He’s 75 today.

Who knew?

Not many men are recognised the world over by their first name.

Far be it from this space to cavil at the power and the glory that was the Royal Wedding. 

The event was immaculate and uplifting, every component came in on cue, the chorus and musicians were outstanding and no-one left the Abbey or their living-room unmoved. And that’s before we even got to the street parties.

During the course of the ceremony I wondered what had happened to Sir Peter Maxwell Davies. Max holds the title of Master of the Queen’s Musick, a role that goes back to the 14th century and was formalised by Charles I in 1626. The sole duty of the title holder in modern times is to write music for royal occasions.
Yet nobody asked Max for a piece. Late in the day, they included two early works of his in the warm-ups, as guests were arriving in the Abbey. Max sat out the ceremony on his island fortress in the Orkneys, I’m told. He told the Telegraph he didn’t mind all that much not being asked to compose for the happy couple. 
But we should. If the Master doesn’t write for royal weddings, why keep the title? It should either be clarified for modern times or abolished as an anachronism. Don’t you think?

As I reported yesterday, the RLPO management are going ahead with a concert conducted by Roberto Minczuk, who has sacked half the musicians in the Brazilian Symphony Orchestra, describing some of them as ‘amateurs’.

Tomorrow, the distinguished pianist Cristina Ortiz will give a concert in Rio with the dismissed musicians. She has asked me to post the following appeal to the RLPO in the hope that its management and musicians will reconsider the  Minczuk engagement.


Here is what she writes. 

Dear Norman 

I would so love if you’d pass on the following message to the current 
management of my very favourite provincial British Orchestra the RLPO 

Having only arrived in Rio to join the maligned body of musicians from 
the OSB in a protest performance next Saturday, it is with disbelief 
that I read the above statement from the RLPO. 

It is utterly lamentable that the inhuman behaviour by the OSB 
Foundation and its present chief conductor, is been considered an 
‘internal matter’:  the fact that any one leader in the world of Music 
— an Art form of the highest spiritual content — is allowed the power 
to dismiss so many dedicated professionals > is untenable and insane. 

Instead of complete and unashamed solidarity, we hear that this unjust 
madness has nothing to do with lack of integrity or ethics! 

Be aware, fellow musicians: it could happen to you all: if the 
opportunity of great financial profits — mainly undisclosed — were to 
arise, unlikely  though it may seem in the UK. 

It would have been heroic : the ‘last drop’ coming from your 
orchestra’s refusal to accommodate the  presence of a musician who 
needs to be shaken back into reality! 

Most cordially but yet feeling deceived and let-down, 

Cristina Ortiz 

Before anyone heard it at the wedding…. 

FROM
DIVINE ART RECORDINGS GROUP  

 

Royal Wedding Music
available online!

 

It
was confirmed yesterday morning on the official British Royal Blog that as
a central part of the Wedding Service for Prince William and Kate Middleton,
after the Anthem, the choirs will sing ‘Ubi Caritas’ by Welsh composer Paul
Mealor.  Mr Mealor is Reader in Composition at the University of Aberdeen, but his composing studio is on the Isle of
Anglesey, North Wales, close to the home of the
royal couple.

 

For
the service, because only religious texts are permitted,  Mealor  set the words
of the ancient hymn Ubi Caritas to a recent composition titled ‘Now Sleeps the
Crimson Petal’   The original work, in which Mealor set poems on the subject of
the Rose, the emblem of love and purity, has been recorded by the Con Anima
Chamber Choir, conducted by the composer, and is to appear on an album of choral
music (“Madrigali: Fire and Roses”) to be issued in the summer by Divine Art
Records.

 

As part
of the wedding celebrations,  Divine Art have released a digital-only EP of ‘Now
Sleeps the Crimson Petal’ which is available from today on iTunes, Amazon,
eMusic, Napster, Classics Online and all other good digital music sellers
including http://www.divineartrecords.com/CD/29002info.htm   

The case of the missing Lucerne Opera House is heading for the courts.

Briefly, and in order not to tangle myself in legal ribbons, a very rich German called Engelhorn promised more than $100 million to the Swiss lakeside town to build a flexible, modern opera house, styled a Salle Modulable. He died, and the trust controlling his estate won’t give the money. So the Swiss are suing.
Lucerne is not a poor town. Nor is anyone else in the story (especially the lawyers).
If there’s a morality tale here, please tell me. Try as I might, I can’t find it.
Here’s the Lucerne press release:

SALLE
MODULABLE FOUNDATION

 

Press release


Salle Modulable Foundation files a suit against Butterfield

 

Lucerne, April 29,
2011 –
The Salle Modulable
Foundation is taking legal action against Butterfield Trust Ltd. (Butterfield)
after the latter arbitrarily withdrew its commitment to provide financing. The
Foundation has filed a corresponding request for conciliatory hearing against
Butterfield with the Lucerne Justice of Peace. At a press conference, to be
held at 11 a.m. in the KKL Luzern, Hubert Achermann, Chairman of the Salle
Modulable Foundation, and Michael Haefliger, Delegate of the Salle Modulable
Foundation, will give the media more information and will be available for
questions and interviews.

