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Friday Night Smoke on MDL and DPD delivered what they promised but were wrong about me having to be there to sign for it
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- And now a photo-drone in a London shop window
- MDL and DPD delivered what they promised but were wrong about me having to be there to sign for it
- At the Libertarian Home cost of living debate
- The death of email?
- Only with a computer
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Category archive: Classical music
Yes, there I was, relaxing in one of the big old armchairs that Mr Gramex reckons have made him so much money over the years, and this guy shows up at the door wanting to photo the CDs.
Mr Gramex has no objection, so, he does. And I photo him. This is what this looked like:
I thought I was the only one who did things like photo CDs in CD shops. Why was he doing this? He was evasive. My guess is some kind of project photoing lots of different stuff in lots of different London shops. Or, maybe wherever he goes, in life, he photos stuff in shops, the way I photo photographers. He said he was from Turkey.
Mr Gramex was very keen that Mr Turkey should also go outside and photo the window display, which he did. Even if he actually cared nothing for this window display the marginal cost of digital photography is zero and if that was how to keep in with Mr Gramex, fine, he’d do it. Which is when I took the photo on the right. Click on that photo, and, in the event that you care at all, you can see me photoing, reflected in the shop window, bottom right.
The bike in the middle picture belongs to Mr Gramex. As you can see from the reviews here, Gramex does not suit everyone. But it suits the people it suits very well.
New Yorker classical music critic Alex Ross writes about how he still loves his classical CDs. Partly, he admits, it’s nostalgia. CDs were such a huge leap forward when they first arrived that that moment of pure joy is very hard to turn your back on. I can still remember what my first CDs were: Nielsen 3, Brahms Sextets, Barenboim complete Beethoven piano sonatas, Strauss Alpine Symphony … Then there was the realisation that classical CDs would just get cheaper and cheaper and abundanter and abundanter, and then very soon the reality of that happy circumstance. Gramex Boss Hewland prices his stuff with more than half an eye to what Amazon charges, and it remains worthwhile to visit Gramex from time to time, even as all the other central London second hand CD emporia have faded away. He piles them high and sells them cheap.
Yes, the physical space occupied by CDs is a problem. Those piles can get very high. (Visit my home to see that problem on an enormous scale.) But, for me, the internet remains an unenticing place to purchase and play classical music. I have accumulated some virtual titles, as a result of buying them new on Amazon and having an additional “cloud” version of the same thing piped into my computer. But I wouldn’t want to be without the CDs whose purchase provoked this additional twenty first century response.
I wrote recently about the value of keeping things separate, in my case my big home computer and my music making equipment. Even as my big home computer continues not to materialise, I still have music as good as ever, with no messing with some new kind of system to make it work.
But the central problem with classical music on the internet is that it remains, I believe, a mess. Pop music having overwhelmed classical music economically during the last hundred years or so, pop music is the big driver of internet music, and internet music is entirely organised for the benefit of pop fans, and their discreet tracks. We classicists are liable, as Alex Ross explains, to get lumbered with such things as John Eliot Gardiner’s Beethoven Nine labelled as being the work of Lyuba Organosova, merely because she tops of the list of soloists for the final movement. The labelling of classical tracks on Amazon, where they offer you little snippets to listen to, is routinely done by naming the pieces with such things as their tempo or loudness markings, while neglecting to tell you what the piece is or what number movement it is. They just can’t be bothered to get it right. Fair enough. I understand why they can’t be bothered. We classicists aren’t worth bothering with. Buy the CD or don’t and consider yourself lucky, is the message. Until someone really big and well organised does bother about it, classical music on the internet will remain an off-putting afterthought, piggybacking systems devised for something else, rather than an enticing attraction.
When things get reissued, the labelling is liable to go completely to buggery. I, for instance, have that Barenboim set of Beethoven sonatas on EMI from way back, long before the internet, when it first came out as a set of CDs. Since then it has been reissued. So, when the internet tries to assist me in cataloguing recordings I myself have made of it onto my hard disc, it gets it all wrong. Useless.
Classical music on the internet will eventually get sorted out. And when it does, I will, if not dead, presumably hear about it from my classical music mags. A consensus will be announced, saying things like “Classical CDs really are pointless nowadays”, and when you read such articles, it will, after about a decade of premature enthusiasm of the geek-bollocks sort ("all you have to do is blah blah dance on the head of twenty seven pins blah blah blah turn seventy three cartwheels blah blah blah what could be easier? … yes it might all crash but to solve that blah blah blah ..."), eventually become true. A actual, real world majority of Classical freaks will be using this single, best arrangement, and it will work, all the time, like email. Or not.
