Lifting the lid on the intrigue and intense rivalries of the concert artist’s world, That Iron String unearths shocking violence with quite clinical detachment, in a way that endures the story will live with the reader for some time after the turning of the final page.
Two healthy baby boys are discovered, together with three corpses, on an abandoned boat off the north shore of Long Island. Port and Boston are raised by those presumed to be family in separate houses on the same street, both become accomplished pianists but Port, our narrator, stays local while his cousin takes to the road on the competition circuit. After ten years of silence, Boston’s piano arrives, then several letters from him, which the family inexplicably leave unopened. When he finally puts in an appearance in person, it is with a train of notoriety – disastrous competitions, a public seemingly turning against him, bizarre accidents befalling those close to him…
As a core fan of the crime fiction genre, with a great interest in the unusual and intriguing world of competitive pianism, I really should have loved this novel.
However, it is peppered with structural and technical flaws that ultimately make Jack Kohl’s This Iron String an unsatisfactory read.
From the brief synopsis above, one might expect an atmosphere of menace and mystery to build from the start. But Kohl makes such efforts to avoid sensationalism that his novel is simply too clean and quiet to successfully engage our curiosity. It is like a pianist misjudging an opening pianissimo, making a sound too shy to draw us in. This reticence lasts well into the second half of the novel.
Port is also highly proprietorial about his own narrative. He hands out those details he thinks we warrant knowing in miserly portions, and always reported in his own words, so that his characters seem entrapped by his summaries and corrections.
This is odd in that large parts of the book are in the form of letters from Boston, the enfant terrible who is marked out for pianistic glory. But Boston’s voice is so very like Port’s in its didactic self-importance that this doesn’t truly freshen things.
As events take a darker turn, Boston’s letters increasingly substitute unhinged but very intellectual rants for Port’s poetic forays. For there is true poetry here, small prose poems trapped in the novel like jewels in sand, or like a rich subterranean tenor melody which the pianist’s left hand sustains beneath a stern and chromatic étude. A beautiful description of child’s play at a piano is one particularly enjoyable one, although most such moments are more sombre.
Direct speech is so rare in this novel that when it comes it has the shock value of colloquial spoken language in an opera. Unfortunately Kohl’s conversational dialogue never seems to be character-revealing or quirky but is nearly always dully functional. As a result, every character is shadowy, practically gagged, filtered as they are through the reporting of them by Port. People become types- the gym-honed divorcée, the vain and absentee conservatoire professor, the woolly headed elderly aunt. Even a late-night, whispered phone conversation between Port and Lana, a childhood almost-sweetheart, is glossed in this way. Port tunes us out almost at “hello” and tells us we would be better to hear just his own version of events as his memory is better!
One is left with many unanswered questions so in some ways the book does succeed in living on in the mind long after it is put down. Unfortunately this is mainly because the mysteries, miracles and murder that are at work through the plot seem to hold absolutely no curiosity for Port, his family, the conservatoire – or even the local crime department!
There is certainly much evidence of poetic promise here. But sadly, what lingered for me was not fascination but more a sense of disappointment. An undoubtedly inspired idea for a narrative – and a setting rich with dramatic possibility – had sadly been submerged by an incomplete technical and interpretive mastery.
‘That Iron String’ by Jack Kohl is published by The Pauktaug Press and is available from Amazon and other online retailers
On Friday 4th September, I took part in a very special concert celebrating the life of Hannah Lindfield, a young woman who died in November 2014. Hannah suffered all her life from a rare genetic disorder called Pfeiffer Syndrome that causes the bones of the skull to fuse together so it cannot grow properly. Hannah was in and out of hospital all her life until her premature death at the age of 23 in November 2014. She was deaf and registered blind but despite this she was a talented artist with a wonderful sense of colour and an incredible personal story.
Speaking about her art, Hannah said:
“it allows me to communicate my emotions and fears to doctors and loved ones and to act as therapy to get myself through difficult and painful times. Furthermore, this is also why colour is so important in my art, as it allows me to communicate emotion”
A selection of Hannah’s art:
My duo partner Lee Varney and I were approached by members of the medical team at UCLH who cared for Hannah to organise a fundraising concert to enable Hannah’s family to publish her autobiography and also to make a significant contribution to Headlines, the craniofacial charity which offered invaluable support to Hannah and her family.
