Richard Griffiths

[Lawrence Jones]

Another interesting choice and it was so good to hear that Mr. Griffiths hadn’t sold out by cultivating an upper-class accent. It took me a while to assimilate the nature of the tragedy within his own family and the resulting breakdown of his parent’s relationship. Goodness me, he certainly suffered as a child and I understood his comment towards the end when he spoke about having one’s childhood robbed. I don’t think I’ve ever heard anyone narrate an inherent mistrust of the medical profession in such a calm and powerful manner. I agreed with everything he said on this subject and I’d certainly never trust (or become friends) with any member of the medical profession.

For some strange reason, I’ve always worried about actors never having any money and they never seem to be very practical or too astute in managing what little money they do accrue. Consequently I was pleasantly surprised when he spoke about his skill with filling in tax forms!

He-he, I smiled when he told the story about purchasing an MGB GT, because everyone always makes funny jokes in respect of why one would even contemplate buying a sports car powered by a Morris Oxford engine.

My heart sank when he chose Baker Street, but I liked the extract from the The Tempest. I wasn’t too sure why he was so protective towards his own family (at the end), but it didn’t detract from my overall very positive feeling about this edition of DID.

Did anyone listen to Private Passions? I liked some of the music, but wasn’t too keen on the interview. I’m at a loss to understand what anyone sees in Ladies of Letters. I think it’s awful and the industrial language contained in the email address sounds far too contrived.

[wavelength]

Lawrence said:

Did anyone listen to Private Passions? I liked some of the music, but wasn’t too keen on the interview. I’m at a loss to understand what anyone sees in Ladies of Letters. I think it’s awful and the industrial language contained in the email address sounds far too contrived.

i fear i have no patience with DID these days... but i did listen to private passions. i felt prunella scales was remarkably reticent to say anything but the barest minimum - as if the very interview, which after all also plugged her book, was a great imposition. however, something strange happened to me... Miss Scales, amongst others titles chose some church music and i did not change the station; the programme was followed by a programme of early music: Cathrine Bott visited santiago de compostela and played some wonderful music. the music was mesmerizing. (i had to check these details afterwards, since i was so taken up by the music... and did not hear one word of any presentation)

although i am an atheist (albeit with a history of catholic boarding school) and i find no interest in any religious rites, i find that some of the most etherial music is, of course, 'sacred music'. i truly think it is sacred, if people get affected like i do, whether it is wonderful sufi music from pakistan, then there is a fabulous rabbi who sings alluringly, i have also heard quoran verses sung on the radio - of all things by a woman - which were out of this world. i particular love mediaeval music and cannot get enough of those particular harmonies.

i find even in opera one gets relatively few pieces anywhere near as haunting as church music .. now here is my question

is this music so wonderful because of the theme i.e. do composers only endow any kind of sacred music with these special qualities.... or is it just wonderful stuff which graduates to being religious music because they see no other market for it... chicken or egg...

n.b. it just occurs to me it just be the voices...

[Lawrence Jones]

wavelength said:

Lawrence said:

Did anyone listen to Private Passions? I liked some of the music, but wasn’t too keen on the interview. I’m at a loss to understand what anyone sees in Ladies of Letters. I think it’s awful and the industrial language contained in the email address sounds far too contrived.

i fear i have no patience with DID these days...

I think it probably is time to lay it to rest – the same applies to Woman’s Hour. Sadly, there appears to be a shortage of bright young things with new ideas to bring to the world of radio. The comedy on R4 is another example……so dull, predictable and centred on the south of England.

but i did listen to private passions. i felt prunella scales was remarkably reticent to say anything but the barest minimum - as if the very interview, which after all also plugged her book, was a great imposition.

I wondered what on earth was the matter with her….and all that stuff about France towards the end. Mr. Berkeley was really struggling wasn’t he? Well at least I can now justify my dislike of Ladies of Letters! Some actors seem to have an exaggerated sense of their own importance which is why I enjoyed Richard Griffiths on DID. Sheila Hancock also sounded snooty when she was on recently and was knocking pop music. Prof. David Crystal was the exact opposite and you could tell that he got on well with Mr. Berkeley.

however, something strange happened to me... Miss Scales, amongst others titles chose some church music and i did not change the station; the programme was followed by a programme of early music: Cathrine Bott visited santiago de compostela and played some wonderful music. the music was mesmerizing. (i had to check these details afterwards, since i was so taken up by the music... and did not hear one word of any presentation)

I missed this programme because I always tune back to R4 to listen toThe World This Weekend, but I was rather surprised Ms. Scales chose this piece. R3 often broadcasts some fine church music at about 0530hrs. Sadly, I’m only familiar with the work of William Bird, so I’m never really in a position to discuss fav. composers in this specific area.

although i am an atheist (albeit with a history of catholic boarding school) and i find no interest in any religious rites, i find that some of the most etherial music is, of course, 'sacred music'. i truly think it is sacred, if people get affected like i do, whether it is wonderful sufi music from pakistan, then there is a fabulous rabbi who sings alluringly, i have also heard quoran verses sung on the radio - of all things by a woman - which were out of this world. i particular love mediaeval music and cannot get enough of those particular harmonies.

