Rachmaninov - Again!

I've been a bit slow off the mark with this one. A few days ago Matthew Guerrieri over on Soho the Dog wrote about Rachmaninov's great-great grandson, 'Alexander Temple Wolkonsky Rachmaninoff Wanamaker', and how he wants to alter some of the musical scores to enable the family to retain copyright. More on the subject in the Arizona Daily Star.
There has been an outcry, as you would expect, no-one wants to see changes made to music long after the composer has died.
However, I don't feel it is as straight forward as that, and in fact this kept me awake last night! I left a comment on 'Soho the Dog' and will be interested to see if there is a reaction.
The issues I raised looked at things from a slightly different perspective.
The more I thought about it the more I realised that if a family owned a large property that had been handed down through the generations, or even just the family heirlooms, then they would be furious if suddenly after 'x' number of years it was all taken away and put in the public domain.
However, if they discovered that they could retain that property by adding an extension to the West wing, or making a minor alteration, then you would understand them undertaking the work, hopefully sympathetically, in order to continue the line of inheritance.
The other thing is that for the composer, I do feel that they also would want their descendants to benefit from any success they may have had and continue to have long after their death.
It's basic biology that we want to take care of our blood line after our deaths if that is possible. For a few lucky people that is the case.
There is something quite reassuring that a piece composed now may help future generations of that family even though they won't ever meet.
It should be remembered that the original scores will still be around, and there are numerous recordings of Rachmaninov's works available. That can't be undone.
If, as the great-great grandson is suggesting, a composer is employed to make a few alterations, then we can only hope that they will be minimal.
For lesser known composers, I think they will just be pleased that their music is kept alive.

From Rachmaninov to The Mousetrap

I listened to the BBC Radio 4 programme I mentioned the other day, 'Tales from the Stave'. Francis Fyfield talked to conductor Marin Alsop and music critic Geoffrey Norris about Rachmaninov's Second Symphony finally being restored and now on loan to the British Library. The enthusiasm as they looked through the hand written score was infectious and it reminded me of the points I made in my blog the other day.
Future generations won't be able to see the work unfold, with alterations being made, as composers now often work through music software programmes. But, if you read my earlier blog, it does offer some suggestions as to how future historians will still be able to unravel the composer behind the music by looking in a slightly different way.
Meanwhile down in London, Robin is finishing his last day at ExCel, supporting Brazilian Springs in their quest to save the rainforest. The whole team have worked very hard and Robin has played his guitar for so long that I don't think he has any fingerprints left. Actually, he doesn't have any on his left hand anyway, they were worn away many years ago and only string shaped grooves remain.
As a reward for all their hard work they are off to St.Martin's Theatre tonight to see 'The Mousetrap', the longest-running murder mystery in the world.
Well, even Robin has to have a night off occasionally.

Rachmaninov's Second Symphony - Found

As I flicked through The Daily Telegraph this morning I came across an exciting article by Geoffrey Norris, -'Lost symphony in a Co-op bag'.
Rachmaninov's Second Symphony has been found, and since authenticated, in the effects of an elderly collector who has died.
It's a fascinating story which will be discussed on BBC Radio 4, March 20th at 1.30, 'Tales from the Stave'.
Norris points out that the First Symphony is still missing, so keep your eyes open when turning out your attic.
It made me think about future generations and how their searches for lost pieces may take a very different turn. With the advent of music software programmes such as 'Sibelius', many composers now use this convenient method to notate their music. However, this will deny those 'yet to be born' historians a valuable insight into the musical deliberations and the evolution of a composition. Handwritten scores (as with handwritten manuscripts of literary works) often provide an illumination of the compositional process. However, one will still be able to see a piece developing over time if the pages of manuscript are printed out, played through, and alterations made.
My fear is that most musicians are not organised (nor indeed are they generally interested) in filing away 'stages of composition' for posterity.
Their main focus is perfecting their music.
So I'd like to leave a few suggestions for son number one, two, and their descendants.
All those pieces of paper lying around randomly are important. Don't just throw them out. They are the vital link in a chain that will show a work in progress.
Do check behind any cupboard and even under the eaves. There will be more music there.
If you find what looks like a shopping list, do turn it over and check. The chances are it's part of the final movement of 'Primavera', or the middle section of 'Celtic Concerto'.
Don't forget that all those bags full of tapes and CDs tell a story. Many of them contain short clips, ideas, whole pieces, interviews, t.v. broadcasts etc. all of which could prove extremely useful in the future.
So whilst I'm not comparing Robin Hill with Rachmaninov, we do need to consider new methods of tracing living and deceased composers and their music.