JS Bach; A Passionate Man

I have really enjoyed the two-part programme on the person Beethoven described as the ‘father of harmony’, JS Bach. Presented by John Elliot Gardiner, the conductor, it charts his life and the development of his music. It can be enjoyed on the BBC iPlayer. I particularly enjoyed Gardiner's summary:

“If Monteverdi was the first composer to find musical expression for human passion; Beethoven what a terrible struggle it is to be human and to aspire to be God-like; Mozart the kind of music we’d hope to hear in Heaven, Bach is the one who bridges the gap. He helps us to hear the voice of God in human form, ironing out the imperfections of humanity in the perfection of his music”

Though we now regard Bach as one of the greats, when he died in 1750 his music quickly fell out of popularity and was regarded as ‘old-fashioned’. Although Mozart, Beethoven, and Schumann admired his work, it was not until 1829 after Mendlessohn staged  a revival of the St Mathew Passion that he began to be appreciated again. One hundred years after his death, the Bach Gesellschaft (Bach Society) was formed and contributed greatly to re-establishing his reputation.

Among the gems is this piece, the Prelude in C Minor, played first by Bach himself in 1739 on this organ in this church. It is played here by an amazingly precocious 15 year old student from the Thomasschule, at which Bach was Cantor. It is 26 minutes into the programme http://bbc.in/12cPc1o I hope you enjoy it.

"The Happiest Orchestra in the World!"

Once again, last night, my evening was taken over by Andre Rieu and what he described as "the happiest orchestra in the world". I had thought that I would watch a thriller, probably featuring Clint Eastwood. Then I saw 'Roses from the South' on the Sky Arts channel and my plan evaporated.

There is so much joy in an Andre Rieu concert. It can be seen in the laughter and faces of the audience. It is fostered by Andre himself creating situations with the musicians that make one laugh; two well built trumpeters standing up as Andre talks about the poverty of a composer's friend. Indeed Andre set the scene for extracts from an operetta by saying how poor musicians were and implying that little had changed, to the amusement of the audience.

The faces of the audience tell of their involvement in the emotions of the music; the smiles, the laughter, the romatic head on another's shoulder, the holding hands, joining in with well known and loved pieces all carefully and sensitively captured on camera to enhance the mood of the moment. The dancers that accompany his waltzes provide a beautiful image. Set often both in situ and in some romantic setting such a beautiful garen or sumptuous ballroom, they draw together the purpose of the music, an idealised past with the present and the romance of beautiful couples.The audience clearly identifies with this as they experience their own private magic moments. The magic appears to appeal no less to the young as to older people.

All this is created, sustained and enhanced by the genius of Andre Rieu himself. His dashing good looks complement a stage persona that is serious, mischievous, emotional, enchanting and humourous by turn. The extent to which that reflects the private man is impossible to judge. He has learnt what some politicians, to their considerable cost, have not, that he is never off camera and he plays the role extraordinarily well.

The result of all this is a heady mixture that has great emotional appeal. How much effort goes into preparing the spontaneity of the performance, one can only guess. The result is one that I find hard to resist. Attending one of his concerts, in person, is now a firm fixture on my 'To do' list. I am certain it will be an enchanting evening. If it is better than seeing it on the Sky Arts channel, it will be an experience indeed. I cannot speak for the orcestra, but I do believe he creates the happiest audiences in the world.

Welfare Generosity & Abuse

Many of the people now living in this land expect and demand to be provided for. We are a people that talks of rights and entitlements, many without any sense of responsibility or contribution. So ingrained is it that reform is proving impossibly difficult. Not only those receiving benefits are outraged, but those administering them as well.

Recently, I witnessed a particularly egregious example. A man came in to buy a car. Currently, he has a Motability car and is receiving Disability Living Allowance (DLA). However, he now considers himself well enough not to need it any longer and has succeeded in getting a job. He was advised that he had to let the authorities know. So he phoned to tell them his good news. The person he spoke to was most concerned. She asked him if he was sure that he wanted to do this. She explained that once off the register, it would be difficult to get back on. The man explained that he did not want to be on benefits and was starting work again shortly. The woman then told him that he had to request this change in writing. So he wrote a letter confirming his conversation. He received a reply. It stated that he would have to complete the full application form explaining why he no longer felt that he was eligible. The form is very long and detailed and asks questions such as whether you can dress yourself and how far you can walk unaided.

He phoned again. The helpful person the other end explained that they could not stop the payments until his form had been assessed and that it would take 11 weeks for this process. He asked what would happen if it was decided that he was still eligible. He was told that he would continue to receive the payments. So it appears that it is more difficult to get off the benefit than it is to get on to it.

