A Lark Ascending

I've just had a banner telling me that if I join the Royal Navy I'll be the difference! Maybe these links aren't quite so well targeted as we thought. They definitely seem determined to get me out to sea.

Simon Rattle is the seismic, creative shock UK classical music needs Let's hope so.

Yes, some of the distinctive colour of that recording comes from the b-cl.

James Allsopp - another young Brit who frequently uses the b-cl in a variety of ensembles.

Bath Festival...back in the good old days of adventurous programming. Good lord...it was 14 years ago: http://sclavisfansite.jp/sclavis/galerie/bath.htm (not my pictures)

I like Rattle. I'm not qualified to judge how good he is at waving a stick, but I've always admired his adventurous programming. He was born the same year as me and was just appearing as I got interested in classical music. Saw him a few times, including in Birmingham. Also big on education. Recommend the TV series he did over 20 years ago called 'Leaving Home' about 20thC music. Looks a bit dated in format now but did a great job at getting you intrigued about that music without losing you in technical or philosophical details. Welcome home.

I once saw Murray and Sclavis do an all bass clarinet duo concert!

Beautiful instrument. Seems to be increasingly popular in the UK as an alternative voice for saxophonists. I've heard tenor player Julian Siegel make marvellous use of it in several contexts. Others will know more about these two, but I've really enjoyed recordings recently by Jason Stein and Michel Pilz. (Whoops...the last post landed before I pressed go. Take it as another recommendation).

My dad used to love them. He could eat all day. **************** I've yet to be targeted by this company: http://www.hatsandcaps.co.uk/berets-cberets/?gclid=Cj0KEQiA1NWnBRDchObfnYrbo78BEiQA-2jqBdF8jl-MsX3j5tjHKdot0l30si0yzgejZi8i6q56G70aApmY8P8HAQ

The bottom of this page is advertising cruises to me. They clearly know I'm planning retirement...unfortunately they don't realise that being trapped on a boat for a fortnight is not my idea of fun.

Read this, Dave-boy; then hang your head in shame.

This had a bit of buzz a couple of years back: http://www.theguardian.com/culture-professionals-network/culture-professionals-blog/2012/mar/23/classical-clubbing-limelight-yellow-lounge http://blogs.telegraph.co.uk/culture/lucyjones/100058571/classical-music-just-got-cool/ http://en.wikipedia.org/wiki/Limelight_%28classical_club_night_at_the_100_Club%29 Not sure if it has caught on. No string quartet clubs in Worksop. And I can't see any recent references. Noel Gallagher needs to start name dropping Schubert; like I got intrigued by Yes name dropping Stravinsky or Henry Cow name-dropping Messiaen. **************** If you are quick you can catch this in New York....or wait until late April for a Bradford-on-Avon set: http://www.oae.co.uk/category/whats-on/?subsite=the-night-shift Sounds a bit comm-U-nist to me!

WARNING: Post-modernist deconstruction alert I was obsessed with this film when it came out in the mid-60s (I was about 9). Watched it again a few years back and still enjoyed it. http://www.bbc.co.uk/news/magazine-31658799 I like this bit: Doesn't say what the family thought about Coltrane. Or Betty Carter!

Have a look for this in your library, papsrus: Not intended for experts - there's no 'fly-shit'. And it doesn't get bogged down in the 'meaning' of the music. It just traces the structure of all the symphonies and concertos, signalling what is happening through reference to the instruments. Even though I've been listening to them since the 80s I've found it has greatly increased my pleasure in the music. I've been working through it since the early autumn - just did 6 a couple of weeks back as it happens. Takes about 10-15 minutes to read the description before listening; I then follow it again as I'm listening.

