Culture

‘We think we’re in charge of this stuff but we’re not,’ said Quincy Jones, the composer, arranger, jazz trumpeter, musical genius. He was talking to Julian Joseph at the Montreux Jazz Festival for Jazz Line-Up on Radio 3 (Saturday). ‘It’s divine intervention.’ Jones, who masterminded Michael Jackson’s Thriller as well as countless other hits, film scores (including The Italian Job and The Color Purple) and his own ‘Soul Bossa Nova’, was remarkably sanguine about his extraordinary career. His enormous self-confidence was there from the start. Finding himself in Paris in the 1950s touring with a big band, he decided to stay on so that he could study with Nadia Boulanger and learn how to write for a symphony orchestra.

Parsifal Bayreuth Festival, until 28 August In the days leading up to this year’s Bayreuth Festival, Bavaria was rocked by a spate of violent attacks. Security measures ran high for the premiere of a new Parsifal rumoured to be awash in Islamic symbolism. Such reports proved true, with the production set in a contemporary Middle Eastern country under threat, possibly from Isis. Far from being lauded as avant, however, the staging by Uwe Eric Laufenberg was instantly dubbed 'Provinztheater', or 'provincial theater', the worst insult that the well-heeled festival audience could come up with. I disagree.

My ancient Liddell and Scott Greek dictionary of 1849 defines choreia as ‘a dancing, especially with joy’. The word choros has a more technical definition: a round dance, or a dance accompanied with song (hence the word chorus). From whichever word ‘choreographer’ is declared to derive, the British dancemaker Rosemary Butcher, who died last month at 69 after a career barely visible to the public, embodied the first idea in a way that I see with hindsight changed my eyes emphatically in realising the marvellous range of ways to enjoy dance-going. Choreia: ‘a dancing’ – an act of dancing, a piece of activity, rather than the choros, a dance creation.

Art is aspiring; hungry; acutely aware of what it could become, and of what it could lack; longs for safety and reaches out in speculative attempts to do something new; exists on the outer edges of lives, looking inwards with hopes, some day, to be more essential. Art, literature and music are, in short, suburbs to the grands projets of our lives at their most significant. Over the next year the Architecture Foundation will present new films, walks, talks and another instalment of the Doughnut Festival, to contemplate the transformation of London’s outer ring. It’s an interesting moment. The capital is not physically expanding, but the relationship between inner and outer is significantly altering and will go on altering.

Die Fledermaus Opera Holland Park, until 5 August Johann Strauss's opera Die Fledermaus is a masterpiece that I have had a lifelong passion for, a passion which productions, whether in England or abroad, are obstinately determined should remain unrequited. I hadn't seen it, until Opera Holland Park's new production, since the 2003 production at Glyndebourne, which almost killed my passion, with its endless laborious prosiness. All the great operas and operettas with spoken dialogue have the same problem, how to keep the interest going when everyone is waiting for the next musical item, and one would of course feel hard done by if the performance simply jumped from one to the next, as is shown in those ill-advised recordings where the spoken dialogue is omitted.

One could honour God with prayer, of course, and build cathedrals, amass treasuries, turn choirs into stained-glass jewel boxes, carve portals with saints and sinners. But for the medieval monks bent over vellum in chilly scriptoria colour, too, was devotion: offertories of lapis lazuli, azurite, cinnabar, silver and gold, gold and more gold. Silver tarnished on the page, but gold remained exquisite, inviolable, and monks and scholars found a dragonish greed for it. War, weather, revolution, Henry VIII, Oliver Cromwell, acquisitive magpies, trophy-hunters and time have stripped gold and pigment from sculptures and ivories.