The venue for the concert was St-Mary-le-Bow in the City of London, home of the famous Bow Bells. With a capacity of c200, we knew this was going to be “the big one” and we were determined to plan the event meticulously to ensure it was very special and memorable for everyone. We invited guest performers to take part, and having these wonderful professional musicians on board, who gave up their precious time and their fees, took the event to a whole new level. In addition, we organised an exhibition of Hannah’s paintings and the opportunity for guests to purchase prints of her art, with all profits going into the charity fund.
The programme was planned carefully to include music that was reflective and poignant, and the concert was preceded by a touching tribute by Hannah’s father, Mark Lindfield. He spoke of his daughter’s incredible bravery, her talents and joie de vivre, and her determination not to allow her condition to prevent her from enjoying life to the full. When it was clear that Hannah could undergo no further surgery, her decision to leave intensive care to be cared for at home reveals an incredibly mature and stoical young woman. He also praised the NHS who cared for Hannah all her life, at Great Ormond Street Hospital for Sick Children and UCLH, and also Headlines, the charity which offered Hannah and her family so much support and reminded them that they were not alone with the condition.
The concert closed with a standing ovation, led by Hannah’s family, a very moving tribute to Hannah. It was a huge privilege to be involved in such a wonderful event, and to work with a fantastic group of talented and committed people. I think we were all conscious of the enormity of the occasion and played with a heightened awareness, which resulted in a really beautiful concert.
Events like this do not happen automatically, and we relied upon a great team of willing and enthusiastic volunteers to ensure the event ran smoothly on the night, to whom we offer heartfelt thanks:
Front of house and bar: Mary Newton (UCLH) and her family, Dot Fraser, Rebecca Singerman-Knight and Nick Marlowe
I would also like to offer my personal thanks to Lee, who in addition to holding down a stressful full-time job in the anaesthetics department at UCLH, learnt all the music and organised rehearsals, as well as running the majority of the admin for the event.
Thank you again to everyone who helped make it happen
Acclaimed Norwegian pianist Leif Ove Andsnes has been spending a lot of time with Beethoven: four years in fact, as Andsnes has journeyed physically and metaphorically through the five piano concerti to understand and interpret one of the greatest sets of works for piano ever written. This extraordinary journey ended, perhaps appropriately, at this year’s Proms, the greatest festival of classical music on the planet, where Andsnes performed to a packed Royal Albert Hall.
Along the way, Andsnes has been followed by award-winning film-maker Phil Grabsky and his Seventh Art team, and the result is a remarkably absorbing, insightful and beautifully-crafted portrait of both pianist and music. Following the chronology of the five concerti, we hear directly from this articulate and intelligent musician as he speaks honestly and humbly about the unique characteristics of each concerto, the development of Beethoven’s artistic vision, and his personal connection with this music. His decision to devote four years of his life to one single composer, and specifically the five piano concerti, is clearly one he relishes and he speaks of his special relationship with the music of Beethoven, which developed when he was still a young performer. We see Andsnes working with the Mahler Chamber Orchestra (with whom he has also recorded these works), practising at home and interacting with other musicians, including the conductor Gustavo Dudamel, as well as friends, colleagues and family. These interactions are mirrored by glimpses, though Beethoven’s letters, of the relationship between the composer and his world. Detailed footage from the concerts in Prague forms the main structure of the film, offering the viewer wonderful shots of both pianist and orchestral musicians at work, as well as a fascinating insight into the day-to-day life of a busy international performing and recording artist.
Part composer biography, part personal diary, this intelligent and accessible film is a must for anyone who loves this music, or who has enjoyed Andsnes in concert or on disc. The film is released on 7th September and is being screened at selected cinemas across the UK (details of screenings here). View a trailer of the film:
Director Phil Grabsky says “I knew this exclusive journey with Leif Ove would allow me access to great performance – but I had no idea it would be this great. These became the best reviewed concerts of the past few years and I was on stage to record them. Even more importantly the music and Leif Ove’s intelligent and accessible insight creates a staggeringly interesting new biography of arguably the greatest composer of all time. (source: Seventh Art press release).
Who or what inspired you to take up composing, and pursue a career in music?
I come from a household of musicians. My father brought the family over from Australia in 1970 in pursuit of his dream to be an opera singer. He worked at Covent Garden and Glyndebourne for a while and my earliest musical memories were of curling up on velvet seats in dark, dusty auditoriums listening to music that didn’t make much sense at all! My mother’s musical tastes were pretty eclectic – I remember a lot of Chopin, heavy metal and Wichita Linesman on repeat. I learnt piano and violin as a child, mainly under duress and sadly, often felt all at sea, happier with books and paints.