Catholic boarding school for me as well Wavelength and I couldn’t agree more with what you say here. The words sacred and holy strike me as two of the most abused and devalued words in the English language. The music does seem to rectify this injustice….but how on earth can one describe it? I was showing a friend from the US the sites of Liverpool last May and I took her to see the Anglican Cathedral. A most beautiful choir started up part way through our visit (you couldn’t see the choir and the only other person in the cathedral was a grumpy old janitor who was trying to throw us out). I just froze at the sheer beauty of the voices and felt desperately frustrated that I couldn’t share that pleasure. I’ve never studied the psychoacoustics of reverberation, so perhaps this is something to do with it? I don’t know if you’re familiar with the work of Paul Horn (flute player), but one of his records – Inside- was recorded within the Taj Mahal and I’d certainly recommend listening to that. Hee-hee, I enjoy harmonising along to Elizabethan music – in private of course!

i find even in opera one gets relatively few pieces anywhere near as haunting as church music .. now here is my question

Sorry to say this, but I’ve always hated opera - it always reminds me of social climbers and women wearing very expensive evening dresses.

is this music so wonderful because of the theme i.e. do composers only endow any kind of sacred music with these special qualities.... or is it just wonderful stuff which graduates to being religious music because they see no other market for it... chicken or egg...

I think it is simply down to the beauty of the voices. Also – and I could be wrong here – but one tends to be alone with one’s thoughts when listening to this music so solitude does take on a more treasured value.

[breaker]

re. opera.... i just think it is often an excellent vehicle for voices and choirs... and some great melodies... i refer u to my comments about the pearlfisher duet with jussi bjorling

n.b. i was onced nearly lynched when i vented my feelings with a friend about a laughable production at covent garden by laughing out loud and commenting because it was so unbearably awful... (i hasten to add we were just standing at the back of the stalls, with many other keen fans, who also agreed.... unlike the folks who paid fortunes for their seats... ) i think some people just buy 'sophistication/class/style' for show but this does not mean that the music may not be genuinely enjoyable... i get as much pleasure from watching la callista on tv, any philip glass stuff or perhaps some monteverdi. many a time i have heard opera in concert performances. the frocks are not necessary, although i have a video of turandot at the met, produced by zeffirelli, with placido and conducted by levine - a jewel in achievement of the arts and i realize that opera probably is so exclusive when you observe the perfect marriage of beautiful visuals and equisite music. it must be expensive... and apart from seeing aida at the colosseum in verona, which is a real folkspectacle with elephants and all - it probably does asks for surroundings which create wonderful acoustics.

it can't be all bad when you think of the popularity of the three tenors and i have not met anyone yet who did not enjoy the tunes in carmen, etc. etc.

i never thought i would write in defense of opera, because i don't really feel strongly about the form... only about the music.

[Lawrence Jones]

breaker said:

re. opera.... i just think it is often an excellent vehicle for voices and choirs... and some great melodies... i refer u to my comments about the pearlfisher duet with jussi bjorling

Sorry, but I’ve never been able to detect any melody within opera. I can listen to Pearlfisher about once every 5 years.

n.b. i was onced nearly lynched when i vented my feelings with a friend about a laughable production at covent garden by laughing out loud and commenting because it was so unbearably awful... (i hasten to add we were just standing at the back of the stalls, with many other keen fans, who also agreed.... unlike the folks who paid fortunes for their seats... )

I’d never vent my feelings whilst attending a venue if the performance was poor and usually read a review of someone I respect (or discuss with a friend) if I’m attending a concert featuring an individual or band that I’m not familiar with. What was this opera and why was it laughable? Surely this poor quality of production must have been reflected in the reviews? I’d grieve over the money that I’d wasted.

i think some people just buy 'sophistication/class/style' for show but this does not mean that the music may not be genuinely enjoyable...

This is quite true, but it implies a relationship between intellect and musical taste which is nonsense. Jazz used to be regarded as very ‘non-you’ within Radio4. However, Ken Clarke comes along and so it’s suddenly OK to like Jazz. One can now talk about John Mclaughlin on R4 without observing raised eybrows!

but this does not mean that the music may not be genuinely enjoyable

Quite right and I have nothing but respect for an individual who’s loved opera all their life. They save up for the concerts (and how they must have to save with the price of tickets) and buy records regularly. Sadly, though, I’ve never met anyone like this. On the other hand, I have known member’s of Pseuds’ Corner who’ve been more concerned about their hair style or which dress to wear at Covent Garden, rather than getting excited at the emotional journey the music will take them on!

it can't be all bad when you think of the popularity of the three tenors and i have not met anyone yet who did not enjoy the tunes in carmen, etc. etc.