I understand that the authorities want to prevent the considerable work-load involved in people moving onto DLA and off it again, if there is a danger that they may require it in future. But I also suspect that there is a deeply ingrained culture of making sure that applicants get all they may be entitled to. This attitude may be helpful when dealing with the feckless. In segments of society where living off benefits has become a life choice, it prevents more critical assessment of need and a more cynical interpretation of facts. Worst of all, it does nothing to recognise that the nation is spending more than it can afford supporting those whose need is questionable.

Motabilty is probably the most abused of all our very generous benefits. Cars are used as taxis clocking up over 20,000 miles a year. They are obtained by old people possibly presured by younger family into getting a car that is then driven by grand-children. Demands such as "But I want an SRi" are often heard spoken by the young able bodied when mother or grand-mother is discussing which model to get. Friends often are waiting when a car is delivered, and are shameless in taking the keys and driving off. This arrangement is usually based on paying the person entitled the £50.00 a week that is granted in benefit and then deducted for the car. Incomprehensibly, where two people in a family are granted eligibility, they are entitled to two cars. There have been instances where one of those is subsequently stolen, with both sets of keys.

DLA is a benefit ripe for abuse. Most of us, if we could be bothered, could feign sufficient immobilty to be judged eligible. In a system where the paymasters are as keen to pay out as recipints are to receive, the scope is limitless. So addicted are we to paying people to do nothing, that reforming Motablility is beyond the political capacity of any government. Motability is the biggest fleet in the world, after the American Army! Even IDS is not aiming that high.

Clint Eastwood: A man's man. An appreciation.

Last night I settled to watch 'Unforgiven', Eastswood's Oscar winning western. I had watched it many times before and will do so again. For me, it vies with 'Pale Rider' as his finest western. However, I wish to share the effect of Eastwood's films rather than discuss their merits. All my adult life I have enjoyed his movies. I used to feel that I walked taller having seen one of his films. When young, I wanted to walk taller, be stronger, more adventurous, and, to some extent, the films were an encouragement. I do not suggest that I modelled myself on him; I didn't. My environment was different and certainly less confrontational.

Now in my 60s, I find the independence of mind and action to be the most attractive feature. He portrays a man who walks his own path, who is immune to opposition, who seeks no-one's approval yet is granted it, often reluctantly, by both allies and enemies. This has not always been my experience. I have wanted to belong, and to be approved of, to be thought of as doing a good job and, as a consequence, have seldom had that independence of thought and action. I am fortunate that on occasion, I have found myself able to act on my initiative and been blessed with a degree of success. But that has not relieved me of the desire, even need, for approbation.

I have known and worked with those who appeared to rise above such feebleness. Approval seemed to be their natural condition; confidence in their ability streamed from their convicition of that ability. Whether this was imbued by family, school or background probably neither they nor I could say. That it existed was not in doubt. Beside them, I could only aspire. No doubt in such company something rubs off. Their confidence was never a subject of discussion being just part of their outlook. There is little doubt that arrogance constantly hovered around them but, in most cases, was kept in check and a little arrogance with good humour can be entertaining. The extent to which that confidence was shot through them, like rock, I cannot say. It is probably only human to doubt oneself occasionally. In that respect, I was infinitely more human.

In all of his films, Clint Eastwood is a loner, just too difficult to live with. He attracts, but only for a while before unattractive reality makes itself felt. In 'Unforgiven' his 29 year old wife has died before the start of the film, having done a fine job of reforming the outlaw. However, even in his reformed state he is not well equipped for the task of bringing up two children. He, like me, probably made an adequate job of it by providing a clearly defined world for the children. Like him, I have been able to attract but not to hold. After three attempts, and the ravages of prostate cancer, I am now, like Clint Eastwood, alone. To describe my delight in my liberated condition is to risk being unfair to those who were brave, and loving, enough to marry me. I wish no such criticism. I cannot be a mysoginist, for I have loved women; many of them. I still love the image of woman, but the reality I can now do without.

Clint Eastwood makes me proud to be a man though now one of little or no consequence. At least I have man in me. I cannot aspire to be what he portrays but I can experience it vicariously. Thank you Clint, for all you have been for me.

