Two things occur to me, writing this blog. One is the need to explain why I am writing it, and the other is to put on record how much I love British arts and culture too. I am truly fortunate to live in the arty English town of Lewes, an hour away from London by train. I want to give you an idea of why I go to London and why I think it is still one of the great cities of the world. For me, it’s the place where I go most often to satisfy my life-long passion for music and art. In the one year I document here, I have been truly inspired by what I’ve seen and heard in good ol’ London Town.

Of course, also for the record, and for all this stuff about the wonders of Europe and, the UK’s foolishly severed relationship with it. I love London – scroll on to see some of my reasons for so doing.

One last thing – if I give the impression of being a bit of a globe-trotter, the truth is that mostly, as all writers, I spend most of my time in a small room here in the lovely town of Lewes in Sussex. In fact, friends tell me that I don’t. go out enough.

27th March 2025

Marie Lys, soprano, Elina Garanča, mezzo-soprano, Piotr Beczala, tenor, William Thomas, bass, Philharmonia Chorus, Philharmonia Orchestra, conducted by Riccardo Muti.

“Neil Fisher, chief music critic of The Times recently interviewed Riccardo Muti and aptly described him as the last of the ‘Big Beasts’. Tickets for this concert were like gold-dust, the hall was packed to the gunwales; there were people standing (with paid tickets) at the rear of the stalls. This was not simply another concert – it was a major musical event…It was not only a huge pleasure to attend this concert, but it was also a privilege and certainly one for the record books.” John Rhodes, Seen and Heard International.

27th March 2025

Petrarch’s rave review has it right. Conquering the heart is what Martini and other 14th-century painters from Siena do in the National Gallery’s devastatingly exact, epochal exhibition about the moment western art came alive. Simone’s painting of Laura is lost but you see why he was the artist for the job. He is so expressive, so tender, exploding any idea of medieval art as remote. Jonathan Jones, The Guardian.

29th April 2025

29TH APRIL 2025

Legions of keyboard fans know that Víkingur Ólafsson  does reflective like few others. Calmness, softness of touch and introspection are among the Icelandic pianist’s widely admired trademarks. It helps make him a perfect performer for the AirPod age……but how does Ólafsson respond to a full orchestra in a large-scale work such as Beethoven’s third piano concerto? The answer, in this opening concert of the Philharmonic Orchestra’s celebrationary 80th season, is that he does it with enviable ease. 

Before the concerto, Santtu-Matias Rouvali conducted the UK premiere of Gabriela Ortiz’s Si el Oxígeno Fuera Verde, which the orchestra had premiered in Amsterdam the previous day. Described by the composer as a fragile green murmur of life, the environmentally inspired work is delicately scored as a bubbling forest of gentle arpeggios and trills, which eventually coheres into an insistent dance with echoes of John Adams and the Stravinsky of The Rite of Spring.

Alongside Ólafsson, who stayed to listen to the second half of the concert, the evening’s star attraction was the Royal Festival Hall organ being played at full throttle. With Notre Dame cathedral’s Olivier Latry at the organ controls, and Rouvali neatly alive to the work’s overall architecture and colours, Saint-Saëns’s third symphony is a guaranteed crowd pleaser for a special occasion – and so it proved.  Martin Kettle, The Guardian

The result is a show that feels adventurous and fresh. Reconsidered by Tsang and Fuenteblanca, his art springs to life. And to top it all, in the show’s climax, we get The Three Dancers displayed on a pretend stage, lifted up in lights for us to examine properly and dramatically. The “dancers” are two women and a man, their figures twisted spikily into an edgy tango. The woman on the left is grimacing grotesquely. The man on the right is silhouetted mysteriously. The dancing nude at their centre seems to be the focus of their tension.

We’re watching a tug of love. I was reminded immediately of Princess Diana’s lament about three in a marriage being a bit crowded. Picasso has cast the central figure in the Camilla Parker Bowles role.The man is clearly Picasso, reduced, typically, to a silhouette. The screaming woman on the left is, surely, his Russian wife Olga, whom he had begun to caricature nastily in his art. The dancing nude is a lover who has come between them.The Tate has other theories and we’ll never know for sure. But what’s excellent here is how excitingly the show has framed the possibilities. It’s been a long time — several years — since an event as stimulating as this opened at Tate Modern. If it were up to me I would leave these rooms exactly as they are for ever, as a thrilling tribute to Picasso. Waldemar Januszczak, Waldemar.tv

2nd November 2025

Is home a place, a feeling, or an idea? Suh asks timely questions about the enigma of home, identity and how we move through and inhabit the world around us. Tate Modern.

