These are a few of my favourite things…

Who hasn’t wanted to appear on Desert Island Discs? Or on Private Passions? Who hasn’t wanted to fill in a questionnaire all about one’s own self? Well, when one has one’s own blog, one can. Can’t one? So, without any apology or preamble, I shall take a leaf out of the blog Somewhere Boy, and press ahead. (And I would encourage anyone else out in Blogland to put up something similar: it’s fascinating finding out about other peoples’ tastes!) 

1. A few works of classical music that you adore:

One’s taste is always evolving, but even so, there are some constants. Mozart is my desert island composer: those three da Ponte operas, the wind serenades (I particularly love that very dark C minor serenade), the late symphonies, the piano concertos (especially the slow movement of the 17th), the divertimento for string trio, the clarinet quintet, the sinfonia concertante, etc. etc. – I adore them all.

As for other works I adore – the ones that immediately come to mind, in no particular order, are Handel’s Giulio Cesare, the 4th symphony of Brahms, Bartók’s 4th string quartet (with that haunting nocturnal movement at its centre), Beethoven’s Diabelli Variations,  Verdi’s Requiem Mass, Schubert’s G major string quartet, Mussorgsky’s epic opera Boris Godunov… I suppose I could go on and on, but that’s enough to be going on with, I think.

“What about Bach?” I hear you ask. Well, frankly, much of the time, he intimidates me. But when I do get his music, there’s nothing quite like it, and I wouldn’t think of leaving for Roy Plomley’s desert island without a recording of those wonderful Brandenburg Concertos.

2. Classical music recordings that you treasure:

Perhaps I love good singing more than anything else – there’s nothing quite to match a beautiful voice, combined with imaginative phrasing and colouring. And when all this is in the service of music that I love, that’s just heaven. Just listen to that ethereally beautiful voice of Gundula Janowitz singing the role of the Countess in Le Nozze di Figaro: is there really anything better than that? (Indeed, that whole recording is pretty damn good!) Or to Stuart Burrows singing Don Ottavio in Colin Davis’ recording of Don Giovanni. Or Lucia Popp singing the title role in Janáček’s The Cunning Little Vixen. Or Janet Baker singing the finale of Mahler’s Das Lied von der Erde in that live recording conducted by Rafael Kubelik, Or, if you want emotional intensity, try Jon Vickers as Tristan, or Plácido Domingo as Otello, or Fischer-Dieskau singing Schubert’s Winterreise. And for sheer unmitigated pleasure, Jussi Björling and Victoria de los Angeles in Thomas Beecham’s recording of La Bohème. Yes, these are all famous recordings – and they’re all famous for good reason.

Even in instrumental music, it is often the singing quality of the playing I enjoy most – Yehudi Menuhin’s fiddle singing ecstatically in the recording of Beethoven’s violin concerto conducted by Wilhelm Furtwängler; or Evelyn Rothwell on the oboe and Adolf Busch on the violin making their instruments sing like angels in the slow movement of the first Brandenburg Concerto; or Pablo Casals phrasing that melody at the start of the slow movement of Schubert’s B flat trio; and so on.

I suppose I should mention a few much loved recordings of a different type: Mravinsky’s searingly intense recordings of the last three symphonies of Tchaikovsky are high on most people’s lists of greatest classical recordings, and one can see why; the Hungarian Quartet’s recordings of Schubert’s late quartets and the string quintet aren’t quite that famous, but surely deserve to be; and finally – the most jaw-droppingly beautiful orchestral sound I’ve ever heard is in that wonderful recording of Debussy’s Pelléas et Mélisande, with the Berlin Philharmonic conducted by Herbert von Karajan.

I think I’d best stop there.

3. Favourite non-classical musicians and/or recordings:

As I was growing up, my parents played Bengali music at home. And mostly, this meant Rabinrasangeet – i.e. songs by Rabindranath Tagore, which constitute, in effect, the national music of Bengal. Of course, it is mandatory for teenagers to reject their parent’s values, and I rebelled by conforming to this pattern. But the apple doesn’t fall far from the tree, as they say, and I now find myself moved by the same songs I had once rejected. And I don’t think it’s mere nostalgia for childhood: these songs really are quite wonderful.