The Unthanks at Sheffield City Hall Here looking almost as miserable as their songs. Not sure how Phil Collins got in the picture. I've not seen them since they started out ten years back between their first and second records. They've grown in size and scope since then with soaring near-orchestral arrangements - yet the essential character still lies at the heart. They've just become more open to a wider range of influences which sets them apart from most other folk inspired groups. Highlights included a manic bit of clog dancing against a minimalist string arrangement (imagine Philip Glass writing an opera based on 'Auf Wiedersehn, Pet'); a lovely performance of their version of King Crimson's 'Starless and Bible Black' and the long title track from the new album used as a closer with a marvellous instrumental build up towards then end. some beautiful trumpet leading into a final bout of manic clog dancing. How do they get to the next level? A couple of improvising musicians, I think. They are not scared of long songs and some of those instrumental passages cry out for a bit of free-wheeling. On the other hand.... Karma here! Sheffield City Hall is odd. Every time I go I get ushered into a different room - it's like the Tardis. This time it was the 'Ballroom' deep in the bowels of the building (suspect it doubles as a nuclear fallout shelter). And there were...NO CHAIRS! There was I moaning about the lack of a dance floor for Shostakovich last week and what do I get - dance floor all night! What were they thinking? Average age of the audience was ninety. The room was also extremely resonant so every time someone fell over and died the crash echoed round the building. All standing gigs seem to be a thing for folk groups wanting to be youthful and edgy. But I think the venue got the audience wrong this time - it was the usual bunch of teachers and social workers. We like to tap our feet but we do need to sit down. Great concert, though.

Not wishing to correct your homework (sorry, occupational hazard), but I think you'll find that was no. 5. I really like 6 - very odd shape. An opening slow movement and then two quick ones. Are you sure you weren't hearing 5? 6 is quite rare.

I always hope Mercer Ellington was being ironic.

Trish Clowes Quintet in Sheffield Trish Clowes (tenor, soprano), Gwilym Simcock (piano), Alex Munk (guitar), Calum Gourlay (bass), James Maddren (drums). Been following this young saxophonist for a few years on record and saw her in Brecon Cathedral last year. Even better last night - the acoustics of the little hall in Sheffield were much more conducive than a church building. Self-confessed Wayne Shorter obsessive with Iain Ballamy as one of her teachers, Clowes puts on an all-originals programme of accessible but asymmetrical jazz. Curious tunes that can be very groove driven in places but then enter zones without any strict time focus. She has a beautiful tone on her two saxes - most reminiscent of Shorter (and sometimes Surman) on soprano. On tenor I kept hearing late Stan Getz! Excellent band - Maddren seems to be everywhere at present. Munks I'd never heard before (he was substituting for Chris Montague who is clearly busy with Tyoyka) - he played some marvellously restrained solos. Biggest surprise was Simcock - I've blown hot and cold with him. Often find him a bit florid (though I do recall a thrilling gig he did with Stan Sulzmann, rushing into the venue straight from playing with Lee Konitz). Last night his solos were much more pithy, very exciting, getting genuine (rather than auto-jazz-fan) rounds of applause on two occasions. Trish Clowes is someone to watch - clearly utterly beguiled by music, wanting to explore, wide open in her listening tastes. At the start of her career but I'd mark as player worth following. She seems to tour widely in the UK. Try and hear her when she comes your way.

Cover star of this month's BBC Music Magazine: Though no music on the disc. He's clearly mainstream now.

Gosh! That looks like the old Appleby (though no Freezone for contrast). Nice line-up.

Probably the case. Although 'The Independent' has the same vague headline, in its first line it says 'Teenagers and young adults should listen to music on headphones for no more than one hour per day, the World Health Organisation (WHO) has said.' Maybe we oldies are beyond saving. Or our are ears have been leathered to a degree that we are no longer at risk. http://www.independent.co.uk/life-style/health-and-families/health-news/children-warned-to-not-listen-to-music-for-more-than-one-hour-a-day-10076200.html

Not sure how musicians would handle a Mahler symphony (let alone a Wagner opera!). Change between movements? Could answer the Musicians' Union prayers.

Can't work out if this is the BBC article misrepresenting the report or just a badly expressed report. This seems practical!: I probably need to be more cautious about the time I spend under headphones. Otherwise I have to keep volume down or I'd annoy the neighbours.

Think we might be in trouble: http://www.bbc.co.uk/news/health-31661789 Expecting regulations requiring downloads to come in plain packaging.

Bev, a few months ago I was given a promo by ECM of a Scandinavian folksinger named Sinikka Langeland. The album is called Starflowers. I didn't review it because I didn't think anyone here would be interested. It's the only Scandinavian folk music I have ever heard, so I don't know how to compare it to others of that genre. I enjoy it because it is unique in my collection. I can't say that I understand it, or that it's up your alley, but you might like it too. Attention Bev! Sinikka Langeland has a new album out with Trygve Seim called The Half-Finished Heaven. Thanks. Had not noticed that. Will add to the list. (I am still not tired of jazz, classical, folk or a number of other genres).