A. the 'd of. The it. Whole. The. Do. You. Keep. To. To. Schumann's if that major panic call today was 47 that's the new recording from pianist of Guinea so been with friends from the forest chamber music festival last May violinist of an s. Young player Dean would pop and cellist Alexander and his coupled with the Brahms Piano Quintet in f. Minor a well balanced recording is well it's the record review disc of the week from Bass Well next week 3 record review critics review each other's homework discussing each other's recordings of the year David Owen Norris compares recordings of Schubert's b. Flat piano sonata village $160.00 and I hope you'll join us all for that and listen out for highlights from this week's British composer Awards on Radio 3 tomorrow evening presided over by Sarah Moore ph and myself from 730 and before it we visit a little house on the Prairie. In the 150 years of Laura Ingalls Wilder of Little House On The Prairie she's been co-opted by the far right and glorified by the less politics in the country. That poisonous I think America needs things like lower house more than ever she's been called a feminist noble brave smart a symbol of self-reliance and as much for you can carry a part of a controversial myth about what made America great this was ethnic cleansing this was genocide is the real. Find out with me Samir on it nor angle of America tomorrow evening at a quarter to 7 here on b.b.c. Radio 3 it's 1216 time for music matters again this week with adult themes it's presented by Tom surface. Journeys from the Epic to the Internet and to the news accounts and the breath of the cosmos in the playing of the pianist. To making music from big science about small. D.n.a. And antibiotics become new compositions in the hands of Eduardo recommend that we hear from the new winners of the British composer Awards making contemporary musical culture a matter of across the whole spectrum where they. Will be following up the only going and change making stories around sexual harassment in classical music after the testimony and industry reports that we revealed on this program last week from both sides of the Atlantic. But let's begin with the pianist for whom music is an old encompassing vocation whose radiant intensity concentration and spiritual charge the final performances if you've ever seen or in concert or heard her miraculous recordings. Or makes her life in London born in Japan she was 12 when a family moved to Vienna where she trained and where she immersed herself in the music and culture that means the most to her a golden chain of Viennese and German music classics from Mozart to Beethoven Schubert Schumann back and shone back now that might sound like a conventional consecration of the pianist the canon but that's not at all what the fines approach to this music because she lives inside all this repertoire she explores it forensically from the detective work of finding the composer's original manuscripts in libraries all over the world to playing the instruments that the composers themselves knew and some that they didn't as I found out when I met her in her studio 'd. Let's go where are we here what is this place that is my studio and nobody I don't that people in here but through circumstances that they had to because my house is in a mess but we are very grateful to be here the 3 pianos and anyone who's heard you play we know the care with which you produce sounds at the keyboard but of course you are to a certain extent dependent upon the instrument itself for the sound so 3 Steinway Model so does France and what is why 3 here where because one went on holiday. I used to say well I look away they do something like this piano it's one morning. There was more so that's my explanation but ultimately I started with the oldest instrument that I loved and that's when I actually got in 1980 true with him around there of all the places in Tokyo and I was doing to Mozart you know so not us complete and the piano I dislike all of them and there was one that I loved and the only one person apart from you that left this show in the past was cloud you are now with the aha that's it that's a good side and I played on that one and I loved it so much in the end I thought well this is the one you play the most the note not that it's very temperamental and difficult to set up but it is a very special the other ones I have one thought this number 2 piano hope that had stayed optional hummus this fun came into my life when I was recording the Debussy and to. Miss What's in your head at the moment what are you focusing on at the moment is the absolute focus and this season and Lexie isn't the main focus will stay sure bath and bit of what's it like living with Schubert for that long it is utterly rewarding and it is so difficult because it is also physically different every composer has a different physical to play Mozart you have to know of course how these Stein's and ballot us pianos of pianos of his time functioned and how he might have played you just have to guess this is a guess work there are no tapes that and the people write about how they played rubbish No but you know with what it might have been although the best most amazing descriptions come one bit often comes from Rich top who was the Prince of Wales's orchestras and the other one on Schubert's playing comes from thread in and he would be too often Everybody talked about his being so brilliant and he broke many pianos and all that breached he said when he played slow movements. The expression of its heaven Venus as friend of purity. In Schubert's case fed in and he was a. Pianist everything he was invited to some Hungary and this or somebody who gave a dinner and they drank I bet very bad wine and all that and after. A little man sat down at the piano and gigantic man sat next to him and it was of course a sure bet of food and they went through one Schubert's song after the other for the rest of the effects of focusing on it and fed in on him he ses may have out before or after he ever hear such music. And he was so moved it was as if the music itself spoke to us. The. Complete the. Treat. The beat to mistreat it for the week. The. The. The. You know you wish you the you was. The. The thing is when people hear you and also hear you with singers into residences and. How do you go backwards creating your image of that kind of music making because the key difference of that situation the barrenness the wine the small situation everybody ran the piano as we are now there might be half a dozen of us around the bend of the differences you know it's a bit more whole