Nicholas Spice

The conductor’s practical function – to direct the music – is overlaid with symbolism, and at the interface of the orchestra and the audience he is the recipient of two quite different waves of transference. At his back, an amorphous crowd of strangers beam expectation at him. They have paid to experience something amazing. Variously informed about what exactly he is doing, they are happy to submit themselves to his mystique and charisma. To them, he is the high priest, guardian of the sacred texts, the leader.

Two scenes​ from his teenage years in prewar Vienna defined Hans Keller’s later life: one a kind of heaven, the other a window on hell. He was a viola pupil of Oskar Adler, a doctor and musician, and took part in the famously select chamber music salons at Adler’s house in the Neubaugasse, where on Saturday afternoons the luminaries of Vienna would play string quartets and talk...

I was in the Whittington Hospital for just over a week: a night in A&E, sitting on a trolley waiting for a bed; two days in an isolation room on one ward; six days in an isolation room on another. The illness climbed quickly to its apex and then subsided in a straight line towards recovery, although two months after symptoms first appeared, I am still not quite myself. I guess I should say that the experience was traumatic, but it was more Traum than trauma. Events took on a certain gratifying theatricality, rather as they do in dreams. I watched myself as the protagonist of an enthralling drama, even as I experienced it as acutely uncomfortable, lonely and, at times, frightening. To be a patient is to be a solipsist: for a while, the world revolves around you. This is why being ill as a child was so special – I had my mother to myself. And it was to childhood that I reverted throughout my time with Covid. 

He understood that, in our minds, music and nature are connected through a web of metaphors of movement, that we animate nature and music through the third term of language: the light dances on the sea, the music heaves like water. At the same time, he was captivated by the states of mind and body elicited by nature: intimations, fleeting impressions, elusive sympathies, but also feelings of exhilaration with life. One way to think about Debussy’s music is as an invitation to attention: at its most rapt, his music seems itself to listen, and the act of listening to which it draws us becomes the value of which it speaks – its ‘content’.

Brexit will give us back control of our borders. For the person who is temperamentally safer at home than abroad, this makes sense and can only be good. But for me the UK Border is a threat not a reassurance. Theresa May presumably felt a deep affinity with the Border Force when she was home secretary. She’s someone who likes things to be well defined. She has her red lines. She’s the exception to the adage ‘Nomen est omen’: she should have been called Theresa Must.