Another record I remember from childhood is a collection of Bengali folk songs sung by Nirmalendu Choudhury, who is little-known outside Bengal, and, from what I gather, seems now to have been largely forgotten in Bengal also. That is inexplicable, as he was an extraordinary singer: his intonation was immaculate in even the most complex of passages, his breath control and  dynamics things to wonder at, and he could put a smile in his voice, or express the most profound melancholy, with apparently the greatest of ease. I am fortunate enough to have got hold of a few CDs of his recordings (they’re not easy to get hold of), and they are very dear to me. Particularly remarkable, I think, is his singing of bhaitali – which are traditional boatmen’s songs (Bengal is situated on the Ganges delta, and the river is a significant presence): the adjective “soulful” could almost have been invented specially for these.

As for Indian classical music – the term is a bit of a misnomer: the very concept of “classical music” is Western, and its application to the music of India is approximate at best. What is usually referred to as “Indian classical music” is the system of ragas, and although I love listening to them, I do wish I understood them a bit better. As it is, I can’t tell one raga from another, and have difficulty distinguishing even between types of raga. But for all that, I treasure the recordings I have of the likes of Bhimsen Joshi, Bismillah Khan, Vilayat Khan, etc etc. And if I had to choose the most exhilarating piece of music-making I have ever heard, I would unhesitatingly choose a live recording from New York, 1972 of Ravi Shankar (sitar), Ali Akbar Khan (sarod) and Alla Rakha (tabla) playing Raga Sindhi Bhairavi.

4. Music that makes you cry – any genre:

I don’t think I cry physically, but I do often find myself very moved by music. I find this increasingly the case as I become older. And also, when I go through emotionally difficult times, it is in music that I tend to find a focal point for what I feel. Just about all the music I have mentioned so far moves me in some way or the other.

5. Definitely underrated work(s) or composer (s):

There are certain major works by major composers that seem surprisingly little known. Mozart’s divertimento for string trio, say. Or, for that matterm anything by Handel except Messiah. (How many recordings are there of Samson, say, or of Belshazzar? How frequently are they performed? And yet, they’re supreme masterpieces!) As for lesser-known composers, I don’t know that I know the works well enough to comment, although, after watching the film The Private Life of Sherlock Holmes, I’ve developed a great affection for Miklós Rózsa’s violin concerto (the music from this concerto was recycled for the soundtrack of that film). But I wouldn’t make any claim for it other than that I personally enjoy it.

6. Possibly overrated work(s) or composer (s):

I have not had a musical education, and am happy to defer to those whose understanding of music exceeds mine. There is much that is highly rated that has little effect on me, or which I find myself disliking, but if musicians of the calibre of Lenny Bernstein, Yevgeny Mravinsky, Rostropovich, Haitink, etc. admire, say, the symphonies of Shostakovich, then who the hell am I to say they were wrong? I’m happy to put it down as a blind-spot. Other musical blind-spots include Berlioz, French baroque (Rameau, Couperin, Lully), Liszt, minimalist composers, etc.

7. Live music performance(s) you attended – any genre – that you’ll never forget:

Goodness!- where do I start? There’s Pierre Boulez conducting the LSO in Mahler’s 6th symphony; the concert performance of Die Meistersinger von Nürnberg at the Edinburgh Festival featuring Robert Holl as Hans Sachs and a then relatively unknown young tenor called Jonas Kaufmann as Walther; Le Nozze di Figaro at Covent Garden with Carol Vaness and Thomas Allen, and with Jeffrey Tate conducting; an equally good Figaro at Covent Garden a couple pf decades later, this time featuring Barbara Frittoli and Ildebrando d’Arcangelo, and with Charles Mackerras conducting; a phenomenal sarod recital by Ali Akbar Khan at Queen Elizabeth Hall; Vladimir Jurowski conducting the LPO in Tchaikovsky’s Pathetique symphony; Tatiana Nikolayeva playing Bach’s preludes and fugues at the Wigmore Hall; the Belcea Quartet playing all six Bartok quartets over three concerts spread out on a single day; Maurizio Pollini playing the Hammerklavier Sonata; Claudio Abbado conducting Die Zauberflöte …  

8. A few relatively recent films you love:

I’m very much out of sympathy – and, consequently, out of touch – with modern films. That is not to say there aren’t any good modern films: just that there is too much that is mediocre or worse that is highly acclaimed, and I don’t really have the time or the patience to wade through them all to dig out the few good ones. Every now and then I’ll see something that has been highly acclaimed, and wonder why I bothered. So I think I’ll pass on this one.

