An Evening with some Amazing Musicians

Last night was a musical mountaintop experience as I listened to David Finckel and Wu Han play an amazing program on masterworks for cello and piano. Opening with Schubert's tuneful Arpeggione Sonata, a work written for a now defunct hybrid between the cello and the guitar, I was quite taken by David's careful attention to Schubert's melodies, and how he took great care in his bowings to make the phrases sound as if they were sung and not played on an instrument.

Next came a youthful Beethoven sonata, one that was obviously written more to show off his own skill at the piano than the cellists' prowess. Wu Han tore it up to put it somewhat bluntly. She fired off Beethoven's clusters of notes with apparent ease. More remarkable still was the delightful rapport between this husband and wife duo.

In the second half we were treated to music of Anton Webern. Wu Han set the mood for the audience with a humorous chat about the music, deftly dispelling any fears that the audience may have had about the brief but sometimes pungent music.

Finally a gorgeous and autumnal Brahms sonata finished out the program. Two encores followed, a little melody by Borodin and a fierce scherzo by Shostakovich. This was an amazing evening of music making. I encourage you to check out David and Wu Han's recordings at www.artistled.com.

There was a lovely reception afterwards in a private home, and I was fortunate enough to be invited to join the artists around an intimate table for several hours of conversation and bantering about music and musicians. What a night!

You Tube Debate

Recently, I posted comments on a You Tube video of renowned Canadian tenor Jon Vicker's portayal of Peter Grimes. I remarked that Vickers was a fundamentalist and that he was quite homophobic. I recently received this response. I thought you might enjoy reading it and my response to the writer.

Dear Maestro 214: I take strong objection to your off color remark about Jon Vickers being a "fundie Christian". I'm sure you can agree that this expression is classless and slightly ridicules fundamental Christians, whose numbers are huge and growing everyday. I believe it would be prudent of you to not make such a remark which downgrades individual's religious beliefs regardless of how you feel about it. How would you feel if someone referred to a black man as a "blackie" or a Jewish man as a "Jewy". I'm not sure why you believe that Vickers is a homophobe. If one's views of homosexuality conflicts with his religious beliefs, then he has every right to stick with his guns and be consistent with his philosophy as long as he is not destructive of such groups of individuals. Kudos to Mr. Vickers who is a man of principle and should not be ridiculed just because his beliefe may not consistent with yours. Because one does not believe in the secular "progressive's" view of sexuality, does not make one a homophobe. Canned lingo such as the ones to which you have referred only divides and leans to the notion that tolerance and diversity only apply to the politically correct which is the worst sort of exclusion, bigotry and therefore hypocrisy.

Dear sqnmath1234,

If you assumed that my remark was intended to ridicule fundamentalist Christians, you were dead on. I make no apologies whatsoever for ridiculing a group whose political influence in the United States has been utterly disastrous, and thank God, is noticably waning.

Considering that many of the Fundamentalist movement's leaders have made disgustingly disparaging remarks about homosexuals, I see no reason that I as a homosexual, need show them any more civility than they have shown me. May I remind you that such outstanding "moralists" as the Rev. Jerry Falwell blamed the September 11 terrorist attacks on an acceptance of homosexuality in the United States, and that other such paragons of virtue like Fred Phelps have made careers out of hateful anti-gay rhetoric.

Jon Vickers all but detested Benjamin Britten, and the feeling was pretty mutual. He even went so far as to change texts in the libretto of Peter Grimes to remove what he perceived as gay overtones. His homophobia is rather well documented, and I would refer you to Humphrey Carpenter's excellent biography on Britten if you would care to research it further.

Vickers made a fortune off the work of one of the twentieth century's most prominent gay composers. Funny that he had the moral hutzpah to decline singing Tannhauser and Parsifal on the grounds of his faith, grounds that were blatantly anti-Catholic, but he had no issue with altering a living composer's art to great fame and financial success. Here, sir (or madam as your screen name makes your gender unclear) lies Mr. Vickers' hypocrisy.

Further, you've really no right to call me on using canned lingo when you yourself have used terms such as "social progressives" and even gone so far as to put them in quotation marks as to dilute the impact that such people have had on the improvement of universal human rights.

As for my rhetoric being an agent of intolerance, I would simply say to you that at no time have gays and lesbians attempted to ban the teaching of proven science, nor have we tried to enact legislation which forbids two consenting adults from entering into a legal and loving partnership, nor have we attempted to keep heterosexual persons from bearing and raising children, nor have we thrown our own children into the streets at ages as young as thirteen simply because they didn't conform to our uninformed and illiterate conceptions of the Bible. These are all hallmarks of fundamentalist behavior.

I do believe that if you compare the statistics, that fundamentalist Christians have made far more attempts to divide people, to sow hatred and to legislate a minority's narrow view of morality than any group of homosexuals has ever attempted.

If you're offended by being called a "fundie" so be it. The very concept of fundamentalism and its divisive political agenda offends me to the core. Especially given that more often than not, as was clearly the case with the current administration, greedy politicians have used the usually genuine faith of Christian believers as a stepping stone to very secular power, and then laughed at said believers' gullibility behind closed doors.


Kevin Sutton
By the way, you should have had the guts to sign your name to your post

Some Weekend Listening for the first of February

Here are some tasty new releases that I recommend for your weekend enjoyment.

Wu Han, piano
Russian Recital, music of Tchaikovsky, Rachmaninov and Scriabin. Wu is the wife of cellist David Finckel, of Emerson String Quartet fame. She gives us a spiffy recital of Russian music. ArtistLed Records No. 10701.

Indigo Road
Original Lute Music by Ronn McFarlane. Dorian 90701. Splendid original compositions by America's master lutenist.

Brahms: The Clarinet Sonatas. Jon Manasse, clarinet and Jon Nakamatsu, piano. Harmonia mundi 907430. Skimpy on the timings, but this recording of Brahms' autumnal clarinet music is simply gorgeous.

Elgar: Violin Concerto, Serenade for Strings. James Ehnes, violin. Philharmonia Orchestra, Sir Andrew Davis. Onyx 4025. A major new release from one of the most important and deeply musical violinist at work today.

Enjoy!

A Review for Friday. Sorry, I have gotten behind!

George Frederic HANDEL (1685-1759)

Agrippina (Drama in three acts) (1709-10) [154:00]

Claudius: Günter von Kannen
Agrippina: Barbara Daniels
Nerone: David Kuebler
Poppea: Janice Hall
Ottone: Claudio Nicolai
Pallante: Ulrich Hielscher
Narciso: Eberhard Katz
Lesbo: Carlos Feller

The London Baroque Players
Arnold Östman
Stage Direction by Michael Hampe.

Filmed 1-4 May 1985 at the Rokokotheater Swchetzingen.

EUROARTS DVD 2054538 [154:00]

Because compact discs and DVDS are of such high and lasting quality and are so relatively inexpensive to manufacture, the music world enjoys quite an embarrassment of riches. Record companies continue to mine the depths of recorded performances, and now with the DVD firmly ensconced as the medium of choice for video productions, the market is beginning to see as big a flood of them as it did in the eighties and nineties with compact discs. The result is a seriously mixed bag where quality is concerned, and after having suffered through this production, I wish that the decision makers who let this one out of the can were a bit more discerning.

Handel’s convoluted drama about the behind the scenes machinations of Agrippina, who was the wife of the Roman Emperor Claudius, and mother of Nero, was a tremendous success when it first hit the Italian stages in 1709. And as Handel operas go, this one has some dramatic thrust to it, and some memorable tunes, in spite of the fact that as usual, Handel recycled a good bit of the music from earlier works. In this production, roles that would have been sung by castrati have been replaced with their octave-down male counterparts instead of countertenors, a decision that works well, and frankly makes this nearly unbearable production a few grams more tolerable.

For the life of me, I do not understand why first, opera companies cast singers who are so clueless as to baroque style in productions of baroque operas, and second why, when we have come miles in terms of stylistic and historical performance practice and in the ability to play period instruments well, that the label executives continue to pummel us with productions such as this one that are so severely dated and just plain poorly executed.

Let us begin with the orchestra. Ok, so the London Baroque Players have a bit of a reputation and some recordings to their credit. They play here with nary an ounce of grace and poise, honking and screeching their way through the score with all the enthusiasm that one might expect from a group of moonlighters. This is just plain ugly playing and the close microphones and the boxy acoustic of the Rokokotheater does not help. The sound falls dead at the first row of seats, and it is not enhanced at all when played through a stereo system.

Then there is the singing. Good God! A visit to the local dog pound would result in less barking, woofing, screeching and hacking. David Kuebler sings with a throaty edge to his tone that is maddening, and he puts so much pressure on the voice that there is nowhere for beauty of tone, if he had any, to blossom. Couple that with his forced coloratura and you get some pretty unbearable singing. Barbara Daniels looks regal enough as Agrippina, but she sings Handel with a Verdi voice that overpowers the music. Günter von Kannen is about as kingly as a walrus as he stumbles around the stage looking like and aging out of makeup circus clown, and singing as though he had a sweat sock stuffed down his throat.

The only mildly saving grace here is Janice Hall’s Poppea. This lady can actually sing. Her tone is lovely, she sings Handel with a clue or two about the style and she does not try to overpower us with sheer volume.

