In my new role as a reviewer for Bachtrack.com, several things have occurred to me recently:
- I have turned into a frightful self-publicist, sharing my reviews with anyone and everyone, and gaining an absurd, childish rush of delight from every retweet or recommendation I receive
- I’ve become geekily obsessed with stats and hit rates, scanning my blog each day to see how much traffic it has received, and regularly checking Google to see where I am in the search order (some smug satisfaction was gained earlier today when I saw that my latest review had achieved the giddy heights of top spot)
- I’ve discovered a whole other world of music bloggers in the blogosphere, who review concerts and who offer speedy and insightful reactions to what they’ve just heard.
I have blogged before about the ‘joy of blogging’: it’s free to set up and you don’t need to be a techie to organise your own blog. For me, the most important aspect of blogging is being able to express myself freely, hit the “publish” button, and wait for people to stumble across my blog, or even subscribe to it. I have always written, from short stories and poetry at school, to a full-scale novel, tentatively entitled ‘Facing the Music’, and incorporating two of my pet subjects: music and the First War (the premise of the book is whether music has value in the lives of people during extremely straitened circumstances; I argue, via my protagonist, that it does…..very much so).
Like playing the piano to any degree of seriousness, writing is hard work, and can be all-consuming. When it is going well, one can lose oneself in it, for hours on end. When I was deeply immersed in my novel, I often forgot to eat, and would stay up late, or get up in the middle of the night, just to write. And just like playing the piano, one needs to practice one’s writing.
This is why blogging is such a good discipline; it forces one to be concise, to avoid unnecessary woffle, while allowing one to hone one’s writerly craft on a regular basis. And for me, there’s absolutely no point in having a blog if one does not regularly update it with new and (I hope) interesting material. It has also opened doors to other writing-related activities: the job at Bachtrack came about directly as the result of someone reading my blog.
Since I’ve been blogging, I’ve connected with many other piano and music bloggers around the world – and a couple of whom I’ve actually met (at Maurizio Pollini’s final concert at the Festival Hall last month). Some are specialists, but many of these bloggers are not professional music journalists (i.e. writing is not their primary job/source of income), yet they take their writing very seriously, and are read by many like-minded people who feel these writers have something interesting, important or insightful to say.
And why does one need to be an “expert” to write intelligently about music? I doubt the vast majority of people who read reviews want to know that the piece opened in A minor but resolved itself in C. They don’t want to be confused by esoteric music-speak or complicated analysis, which can often appear unnecessarily dry and academic; they want to know what the concert was about, what it felt like to hear that piece, see that performer, experience the atmosphere in the concert hall that night…..
Bachtrack’s USP is to encourage people who would not normally go to classical music, opera or ballet to book tickets for such events; thus, reviewers are encouraged to write imaginatively and in an accessible way. Many of Bachtrack’s reviewers are not professional journalists. Most of us are keen ‘amateurs’, people who love going to concerts, the opera and the ballet, who are open-minded and receptive to what we are hearing/seeing, and who are able to convey our enthusiasm in a snappy 500-word review. Bachtrack insists that reviews are submitted within 48 hours of the event: this means we’re usually ahead of other reviewers (though not necessarily other bloggers/Twitterers), and newly-published reviews are tweeted and shared across the internet very quickly.
These days, people even tweet an instant response during the interval: I’ve done it myself, and I love the idea of people tweeting from the Bechstein Room at the Wigmore (actually impossible in reality as there is no signal down there, but you get the picture!) or from the Level 4 bar at the Festival Hall. In effect, surely it’s the same as leaning across to your companion at half time and asking “So, what did you think?”
Some music blogs I follow regularly:
Boulezian - intelligent and detailed concert and opera reviews written by academic Mark Berry. I first discovered this blog last March, after Mark wrote about the Jerusalem Quartet recital at the Wigmore which was interrupted by protesters. He, like me, was in the audience that day.
Orpheus Complex – concert and opera reviews, and general music-related articles, written by Gavin Dixon, who has a special interest in 20th century music.
Jessica Duchen’s Classical Music Blog – concert and book reviews, music-related articles and musings written by journalist and author Jessica Duchen.
I’ll Think of Something Later – articles and musings on music, including reviews, by broadcaster David Nice
Entartete Music – articles on music and culture by Gavin Plumley.
Slipped Disc – Norman Lebrecht’s blog, featuring all manner of music-related articles, from reviews to breaking news.
PS for those who are interested in such things, I make notes in an old-fashioned reporter’s notebook when I’m reviewing, but tend to compose on my laptop. I use classic black Moleskine notebooks for notes about playing the piano, my practising diary, and for other writerly notes (I have 6 full of notes for my novel). And I always use a 2B propelling pencil….