Even when such a new classical dispensation does emerge, I will probably not bother to switch. It’s not just sunk costs; it will also be declining costs. As internet classical music becomes ever more appealing, so the price of mere CDs will sink and sink, until all of them can be purchased by me from Amazon, for £0.01 plus postage.
Meanwhile, I like that my CD filing system (aka my CD collection) is always accurate. When I dig up a CD that says it is so-and-so’s recording of Brahms 4, it is, and then when I play it, it will be played in the right order. Notes will be to hand to read about this recording if I want to, conveniently stored right next to the CD.
I do have lots of virtual music, as an addendum to my CDs, like those files that Amazon spontaneously volunteers, and like stuff I have recorded from the radio. But the latter starts out being called something like DAB002, and I have never sorted out how to file it conveniently, or even to edit it into individual performances. Life is too short to be bothering. Why edit, when CDs are already edited. Virtual music is strictly an afterthought for me. Plastic music remains the thing itself, for me. And (see above) I don’t believe I’m just being sentimental, even if I am somewhat.
You wait years for a classical music posting at BrianMicklethwaitDotCom, and then two come along in three days. The day before yesterday there was one such. Now there is this one.
Goddaughter 2, who is an aspiring classical singer, told me something this evening that many people in the world have long known but which I did not know, until now. Or maybe I sort of knew it, but was glad to have my knowledge firmed up into real knowledge. What GD2 said was: that the process of having a child, if you are a lady singer, can radically alter or even ruin your voice. Something to do with hormones and muscles, and such things. A friend of hers, who was a mezzo soprano, had a child, and became a soprano. I.e. in plainer English, her voice went up higher. Another singer, hired to sing at a noted provincial opera house in France because she was known already to have been very good in the part, had a child between being hired and the performances, and she had to be sacked because she went from excellent at singing to no good at all.
What a cruel world.
That posting I did the other day about how a really fast computer perfectly fills in for the imperfections of my own deteriorating mental processes may not have impressed anyone else, but it impressed me. And now I am listening to Beethoven symphonies on my CD player, and I am thinking that something similar may happen between a really good symphony orchestra and a conductor.
“Great conductors” are famous for carrying on into their dotage. Lots of people have written and talked about this. The Great Conductor’s grasp of everyday life and its processes collapses, yet the great man’s ability to go on conducting seems mysteriously unimpaired. Why?
This only applies to “great conductors”. Merely good conductors have to jack it in. Again, why? Why this difference? Why do only the Great Conductors often keep going so long?
The usual answers to questions about why this happens tend to focus on the mental processes of the Great Man himself, and upon the magical power of music to improve the brain, or in this case prevent its collapse. But how about considering also the musicians whom they conduct, and the general situation that conductors in generally tend to find themselves in as they get old, and how about also the essence of what a conductor does and does not do, when he is conducting.
A merely good conductor doesn’t get to conduct a Great Orchestra, and accordingly, his job is to make merely good orchestras, or even not that good orchestras play better. Lots of instructions and arguments are involved. You’re doing this, you ought to be doing it like this, and so on. So our merely good conductor finds himself in circumstances where his declining mental abilities are often cruelly exposed. He forgets what he said to the first oboist ten seconds ago, and so so. And, being merely good, and there being plenty of other merely good conductors available, our merely good conductor in due course gets a free transfer into conducting retirement.
But now consider the Great Conductor. He is conducting a Great Orchestra. Because he can. Two circumstances now prevail which are absent when a merely good conductor conducts a merely good orchestra. First, the concert is a sell-out, every time. The CDs continue to sell, no matter how much bodging and stitching and patching up the engineers have to do afterwords. (All sorts of rumours circulate in classical music about this kind of thing.) But second, crucially, the Great Conductor is not called upon to do anything except conduct the Great Orchestra that he is still able to be put at the front of.
I surmise that if you are conducting a Great Orchestra, the effect is rather similar to the effect I described of me sitting at the keyboard of a super-fast state-of-the-art computer (such as I am still being deprived of as I type this). I type and the computer reacts immediately. I switch from one thing to another, and the computer follows me, instantaneously. Well, does not rather the same thing apply when a Great Conductor conducts a Great Orchestra? I suspect it does.
