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	<title>David Watkin &#187; Music</title>
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	<description>David Watkin: Oscar-winning Cinematographer</description>
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		<title>The Fourth Conductor &#8211; Sir Henry Wood</title>
		<link>http://davidwatkin.co.uk/2009/10/the-fourth-conductor-sir-henry-wood/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/10/the-fourth-conductor-sir-henry-wood/#comments</comments>
		<pubDate>Wed, 14 Oct 2009 14:52:39 +0000</pubDate>
		<dc:creator>Chris Mullen</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[David Watkin]]></category>
		<category><![CDATA[Sir Henry Wood]]></category>
		<category><![CDATA[Watkin Classical Conductors]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=1575</guid>
		<description><![CDATA[There is a fourth conductor that David would have added to this list that of Sir Henry J. Wood. In his teens and until he was called up to serve in the British Army David joined the audience at London&#8217;s Queens Hall for the Henry Wood Promenade concerts each summer. It was a musical education for David (as it was to be for me 30 years later when &#8220;Flash&#8221; wielded the baton at the Proms, by then moved to the Royal Albert Hall). Wood&#8217;s clear beat from a long stick he held and his fearsome eyes produced astonishing performances from under rehearsed orchestras.Adrian Boult another long stick conductor was also held in high regard by David except for Tchaikovsky, a favourite  composer for Boult, but certainly not with David! One day I drove David to meet a record collector friend in Dulwich. Sat in my friend&#8217;s lounge completely dominated by an EMG  gramophone with a 3ft diameter horn, David listened to early acoustic recordings made by Wood. My friend then produced the full orchestral score of Sibelius En Saga and David eyes lit up when he found it contained the blue pencil marks of Sir Henry for it was Sir  [...]]]></description>
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		<title>Pianos at the Mews (from &#8220;Clara&#8221;)</title>
		<link>http://davidwatkin.co.uk/2009/09/pianos-at-the-mews-from-clara/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/09/pianos-at-the-mews-from-clara/#comments</comments>
		<pubDate>Sun, 13 Sep 2009 10:35:35 +0000</pubDate>
		<dc:creator>Chris Mullen</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[FREDERICUS BECK]]></category>
		<category><![CDATA[Roguski]]></category>
		<category><![CDATA[Square Piano]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=1203</guid>
		<description><![CDATA[&#8220;A friend had bought a square piano in Bonham&#8217;s saleroom with the intention of having it restored as a present for me. Nothing had ever been done and I decided to see to it. Morleys came, looked, and went away to quote. Then by a happy chance there was a commercial at a house in Pond Street, Hampstead, which turned out to be the home of Ruth Hall, a lady music critic. You sensed this after passing through the front door and being instantly surrounded by harpsichords, spinets, clavichords and forte pianos. My own anxiety about overcrowded bookshelves receded and I began to feel better about them. She was a nice lady, we soon got talking and I mentioned my piano. &#8220;Oh there&#8217;s no question you must get Roguski to do it.&#8221; I did get Roguski to do it; it took me (and him) four years. I would not have had it any other way; restoring a lovely old instrument is life enhancing so make the most of it. On the appointed day Mr Roguski came to the house to look over the piano and afterwards as we sat over coffee he made me a promise that when it was [...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Keith and Vivienne, the Classical Longplayer</title>
		<link>http://davidwatkin.co.uk/2009/09/keith-and-vivienne-the-classical-longplayer/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/09/keith-and-vivienne-the-classical-longplayer/#comments</comments>
		<pubDate>Mon, 07 Sep 2009 11:07:38 +0000</pubDate>
		<dc:creator>Chris Mullen</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Classical Longplayer Brighton]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=1095</guid>
		<description><![CDATA[David’s regular perambulations through the streets of Brighton were clearly ritualistic. 1. Walking into town. 2. Specialist newsagent for Gay Magazine. 3. Packets of Coffee and Tea from Robert’s shop. 4. Cds at Keith and Vivienne’s &#8211; The Classical Longplayer 5. Books at Colin Page, then Holleyman and Treacher, both in Duke Street. Over the years, his favourite shops were closing down. When Holleyman and Treacher closed, there was then Colin Page. By the time the Classical Longplayer was closed down, David was too ill to be aware. David came to the shop regularly and had bought a large proportion of his huge record collection there.“Keith, you know Fuck All!” was his constant cry, even when the shop was full of customers. In the later stages of David&#8217;s post-op prostate condition Keith generously provided a pit stop facility for his eccentric customer&#8217;s needs. Having agreed visitor&#8217;s rights to the loo, David disappeared down the basement steps for a worryingly long time, unaware that the cubicle was at the head of the stairs.Once David had established the practice, he would duck into the concealed cubicle, usually unbeknownst to Keith who would be aware of a sudden scuffling noise and a muffled curse. The [...]]]></description>
