If you’ll forgive the indulgence…Happy Birthday to us!
Arcana is 10 years old today, a chance to celebrate a decade of sharing great music with our readers. I would like to thank you all for your encouragement and interaction with the site, to thank our guest writers – principally Richard Whitehouse and John Earls – for their excellent contributions and insights in recent years, and to thank my wife Sam Hogwood for her unerring support. This is an enterprise that run outside of working hours, so it is inevitably a balancing act where time is concerned!
As part of our birthday celebrations, we have invited readers to contribute with their ‘watershed’ musical moments from the last 10 years. I’m looking forward to sharing them with you over the next few days; there are some crackers! It’s not too late to share yours either, by contacting me on e-mail (editor@arcana.fm)
In the meantime, here is an appropriate piece of music to mark the occasion – while at the same time giving a clue to what is upcoming on Arcana in the coming months:
Image by Alexander Raths
Published post no.2,428 – Saturday 1 February 2025
Finn Andrews and his band The Veils are now seven albums into a career the singer describes as ‘disconcertingly long’. They have changed a good deal since their noughties vintage, now more open to acoustic elements. On their last album, string arranger Victoria Kelly was an influential presence.
For this album she makes another telling contribution, while Andrews plays on the piano that Nina Simone used in her last gig at the Royal Festival Hall.
What’s the music like?
These are some of Andrews’ most subtle compositions, but they are touching too. The lyrical material is strong, Andrews using his own inspiration but also leaning on Federico Garcia Lorca, Ted Hughes and Louis MacNiece for inspiration.
‘Asphodels’ are Ancient Greek flowers of the Underworld, and here they bloom colourfully. Mortal Wound is powerful, Andrews “alive with the colours of spring”, while Melancholy Moon defies its title with a cheery singalong. A Land Beyond travels down a similar road.
Does it all work?
Pretty much…though there is the odd pang of regret that The Veils don’t punch as heavily in the guitar area as they used to. No matter, for the quality of the songs and their emotional impact is what really matters here!
Is it recommended?
Yes. Finn Andrews’ songwriting odyssey remains a compelling one, and this set of songs shows his versatility, not to mention his strength as a communicator. A fine album.
For fans of… The National, Nick Cave, Tindersticks, Leonard Cohen
If you’ve been near any social media platform in this country, you’ll have surely worked out why, as BBC Radio 2 is undergoing an overhaul on its daytime schedule. You will probably have been blasted by the massed choirs heralding the arrival of Scott Mills on breakfast…but I would argue that the real star of the show so far has been Trevor Nelson.
On the evidence of the shows I’ve heard so far, his transition from late evenings to afternoons has been a seamless one – helped by bringing the ’5 Seconds To Name’ feature quiz with him and bolstering it with the superb ‘Old School Run’.
Yet there is another factor to his early success – his new jingle. Trevor has been fortunate with jingles – he had a couple of crackers on the Rhythm Nation show – but this one, co-written and sung by Zoe Birkett, is a proper ‘diva moment’. Listen to the jingle and watch its recording here:
📻ITS OUT !!! Waghhhhh!! 📻 Buzzing to have recorded the vocal jingle for Dj Trevor Nelson @DjSpoonyofficial new radio show on @BBC Radio 2 I had so much fun with the writer in the studio, I was given a brief 2 days before recording but when I got into the booth the writer let me go loose vocally to pop my own spin on it , they were all so supportive and loved what I gave , and I can’t wait to tune in tonight to hear Spoonys jingle as hearing them LIVE on radio is there first time I’ve heard them ! Did anyone hear it ? ☺️ #singer#radio#bbcradio2#fy
From personal experience, writing such a short piece of music is anything but easy. The Darkness singer Justin Hawkins, no less, started out in music writing adverts for IKEA and Yahoo. He and his contemporaries deserve so much more credit than they get, for everyone recognises the old start-up for Microsoft Windows, the double, slightly stuttered chord that brings the start of another Netflix show, or even the cosmic flash with which ITVX is introduced.
Trevor’s jingle has a lot going on. Birkett – who finished fourth in the original Pop Idol competition – has gone for broke with a killer vocal, her convictions backed up by some spicy harmonies and a production suggesting big room funk from the 1980s, with an especially big cadence that brings the likes of Parliament to mind.
