Monday, 20 August 2018

Metronomy brings Musikfestwochen to a grand tub-thumping finale

It was a hazy, lazy, Sunday night in Winterthur and we ambled up Marktgasse in the warm evening sunshine, feeling lucky to be out on the last night of the summer holidays and excited about seeing Metronomy at the Grand Finale of the city’s 43rd Musikfestwochen.

It was all going on around the Kirchplatz and we strolled in through the gates easily, flashing our tickets and receiving a little cloth band which was lovingly tied around our wrist. There was a wonderful, relaxed ambience, people milling everywhere - a huge diversity aged from 0 to 100 (and probably over, knowing the Swiss) We grabbed a couple of Chopfab Truebs from one of the many pop-up bars and relaxed on the beautiful raised terrace which had been fixed temporarily to the side of the church for the event with laidback seating amongst a host of potted tomato plants and herbs. Many people were enjoying a bite to eat from a great variety of food stalls offering plenty of vegetarian and vegan options. It was such a relaxed and happy atmosphere. We felt in the midst of a giant sociable hug.

With this lovely fuzzy feeling still strong, we made our way back down to Steinberggasse and managed to bag a spot close to the stage 10 minutes before Metronomy were due on. And at 8pm, there they were, walking quietly onstage and then – BAM! - they began to play with FUNK, glorious FUNK. All I can say is wow. Wow, WOW! I haven’t experienced such an energy of this calibre in a gig since The Coral at Liverpool’s The Royal Court many moons ago.

Metronomy is one of the most exciting British bands around right now. They’ve been called a host of things, from lounge-pop to fairground synth, to disco, to sexy electro-pop but for me they just ooze funk, the best, sexy, kind of funk, which all began in the bedroom of Joseph Mount. They’re slick, they’re full of surprises – I loved it when the drummer Anna Prior returned to the stage dancing with her tambourine before launching into Everything Goes my Way with her sexy sultry voice. There was the nostalgic Love Letters with its boppy beat and a new exciting song and then towards the end a tub thumping hypnotic performance of The Look which left us in no need for an encore. And best of all, the band were having a great time – I love how they all sing along to each song - feeding off the energy of the crowd. The tempo would constantly change and gather pace, keeping us under a spell, then Olugbenga’s boom, boom base line would cut in and the crowd surged, roaring with appreciation, a mass of bodies rising and falling in time with the beat. I did not stop dancing, along with everybody else around me. Neither did Gray - and he has a bad back (for the time being forgotten)

Winterthur has done it again, bringing us a 12 day long love affair with music, enhanced by the perfect garnishes of food, beer, fellow music lovers and stunning array of places to sit, stand, dance and enjoy the buzz.

Saturday, 4 August 2018

A gig with Ed

It was more than a year ago we purchased tickets for last night’s Ed Sheeran gig. We felt very lucky to get them – they were sold out within 6 minutes, or so I’ve been told. My daughter, now 11, had been a big fan of his since 2015, way back when all her Swiss friends hadn’t even heard of him (can you imagine?) But of course, in the lives of young children, planning a gig a year in advance is a risky business, they’ve usually moved on to some new band or fad in the music world. And yes, these days my daughter does listen to a lot less Ed Sheeran and her music appreciation has spread wider to include Alanis Morissette, the Kinks and Metronomy, among many other great bands and singers.

But as we got ready for our big night out I could tell she was excited as she carefully drew her big heart-shaped poster which simply said ‘Ed Sheeran’ in Schnellschrift and donned her favourite red ‘going out’ top. Her little 9-year-old sister less so. She loves her Ed Sheeran playlist on Spotify but she had never been to a concert and wasn’t too thrilled at the prospect.

I, on the other hand, think Ed Sheeran is amazing. It’s not the kind of music I usually listen to but he is a sing-a-long to, boogie-a-long to, all-round great guy. I genuinely think he is the nicest man in pop. Since Paul Weller anyway.

We set out at 4pm in melting temperatures and an hour later (by bus, train, bus) we were walking up to the Letzigrund amongst a horde of other concertgoers, who had also arrived by public transport, a steady stream alighting from trains, trams and buses. My youngest was starting to get interested by now – ‘How many people do you think will be at the concert mummy – 3 million?’

We found a place at the side of the standing area about a third of the way back (very frustrating – I would have loved to edge myself through to the front as I used to but now unfortunately mummy-dom calls) and sat down to wait for Ed. I grabbed a pint from a passing Beer Ghostbuster, with keg strapped to his back connected to a nozzle with which he zapped your glass full, and the girls grabbed Ben and Jerry’s ice creams from another vendor patrolling the crowd. When it comes to refreshment provision, the Letzigrund have it nailed.

