Music

In 2002 the English filmmaker John Bridcut visited The Red House in Aldeburgh, the archive housing the papers of Benjamin Britten and his long-time partner, Peter Pears. Bridcut was early in his research for a project he would realise two years later as the documentary film Britten’s Children, and then, after another two years, as a book of the same name. I was then head of music at the Aldeburgh Festival, with a few books of my own on Britten under my belt. Partly because the topic interested me and partly because I was soon to leave Aldeburgh, I sidestepped the archive’s historical rectitude regarding Britten’s sexuality and told John that he really needed to track down and interview Wulff Scherchen, Britten’s lover in 1938, who had moved to Australia and was now known as John Woolford. I dug up the last address we had on file for him and left Bridcut to it.

There were divas before Nellie Melba and, given that nowadays any young woman who can hold her career together for a few years while screeching into a microphone has the title bestowed on her, there have been many genuine and ersatz ones since. But Dame Nellie (1861–1931) remains the ne plus ultra, the gold standard of opera divas. Essential attributes include an instantly recognisable voice, an unshakeable faith in one’s ability, and position in the world, and an equally unshakeable determination that no rival will intrude upon one’s limelight. Nellie Mitchell showed these traits from an early age.

This collection of short pieces by fifty writers is about long players in more than one sense. Not only are they discussing LPs, but also albums that have been long played.

Graz, 16 May 1906. Richard Strauss is conducting his scandalous, recently premièred opera, Salome. The expectant audience includes Giacomo Puccini, Arnold Schoenberg, Gustav and Alma Mahler, Alexander von Zemlinsky, Alban Berg, and, slipping surreptitiously into a cheap seat, possibly a certain Adolf Hitler, having borrowed money from relatives for the trip from Vienna. So begins Alex Ross’s exploration of the kaleidoscopic twentieth-century musical world in The Rest Is Noise: Listening to the twentieth century (2007), his now classic study. Ross is well known as the chief music critic of The New Yorker.

Twenty-five or thirty years ago, when it was still fashionable to speak of the Great Australian Emptiness, we took this image of the geographical dead heart of Australia as implying a cultural emptiness as well, a suggestion that too little had happened or been made here to give the mind, the civilised mind, anything to hang on to, identify with or make its own.

The voice on the car radio was not immediately recognisable, nor was the song familiar to me. There was just a smoky laid-back piano and someone singing a song that sounded as though it was from the 1940s: ‘Young lovers, young lovers …’ I thought the voice, whomever it belonged to, had a real musicality in it, a precision of pitch and phrasing in tandem with a kind of liquid sweetness.

Chapter 148 of Craig Brown’s engrossing book is speculative fiction. Gerry and the Pacemakers are ‘the most successful pop group of the twentieth century’, their 1963 recording of ‘How Do You Do It?’, which the Beatles turned down, having launched their career. ‘To this day,’ Brown writes, ‘they remain the only artists to have achieved the number one slot with each of their first three singles.’ The last bit is almost true: they held that record for two decades.

Arnold Schoenberg and George Gershwin were two of the greatest architects of twentieth-century art music, each of them simultaneously an agent of continuity and disruption. The disruption is easy enough to chart: Schoenberg’s complete rewiring of tonality’s motherboard; Gershwin’s successful integration of jazz and symphonic music (more successful than the integration into American society of the greatest exponents of this same music). Although the continuity in each instance is slightly more nebulous, it is equally as compelling.

In 1973, aged six, I heard the song ‘Rock On’ by David Essex. I was obsessed by its sound. While I couldn’t have put it into words, I half understood that the song was made sonically exciting not just through its inventive arrangement (a song about rock and roll with no guitars!) but also its production techniques, especially the use of reverb and delay to ‘stage’ the vocal and instrumental performances.