The supporting characters are miscast as well. Carlos Feller and Claudio Nicolai were already shall we say, mature, when they appeared in this performance. They are costumed and made up to look even older, and then when you have to listen to their forced, swallowed and tension filled tone, and their mere approximations of the pitches, you wonder from just which home for retired opera singers they were bussed in for this production.

To sum it up, this one should have never made it out of the file cabinet, and were viewers unfortunate enough to have this as their first Baroque opera experience, the cause would be set back a full generation. A request to Euroarts: please don’t do this to us again. No one wants to waste 154 minutes of his life on such third rate product.

Kevin Sutton

The Baltimore Consort Performs in Fort Worth

Fort Worth’s First Presbyterian Church, with its long and proud Scottish heritage and tradition was a most appropriate setting for the Baltimore Consort’s January 26^th performance of Adew Dundee, Early and Traditional Music of Scotland. The six musicians of the consort provided one of this season’s most satisfying concerts. The group has made a career of exploring the more obscure nooks and crannies of the repertoire. In a program that spanned the emotional gamut from the heartbreak of lost love to the ecstasy of Catholic spirituality to some low-down, toe tapping pub tunes, the music moved and inspired the sizeable audience, making even the most staid of Presbyterians sway in their pews.

The consort’s five instrumentalists performed on at least a dozen instruments, infusing their virtuosity with an element of joy and fun that was palpable and infectious. They were augmented with a guest performer, Danielle Svonavec, whose light and effortless soprano added the perfect seasoning to a hearty soup of colorful instrumental sonorities.

In an evening that was full of delights and surprises, there were a few absolute standouts. Ms. Svonavec’s haunting and unaccompanied One yeir begins, was a tour de force of vocal virtuosity. Her effortless transport from tenor g to the upper portions of her range was to die for. Gypsen Davy, a work imported to the new world was deliciously funny. In addition, Ronn McFarlane played a number of elegantly executed solo lute pieces, and Larry Lipkis and Mindy Rosenfeld provided some delightful banter in a number of works featuring dueling flutes and crumhorns. Mark Cudek made a virtual jazz rhythm section with his cittern, and provided a bit of sixteenth century bee bop by turning his viola da gamba on its side and playing it like a bass guitar. Mary Ann Ballard deftly switched from instrument to instrument as she provided one tuneful obbligato after another on her various viols.

The ensemble was slightly and tastefully amplified, a necessary evil given the soft sounds that these early instruments produce. Couple the quiet instruments with the enormous space, the electronic enhancement was needed, but never detracted from the enjoyment of the music. If one were to criticize anything, it would be the concert series’ policy not to provide printed programs. The practice first caused the performers to have to speak at length from the stage, and while the information was really necessary, it lengthened the program by nearly fifteen minutes, and caught the performers off guard just enough to make them sound a tad under-rehearsed as they spoke. More serious though, was depriving the audience of the song texts, whose dialectical and complex poetry would have been well served by our having been able to read along.

Given however, that there was no admission charge, and that the performance was truly world class, this can only be seen as a mild flaw. In short, this was inspiring music played with peerless musicianship. Truly a delightful evening.

Radio Helios

Hello All,

I have been upgrading our programs on Radio Helios, and am in the process of developing a whole new playlist. I am also adding voice tracks to introduce the pieces as well.

I am working on getting some interviews and other fun features up and running soon as well.

You can help support Radio Helios by becoming a premium member, by clicking on the links to artists' work on our homepage, and by buying cds from the links provided.

Thanks for your continued support of the station, and if you care to submit music to be played, please do so by contacting me at maestro2@grandecom.net.

You may send CDS to me at Radio Helios, 10661 Steppington Drive Suite 2113, Dallas, TX 75230.

A Review for Monday

Bach, Carl Philipp Emanuel (1714-1788)

Sonata in d minor, H. 128 [11:01]
Sonata in f sharp minor, H. 37 [11:45]
Sonata in A major, H. 186 [13:24]
Rondo in d minor, H.290 [4:07]
Sonata in C major, H. 248 [7:53]
Rondo in B flat major, H. 267 [4:52]
Sonata in E major, H. 83 [7:30]
Cantabile in b minor, from Sonata, H. 245 [3:04]

Christopher Hinterhuber, piano

Recorded at the Phoenix Studio, Budapest from 27 February to 1 March 2004.

NAXOS 8.557450 [63:46]

Second son of Johann Sebastian Bach, court harpsichordist to Fredrick the Great and godson of Georg Philipp Telemann; Carl Philipp Emanuel Bach was destined for greatness. Although he began his career in law school, it was as a keyboard virtuoso and composer that the arguably most successful of the after-Sebastian generation of Bachs was to make his fame and fortune. The most broadly educated and intellectual of all of Sebastian’s children, Carl Philipp would gain great respect as a learned man, teacher and author. His Essay on the True Art of Clavier Playing was held in high esteem. His influence on the work of Franz Josef Haydn is unquestionable and blatantly obvious. Upon his death he was mourned by his colleagues as a more significant and important composer than his father.

It would be easy enough on first glance to dismiss the younger Bach as a composer of Rococo fluff, and frankly, having just now become acquainted with his music in anything other than name, I expected nothing less. My surprise and delight was enormous then when I popped this disc into the player to discover music of energetic and complex rhythmic vitality and startlingly original and adventuresome harmonic language. Bach’s preference for the newer clavichord over the more traditional plucked harpsichord is obvious from the start. This music employs a new kind of virtuosity, one that plays up its emotional and dramatic content, and is far more reliant on melody than counterpoint, which by the time of these works, was considered passé and academic.

The sonatas are as a rule cast in the fast-slow-fast three movement form that would dominate the genre until Beethoven. The outer movements are full of technical display, and yet never stray from their overall focus on melody. They are full of exciting and unexpected twists and turns, and Bach uses the entire range and scope of the instrument to express himself. Often we find long melodies beginning in the upper register, only to be completed by a two or three octave drop to the bass. The inner movements are lovely in their aria like treatment.

The Rondos, although dismissed at their publication by some critics as needless filler and unworthy of inclusion with the more sophisticated sonatas, are brimming as well with interesting and exciting music. Brief and without wasted notes, they are little virtuoso showpieces that delight the ear.

Christopher Hinterhuber, performing here on a modern grand, is a pianist of formidable technique, able to handle fast passage work with ease and aplomb. He plays just fast enough to give us the whirlwind spirit of the music with out obliterating lines. His cantabile playing is admirable as well. I did find that particularly in the upper registers, the playing gets a bit shrill and clanky. I would have wished for more subtlety, warmth and nuance of tone in the upper end of the piano. Nonetheless this is a small detraction, and I am thrilled that this splendidly crafted and colorful music has seen a bit more sunlight.

A definite must own for lovers of fine keyboard music. Highly recommended.

Kevin Sutton

Some Remarkable Beethoven

Ludwig van BEETHOVEN (1770-1827)

String quartet in E flat major, Op. 127 [33:43]
String quartet in a minor, Op. 132 [41:16]

The Hagen Quartet
Lukas Hagen and Rainer Schmidt, violins; Veronika Hagen, viola and Clemens Hagen, cello.

Recorded in the Schloss Mondsee in November 2003 and in Wiesloch, Palatin, Minnesängersall in March 2004.

DEUTSCHE GRAMMOPHON 477 5705 [75:07]

When Beethoven was commissioned by Prince Galitzin in November of 1822 to compose a new set of string quartets, he was in the enviable position of having complete artistic freedom and the a clout to demand any price he wished for the completed works. He accepted the commission for the then whopping fee of fifty ducats per quartet and promised the first quartet to be delivered in March of the following year. The patron would have to wait far longer, as the completion of the ninth symphony and the Missa Solemnis took priority, and the quartets were not delivered until 1825. The result, however was spectacular, and the late quartets were to become the Beethoven’s crowning achievement; music for the ages with little or no regard to tradition, nor with any concern about audience reaction to these most remarkable, unusual and heretofore unheard of structures and sounds.

Central to both of these works are their slow movements. Longer in both cases by nearly double the lengths of their surrounding movements, Beethoven relies far more on the conveyance of a specific set of thoughts or ideas as opposed to any real dependence on form. This is especially true of the poignant Convalescent’s Holy Song of Tthanksgiving to the Deity, a sincere expression of gratitude from the composer upon his recovery from a long and painful stomach disorder. The serenity and sheer beauty of this single movement is overwhelming, and to hear this fine performance would be worth the cost of the entire disc.

The Hagens have been on the scene for some years now, making a fairly good sized collection of recordings. I have found it interesting however how heavily they rely on the standard repertoire in their programming, with sojourns outside the established canon being fairly rare occurrences. That aside, these are performances of supreme dedication and finesse. Given that the late Beethoven quartets are notorious for their difficulty, one would never know it to hear them played by the Hagens.

Intonation and ensemble are first rate, as one would come to expect from such a seasoned group. What I found to be most refreshing was the pacing of the works. They are never allowed to bog down in syrupy romanticism, even in the sublime Convalescent’s Thanksgiving, which could easily give way to self-indulgence. The Hagens do indulge, however in a bit of extraneous sniffing and snorting, a habit of which my extreme distaste is well known. It is however not enough to detract from this beautifully paced, flawlessly executed performance.