9. A few films you consider classics:

For me, Satyajit Ray’s Apu Trilogy (Pather Panchali, Aparajito and Apur Sansar) – based on two quite wonderful Bengali novels by Bibhuthibhushan Banerji – is among cinema’s finest artistic achievements: they move me possibly more than I think I could explain. These three films do, however, overshadow other films by Ray of comparable artistry – most notably Charulata, Aranyer Din Ratri (aka Days and Nights in the Forest) and Ashani Sanket (aka Distant Thunder).

But my greatest love is Laurel and Hardy. With a couple of exceptions (Way Out West and Sons of the Desert), they were at their best in the two-reelers. When we first acquired a DVD player, my first priority was to get myself those classic Stan & Ollie pictures, and when I finally am invited on to Desert Island Discs and Kirsty Young asks me what my luxury is, I won’t hesitate.

Other than that, I think I love classic Hollywood best. Of course, there are many European and Japanese films I love dearly – from La Grande Illusion to Bicycle Thieves, Fanny and Alexander to Ran, Fitzcarraldo to Stalker – but ultimately, the films I tend to love best are film noir, the Jimmy Cagney gangster movies, screwball comedies, Marx Brothers, the films of Billy Wilder (Double Indemnity, The Lost Weekend, Sunset Boulevard) and of John Ford (The Grapes of Wrath, They Were Expendable, My Darling Clementine), and so on. And yes – Citizen Kane, which is wonderful despite everyone saying it is.

I am also a great fan of Chaplin. People queue up to say he isn’t funny, but if that’s the case, I really don’t know why I’m laughing. City Lights and Modern Times, especially, are wonderfully moving films.

I’m not sure why I enjoy being scared, but I do. I grew up with Hammer horror films, and love them still. But the film that unsettles me most, even after multiple viewings, is The Innocents, Jack Clayton’s superb adaptation of Henry James’ The Turn of the Screw.

The 70s were really my era. British cinema was in decline by then after a peak in the 60s and early 70s (films like This Sporting Life, Kes, Sunday Bloody Sunday etc.) but outside Britain, directors of the calibre of Ray, Kurasawa, Bergman, Tarkovsky, Buñuel, Herzog, Fellini, etc. were still active (and often at their best) in the 70s. Meanwhile, from the US, we had films of the quality of The Godfather & The Godfather Part 2, Chinatown, Mean Streets, Five Easy Pieces, The Outlaw Josey Wales, The Last Detail, etc. But it all went downhill from the late 70s onwards: the phenomenal success of the Star Wars films, and of the big-budget kiddies’ movies from Spielberg, heralded a juvenilisation of cinema, and we still haven’t recovered. Clint Eastwood continued to make films of distinction, but he was something of an exception: even directors who had done good work in the past seemed to go off the boil (Coppola is a conspicuous example of this). But I’m glad that my teenage years coincided with what, in retrospect, may be seen as a golden era.

 10. A book (or two) that is important to you (and why):

It’s a good job that I’m restricted to “a book (or two)”, otherwise, I’d be here all day. But I’ll take the liberty of extending ithe one or two books to four. The first is The Complete Works of William Shakespeare, for reasons that really are too obvious to be stated, and too difficult to articulate; War and Peace by Leo Tolstoy, because, as Someone-or-other once put it, it’s about everything that is important in life; The Poems of Rabindranath Tagore because, as a Bengali, I don’t have a choice on the matter; and, finally, The Complete Sherlock Holmes Stories, for what would I read at bedtime otherwise?

 11. Thing(s) about yourself that you’re most proud of:

My extraordinary ability to fold my tongue simultaneously along two perpendicular axes.

 12. Thing(s) about yourself that you’re embarrassed by:

My utter lack of physical co-ordination, which manifests itself spectacularly when, at weddings or at similar functions, I am persuaded against my better judgement to take to the dance floor.

 13. Three things you can’t live without:

Should I embarrass my family by nominating them in this category? Will they be pleased by the nomination, or will they feel insulted that they are nominated alongside my collection of malt whiskies? All right, let’s leave family members out of it. I nominate my library, my CD collection, and my malt whiskies.

 14. “When I want to get away from it all I…”

Get into my dressing gown and slippers, curl up in my armchair with a glass of deep, satisfying malt whisky, and put on a Hammer horror film – something classy, like Taste the Blood of Dracula – on my DVD player. Or I read a Sherlock Holmes story.

