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Peter Salmon Web Site Introduction
Welcome to my website, which has everything you need to know about me. That's right, everything.

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 Now in sexy orange!
What discerning judges have said about The Coffee Story
‘It’s been a while since I read a first novel that felt as universally accomplished as Peter Salmon’s The Coffee Story‘ – Toby Litt
‘I was constantly intoxicated by a sense of desire & loss‘ – Jake Arnott
‘Wild and raucous… an extraordinarily accomplished debut‘ – Niall Griffiths
‘Reminiscent of Phillip Roth’s Everyman. But it’s much, much funnier‘ – Sydney Morning Herald
‘An exceptional debut‘ – Martyn Bedford
I’ve also written short stories, and for radio and television, and am working on my second novel.
Email: p.salmon@live.co.uk
By Peter Salmon, on April 25th, 2013  Mahler refusing to apologise for the Seventh
Nope, I still don’t get it. I love Mahler, but the Seventh still makes absolutely no sense to me. In fact i think maybe I don’t like it. There I’ve said it.
Back before I loved Mahler I hated Mahler – he always seemed to be either shouting or whispering and what he said in either register didn’t seem particularly interesting. This was all my fault of course – a product of what I like to call ‘having Mahler on in the background’, rather than actually listening. Of all composers I think our Gustav maybe the least suited to background music – it is precisely the interweaving of the various motivic cells that is Mahler. You can’t dip in and out, or listen with one ear, or he sounds like a whole bunch of crap. I reckon, anyway.
So I started listening, properly listening, and fell in love. Don’t get between me and a finely rendered version of the Fourth or I’ll rip your bloody arms off. And given a choice between eternity in heaven and listening to Bruno Walter conducting the First, then God and his holy angels can fuck off, frankly.
But the Seventh? All the bits that make up Mahler are there – yr horns, yr fanfares, yr weird dances, yr sudden quiet bits, and them bits where the clouds part, the heavens open, and holy choruses descend and cast out the darkness, you know the sort of thing. There’s sadness. And schmaltz. And irony. And sad, schmaltzy irony (TM, G Mahler). But for me it always sounds like someone trying to do Mahler and never quite pulling it off. Which makes the whole thing pretty annoying. For over an hour.
Anyway, Mahler ‘expressed great affection’ for this Symphony, and in my experience whenever any artists says that about a piece of work, it’s best to make your excuses, head for the door, and go and check out some of their other stuff. And so I shall. The Second methinks.
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By Peter Salmon, on April 16th, 2013  But what dreams!
Is there anything better than falling asleep to the sound of classical music? Well, lots of things, obviously – the sun, the sun is better, what with sustaining life on Earth. Also, a really good pair of pants. That woman over there, she’s better. And a well made cake, neither too dry nor too moist. Better. Much better.
But leaving such things aside, falling asleep to classical music is better than just about anything. I have fallen asleep to the best of them – Beethoven, Brahms, Percy Grainger. For years I didn’t realise that Mahler wrote whole symphonies – I though he only wrote a few bars hinting at something grand. And did you know Schubert’s Winterreise is an actual song cycle?
One compser I didn’t expect to fall asleep to is Handel. Bombast and somnabulism are strange bedfellows, which might just be the greatest sentence I have ever written. He tends to be loud, does Handel, so I embarked on these Concerti with every confidence of getting from one end to the other without recourse to dreams. And yet… And yet…
I have now tried to listen to this set four times, and ech time I have dropped into the deepest of slumbers. Sure, I have tended to try and listen at the end of the night, tucked up in bed in my pjs, a toasty hot water bottle warming my feet, my sleeping cap on, my last brandy drunk, eyes closed with my head resting on my downy downy pillow, a string of spent lovers aranged louchely around my bed chamber. But still…
Which is not to say that the music is dull – on the contrary, it sparkles with effervescent energy. It is truly exciting music, and leads to truly exciting dreams. Usually involving pomp, often involving ceremony. Last night I was on a barge going down the Thames being feted by foreign dignitaries, tonight I want nothing less than a trip to the moon! Thank you Handel, thank you classical music! Thank you, the human brain!
Now, sleep.
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