Michael Kennedy

We are only two months into the Britten centenary year and already books, articles and talks (and, of course, performances) swell the flood of existing biographical studies and the six bulky volumes of diaries and letters. Dead for less than 40 years, Britten is as copiously documented as any English composer except Elgar. Have emails wiped out areas of research? I hope that some teenage composer, a latter-day Britten, is even now baring their musical soul writing candid and maybe scurrilous opinions on the current musical scene in a diary as the young Britten did from 1928. ‘The child is father to the man’ rings true in Britten’s case. Britten the man was  a Jekyll and Hyde, with Hyde perhaps too often gaining the upper hand.

On the centenary of her birth, Michael Kennedy pays homage to ‘Klever Kaff’, occasional golfer, and inventor of Rabelaisian limericks Was she as wonderful an artist and woman as legend has it? Yes. Everything is true that has been said or written about the contralto Kathleen Ferrier, the centenary of whose birth is 22 April. She has been dead for 59 years, but through her recordings her voice — rich and always with a vein of melancholy — lives on, and could be mistaken for no one else and no one else for her. Never has a woman singer been so widely loved. The radiance of her personality suffused the music whether it was Bach or a folk song.

It is 150 years since the composer’s birth. Michael Kennedy on his remarkable popularity Approaching 60 years of writing music criticism, I have been wondering what I would nominate as the most remarkable changes on the British musical scene since I started. I decided there were three: the emergence of Mahler as a popular composer worldwide; the enthusiasm for the music of Janáček, especially his operas; and the establishment of regional opera companies. It is not as if Mahler’s music was completely unknown in Britain, even in his lifetime (1860–1911). But until about 1960 his impact on the general public was roughly the equivalent of, say, Szymanowski today. Now you cannot escape him.

Where does Sibelius stand today? Twenty years ago, the answer would have been not very high. Today, 50 years after his death, I think it would be ‘on the up’ again, especially as we now know not just the symphonies and tone-poems but also the wonderful songs in performances by Karita Mattila, Soile Isokoski, Anne Sofie von Otter and Jorma Hynninen. In Britain during the first half of the 20th century Sibelius was regarded as the symphonic heir to Beethoven. There was no mention of Mahler and Bruckner in those days, except in very restricted circles. It almost seemed as if Sibelius was an honorary Englishman. The composer had first visited England late in 1905 to conduct in Liverpool.