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		<title>Conductors Great and Small</title>
		<link>http://davidwatkin.co.uk/2009/09/conductors-great-and-small/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/09/conductors-great-and-small/#comments</comments>
		<pubDate>Mon, 07 Sep 2009 10:14:19 +0000</pubDate>
		<dc:creator>Chris Mullen</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Daniel Barenboim]]></category>
		<category><![CDATA[Watkin Classical Conductors]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=1091</guid>
		<description><![CDATA[His Gods were his Gods. No arguments allowed. His Villains, either through imagined incompetence or banality, were to be universally condemned by me, my family, and by any friends I could ask. Any photographs of the Villains going about their legitimate business on the podium were to be held aloft for general merriment. Herbert von Karajan, who according to David, had conducted in Jackboots, was the most villainous of all Villains with Betty Blackhead  (Elizabeth Schwarzkopf) coming a close second . A Villain of lesser consequence  was Edward Heath (always ‘the Grocer’ to David) whose portly form and political behaviour David held in contempt. “But David, doesn’t Edward Heath conduct competently? He is a knowledgeable musician.”   David knew it was a wind up, so he chose to guffaw rather than have a rattling good tirade. I sensed he was not a little jealous at Heath being entrusted with the European Youth Orchestra. Sir Andrew Davis was a good example of a musician who had become a Villain in David’s eyes through &#8220;his lacklustre performances, his musical caution  and general complacency &#8221; Any appearance, in any role, playing any music,  was greeted with a snort and a scowl. The only pleasure [...]]]></description>
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		<title>Listening to Music with David</title>
		<link>http://davidwatkin.co.uk/2009/09/listening-to-music-with-david/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/09/listening-to-music-with-david/#comments</comments>
		<pubDate>Mon, 07 Sep 2009 09:34:08 +0000</pubDate>
		<dc:creator>Chris Mullen</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[David Watkin Classical Music]]></category>
		<category><![CDATA[Watkin Music Library]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=1089</guid>
		<description><![CDATA[He got the greatest pleasure having you share a new piece of music, a recently discovered interpretation, a revived antique recording. As a listening companion,  it was made clear from the beginning that my responses could only run parallel to his, that I was there to share, and not to ask for further explanation or rationale. I don’t think I ever had the heart to disagree with his musical proposition. Not seriously. I called in for lunch regularly, often with a view to getting back to work at the University around 2.30 to prepare for a 3.pm lecture to the troops. We ate. I did the dishes and was taken through to the large sofa in the sitting room and seated facing the speakers. He would disappear through to the CD Room out back, get distracted with other things he wanted to show me. Eventually he would hurry back, oblivious to the passage of time. The gloom in the sitting room, the inadequacy of the table lamps, meant that the Grandfather Clock opposite the sofa (to the right of the fake Holbein) was unreadable. Bearing in mind my mental preparations for a looming lecture, I would make sure my sleeve [...]]]></description>
		<wfw:commentRss>http://davidwatkin.co.uk/2009/09/listening-to-music-with-david/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<title>Camerimage 2004</title>
		<link>http://davidwatkin.co.uk/2009/02/cameraimage-2004/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2009/02/cameraimage-2004/#comments</comments>
		<pubDate>Tue, 10 Feb 2009 11:39:55 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Feature Films]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Camerimage 2004]]></category>
		<category><![CDATA[Daniel Barenboim]]></category>
		<category><![CDATA[David Watkin]]></category>
		<category><![CDATA[Deutsche Staatsoper Berlin]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[Lifetime Achievemnet Award]]></category>
