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	<title>David Watkin &#187; Daniel Barenboim</title>
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	<description>David Watkin: Oscar-winning Cinematographer</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>
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		<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>

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		<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>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>

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		<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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		<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>

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		<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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