{"id":19475,"date":"2022-10-04T00:00:00","date_gmt":"2022-10-03T22:00:00","guid":{"rendered":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/?post_type=purple_issue&p=19475"},"modified":"2022-10-06T11:39:39","modified_gmt":"2022-10-06T09:39:39","slug":"have-your-say","status":"publish","type":"post","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/2022\/10\/04\/have-your-say\/","title":{"rendered":"Have your say\u2026"},"content":{"rendered":"\n

Have your say\u2026<\/span><\/h2>\n\n
<\/div>
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LETTER OF THE MONTH <\/span><\/h4>\n\n\n\n
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Too costly: Martin Sixsmith had to opt out of Barbirolli\u2019s 70th birthday bash <\/figcaption><\/figure>\n\n\n\n

The price is not right <\/h4>\n\n\n\n
\"\"<\/figure><\/div>\n\n\n\n

In response to your invitation to tell us about concerts we wish we had attended (Letters, October), one of the best things about being a schoolboy in Manchester in the late 1960s was conductor John Barbirolli and the Hall\u00e9. I was a regular in the Free Trade Hall, usually in the two shilling and sixpenny seats in the gallery. In December 1969, I was desperate to be at the concert to celebrate Barbirolli\u2019s 70th birthday\u2026 but I see from the rather forlorn note I made on the season prospectus (above) that \u2018only 25 shilling seats\u2019 were left. I didn\u2019t go. Half a century later, I have the Barbirolli Society\u2019s recording of the concert and I can hear that it was pretty good \u2013 asmall consolation. <\/span><\/p>\n\n\n\n

Martin <\/em>Sixsmith, <\/em>London<\/em><\/p>\n\n\n\n

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WIN! \u00a350 VOUCHER FOR PRESTO MUSIC<\/span><\/h4>\n\n\n\n

Every month we will award the best letter with a \u00a350 voucher <\/strong>for Presto Music<\/strong>, the UK\u2019s leading stockist of classical and jazz recordings, printed music, music books and musical instruments. Please note: the editor reserves the right to shorten letters for publication.<\/p>\n\n\n\n

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Absent pilgrim <\/h4>\n\n

A concert I missed but would have loved to have attended was in 2000 when, as part of his Bach Pilgrimage, John Eliot Gardiner conducted Bach cantatas in Santo Domingo de Bonaval, Santiago de Compostela. The performance of BWV 161 is something I will never forgive myself for missing. Mark Padmore never sounded in finer voice, and I enjoy the CD so much. I would also have loved to have been on Iona for their concert on the 250th anniversary of Bach\u2019s death, particularly as they sang BWV 118, a favourite of mine. Sadly, it was not recorded. <\/p>\n\n

Jan Wilson, Tregavethan <\/em><\/p>\n\n

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A tough choice <\/h4>\n\n

In the 1960s, I bought tickets for the pianist Arturo Benedetti Michelangeli. As was often the case, he cancelled at the last minute but rescheduled the concert for a few days later. His chosen day was the same as the British Grand Prix, which I had also planned to visit. Reckoning that one would take place and the other was unlikely, I chose motorsport over music. Inevitably, Michelangeli did play and I never had another chance to hear him live.<\/p>\n\n

Paul <\/em>Langridge, <\/em>Rattlesden <\/em><\/p>\n\n

The editor replies: <\/span><\/span><\/strong>Many thanks for your letters and emails about the concerts you wish you had attended. We would love to hear more! <\/p>\n\n

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Owl \u2019owler <\/h4>\n\n

Rick Jones\u2019s A <\/em>memorable <\/em>folk <\/em>trail <\/em>feature in your October feature was fascinating, plus a great help to me for a minipresentation I gave at our U3A Music Group when the subject was the number five, for which I chose VW\u2019s Five <\/em>Variants <\/em>of <\/em>Dives <\/em>and <\/em>Lazarus. <\/em>Incidentally, the Union Jack outside The Owl pub in the picture on the fourth page of the feature is upside-down. Are you going to tell them, or shall I? <\/p>\n\n

