If you were looking forward to hearing renowned Stockhausen pianist Nicolas Hodges (whose performances of the great iconoclast's music were highly rated by Karlheinz Stockhausen himself) play Nos 12 and 13 of the composer's Klavierstucke in Glasgow this evening, hopefully you are already aware that the concert is cancelled.
So was last Saturday's performance by Denis Kozhukhin in Glasgow Music's The Piano series, and you may have read in Kate Molleson's review last week that the following night's performance by Elisabeth Leonskaja with the Emerson Quartet was conspicuously sparsely attended.
These are major names in the classical keyboard firmament, and November's two weekends of recitals spanned a vast amount of repertoire and range of different settings for fans of piano music. And yet the punters were not lured, which is not a good thing for a metropolis that has won for itself the designation of Unesco City Of Music.
It is especially not a good thing because The Piano series is this autumn's major plank of the concert promotions specifically associated with that title. In fact, it is the only plank, and the first promotions since the weekend of Beethoven chamber music at the end of September, the Old Fruitmarket concert by bassist Renaud Garcia-Fons also having been cancelled.
Of course, there are other concerts, from the RSNO, BBC SSO and SCO and some inventively staged chamber music to be found, as I wrote the other week, as well as more conventional concerts at Glasgow University, the Royal Conservatoire of Scotland and promoted by many local music clubs.
But they would have been happening anyway, as would the packed programme of popular music at everywhere from The Hydro to Stereo and Oran Mor to Barrowland, and all stops in between. It is doubtful whether this City Of Music has ever had so much music to chose from. But almost none of it can be associated with Glasgow Music (as a labelled activity of the city council's arms-length sports and culture body, Glasgow Life) and the office of Unesco City Of Music.
It is clear Creative Scotland has noticed that too, because Glasgow Unesco City Of Music was conspicuously missing from the list of organisations granted regular funding in the first tranche of new awards announced at the end of last month. Conspicuous because elsewhere it was noticeable that there was something of a shift of money towards Glasgow from Edinburgh, with Glasgow Film Theatre, A Play, A Pie, and A Pint, and Glasgow International among the winners.
When Glasgow put together its bid for the Unesco title, the impressive case it made embraced the city's long history of great rock'n'roll venues and dance hall big bands and jazz, not to mention the popular traditional and political songs that draw a line from the Calton Weavers to elements of Celtic Connections. Of course you can stick a "Unesco City Of Music" label on anything that continues to demonstrate that, but somehow I think the accolade was supposed to provoke something rather more proactive.
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