A highly commendable release, worth some pride of place in any collection.

Kevin Sutton

Interesting Cello Music

Claude LAMOTHE
Jacques ROY

(The composer’s/artist’s dates are not listed in the program booklet)

VIVACE
Music for cellos, as performed by Claude Lamothe.

Día a Día [8:12]
La Cathédrale de Bourges [3:50]
L’île aux Monuments [1:51]
V Comme Dans Bach [4:30]
Eine Walzer [4:01]
L’île des Vents [2:44]
Traversées [7:43]
L’île au Printemps [7:36]
See you…[5:15]

Dates of compositions are not listed.
Recorded at Studio Roy, Montreal, June and July 2005.

ANALEKTA AN 2 9808 [45:50]

Cellist Claude Lamothe began his career as a double bassist performing for some years with I Musici de Montreal until he discovered the wonders of the cello. Like his colleagues Matt Haimowitz and Yo Yo Ma, he seems to take great delight in exploring and creating non-traditional repertoire for his instrument, and this disc which has a rather refreshing combination of styles and moods for the most part succeeds quite handily in finding a more populist idiom for the cello.

This disc would not be possible without the aid of studio tricks, overdubbing being the main fare here, as Lamothe performs all the parts himself. Some of the music owes a nod to Astor Piazolla with its tango-esque rhythmic gestures and its Latin harmonies. Other works are distinctly patterned after the free jazz styles of say, Pat Metheny, and there is even the hint of Karl Jenkins present here and there.

Even though some of the music borders on being new agey, Lamothe and his sometimes co-composer and producer Jacques Roy have come up with a brief but arresting collection of pieces that showcase their broad range of tastes, ideas and influences. If you are looking for music that plumbs the depths of emotion or sends you on flights of ecstasy, you aren’t likely to find it here. What you will find is a refreshing three-quarter hour’s worth of interesting and engaging music, sure to entertain if not transform you.

In other cases, I might complain that there is not enough music on this full-priced disc, but I think that at just under 46’ we get just what we need; a pleasant diversion, worthy and well crafted music, and a program that goes right up to the line of gimmick, but thankfully does not jump over.

I have no qualms at all about endorsing this disc, and would wager that many serious listeners would find the lightheartedness of the works here to be a very pleasant side road down which to travel. Recommended.

Kevin Sutton

Music of an Italian Outlaw

Alfonso FERRABOSCO (1543-1588)

Dolci ire (madrigal a 5) [6:55]
Auprès de vous (chanson a 5) [2:49]
In Nomine I [2:38]
Pecantem me quotidie (motet a 5) [3:32]
Psalmus CIII [32:32]
Bruna sei tu, ma bella (madrigal a 5) [2:45]
Domine, non secundum peccata nostra (motet a 6) [4:35]
Quel sempre acerbo (madrigal a 6) [4:14]

The Huelgas Ensemble
Paul Van Nevel, conductor

Recorded September 2004 at the Chapel of the Franciscans, Lille

HARMONIA MUNDI HMC 901874 [60:40]

Alfonso Ferrabosco, known as “Il Padre” to distinguish him from his son who also became a composer, lived a life of intrigue and turmoil, ferrying back and forth between his Italian homeland and England, where to the great consternation of the Pope, served in the Anglican court of Queen Elizabeth I. Born in 1543, he worked with Palestrina in the Papal Chapel until the ascendance of Paul IV in 1555, when all married men were summarily dismissed from the Vatican’s service. (Palestrina was to suffer the same fate.) After a series of run-ins with official Rome, he landed in England where he worked for Queen Elizabeth I, later running afoul of her good graces, only to be reinstated, and removed again. Thought by some to be a spy and double agent, he was valued by Elizabeth not only for his musical ability, but also for his in-depth knowledge of the goings on in Rome. Political machinations aside, he was a unique and original composer, often eschewing the day’s harmonic conventions. As a madrigalist, he was a harbinger of things to come, greatly influencing the future English madrigal school that was to come to its apex in the works of Morely, Weelkes, Wilbye &c. As a composer of sacred works, he never betrayed his Catholic upbringing, setting mainly Psalm texts that were universal to both faiths.

Paul van Nevel’s Huelgas ensemble is the perfect choice for this harmonically ripe music. Not having seen the actual scores, I was at first quite fascinated by the part make up of the choir. With only one alto listed in the personnel roster, one wonders just how the composer achieves the textures he does with apparently uneven scoring. I will leave that subject hence alone, as it is difficult to comment without the score in front of me.

As for the music itself, it is typical of the time, excepting that it is far less “safe” in its use of jarring shifts of tonal center. In the Psalm setting, some movements begin in E major only to end in F-sharp major, other passages shift from B-flat into B major, all amazingly seamlessly and naturally. At least in these selections, there is very little variation in tempo, most works moving along in the standard late renaissance pace of about sixty half notes per minute, a standard of tempo derived from the average adult male’s pulse. What is particularly noteworthy is the utter transparency of line and the careful attention that Ferrabosco pays to the clarity of the text. Each word, even in the more complex passages is quite distinguishable, which is due in part of course to this choir’s scrupulous attention to balance and enunciation.

Although the singing of the Huelgas ensemble is flawless in tone quality and their tuning is perfect, I would have appreciated a bit more dynamic variety. What I perceived was beauty for beauty’s sake, and it would have been somewhat refreshing to hear a little more Italian angst, especially in the madrigals with their more adventuresome and emotion packed texts. That is a taste issue with me, however, and my personal whims in no way kept me from thoroughly enjoying this beautifully recorded disc of glorious music, heretofore unknown to me.

Excellent, entertaining and informative program notes by Maestro Van Nevel cap off a first rate recording, up to Harmonia mundi’s customary high standards. No lover of vocal polyphony will want to be without this lovely recording.

Kevin Sutton

Monday's Review

Wolfgang Amadeus MOZART (1756-1791)

Piano Concerto No. 9 in E-flat, K. 271 [30:26]
Piano Concerto No. 19 in F. K. 459 [26:13]
Nine Variations on a Menuet by Duport K. 573[10:38]

Clara Haskil, (piano)
Cologne Radio Symphony Orchestra
Otto Ackermann (K. 271)
Ferenc Fricsay (K. 459)

Recorded at the Funkhaus Sall, WDR Cologne, 11 June 1954 (K. 271) and 30 May 1952(K. 459), and at the Besançon Festival, 7 September 1956 (K. 573).

MEDICI ARTS MM004-2 [67:58]

Charles Chaplin declared that he had met only three geniuses in his life: Winston Churchill, Albert Einstein and Clara Haskil. Practically worshipped in her later years, Ms. Haskil suffered for most of her life from everything to a painful spinal condition to a crippling self-doubt. Her fellow Rumanian Dinu Lipatti was her ardent champion. His early death left Haskil grief stricken (she was secretly in love with him) and without a mentor. In spite of all these negative circumstances, Clara Haskil would go down in history as a goddess amongst pianists, a woman capable of a musical passion and elegance practically unequalled by her peers, and a classicist of the highest refinement.

Such plaudits are well in evidence in these 1950s vintage recordings of Mozart. This is playing of such pristine clarity that in spite of the somewhat muddy monaural sound, the listener is instantly drawn in and held captive. Passage work is perfect, each note a pearl on a strand. Phrases are nuanced to marble smoothness.

Neither is Haskil afraid of a little drama. More turbulent passages are played with flare. Ms. Haskil always has the reigns well in hand though, never letting emotion get the better of a firm sense of classical order and discipline. Slow movements are played lovingly and tenderly, but there is never the slightest hint of overt romanticism. Each melody evokes the rising of the sun in the morning, each cadence is perfectly placed. It is as though she composed each phrase herself, first sketching her thoughts, then carefully revising and refining her ideas, and then committing them to the page only when they were perfected.

Both Otto Ackermann and Ferenc Fricsay provide well balanced and sensitive accompaniments, but it is in the sound of the orchestra that the inferior sound quality becomes most obvious. Textures are blurred by the less that clear sound and at times the boxiness becomes a bit tiring. Nonetheless, these are performances of such grace and beauty from the soloist that I have found myself returning to this performance again and again, not only for enjoyment, but also for instruction.

This is a series that seems to be more about the performers than the music itself, and as such the booklet note by the always able Bryce Morrison is somewhat skimpy on information about the works at hand. No matter, really. His compassionate yet honest assessment of Haskil as a person and artist is insightful and lends even more enjoyment to her nearly flawless playing.

There are really not enough superlatives for this recording. Any music lover at any level should find something in which to marvel here.

-Kevin Sutton

-flawless, perfectly expressive…even the inferior sound does little to damage this priceless pianism.

Some Saturday Listening

Although I won't be publishing reviews on the weekends, I will treat you to a little list of things that you might want to sit down with a glass of wine and listen to.

Here are this weekend's recommendations:

A Sacred Romance. Music of Franck, Widor, Vierne, Tournemire, Messiaen and Couperin. Kevin M. Clarke at the Noack organ of the Church of the Incarnation, Dallas, TX. Pro Organo CD 7217.