the reason is because also says public think people hold has easier with all this week we'll hold this more if it is not a living it is not anything but actually the ultimate The difference between 2500 is not not much it's only the size of the room you have to take into account but the number of people you know. 2 people are public actually once I heard somewhere and in an interview that Daniel Barenboim I think one person is already listening is a public going back to the essence of what Hillary heard and she was play that's exactly what people feel what I feel when I play you can ask and I know whether you're going for that whether or not I don't want anything my starting point is it's my knowledge of myself that I am not patented I always thought Why do I sound so badly why isn't it right the other there I was rehearsing and because this place I thought it had been that it's coming up I was playing this and that and we discussed a lot of the mark with myself not Mark and I was saying you know what it is that why do I sound so often in this phrase here in the after flu search and it says and in the heart and Vin that I give. A broken ring and I was saying to Mike you know I can't make it sound that the broken reading Why can't I make it and he was dead at that point looking at the fact of having died and he was saying but he was playing in that bar a broken ring bar c. Shop and see shop he wrote See natural and see shop that know it was probably wrongly printed in the 1st edition. The next time I mean New York I go to the morgue library they have the heating on they really what the i've done to them. And then be the biggest money fund glass and then look at it what happened is that because that possible cost of access and I want to play that accepts who crossed out those exits that's fun. The thing about living with Schubert he's a fearless composer seems to me in fearlessly expressing what he called himself his 2 natures and that his friend described his head is an angel but his soul is based in slime and I just wonder again living with him it is to live with somebody who can write the most simply beautiful music and then in the central section of the slow moving of the images in art or the world is turned upside down I mean if you use them within easy living with you but you're living always with the light and the dark at the same time like I was like I think if I were to his on the if Schubert were there then I think in the center of it or actually is something transparent and pure in sure bet and in fungal ho and yes and the 3rd person that is much more obvious is remission like he carved mostly wood carvings if you went to that Victorian Albert Museum you see a couple of your husband and wife and an angel or 2 and when I 1st saw them there I realized that leaving Schneider for me was the 1st one who solved the problem what an angel was and what humans would be because the other one his angels look just beautiful humans in your image night he has got very special chick line and what it does when you see it next the angel then you know Angel is the one who never knew. Because they show no suffering whatsoever and the humans you see their suffering the days that they have lived and. Sure bet has in a month of suffering but he changed drastically in say 8 in 20 feet around the time of day sure the milk in that is his suicide note virtually He was in hospital and he must have really really bad bout of syphilis then he must have realized his life is going to be caught fish. He says. It's much more direct plea related to his life and his state of affairs of that moment coming back to that Mat scene of the slow movement of the a major Santa that is very clear It is September 28 and he at the beginning of November he died that Matt says. He knows he's going to read that he knew only his body knew you don't know but office through the music I feel that he knew. And that's the. That I can bring is that I am honest and that I try to read the score as well as both as deeply as possible and then be August 4th the compass that is all what we are here for. Who performs Schubert's winter visor with Mark Pad more on Monday the 11th of December as he remains in Schubert's world with his last piano sonatas concerts all over the world next year you're listening to music matters here on Radio 3 with me Tom service coming up look deep into the molecules of d.n.a. What do you find music of course. To Wreck grand party by a lot of. We reported on issues around sexual harassment in classical music on the program last week and we heard shocking anonymous testimony like this after meeting this music director I was sitting with the band and all male band apart from me like many bands in the West End and he looked at me directly in the eye as he was climbing on the podium and said Would you like to perform a sex act on me and all the men laughed because they need to be seen to be collusive with that type of behavior and also they are is scared for their jobs as women are. Part of the problem is that among fixes the people who are musicians for shows there's a difference about employment law and they don't want to hear about complaints he complained you lose your work and the stories from individuals keep coming and there are more reports and petitions by the day and there's a growing culture of 0 tolerance around the world in America last Sunday the New York Post published a story about the conductor James Le Vine and abuse that he's alleged to have started against a teenager 33 years ago that was followed by 3 more men coming forward to the New York Times with their own allegations against the conductor emeritus of the Metropolitan Opera where the vine was music director for 40 years well the Met have suspended their relationship with Levein and they've set up their own investigation Levein strongly denies the allegations but it's also emerged that the Metropolitan Opera was made aware of some of these allegations last year yet they waited until now to undertake their inquiries we spoke to Greg zanda writer blogger and consultant on classical music and its potential futures How does he think that the James divine crisis will affect the Metropolitan Opera in the future I think that the effect they go both ways on one hand there can be donors who will be so much sickened by this so that they won't want to give money but I believe that there will be other donors who will rush to the meds aid saying the institution must be supported at such a difficult time so I can imagine that it will be something of a wash or they may even end up better than they were it really