I think the mass popularity of the three tensor is a transient and I’m afraid Carmen leaves me cold. Of course opera isn’t bad. My objection – which is probably too strong a word – is the way that it allows itself to be prostituted by individuals who don’t have any genuine interest in music (1). It’s a little like the way senior members of the BBC prostitute the aether (aether is more romantic than ‘ether’) with their support for DAB.

i get as much pleasure from watching la callista on tv, any philip glass stuff or perhaps some monteverdi. many a time i have heard opera in concert performances. the frocks are not necessary, although i have a video of turandot at the met, produced by zeffirelli, with placido and conducted by levine - a jewel in achievement of the arts and i realize that opera probably is so exclusive when you observe the perfect marriage of beautiful visuals and equisite music. it must be expensive... and apart from seeing aida at the colosseum in verona, which is a real folkspectacle with elephants and all - it probably does asks for surroundings which create wonderful acoustics.

I did, in all sincerity, enjoy reading this paragraph and couldn’t agree with you more about the thrill one experiences when one does observe ‘the perfect marriage’ between ‘visuals and exquisite music’

i never thought i would write in defense of opera, because i don't really feel strongly about the form... only about the music.

I’m pleased that you did defend it and I thank you for taking the trouble to post about your love of opera. I’m left wondering about your own musical journey – instruments learnt at school, singing, musical radio programmes that you enjoyed etc.

Notes

(1) Class should be kept out of music, but if you listened to the excellent Archive Hour last Saturday about David Munrow’s life (the bit just after the Shirley Collin’s interview), then you’ll conclude that classical musicians regard folk music as inferior to the former.

[rosalie]

I liked Richard Griffiths too, he had a real struggle of a childhood, and always appears to be a straightforward man. His role in Withnail and I couldn't have ben played better, and if he's only remembered for one film by film lovers then he'll be loved for that one always.

Not that keen on his music, but interesting to listen to him talking.

I'm not that bothered one way or the other about opera as a genre. I'd rather like what I like no matter who is doing it - there are brilliant pieces of music within opera and there's also crap ones (my opinion) but then that's just the same as any kind of music. I love most of Carmen and that piece of music Un Bel de Vedrome from Madame Butterfly makes me cry. There's others too that are really good.

I took my youngest lad to see Carmen when he was about 8, we loved it and it felt the same as a treat at the theatre or cinema. Mind, that was at the Bristol Hippodrome so it wasn't dead posh like.

[Lawrence Jones]

rosalie said:

I
I love most of Carmen and that piece of music Un Bel de Vedrome from Madame Butterfly makes me cry. There's others too that are really good.

I love Malcolm McLaren's version of Madame Butterfly, especialy when he starts to speak.

I took my youngest lad to see Carmen when he was about 8, we loved it and it felt the same as a treat at the theatre or cinema. Mind, that was at the Bristol Hippodrome so it wasn't dead posh like.

I love it when young kids pretend to be opera singers (and usually get told off by their parents for making too much noise) - used to do it myself. Did a great version of Mario Lanza's 'Be My Love'.

[Crusoe]

Lawrence said:

Another interesting choice

Indeed it was. And even if it had not been for his fascinating life story, I would have warmed to anyone who had a copy of “Switched on Bach” in their collection. My copy cost £1.99 so I was quite jealous of Mr Griffiths. I also liked a number of the other musical choices, although I have to admit that, like you, I found “Baker Street” a bit painful.

Lawrence said:

It took me a while to assimilate the nature of the tragedy within his own family and the resulting breakdown of his parent’s relationship.

Yes, it sounds awful, doesn’t it? I cannot comprehend what It must be like to suffer such problems. I suppose it is understandable that when something so tragic happens, people look for someone to blame but it must be destructive that a couple should turn away from each other at a time when they both most need support.

Lawrence said:

For some strange reason, I’ve always worried about actors never having any money and they never seem to be very practical or too astute in managing what little money they do accrue. Consequently I was pleasantly surprised when he spoke about his skill with filling in tax forms!

It is good to hear of anyone having practical skills and common sense, in addition to their artistic/ academic/ professional skills. I often get the feeling that some people in the media try to give an impression of incompetence in every day matters in order to somehow give the impression of having their minds on “higher things”.

Lawrence said:

He-he, I smiled when he told the story about purchasing an MGB GT, because everyone always makes funny jokes in respect of why one would even contemplate buying a sports car powered by a Morris Oxford engine.

I remember when I had a Morris Minor and a colleague had an MGB, I was always amused that our cars had, at heart, more-or-less the same engine (bar twin carburettors). What was, perhaps, more surprising still, was that the engine had still not changed much by the time a friend of mine bought a Rover Metro.

Lawrence said:

I wasn’t too sure why he was so protective towards his own family (at the end),

I got the impression from the way he said “it’s part of the deal” that his wife would object to any intrusion, although I may be wrong.

All in all, a very enjoyable programme.

[Crusoe]

breaker said:

re. opera.... i just think it is often an excellent vehicle for voices and choirs... and some great melodies...

I have to admit that I have never got on with opera, because of the sound. The problem, I think, is that to be heard over the orchestra, the voice needs to be a bit over-the-top and impressive though it may be, it is a sound that just doesn’t appeal to me. For the same reason, I loathe the rock group Queen and find excessive guitar solos pretty difficult to listen to, as well.

Choral music, on the other hand, I find beautiful, probably because its volume is achieved by blending many melodic, subtle voices in to a whole.