2nd November 2025

Kngwarray’s paintings might well remind you of a kind of gestural abstraction they have nothing to do with, and which the artist would never in any case have seen. The things we look at in Kngwarray’s art are about an entirely different order of experience to the similar kinds of brushstrokes driven this way and that around other, more familiar canvases we might also find in Tate Modern, where her retrospective has arrived from the National Gallery of Australia. But this similarity is also one of the reasons Kngwarray became famous in the first place. Adrian Searle, The Guardian.

2nd November 2025

Installation by Carlos Cruz-Diez, 2019.

‘When light comes into contact with an artwork, it changes it completely. My challenge is to reveal to the viewer a reality without a past or a future: my works exist in a perpetual present.’

2nd November 2025

‘Rather unusual for ‘contemporary’ composers, Christian Lindberg actually has his ‘own identity’ – a voice of his own – and not at all derivative of other composers, as tediously customary in ‘contemporary’ music. Lindberg’s Trombone Concert No.4, is a mesmerising masterpiece and was warmly received by an enthused audience.

The elegantly elfistical Santtu-Matias Rouvali conducted a completely flawless performance of Shostakovich’s Fifth Symphony (subtitled ‘A Soviet artist’s practical, creative reply to just criticism’) with all tempos correctly judged from beginning to end: accents, clarity, phrasing, and dynamic range were exceptionally well-judged eliciting a highly charged emotional intensity from his immaculately tuned world-class orchestra.’ Alexander Verney-Elliott, Seen and Heard International.

16th January 2025

Indeed, anyone not au fait with the story of Gesualdo’s colourful life would be perplexed by much they saw here, especially as his two wives appear to be played by the same actress. No help is given in terms of texts (they’re printed in the programme but there are no surtitles) or other factual information.

The show is better seen… as a theatrical representation of Gesualdo’s tortured psyche as reflected in his shockingly chromatic harmonies, rather than a representational biopic. On that level it’s powerful and engrossing, the music extending far beyond contemporary Mannerism to something more like 20th-century Expressionism, expressing deep psychological trauma. Barry Millingon, The Standard.

19th February 2025

The distinctions are so often invoked that some find it hard to believe these artists could have anything in common. Which is precisely the twist of this show. It wants us to look far more closely at these minds and hands at work, and to discover fundamental similarities when the two are brought together. In its originality and insight, its brilliant selection and compelling texts, this is one of the most exhilarating shows I’ve ever seen. Laura Cumming, the Observer.

19th February 2025

Bruckner Symphony No. 8, Philharmonia Orchestra conducted by Lawrence Renes 

A rare appearance in the UK by Sir Donald Runnicles, a longtime fixture of the German classical music scene, had prompted excitement among audiences in London. The proposition of hearing him conduct the Philharmonia in Bruckner’s Symphony no. 8 in C minor stirred the musical loins of Bruckner-lovers, and there was a palpable buzz at the Royal Festival Hall on the evening. Alas, Sir Donald was indisposed, but Lawrence Renes gamely stepped in at short notice to lead the orchestra in the Haas edition of the score.

‘The performance of the symphony (Bruckner’s 8th Symphony) was nothing short of glorious and much of that must be due to Renes’s muscular conducting. His grasp of the structure of the work was palpable, and he revelled in the frequent volcanic eruptions in the work. The Scherzo oozed rhythmic energy, the three harps glistened. The long Adagio started very slowly and I feared the conductor was going to ignore the composer’s express direction Feierlich langsam, aber nicht schleppend (Ceremonially slow but don’t drag); thankfully, Renes soon imposed a slightly faster tempo. He built up the many climaxes with great skill, and the Wagner tubas shone. Indeed, the orchestra played magnificently across all sections, blended woodwind, firm strident brass, thundering timpani (Simon Carrington), mellow horns (led by Lasse Mauritzen) and the percussionist enjoying his two cymbal clashes: and all held together by the lithe and energetic Leader, Zsolt-Tihamér Visontay.

I am now thinking of starting a new blog entitled ‘Bring back Renes’ – or even, ‘Where’s Renes? Perhaps the Philharmonia will invite him back in a coming season with, say, Bruckner’s Fourth? I live in hope; but also hope Sir Donald, restored to full health, will return to a London podium very soon.’ John Rhodes, Seen and Heard International

19th March 2026

What stands out from the outset is the shift in perspective. Rather than presenting modernism as a story that begins in Europe and spreads outward, the exhibition recognises Lagos, Zaria, Ibadan and Enugu as major centres of artistic innovation in their own right. This reframing will resonate strongly with Black British visitors familiar with how cultural histories can be sidelined in mainstream institutions. Here, Nigeria is not the supporting act — it is the focus.