Gustav Mahler: Symphony No. 8 (Symphony of a Thousand). Soloists, Choirs and the Staatskappelle Berlin, Pierre Boulez. Deutscher Grammophon 4776597.

Carlo Gesualdo: Quinto libro dei Madrigali. The Consort of Musicke, Anthony Rooley. Decca/L'Oiseau Lyre, 4759110.

Samuel Barber, William Walton and Erich Wolfgang Korngold: Violin Concertos. James Ehnes, violin, Vancouver Symphony Orchestra, Bramwell Tovey. CBC SMCD 5241.

Eyvind Alnaes, Christian Singding: Piano Concertos. Piers Lane, piano. Bergen Philharmonic Orchestra: Andrew Litton. Hyperion CDA 67555.

As usual, there are some off the beaten path works here, but that's why it's interesting to know me, right?

Happy Listening and have a great weekend.

Kevin

The Daily Review

Modest MUSSORGSKY (1839-1881)
Prelude to Act IV from Khovanschina [4:19]
Piotr Ilyich TCHAIKOVSKY (1840-1893)
Symphony No. 5 in e minor, Op. 64. [44:20]
Richard WAGNER (1813-1883)
Prelude and Liebestod from Tristan und Isolde [16:02]
Claude DEBUSSY (1862-1918)
Prelude to the Afternoon of a Faun [11:07]

Radio Symphony Orchestra of Stuttgart (1-3)
Radio Symphony Orchestra of Frankfurt (4)
Leopold Stokowski

Recorded live at the Straβenbahner-Waldheim, Stuttgart, 20 May 1955 (1-3) and at the Sendesaal des HR, Frankfurt, 31 May 1955.

GUILD GHCD 2329 [76:50]

From our twenty-first century vantage point, it is easy to conclude that Leopold Stokowski was an old school conductor dedicated to the repertoire that we know today as the core. But it is pertinent to remember that at the time of Stokowski’s birth in 1882, all but one of the composers on this recording were still very much alive. Tchaikovsky had yet to compose his fifth symphony, Wagner was putting the finishing touches on Parsifal, and Debussy’s landmark Prelude to the Afternoon of a Faun was still ten years in the future.

Indeed Leopold Stokowski was very much a child of his time, and more importantly, he was a visionary. He leapt at technology and was fascinated with recording, constantly experimenting with orchestral seating, microphone placement and he even tweaked the orchestration of classics for what he perceived to be a better effect. This latter practice, while to our now well-established sense of so-called authenticity seems sacrilegious, was a common practice of the day with composers and conductors from Mahler to Toscanini mucking with works that we now consider to be religious relics. Stokowski had a great respect for the past, and through his transcriptions and even completions of works by composers such as Mussorgsky, left us with a vast treasure that might have otherwise been lost. Taken on their face value, his “paraphrases” for orchestra of music from grand operas are delightful and most worthy works of art for their own sakes.

In this remarkable collection, Guild have assembled music from two 1955 Broadcast concerts from Stuttgart and Frankfurt respectively. Not only is this remarkable music making, but it is a major plus to have recordings of a British conductor in Germany at a time when such collaborations were rare. Opening with music that through the efforts first of Rimsky-Korsakov and later Stokowski himself would be known as the Prelude to Act IV of Khovanschina, we are treated to the kind of rich and colorful sound that was a Stokowski calling card. His timeless reputation for being able to mold an orchestra into a glorious sound machine in record time is borne out in this supple performance.

Next comes the Fifth Symphony of Tchaikovsky, a work which was composed during the conductor’s lifetime, and which became a staple of his concerts and his commercial recordings. There is no shortage of drama in this performance, and Stokie doesn’t allow maudlin sentimentality to overtake the score. His tempos are brisk and his sense of forward motion is palpable and exciting. The only flaw here might be some over blowing in the brass section, which usually sounds very out of tune in the blazing triple fortes. It’s exciting, but at the same time, a bit ugly.

The Wagner Prelude and Liebestod is a Stokowski arrangement, and would become one of his most popular concert and recorded works. It receives loving and passionate treatment here, with a string sound that is glorious even in a recording that is a bit compromised by its age. Again the brass sounds over heated and out of tune, but I am beginning to wonder by this point if that is more of a problem with the sound source than with the playing itself.

Debussy’s famous Prelude is given some pretty aggressive treatment in this rendition. No tender petting zoo creature here. Rather Stokowski coaxes some pretty solid and colorful playing from the Frankfurt Radio Symphony. What it lacks in subtlety, it more than regains in the breathtaking sweep of the phrases.

I never cease to be amazed at the treasures that the Guild Company continues to find for our enjoyment. They are to be commended for their finely re-mastered sound and even for the wonderful nostalgia trip that they induce with these gems. Robert Matthew-Walker has written an excellent biographical essay of the conductor that is made all the more noteworthy by its careful attention to placing these recordings in a proper historical context. One could however wish for the same careful attention to detail in the cover art, which through a careless lack of proofing tells us that the three nineteenth century composers on the program all died in the late 1900s. That’s a brand of sloppiness that drives this consumer mad.

Kevin Sutton

-splendid, arduous and muscular readings of these masterworks from one of history’s greatest sound painters.

Excellent performances of Telemann

Georg Philipp TELEMANN (1681-1767)

Concerto in d minor for two horns, strings and continuo, TWV 52:D2 [8:01]
Concerto in e minor for transverse flute, recorder, strings and continuo, TWV 52:e1 [13:47}
Concerto in d minor for oboe, strings and continuo, TWV 51:d1 [8:03]
Concerto in g minor for recorder, two violins and continuo, TWV 43:g3 [12:53]
Concerto in E major for transverse flute, strings and continuo, TWV 51:E1 [12:17]

Ulrich Hübner and Jörg Schulteß (horns)
Michael Schneider, (recorder)

Karl Kaiser (transverse flute)

Luise Baumgartl (oboe)

La Stagione Frankfurt
Camerata Köln
Michael Schneider

Recorded in the Deutschlandrundfunk Kammermusiksaal, 2005-2006.

CPO 777032 [55:24]

In the day when trained musicians were expected to master a number of instruments, Georg Philipp Telemann exceeded expectations by not only mastering three (the harpsichord, recorder and violin) but by also becoming proficient on most of the other instruments in common use at the time. As a result of this vast skill set, he was able to compose concertos for a wide array of solo instruments and combinations thereof. The hallmark of his music is a respect for the idiom of each individual instrument that renders each work not only aurally pleasing, but also of immense satisfaction to the performer.

In an attempt to get away from the pervasive Italian style, Telemann adopted a four movement form that often followed the pattern of slow-fast-slow-fast. These slow openings drew the listener’s attention to the melodic line and away from the sheer displays of virtuosity that were the stock and trade of the Italian concerto. Telemann also preferred a more moderate display of the soloist’s technical skill, never allowing the intricacies of the solo line to overshadow the elegance and purpose of the music.

Michael Schneider leads his two ensembles in a perfectly elegant set of concertos for diverse instrumental combinations in this disc that brims with grace and charm. Beginning with an uplifting but never overwhelming work for two horns, Mssrs. Hübner and Schulteß bring off some of the finest valve-less horn playing to meet these ears in some time. Granted, more perfection can be achieved with these cantankerous instruments in the studio setting than in a live concert. But, this is playing of rarely heard skill and refinement.

The other standout is Luise Baumgartl’s sweet tone and graceful articulation in the concerto for oboe. She produces a light and unforced sound and has a fine knack for spinning out a long arched phrase. Mssrs. Schneider and Kaiser also turn in fine performances of works for recorder, flute and the combination thereof. The two ensembles both play most collegially, and balance, intonation and ensemble are of the first order.

There’s a work for every taste here and no lover of baroque music will be disappointed. Marked “Volume I” one can only salivate a bit for more if this fine disc is a harbinger of the entire series.

-Kevin Sutton

- refined elegance…well balanced playing by musicians who are obviously enjoying themselves.

Review of the New CD by the Capucons

Johannes Brahms (1833-1897)

Double Concerto for Violin, Cello and Orchestra in a minor, Op. 102 (1887) [34:25]

Clarinet Quintet in b minor, Op. 115 (1891) [37:10]

Renaud Capuçon (violin)

Gautier Capuçon (cello)

Paul Meyer (clarinet)

Aki Saulière, violin

Béatrice Muthelet, viola

Gustav Mahler Jugendorchester

Myung-Whun Chung

Double concerto recorded from 8-10 April, 2007 at the Vienne Musikverein. Clarinet Quintet recorded from 9-10 July 2007 in the Eglise du bon Secours, Paris.

VIRGIN CLASSICS 946 395147 2 [72:21]

Brahms composed his “double” concerto as a token of reconciliation between his longtime friend and mentor Joseph Joachim. The two had not spoken for years after Brahms sided with Joachim’s wife in a divorce dispute. The gesture worked, as this, Brahms’ last orchestral work not only healed the rift, but left to the world a composition of profound beauty and structural perfection. As oft recorded as it is, it takes some special musicians to bring it to life in any remarkable way. Such musicians are the brothers Capuçon, whom I had already held in high regard before hearing this performance, but now that I have heard it, am able and willing to declare that these two siblings are two of the finest, most technically refined and most emotionally inspired performers on the planet.