all depends on what comes out in the future what may be proven and how they answer questions which I believe they're going to be publicly asked. Where does this view in the in that wider story that we've been covering on this program as it relates to experience in this country about a man on the general problems of sexual harassment within music and perhaps the particular issues in classical music Well there is going to be believe. A tsunami truly of reports of sexual harassment in classical music because nobody has felt as I see it that their stories would be listened to classical music is in some ways a very closed world and one if I can put this way with a high opinion of itself it's considered to be untouchable special you know above everyday life but I know now some journalists whom I personally am acquainted with are being flooded with perhaps 20 emails a day from people wanting to tell their stories so I think quite a bit is going to come out that there's a feeling perhaps in general that classical music needs protecting needs saving within culture because its institutions are permanently forever in need of tons of money whether it's from a government person or from a private donor to simply keep afloat and then there's the other sense that you know this is art that matters because it's quote unquote you know more significant than other music that are being produced I wonder if this sort of reputation isn't a real problem because where that goes is potentially a more tolerant attitude to things which should not be tolerated because it's not just individuals that are stake but because of this wider narrative about the art form being so in Paul Yes that's a good point I'm already hearing that from some people because I have been quoted in news reports with my opinion on the subject and I got an email just yesterday from an old friend saying but the Met is too important we need it it must not fail so you do get that attitude and then you just get the attitude that classical music is sacred. I can tell you a story that is very amusing while I worked in the pop music business and I remember people there telling me Oh you worked in classical music there's no ego there there's no careerism which of course is sort of silly because they're human beings but people really did believe that. I suppose that the key thing around the Met the Met is arguably the symbol not just in America but even perhaps worldwide of operatic culture so there's a sense that if the net goes that you know that it symbolizes something else about the art form that the art form itself cons of I that it seems the more existential question well you know my main specialty in the field these days is the future of classical music and there seems very little doubt that classical music as an art form and its institutions have receded certainly in the us from the culture at large and their audiences are declining something that they consider to be a very serious problem and so they're trying many different things to attract a new and younger audience because their audiences have also been eating so that is a problem that exists quite beyond the current allegations of sexual harassment but I think and this may seem paradoxical that if the classical music industry deals in a forthright way as other industries have with these allegations and. Problems that they point out that that will help the field rather than hurt it because people will see that it's a normal part of life and no different and not special and not difficult to approach that these are people like any other I think that will be helpful. Here in the u.k. One of the things that emerged from the incorporated society of musicians findings as we reported last week was that freelance musicians are in and especially vulnerable situation in terms of their employment conditions and the support or lack of it that they have in the wake of Harrison that they may face but we've spoken to 15 fixers this week from the orchestral and theater worlds the people who arranged gigs for freelancers and while none wanted to talk on the record to us it's clear that the old recognize what the I s. M. Discovered that giving musicians need more support in employment law and institutional practice when they face Harris meant in their workplaces and from the Association of British orchestras They've issued the following statement about the action that they're taking on behalf of their members the a.p.o. Take seriously the responsibility of its members for ensuring the safety and wellbeing of all their stuff where the musicians or managers we would urge members to prioritise review of their policies on sexual harassment and whistleblowing to ensure that there robust and appropriate and bring these to the attention of all staff where the permanents offer a dance as well as provide any necessary training the a.b.r. Is consulting with relevant organizations who specialised knowledge will enable us as the sectors representative body to ensure that we support our members in providing a safe environment for their staff well that's what the Association of British Orchestra says so is this the start of a new chapter in the relationship between musicians and their managers especially for freelancers Let's hope so the stories will continue no doubt I will report them here on these matters. It. Was. On Wednesday the British composer awards celebrated the best and brightest of British compositional talents across the whole spectrum of new music from orchestral pieces to opera to works for amateurs and children sound arts and innovation and we spoke to 3 of the winners from Music Matters 1st time laureates Robin Hague and Cathy hind in the small scale composition and Sonic art categories and carry 100 who celebrated her 4th win with who we are a piece for The National Youth Corps so I asked all of them about what winning this award meant for them as individuals and for the place of contemporary music in culture today he was Robin Hague I'm still in a huge state of shock to have won the award to be nominated in the 1st place was completely astounding I couldn't believe it and then to actually win I think it shows that it's really exciting what's happened to the awards since they've made them anonymous in their submissions and allowed composers to submit their own work because it kind of levels the playing field from kind of composers right at the beginning of their career like me to composers who are already various stablished I mean the pieces self 5 recorders in fear for is this my pronunciation of slightly older English I think is right that's right yes