Written by Black History Month UK. 18/11/2025

19th March 2026

There was a time when London’s walls were papered with Mahler 2s; certainly, in the 1980s, performances were regular occurrences with nary a month going by without one or other of the capital’s concert halls having its roof blown off by massed choirs belting out Klopstock.

The Mahler craze has quieted, but there is always space for the mighty sonic edifice of the Second. Fittingly, given the prominence of the brass in Mahler, this performance was dedicated to the memory of trumpeter John Wallace, former Principal Trumpet of the Philharmonia Orchestra….

…Kent Nagano’s Mahler is a known entity, and shares with his Wagner (his ongoing historically-informed Ring cycle in particular, closing with Götterdämmerung in Dresden in May) an x-ray awareness of detail. This was an individual interpretation of the highest rank, as Nagano manages to pair that sense of detail with an awareness of the big picture, allowing climaxes to really register (another commonality with his Wagner).

Nagano also has the ability to create just the right momentum, a trait important everywhere but maybe especially so in the symphony’s opening paragraphs. His conducting technique is near-infallible, too: of all the many Mahler 2’s I have heard, none contained such perfectly controlled Luftpausen as this. Nagano gave space for the contrasting themes; again, just the right amount. It is worth mentioning some individual contributions from the orchestra that stood out: first horn Laurence Davies, and cor anglais player Maxwell Spiers…

…A simply superb trombone solo from Matthew Lewis was another highlight of the evening, as was the velvety sound of trombones and tuba at the ‘Dies irae’ theme. The finale is a movement of extremes, and Mahler piles on the scoring in true late-Romantic fashion. Somehow, Nagano made sense of the thorniest passages like few before him, while honouring the Modernism of the score, more notably in those proto-Ivesian moments of thematic juxtaposition…

…The placing of the off-stage contributions was carefully and effectively thought-through. Jane Archibald was just as special a soloist as Bock, her soprano the perfect complement to Bock’s mezzo. But it was Nagano that choreographed the great choral climax so perfectly, the Philharmonia Chorus beautifully soft on entry, the male voices later creating an imposing wall of sound, Nagano extending the silent pause after ‘Bereite dich’ daringly, as if himself asking, ‘Prepare yourself for what?’. ‘To live,’ came the answer, and how beautifully Archibald crowned the chorus. The Philharmonia Chorus could only be described as fearsomely present in the work’s final stretch; and yet the brass crowned it all, perfectly. Good to hear the RFH organ at full tilt, too. Colin Clarke, Opera Today.

The post Me Going to London and Having a Great Time 2025 – 2026 appeared first on Wolfie Wolfgang.

I’ve been writing about a pleasant weekend trip I took earlier this month around the coast of Kent in the UK.  After Whitstable and Broadstairs, I visited another well-known Kentish seaside resort, Margate which now houses Turner Contemporary, a handsome modern art gallery designed by David Chipperfield and opened in 2011. It sits comfortably on an impressive site by the town’s harbour and sent some panic through the rarefied offices of the World’s potential lending galleries when they thought what might happen to their precious works when displayed so close to the not always friendly North Sea. I feared that a brave piece of cultural innovation by Margate might struggle to attract interesting exhibits. It was, I suspect, decided early on that it’s location was much to precarious to house a substantial proportion of the nation’s collection great artist and Margate enthusiast,  J.M.W.Turner (1775-1851).

I was less interested in the main exhibition: Curiosity: Art and the Pleasures of Knowing that finished last week. Quirky and varied as it was, it didn’t hole my attention as it felt much too sporadic for my taste. Maybe I’m not curious enough. The next exhibition looks a lot more interesting. Turner and Constable: Sketching from Nature. An exhibition of outdoor sketches by Turner and Constable  from the Tate collection which also includes  with works by George Stubbs, John Sell Cotman, John Crome and Francis Danby. It’s on from 5th October 2013 until 5th January 2014.

http://www.turnercontemporary.org/exhibitions/turner-and-constable-sketching-from-nature-works-from-the-tate-collection

The Sea Near Brighton (1826) by John Constable (1776-1837). The Tate Gallery, London

I hope that Turner Contemporary will keep mounting exciting contemporary work too – the Juan Menoz piece showed just how good a space this is for new work. In the end the most impressive image was the large first floor window with its panoramic view of the North Sea. The gallery has been built on the site of the boarding house where Turner actually stayed on his many visits to Margate and this view, albeit through a small 19th Century window, would have been one of the reasons for his inspiration.

The town is lucky indeed that inspired so many Turner paintings.