Over the years, I have collected a couple of dozen recordings of this work. In particular, the second movement with its plaintive yet uplifting theme is music that has always haunted me. I was hooked by the end of the first movement, which the Capuçons play with white hot intensity. But when the second movement ended I nearly had to pick myself up off the floor. I have never in thirty years of serious music listening heard more expressive, passionate yet thoroughly controlled playing. These brothers play so fluidly, so eloquently that any listener that doesn’t ache when they’ve finished should have his blood pressure checked.

Adding to the luster of the soloist’s work is a young orchestra that plays with the kind of condensed abandon that can only come from the combined joy of great accomplishment and a first experience with greatness. This is a truly fine band, molded and beautifully fine tuned by Myung-Whun Chung.

The concerto alone would be worth the price of admission, but we are also given a sublime performance of one of Brahms’ most serenely melodic works, the Clarinet Quintet from 1891. Written during his final years in Meiningen, the quintet was dedicated to Richard Mühlfeld, a virtuoso whom the composer much admired, and for whom he composed a number of his last works. The music is almost exclusively inward looking, calm and collected and carried out with the confidence of a man at peace with himself and the world.

The performance here is perfection, indeed flawless. Paul Meyer literally sings with his instrument, producing a full throated yet never piercing tone that weaves itself in and out of textures with just the right nuance, often a soloist, but never a diva. This is one of the finest recordings of the year, truly a must have regardless of how many times this repertoire is duplicated in your collection. You will finish these performances with no recollection of having breathed through the whole seventy-two minutes.

-Kevin Sutton

-there is but one word to describe this kind of music making: perfect.

DVD REVIEW OF A REMARKABLE OPERA

Krzystof PENDERECKI (b. 1933)

The Devils of Loudon (1969) [108:00]

An Opera in Three Acts based on John Whiting’s dramatization of Aldous Huxley’s “The Devils of Loudon” in the German translation by Erich Fried.

Jeanne TATIANA TROYANOS
Urbain Grandier ANDREZEJ HIOLSKI
Father Barré BERNARD LADYSZ
Father Rangier HANS SOTIN
Jean d’Armagnac KARL-HEINZ GERDESMANN
Guilleaume de Cerisay ROLF MAMERO
Adam KURT MARSCHNER
Mannoury HEINZ BLANKENBURG

Directed for Television by Joachim Hess
Artistic Director: Rolf Liebermann
General Artistic Director: Krzysztof Penderecki

The Hamburg Philharmonic State Orchestra
The Chorus of the Hamburg State Opera
Conducted by Marek Janowski

Produced by Polyphon Film und Fernsehgesellschaft for NDR Polyphon, 1969.

ARTHAUS MUSIC 101279 [108:00]

Urbain Grandier was a Roman Catholic priest who was burned at the stake on August 18, 1634 after having been convicted of conspiring with Satan to corrupt an order of Ursuline nuns. While Grandier had forsaken his vows of chastity and celibacy, and was known as a bit of a cad, the whole demonic affair was the fabrication of Jeanne des Anges, prioress of the Ursuline convent whose own sexual obsession with the wayward priest led her to invent the entire possession story. Grandier’s case was further complicated by his clash with the powerful and corrupt Cardinal Richelieu, who needed the meddlesome priest to be out of the way in order to further his political agenda.

The story is famous and has been recounted in a number of modern works including the so-called “historical study” by Aldous Huxley in 1952, a story by Polish author Jaroslaw Iwaskiewicz, a film based on that story by Jerzy Kawalerowicz in 1960, a successful British adaptation for the stage by Robert Whiting and a highly controversial film from 1970 by maverick film maker Ken Russell.

The story first came to Penderecki’s attention in 1964, while he was completing his monumental St. Luke Passion. The composer’s deep compassion for the victims of the Holocaust made this story of religious intolerance coupled with political intrigue and the persecution of innocents all but irresistible, and thus was born his first opera, which opened to considerable criticism at the International Society for New Music’s 43rd festival in Hamburg in 1969. Many of the problems were the result of Konrad Swinarski’s over-reliance on historical accuracy and authenticity which in effect obliterated Penderecki’s desire to present a piece of history as an allegory for modern times and events.

Almost immediately after the premiere, the work was taken into the studio and filmed for television, one of the earliest such projects filmed in color. With the camera’s ability to focus the viewer on specific scenes and characters, undistracted by peripheral action, Swinarski’s vision was far better able to be portrayed, and it is clear that this filmed version of the opera serves it better than a stage production could.

Why then, has this work, which even at a distance of some forty years is still chillingly captivating laid dormant? A number of issues could be at play. First, the music itself is characteristic of a certain time, and although perfectly suited for this story and for its visual telling, requires a great deal of work on the part of the listener to comprehend. Penderecki was at this period in his work using techniques such as the creation of “sound bands” or large swaths of aural color that were created by random repetition of rhythmic gestures and often approximated pitches. This effect works well with crowd scenes and it successfully depicts confusion, rage, and mass hysteria. Where it does not work as well is in the presentation of dialogue between individual characters. Penderecki’s disjunct and angular vocal writing leaves the listener tired after a time, and one’s thoughts start to wander away from the drama and more toward sympathy for the singers who had to learn and memorize this challenging score. The composer’s signature techniques are most effective in the orchestral writing, where they sound as “normal” as any modern suspense film score.

This production finds its greatest success in its visuals. Period costumes, dark in hue set against a bleak stone background immediately foreshadow the ominous and terrifying events to come. The setting is joyless, treacherous, lecherous and foreboding. Swinarski is also quite adept at portraying the subtleties of hidden drama. One is struck by such devices as the manipulation of the ignorant and uneducated masses to achieve the political ends of the more powerful main characters. He also uses the power of religious dogma to stunning effect in the way that the Ursuline sisters are whipped up into a manic frenzy, fully believing that they are possessed with evil spirits, and who willingly submit to repeated exorcisms, staged for show by the priests in power.

The work is also well served by its remarkable and well chosen cast. The late lamented Tatiana Troyanos as Jeanne and baritone Andrezej Hiolski as Grandier turn in brilliant and believable performances. In spite of the overtly emotional nature of the roles, both characters inspire a strange combination of reactions including disdain, repulsion and sympathy. Bernard Ladysz and Hans Sotin aptly play the priest exorcists, duped into service by men they believe to be righteous and used as pawns in an evil scheme. Also noteworthy are the performances of Kurt Marschner and Heinz Blankenburg, a surgeon and a chemist whose personal vendetta against Grandier is played out with sinister abandon. One could hardly ask for a stronger cast, with each member performing admirably as both singer and actor.

This is not for the faint of heart. Konrad Swinarski spares little and the scenes of nudity and torture are undisguised, which is a bit surprising for 1969. But then again, it was made for German television, and the Germans have never been prudes. Whether one could call this opera a masterpiece is open for discussion. That it is an impressive period piece, and a fine example of its genre and style goes without saying, and for that historical perspective alone, it is worthy of one’s time.


Kevin Sutton

- a stark and bleak drama. Dark and yet surprisingly beautiful in its overt portrayal of intrigue, religious zeal and man’s cruelty to his fellow man.

Some Thoughts on Joshua Tree

January 1, 2008

The sky was more than azure. Indeed it glowed like sapphires, gently brushed with the brightest white clouds I have ever seen. Mile upon mile lay before me under the brilliant yet almost heatless sun and a gentle wind breathed life into a landscape that was perfection in its solitude. The desert sand was a clutter of Joshua Trees, cacti and enormous formations of granite rocks; stones as big as buildings stacked neatly into structures that could have been mistaken for the work of children were they not so huge.

Such is the landscape of the Mojave desert, preserved in nearly immaculate condition in the Joshua Tree National Park in California. This is a place of folklore and myth. It is the birthplace of rock and roll's greatest legend and one of its greatest musical masterpieces. But it is neither the image of Gram Parsons' ashes mingled with the sand nor the subliminal U2 soundtrack that relentlessly runs through your brain that makes this place memorable.

Rather, it is the overwhelming feeling that you are a guest in a world that has never nor will never belong to you. It is the silent voice of the desert that says "Welcome friend, be kind to me and dwell with me in peace." It is the exclusion of all things made by humans, the inability of the outside world to disturb the serenity of the rocks, the sands and the plants. It is the mystery of the glyphs in the caves, left behind by a people rendered sadly nameless by the passage of time.

Standing beside Cap Rock, one of the larger and more famous formations in the park, I was drawn for some time from the enormity of the granite by a solitary spirit. Soaring high above the rocks was a lone, majestic bird, floating effortlessly on the wind, hovering, hardly moving except to occasionally tilt a wing one way or the other to stay on course. For what seemed like hours he glided above me, wings spread wide, silently surveying the land and the people below. It was as if time had been destroyed.

How powerful it was to be at one with that creature even if only for a fleeting moment. How remarkable it was to forget about the human tainted world and to experience the perfection of creation. What a gift to stand in so vast a space, to be so blissfully alone and to inhale the very breath of God.

