Richard Baker
@rchrdbkr
Composer based in Ceredigion, Wales, UK. Research Fellow @guildhallschool.bsky.social. Weithiau yn Gymraeg. Profile photo: Claire Shovelton Artist website:
Oh well! I shall have to just stand here in my wrongness and be wrong, and get used to it, I guess…
Here's a conundrum #poetrysky - I was just looking for Thom Gunn's 'Lines for a book' online, and came across this 1955 publication in Poetry - without the famous couplet about Stephen Spender's rough boys. Was this an early draft? Censored by the editor? Anyone know?
Gosh, if only we had a ‘system’ that exhibited such valuable qualities:
So this was nice: thirteen years after relocating to Wales, the Welsh Music Guild presented me with its Sir Geraint Evans Award for a significant contribution to Welsh music’. A very touching honour for this poor Saes.
Gosh, I wonder what might explain the lower than expected rebound in Self-Assessment receipts? I’m told the Treasury believes the arts and culture industries are comprised solely of entitled and loud middle class people addicted to state handouts. Could it be that they are wrong about this economy?
Post you from a different era. Oxford, sometime in 1993, on a Section 28 Demo. Good to revisit as I’m back in the same street today, some 31 years later
En route from Aberystwyth to Oxford (not one of the *great* journeys!) to talk to student composers at New College about my work, thanks to colleague Luke Lewis.
Obligatory timeline cleanse. This is Begw, our standard dachshund. Named after the narrator of Kate Roberts’ ‘Tê yn y Grug’. Had she been a boy, she was going to be called Raymond Williams.
Lovely Welsh language article by Pwyll ap Siôn in the latest issue of ‘O’r Pedwar Gwynt’ on music, politics and disco, including my new album ‘The Tyranny of Fun’ pedwargwynt.cymru/rhifyn-print...
Having just read some very self-satisfied nonsense by a soi-disant 'experimental composer', I remembered this, from Lawrence Dunn. Nobody in theatre would unironically describe themselves as making 'experimental' work. Why do we tolerate it, still, in music? It's meaningless and should be retired.
All wonderful. Nothing quite beats this, from Kingsley Amis in 'Lucky Jim' (1954), often hailed as the greatest description of a hangover in English literature: