26/12/2008

More Like It

Hot on the heels of my scathing dismissal of Gramophone's current quality standards came new to me that the magazine is making their entire archive (1923-2008) available online!

In fact, it's already available as I'm typing this, right here.

For every single word I've said about the Gramophone in its current state/mess, I have a hundred words of praise for its content in the old era, even from the fragment of which I've been exposed to indirectly, and through the reviews their other site previously had available.

From landmark interviews, to columns and reviews by pretty much the entire British musical elite (and not just them - see for example: Rachmaninov on Rachmaninov) throughout the 20th century, I can't stress it enough: if you're remotely interested in classical recordings and their history, this demands your urgent attention!

25/12/2008

Good will

It's snowing heavily in North America; the hardline Catholic Pope laments global instability; Mahmoud Ahmadinejad is delivering a message of goodwill here in the UK; and Harold Pinter has died.

We live in interesting times, which I suggest is a good thing.

Merry Christmas!


(And don't forget to enjoy the rest of the year, too.)

24/12/2008

Christmas Puddings

They say that the proof of the pudding is in the eating.

And for this day-before-Christmas post, I'm going to be taking a look at some recent proverbial puddings gone sour.

(Yes, this is where Renfield breaks his promise about global affairs; and starts referring to himself in the third person.

But bear with me, or disregard the first part of the post.)


To begin with, there's the problem of money.

Everyone thought we had a lot of that, particularly in my recently-adopted home here in the UK; that we'd made "a grand old pudding" with our collective economic growth (bar a few African people, but we don't talk to them), and that we would, in some imaginary time, all be able to live long lives of prosperity.

Now it seems that is no longer the case, and everyone despairs.

Hang on a second. What's the big deal? The poor are still poor, some of the rich are now poor, and the banks are bust. The anarchist's dream - Mikhail [Bakunin] would be so proud! Or at best, a lot of money will change hands, the economy will be shaken up, and on we go.


Now, I won't attempt to hide how facetious I consider this last view, when the international community practically runs on money (that has run out). But the reason I'm bringing this up, and the topic to begin with, is that I consider the common reason for despair misguided.

The economy, as I mentioned, is arguably the neural system of the modern world; perhaps any era. And to that extent, an arrest of this system is like a stroke. So it certainly stands to reason that anyone should be worried over the crisis, even if their pension is not at stake.

This was a sudden and heavy stroke suffered by the system, and people despair over its suddenness and seriousness. But - and here is my point - what about the brain damage?

Through thousands of years of social and technological and ideological development, we've come to a point where almost the entire pool of our ideas as humankind are on the same table. Centuries ago, a lost civilisation had the pieces picked up by an adjacent one that replaced it: there was someone to compare and contrast.

Who will step in now, for this meta-evaluation?


Damage control has rightly been the order of the day. But who can as rightly guarantee that things that now take the bullet for the rest to survive - institutions (the Bank of Scotland comes to mind, or pretty much the entire Icelandic banking network), economic ideologies (free-market capitalism) or social roles (bankers) - all deserve it, at the speed that this drive-by-shooting* is taking place?


This is my concern: have we (as mankind) realised how effectively we can wipe out social realities and practices from ever coming into being or practice for decades, if ever? Despite the consensus that the reasons for the crisis were these insitutions and practices, will we be later able to retrieve from the wreckage those of them that weren't?

Or will progress towards whatever direction it follows have denied us this chance, by then? This is a dangerous permanence, that I am not sure the 21st-century citizen of the "developed world" has fully understood. There's no system recovery for this one.



Made your day yet?

Pudding number 2 for the day-before-Christmas: Tabula Rasa.

Tabula Rasa, for those of you not in the know, was an MMORPG (a Massively Multiplayer Online Role-Playing Game - don't make me type this again), created by famous game designer Richard Garriot as a new take on the genre. It did not succeed.

But many MMO's do not "succeed", as such; in fact, almost all of them but World of Warcraft. And Tabula Rasa had ideas to it, versus, say, an amusing attempt at an MMO with space racing.

Yet the Tabula Rasa servers are now due to be shut down on the 28th of February, RPS reports. This is a sour pudding for quite a few reasons, the most prominent of which are two:

Firstly, the game actually had some thought behind it. It was not a mindless copy of another game, and it was not an attempt to cash in on a combination of two (or more) different and otherwise incompatible concepts or play-styles. Even on its own, this leaves a sour taste in the mouth - much less if one considers, secondly, that there are games like I just mentioned still running!

Everquest 2? City of Heroes? Indeed a very sour pudding to swallow, when the post-WoW age of MMOs is still desperately looking for a standard-bearer to signal its dawn; inauspicious.