 

In a letter dated August 23, 2007, Butterfield, referring
to discussions held with Christof Engelhorn, confirmed its willingness to
support the construction of a modern music theater in Lucerne with the
provision of up to CHF 120 million. Christof Engelhorn had agreed to this
support via a Bermuda-based trust founded by him and represented by Butterfield
as trustee. This agreement was based on a project study for a “Salle Modulable”
financed by Mr Engelhorn and implemented by the Lucerne Festival. He was keen
on the idea of helping his adopted home city of Lucerne become an innovative
cultural center for modern musical theater of major international repute.

 

Financing commitment
confirmed on several occasions

Up until his death in August 2010, Christof Engelhorn
had given no cause to doubt his intention to finance this project. The trustee
Butterfield, too, confirmed the commitment of the Butterfield Trust in several
letters. In addition to the location – Lucerne – and the maximum amount to be
provided, the only conditions for the financing were the provision of a
feasibility study and a sustainable operating concept, as the financial support
was to be restricted exclusively to project planning and construction. Work on
the project, run by the Salle Modulable Foundation, which had been set up in
April 2008, progressed at a fast pace thanks to the funds totaling CHF 5.75
million that had been transferred by Butterfield from February 2008 onward.

 

For three years, representatives of the city and
canton of Lucerne, together with the Lucerne-based cultural institutions the
Lucerne Festival, Lucerne Theater and the Lucerne Symphony Orchestra as well as
the Lucerne School of Music, were committed to developing a concept for a music
theater in Lucerne that offered flexibility and cutting-edge technology. All
those involved recognized the potential such a project had for the cultural
life of Lucerne, but also for the general positioning of the city and the
Lucerne region:

·        
With the integration of the musical theater
sector, the internationally successful Lucerne Festival has the ideal
enhancement to its concept, a move which also reinforces its position in
international competition.

·        
The Lucerne Theater solves its existing
infrastructural problems efficiently and is able to develop further, in
artistic terms, as a multi-sector establishment.

·        
The Lucerne Symphony Orchestra receives the
infrastructural support necessary to deliver high-quality musical theater.

·        
Lucerne is to be home to a cultural center of
major international repute that is unique worldwide, thus making the city even
more attractive, and boosting tourism and the economy.

 

 

 



All conditions met

In December 2010, the project development organization
founded for this purpose unveiled its overall concept, which shows detailed
proof of the project’s feasibility at the Lido site, and is being jointly
supported by the representatives of the city and canton of Lucerne and the
Salle Modulable Foundation. The concept estimates an investment volume of CHF
157 million, taking account of Butterfield’s contribution of CHF 120 million.
The overall concept also includes a realistic and sustainable operating plan,
meaning that the conditions for Butterfield’s financing commitment are met.

 

Trustee reneges
arbitrarily on commitment and disregards the wishes of the trust settlor

For this reason, the Salle Modulable Foundation is not
prepared to accept Butterfield’s withdrawal of its commitment to provide
financing, made on specious grounds in October 2010, shortly after the death of
Christof Engelhorn. There is no substantive reason for this. Moreover, it was
done expressly against the wishes of Christof Engelhorn, initiator of the
project and settlor of the trust. The Foundation has therefore decided to
challenge the arbitrary withdrawal of the commitment to provide financing and
to claim the outstanding amount, totaling CHF 114.25 million, from the
Butterfield Trust through the courts. The Foundation has filed a corresponding
request for conciliatory hearing with the Lucerne Justice of Peace.

 

Foundation to fight
for its rights

The Foundation only decided to take this step after
due deliberation and intensive consultation with legal experts in Switzerland,
England and Bermuda. After receiving clarification from said experts, it is
convinced that it is worth fighting for the project, not just as a matter of
principle, but also in view of the legal situation. This being said, the
Foundation also understands that cultural planning in Lucerne must go on. As
Butterfield’s binding commitment to provide financing for the construction of a
new music theater in Lucerne was not connected to any timetable, a successful
outcome of the proceedings would still be beneficial for Lucerne and its
cultural institutions, even if it did not come until a later point in time.

 

Hubert Achermann, Chairman of the Salle Modulable
Foundation: “It is with great regret that we have to resort to this measure. We
would gladly have avoided it, but Butterfield have left us with no choice.
Based on the committed support of Christof Engelhorn and the binding commitment
from the trustee, we have worked, together with the city and canton of Lucerne
as well as Lucerne’s major cultural institutions, for the past three years in a
most professional manner to realize the idea of a modern music theater for
Lucerne. We owe it to our partners, the city, the region and, last but not
least, to Christof Engelhorn himself, to fight for this idea.”

 

Information about
press conference today at 11 a.m. in the KKL Luzern, Club Room 3 + 4

Hubert Achermann, Chairman of the Salle Modulable Foundation,
and Michael Haefliger, Delegate of the Salle Modulable Foundation, will be
providing further information on this matter at an event for interested media
representatives to be held today at 11 a.m. in the KKL Luzern. They will also
be available for questions and interviews. Media representatives are invited to
submit their interview questions to the Foundation’s Media Officer: Andreas
Hildenbrand, Tel. +41 79 468 92 35.