the moment it looks like some petrified organic underwater feature, something natural and startling. At a distance it is not obviously Christian, while retaining the clear suggestion of a church with steeples. It is easy for the building’s outline to stand as a symbol for the city without overt religious overtones. In detail, as Gaudi clearly intended, its religious significance reflects the pietistic devotion that characterized Gaudi’s life and dedication to ‘his’ church. The giant cross will be exclusive and make the church into something less of an icon and symbol, in my view.
On the other hand some experts have said that the entire church will be complete in twenty to thirty years. Whatever I think about its projected development there is something exciting in hoping that I will still be alive to see it in its finished state. Whatever that is!
With any luck!
I am conscious that Hadyn is expecting something rather warmer and sun orientated when he arrives in a little over a week’s time, but there are always concerts and galleries to take away the sting of contrary weather.
I am (sort of) looking forward to my first visit actually inside the unfinished approximation of what Gaudi had in mind for La Sagrada Familla. Perhaps physical proximity and admiration of the detail of the construction will change my rather jaundiced view of this structure. Great and interesting building it certainly is and as a distant iconic outline silhouetted against the Barcelona skyline it is one of my favourite reference points but ‘up close’ is a very different thing.
I do not think that it is possible to build a Gaudi building without Gaudi. Gaudi’s way of building was to modify the building as it progressed. Gaudi was prepared to give his workers their head to change his ideas and have a major input as far as the appearance of the building was concerned – but he was there to authorize and to oversee the project. Without him it cannot be a true Gaudi building.
In the past great churches and cathedrals have taken long periods to construct – certainly more than a single lifetime. Santa Maria del Mar in Barcelona is certainly an exception taking only 50 years to complete, but most of the buildings were collaborative and are none the worse for that. Gaudi’s building I maintain is and should be an exception. My approach would have been to have stopped the building at Gaudi’s death; roofed over what was there with a transparent structure and made the most of it.
I am not sure how well people know what is going to be built on the site.
The largest tower has still to be constructed, complete with giant cross, and the whole profile of the church will change dramatically. I think there are plans for the cross to be illuminated and that will brand it as a Christian building.At the moment it looks like some petrified organic underwater feature, something natural and startling. At a distance it is not obviously Christian, while retaining the clear suggestion of a church with steeples. It is easy for the building’s outline to stand as a symbol for the city without overt religious overtones. In detail, as Gaudi clearly intended, its religious significance reflects the pietistic devotion that characterized Gaudi’s life and dedication to ‘his’ church. The giant cross will be exclusive and make the church into something less of an icon and symbol, in my view.
On the other hand some experts have said that the entire church will be complete in twenty to thirty years. Whatever I think about its projected development there is something exciting in hoping that I will still be alive to see it in its finished state. Whatever that is!
With any luck!






Ireland by fur covered bagpipes; Romania by a kitsch looking Dracula fairground attraction; Spain by a lump of concrete and Britain – well, Britain isn’t there. This is supposed to be a visual representation of the scepticism about membership of the EU for which we are notorious! The description of the artistic motivation for the lack of anything in the installation representing Britain could be reprinted verbatim in Pseuds’ Corner in Private Eye. I might add that the element representing the Czech nation consists of an LED strip relaying quotations from the speeches of their disturbed leader!
the endlessly circulating cars of Germany; the group of priests mimicking the Iwo Jima flag raising but with the Rainbow flag of the Gay movement for Poland – it goes on and on and you can imagine national representatives howling with rage!

for providing (within a week) the documentation necessary for my teaching qualifications to be recognized by the Spanish Government. I am particularly impressed with Swansea for producing an Academic Transcript of my degree. It is impressive to think that my precise marks from my degree papers are still somewhere in the system thirty-five years after gaining the qualification!




I first saw this on the way to Tossa de Mar on my first foreign holiday when I was seven. The nearest I have got to it since then was on a tourist bus trip with the Pauls when the vehicle drove slowly past it. I prefer to view it as a distant landmark, an iconic silhouette against the bright sky of Barcelona rather than as a building which repaid close inspection. However, it will be an experience to see what the detail of this remarkable building is like.
and if that fails to knock his equilibrium then there is the naked threat of my incomprehensible rendition of a beachscene for him to ‘appreciate.’ Dianne and I will revert to type and go in search of a cake shop and giggle our way through some sort of cream infused sugary confection. A sugar rush will always compensate for any negativity about creativity!


I well remember reading ‘The Haunting of Toby Jug’ in bed at night when fairly young, resting the book on the pillow and eventually reading with the focussed attention of the very scared and not wanting to stop reading because that would mean turning round to put the lights out. And who knew what might be lurking there!





It is unashamedly modular and has all the elegance of architectural form which comes from some sort of automatic computer program which takes certain ‘hoteloid’ elements and simply stacks them together on a given site. Nothing looks permanent and all the fittings and furnishings, the doors, the stairs and windows all look as though they were selected by a mouse click and then simply slotted into place.
as this opera is part of my season in the Liceu this year. The other operas in the set include ‘Edgar’ and ‘La Rondine’ and ‘Le Villi’ as far as I know my playing of them will be the first time I have ever heard them. Indeed heard of them, might be nearer the truth!
next to the Wales Millennium Centre with the BBC National Orchestra of Wales & Chorus on the 22nd and 23rd of January. The Hoddinott Hall will now become the base for BBC NOW and presumably St David’s Hall will now become even more marginal in its financing as the regular support of BBC NOW is redirected to The Bay. Though looking aqt picutres of the Hall it doesnt seem to have the same seating numbers as St Davids Hall. More investigation is called for. I wonder if parking has been improved!
