It took me a moment to realize that the loudspeakers behind the conversation pit of the 21st-century California home that is the subject of the cover story of the September/October issue of Dwell magazine were venerable Bose 901s.
I not only bought the issue; I took out a subscription.
Dwell‘s cover-story house (Craig Steely, architect) will not appear on the cover of This Old House, at least any time soon. (Give it 100 years.) Very cutting-edge in its details, such as the curved corners of the glass walls and the LED ceiling strip lights that set off different areas, the house nonetheless adheres firmly to the Mid-Century-Modern precept of siting the home within nature, rather than in opposition to it. The first similar design was Mies van der Rohe‘s see-though glass-walled Farnsworth House, built for Dr. Edith Farnsworth.
OK… But–how did the 901s get into a 21st-century house?
For that, some background on the 901, and my thoughts about the architectural-acoustical aspects of the design, please click the jump link. Continue Reading →
Frederica von Stade: Canteloube, Songs of the Auvergne, Album I (1982)
CD CBS MK 37299 (o.o.p.) and Sony Essential Classics CD 63063
(also o.o.p.; but available as just-in-time replicated from Arkivmusic)
Frederica von Stade, mezzo-soprano; the Royal Philharmonic Orchestra, Antonio de Almeida, conductor. David Mottley, producer; Peter Brown, engineer.
I treasure the wonderful folk-song orchestrations on this recording so much; I have, since it first came out on LP. However, its comparative obscurity today tempts me to think that my enthusiasm for a recording really is The Kiss of Death. This recording is Out of Print from Sony? Are you kidding me?
Frederica von Stade signed up at New York’s Mannes School of Music as a part-time student in order to learn how to read sheet music—but only for her own enjoyment. Some faculty members recognized her potential, and urged her to apply for full-time status. In less time than it takes to earn an undergraduate degree, she had learned enough about singing and the repertory to audition for the Metropolitan Opera. The Metropolitan Opera immediately offered her a three-year contract; the rest, as they say, is history (a history that includes more than 75 major-label recordings).
(Despite the above’s having “the additional benefit of being the truth,” I think that if somebody were to write that story into a movie script, people would say, “Yeah, right. Get serious!”)
More info, and sound bytes, after the jump. This is a touchstone CD that is well worth the effort to find. Just find it and BUY IT! Continue Reading →