L ter 8 BBC MUSIC MAGAZINE Top dog: composer CW Orr and his Jack Russell Have your say… Write to: The editor, BBC Music Magazine, Tower House, Fairfax Street, Bristol, BS1 3BN Email: firstname.lastname@example.org A composer’s best friend With reference to your request for photographs of musicians and their pets (March issue), here is one that will be unfamiliar to the BBC Music Magazine editorial staff. It is a photo of the English song composer CW Orr (1893-1976) sitting in the garden of his village house in Painswick, Gloucestershire, with his Jack Russell terrier in his arms. CW Orr’s main claim WORTH £160! to fame is that he wrote more settings of AE ★ousman’s poetry than any other English composer. The note at the bottom of this framed photo reads: ‘Thought you might be amused with this, taken many WIN A DIGITAL RADIO! years ago; my companion Every month we will award in arms was something a Pure Evoke H4 Prestige Edition radio (see www.pure. I thought more of than com) to the writer of the best all my music put letter received. The editor together. C.W.O’ reserves the right to shorten Francis Tyrrell, letters for publication. Broadstairs Amazing André Following your Welcome letter in the April issue, may I add a few memories of André Previn in the concert hall and on record? I heard live his performance of Prokofiev’s Alexander Nevsky in 1971 and then, the following year, Walton’s Belshazzar’s Feast in concert for the composer’s 70th birthday. Both were with the London Symphony Orchestra and Chorus. Previn was a superb polymath who could put his hand to anything he did – Rachmaninov’s The Bells at the BBC Proms in 1973 also springs to mind. ★is greatest skill was encouraging new audiences to enjoy classical music as a thoroughly attentive musician. Andrew Thorpe, Hampshire The new Previn? The Guardian’s obituary following the death of André Previn reminded me of the BBC’S wonderful André Previn’s Music Night, broadcast on prime time TV on Saturdays in the 1970s. Previn always put the music first, his presentation simple and lightly informative, which I suggest would be the right recipe for today. Fortunately, we have the perfect combination of Sir Simon Rattle and the LSO should the BBC consider reintroducing a similar regular programme. Series such as his Leaving home: orchestral music in the 20th century and his preconcert introductions single Rattle out as a perfect choice. Nigel Bartram, York The editor replies: The timing of André Previn’s death prevented us from running a full tribute in April. We are delighted to redress this situation on p56 of this issue. Travelling lute I have travelled many times on Easyjet with a lute as a carryon item and never had any difficulty (see Broken Chords, April). The Easyjet policy allows for an instrument up to 120 x 38 x 30 cms, considerably bigger than standard carry-on baggage. I have never had to ask for the captain’s discretion, although I am sure they would understand. My tip is to pay a little extra to get ‘Speedy Boarding’ which allows you to stow your instrument safely in the rack before most baggage appears. As for larger instruments going into the hold, I suggest a forensic examination of the danger points and pack around those areas carefully – for example, on the 6ft theorbo one weak point is the strap button on the bottom. It seems that while some airlines take it seriously, independent baggage handlers might need more guidance. Perhaps specific labelling such as ‘Fragile: Musical Instrument’ alongside instructions on how to handle it might help. Michael Ashley, Solihull
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