Music

Early in 1987, a middle-aged woman approached me on the record counter of the Slough branch of Boots. ‘What do you have by Ladysmith Black Mambazo?’ she demanded. Nothing. Boots in Slough wasn’t big on South African isicathamiya choral music. ‘Well,’ she suggested, ‘you really ought to get their records in. They’re going to be huge.’ She was wrong, but I knew why she was so sure. Ladysmith Black Mambazo had been among the standout guests on Paul Simon’s Graceland, released a few months before. Graceland made Simon, by my reckoning, the first pop star who had emerged from the rock’n’roll era to make a major cultural impact across three

All my life I’ve wanted to compose music, and now I’ve done it. I’ve written a sonata for solo flute that boasts two highly original features; it’s five hours long and must be performed by a badger. Though it took me only five minutes to write, my opus one is guaranteed to get through to the second round of the next competition for new composers sponsored by Sheffield University and the Centre for New Music. That’s because they operate a ‘two ticks’ policy, as the Scottish pianist Philip Sharp — possibly the only classical musician in Britain who calls himself a classical liberal — revealed in his blog earlier this