Steven Osborne, the SCO, and a tidy desk

Look at that desk/wall area. Just look at it. That’s my recently tidied-up desk. I love it. I love the sight of it.

The drawers have been emptied, the contents rationalised, photo and audio assigned to dedicated boxes, and some of postcards I’ve acquired over the years Blu-Tacked to the wall.

Now when I look up from my monitor I glance at my three favourite concert venues, Britten, Pears, and Lord and Lady Harewood, and Port Isaac – the first place I tasted freedom. I’ve included the BBC staff event ticket from 2013 as a reminder to me not hold a grudge against my former employer and all but two of its employees.

I’ve a new working regime, including a shutdown process for late Friday afternoon comprising a quick dash round with a duster and the Dyson.

New year, new habits.

Today’s inbox features two well-pitched and beautifully well-crafted emails from PRs.

First, the Scottish Chamber Orchestra’s ‘Fruitmarket Project’ – a collaboration between the orchestra and people living in the outlying areas of Edinburgh where, I’m told, the centre of the city is of little relevance to those living in the poorer suburbs.

The important detail:  Incredible Distance – an arts project with adults living in Wester Hailes, Edinburgh, unveiled as part of the Society of Scottish Artists 121st Annual Exhibition and will also be exhibited at WHALE Arts (22 January – 9 February) and the Fruitmarket Gallery (12 February – 16 February).

I’d heard about it in a pre-Christmas tete-a-tete in South Ken. Sounded interesting. Podcasty. Hinted that. Hoping I might be able to get it featured in some way. Sounds like a very Thoroughly Good kind of thing. Watch this space – it’s a race between TG and that Music Matters on Radio 3.

And second, unexpectedly, a promo for the Steven Osborne gig at Kings Place in 8 February (though I have been in the same car as him and his manager when I was ridiculously drunk). Osborn introduced the only performance of Britten’s Piano Concerto at the BBC Proms years back that makes the work (and the world) make sense to me right now.

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