The two support acts were good, beginning with a very ‘Sheeran like’ singer Jamie Lawson and ending with Anne Marie, although I was a little disappointed how niche she was – her target audience was pretty much girls between 9 and 15. My husband, who likes Ed but feels ‘he’s gone a little too commercial these days’ and was at the concert under duress, suggested that is pretty much Ed’s target audience. I wholeheartedly dis-agreed and looking around, it was not just teenage girls – there was a whole host of men and women of all ages standing around us.

Ed came on at 8.45pm prompt, and took us with him on a fantastically boppy, joyful 90 minute journey of songs, dancing and a fantastic stage set. Commanding the stage with nothing more than his guitar and a loop pedal, Ed captivated the audience from the off, opening the show with Castle on the Hill much to the delight of our eldest (one of her very favourite songs, along with Bloodstream) As he seamlessly flew into another of his most famous hits A-Team. I was happy, I knew the words to these songs and could sing along to my heart’s content, much to the consternation of my pre-teen, who is very embarrassed about her mum showing any kind of emotion in public. But then, lo and behold, I got the nod from Ned – he gave me permission to sing – and dance, during one of his very chatty preludes between songs and so I did - and it was great. I especially loved his Cèilidh inspired version of Galway Girl which got the whole stadium jumping and a-jigging.

Ed loves to talk and in the end it felt like an audience with Ed, instead of a regular concert. He talked to the boys who had been dragged along by their girlfriends and he talked to the dads, or ‘superdads’ who had gone along in support of their children, pondering about the bad traffic, etc, etc He told us about how he once had one of those dads, who took him along to many concerts (and look where he is now, we thought) And he talked to mums like me who were itching to sing and dance, despite their teenage daughters standing alongside, sneering.

As the night drew in, the volume increased, and the mood dripped with atmosphere as Ed produced a brooding rendition of Bloodstream and even his own version of Nina Simone’s Feelin Good. We launched into the slow numbers with the lovely Perfect sparking a chain reaction of twinkling phones held aloft (in my day it was lighters) a manmade tribute to the starry sky twinkling above our heads. My daughter and I love Thinking Out Loud – it may be schmaltzy, but surely those beautiful lyrics resonate with each and every one of us?

The pace picked up again and we all sung Sing with its catchy groove to end the show with a fanfare. But we all knew it wasn’t over. Ed left the stage after encouraging the crowd on a wave of ‘Wo wo wo wooohhh wo wo wo woh, wo wo wo wooohhh wo wo wo who…’ which we all enthusiastically kept up until he reappeared in a Swiss football kit, much to the delight of the crowd. He continued the adoration of the home crowd as he launched into Shape of You, which must be the most played tune in the history of Switzerland (for a while I could not put on a radio station or walk into a clothes store here without hearing it) The crowd roared with appreciation for this especially well-known number of theirs which they could confidently sing along to and wave their arms to wildly.

And then he played a blinder with his final song You Need Me, I Don’t Need You. Superb performance, fantastic stage set. And BOOM – we were left in no doubt it was over. I haven’t experienced the end of a set like that since I saw The Coral at Liverpool’s Royal Court.

I thought Ed’s concert would be good but it was spectacularly so. It was exciting, it had oodles of energy, Ed has talent, oodles of talent, and it went ultra-smoothly. It takes incredible balls to conduct a concert to a stadium of people all by your onesie, with nothing but your beloved guitar and a loop pedal. Any journalist criticising Ed Sheeran’s performance for being a bland everybloke (Guardian) and having ordinary material (Telegraph) completely misses the point (or maybe they’re just jealous that this ‘ordinary guy’ commands the adulation of millions of teenage girls) 

Ed Sheeran cares. His songs are great, especially his earlier stuff, much of which he sung last night. He sings about stuff that matters, he talks to us, he’s a regular guy, who his dad dutifully took to concerts, who made it. Just like any other of us could make it. We all loved it, my eldest (of course) my youngest (dead on her feet by the end but completely spellbound by the whole experience - and she saw a shooting star!) Even my husband was super impressed, saying that was the best concert he’s seen in a long time. The best even since Paul Weller. And that’s saying something.

Saturday, 7 July 2018

Come on England!

I am loving the World Cup this year. Well, okay, I always love World Cup time but this one seems to be the most exciting yet, with so many big surprises and emotion, coupled with sublime football prowess to the foulest play I have ever seen – oh and of course lots of last minute excitement.

Throw in a fantastic local pub, with great, cheap beer, fives minutes walk from the house to view the excitement alongside my adopted Swiss ‘family’ and yep, it’s tip top this time round.

