I saw that the brilliant young cellist Sheku Kanneh-Mason has recently recorded the tragic Elgar concerto, inspired by Jacqueline du Pre's iconic recording. Written to reflect Elgar's emotional hollowness after WWI, it is in some ways pertinent now during this murderous pandemic. Mo and I followed Sheku's remarkable journey, winning the Young Musician of the Year in 2016, and very much admire him.
I do also enjoy 'world music' of various sorts. I remember that when Wilfred Thesiger, the explorer, was on Desert Island Discs in 1979 his choices were a curious ascetic mixture of tribal singing and ecclesiastical choral works. He said to me afterwards that he had wanted to include some singing by the Turkana tribe who were renowned in northern Kenya for their musicality, like the Welsh in the UK. But the BBC had none. So when I was with that tribe I occasionally recorded songs around the camp fire, or in their grass huts, which the BBC later bought for their archives. I wonder if they have ever been aired! A trifle too esoteric?
Years later Thesiger told me of a time he took some of his tribal protégés to stay at the farm of a friend in Kenya. While there he told them, 'Now you are going to hear some real music', and put on an LP of Beethoven. After a few minutes of restlessness, Chukuna said, 'But Mzee Juu, when do they start singing?'!
One night, after we had been the unexpected guests of an entirely traditional Samburu wedding I retired to our tent, mesmerised. One of my Turkana companions, Netakwang, broke the spell by bursting into raucous song. Unusually for a Turkana, his voice was not lovely. In my book Walks on the Wild Side I describe how I told him to shut up.
'His voice was replaced by the much lovelier rising notes of hyena in the night, their eerie calls soaring like wolf songs in the darkness.'
Now that really was a thrilling lullaby.