Welcome to 2008

Greetings all. Yes, I know it's been a year since I have posted, but stay tuned for a report from my recent trip to Joshua Tree National Park in California. I hope everyone had a great holiday season, and for those of you who actually read this blog, I promise to post more soon.

Kevin

Five Years Ago

On a crisp September morning five years ago tomorrow, the unthinkable happened. I will never forget that day nor its events. Just like the day in 1986 when the space shuttle Challenger exploded before our very eyes, the television media, with their every 20 second replay of the planes crashing into the World Trade Center, the images of September 11 are never too far from my mind's eye. It doesn't help much that Youtube has thousands of videos of the event posted for us to see whenever we get the urge.

I can't help but think about where we were on September 10, 2001, where we ended up on the 12th and where we are today. On the tenth of September, a minority of Americans and the Supreme Court had only recently handed the presidency to a failed businessman from Connecticut by way of Texas, who, much to his own hapless good luck, was born the son of a former not so hot president. Many of us were outraged at the outcome of the 2000 election, wondering just what the hell we were thinking to let this happen.

But the horrific events of September 11th gave the new president a chance to shine, a chance to unite the country behind a common cause, a chance to be a healer. Even I, the biggest Bush detractor on the planet, was willing to see what the guy could do in the face of disaster. After all, we didn't have the choice of replacing him with the far more competent Rudolph Giuliani.

What is striking now in hindsight is just how badly George W. Bush blew his chance at greatness. It started with the slackjawed empty looks on his face that we saw from all kinds of television images in the days immediately following the attack. His total disengagement at the National Cathedral memorial service was telling. Here was the leader of the free world, clueless as to how to handle the biggest disaster on American soil since Pearl Harbor.

"Wanted Dead or Alive!" he said. How fucking original. War on turr. Or was that tourists? Oh, yes, terror. Interesting. We have declared war on a tactic, spent gazillions of dollars on the cause and the man who masterminded the attacks on New York and Washington is still hopping around the caves of Pakistan sticking out his bare ass for the Al Jazeera cameras five years on. We have been duped into a needless war with Iraq, having been sold a bill of goods about non-existent weapons of mass deception, er, destruction and a completely fabricated connection between Sadaam Hussein and Al-Quaeda.

All the while, the White House Puppet and his thugs in the cabinet usurp the constitution every hour on the hour while we stand idly by and let it happen. Compared to Bush, Dick Nixon and his boys look like Pope Benedict and the College of Cardinals. And we impeached Clinton for a blow job.

The best news that I can think of on this September 11 eve is that Dubbya has fewer days to serve in office, and each passing sunset lessens his grip. In a meagre eight years, we have become one of the most despised nations on earth through some of the worst foreign policy in history. We have destroyed two countries and seem to be hell bent on starting yet another war, this time with Iran, when our military is already taxed to the breaking point, and we have yet to demand Donald Rumsfeld's incompetent, arrogant head to be served in soup kitchens.

On this fifth marking of the September 11 attacks, let's all take a moment to ponder that in just a couple of weeks, there's an election coming upon us that can change the course of this disaster that was bred from tragedy. Let's all take a positive step to undo the damage that Bush and his criminals have done to our country.

Vote. Do it! Before it's too late.

Some Exquisite New Chamber Music for You to Enjoy

Dmitry SHOSTAKOVICH (1906-1975)
Quintet for Piano and Strings in g minor, Op. 57 (1940) [31:14]
Gabriel FAURÉ (1845-1924)
Quintet for Piano and Strings in d minor, Op. 89 (1906) [30:41]

James Dick (piano)
Eusia Quartet
Kazuhiro Takagi and Janne Tateno (violins); Yukiko Ogura (viola); Adrien Zitoun (cello)

Recorded 11-12 march 2005 (Shostakovich) and 6-7 April 2006 (Fauré) in the Festival Concert Hall at Festival Hill, Round Top, Texas.

ROUND TOP RTR 013 [61:55]

Since 1971, pianist James Dick has led the annual International Festival-Institute for Music at historic Round Top, Texas. Each year the festival produces a number of chamber music recordings and this disc is from the most recent batch.

Dmitry Shostakovich, whose centennial we celebrate this year was born in the year that Fauré composed his Piano Quintet. No two worlds could have been further apart than the early twentieth century France known to the mature Fauré, and the waning Romanov dynasty under which Shostakovich first saw the light of day.

By 1940, Shostakovich had begun to recover from the stern official rebuke that his opera Lady Macbeth of the Mtsensk District had brought down upon him. His fifth symphony was a populist hit, and he was even awarded the very first Stalin Prize for the Quintet recorded here. It is work much patterned after the keyboard partitas of Bach, cast in five movements, rich in tonal harmony and interesting folk melodies. To put it simply, this is hauntingly beautiful music, infused with thick textures stacked layer upon layer, with contrasting fast movements full of rhythmic interest and vitality. At times this music is downright sunny in nature, and the bouncing scherzo is vigorous and dancing.

Our ensemble is of one mind about this music, and play off each other in a most collegial manner. James Dick plays with precise rhythmic clarity and a warm rich tone, which never becomes brittle in the upper registers. The Eusia quartet, while still fairly young, play with a strong sense of ensemble, and provide some beautiful amber tones. Although the ensemble’s playing is incredibly atmospheric, I sometimes wondered if a slightly faster tempo would have benefited the music here and there, particularly in the last movement which seemed to me to lack forward motion. The highlight of this performance is the splendid Fugue, which is masterful in its structure and played to perfection.

Gabriel Fauré’s Quintet, composed 34 years before Shostakovich’s is a horse of a completely different color. Dreamy and sunny, this work lay on the composer’s desk for some time as a sketch for a third piano quartet, before it was expanded in its instrumentation. The only work of Fauré’s to be published in the United States; it was first performed from hand written parts due to the state of flux with publishers in which the composer found himself when the work was finished. That it saw print at all is due in large part to Charles Martin Loeffler, who, while living in Boston, arranged to have the work published by the American firm of G. Schirmer. This American publication is most likely the reason that the work went underperformed for so long. Early twentieth century Americans were less enthusiastic about fine chamber music that their European counterparts and it took some time for the parts to become available in the Old World.

This is a work of sublime serenity, opening with a rhapsodic movement that is awash in melody, lush proto-Ravellian harmonies, and robust sweeping textures. In spite of the small ensemble, the sound plate is all but orchestral in nature. The second movement is quite romantic and is rife with one gorgeous melody after another. The final movement is peaceful and sunny, rolling along like the view from a carriage on a country ride.

There is practically nothing to fault in this performance. Balance and ensemble are dead on; tempi are carefully chosen and fit the music like a glove. The string playing is warm and spacious and Mr. Dick piano shines in a glow of silvery elegance. This is some of the most cooperative chamber music playing that I have ever heard, totally devoid of needless show and pretense. It is what fine music making should be: playing in service to the music for the purpose of edifying the listener.

Program notes are concise and contain just the right balance of anecdotal interest and scholoarship. Sound quality is rich and warm and always beautifully balanced, and there is thankfully no extraneous performer noise (read grunting and sniffing) that mar so many chamber music recording. This is a recording worthy of pride of place in any collection.

Ten Books that You Might Enjoy

Kent Haruf: Plainsong

This is a lovely story about the adventures of the good folk of Holt, Colorado. Haruf paints a vivid portrait of rural life, and is amazingly able to turn everyday life dramas into arresting reading. The sequel is called Eventide and I look forward to reading it soon. With titles like those, Haruf must either be a musician or an Episcopalian or both.

John Irving: A Prayer for Owen Meany

This is undoubtedly the most poignant book I have ever read. A true tale of selfless love and friendship, told as only the American Dickens can tell it. A must read for all literate people

Armisted Maupin: The Night Listener

Maupin is one of the only authors I know who can be equal parts sad, funny and mystery writer. The master of the plot twist, this book is a total mind fuck, but it is also one of the most memorable books I have every read.

Sheri Reynolds: The Rapture of Canaan

Though I am utterly loathe to admit that I loved one of Oprah's book selections, this is a real winner of a tale, especially if you're a liberal in the conservative dungeon of the south like I am! A wonderful tale of a young girl who overcomes the brainwashing of her near cult-like religious community to find true redemption and salvation. Fabulous.

Alice Walker: The Color Purple

Perhaps it's a bit of a cliche to list an Alice Walker tome, but she is one of the finest writers in print and this is masterful story telling. One of the few times when a movie is as good as the book, this series of letters to God is a profound portrait of the African-American experience in the old south.

George Orwell: 1984

Unquestionably the most terrifying book I have ever read. I can't remember when a story stuck with me for so long, or disturbed me so deeply. Not for the weak-kneed!

Liam Callanan: The Cloud Atlas

This book was one of those splendid little accidents that I found at the public library. Set in Alaska during the Second World War, it is a fictionalized account of the balloon bombing campaign, wherein the Japanese attempted to bomb the US west coast by means of bombs attached to hot air balloons. It's a great tale coupled with some rather fascinating history.