In October 1983 I heard my first piece of ‘contemporary music’ in a composition class at Surrey University taken by George Mowat Brown – Der kranke mond from Schoenberg’s Pierrot Lunaire. It was an absolute revelation…it sounds ridiculously emotive but honestly, it was like coming home. I wrote my first piece the same day, eventually played by the brilliant composer and clarinettist Sohrab Uduman, and from then I’ve been on my composing journey. ‘Modern music’ took a hold of me in a way that I couldn’t resist. I wanted to be part of this extraordinary world of sound.
Who or what were the most significant influences on your musical life and career as a composer?
Of course, looking back now I thank my parents for keeping me at it as a kid, for giving me wonderful opportunities and indeed for filling my head with music (that I have come to like somewhat!) George Mowat Brown believed in my ability and Susan Bradshaw told me that she’d never known anyone write so much music with so little technique – George gave me the get up and go, Susan, the desire to learn how to do this tough composing job. Nicola Lefanu was a huge influence on me as a student (and still is) – her encouragement, sometimes sternly critical, has been a foundation for much of my work and I respect her work ethic (and her music indeed) immensely. John Baily and Veronica Doubleday opened my eyes and ears to the music and people of Afghanistan and the last 14 years have been devoted more or less to exploring the extraordinary musical traditions of this country. And then there are the countless performers who have taken the time to learn, understand and play my music. Amongst them, I count Peter Sheppard Skaerved who helped me resurrect myself during periods of creative despondency with his untiring belief in what I do; Rusne Mataityte who understands the heart of my music so well; Andrew Sparling who played my early works with such total commitment and showed me that anything was possible! And most recently, my partner Richard Dunn for whom I wrote my first piece after a 5 year break away from composing. Thank goodness for his inspiration!
What have been the greatest challenges of your career so far?
Starting again in my mid 40s after a long break away. Coming to terms with how the musical world had moved on, how very many more composers are out there now, how technology has become so important in terms of promotion, how hugely competitive the composing world is now. Of course, it always has been but the pool seems so terrifyingly huge now.
What are the special challenges/pleasures of working on a commissioned piece?
I am less worried about working to commission now and I like deadlines. I think people know my music well enough to know what they are getting so now I just write the best piece I can, really thinking about the qualities of the people I am writing for. Recently, I’ve written works for four different pianists, each with such special and defining qualities. I think that all the pieces sound like ‘me’ but each reflects, I hope, something of the technical prowess or quirkiness or passion of the players. And course, the relationship you build up with a player through writing something just for them is a hugely intense one, challenging on both sides – how terrifying it might be for some performers to share their interpretation with the composer that first time.
Which works are you most proud of?
I have recently been working as Composer-in-Residence with an American ensemble Cuatro Puntos, a group who are dedicated to global co-operation and peace through the teaching and performance of music in some of the most dangerous and deprived areas of the world. This August, two of the group’s members, Kevin and Holly Bishop traveled to Kabul to work with the young girls of the Afghanistan National Institute of Music, recording some pieces I had written for them based of Afghan songs and dances, to be integrated into a large cycle of works entitled Gulistan-e Nur (The Rosegarden of Light). Quite literally, Kevin and Holly risked their lives this August, working as explosions went off around them during one of the worst periods of recent bombings in Kabul. I am immensely proud, and privileged beyond words to have the chance to work with Cuatro Puntos and the students and staff of ANIM. And delighted that their playing will be heard by many people in America this September and in the UK and Berlin next year during tours of The Rosegarden of Light Project Tours. http://www.afghanistannationalinstituteofmusic.org/ http://www.cuatropuntos.org/about-us.html
I spend much of my composing time questioning why I bother adding to the volume of new music, and my pieces related to Afghanistan and Lithuania (The Light Garden Trilogy, An Unexpected Light) offer some answer. They are concerned with bringing to light the endlessly beautiful, witty, dramatic and ‘real’ traditional music that can now only be heard on ancient recordings. My interaction with other musical cultures is the driving force behind most of my writing and I gladly welcome all the political connotations and misunderstandings that such an interaction can engender. I was accused by an American reviewer many years ago of writing a piece of music I was accused by an American reviewer many years ago of musical terrorism – he described a performance of one of my Afghan works in Carnegie Hall as the equivalent of my writing a piece in support of the IRA and having it played in the Albert Hall. It was a ridiculous statement but I am rather proud of it – it was a piece that said something important about the state of things.
