591
Today is my 67th birthday.

My thanks to my friend Dominique in Paris for composing the picture above.  I think I'll be spending most of the day trying to figure out what he is trying to tell me...
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590
And this is the man to whom I dedicated my journey to London.  Hector Berlioz, no less.

In blogposting 223 I was vain enough to list my eight Desert Island Discs, for what they’re worth.  One of them was Berlioz’ Requiem.  This is what I wrote about it way back in September 2010.

‘….Berlioz was a pre-Raphaelite renegade of the first water.  Like The Beatles, he consciously fought to move music forward, to experiment with new forms and new effects, to shake up the musical establishment of his era (up to about the 1850s).

He succeeded magnificently.  His works, all of which are orchestrated to within an inch of their lives, bounce down the decades and still stir the hearts of his many fans today.  Rousing overtures like
The Corsair, Les francs-juges, King Lear or Roman Carnival were years ahead of their time.  And he didn’t number his symphonies like everyone else - he named them; Harold In Italy and The Fantastic Symphony (which includes a heart-stopping musical representation of a beheading by guillotine).

But he really knocked spots off people’s preconceptions with his funereal works.  His
Symphonie funebre includes one of the most famous and most stately funeral marches ever written.  And the Grande Messe des Morts - the ‘great Mass for the dead’, more usually called the Requiem - must have had its audience gibbering in the aisles when it was first performed in 1837.

With astonishing Romantic-era panache, Berlioz’ score for the
Requiem requires....
*a 180-piece orchestra, including 16 kettledrums, 10 pairs of cymbals, 20 'cellos and 18 double-basses;
*four brass bands (placed at the corners of the auditorium) - 38 players in all;
*a choir of 210 voices, made up of 80 sopranos, 70 basses and 60 tenors; plus
*a tenor solo.

Despite the numbers involved, though, it’s not all deafeningly thunderous.  Berlioz was clever enough to intersperse the volcanic eruptions with areas of wistfulness and calm. Nevertheless, it’s the deafening thunder that clinches it for most people.

It’s not often performed, of course.  The cost is prohibitive, for a start.  So I’m lucky to have seen it twice.  Which means that I have felt that my life will never be the same again -
twice.

The part of the
Requiem that makes you wonder what on earth Berlioz was on when he wrote it is the Tuba mirum - the massed trumpet call to the Last Judgement of the Lord. (Even typing those words has given me goosepimples.)  The whole ensemble - all 429 of them - take part.  The trumpets blare at you from the four corners of the world, the whole of humanity calls to the Lord, who calls back using all those kettledrums, cymbals and double-basses….’

As I said then, it’s rarely performed because the number of people involved - and thus the cost - is prohibitive.  And a performance with a regular-sized orchestra and chorus would sound half-hearted and even silly.  You need at least something approaching Berlioz’ preferred scale, and a very big auditorium indeed, for the full effect.

And that’s what I got on Monday night - as you can see.  That’s the Royal Albert Hall, with a capacity ensemble waiting for the conductor to walk onstage.  Rank upon rank of singers and an enhanced Royal Philharmonic Orchestra;  there are twelve timpani - kettledrums - and two enormous bass drums, one of which was bigger than the drummer himself.

And the four brass bands which Berlioz’ score calls for aren’t even in the picture; they’re ‘up a-height’ in the ‘gods’ of the auditorium.

As you can imagine, the concert was visually and aurally spectacular.  The Tuba mirum was powerful enough to shatter windows, ribs and illusions - which made the quieter sections of the Requiem sound all the more longingly poignant.  And this was especially so because the performance was dedicated to the people of Paris, in their grief and their loss.

You can watch and hear a Lyon performance of the Requiem here - the Tuba mirum starts at 16:00 and ends at 23:12 -
https://www.youtube.com/watch?v=hZfDbANFL88

This (older) performance under Leonard Bernstein brings out the power of brass even more (between 17:20 and 24:30) -
https://www.youtube.com/watch?v=JkqaMZmB9js

As far as I know, Berlioz’ Requiem has never been performed in Newcastle.  On the train home, I decided to dedicate at least part of the time I have left to rectifying this deplorable state of affairs.
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589

As I was walking down to Central Station last Friday, to catch a train for yet another trip to London, it occurred to me that I’ve given overseas train travel a lot more attention on this blog than I have to our home-grown railways.  So I decided there and then to post some kind of record of my journey to the capital - a journey I’ve made countless times over the years and with every inch of which I am affectionately familiar.  Mostly.

I’ve always felt an almost personal sense of disappointment with the recent development work at Central Station.  Although it was a sensational idea to ‘glass-in’ the portico, the resulting space is wasted on a couple of coffee outlets, a florist and some ticket machines.