Peter Graham, via email <\/em><\/p>\n\n

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Vinyl treasures <\/h4>\n\n

I had much pleasure reading your Analogue <\/em>age <\/em>feature in the October issue. I will never be deprived of my LP collection, begun in the early 1960s. Where would I be without the young Brendel playing Mozart concertos on Turnabout? During lockdown, I discovered gathering dust two LPs containing unique broadcast concerts of Serge Koussevitzky conducting four Sibelius symphonies: Nos 1, 5, 6 & 7. Then I worked out I had a Remington LP containing the only broadcast recording of the Seventh Symphony conducted by a Finn \u2013 Nils-Eric Fougstedt \u2013 during Sibelius\u2019s own lifetime. I bought a rare 10″ LP of Janine Andrade playing the Violin Concerto to go with that Seventh. Where would I be without these LP treasures? <\/p>\n\n

Edward Clark, President, United Kingdom Sibelius Society <\/em><\/p>\n\n

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Vibrato-less VW <\/h4>\n\n

I was very interested to read the letter in October regarding the first performance of Vaughan Williams\u2019s Tallis <\/em>Fantasia <\/em>in Gloucester Cathedral in 1910. Clearly the suggestion is being made that, despite the overwhelming impact it had on Herbert Howells and Ivor Gurney, it was not received with great enthusiasm by the majority of the audience. Why then is it now justly considered such a major masterpiece in the British repertoire? I think we may get a clue from the 100th-anniversary performance given in Gloucester Cathedral during the Three Choirs Festival in 2010. Conductor Sir Roger Norrington decided that the Philharmonia Orchestra should play without vibrato, as apparently this was the custom in 1910. Frankly, to my ears this wonderful, radiant work sounded awful, as it did to the majority of my companions. If indeed it was played without vibrato in 1910, then it is no surprise that it produced a negative reaction for many people. I wonder if this can be confirmed or denied?<\/p>\n\n

David Green, Fakenham <\/em><\/p>\n\n

The editor replies: <\/span><\/span><\/strong> An interesting thought, though our deputy editor was also present at that 100th-anniversary concert and says he came away with a very different impression! For him, the spare, simple nature of the vibrato-free performance was ideally suited to the chant-inspired nature of the work as it echoed around the vast spaces of the Cathedral. Horses for courses, as they say\u2026 <\/p>\n\n

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Wild Oscars <\/h4>\n\n

In contrast to what you say in your October Cover CD feature, Henry <\/em>V <\/em>did not win the Best Picture Oscar nor the Best Actor Oscar for Laurence Olivier \u2013 it was Olivier\u2019s film of Hamlet <\/em>(1948) which achieved that feat. However, Olivier did receive a Special Academy Award for his \u2018outstanding achievement as actor, producer and director in bringing Henry <\/em>V <\/em>to the screen\u2019. Also Walton did not win an Academy Award for his score for Henry <\/em>V, <\/em>though he was nominated; the Oscar that year went to Hugo Friedhofer for his score for The <\/em>Best <\/em>Years <\/em>of <\/em>our <\/em>Lives. <\/em><\/p>\n\n

Neil <\/em>Sinyard, <\/em>Saxby <\/em>All <\/em>Saints<\/em><\/p>\n\n

The editor replies:<\/span><\/strong><\/span> Our apologies for the error. We are pleased to be corrected. <\/p>\n\n

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Seagull supporter <\/h4>\n\n

Richard Morrison\u2019s column in the August issue is thoughtprovoking. Is there truly a problem when people fail to treat classical music \u2018with respect\u2019, as Philip Pullman says? If I have my favourite classical station on while doing things in the house, should I feel ashamed because I\u2019m not concentrating on it deeply? In the dispute between Pullman and Bobby Seagull that Morrison discusses, I have to side with Seagull. Nobody has the time and money to treat great music with the respect it deserves all the time. By making it readily accessible, however, we increase the likelihood that people who might never have taken an interest in it will do so. Was Stanley Kubrick \u2018misusing\u2019 the music of Strauss when he employed Also <\/em>Sprach <\/em>Zarathustra <\/em>in his movie 2001: <\/em>A <\/em>Space <\/em>Odyssey? <\/em>I think not, and a great many movie-goers came away wanting to find out about the magnificent music they\u2019d just heard. I did. <\/p>\n\n