What goes ragged and unreliable when you get old is memory, short-term being especially embarrassing, but basically all varieties of it. But what remains, typically, is your senses, your grasp of right now. And conducting is all about being, as modern parlance has it, “in the moment”, “in the now”. What matters is what you are telling the orchestra to do, right now, and they do it, right now, in the same moment. This, we oldies can still be a part of. What we can’t do is always remember precisely how things went ten seconds ago, or yesterday, or a week ago. But guess what, when you are conducing, you don’t need to think about that! In fact, it may even be an advantage if you make a habit of not thinking about that. Insofar as you do need to be reminded of where you’ve got to, the orchestra does this, by playing what must now be played.
What I am surmising is: it’s not that the Great Conductors are “kept young” by the process of conducting an orchestra and by the gloriousness of the music itself. What is happening here is that as a Great Conductor gets old, at much the same rate and in much the same way that the rest of us do, he finds himself in a situation where the kinds of deteriorations that happen to us all do not matter. The show is able to go on for about another decade or more beyond when you would think it should have ground to an embarrassing halt. His wife has to butter his toast and remind him which symphony he is about to conduct and tell him which city they are in. But once the playing begins, all is well. Any conducting mistakes, and the orchestra irons them out, which may even keep them more alert and awake.
For yes, being conducted by a really old Great Conductor may even work better than usual. A sixty year old Great Conductor may have all kinds of tyrannical and complicated ideas about how to interpret the music which he may insist on talking about at insulting length during rehearsals. He may want to rearrange the orchestra’s membership. He may be a bully and a tyrant. And he may still be quite good at all this, as in: able to make life hell for the orchestra. But all that one of these ninety five year old Great Conductors is able to do is wave a stick in front of the orchestra on the night. The occasional unclear wobble of that stick is not a problem. A great orchestra just takes its cue from its leader and its various section leaders. They know how to play well, no matter what idiocy is going on on the podium, especially if they have played the piece lots of times before with the Great Conductor.
The key variable may simply be: do they like the Great Conductor, or do they not? Perhaps fifteen years ago he was a sadistic bastard, in which case as soon as he starts forgetting people’s names or forgetting what he was trying to say a moment ago in rehearsal, then he is gently but firmly told to stop. But, if they like the old geezer, then all he has to do is stand in front of them on the night, and they are easily able to turn his increasingly vague wavings into a performance of genuine substance and distinction.
Don’t get me wrong. The Great Conductor is still truly great. He is still contributing that certain special something that even the greatest orchestras – perhaps especially the greatest orchestras – do truly need. But that’s now all that the Great Conductor is contributing. And that, if you think about it, could be just about the perfect arrangement for all concerned.
Scrub all of the above if the conductor goes deaf, as Beethoven did quite early in his life. He had to give up performing altogether, and concentrate entirely on composing. Poor old Beethoven. Lucky old us.
Is not socialism truly stranger than a chorus of singing penguins?
LOL. I really did.
Just to add, as a memo to self, I have another musical-stroke-Venezuela blog posting to do at Samizdata, concerning something said by a BBC4 TV presenter at a Prom, following a performance of Mahler’s Resurrection Symphony by Gustavo Dudamel and his Venezuelan orchestra, about what a wonderful vision it was of the world for one bloke to be telling everyone else what to do. I have the exact words (in addition to Mahler’s Resurrection Symphony) recorded, and I must dig them out. They were truly spectacular, as in: spectacularly stupid.
The BBC worships all things Venezuelan, but has gone rather quieter about that now.
Richard Morrison’s article about the impact of WW1 on music, for the Times, is very interesting, but it suffers from an outbreak of PID (Permanent Italics Disease). This is when you switch on the italics, but then forget or fail to switch them off again. Here is a screen capture of the offending moment and its surroundings:
This was posted on August 16th, in connection with a Prom that happened last night, but it has yet to be corrected, as I write this.
PID is particularly pernicious when it afflicts not only the rest of the text of the piece itself, but then continues throughout the entire page as you see it, as it does here. That is a site software blunder, as well as a posting blunder.
I got to this piece via Arts and Letters Daily, which perhaps explains how I got to it at all, what with the Times paywall and all. Does anyone know how that system is working out for the Times?
