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YEAR ONE!

FIRST YEAR BACK IN THE REAL WORLD…

It’s coming up to the first anniversary of my return to freelancing.  It’s also the anniversary of my first attempts at blogging (thankyou Ned for getting me started – I’m afraid my efforts are never going to match yours).

Made it!  I was very heartened by so many people  seeming to think I was doing the right thing. Only a few said  I was brave (a polite way of saying I was stupid) and it’s been a very exciting year.

I’ve been quite pleased that the academic/pedagogical side hasn’t disappeared altogether.  I still get asked to do keynote conference papers, and the doctoral examining has branched out into Europe (really interesting).  I’ve done lots of coaching and workshops from Scandinavia to Slovenia, and  I’ve encountered some really creative students wanting more than just one-to-one singing lessons. A bit like having postgrads but without all the bureaucracy.  It’s ideal really – I  get  to do the interesting stuff and none of the boring institutional bits. Can’t help feeling a little Schadenfreude thinking of my ex-colleagues about to start a new term…

I wonder if it’s actually possible to give yourself completely to a regular job or project and still keep the freshness (maybe the naivety) that attracted you to it in the first place.  Three of the most important things in my life have been Electric Phoenix, The Hilliard Ensemble and my university job. I loved and left them all, and for the same reasons:  once I’d got the hang of them and found myself unable to think in terms of permanent revolution any more I just couldn’t knuckle down and get on with it. I never did get to love big brother (though at York I came pretty close once or twice).  A very great friend of mine once said I couldn’t cope with success, but I think it’s more a case of just not wanting to  grow up. I’m actually very lucky to be able to earn a living as a permanent adolescent – like most of the performers I know, in fact.

It’s been liberating to be able to pursue my own projects, whether in performance, writing or teaching. It hasn’t always been easy – the ECM recording sessions were a bit of a shock to the system (my mistake, and it all turned out OK in the end), and CUP took a while to understand what we had in mind for the referencing system in the history book; and telling a conference in Germany that they should all change their singing teachers when one of them was Francisco Araiza was a bit daft. But on the whole I think I’ve got away with it. There’s been lots of interest in the tenor book, and I’ve corresponded (at length in some cases) with people all over the world who know much more about the topic than I do.   My friend Larry Josefovitz, for example  – I don’t think he would object to my calling him that even though we have never met – was able to guide me through the Jewish part of the singing history as a result of his having read the tenor book. Larry’s an Orthodox Jew, an American Zionist, and I’m a heathen with a secular European take on religion and the Arab/Israeli comflict, yet in metaphysical and musical matters we have a huge amount in common. Venn Diagrams again.

The gigs have been fantastic – whether sweltering in Seville with Ariel Abramovich, going to Tampere  for jury service and Being Dufay, or  busking with Gavin Bryars at Opera North’s Howard  Assembly Rooms.  I’ve also been inspired by some amazing music throughout the year. Not just by friends and colleagues but by musicians I’ve never met. At the top must be Gianluigi Trovesi, whose ECM recording Profumo di Violetta in some ways epitomises the permanent adolescent musical life. You can’t categorise his music: there’s not a trace of the old avant-garde or of post-modernism either – along with 70s Genesis, Satie or Percy Grainger  he probably wouldn’t cut it in contemporary academia.  We’re going to miss the CD format when it’s gone – just taking the album out of its sleeve is an adventure: the Sascha Kleis  cover (typical ECM – where does that water come from? Bergamo’s on a hill…),  the Roberto Masotti photos, and the touching liner note by Trovesi himself about the town bands that he grew up with in the northern Italian valleys. Then there’s the music – an exhuberant pillaging of Italian opera from Monteverdi to Mascagni. Has ‘Pur ti miro’ ever sounded more eloquent than as a flugelhorn and saxophone duet, or the windband arrangement of the Orfeo fanfare more riotous? He even makes you wish you could play the clarinet. And it all happens in a magical acoustic representation of  the cathedral piazza in Bergamo – where I’ve been so many times with family and friends (and I’m still waiting to be paid for a gig I did in the opera house two years ago).

THE FUTURE

The coming year is also full of excitements: three CDs to record between now and Christmas, and 2012 will see the release of the new Dowland Project album (actual date to be anounced at the end of September), the first Cantum release (July at the York Early Music Festival) and several more Sound & Fury CDs. On the publishing front,  CUP will launch the history of singing and two other Cambridge Histories that I’ve contributed chapters to (page proofs for the history book are due back at the Press at the beginning of October and it should be in the shops in February). Gigs and workshops continue to materialise, and I’ll even have time to start on a new book…

 

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