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Introduction

I’ve always listened to classical music because my parents carefully indoctrinated me from birth. As a baby I would go to sleep to This is the Record of John by Orlando Gibbons (think men in ruffs singing in high voices). As a young child I felt that classical music was more interesting that popular music; I remember clearly, aged eight, being very disappointed when a girl told me that she only liked pop music. The relationship would never have worked. Over the intervening 27 years I’ve dabbled in all sorts, including pop, rock and acidjazzfunk. I’m always excited when I hear something that I haven’t heard before. Music knits together the tapestry of my life; it reflects my mood and it offers me nourishment. I love to read about it, to perform it but most especially to listen to it.

Next to my CD player I have a pile of music that I’m currently listening to: Stile Antico singing Tudor Christmas music; Muse’s The Resistance; and Verklärte Nacht by Schoenberg. In my office I have the music that I listen to less regularly: Nicolai Gedda singing opera arias; ‘Living Toys’ by Thomas Adès; and almost the complete works of Bach. In the loft is a huge box of music I don’t need to listen to again for a very long time (mostly from my teenage years): the KLF back catalogue, six versions of Progen by The Shamen and all my Janet Jackson records. I’ve always been obsessive and when I get my teeth into a piece it can be a year before I relegate it to the dustier sections of my CD rack.

If you are just coming to classical music for the first time, then it might seem as impenetrable as fine wine, learning Greek or taking up mountaineering. It’s true that there is a mountain of music to listen to and if I started listening now I’m sure it would take me the rest of my life to work my way through the back catalogue of recordings stocked in my local classical CD shop (HMV on Oxford Street, as regretfully the small independent stores are now few and far between, thanks to internet downloads). But it isn’t necessary to sample every piece to feel that you are getting a handle on this amazing music. When you know a couple of works well and understand how they fit into the general picture of music, you will quickly overcome your initial trepidation.

This book isn’t comprehensive – it’s a tour guide and a personal ramble through music based on my own interests and discoveries. The intention is to spark connections and points of departure for you. I will take you through the history of music later in the book, but this isn’t a lesson, it’s an impassioned plea to give this music a chance and a pocket guide (if you’ve got big pockets) to help you when you need assistance. Let us forage together.