It seems a bit shoddy that you have to pay for such typographical ineptitude. It’s not so much the original error that I am unimpressed by. It’s the fact that nobody quickly corrected it. And the fact that the site software doesn’t confine the problem to the one posting.
To be a bit more serious, about the content of the article, I have long regretted Schoenberg’s depressing impact upon music, but I had no idea that the man himself was such a German chauvinist. “Now we will throw these mediocre kitschmongers into slavery, and teach them to venerate the German spirit and to worship the German God …” Good grief.
I go to Lower Marsh because second hand CD shop Gramex is there. (Gramex now has a new website.) But Lower Marsh also seems to be a place where I regularly espy interesting vehicles.
And then, the day before yesterday, there was this “Vespa GS” (I have another less nice photo which shows that clearly written on the front):
Even I could tell it was some kind of classic, and so it proved.
It’s the white bits on the tires that really makes my nostalgia kick in. All the coolest cars and bikes had white walled tires when I was a kid.
Goddaughter 2 is at the very early, tadpole stage of becoming an opera star. She has already been identified as possessing operatic superpowers, but there are, of course, many obstacles for her still to overcome. So, fingers crossed.
This summer she will be performing at a Festival in Belle-Île, which is off the south coast of Brittany. Her family, who live in Brittany, are kindly including me in their expedition to see and hear GD2 in action.
Obviously, there is a Festival website, and equally obviously it is basically a French thing, but it also supplies an English translation:
Welcome to the Festival lyrique international de Belle-Île-en-Mer.
With much excitement, the preparations for our 2014 season are well underway, with artists from all over the world preparing to travel to Belle-Île to rehearse and perform two dramatic masterpieces, Leoncavallo’s I Pagliacci and Puccini’s Gianni Schicchi. Meanwhile the Festival Choir is busy rehearsing Haydn’s sublime oratorio The Creation, heard for the first time on the island. There will be an orchestral Mozart evening, the ever-popular Ad Libitum gala concert, early-evening recitals by our young artists at the Café Bleu in Sauzon, and a series of masterclasses.
As the excitement builds, we hope you will join our festival family, and be a part of this rich, unique and inspiring season.
Which is fine. But before reading that, on account of having not at first realised that they offered their own English version of the above, I accepted an offer from a little window at the top right of my screen to do a translation of the French original of the above, with some sort of mechanised-computerised process.
It went like this:
Welcome to the International Opera Festival of Belle-Ile-en-Mer.
The preparations for the 2014 season are progressing well, with joyful excitement. Artists from around the world are preparing to come to Belle-Ile to rehearse and perform two masterpieces lyric, Leoncavallo Pagliacci and Gianni Schicchi by Puccini which will be donated to Arletty room. Meanwhile the choir festival works and repeats Creation, sublime oratorio by Haydn, which will be given for the first time on the island, in the churches and the Cathedral of Vannes. Also on the program, the Citadelle Vauban, an orchestral concert of Mozart and the ever popular concert Ad Libitum. Finally, two concerts of our talents in the late afternoon at Café Bleu in Sauzon and a week of master classes.
While riding the excitement, we hope you will join the family of opera festival and be this rich season unique and exciting.
Which I prefer. It’s actually not that bad. Most of the mistakes seem to consist of getting words in the order wrong.
The Salle Arletty is mentioned in the original French version, so it also gets a mention in the mechanised English version as a place to which musical performances will be donated.
For the original French version, go here.
My family used to go on holidays to the southern coast of Brittany when I was small, to a place from which you could see Belle-Île, but we never actually visited it. Expect Belle-Île photos here, when all this happens. Are you already riding the excitement?
Spent the afternoon and evening out with Goddaughter 2. On our travels we encountered a poster advertising the movie Noah. My opinion of Hollywood action movies is that they shrink all stories that they start with back to just the one story which is the same story every time. I asked if that was true also of Noah. Yes, replied Goddaughter 2:
It is basically Transformers with a boat.
LOL. As in: I actually did. Goddaughter 2 also sounds like an action movie, I think.
When I should have been taking my early evening nap, we were instead watching Cosi Fan Tutte at the Imax, and I struggled to stay awake. Not that it was bad. If it had been bad I would have just gone to sleep. But it was good, so I kept on postponing my nap, for about four hours. The result of all this is that I am too now tired to be saying anything more than what you just read.
