Glass - for Advent

I am writing this while listening to the Meistersinger relay from the Met. on Radio 3. The nearest church to my hotel in Nürnberg - when I was there in April - was St Martha’s, used as the rehearsal room by the real Meistersinger. It was officially closed, but I sneaked in through the sacristy to peak at the stained glass, much of it as early as the late 14th Century. (Here's John the Baptist, 15th Century.)

St Martha’s had escaped lightly in World War II, but just over two months after my visit, fire engulfed the entire church: providentially its windows had been removed pending renovation work.

Glass of another sort was on the bill of the concert I went to on Thursday night at the Pittville Pump Room. As the centrepiece of their programme, the estimable Carduccis played Philip Glass' Quartet no. 3. Others in the fullish house loved it, they told me, but I was left cold. I could have coped with it as the backgound to a film - for which it was originally intended - but coming after the well known Mozart D minor, its major key Andante played magically, it seemed to go nowhere, and to take twice (rather than half) the time of Mozart in doing so.

After the interval, the Carduccis tackled one of the masterpieces of the repertoire, Beethoven Op 132, its 20-minute slow movement wringing the heart. Once over, you are led to think its all going to be plain sailing, only for a wrestling match to develop - as far from music of the 18th Century as you can imagine. A thrilling performance!

The last shall be first

Our Japanese student was late returning from Bath, so we almost missed the start of last night's recital at Syde Tithe Barn. Such is now the reputation of the Carduccis that the only seats free were on the large sofa at the Barn's East end: no complaints from us, however, as they were the most comfortable in the house, and with plenty of leg room.

Three pieces were listed, two of which I had never before heard - works by Turina and Puccini, both enjoyable. I found the familiar D Minor Mozart quartet less so, however. Perhaps it was Matthew's in this instance a little unnecessary introduction, with its attempt to provide a programme for the work. Res ipsa loquitur where Mozart is concerned.

Coming away, and creeping down the side of Syde church, I looked up at the 14th Century saddle-backed West tower, a steep staircase leading to the ringing chamber. The photograph does little justice to the exquisite evening light.

Syde order

The Carducci Quartet returned to Syde Tithe Barn this afternoon for the first in a Summer series of short early evening concerts. We were treated to delicious performances of Haydn's Joke Quartet and the Ravel of a century later.

What a space for chamber music - and on the most perfect afternoon of sunshine, when the Syde garden was looking at its  best. And it was our wedding anniversary!

The Carducci Quartet

We were at Syde Tithe Barn on Saturday evening for a short recital by the excellent Carduccis. It was lovely to be able to watch them at such close quarters - playing Haydn Op 20 No 5 and Mendelssohn Op 80. They milled around with us all afterwards.

Guiting again

Mini said last evening, before our customary date attending the Guiting Festival, "Being here always reminds me that the end of Summer is approaching." Well, as if to contradict her, today it's been hotter than ever - and even now, late in the evening, it's still 21 degrees C.

However, yesterday - though it wasn't cold - the sun resolutely refused to sign for our pre-concert picnic, which was a pity, but it in no way diminished the pleasure of the performance by the Carducci Quartet. Here were Emma Denton, Eoin Schmidt-Martin, Matthew Denton and Michelle Fleming after a memorable performance of Mendelssohn's last quartet - ending a recital which deserved (but sadly didn't get) a full house. ("There's just too much music!" as a friend said.)

The three string quartets (Haydn and Ravel before the interval) took less time to play through than one Act of the Ring Cycle, which no doubt explains my surprise that it all seemed to be over so quickly.

Noye's Fludde

The Cheltenham Music Festival has come round once again. We took Mini and Leo to Tewkesbury this evening to see Britten's Noye's Fludde performed in a thronged Abbey. I haven't heard it before (and am not sure I shall rush to hear it again). 200 local children were involved: I hope they enjoyed it more than we did, standing against the wall of the North nave aisle. You couldn't see the action much - it took place mostly either behind a pillar or on the top deck of "the Ark" - built with high sides, for safety reasons obviously. The orchestra, together with the Carducci Quartet, were penned in behind a mesh curtain underneath.

But a lot of thought and work had clearly gone in to it: the result was all very colourful, the lighting changes were well managed, and it wasn't too long an evening - or wouldn't have been, but for the insertion at the beginning of five unexpected (by me) songs by contemporary Gloucestershire composers: unnecessary - and you couldn't hear the words.

Presteigne

Pausing for lunch at The Feathers in Ledbury, we drove to Presteigne today. We are staying at Radnor House, opposite the Assembly Rooms, where I am due to speak tomorrow morning about Peter Davis' Diary.

After the Diary period, Peter Davis moved North to Diddlebury, and then 20-odd miles South to Milton Farm, near Shobdon. From there, he was married - in Pembridge Church. On our final run in to Presteigne, we stopped at both the church and the farm to inspect. Each impressed by its size, and what a view it is from the farmhouse!

This evening, there's been a concert by the Carducci String Quartet, 87.5% of whom you can see in my rather poor photograph - together with Presteigne Festival President, Michael Berkeley. Michael's Oboe Quintet ("Into the ravine") received its premiere, oboist Nick Daniel being out of my picture. "My pieces are much more spare since my illness," Michael said. (Before the concert, he had shared an interesting platform with Nick, David Matthews and Sally Beamish.)