 15. “People are surprised to find out that I…”

…genuinely enjoy watching football. I don’t know why that should surprise anyone: maybe I don’t look like a footie-loving person. But I am. (Note: If there’s any transatlantic reader out there, please read “soccer” instead of ”football”.)

 16. “My favorite cities are…”

Having grown up in Glasgow, I shouldn’t really mention Edinburgh here, but I will, as it’s a spectacularly lovely and characterful city. I have also developed an attachment to my adopted city, London. And, having come back from a holiday there, Venice must be high on any list.

17. “I have a secret crush on…”

Doesn’t Kirsty Young have a really sexy voice? The way she says “Time for your fourth record …”  Damn! – it isn’t a secret anymore!

18. “My most obvious guilty pleasure is…”

Malt whisky and Hammer horror films. But I don’t really feel very guilty about either.

 19. “I’d really love to meet – or to have met…”

Kirsty Young, with that sexy voice of hers, interviewing me as guest on Desert Island Discs. Come on Kirsty – what are you waiting for?

 20. “I never understood why…”

… why there is anything at all instead of nothing.


21. Question you wish someone would ask you (and the answer to that question):

Q: Why do you think Tolstoy is the greatest of all novelists?

A: Now, I’m very glad you asked me that … [cont. P 873]

4 responses to this post.

  1. Thank you very much for that. This piece is really a bit of self-indulgence, but what else is a blog for? 🙂


  2. You’ve written about some great things here.

    The Bartók quartets are a fascinating body of work, and consistently brilliant, I think, from the first to the sixth. I feel I ought to buy copies of the miniature scores so I can get to know them better. They’re also pieces of which I feel justified in buying multiple recordings. I’ve only got the Emersons’ one so far, but have my eye on several others, not least the Belceas’, whom you mention. I heard them play Beethoven’s op. 130 in the Usher Hall, of all places, at the Edinburgh Festival a few years ago. A very fine performance, but a slightly ludicrous choice of venue.

    As for “jaw-droppingly beautiful orchestral sound”, I immediately thought of the Concertgebouw and Haitink’s recording of Debussy’s Jeux, with their shimmering strings. I have a memory of you saying you didn’t really feel a connection with that piece, but I find this particular recording impossible not to yield to. Most of the time I can’t tell one orchestra from another, I confess, but I also love the Cleveland Orchestra’s recordings under George Szell.

    I’d be fascinated to hear the recordings of Nirmalendu Choudhury that you mention. There’s a lot of what is unhelpfully called “world music” that I like, but one (by which I mean specifically I) can’t appreciate it – especially in the case of music from non-Western cultures – without first having an understanding of the anthropology/sociology of the place it comes from, and of the function and purpose of music in that society. We miss out on an enormous amount if we can only listen with ears attuned to the music of our own culture. Of course a lot of what filters through to us nowadays is too influenced by the dissemination of Western popular music to count as traditional anyway – but I may rant more on that later.

    Your resistance to Shostakovich puts you in good company, no matter what Bernstein says. There’s a piece by Robin Holloway where he writes that comparing Shostakovich’s string quartets to Beethoven’s is “like comparing a housing estate to the Acropolis” (you may be able to read it online if you google that phrase). I see his point, though I dissent on the subject of the preludes and fugues, for instance, which contain much music of great felicity. But you are missing out on a lot in Rameau and Couperin. Give it time.

    Ah, Kirsty Young… You’re a man of discrimination.


    • I love Debussy, but never quite get to grips with Jeux. (I have a recording with the Cleveland Orchestra coinducted by Pierre Boulez.) I’ll keep on trying though. As for the Bartok Quartets, the cheap Brilliant label has released the DG recordings with the Hagen Quartet, and although I have 2 very fine recordings of these works (Juilliard Quartet & Takacs Quartet), I feel quite tempted to pick this one up as well.

      I’d love to read you rant about “Worlld Music”, as I have a few rants to make about it myself. Much of what is presented as “World Music” seems to be stuff that isn’t too offensive to ears trained on Western rock & pop – with a few exotic elements added. I’ve always wondered why the music that is listened to in Bengal seems to be excluded from “World Music”: I suspect it’s because it doesn’t conform to expectations of what “World Music” should sound like.

      I’m certainly not giving up on Rameau, Couperin, et al. Some things do remain constant, but one of the great delights of music (or literature) is the fact that one’s taste develops and changes over time.


  3. good articles…



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