In news released on the same day as Jonathan Miller’s death, Clive James has died, aged 80.

Both earned their living at television, for a while. Both came to hate the medium.

Here they are together.

Clive James was an Australian-born poet, critic and TV host. He died on Sunday. The funeral was held today in Cambridge.

I found this list that I made a decade ago:

Jonathan Miller’s indispensables on DVD:

1 The signature ENO Rigoletto (1983)

2 Maggio Musicale production of Marriage of Figaro (2005)

3 Laurence Olivier’s Merchant of Venice (1974)

4 The Beggar’s Opera with Roger Daltry (1983)

5 Michael Hordern as King Lear (1988, BBC)

6 Beyond the Fringe (1964)

The theatre and opera director died at home this morning, aged 85.

A doctor by training, the son of an Orthodox Jewish psychiatrist and a novelist, he got involved with satire at Camberidge and became hooked on theatre and opera. His Rigoletto and Mikado were groundbreaking hits at English National Opera, and his Boheme there remains greatly underrated. His Cosi fan tutti ran 20 years at the Royal Opera House.

He and I had fun together on various occasions, most notably in a 2009 Lebrecht Interview for BBC Radio 3. He was cheerful, challenging, forthcoming and always thoughtful, his emotions never far from the surface.

Here’s what I wrote about him at the time.

The last time I left his house he insisted on walking me down, near midnight, through a clutch of drug dealers around Camden Town.

He knew no fear.

May God – whom he refused to believe in – rest his soul. He always kept an open mind.

Online responses by pianists to Sergey Belyavsky’s refusal to accept an inferior award at the dodgy Paderewski Competition have been overwhelmingly supportive. Here are a few:

Sergei Kuznetsoff: ‘Totally supporting this fantastic pianist Sergey Belyavsky and his speech against the competition “mafia” and corruption in the competitions and Paderewski Piano Competition in particular! It has been known long before that same judges travel from one competition to another and distribute cash and prizes between themselves and their own protégés…. Not only is Sergey Belyavsky a brilliant musician, but also a great human being who is not afraid to speak out honestly about this huge problem! My respect!’

Zsolt Bognár: ‘I thank my friend Sergey Belyavsky for taking a stand and refusing the prize. A fantastic pianist and musician, he is also a human being of dedication and integrity. Thankfully, he doesn’t need to win a competition to succeed, and many people believe in him. I remember when we were roommates at the Beethoven Courses in Positano, we would stay up all night and he would demonstrate and explain the entire piano repertoire, from memory and with great enthusiasm. There is a lot more to this story that has not yet been made public; Sergey did the right thing, and did it gracefully, not forcefully.’

‎Daria-Ioana Tudor‎: ‘You’re the winner! You’re my winner…and probably not only mine!!!

‘I’m not talking about the official results…all I can do is wish they were the same!!!

‘I’m only speaking from the perspective of a person who got to taste a bit of what you’ve been through during the last few months and I can very honestly say that I don’t know how you’re still alive! And on top of that, you DELIVERED SUCH PERFORMANCES right now in Poland! Man, RESPECT!!! I can only guess that all your energy and all you’ve been recently giving on stage came from a very sincere LOVE of music! And for that, CHAPEAU!!’

Biggest congratulations from Berlin!!!

Peter Rhodes: ‘Sergey, a brave, courageous, honest, open and purely vocal conclusion to the competition last night.

A true piece of history in the world of piano competition.

You exposed and shamed the lesser mortals of the jury out of their murky deals and into the flood lights of centre stage.

A huge well done from me mate.

Total admiration and respect.’

Luka Okros: ‘I can’t keep silence regarding things, that happened at the Paderewski Competition. From my own experience, lots of the competitions are not transparent, many times voting, especially in final rounds, is very questionable, often jury members after the competition privately comment and disapprove the results. However, except few, like Marta Argerich in 1980, no one of jury members have the courage to express opinion regarding the competition or competitors publicly. No one has guts to even try to change competitions’ voting system and make it transparent as it is in many sports. Someone would argue, that music is not sport, however the way musicians are put together in this system reminds me more horse race, rather than celebration of music.’

And, significantly, this:

Sergei Kuznetsoff: ‘After my post in support of Sergey Belyavsky who refused to take an honorable mention, but in fact deserves the first prize in the Paderewski Piano Competition in Poland, Mr. Piotr Paleczny, the artistic director of the above-mentioned competition, has blocked me as if I have committed some kind of an “offense” or “attack”. No explanations, no rebuttal, no excuses, no descriptions…. This only shows that these people live in a bubble of selfishness and never able to respond to criticism or answer questions to clarify the situation. This causes tremendous crisis in classical music industry, in the world of piano competitions in particular.’

The veteran classical impresario has written to the Times today expressing support for the Chief Rabbi’s ‘equitable and timely’ comments on antisemitism in the Labour Party.

Raymond has put bread on many a musician’s table. His opinion deserves respect.

Read:

Sir, Growing up in postwar northwest London, the Labour Party was seen as a natural haven for British Jewry and a bastion against the occasional outpourings of the remnants of Oswald Mosley’s supporters and fellow travellers. In more than 50 years in business, I never once came across an instance of antisemitism. I wish I could say the same today, given that Labour’s equivocal position encourages insidious forms of antisemitism. The Chief Rabbi’s comments are both equitable and timely.
Raymond Gubbay
London SW1

Our friend, the bassoonist and academic Francesca Carpos, has suffered a distressing house burglary.

Among the items taken were two greatly cherished bassoons

Please put the word around:

STOLEN from Francesca Carpos: Two bassoons: Fox model 601 serial number: 25482… and a black plastic Fox bassoon (with ‘Kilburn School’ etched in the plastic). They were stolen on 21st November from her home in London. The Fox 601 is tiger striped, and is in an unusual small rectangle case. It is set up with a knee support. The black plastic Fox is easily identifiable by the large scratched ‘Kilburn School’ on the tenor joint. It is in a rucksack gig bag with a seat strap. Please contact the police, call reference, CHS 36213 21/11/19, with any information.