Newcastle lies at the hub of the birth and development of railways.  So why no public art in the ‘new’ portico to mark its importance?  Why no themed design on its flagstones or artwork on its magnificent glass arches?  And why no fountain on the large wasted space that’s been created immediately east of the portico?

Anyway...

The security gate I jousted with was a much more formidable barrier than was strictly necessary.  As I passed through, its powerful and unforgiving jaws closed on the suitcase I was trundling behind me and refused to release it.  I had to summon a ‘platform customer comfort and safety assistant’ (or whatever title they labour under these days) to set me free.  She told me that this kind of thing happens all the time; ‘we’ve asked for a software update’.

My train was due to leave from platform 3 and, sure enough, there was a train waiting there.   Being a sensible kind of fellow, though, I checked the platform train indicator - just to make sure that, if I boarded it, I wouldn’t end up in Plymouth or Reading or somewhere equally as unsettling.

The indicator, though, told me that the train was in quarantine or something, even though there were clearly people on it.  ‘This Train is Not in Service. Do Not Board This Train’.  So I didn’t - along with several other people milling about on the platform.

Eventually I plucked up the courage to seek enlightenment from a bored-looking man wearing a Virgin Trains East Coast uniform.  ‘Yes’ he said, ‘this is the 1225 to London.‘ 

‘That’s not what the train indicator says.’

‘Just ignore that’ he said.  I asked him if he was absolutely sure and his wordless look - an unhappy mixture of frustration, anger and enforced ‘customer-service’ politeness - convinced me not to pursue the matter further.  I did however venture to suggest that the train indicator might also need a ‘software update’.

Just looking at the trains makes me seethe uncontrollably.  The company has found the money to repaint the entire East Coast train stock in its Virgin livery...

...but hasn’t been able to afford any improvements once you get inside.


No refurbishment here.  Just the same old weirdly uncomfortable, worn out seats from decades ago packed in so tightly that some people don’t even get a window to look out of.

As we pulled away and over the Tyne, the ‘customer catering, refreshment and pleasure manager’ announced that drinks, snacks, sandwiches and (for all I know) casual sex were available in Coach Haitch, thus setting my pedantic teeth on edge by ignoring one of the language’s two most obvious firetraps.  Namely, that H is pronounced without an H.  (The other is that pronunciation is not pronounced pronounciation.)

 The Angel waves goodbye.  See it?

 Durham City.  
I used to think that this was one of the finest views you could get from a British train.  
But I was wrong.  It is THE finest view...

Durham is not a county of noble mediaeval church spires.  Chester-le-Street has a good one but I was too late with my camera.  This is a good one too - it’s St Cuthbert’s, Darlington.

(Lincolnshire, on the other hand, has a splendid collection of ancient spires.  Next time you’re on a southbound train, look out for the graceful, soaring and delicate spire at Newark (on the right) and at Grantham (on the left).  One of England’s most beautiful parish churches - at Claypole - graces the view from the train window just south of Newark.)

Between Darlington and Northallerton, the ‘train cleaning, tidying and rubbish disposal operative’ passed through the carriage.  Emblazoned on the back of his jacket - in big white letters - were the words COMMITTED TO ENHANCE YOUR EXPERIENCE, a phrase with no actual meaning whatsoever. 
These 'Heath Robinson' instructions are a diverting feature of Virgin East Coast train toilets.  Once you're inside, they tell you how to lock the door - in 5 easy steps.
Notice that:  
1 - They don't tell you how to unlock the door
2 - They are helpfully printed in English only; God only knows how many head-scratching tourists have been caught with their pants down (as it were)
3 - 'Continuously' is mis-spelled

The cleaner's job obviously excluded enhancing our experience of the carriage’s toilet, which didn’t work.  It stank.  European trains have aircraft-style toilets which empty by suction rather than gravity.  I guess that Virgin Trains East Coast, having disbursed so much money on repainting the carriage exteriors, had no more money to bring the toilets into the 21st century.  The poor cleaner may be committed to enhancing our experience but the company itself is not.

If you can be bothered to look very, very closely indeed at the low-lying range of grey hills in the distance, you may be able to make out a small shape near the top of one of them - it's just about in the centre of the photo.  This is the Kilburn White Horse, a few miles east of Thirsk.  I’ve seen it several hundred times on my road and rail trips to and from the north-east and this is the first photograph I have EVER taken of it.

By the way, I think that we should all offer up a prayer of thanks to the Cleveland Hills and North York Moors; they hide Teesside safely out of sight.
York Minster is England’s largest ancient cathedral - but Durham’s magnificence dwarfs it.  Much further down the line, the glories of Peterborough Cathedral are completely lost on railway travellers - although it's not far from the line, it’s hidden by modern developments like shopping centres, office blocks and car parks.