Carducci Quartet

My enthusiasm for this still-young quartet (led by Matthew Denton) has been voiced before, and it's none the less intense following this evening's performance at Dean Close School, where they have been "in residence" since the beginning of the year. Drab decor and distracting piles of scores in the background of the Prince Michael Hall couldn't take away from a vibrant performance - of what was a challenging programme.

It began with a quartet by Philip Glass: it had been described, Matthew said, as Rock music for Buddhists. The opening movement of this, his 4th Quartet rocked, but more in the sense of a lullaby - as if Bach might have been looking over the composer's shoulder. The real rock music came after the interval, with the Allegretto furioso of Shostakovich's 10th Quartet.

In between, we heard a couple of minimalist jewels (Kurtág and Webern), and a surprisingly enjoyable work, inspired by Australian birdsong, by David Matthews: he was there to introduce it himself, whistling us a preview of each of the motifs. I liked the idea of the Australian cuckoo singing the same interval as ours, but upside down. And particularly appropriate to hear this piece at a time of year when our garden is more or less a song-free zone.

Leopold/Wolfgang, Fanny/Felix, and Colin/David. I can't think of many other musical family pairs apart from these three Ms, Mozart, Mendelssohn - and Matthews.

Carducci concert

At this morning's Cheltenham Festival recital by the Carducci Quartet, I sat next to a Sixth Form pupil from Dean Close: it is the quartet-in-residence there, a great boost to the school's budding string players, much as the Tewkesbury Abbey "residency" is for the school's young singers.

The programme included the European premier of a Festival commission, Arlene Sierra's Insects in Amber. I am not greatly in favour of programme music, such as this was, but I have certainly endured less pleasant quarters of an hour at previous Festval premiers. The performances of Shostakovich's 8th Quartet and Dvořák's American were excellent, and sent me off in a good humour.

Normally, we are in the cheap seats at the back of the hall - excellent acoustics there - but today I was able to sit close enough to take a photograph (at the end of the new work) because we were the guests of the Summerfield Charitable Trust: it had made the Quartet a grant in the past. The Trust was launching an initiative, seeking to add to its endowment by entertaining a cross-section of the town's lawyers and accountants, so we all went on to a jolly lunch in the Royal Box at Cheltenham Racecourse - one of the perks from Edward Gillespie having taken over as the Trust's Chairman.

The music festival season is upon us

We were at Highnam yesterday on a sunny evening for the opening of this year's Carducci Festival, a glorious event! The young and engaging Carducci String Quartet have been putting on an intensive weekend of music-making there each year since 2007, and people respond. No wonder! The setting is perfect - a much-loved Victorian Gothic church amidst parkland; the quartet's programmes are imaginative, and the playing both rich and delicate - absolutely no gothic horrors.

An interesting contrast was the recital we attended on Wednesday night, as part of the Newbury Spring Festival. St Mary's Church, Kingsclere predates Gambier Parry's Highnam by 700 years, and for a performance the Norman setting feels more secretive than exuberant. The virtuosic intensity of the Trio con Brio Copenhagen's playing contributed to this atmosphere, especially in the tragic music of Smetana's G minor Piano Trio.

Four firsts

I have been out every night this week - a sign that the Summer holiday period is well and truly over.

Monday saw the first meeting of our church finance committee with the new parish priest: a refreshingly different sort of get-together from any we have ever had before. I feel it's going to be a pleasure to work with Fr. Bosco, given the ambitious ideas he has for the two parishes to which he's been appointed.

On Tuesday, the Cheltenham Film Society had its first showing of the new season: Xavier Giannoli's film Quand j'étais chanteur with the beautiful Cécile de France alongside a mountainous Gérard Depardieu: it was a boring story. The Chairman's welcome speech and the wine and cheese afterwards were the best bits of the evening!

The Cheltenham Music Society's opening recital was on Wednesday, an altogether higher definition performance, by the Carducci Quartet. The evening had a World War II feel to it. Britten's first quartet was followed by a very accessible quartet by a pre-war refugee from Vienna, Joseph Horowitz. The Quartet (with the brilliant Nicola Eimer) finished with Shostakovich's wartime Piano Quintet.

This was chamber music playing of the hightest standard - good enough almost to distract me from the draught which was blowing under the rear doors of the Pittville Pump Room. It was a pleasure afterwards to be introduced by Jane Blunden to the "middle" of the Quartet, Michelle Fleming and Eoin Schmidt-Martin, word of which reached Ireland before I could even get round to typing this!

Churches can also be draughty places at this time of year, but not last night: there was a packed audience for the opening Tetbury Festival recital by Radu Lupu. Not having heard him for decades, I had forgotten quite what a distinctive virtuoso he is. His playing isn't to everyone's taste, particularly those put off by unprepossessing platform behaviour; but the Beethoven in the first half was, for me magical, especially the Andante of Op 14, no 2.

The Schumann Fantasie on the other hand seemed erratic; but then I have grown used to listening to the incomparable performance by Marc-André Hamelin on Hyperion. Perhaps my restlessness was to some extent to blame: when sitting in Tetbury church, "no matter where; of comfort no man speak."

Interesting to contrast Lupu with Gérard Depardieu: both gone to seed rather.