London has a number of small and quirky museums. This one dedicated to life and works of George Frederic Handel and Jimi Hendrix is certainly an unexpected combination. Handel lived at 25 Brook Street for 36 years in the 18th Century and Hendrix lived at number 23 for short time in the 1960s.
Bach’s house is decorated in the slightly austere Georgian style that was fashionable when he lived there. It does contain some beautiful musical instruments, including a wonderful harpsichord and a chamber organ. The bedroom has a four poster bed and there are some good paintings and a bust of Handel too. There are recitals held in the music room at least once a week and the staff are knowledgeable and helpful.
The Hendrix flat is laid out somewhat differently. The bedroom/living room is decorated as it would have been when Hendrix and his girlfriend lived here, this is borne out by the many photos of the room published during this time. The rest of the apartment is done in a more traditional museum style, with guitars and jackets in glass cases and commemorative posters on the walls. The bedroom is interesting, the fact that it is so classically psychedelic Carnaby Street 1960s in style probably reflects the huge effect that he had on the fashion of the time.
Unlike many museums in London, this one is not free unless you have a National Art Pass. It is small but it does contain a number of curious items. It is striking to compare what the height of fashion was in the centre of London two hundred years apart – and there is something apt in the fact that it doesn’t open until 11am on any day. Half an hour or forty minutes will adequately see you round this exhibition, but if you are a fan of either rock or baroque, I think there will be something here to please you.
Swansea International Festival runs from the 22nd September to the 7th October this year. It has many interesting events, among them a stand up performance by Rob Bryden and a production of Gilbert and Sullivan’s “Iolanthe”.
The centrepiece of the Festival is a Welsh Commission for 14-18NOW called “Now The Hero” 14-18NOW have collaborated with various artists to make some very compelling pieces over the past few years, related to the centenary of the First World War. A particularly thought provoking event earlier this year was “Fly by Night” where thousands of pigeons with LED lights were released over the Thames at sunset.
“Now The Hero” is their final piece and it looks like another winner. It is an immersive musical/theatrical parade, starting in Swansea Bay and finishing with a choir recital in Brangwyn Hall in the city. It tells the story of three Welsh warriors from different time periods. There is an ancient Celtic soldier, a First World War conscript and a contemporary service man. There is also a voice for peace, with Eddie Ladd voicing quotes from protestors at Greenham Common’s women’s camp.
The music is a choral requiem written by Owen Morgan Roberts and Owen Sheers. It is based on a traditional old Welsh poem “Y Gododdin” and will be performed by Cambridge choir, Polyphony. Brangwyn Hall where the event finishes contains “The British Empire Panels” a work originally commissioned to be hung in the House of Lords but rejected by them as too colourful. It was notoriously described at the time by Lord Crawford as “all tits and bananas”, however almost a hundred years later it is regarded as a powerful commemoration of Welsh participation in the First World War.
This event will transform Swansea over the course of five days on 25th to 29th September and it looks as though it will be a spectacular highlight of the Swansea International Festival.
Other performances at the Festival are The BBC National Orchestra with Karl Jenkins and The Welsh National Opera doing “Rhondda Rips it Up” with Lesley Garrett and Madeline Shaw. So if you are looking for some art and culture at the end of September, Swansea is the place to be!
Rodin and the Art of Ancient Greece is a fantastic exhibition, in terms of both content and context. The Parthenon marbles, which used to be known as the Elgin Marbles, are always in the British museum collection but exhibiting them with the Rodin sculptures, for which they provided inspiration, adds a frame of reference to both.
We see the timelessness in the Greek pieces where the damage of 2500 years only adds to their beauty. In Rodin’s sculptures, the incompletion is intentional, but the pieces are no less pleasing because of that. The show cleverly depicts both sets of pieces as individual parts of a larger work. Elgin removed decorations from the Parthenon in Athens and Rodin’s sculptures are part of his, never fully finished, Gates of Hell. It is very informative to see the representation of the wall near each piece which shows exactly whereabouts in the wall it came from.
The room is big and impact on entry is impressive. There is a large collection of Rodin’s works here, mostly on loan from Musee Rodin in Paris. We have Athena (Pallas), The Kiss, The Thinker, The Walking Man, The Age of Bronze, even The Burghers of Calais has been brought in from Victoria Tower Gardens. The Parthenon Marbles are interspersed among them and seeing, for example, the two intertwined headless Goddesses in the background of The Athena with the Parthenon in her hair, adds to the attraction of both.
The ancient Greeks, Phaedias mostly here, tended to use an idealised form of the body in sculpture and frieze, whereas Rodin veered more toward realism in his, but this show brings attention to the association between the piece of art and its inspiration. This is its real success.
The British Museum holds one of the greatest art collections in the world, but surprisingly, it does not have any Rodin in its permanent collection, so if you did need an extra excuse to visit, this is it. Also, for the first time, photography was allowed in this exhibition.