A letter from France, from a correspondent generous enough to express his enjoyment of this diary, and who has "succumbed to the temptation of writing". Is there "any chance of answering the following questions ...?" of which there are four.
My reply: "Your most recent question concerns my work of 25 years ago. Forgive me if I address more current events". I do not note that to answer the four historic questions accurately would be a day's creative work. Perhaps one day a Crimson Scrapbook with archive interviews and contemporary materials would address this interest, but somehow I feel ... not. The historic questions will continue anyway.
Several unsolicited tapes and CDs. One is from a guitarist who "hopes (RF) will take the time to listen to it. To put this as simply as possible I am hoping that you will please help me by supporting me through Discipline Global Mobile". My reply to this: "How will you help me & support DGM?". The unsolicitor continues: "I believe I have something to offer the world with my music and sounds". Robert's reply: "Then present your work to the world. If this is a necessity for you, you will endure. Otherwise, perhaps enjoy your hobby?".
This CD is representative of the larger proportion of DGM's unsolicited material: the artist is not a performer. The music is recorded privately. If an artist does not perform, how is it possible to attract the interest of a listening community?
Also waiting, an exceptionally well presented unsolicited CD of "the first collection of music that I have produced... I would very much like to be given the opportunity to develop my music further, coming from a design and photographic background". Robert's "advice is to excel in live performance. Otherwise, you have a rich & satisfying hobby. Of the two, the second is probably of greater value".
Once again, this music is privately recorded. Recent technology makes high-quality home recording relatively available. But this isn't how we learn to be a successful musician (success defined as having audients wishing to listen).
Once again, I advise live performance as a necessity for any aspirant musician. A good audience lets us know our level of accomplishment. A bad audience also lets us know our level of accomplishment, but louder.
Also received: a CD of Ed Macan's "Hermetic Science". Mr. Macan is the author of "Rockin' The Classics". Behind me, Bartok's Violin Concerto No. 1 is playing: one of three different versons on the CD stand.
00.46
The Second Concerto has now segued into Chopin's First Piano Concerto. I have moved to the Larghetto from the Second. Toyah and I saw a performance of this in Salisbury Cathedral two years ago, conducted by Sir Edward Heath. Unless I had heard, and seen, that live performance the Second Concerto would not have reached out and drawn me in.
"What we hear is the quality of our listening."