		<category><![CDATA[Lodz]]></category>
		<category><![CDATA[Madelyn Most]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[One tries not to fuck it up]]></category>
		<category><![CDATA[Personal]]></category>
		<category><![CDATA[Peter Macdonald]]></category>
		<category><![CDATA[Photography]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=756</guid>
		<description><![CDATA[David received a Lifetime Achievement Award in 2004. The T-Shirt that year quoted David on its front: One tries not to fuck it up. Below are snaps of David&#8217;s friends, Peter Macdonald and Madelyn Most at Lodz. Daniel Barenboim &#8220;Shortterm thinking, or even worse, thoughtlessness, makes many people think that culture, education and the arts are there only to be thought about in good times. In my view, this is one of the most erroneous ways of thinking and a total miscalculation of human development, since it is only education that can be the basis for a better world in the future. Education should not only make culture in general and the arts in particular available to all human beings, regardless of the economic possibilities of the individual, but also ensure that the links between the arts and every other aspect of human life are ever present. Only this way will every artist feel that it is not only his duty, but a privilege to contribute for a better world where understanding and tolerance will bring peace and become a true weapon against ignorance and terrorism. I very much feel that these words are in the spirit of how David [...]]]></description>
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		<slash:comments>1</slash:comments>
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		<item>
		<title>Glyndebourne</title>
		<link>http://davidwatkin.co.uk/2008/06/glyndebourne/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2008/06/glyndebourne/#comments</comments>
		<pubDate>Wed, 11 Jun 2008 15:44:10 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[David Watkin at home...]]></category>
		<category><![CDATA[Music]]></category>
		<category><![CDATA[Andrew]]></category>
		<category><![CDATA[Barry Martin]]></category>
		<category><![CDATA[David Watkin]]></category>
		<category><![CDATA[Glyndebourne]]></category>
		<category><![CDATA[Jozef Stremen]]></category>
		<category><![CDATA[Luther Ivan Adams]]></category>
		<category><![CDATA[Opera]]></category>
		<category><![CDATA[Robert Cameron]]></category>
		<category><![CDATA[Sally Pumford]]></category>
		<category><![CDATA[Scott Lafferty]]></category>
		<category><![CDATA[Tony]]></category>
		<category><![CDATA[Tony Wilkins]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=492</guid>
		<description><![CDATA[Keen to share his love of opera&#8230; David treated many of his chums to a trip to Glyndebourne&#8230;]]></description>
		<wfw:commentRss>http://davidwatkin.co.uk/2008/06/glyndebourne/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>Visions of Elgar</title>
		<link>http://davidwatkin.co.uk/2008/03/visions-of-elgar/#utm_source=feed&#038;utm_medium=feed&#038;utm_campaign=feed</link>
		<comments>http://davidwatkin.co.uk/2008/03/visions-of-elgar/#comments</comments>
		<pubDate>Fri, 14 Mar 2008 16:42:17 +0000</pubDate>
		<dc:creator>Scrutineer</dc:creator>
				<category><![CDATA[Music]]></category>
		<category><![CDATA[Barry Coward]]></category>
		<category><![CDATA[Beulah]]></category>
		<category><![CDATA[Classical]]></category>
		<category><![CDATA[Daniel Barenboim]]></category>
		<category><![CDATA[Elgar]]></category>
		<category><![CDATA[Harpsichord]]></category>
		<category><![CDATA[Tom Goff harpsichord]]></category>

		<guid isPermaLink="false">http://davidwatkin.co.uk/new/?p=601</guid>
		<description><![CDATA[As an amateur musician and loyal Beulah supporter, David Watkin wrote the following notes for the Visions of Elgar CD booklet: “Poor old Elgar was, like Kipling, enmeshed with the British Empire. Both men deserved better, the two symphonies and the violin concerto may rightly stand besides Brahms: and I have a soft spot for the Introduction and Allegro for Strings (probably from seeing Boult do it so many times). The Cello concerto is a bit cloying for me, excepting artists like van Beinum and the transcendent, if occasionally drunk soloist, Anthony Pini, on these discs. Of the early works, I have ever loved Alassio (In the South), and what fascinates here is the opening which, to my ears, is pure Richard Strauss. Compare it with the start of Don Juan and the main difference is that Elgar is easier for the orchestra to play. Lastly my bete noir. The Dream of Gerontius is Elgar’s Parsifal, good music – nauseating text. The explanation why Parsifal is twice as bad is that it is twice as long. Longer than that if you consider the slow tempi throughout. At least Elgar’s demons get a move on.” Barry Coward, Proprietor of Beulah writes: [...]]]></description>
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