Please don't…
Yes, I know.. I'm a philistine, and I don't care. I occasionally spend a few moments listening to people talking about the music during intervals, and I am bewildered. I have ears, like them, and a brain, like them. How is it that they seem to be hearing something entirely different from what I do? I know my sense of pitch is dodgy, as is my memory, so I am largely incapable of remembering a theme from the first movement twenty minutes ago which has just been cleverly repeated by the eighth bassoon, counterpointing the fanfare by the trombones and piccolos. But if I were capable of remembering it.. so what? What is so special about repeating a theme, inverted, backwards, and with a flattened fifth and denatured ninth, seventeen bars, or indeed seventeen minutes later? I don't get it.
I do sometimes wonder if I'm missing something, or whether talking about music is simply an easier way of earning a living than working. Writing music isn't easy though. I know that. So why do so many people feel compelled to write music that I find…. deep breath… pointless or even painful?
Some of it definitely falls into the same bag as Modern Art, much of which is genuine garbage to my finely-tuned mind. I don't have much time for the genius of Andy Warhol, but I think he spoke a great truth when he said that 'Art is what you can get away with'.
Anyway… I zapped into the Proms… and what did I see? A couple of operatic types belting out a popular song from the 1930's, with facial expressions which were clearly meant to signify enjoyment, but which somehow only conveyed condescension and lack of understanding. It was like watching a sort of puppet show. What was going on? I checked in the Radio Times.
It seems the Proms are either making themselves more accessible, or dumbing down (rather like 'A' levels), depending upon your point of view: so they were putting on a programme of songs from MGM musicals.
I caught a bar and a half of an old favourite (oddly my memory refuses to remember what the song was, for purposes of mental hygiene, I suspect) and zapped away as fast as possible. Show songs do not improve by being sung by Great Voices. Kiri te Kanawa should NOT sing I've Got You Under My Skin. Operatic voices are the way they are so they could reach the back of the stalls in the days before amplification. Thus impresarios could build bigger halls and pack more bums onto more benches and thus make more lolly. The Voices have remained with us ever since.
Personally, I don't much care for the strangulated foghorn effect, especially in a language I can't understand, with lyrics that frankly don't seem to be worth the effort (if I've understood the plot of The Ring correctly). If you like it, fine. I wish I could join you, really I do. It would give me a touch of class, so sorely needed. But I can't. I've tried many times, and failed.
However, I do like many of those magnificent songs from the twenties and thirties. The tunes are perfect and elegant and the lyrics poignant and ingenious, and they refer to the concerns of real people in language I can understand. The great crooners made them unforgettable and eternal.
But only people who can sing a little like Sinatra or Ella should attempt them. Dieter Fischer-Diskau should not. These songs are intimate and personal and do not gain a thing from being bellowed into the gods, even sottissimo, which still sounds impersonal, mechanical, and contrived.
So please leave popular music alone, O Great Voiced Ones. This includes modern pop, of course, unless you can do the moonwalk and crotch-grabbing to go along with the full orchestral version of Thriller, falsetto squeaks and all, preferably echoed by the blokes on the kettle-drums.
And this plea includes folk music too. I once heard Bryn Terfel (I think) singing The Foggy Foggy Dew and almost cried. It was pitch perfect, of course, and every phoneme was enunciated with crisply starched clarity; and the piano accompaniment was academically spotless. But forgive me Bryn, if indeed it was you… it was soulless. And we poor cloth-eared plebs like our folk songs to touch us, as they were intended to, before they were Collected and sanitised and incorporated into symphonic scores by Great Composers. Folk songs are meant to be scratched out on cheap guitars and accordions with a couple of reeds missing and sung in pubs by people who can barely stand, and who have a vocal range of almost the full octave. The thing is, it's not about technique.
The Foggy Dew is a song of Life, as meaningful in the 15th century as it will be in the 25th (I've no idea when it was written, incidentally, and don't care. Quality is ageless.)
The Archbishop of Canterbury recently said that his idea of hell would be to be left alone with himself for eternity. I reckon he could improve on that by having to listen to a loop of Pavarotti singing Where Have all the Flowers Gone? .
Long time passing, indeed….