Birkett hasn’t stopped there either, delivering a similarly classy jingle for DJ Spoony’s Good Groove show. Proof that the art of the jingle is alive and kicking – those writers and performers deserve a good deal of credit!
Clyne Overflow (2020) Mozart Serenade no.10 in B flat major K361 ‘Gran Partita’ (1781)
Town Hall, Birmingham Sunday 26 January 2025 (3pm)
Reviewed by Richard Whitehouse
An interesting and worthwhile strand in the City of Birmingham Symphony Orchestra’s current season is the series of Sunday afternoon programmes focussing on each of the orchestra’s sections. Last November brought the strings for a perceptive account of Bach’s Goldberg Variations, as arranged by Dmitry Sitkovetsky and the present recital duly centred upon the woodwind in what was dominated – not unreasonably so – by a performance of Mozart’s epic Gran Partita.
Still the finest and probably longest work ever composed for wind ensemble, it also remains the canniest example of ‘functional’ music raised to a level such as transcends its immediate purpose. Not the least of its virtues is the way in which its orchestration – comprising pairs of oboes, clarinets, basset horns and bassoons along with four horns and double-bass – suggests timbral and textural possibilities as profound as they are far-reaching. Put another way, this is ‘Harmoniemusik’ which makes of a localized and even provincial genre something universal.
Such a quality was rarely less than present in this performance. Right from its trenchant yet never portentous introduction, the opening Allegro found an enticing balance between poise and impulsiveness matched by that between tutti and ensemble passages. The first Menuetto was notable for the winsome elegance of its second trio, then the ensuing Adagio yielded no mean pathos without risk of sentimentality at a flowing tempo abetted by that effortlessness of dialogue which proved a hallmark of this movement as of the performance taken overall.
Although less overtly characterful than its predecessor, the second Menuetto did not lack for personality and while the Romanze feels the least essential part of the overall conception, it still made for a pertinent entrée into the Tema con variazioni. This longest and most varied movement also encapsulates the work overall in its expressive contrasts which were to the fore here – the last variation preparing unerringly for a final Allegro whose relative brevity was belied by a drive, even forcefulness that propelled the whole work to its decisive close.
It was a testament to the excellence of these musicians that one never suspected the absence of any guiding hand, for all that guest first oboist Nicholas Daniel could be seen encouraging the players whenever his part permitted. Neither was there any sense of the latter being other than integral to the overall ensemble, such was the underlying felicity and finesse with which it conveyed the depths of what must surely rank among its composer’s greatest achievements. Not a bad way, moreover, for the CBSO’s woodwind to savour its occasion ‘in the spotlight’.
The programme had commenced just over an hour earlier with Overflow, a short but eventful piece where Anna Clyne draws inspiration from Emily Dickinson’s poetry (and, in turn, that by Jelaluddin Rumi) in music which treads an audibly viable balance between the ruminative and capricious. It made an understated showcase for the CBSO woodwind, whose brass and percussion colleagues are heard in the next of these recitals when Alpesh Chauhan directs a varied programme climaxing in Pictures at an Exhibition arranged by the late Elgar Howarth.
List of players: Marie-Christine Zupancic and Veronika Klirova (flutes), Nicholas Daniel and Emmet Byrne (oboes), Oliver Janes and Joanna Paton (clarinets), Anthony Pike and Steve Morris (basset horns), Nikolaj Henriques and Tony Liu (bassoons), Elspeth Dutch and Neil Shewan (horns), Julian Atkinson (double bass)
The following text comes from a City of Birmingham Symphony Orchestra press release:
The City of Birmingham Symphony Orchestra (CBSO) today announces a two-year contract extension for Music Director, Kazuki Yamada – reflecting his ever-deepening relationship with the orchestra and increasing involvement in creative decision making. The extension means that Yamada will remain as Music Director until the end of the 2028 – 2029 Season.
In this season alone, he will have conducted more than 20 concerts in Birmingham, ranging from performances of landmark classical works, including an exploration of Ninth Symphonies by Mahler, Bruckner, Dvořák, and Beethoven. He appears twice with the CBSO Youth Orchestra and takes to the podium for the CBSO’s annual Schools’ concerts.
