I haven’t written much recently because I seem to have turned into a ‘news junkie’ following the UK’s vote to Brexit. I did write a blog post about Brexit, but it attracted no responses so I went back to reading newspapers and law blogs. Many other music organisations have since published their own statements of concern and alarm about the effect of Brexit on the world of classical music. So I’m leaving the topic aside unless there’s any indication that readers want to join in.
The other day, I was listening to a Scottish radio station while working in the kitchen. It was a programme of folk music – reels, strathspeys, old bagpipe melodies and so on. Once again I was struck by the delightful titles of these old tunes, some of which seem almost too dramatic for the plain little tunes they are harnessed to: ‘The Unjust Incarceration’. ‘The Lament for the Sword’. ‘The Tune of Strife’. ‘Grain in Hides and Corn in Sacks’. ‘The Flame of Wrath for Squint Peter’. ‘I return no more’. ‘I am proud I play a pipe’. And my long-standing favourite, the classic pibroch melody ‘Too Long in This Condition’. What a range of interpretations this summons up!
As I was listening to a dance winningly called ‘The Burnt Potato’, I found myself wishing that classical music had adopted the same approach to its titles. I’ve long thought that the neutral titles of classical music are part of what’s now called ‘its image problem’. Now that music fans have got used to the colourful titles of today’s pop songs and albums, it’s perhaps hard for them to feel curious about somebody’s ‘Symphony no. 2’ or ‘Etude in F sharp minor’, their Concerto K488, their Invention in C minor or their ‘Sonata in A flat opus 110’.
Of course, to those who know and love the music, the title is nothing more than an identifier. Why should the title matter when the music is a whole world?
But these days when writing down the titles of works for concert programmes, I’ve often wished that instead of writing ‘Prelude opus 39 no 2’ or whatever, I could write ‘The Burnt Potato’. Or perhaps ‘The Crispy Aubergine’, or ‘The Handful of Thyme’. Maybe ‘The Path through the Labyrinth’.
Yes, there are some classical pieces with great titles. Janacek’s ‘Intimate Letters’. Debussy’s Preludes for piano: ‘The amphitheatre by moonlight’; Liszt’s ‘Years of Pilgrimage’. But most of the great works are very sparingly named, according to the custom of the time. It would be fun to be able to re-name them.