Well, one other thing. We met under the Big Blue Cock in Trafalgar Square, my thinking in choosing this spot being that you aren’t going to get it wrong. There are no other Big Blue Cocks in London, and you can’t miss it.
We both like it very much.
On Sunday morning, just before attempting to visit a friend, I discovered that I did not have my wallet in its usual pocket. Frantic search around my home, nothing. Must have left it somewhere on Saturday. But where? Frantic expedition to the supermarket in Lower Marsh, which I visited on Saturday evening. No. Nothing. Start walking back home. Then remember, was in Marie’s Cafe, Lower Marsh, after being in supermarket. It has to be there. But, it’s Sunday. Will Marie’s Cafe in Lower Marsh be open? Go back past supermarket to Marie’s Cafe. Shut. Only when I go back to Marie’s Cafe yesterday do I discover that they have it. All is present and correct. Debit card, money, other crap.
Thank you Marie’s Cafe:
So, basically, I am back to where I was on Saturday night. But, feel ludicrously happy for all the rest of Monday. And am happy still.
To quote myself, after an earlier episode of a similar sort:
The ridiculousness of the pleasure I now feel is that all I did was correct a stupid mistake, with much fuss and bother and dust up my nose.
This time around, the dust up the nose was only metaphorical. That time it was literal, because that previous piece of error correction was error correction that involved a vacuum cleaner.
But pleasure is what I feel, and I am going now to continue to enjoy it.
Marie’s Cafe has for some time now been my favourite eating out place in London. Used to be the West End Kitchen in Panton Street. Mainly it’s the food, and what it costs. But there is also the fact that all the classical CD places in the West End have vanished and only Gramex, also in Lower Marsh, remains.
I see that the latest review at the other end of that link say that Marie’s Cafe is “overrated and overcrowded”. Which is hardly her fault. Personally, what I especially like is that there is a table for one right near the front door that is almost never in use, and I have started sitting there whatever the scrimmage state elsewhere.
Interesting. I just looked at a particular classical CD on amazon.co.uk, and it told me I’d already ordered it, last October. As it happens, I knew this. I was just looking to see what had been happening to the price of the CD in question. But I am impressed that they reminded me.
In general, Amazon has a clunky, even twentieth century feel to it. Which for a clunky twentieth century guy is very reassuring.
The automatic delivery to my computer of audio files of CDs I have already ordered in plastic form is very cunning. It all arrives on my computer automatically, and arranges itself on something called my Cloud Player. It is now late at night, and although the speakers on my computer are nothing like as good as my real speakers on my real CD player, they are nearer and can thus be quieter. I’m playing one of these audio files now, which is one I have ordered in plasticated form but which has not yet arrived. This way, I can play it as soon as I pay for it, just as if I was living in the twenty first century!
And I’ve got to admit that there is something rather agreeable about not having to get out of my chair to hear music.
Christopher Seaman, in his book Inside Conducting (pp. 89-90):
If you truly love a work, you’re bound to feel emotionally involved while you’re conducting it, and if this doesn’t get across to the musicians you’ll get a cold performance. Some conductors need to use bigger gestures than others to communicate with an orchestra. It takes great aptitude and long experience to pour your heart out yet still maintain the necessary composure. Professional musicians don’t need a good conductor to be over-demonstrative in order to pick up his musical ideas and feelings. I sometimes tell students who thrash around ineffectively with paroxysms of emotion that they’re meant to be cooking the music, not eating it. (The French term for conductor is chef d’orchestre, but that’s a coincidence.) James Levine is reputed to have said, “My tears only hurt my ability to make the audience cry.” And Richard Strauss said to Rudolf Schwarz, “Don’t sweat – let the orchestra sweat. Don’t weep – let the public weep!”
I came across an approving reference to the bit about “cooking the music, not eating it” in a review of this book in the BBC Music Magazine, November 2013 issue.
I do like how you can chase these things up properly nowadays.
Tomorrow evening the 2014 BAFTA Awards shindig will be happening, at the Royal Opera House Covent Garden. Roger Hewland, proprietor of Gramex (Records and CDs), Lower Marsh, told me this afternoon that BAFTA is paying the ROH three quarters of a million quid for this privilege. Where RH picked this titbit up, I do not know, but it sounds a lot, doesn’t it?