And England have made it to the Quarter Finals! What a surprise! And with Brazil going out last night…dare I hope…

Double whammy, headlining with the England match today, I get to enjoy the first official gig for Gray. It’s going to be great – what a day. The only downside is that Gray starts gigging at the same time England kicks off – so he’s not best pleased, to put it mildly. We’ve just been discussing the hand gestures so I can update each goal while he’s playing. Hope I don’t get that wrong. Now, was England my right or left hand…

www.stallrock.ch

Watching last night's Brazil v Belgium game with my friend Maria

Setting up Stallrock in the village this morning


Sunday, 27 May 2018

Totoro and a Satch Spray Day

We went along to a Satch (Swiss creator of all things to do with rucksacks and pencil cases) Spray Day at Büro Schoch in Marktgasse in Winti yesterday. My daughter Poppy had saved up her pocket money to spend 20fr – yes, 20fr – on a Satch pencil case and have it personalised for free by an in-store ‘graffiti artist’ I do find 20fr a little pricey for a pencil case but, as is always the case, if my children want to spend their own money on something creative then I am a big softy.

So we seated ourselves at the artist’s bench yesterday morning and rifled through examples of his previous artwork for ideas. We were a little uninspired by what was there but fortunately we had a few ideas of our own, downloaded on t’internet, mainly focused on Totoro, our favourite ever Studio Ghibli movie character. I showed the artist an example on my phone, which he took out of my hand, gave a nod (he was a man of very few words) and got on with the job in hand.

Poppy was very pleased with the result and can’t wait to show it off at school. Best of all, it didn’t cost me a penny, a rare and welcome treat these days J

Sunday, 20 May 2018

Switzerland's first National Reading Day

Reading aloud to your children is a wonderful thing. It is one of my favourite times of the day when I snuggle up in bed with my daughter, now 8, and read to her. My 11-year-old often she comes to lie across the end of the bed to listen.

On Wednesday (May 23) the first National Reading Day takes place throughout Switzerland. This will be a day when many events will take place in communities small and large.

Winterthur’s libraries will also be taking part. There will be two special events taking place on the day at all seven libraries around the city:

  • Between 2pm and 4pm, there will be a special games and stories session, with zvieri, for children aged between 5 and 9 years.
  • Between 6pm and 7pm, the entire city council has made themselves available for reading aloud in the seven libraries to middle school and high school students.as follows:
  •  Stadtbibliothek - City councilor Yvonne Beutler
  • Hegi - City Councilor Jürg Altwegg
  • Oberwinterthur - Mayor Michael Künzle
  • Seen - City Councilor Stefan Fritschi
  •  Töss - City Councilor Barbara Günthard-Maier
  • Veltheim - Councilor Nicolas Galladé
  • Wülflingen - Councilor Josef Lisibach
More details on the Stadtbibliothek website.

National Reading Day in Switzerland website.

Saturday, 19 May 2018

100 year anniversary of Ferdinand Hodler

Die Nacht, 1890
Today marks 100 years since the death of Ferdinand Hodler, probably the most recognised Swiss painter of today.

Hodler (14th March 1853 – 19th May 1918) was hailed as helping to revitalise monumental wall painting and his work was thought to embody the ‘Swiss federal identity’ Many of his best-known paintings are scenes in which characters are engaged in everyday activities, such as the famous woodcutter (Der Holzfäller, 1910, Musée d'Orsay, Paris). In 1908, the Swiss National Bank commissioned Hodler to create two designs for new paper currency. His designs were controversial: rather than portraits of famous men, Hodler chose to depict a woodcutter (for the 50 Swiss Franc bank note) and a reaper (for the 100 Franc note)

Winterthur Kunstmuseum features many of Hodler’s works in the main collection and includes works such as Die Empfindung (1908) and Der Redner, Studie zur Einmütigkeit (1913) in the current Ferdinand Hodler – AlbertoGiacometti. An Encounter.
Der Redner, Studie zur Einmütigkeit (1913)


He was born in Bern, the eldest of six children. By the time he was eight years old, he had lost his father and two younger brothers to tuberculosis. His mother remarried to a decorative painter named Gottlieb Schüpach who had five children from a previous marriage and the birth of more children brought the size of Hodler's family to thirteen.

The family was poor, and nine-year-old Hodler was put to work assisting his stepfather in painting signs and other commercial projects. After the death of his mother from tuberculosis in 1867, Hodler was sent to Thun to apprentice with a local painter, Ferdinand Sommer where he learned the craft of painting conventional Alpine landscapes, typically copied from prints, which he sold in shops and to tourists.