Peter Ostwald: Glenn Gould: The Ecstacy and Tragedy of Genius

Psychiatrist and long-time Gould friend has written a fascinating biography of one of the twentieth century's greatest and most controversial musicians. In spite of his profession, the book is thankfully sparing of too much psychoanalysis. Rather, Ostwald tells the story of his friendship with the Canadian pianist, relying on his profession only to add insight into one of the most eccentric personalities in music. A great read, and a sad story indeed.

Christoph Wolff: Johann Sebastian Bach: The Learned Musician

Without a doubt, this is the most readable indepth biography of the greatest of all composers ever written. Wolff approaches his subject from the point of view of Bach's amazingly well-rounded personality. From his authority in the field of organ construction to his foibles at diplomacy and church politics, Bach was a man of thorough learning and scholarship. A must read for all music lovers.

Grahame Green: The Power and the Glory

A true classic, this tale of a priest in troubled times is so real that you almost feel the need to shower after you have read a chapter. Beautifully descriptive, and powerful to the last word, this is a book that deserves a shelf life outside of high school literature classes.

A Fine New CD from the Dallas Symphony

Johannes BRAHMS (1833-1897)

Concerto No. 2 for Piano and Orchestra in B-flat major, Op. 83 (1881) [46:09]
Four Piano Pieces, Op. 119 (1891-93) [15:25]

Marc-André Hamelin (piano)
The Dallas Symphony Orchestra
Andrew Litton

Recorded 12-15 January 2006 at the Morton H. Meyerson Symphony Center, Dallas, TX and 11 February 2006 at the Poston Hall, Suffolk, England.

HYPERION CDA 67550 [61:41]


Brahms autumnal second piano concerto stands in rather stark contrast to his tumultuous first, perhaps reflecting the life experiences of the twenty-three years that lay between their composition. The second concerto, although by no means short of virtuoso display, is much more closely related to chamber music. And yet, Brahms cannot separate himself from the orchestra, casting the work in four instead of the traditional three movements, and making both outer movements far more expansive than was common for the concerto of the period.

In a performance that is the amalgam of a weekend of concerts, Canadian pianist Marc-André Hamelin, no stranger to big romantic literature turns in a solid, well paced and controlled performance. This was a bit of a surprise to me I must confess, since I had attended one of the concerts in question in person and was under whelmed with Mr. Hamelin’s performances. Andrew Litton is, however a real master in the recording studio, and through some good editing on Hyperion’s part, we have a final product that is very fine indeed.

The chamber music nature of the opening movement is not lost on Mr. Hamelin. He and Maestro Litton work well together as a team, and we never get the impression that there is anything but collegial music making happening here. Litton lets the orchestra sing where it needs to, and Mr. Hamelin is careful never to just thunder through the louder passages for the sake of virtuosity. It is always a surprise to hear the burst of energy that is the second movement, and Hamelin tears into the music with abandon. The third movement is a beautifully reflective dialogue with some magnificent cello playing from Dallas symphony principal cellist Christopher Adkins in the famous solo. It all comes to a fine close in the finale, in which Hamelin keeps everything under firm control, never beating up on the piano. Instead, he is ever at one with his instrument, and with the music.

Of particular merit is the rich, singing tone that Maestro Litton gets from the Dallas symphony string section, and some nice playing as well from the horns, whose prominent part is played to perfection. It is music making of this quality that makes us grateful that Andrew Litton loves to record, and sad that he no longer heads the Dallas Symphony Orchestra. This is very satisfying music making all round, and it is particularly rewarding to hear this piece played at just the right tempo, not too fast like the old Serkin recordings of your, and thankfully not lugubrious as in later Bernstein with Krystian Zimmerman at the keyboard.

Mr. Hamelin rounds off the program with the four shorter works from Op. 119, which he plays with depth, passion and sensitivity.

Kevin Sutton

This Week in Seattle

Here we are in one of the most beautiful cities in the nation, Seattle! Surrounded by wonderful, talented and brilliant people, I always enjoy my time at the Academia d'amore.

Tonight was pretty fun as we went to a great Greek restaurant. John, the other John and Doug got to belly dance with the live entertainment. Quite the sight indeed.

The scenes are starting to come together, with tomorrow being a giant day for memorizing stuff. Ugh, too many words!

The weather is flawless, far superior to the nasty heat in Dallas. At any rate, stay tuned for more exciting news from Seattle, coming to a blog near you!

Ten Composers Whose Music You Should Know

This is the second entry in my series of "tens." Below are ten composers who don't fall into the "standard repertoire" category that you might just find pretty interesting. Happy listening!

Kurt Atterberg (1887-1974)

Outstanding Swedish composer of symphonies, concertos and chamber music. His violin concerto is the finest 20th century work in this genre since Samuel Barber's. His symphonies are sweeping, heart stopping and sensuous.


Paul Moravec (b. 1957)

A superb craftsman and highly original voice. His Time Gallery is one of the best large chamber works that I have ever heard. Fascinating sound world, well worth your investigation.


Alvin Curran (b. 1938)

The first time I heard Alvin Curran's Songs and Views from the Magnetic Garden, I nearly came unglued. His music is like a collage. He captures sounds from anything that moves and turns them into beautiful music.


Antoine Busnoys (c. 1430-1492)

Master of the Burgundian composition school, he was the leading figure of his day after Guillaume Dufay. Haunting textures coupled with some of the most complex rhythmic writing before the 20th century make his music utterly unforgettable.

Erich Wolfgang Korngold (1897-1957)

Prolific and prodigiously talented composer who upon fleeing the Nazis, landed in Hollywood to become one of the first superstar film composers. Most modern orchestral soundtracks owe a heavy debt to Korngold's pioneering work.

Benjamin Britten (1913-1976)

Stravinsky be damned, Britten was the greatest composer of the twentieth century. No other composer was so adept in so many fields, nor was there any twentieth century musician so able to speak originally in traditional forms.

Charles Hubert Hastings Parry (1848-1918)

Traditional composer in the mold of Elgar and Stanford, he is best known for his coronation anthem I was Glad, and for his setting of Blake's Jerusalem. He was also a very fine symphonist.

Peter Schickele (b. 1935)

In spite of his alter ego, P.D. Q. Bach, Peter Schickele is one of America's finest original composers. His is a unique voice, and his subtle twists on traditional harmonic practices are delicious.

Louise Farrenc (1804-1875)

Composer of immense talent, sadly overshadowed by her male contemporaries. A fine pianist and teacher, she would forever live in the shadow of Gabriel Faure. She composed a couple of outstanding symphonies and some chamber music that hearkened all the way back to Mozart.

Herbert Howells (1892-1983)

A master of music for voices, Howells' music is ethereal and surprising. Completely original, you will never hear anything else like it. Even imitators have not quite managed to get it right. Pay special attention to his music for the Anglican Church.

Ten Songs That Everyone Should Hear

This is the start of a series of posts about some music, books, films and such that have influenced me over the years. They are not in any particular order, but after 25 years in the music and entertainment biz, I think I have collected enough wit and wisdom to publish a list or two with some authority. I hope you enjoy them.

1. Wasted Time
This tune from which appears at the end of side one of the Eagles' Hotel California is perhaps the greatest of all rock ballads. Don Henley's pain seared and sympathetic vocals and a set of lyrics that speaks to everyone who's ever lost something in life are like no others in music. A song of both heartache and hope, it has been a favorite of mine for more than 20 years.

2. The Leader of the Band
Dan Fogelberg's poignant tribute to his father (a respected colleagiate music professor) is one of the most touching ballads I have ever heard, perhaps because I can relate to it on such a personal level. I don't know of any other song that so aptly describes a life in music.

3. I Still Haven't Found What I'm Looking For
It's too easy to pan Bono for his overtly religious tendencies and his change the world outlook on life. If, however, this soul-searching and sincere quest for self doesn't relate to at least 60% of the population, then there's something wrong with all of us.

4. A Pig's Foot and a Bottle of Beer
Blues legend Bessie Smith delivers up a rip roaring song about the finer things in life. The first time I heard this tune I backed the cd up and played it over about four times in a row. This song, more than just about any other, extols the virtures of good friends and good fun.

5. Something Cool
Chanteuse June Christy, who never really sang quite perfectly in tune, creates an unforgettable image of the sophisticated life of the 1950's in this evocative ballad. Instrumentals arranged by Pete Ruggolo are flawless.

6. In the Wee Small Hours of the Morning
Title track from Frank Sinatra's string of 1950's vintage masterworks for Capitol Records, this song is heartbreak in a bottle. The Charman of the Board at his finest.

7. Teo toriate (Let Us Cling Together)
In the 1970's Queen released two masterpiece LPs named after Marx Brothers movies. (A Night at the Opera and A Day at the Races). This song is the last track of the latter, and is one of the most memorable love songs that I have ever experienced. Its refrain, in English and Japanese is one of the decade's most beautiful melodies, and Freddy Mercury proves why he had one of the greatest voices in Rock and Roll.

8. The Way Old Friends Do
This closing track to Abba's Super Trouper is a nostalgic look (from the vantage point of the present day) at what might have been. A couple of albums later the Swedish foursome would all be divorced, and the dance floor phenomenon of the 1970's would be no more. The harmonies along with the presence of a live audience make this a song to remember.

9. Crossroads
Don McLean is best known for Vincent and American Pie, but this hauntingly simple and beautiful song about a love gone wrong gives strong evidence as to why McLean is one of the finest song writing talents ever.

