A Lark Ascending

Disc 3: Deutsche Sinfonie Disc 4: Lieder and small group instrumental pieces. Hot off the press. Superb staging - quite minimalist and done as a puppet show but with very clever manipulation of a grid-like structure that morphs between scenes: Adds to the nightmarish claustrophobia of the piece. I'm now off to slash my wrists.

Well we'd certainly create things for the sheer joy, beauty or fascination of them. But I'm not sure we'd necessarily put some of them in a special box (perhaps we would but more from the human habit of establishing hierarchies as a means of social control). I believe in entertainment - which can cover a wide range of overlapping things at different levels of skill, imagination, seriousness etc. 'Art' always strikes me as a concept appropriated by a social elite so you can have 'Art' and 'Not-Art' ('Art' being what 'our sort' can appreciate and truly feel). One of the many tools used to distinguish that group from 'the herd' (and thereby justify their superiority and, consequently, their hogging of resources). Always strikes me as odd that rather than using, for example, the sheer brilliance of something like many a Motown record to lay the concept of 'Art' to rest, the cultural elite fall over themselves to appropriate them for 'Art'.

Wouldn't one simply DIE without 'Art'!

Fascinating book. Most books based on specific years tend to be music based. Lots of music in this but roams widely over all manner of cultural areas from the Beeching cuts through T.S. Eliot to Bridget Riley, the Moors Murders, 'Blow Up' and Roy Jenkins' (and others) social reforms. Argues that '65 was the year modernism found its foot in English popular culture (as opposed to being something that only the elite dabbled in). Also argues the point I first came across in Ian MacDonald's book on the Beatles that the counter-culture and the later Thatcherites, rather than being on either side of the 'permissive' divide, were actually part of the same cultural trend - the abandonment of collectivism in favour of more ego driven individualism. Does, unfortunately, go on a rant against the introduction of comprehensive schools, spinning the old Tory myths about how grammar schools helped poor children get a foot into the upper echelons. There's acres of evidence suggesting the opposite but that doesn't seem to have killed the myth (as it looks like we're about to see with our current government). Hardly surprising in a year that has demonstrated more than ever the power of emotively expressed notions over cold evidence.

'Fleabag' (BBC various places) Mentioned this a few days back - edgy, uncomfortable comedy with a dark undertone. Watched the last three episodes (30 mins each) back to back last night and the whole thing spiralled into something quite superb. A woman with an 'I don't give a ****' carapace coming apart at the seams - the last episode is searing. Really original comedy with some very well known faces in supporting roles - Bill Patterson, Olivia Coleman, Hugh Dennis. The episode in the 'mindfulness' retreat is priceless (only lacked the adult colouring books). Highly recommended - it's on the BBC iPlayer for a while.

Would like to see a DVD production of the opera.

Opus 87, 101, 111 - acclimatisation listen. Never heard (or seen) this before - beautiful score in that opulent yet unstable style common to the latest of Romanticisms. Enjoyed the staging too.

I can understand that if you know the book/early series well. I often react like that to films of books, films based on real historical events or remakes of earlier series. I watched the film TTSS many years after reading the book and without having seen the BBC series and the film engaged me fully. Context, as ever, has its impact. I had a similar experience with 'Suffragette'. Really enjoyed it but was talking with an old colleague about it a few weeks back. She'd taught the period at A Level (16-18 year olds) and had far more reservations. Missed this in the cinema. Thought it was excellent. Really tense virtually from the off ('sell the bread, sell the bread'). All sorts of moral questions thrown up without presenting easy answers.

No 1

Actually mine too. One Easter Sunday in 1974 (I think the dates are right) I sat and watched a performance of the 2nd on TV in the afternoon - Bernstein at Ely Cathedral. I'm not sure why - I think I had about two classical records at that time but was getting curious. I was intrigued and bored by turns - it seemed VERY long (almost as long as Tales of Topographic Oceans!!!!) but the great choral ending just grabbed me by the throat. As soon as I had some money from a holiday job in the summer I started buying Mahler records - the DG Kubeliks for no other reason than a) I was living in Germany on a military base, the local NAAFI had rubbish pop/rock records and the exchange rate was so bad that pop/rock records in the German shops were way too expensive...and I HAD to buy records; b) the NAAFI had stacks of DGs in the classical section at very modest prices. The chance events that create an obsession. There was a terrific series of TV programmes about Mahler by Bernstein about 30 years back. He could really talk and explain about Mahler the composer in a direct and unstuffy manner. No 10. Pettersson brings Nielsen to my mind initially; but bizarrely today I was thinking Bax! I'm sure that is coincidental.