Pudding three, on the last main topic left: the Gramophone.

I have been reading "The Gramophone", as it was once called prior to being re-branded for "approachability", for almost half a decade. There are people who have been reading it for more than half a century.

And both they (judging by the letters' section of rival publications) and I seem to agree: the Gramophone magazine has gone sour.

  • Authority is all but replaced by swagger.
  • With two exceptions I can think of, the best reviewers of the Gramophone have in common that they're all dead.
  • The articles are becoming assemblies of aphorisms.
  • The "greatest recording of the past 30 years" is apparently one of the Saint-Säens piano concertos
  • And last month, we had the "world's best orchestra", complete with top-10 countdown run-up, on parade.

When are they issuing the collectible cards?




And that's it for now! If you've lasted this long, congratulations; I didn't.

Look forward to something more cheery tomorrow morning (or evening, as the case may be), and thanks for reading my blog!

30/11/2008

Expectations

Expectations are dangerous things.

"Hope is the first step on the road to disappointment", to quote a famous piece of  Warhammer 40K Space Marine propaganda. A reader of The Prodigal Sorcerer, for instance (if any), would likely have expected an update; or otherwise expect, by now, that I have given up.

The expectation for an update has been met. But if one had stopped expecting an update, and begun expecting my giving up, I wonder if I should now apologise for disappointing them...


Another case of expectation for this first re-introductory post, now that the issue of my home internet connection has been sorted: the 100th Karajan anniversary year, 2008. Marking the maestro's 100th birthday, 2008 was to be a year of Herbert von Karajan releases like no other: box sets, remasterings, new releases galore.

And the question that has haunted me, maybe because I worry too much about these things, is: could the expectations of the Karajanophiles possible be met, by "Karajan year 2008"?

I think mine have now been fully met. After set upon set of highly interesting Karajan re-releases (including his complete EMI catalogue), and a surely-fascinating set of his first 'own' Salzburg Festival (which could have been issued any time), finally, a true anniversary release:





This is Karajan's final London concert, with his beloved Berlin Philharmonic just prior to their subsequent divorce and his death, as issued by Testament for the first time, on any format.

As soon as I saw the announcement for its release on the record label's website, I was shocked: here was one of Karajan's most famous concerts, that I had once seen described as one of the best concerts of an older concertgoer's entire lifetime, finally made available!

And here, to come back to the theme for this post, expectation kicked in: Brahms is one of my most cherished composers, the 1st Symphony a Karajan "calling card"; and the earlier studio recording of Schönberg's Verklärte Nacht one of his trademark "great records".

So given the general, critical and public, consensus on the profundity of Karajan's late live Brahms, and the specific reputation of that concert, I was expecting a miracle concert indeed!


Well, I got my wish.

I admit even my expectations left me unprepared for the Mahler-9th-primed string sound of the BPO on either piece, ferociously sensitive and bitingly sincere; the ravishing reading of the Schönberg; the titanic reading of the Brahms, easily bettering all six of his studio versions.

And for anyone who might pin my view on fanboyism, even within the Karajan discography, there is hardly anything like either of these performances. Only in his best work can one see this intensity, this drama, or this lyricism; and almost never* combined as they are here.

Even in general, I don't think I've ever heard a more sincerely-argued and stunning Brahms 1st - not even from Brahmsian-par-excellence Fürtwangler, usually my first choice for Brahms.


So on this evidence, one only hopes the late-80s Berlin concerts of the full cycle will one day see the light of day, perhaps as unexpectedly as this and an earlier London concert; preferably before 2108. And until such news arrive, I can at least update the Sorcerer more often.


(The earlier concert was a 1985 performance of Strauss' Ein Heldenleben and Beethoven's 4th Symphony. But since this is the Prodigal Sorcerer, not The Gramophone, I will refrain from turning this comment-oriented blog into the Karajan Review Weekly.)



*The string-heavy live 1982 Mahler 9th might be the only other sample of this sort of "late" sound from the Berlin Philharmonic under Karajan; albeit at an earlier stage than the 1988 concert discussed here. My comment on the "Mahler-9th-primed string sound" thus refers to the latter phase of Mahler 9th concerts Karajan conducted, ca. 1987. Presumably, that is where the BPO crystallised the expressive means so evident in 1988, to complement their trademark instrumental prowess.



More Posts To Come When I Have Time (TM):


- The Wrath of the Lich King!

- The Wrath of the Credit Crunch; or How Renfield Broke His Promise.

- Introducing: The Prodigal Sorcerer's Comparative Review.


18/09/2008

Ominous Rumblings

The Sorcerer's presence might yet be felt again soon.

Patience, devoted fanbase...