Poor Peterborough; it was recently assessed as having the worst public transport in all of western Europe.

And so to London...

I’ve been quite vituperative about King’s Cross in the past.  Now, though, it’s been transformed into a showpiece of modern station design - worth a trip to London in its own right!
The clock in the central tower was taken from the Crystal Palace when it was moved after the Great Exhibition of 1851.

The sculpture is by Henry Moore and is called Clunky Writhing Torso With Hole Number 3.
Not.
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588
Speaking of France...

To the untutored eye, this photograph may look fairly unremarkable - dull, even.  A road runs between some featurelessly pleasant fields.  In the distance there are woods and the merest hint of a farm or perhaps the outskirts of a town or village.  The road is fairly busy and there is a van in the right-hand field; it could be moving or simply parked there.

As I hope you’d expect, however, there’s a lot more to this picture than meets the eye.  In truth, it reveals something which - to me at least - is a surprising and regrettable aspect of French life.

Yes, we’re in France.  We are in Beaujolais, looking north on the old main road between Lyon and Paris.  We are on the edge of the town of Villefranche-sur-Sâone, which lies immediately behind us.  Ahead of us lies St Georges de Reneins (Serge’s home village, which you can see in the distance) and Belleville.

At great personal risk to myself, I pulled the car into the lay-by that you can see and quickly ‘snapped’ the picture.  I did this not because I think the view is memorable or interesting - it isn’t - or because anything dramatic is happening - it’s not.

The object of my attention is the white van in the field.  It is parked in exactly that place all day, every day (as far as I know) and performs a function which is still sadly regarded as essential and normal in France.

To all intents and purposes, the white van is a brothel.

Everyone who drives past knows it’s a brothel because it wears the accepted uniform; it’s white and it’s parked on a farm track facing a busy road from which it’s clearly visible - and with a conveniently placed lay-by.  Hundreds of vans just like this one are parked in very similar locations all over France.

Passing drivers in need of its occupant’s services need only glance at the van’s windscreen.  If it is partly obscured by a Venetian blind, madame is available.  If the blind is fully drawn, madame is busy.

in my photograph, madame must be available.  There are no cars parked in the lay-by or on the farm track.  Interestingly, the feint blue lights of two police cars are just visible on the road ahead of the farm track.  But madame need not worry; they are simply doing speed and safety checks.

Unless....
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 587
Mison Sere, winner of 'Mr Ugly', is on the left.  
Whereas the real ugliest man in Zimbabwe is on the right.

I rate this story as amongst the most macabre and ‘unsettling’ I’ve come across recently.  I’m not sure why it makes me feel so uneasy and unhappy.  It just does.

It seems that some of the crowd at Zimbabwe's annual Mr Ugly contest have complained that the winner was not ugly enough.

Winner Mison Sere wore torn overalls to compete but the runner-up and his supporters said his ugliness (see above) wasn't natural since it was based on missing teeth.

Mr Sere won $500 (£330) and plans to start a TV career.

Runner-up William Masvinu (above) has won every previous year of the competition. He took home £100 this year.  And apparently, his wife supports him.  Winning the competition in previous years has brought him fame (by Zimbabwean standards) and a few minor marketing contracts.  ‘To be rewarded is a good thing; this competition has done a lot for me; it's changed my life’, he said.

Now, Mr Sere is hoping for the same fame and fortune.  He said that he already goes around schools performing and, as he put it, ‘showcasing my ugliness’.  He sees winning the competition as a chance to make it onto TV.

The organiser, David Machowa, said that models make money from their looks, so ugly people should have the same opportunity.  And he hopes that the contest is just the start of it.  He is planning Mr Ugly World, to be staged in Harare in 2017.

Personally, I’m not sure if this is good news or not.  Or why.
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Three loud cheers for Andrew Neil - not something you’ll hear me say very often.  But this time, he very definitely deserves it.

His anti-IS tirade on tv has gone viral on YouTube.  I’ve watched it several times and have applauded loudly each time.  His list of historic French contributions to literature, music, sculpture, film, cuisine, education, language, science, philosophy, medicine and almost every other aspect of civilisation is deeply impressive, even though it’s by no means exhaustive.

Fortunately for Mr Neil, he includes Saint-Saëns, in whose honour I will once again be visiting Paris next month.

And I just can’t wait.

If you haven’t encountered his uplifting and inspiring statement of defiant contempt, you can watch it here.  (If the link doesn’t work, cut and paste it into your internet browser’s ‘search’ box.)

https://www.youtube.com/watch?v=WIKg3Qexn7U
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