I always find it disconcerting when hearing a well established British actor speaking in an American accent. I've no way of knowing how authentic the accent is but my brain is expecting the familiar voice. Hugh Laurie was especially difficult to adjust to. In my mind he's type-cast as an incompetent, upper class World War I officer. Though I suppose it's no odder than when thespian types take on British regional roles.

My response too when I saw it in the cinema a while back.

The first Mahler record I ever bought back in the 70s (I actually wanted the second but the NAAFI shop didn't have it)...about the third or fourth classical record I ever bought (Mahler was pipped by Sibelius). I still hear Mahler through those recordings (although I believe some liberties were taken in places with tempos in order to fit movements onto one LP side - to this day when I hear the 6th on the radio the opening movement seems to plod (when in reality Kubelik was doing a Usain Bolt)). Not a million miles away from Mahler. The Symphonic Serenade is utterly gorgeous, Between Two Worlds very Hollywood; Theme and Variations sounds like the soundtrack to one of those anthropomorphic wildlife films that Disney used to make.

None of them match the books (didn't expect them to). But one of the things that appealed to me about the Henriksson version were the story lines that are not in the books - the series had the confidence to evolve rather than just interpret. In the Branagh episodes I saw I felt he overplayed the dour side of Wallander. Perhaps suitable to the end when his illness takes hold but the book character is more rounded. I think I struggled with it being in English - we've become a bit used to hearing Scandinavian thrillers in Swedish or Danish in recent years that all the British accents sound a bit odd. Half way through this - looks very dated but still makes for gripping television. Read the book a long time ago and watched the more recent film earlier in the year (which I also enjoyed). Like the leisurely way the story unfolds here though I'm still not sure I completely understand all the twists and turns. Surprised I didn't watch this when it came out (1979?). It was the sort of thing I'd have watched and I was back in TV watching mode after my student years. But I have no recollection of it.

No, lovely today.

I gave up on Branagh after a couple of episodes of the first series. I've nothing against Branagh but just found them way too dour. I liked both the Swedish series but agree the later one was the most engaging. Been watching 'Victoria' over the last couple of nights. Not the sort of thing I usually watch - it's essentially 'Downton Abbey' with proper royals. Simple plot lines, pantomime villains, lots of frocks. Jenna Coleman looks very lovely throughout and not at all as I imagine Victoria. Enjoyable enough though I'll be glad when they get on to some proper history so I can start tutting. All palace intrigue so far. After seeing some very good reviews I've also been watching a very dark comedy series called 'Fleabag' about a rather disturbed young woman and her family/sexual relationships. Rather different and clearly heading somewhere very bleak. Gives the warnings of 'strong language and scenes of a sexual nature' a whole new meaning on prime time BBC.

Nice bit of British grumpiness here: Good riddance to summer, a thoroughly un-British season We want our gloom back.

Thanks. But the last thing I need is another Mahler 4. I think I've got four...and I don't do versions!!!! Love this series - there's so much wonderful music locked in the Janacek operas that works separately.

Op 40 again from first (this time with guide book - fascinated by the folk song fragment in the third movement that returns as the main theme of the fourth. No way I'd ever have noticed that without direction). Marvellous music - recording suffers from an excessive dynamic range. If you turn it up to hear the vocal at normal volume you get blasted out of your seat in the loud orchestral moments. Turn it down and the voice seems distant. A frequent problem in the early digital era (though this one was recorded 15 or so years in).

Remember seeing both with the 'You' era Gong on a double bill with Hatfield and the North in my university student union. Only seems like a few years back (actually around '74/'75).

Yes, summer returned with a vengeance today. Though I'm expecting it to chill very rapidly this evening.

My parents used to love that. I've only seen the odd episode but found it very entertaining. The village it's based in - Port Isaac on the north coast of Cornwall - is a lovely place. Milks the Doc Martin connection for all it's worth these days (understandably). BBC 4 documentary about 'Pet Sounds'. Very enjoyable. Especially when they played with the faders and isolated parts of the tracks like the bass and, above all, the glorious harmony vocals.