Andre Rieu's Music Magic

I am not the first to have discovered Andre Rieu. At large open-air concerts across Europe and the world, hundreds of thousands have delighted in his eclectic repetoire. I may, however, be the latest. Yesterday I watched several hours of concert from Kerkgarde in his native Holland and from the Schonbrunn in Vienna. I was struck by the wide range of ages in the audience and the obvious enjoyment of his music. That music ranged from famous opera choruses, through light opera and musical choruses, to waltzes and folk music and even nursery rhymes. Nor were the concerts without spectacle and humour. Watching the Vienna State Opera and Ballet dancing to the Blue Danube and Emperor Waltz in the beautiful ballrooms of the Schonbrunn was magical. In the staduim in Kerkgarde, at one point the music was accompanied by young riders from the Bismark Riding School in bright non-military uniforms. All of this was enthusiastically appreciated by the audience.

Andre Rieu is an incomparable showman as well as a virtuoso violinist. He leads and conducts centre stage with verve and abundant enthusiasm. His Johann Strauss Orchestra is as vivid. The ladies wear bright ballgowns giving the orchestra a colourful and vibrant feel. The white tie and tails of the men nicely balance the look. He introduces novelty items to keep the atmosphere light. In Kerkgarde, he brought on a 3 year old boy called Akim who played a violin concertina with the orchestra, from memory! Quite extraordinary.

As I was enjoying the concerts, I wondered whether we in England would have been as appreciative. I compared it in my mind to Concert in the Park reflecting that that was about big name singers, Pavarotti or the Three Tenors. Those were great concerts by outstanding musicians. But often we, as a nation, seem unduly impressed with those served up to us by slick marketing campaigns, sometimes despite their apparent lack of talent. How would such wholesome musical entertainment be received? Would we be able to fill an 18,000 seat stadium with young and old, black and white, to enjoy an evening of muscial merriment? Or are we just too jaded?

With concerts planned in Newcastle, Manchester, London and Birmingham in December 2012, I guess the answer is no. I feel encouraged. Perhaps good wholesome family musical entertainment, well done, is still appealing. Perhaps the cynical, celebrity England so often portrayed is another artifical creation. If so, lets encourage its early demise.

When in disgrace.....

When in disgrace with Fortune and men's eyes,
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possessed,
Desiring this man's art, and that man's scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee, and then my state
(Like to the lark at break of day arising
From sullen earth) sings hymns at heaven's gate,
   For thy sweet love rememb'red such wealth brings
   That then I scorn to change my state with kings.

Shakepere Sonnets

Rotten apples?

We learn this week that thousands of pounds have been given to members of the Metropolitan Police in return for information. Reports of sums in excess of £100,000 are being mentioned. One can be certain that the sums publicly reported will be only a part of the total. There exists in the Met, therefore, a culture of accepting bribes. This may not be widespread, but neither can it be put in the 'few rogues' category for, if it has been uncovered in the context of the press, it will for sure exist in other contexts. We know from other police forces that where there is a plentiful supply of money, there will be those prepared to accept it in exchange for favours. Drug criminals are renowned for being willing to pay for official myopia. Organised crime will also ensure that it stands the best chance of avoiding detection. Some of this may involve ensuring that some things are overlooked.

Within the Met there will be many devices by which sources can be managed. The use of 'sources' is of necessity an opaque business. It is necessary to protect the source and his organisation and may be necessary to protect the handler. Such opaqueness can be perfect cover for corrupt practice. The challenge for us is that information about handling practices is, by definition, kept on a 'need to know' basis. In some cases the very existence of a source may be kept secret. Investigation from outside is certain to come against strong resistance. Investigations can only be information-led and one is not going to get information from many involved in corruption.

The News of the World has provided plenty of good information, we are led to believe. The most pressing question now is who will investigate where this information leads? Asking the Met to do it is as bizarre as asking Rebekah Brooks to clean up News International. Asking another police force to do it raises significant difficulties. First, they will be unfamiliar with some of the methods used by the Met. They will therefore depend on some from within the Met to guide them. The real danger is that they may be guided away from dangerous ground. This difficulty pertains if a non-police organisation does the investigating. Second, there will be a natural desire to keep things in-house; to avoid more scandal than necessary; to minimise damage to the reputation of the Police service. This risks less thorough probing and calling a halt to the search as soon as an adequate story has been uncovered. None of this is in the public interest. Society needs to know how far the contagion has spread and that all of those involved have been disciplined. It also needs to be reassured that, as far as possible, there is sufficient openness and oversight to prevent recurrence if it is to have confidence in the Police.

Whether it is possible to have confidence in our Police service is uncertain. The actions taken over the coming months and the attitudes revealed will go far towards answering the question.