Last summer, Yamada played a pivotal role in bringing free live music to thousands across Birmingham during the CBSO In the City event – including performances on a tram, at New Street Station, and within the bustling Bullring shopping centre. Yamada’s role with the Orchestra extends far beyond Birmingham and this spring, he will take the Orchestra on tour to both Europe and Japan.
CBSO: Beethoven’s 9th Symphony.
Kazuki Yamada, Music Director, CBSO, says: “I am extremely happy to be renewing my contract with the City of Birmingham Symphony Orchestra. Over the past few years, I have developed such a strong connection with the orchestra, and it has been a true privilege to build on the special relationship I have with these talented musicians. The CBSO is a super happy, positive, and motivated orchestra, and I have always been inspired by their passion and dedication. There’s so much potential for us to explore together, and I’m excited about the possibilities which lie ahead.
I love the audiences and people of Birmingham as I fully immerse myself in the culture of Birmingham as a Brummie conductor! To continue my time with the orchestra feels like a wonderful affirmation of the trust and mutual respect we’ve built, and I can’t wait to see what we will achieve together moving forward.”
The news of Kazuki’s extension follows the announcement of Catherine Arlidge MBE being appointed into the role of Director of Artistic Planning at the CBSO last month, further strengthening the Orchestra’s artistic team.
Simon Halsey CBE, who has served as Chorus Director with the CBSO since 1982, will also take on the new role of Director, CBSO Chorus later this year. In his new role, Simon will focus his work on CBSO Chorus, working closely with leaders of Children’s & Youth Choruses, and SO Vocal, to programme an incredible season of choral music.
Simon will hold the new position for two seasons, while the organisation recruits a new Director, CBSO Chorus, to begin in the 2027/28 season. Once a new Director is appointed, Simon will take on an honorary title with continued commitment to the organisation. This marks the beginning of a new chapter in his longstanding partnership with the Orchestra, which will continue for many years to come – including his 50th anniversary in 2032.
Simon Halsey CBE, Chorus Director, CBSO, says: “As I enter my 43rd year as Chorus Director of the CBSO, I continue to be thankful for the extraordinary family of singers and players, adult and youth, that strive for the very best in our large and excitingly diverse city.
An informal calculation suggests that I’ve heard over ten thousand choral auditions and taken some three thousand rehearsals on behalf of our inspiring music directors! We have formed children’s, youth and community choirs in addition to the CBSO Chorus. And we’ve helped train 50 postgraduate choral conductors in association with the University of Birmingham.
I am beyond thrilled to extend my relationship with our choirs and orchestra in the long-term and grateful that the organisation – my musical family – will allow me to share more widely the responsibilities as the years pass; allowing me to be an active part of the organisation for 50 years.”
Emma Stenning, Chief Executive, CBSO, says: “I am thrilled that the brilliant Kazuki Yamada will remain Music Director of the CBSO until August 2029.
From working with students at our incredible school, the Shireland CBSO Academy, to leading the Orchestra at the BBC Proms, he is truly at the heart of our music making.
More than that, he is totally committed to Birmingham, as a city of immense cultural breadth and creative opportunity. That he can delight audiences at Symphony Hall with performances of such emotion, depth and joy, jump on a tram to bring free music to commuters, or don a Halloween costume to lead us in a night of spooky adventure at the Hockley Social Club, he entirely embodies everything that CBSO hopes to be, and we are privileged to extend our relationship with him in this way.
Simon Halsey’s work with the CBSO Chorus is already the stuff of legend. Planning through towards celebrating a remarkable half century with him in 2032 has reminded all of us of the brilliance, creativity and absolute class of his creative leadership, and we all greatly look forward to the exciting work that is to come.
Along with Cath’s step out of the orchestra into her new Director of Artistic Planning role, the CBSO’s creative leadership shows exceptional strength, and I look forward to us working together over the coming years to bring great music to Birmingham, the West Midlands and beyond.”
Pictures of Kazuki Yamada (c) Hannah Fathers (top) and Andrew Fox
Published post no.2,425 – Wednesday 29 January 2025
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