Margate (1830) by J.M.W. Turner. The Tate Gallery, London

Waves Breaking on a Lee Shore at Margate (c.1840) by J.M.W.Turner 

(Study for ‘Rockets and Blue Lights’) The Tate Gallery, London

Mrs Booth by Ann Carrington (2009)

We should be grateful too to the landlady of that boarding house, Sophia Booth, the widow of a sea captain, who, it is said, gave Turner more than just bed and breakfast. In Margate, the artist often referred to himself as Mr Booth. Margate commissioned sculptor Ann Carrington to immortalise this woman who succeeded in drawing Turner down to Margate frequently for the rest of his life. Let’s hear it for the much maligned English seaside landlady.

J.M.W. Turner (1775-1851)

We may associate Turner with his great proto-modern landscapes with their revolutionary recording speed and light but he was a lusty man susceptible to the attraction of the buxom feminine form too especially, if modern art researchers are correct, in the form of Sophia Booth herself.

A Sleeping Woman (c.1830) by J.M.W. Turner. The Tate Gallery, London

After his death, some books of his erotic sketches were found and  nearly destroyed on the advice of that greatly repressed Victorian art historian John Ruskin. They show how Turner’s delight in voluptuous female nudes. Whoever were the models, Sophia Booth lives on in some of these images.

Reclining Female Nude (1809) by J.M.W. Turner. The Tate Gallery, London

‘Nude Girl and a Companion on a Bed’ (1802) by J.M.W. Turner. The Tate Gallery, London. 

Enough of that, away from his Margate bed, Turner was intoxicated by the light on this part of the coast where the North Sea meets the English Channel and we are the beneficiaries of whatever drew him to this little Kentish town.

Turner’s The New Moon (1840) by J.M.W. Turner (subtitled I’ve lost My Boat, You shan’t have Your Hoop) The Tate Gallery, London

Margate from the Sea, Whiting Fishing (1822) by J.M.W.Turner. Private Collection

I was much too young to have known anything about modern versions of Sophia Booth, if there were any here in Margate when, as a small child,  I was brought here by my parents. 

In my memory it is still a perpetually sunny seaside paradise as long as you don’t let those crabs don’t bite your toes.

As I’ve been reporting, I’m getting into gear for the imminent publication (31st October 2013)  of my novel, Stephen Dearsley’s Summer Of Love, the story of a young fogey living in Brighton in 1967 who has a lot to learn when the flowering hippie counter culture changes him and the world around him.

You can already pre-order the book from the publishers, Ward Wood Publishing:

http://wardwoodpublishing.co.uk/titles-fiction-colin-bell-stephen-dearsleys-summer-of-love.htm 

…or from Book Depository:

http://www.bookdepository.co.uk/Stephen-Dearsleys-Summer-Love-Colin-Bell/9781908742070

…or from Amazon:

http://www.amazon.co.uk/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=Stephen%20Dearsley’s%20Summer%20Of%20love

The post Margate inspired J.M. Turner’s genius and his libido – I quite liked it too. appeared first on Wolfie Wolfgang.

Mist and Rain (Brumes et pluies)

O Autumns, Winters, Springs! Seasons of mire!
Soul-drowsing times! I love you. Take my praise
For shrouding thus my heart and brain entire
In a vague tomb and winding-sheet of haze.

Through the long nights when the south-wester swings
The rusty vanes that shriek upon the towers,
My soul can fully stretch its raven wings
More easily than in the warmer hours.

Nothing is sweeter to funereal hearts
On whom the frost of ages has been laid —
Wan seasons, when you queen it round these parts, —

Than the eternal sight of your pale shade:
Unless on moonless midnights, pair by pair,
To lull, upon chance beds, our hearts’ despair.

Charles Baudelaire (1857) — translation Roy Campbell, Poems of Baudelaire (New York: Pantheon Books, 1952

Finally, here is Giuliano Poles playing Jardin sous la pluie (1903) by Claude Debussy:

The post Impressions of Rain in music, poetry and art appeared first on Wolfie Wolfgang.

Out of this stony rubbish? Son of man, 
You cannot say, or guess, for you know only 
A heap of broken images, where the sun beats, 
And the dead tree gives no shelter, the cricket no relief, 
And the dry stone no sound of water. Only 
There is shadow under this red rock, 
(Come in under the shadow of this red rock), 
And I will show you something different from either 
Your shadow at morning striding behind you 
Or your shadow at evening rising to meet you; 
I will show you fear in a handful of dust.

Margate Sands inspired another genius too as you can see in the great English painter J.M.W.Turner’s The New Moon, a somewhat less pessimistic view of Margate’s wonderful stretch of sand painted probably in 1839, oddly enough during one of England’s wettest years.

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