At the age of 18, Hodler travelled on foot more than 160km to Geneva to start his career as a painter. He later travelled to Basel where he studied the paintings of Hans Holbein - especially Dead Christ in the Tomb – and Madrid in 1878 to study the masters such as Titian, Poussin, and Velázquez at the Museo del Prado.

The works of Hodler's early artwork consisted of landscapes, figure compositions, and portraits, treated with a vigorous realism and in the last decade of the nineteenth century his work evolved to combine influences from symbolism and art nouveau. His turning point was the creation of Night in 1890 which created a scandal at the Beaux-Arts exhibition in Geneva a year later. However, a few months later, it was exhibited in Paris at the Salon where it attracted favourable attention and was championed by Rodin.
Die Empfindung (1908)

Hodler developed a style he called ‘parallelism’ that emphasized the symmetry and rhythm he believed formed the basis of human society. In paintings such as The Chosen One (1893), groupings of figures are symmetrically arranged in poses suggesting ritual or dance. Hodler thought of woman as embodying the desire for harmony with nature, while a child represented innocence and vitality.

After several divorces Hodler met Valentine Godé-Darel in 1908 who became his mistress. She was diagnosed with cancer in 1913, and the many hours Hodler spent by her bedside resulted in a remarkable series of paintings documenting her decline from the disease. Some of these are currently being exhibited in the Ferdinand Hodler – Alberto Giacometti. AnEncounter exhibition at Winterthur Kunstmuseum. Valentine’s  death in 1915 affected Hodler greatly and he died just three years later.

Winterthur Kunstmuseum website.

Monday, 14 May 2018

Mother's Day at the museum

Portrait d'Annette, 1964, Alberto Giacometti
I had the perfect Mother’s Day present yesterday – a whole morning to myself to spend at the local art gallery. Not that I don’t love my little tykes to bits, but I do get to spend every day with them and free time is a coveted and very rare thing indeed, as every mother knows. It was also the perfect day for a visit to a gallery as it was also International Museum Tag (although in the UK it isn’t actually until 18th) which means free admission.

I went along to the Ferdinand Hodler – Alberto Giacometti. An Encounter exhibition at the Kunstmuseum Winterthur, hailed as the first time ever that the two great Swiss artists have been featured in a joint exhibition. It is easy to see why, as at first glimpse they are poles apart – Hodler with his strange painterly depictions of repetitive figures on grand canvases and Giacometti with his squished heads and sculptured forms (a friend of his once said that if Giacometti decided to sculpt you, ‘he would make your head look like the blade of a knife’)

But the curators had worked hard at finding several parallels, such as the representation of groups of figures, studies of the Swiss mountain peaks and a particularly touching room featuring the artists’ lover and mother.

Giacometti was born at the beginning of the 20th century (10 October 1901) and Hodler was born much later in 1853 (14th March) although funnily enough, both artists died at the age of 65.

Selbstportrat mit Stehkragen, 1879, Hodler
The first room contrasts the artistic giants’ two self portraits cleverly – I mistook them for each other’s work! The Giacommeti painting looked to me just like Hodler’s work and the Hodler self portrait was how I imagined Giacommeti would have looked when younger. My favourite by far was the Hodler self portrait. It was astonishing - so feverish and haunting - he looked like a man possessed - and so unlike any work I have seen of his before. I attempted to catch this in a quick sketch – see below.

The next room featured the groups of figures. I liked the contrast in this room – each piece of Hodler’s work was accompanied by a piece of Giacommeti’s featuring a group of similar proportions – Hodler’s monumental paintings of characters moving in a kind of harmony, contrasted splendidly with Giacommeti’s tiny, isolated figures detached from the world around it. Then there was the collection of alpine paintings, which to me seemed to have a similar approach for the two artists, my favourite here was the one by Giacometti – see below.

The most penetrating and poignant room featured a host of work by Hodler depicting his model and lover Valentine Godé-Darel – once alive and smiling and the rest of her on her deathbed (due to cancer) just two years later. A heartfelt reminder of how quickly we can lose our loved ones. Giacometti’s portrait of his mother (see above) is just as revealing, as her  wavering head disappears into the grey ether surrounding it.

I just made a couple of sketches - quite unusual for me, as I often leave an exhibition with a notebook brimming with pencil drawings, but those two sketches were telling – the two pieces of work and two people who, for me, had the greatest impact.

Ferdinand Hodler – Alberto Giacometti. An Encounter runs until 19th August. Admission 19fr. opening hours Tuesday 10am – 8pm, Weds until Sunday 10am - 5pm and Monday closed.


Monte del Forno, um 1923, Alberto Giacometti

Portrait de Diego sur socle, 1959, Alberto Giacometti

Valentine Godé-Darel auf dem Totenbett, 1915, Ferdinand Hodler