Music For The Day

A beautiful arrangement of the spiritual “Deep River”, which forms the finale of the cantata / secular oratorio “A Child Of Our Time” by British composer Michael Tippett. Performed here in my favourite recording of this piece, given by the London Symphony Orchestra, conducted by Richard Hickox:

 

And from the same work, Tippett’s arrangement of “Steal Away”:

 

More about Tippett’s “A Child Of Our Time” can be read here.

The Spirituality of the European Union

EU church religion

 

St George’s Day brings yet another wildly misguided and inappropriate intervention from a Church of England bishop, this time the Rt Rev Michael Langrish, Bishop of Exeter.

While back-handedly praising Prime Minister David Cameron for the zeal of some of his reforming efforts, he goes on to expound at length on the question of whether Cameron might be – wittingly or unwittingly – undermining the “deep spiritual roots” of the European Union.

From The Telegraph:

The Rt Rev Michael Langrish, who sits in the House of Lords, told Peers that he was concerned that Mr Cameron’s policies could contribute to the “loss of the European soul”.

He told how the European project has “deep spiritual roots” and said the Church of England “engages with the EU itself through its own representation and structures”.

The Bishop of Exeter is, of course, a Lord Spiritual, one of those Church of England bishops given the right and authority – unique among leaders of all other religions and denominations in this country – to sit in the upper house of the British parliament and meddle in our lawmaking. The Telegraph continues:

Speaking in the House of Lords this week the Rt Rev Langrish insisted that the Church of England has a “European perspective”.

“It may be thought that the Church of England does not have a particularly European perspective, but that is far from being the case,” he said. “Through its diocese in Europe it is present in all the member states of the EU. It has effective links with other churches throughout Europe and is active in the Conference of European Churches. Together with our partner churches, we are also deeply aware of some of the roots of the EU and the vision of its founders in Catholic social teaching.”

First of all – deep spiritual roots? Really? I am not wholly ignorant of Catholic social teaching, and I am probably better informed than most about the history and development of the European project from its humble beginnings as the European Coal & Steel Community. In my misguided undergraduate days I curated a half-hearted, rightly neglected website called the Pro-European Alliance which aimed to explain some of this history and spin it in a way that case favourable light on the modern-day European Union.

Bishop Langrish’s attempt to describe the institutions, mechanisms and workings of the EU as having any spiritual dimension to them whatsoever seem to be a rhetorical step too far. That is not to say that there was or is nothing noble in the idea and reality of the EU. Binding the fractious nations of Europe together through increased trade, some common institutions and a mechanism to resolve local disputes was undoubtedly a good thing. So potentially a tenuous argument could be made that the existence of an organisation such as the EU served or serves some spiritual goal.

But the European Parliament? The Council of Ministers? The Commission, which hasn’t produced an audit-worthy budget and financial statements for years beyond counting? The European Courts? How do any of these inefficient, undemocratic, self-serving institutions, created by bureaucrats to serve the interests of bureaucrats, nourish the roots of spirituality? In any way?

The only way that one can see any spiritual element to any of this is if one subscribes to the view that the nation state and international institutions are the most suitable – or only acceptable – forums for key aspects of the modern welfare state such as regulation, income redistribution and the like to be administered. That people are inherently selfish, thoroughly unaltruistic, and that only through government coercion (either at a national or European level) can we make ourselves administer fair justice and look after the weak and vulnerable in our societies.

And of course this is exactly what large swathes (though not all) of the Church of England does believe today – see “Christ would not privatise our NHS” as just another recent, damning example. Build and maintain a big state sector to do all of the things that humans are too selfish or wicked to do of their own volition for the good of their fellow men, and criticise anyone who holds opposing views from the pulpit every Sunday.

The Bishop concludes:

“I hope that the failure of successive British Governments to articulate a coherent and constructive policy towards our European partners and to manage to take public opinion along with this will not contribute to that loss of the European soul.”

When the Bishop of Exeter defends the spiritual roots of the European Union and attacks David Cameron for seeking to repatriate powers from the EU and return them to the nation state or to the individual, not only is he wrong, but in so doing he is no less than abdicating his own Church’s spiritual roots and its responsibility to empower and enlighten the individual.

Music For The Day

“In Trutina” from “Carmina Burana”, composed by Carl Orff.

 

In trutina mentis dubia
Fluctuant contraria
Lascivus amor et pudicitia.

Sed eligo quod video
Collum iugo prebeo
Ad iugum tamen suave transeo.

A Musical Glass Ceiling, Finally Broken

For the first time ever, the person given the honour of conducting the Last Night of the Proms, that great British musical occasion, will be a woman. An exceptionally well qualified woman, Marin Alsop.

 

Yes, I’m biased. Alsop is a protege of one of my musical heroes, Leonard Bernstein. But she has also distinguished herself through her very well-received tenures with the Baltimore Symphony Orchestra, Royal Scottish National Orchestra and Bournemouth Symphony.

Female conductors are still an incredibly rare site on the podium, as the Telegraph article relates:

Female conductors are about as common as hen’s teeth. A comedian friend of mine once said that a comic is always the person facing the wrong way, and this is doubly true of a conductor. If a comedian onstage is the only individual in the room facing the audience, then a conductor is the only person on stage facing the performers.

To put yourself in a position where you are neither orchestra nor audience, that is to say, a unique figure, elevated on your own little platform, essentially telling everyone in the room what to do (you listen; you play) requires a rather particular set of personal characteristics that we probably traditionally associate with men, slightly crazy, arrogant, wild-eyed men.

The series of summer musical concerts at the Royal Albert Hall and associated venues, collectively known as the BBC Promenade Concerts, have expanded boundaries in a number of areas. We have already had the first American conductor to take charge of the Last Night – the excellent (and underappreciated) Leonard Slatkin, of St. Louis fame. The Proms now include outdoor concerts, late night concerts, and science fiction themed concerts (to the delight of many Doctor Who fans). This is all well and good. But the announcement that Alsop will be the first woman to conduct the BBC Symphony on this illustrious occasion should serve as a reminder that much more needs to be done before women are fully represented at the highest levels of classical music. Alsop has blazed a trail, but there are far too few younger women following in her wake.

That is not to say that there are no other women conductors of great talent and some renown – one might think of the excellent Xian Zhang, who occasionally guest conducts the London Symphony Orchestra – but this wikipedia page shows the depressing truth of the matter. Just 61 entries.

As always, I shall look forward to the upcoming Proms season, and to the Last Night. But the fact that we are celebrating this particular milestone only in the year 2013 should give us all pause for thought.

Music For The Day

Prelude Op. 23 No. 10 in B minor by Sergei Rachmaninov, performed by Lazar Berman.

 

More wintery than springlike, but those glacial chords are amazing.