George C Leef, Raleigh, NC, US <\/em><\/p>\n\n

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Write to: The editor, BBC Music Magazine, Eagle House, Bristol, BS1 4ST <\/strong><\/span><\/p>\n\n

Email: music@classical-music.com<\/a> <\/span> <\/strong><\/span><\/p>\n\n

Social media: contact us on Facebook<\/strong><\/a> and Twitter<\/strong><\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Have your say\u2026 Absent pilgrim A concert I missed but would have loved to have attended was in 2000 when, as part of his Bach Pilgrimage, John Eliot Gardiner conducted Bach cantatas in Santo Domingo de Bonaval, Santiago de Compostela. The performance of BWV 161 is something I will never forgive myself for missing. Mark […]<\/p>\n","protected":false},"author":24,"featured_media":19939,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ub_ctt_via":"","purple_page_number":"8","purple_custom_meta_purple_page_number":"8","purple_seq_number":"1","purple_custom_meta_purple_seq_number":"1","purple_source_article":"article_8-1.xml","purple_custom_meta_purple_source_article":"article_8-1.xml","purple_source_issue":"November-2022","purple_custom_meta_purple_source_issue":"November-2022","purple_external_id":"November-2022-8-1","purple_custom_meta_purple_external_id":"November-2022-8-1","purple_issue_code":"|0000086188||","purple_custom_meta_purple_issue_code":"|0000086188||","purple_android_product":"com.im.bbcmusic.380","purple_custom_meta_purple_android_product":"com.im.bbcmusic.380","purple_ios_product":"com.im.bbcmusic.380","purple_custom_meta_purple_ios_product":"com.im.bbcmusic.380","purple_web_product":"","purple_custom_meta_purple_web_product":"","purple_publication_id":"5b9287a1-9911-4f59-a9d7-30a805560f3d","purple_migrated":"","kt_blocks_editor_width":"","apple_news_api_created_at":"2022-10-06T09:26:22Z","apple_news_article-theme":"","apple_news_api_id":"20126c02-7edc-4206-8539-440904e4ecd0","apple_news_api_modified_at":"2022-10-06T09:39:46Z","apple_news_api_revision":"AAAAAAAAAAAAAAAAAAAAAA==","apple_news_api_share_url":"https:\/\/apple.news\/AIBJsAn7cQgaFOUQJBOTs0A","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_is_hidden":false,"apple_news_is_paid":true,"apple_news_is_preview":true,"apple_news_is_sponsored":false,"apple_news_maturity_rating":"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_article_theme":"","apple_news_sections":"[]"},"categories":[38],"tags":[13],"apple_news_notices":[],"featured_image_src":"https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/Sixsmith_cmyk-e1664450126344.jpg","author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"acf":{"readingTimeMinutes":"6","apple_news_title":""},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/Sixsmith_cmyk-e1664450126344.jpg",1249,837,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/Sixsmith_cmyk-e1664450126344-150x150.jpg",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/Sixsmith_cmyk-e1664450126344-300x201.jpg",300,201,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/Sixsmith_cmyk-e1664450126344-768x515.jpg",768,515,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/Sixsmith_cmyk-e1664450126344-1024x686.jpg",800,536,true],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/Sixsmith_cmyk-1536x911.jpg",1536,911,true],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2022\/09\/Sixsmith_cmyk-e1664450126344.jpg",1249,837,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"Have your say\u2026 Absent pilgrim A concert I missed but would have loved to have attended was in 2000 when, as part of his Bach Pilgrimage, John Eliot Gardiner conducted Bach cantatas in Santo Domingo de Bonaval, Santiago de Compostela. The performance of BWV 161 is something I will never forgive myself for missing. Mark…","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/posts\/19475"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"replies":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/comments?post=19475"}],"version-history":[{"count":4,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/posts\/19475\/revisions"}],"predecessor-version":[{"id":20948,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/posts\/19475\/revisions\/20948"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/19939"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=19475"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=19475"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/tags?post=19475"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}