Below is a picture that I recently took myself of the ROH. If you google for pictures of the ROH, you mostly get either interiors, or else the big Parthenon-like front entrance. But when I was at that Rooftop Bar I recently visited, I took this snap of the ROH:
What strikes me is how modern it looks. It’s just a big box. The decoration is no more than a gesture. I know, I know, that’s because nobody can see this bit, this being before the age of buildings taller than this, from which people can look down. But even so, you can see architectural modernism all present and correct, just waiting to emerge.
I have my favourite bloggers. Mick Hartley, 6k and David Thompson being my most regular visitees. Two of these three (see those two links) often put up clips of their favourite bits of music, which I pretty much always ignore. Often, when confronted by other people’s favourite musical snippets, I already have music playing, on my separate music box which is nothing to do with my computer and which therefore works when I most need it, which is when my computer is not working.
I tend not to do stick up bits of my favourite sort of music, which is classical. Partly I’m lazy and am not very clever about putting up Youtube clips here. But I could put up lots of links (one follows below) to classical stuff. But, I tend not to. There are enough reasons for people to strike this blog off their weekly-read list or whatever, without me putting them off even more with bits of classical music.
Now, first off, I have no problem with bloggers posting whatever they like. Their gaff their rules. I put whatever I like (as in like to put) here, and they can put whatever they like to put at their places. But, am I the only one who almost always ignores music at other people’s blogs? Most of us like lots of random bits of pop music, old and new. In my case, there’s also a ton of classical classics I like a lot, and others also have their favourite genres that they know all about, adore some of and like a huge proportion of.
I mention this because, entirely for my own selfish reasons, I particularly want to be able to remind myself of this clip of someone called Yulianna Avdeeva playing Chopin, particularly well to my ear. And maybe that’s it. Bloggers use their blogs as personal filing cabinets, just as I do. They put up bits of music because they want always to be able to get hold of that bit quickly, and now they know they can. The readers can just wait for the next posting, and pick up where they left off. (That link, by the way, is to a bit of classical music at a blog that specialises in classical music. Quite often I do play the clips she features, because her kind of music is my kind of music. What I’m on about here is musical clips at blogs which are mostly about non-musical things.)
I think another point being made with these bits of music is the point I make with my occasional Friday cat blogging, which is that a lot of the appeal of blogging in particular and life in general is pure enjoyment. And music, perhaps more than any other art, and especially when no words are involved or in the case of the more upbeat and silly pop tracks, is all about pure enjoyment.
By the way, when I started writing this, I thought that David Thompson also featured occasional pop snippets. So I went looking for his latest pop snippet, but found that actually he does not do this, or not lately, hence no link to any music at his blog in the second sentence of this posting. But I did find this talk, by Greg Lukianoff, about the growing menace of the I-Am-Offended industry on American campuses. Quite long, but recommended.
SInce I started on this posting, Mick Hartley stuck up another pop clip. Again, I have not listened, and probably won’t ever.
I like this, from David Byrne:
I’m not saying that the artist doesn’t put their feelings into it, or any part of their biography, but that there’s a lot of constraints and considerations and templates that they work with – unconscious decisions or constraints put upon them that guide what they’re going to do.
Otherwise, why didn’t people in the 14th century start writing full-blown operas with giant orchestras and whatever? These things just weren’t available to them. Our imaginations are constrained by all these other things — which is a good thing. There’s kind of a process of evolution that goes on where the creative part of you adapts to whatever circumstances are available to you. And if you decide you want to make pop songs, or whatever, there’s a format. You can push the boundaries pretty far, but it’s still a recognized thing. And if you’re going to do something at Lincoln Center, there’s a pretty prescribed set of things you are going to do. You can push that form, but kind of from inside the genre. So I guess I’m saying that a lot of creative decisions are kind of made for us, and the trick is then working creatively within those constraints.
Happy is the artist whose inner inclinations happen to fit perfectly with the artistic forms he is offered, with audiences as they are - or as he can easily make them.
And, happy is the artist whose artistic wishes are in alignment with his artistic talents.
It is constantly said that “if Mozart had been alive today” he would have done this or that, and in all cases: a lot. But maybe he would have done nothing. Maybe he would have turned away from music-making nowadays in disgust and contempt, or maybe just frustration that it could not be what he wanted it to be. We can never know.