Who are your favourite musicians/composers?
Too hard! This morning I was listening to John Coltrane’s mellow album Ballads from 1962. He made it at the same time he was thrilling and confounding the world with his pioneering free jazz. I love the easy way all these musics can co-exist in the hands of a master. He’s great, so let’s say John Coltrane today.
What is your most memorable concert experience?
Watching my 5 year old daughter jump up (from being asleep) in the middle of an execrable piece of music (can I say that?) at Blackheath Concert Halls, exclaiming “Stop that horrible noise!”
What do you consider to be the most important ideas and concepts to impart to aspiring musicians?
Work harder than you think possible. Make it your duty to work at your technique. Be generous to people. Support other composers. Never take performers for granted. Listen to everyone’s point of view. Don’t panic when things aren’t running as smoothly as you’d like. Learn from your mistakes. Listen deeply and intelligently. Take every opportunity that is offered to you. Be passionate about what you do (quietly if you want!) Remember that the musical world intersects with every other bit of your experience so make music part of your life, not all of your life – your music will be better for it. Don’t give up. Don’t be scared.
Where would you like to be in 10 years’ time?
By the sea.
What is your idea of perfect happiness?
There’s no such thing.
What is your most treasured possession?
My daughter (yes, I know, she’s not a possession, but she is my treasure.)
What do you enjoy doing most?
Laughing.
What is your present state of mind?
Accommodating – my cat has slowly taken over more and more of the chair I’m sitting on to write this and I am now balancing on the edge with my feet jammed against the skirting board!
Sadie’s music has been performed and broadcast across the globe in venues such as Carnegie Hall, Sydney Opera House, Vilnius Philharmonie Hall and the SBC, with works released to critical acclaim on Naxos, NMC, Cadenza, Toccata Classics, Sargasso, BML, Divine Art/Metier, and Clarinet Classics. Many of her compositions have been inspired by the traditional musics of old and extant cultures with cycles of pieces based on the folk music of Afghanistan, Lithuania, the Isle of Skye, the Northern Caucasus and the UK.
Highlights of 2015 include the release of a portrait CD by Toccata Classics, appointment as Cuatro Puntos
Composer-in-Residence 2015-16 and Guest Directorship of the 2015 Irish Composition Summer School. Notable 2015 performances include works at the International Mozart Festival in Johannesburg, in Pietermaritzburg and Stellenbosch, SA (Renée Reznek), Late Music Festival (Chimera and the Albany Trio),
Bergen Music Festival (Peter Sheppard Skaerved), Club Inégales (Dr. K Sextet), Bristol (SCAW), Seaton
(Trittico), Isle of Rasaay (Sarah Watts/Antony Clare/Laurence Perkins), Huddersfield (Nancy Ruffer), York Spring Festival (Geert Callert), National Portrait Gallery and Wiltons (Peter Sheppard/Eve Daniel/Roderick Chadwick), Holbourne Museum (Elizabeth Walker/Richard Shaw), Shaftesbury (Madeleine Mitchell/Geoff Poole) and Hartford, Connecticut (including radio and TV broadcasts with Cuatro Puntos and the Hartford Community Orchestra). September 2015 will see the premiere with 10 subsequent performances of Gulistane-Nur for string sextet and youth ensemble in Boston, Massachusetts and Connecticut, supported by an Arts Council England International Development Award and the Ambache Charitable Trust. Sadie is currently writing works for the Afghanistan National Youth Orchestra (Kabul, December 2015), Rusne Mataityte/ Sergey Okrushko (Vilnius, September 2016), Frano Kakarigi (Granada, November 2015) and David Heyes (Teppo-Fest 2016). Sadie’s music is published by UYMP and Recital Music. She has several works on the Trinity Examination Syllabus and in the ABRSM Spectrum Series. Full details of her past and current works can be found at www.uymp.co.uk and on her website www.sadieharrisoncomposer.co.uk
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Lifting the lid on the intrigue and intense rivalries of the concert artist’s world, That Iron String unearths shocking violence with quite clinical detachment, in a way that endures the story will live with the reader for some time after the turning of the final page.
The Cross-Eyed Pianist 