From our UK edition
With the ardent zeal characteristic of the freshly converted, I found myself channelling waves of anger towards Stanley Kubrick. The closing bars of Also sprach Zarathustra had utterly turned my head, transforming what had been my passing interest in the music of Richard Strauss into an infectious bout of Strauss monomania. Kubrick’s exquisitely consummated marriage
From our UK edition
Walking around central London, I’ve been struck by how many shows Frank Sinatra has been performing in town recently. He played a string of concerts in July at the Royal Albert Hall (which as any schoolboy knows was actually named after Sinatra’s middle name), and he is currently performing an extended summer season at the
From our UK edition
The opening bars of Ralph Vaughan Williams’s A London Symphony (1914) are scooped out from the gloopy bedrock of the city. Vaughan Williams was dredging through the same mud, silt, slime and ooze as those scene-setting paragraphs of Our Mutual Friend (1865), where Charles Dickens shows that the real glue binding his book together will
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Everyone keeps talking about classical music’s image problem, and proposals on the table designed to rescue the music from apparent extinction have included the suggestion that conductors ought to face audiences rather than orchestras, and the cunning plan, mooted by Julian Lloyd Webber, that we stop calling it ‘classical music’. But what classical music really