10. The Air That I Breathe
Ah for the days when songs had a hook, a tune, a melody, a chorus that we could actually sing back at the radio. Sigh. The Hollies were one of the best bands of the late 60s-early 70s and they are woefully under appreciated today. Sigh. Time for a revival. k.d. lang's cover of this song was one of the best remakes in history.

Check out a Special Radio Broadcast

Dear Friends,

Please join me on WRR Classical 101.1 or on www.wrr101.com at 8 p.m. central daylight time for "Building Castles in the Sky" a tribute to James Caldwell.

The show has turned out really quite well, and I am confident that all of Jim's many friends, colleagues and students will enjoy it.

Some fine Tchaikovsky from the LPO

Piotr Illych TCHAIKOVSKY (1840-1893)

Manfred, Symphony in Four Scenes after Byron’s Dramatic Poem, Op. 58 (1885) [59:02]

The London Philharmonic Orchestra
Vladimir Jurowski, conductor

Recorded live at the Royal Festival Hall, London, 8 December 2004.

LPO 0009 [50:02]

Although he initially turned down the project, Tchaikovsky eventually accepted the challenge of composing a symphony based on Byron’s autobiographical poem Manfred, as put forth by the influential Moscow critic Vladimir Stasov. First Berlioz then Balakirev was offered the project, but it was Tchaikovsky, when encouraged by Balakirev some two years after Stasov’s proposal, that took up the task and saw it through. Perhaps it was the similarity between Byron’s own guilty situation (he fled England after an incestuous affair with his half-sister was revealed) and Tchaikovsky’s deep seated anguish over his own homosexuality that brought the music out of him. Byron’s story is a thinly veiled self portrait, a portrait in which the composer could easily see himself.

Composed between the fourth and fifth symphonies, this work is even more overtly programmatic than its numbered counterparts. The music is dripping with romantic angst, passion, pathos and drama. Tchaikovsky, who was never afraid of expressing his emotions forcefully, all but gets carried away in this substantial and colorful score. Although I may well be taken to task by a reader or two for admitting it, this recording was to my knowledge, my first experience with this music. I was aware of a number of well-received recordings such as Pletnev’s with the Russian National Orchestra and Jansons’ with the Oslo Philharmonic. It was, however, quite refreshing to sit down with this music with unbiased ears.

What I heard was most astonishing. Being familiar with Tchaikovsky’s numbered symphonies, there were certain things I was expecting, for example, a prominent use of the oboe, lush and technically challenging string writing, forceful use of timpani and cymbals. All this I got! In addition there are some splendid moments for the harp and as one might expect, all the high drama is carried out by a prominent and even forceful brass section. And yet, for all the histrionics, there is much elegant and tuneful writing too.

Each year we hear more hue and cry about the precarious fate of the classical music industry and we read report after report about the demise of recordings and of great orchestras. If this is the case, I am at a loss to explain the dozens of new discs that come my way each month. What is happening though is a seemingly new business model, such as the one on display here, with a major orchestra aggressively marketing its concerts as turned into recordings. The London Symphony is following suit and the results have been consistently fine discs coming out in fairly plentiful quantity.

There is a bit of crowd noise with which to contend here, but it is minimal, and the quality of the playing is first rate. One might even believe that the performances are fresher and more vibrant as they are the documents of a single event, without much aid from retakes and studio trickery. I do wish however that the kind producers would bag the applause at the end. It simply isn’t necessary and kind of destroys the mood, particularly in a work like this one that ends on a quiet note of forgiveness.

That gripe aside, Maestro Jurowski has given us an exciting and engaging reading of a work that I will now make an effort to get to know better. What more can one ask of a recording that to entice the listener to additional hearings? The production values here are of the highest order, with clear and luminous sound and consistently superb playing in the orchestra. The harpist gets special recognition for some spectacular effects. Program notes are concise and above all interesting; devoid of the blow by blow analytical drivel that plagues so many other such endeavors.

If this is the kind of music making we are going to get from this label, then long may it live. Heaven knows there is a wealth of fine concert material from this orchestra that is worth repeated hearings. High praise indeed for a superior product.

Kevin Sutton

A Great New CD for you to Check Out!

Paul MORAVEC (b. 1957)

The Time Gallery (2000) [42:15]
Protean Fantasy (1993) [9:33]
Ariel Fantasy (2002) [4:17]

eighth blackbird
Peter Sheppard-Skærved, violin
Aaron Shorr, piano

Recorded at the Chicago Recording Company (Time Gallery), November 2002, and at Potton Hall, Suffolk, UK December 2004 (Protean Fantasy and Ariel Fantasy).

NAXOS 8.559267 [56:06]


Paul Moravec is a prolific American composer with more than eighty works to his credit. He was the winner of the 2004 Pulitzer Prize in music for his five-movement TempestFantasy for violin and piano. His music is a combination of the earnest and the entertaining, never taking itself too terribly seriously, but at the same time reflecting the thoughts of a thoroughly skilled and technically virtuosic composer.

The Time Gallery is a work for chamber ensemble that takes four aspects of the concept of time into view. Its opening movement, Bells, Devotional Hours, recalls the eight portions of the monastic day. Opening with random percussion sounds meant to represent a water alarm clock, it moves into the ringing of the bells that called the monks to prayer at the appropriate times of the day in the medieval age. The music is at times contemplative, at others quite energetic, and at all times inventive, tuneful, rhythmically vital and attractive.

The second movement, Time Machine, is much more lyrical and seeks to portray the advent and development of time-keeping devices through music. Opening with a montage of ticking clocks, there are some splendid melodies here and the lovely duet between the violin and clarinet is quite captivating indeed. Of significant interest too is Moravec’s extremely skillful use of percussion instruments, not only as rhythmic devices, but as creative means to melody and color as well.

The third movement, Pulse, is the shortest of the four, depicting the ultimate time machine, the human heart. The contrasts between a steady even pulse and an arrhythmic nervous heartbeat are striking and at times even a bit unsettling.

The final movement, Overtime: Memory Sings, is a poetic and atmospheric reflection on what the composer calls the paradox of time, that is, that time is the creator and destroyer of all things. It is by far the most beautiful of all four sections of this captivating score. Atmospheric to the core, it is at times rich in tonal harmony, and at others dreamy and non-committal in its rhythmic and harmonic structure.
eighth blackbird (intentionally lower case) is one of the finest chamber groups that I have ever encountered. Their dedication and passion for this music is wholly evident in this performance. A group with virtuoso skills to burn, they make the intricacies of this music seem like child’s play. They show no effort at all as they make their way through some very difficult passage work with complete panache. In moments lyrical, they play with passion, yea even some real romanticism. Poetic is perhaps the way I could best describe their interpretations. Completely at one, this is a group that seems on this my first hearing to be the perfect blend of skill and commitment, with an obvious ideal mix of temperament and personality to add luster to an already shining collaboration.

The disc is rounded out with two brief but equally fine works for violin and piano, very skillfully played by Peter Sheppard-Skærved and Aaron Shorr. The writing style here is reminiscent of Prokofiev to these ears, with somewhat disjunct melodies for the violin accompanied by percussive piano writing. Both instrument parts indulge in some extremities of range and dynamics making for interesting listening.

I have not heard new chamber music this fine since my first encounter with Peter Schickele’s wonderful quartet for clarinet, violin, piano and cello, now about 20 years old. Original and masterfully constructed, this music did what all good music should: enticed me to seek out more of this composer’s work.

Recommended without a moment’s hesitation. A real find!

Kevin Sutton

Don't Let the Bastards...

There comes a time when one has to release the mantle of being the child or the student and embrace the authority and responsibility of adulthood. For some, that time comes fairly early on. For others, it can take quite awhile. For me, it just came today, on this July morning in my forty-second year.

After a particularly nasty experience this morning (I'll spare you the details), I have finally come to a comfort zone with the word "no."

Now some people will immediately chime in and say that I am being selfish, arrogant, that it's all about me, etc. Well, except for the arrogant part, they'd be right, and it's ok, and I don't care.

Three years ago, thanks to the prodding of my good friend Dr. Stapp, I got off my tenorish ass and set out to make my life in music. It was a long time coming, and there is still a longer stretch of road ahead of me than behind. But I am on the path, and thanks to BPI and people like Max, Penny and of course, the inimitable MME Z, there's a chance of a career ahead.

The nasty episode mentioned above came, serendipitously, just an hour before my therapy session with Dr. Betty. Seemed like a good topic to discuss and so we spent the hour on the subject of being in control of one's own destiny, and that it is perfectly ok to decline a task, job, situation etc. that interferes with that destiny.

So what is all this about? Well, to put it simply, I am saying the same thing that my father used to say to me: Never do anything that you don't enjoy, never agree to something that makes you uncomfortable, and if it comes to it, tell the other guy to go screw himself if he gets in the way of your dreams.

Ole Dad was right. Times rushes forward very quickly, and it waits for no one. Thirty years goes by very fast. If you wait around for someone to give it to you, you won't get it, and if something or someone is blocking the way, cut it down.

That's my discovery for today, and hopefully, I will continue to have the balls to stick up for it.