Photo Thomas Zwillinger, courtesy of Harmonia Mundi.
Joel Fredericksen and Ensemble Phoenix Munich: Requiem for a Pink Moon
CD Harmonia Mundi HMC 902111 (recorded 2012)
(No high-resolution download available, apparently.)
Joel Fredericksen, bass voice and lute; Timothy Leigh Evans, tenor voice and drum; Domen Marincic, viola da gamba; Axel Wolf, theorbo and archlute; producer and engineer not credited.
Back in December, in my coverage of the Wilson Audio/MSB event at Fidelis AV in New Hampshire, I mentioned how the late-stayers were moved by the cuts I played from Joel Fredericksen and Ensemble Phoenix Munich’s Elizabethan Nick Drake tribute Requiem for a Pink Moon. You could have heard a pin drop. If that album is unknown to you, here’s a brief précis:
The idea of classical bass singer Joel Frederiksen and Ensemble Phoenix Munich’s putting together an early-instruments Elizabethan tribute album to Nick Drake might strike you as daft, as it did me. But, it works. It’s the real deal. There was a melancholic plaintiveness to Drake’s music that is not at all far from the Elizabethan temperament. Frederiksen of course sings both beautifully and un-selfconsciously. But what makes this recording one of the most affecting I have heard in years is that the interleaving of Elizabethan laments and parts of a Gregorian Chant Requiem Mass with Drake’s songs makes such a powerful connection to the universal human experiences of loss and grief, and not just to one particular artist or album. Buy one for yourself, and buy several to give as gifts.
I love to introduce people to pieces of music (or entire albums) I think should be parts of our shared cultural inheritance but which, for whatever reason, remain comparatively obscure. A prime example is Clifford Brown’s Clifford Brown With Strings. I also love to put together playlists that create a narrative arc (that’s fancypants-speak for, “tell a story”).
I was chatting with my friend Doug White, of the Philadelphia-area specialty high-end audio dealer “The Voice That Is.” The subject was the then-upcoming visit from John Atkinson, Jana Dagdagan, and Herb Reichert, all from Stereophile magazine. I volunteered to put together a playlist of high-resolution classical tracks that could do double duty as system-showing-off demo fodder while at the same time providing memorably engaging musical experiences. (Note, I think that the word “classical” is stretchy enough to encompass “Bridge Over Troubled Water.”)
I began sifting through my various lists of demo tracks. It soon became obvious to me that I could profitably fill just about one hour of listening by playing six tracks, all from the Norwegian audiophile label 2L. The tracks are in four parts: Two pairs of shorter tracks that share some aspects, and then two longer tracks from contrasting musical forces and genres. The gamut runs from a-cappella choral music through organ music and solo-piano music, ending with orchestral music. Continue Reading →
Film-score composer John Barry’s father owned movie theaters in England. So, in a sense, Barry (1933-2011) grew up in the movie business. (The family name was “Prendergast;” Barry used his first and middle names as his professional name.) The movie business and the music business are similar, in that fickle public tastes can make or break projects and careers. Also similar in that the process of actually getting paid can be… quirky.
John Barry composed the scores for 11 James Bond films including Goldfinger, as well as for Body Heat, Born Free, Dances With Wolves, Out of Africa, The Lion in Winter, and Midnight Cowboy. Barry’s film scores won him five Academy Awards and four Grammys. However, it is almost certain that Barry’s most popular (and profitable for him) film score was for a film that was decidedly unsuccessful upon its original theatrical release, finding a larger audience only on cable tv, and then a bit later with the advent of home video on VHS cassettes.
This can serve for St. Valentine’s Day, and for President’s Day too!
Abraham Lincoln might have been a log-splitter who had been born in a log cabin; but, at some point in his adult life, Lincoln turned into a true opera lover. (Please remember, opera was what entertained people before movies came along.) In the month before he was murdered, Lincoln was at Ford’s Theater to hear Mozart’s opera The Magic Flute (which had to have been sung in German, because there was no English-language performing version at the time).
More? Lincoln’s favorite opera was von Flotow’s Martha, which was performed as part of the festivities attending his second inauguration. Although German in language, Martha was French in style, with a setting and a plot entirely made up of English-Romantic story elements, such as the two bored upper-class girls who, on a lark, decide to enlist as hired servants. Yeah, right. Of course, one girl finds true love, fast. The upper-crusty beloved, of course, has agonies over his having fallen in love with a serving girl. But, how can our well-born heroine admit that she was an imposter? Or impostress?
Lincoln loved it. He most likely heard it in the original German, though Martha was such a wildfire hit that versions in French and Italian came quickly (with English a bit later). Even later, Enrico Caruso made parts of the Italian version popular hits on record from 1906 on.
More, after the jump. Continue Reading →
Letterpress art print © and courtesy of Zeichen Press.
The Gospel narrative doesn’t say that the number of wise men (or astrologers) from the East was three; that’s just an inference based upon the report that the Magis (however many of them there were) brought three gifts of gold, Frankincense, and myrrh.
Be that as it may, what has come down is a piously embellished story of three wise men, complete with names and capsule biographies.
So, to start my suggestions for Christmas (or other seasonal) gift-giving, here are three gifts: two boxed sets and one single recording, all of especial musical and sonic merit.
Details and sound samples after the jump! Continue Reading →
A String Quartet Christmas
Arturo Delmoni & Friends
Steinway & Sons Recordings 3-CD set 50001
(All volumes produced by John Marks and mastered by Bob Ludwig. Volume One recorded 1995 by David Hancock at the Church of the Holy Trinity, NYC; Volumes Two and Three recorded by Jerry Bruck at the Recital Hall of the SUNY Purchase Conservatory of Music in 1997 and Riverside Church NYC in 1998, respectively.)
I produced the three volumes that make up this set for my own micro-boutique/audiophile label John Marks Records, commonly known as JMR. The idea was to present traditional and sacred Christmas music in straightforward, un-gimmicky arrangements, recorded in orthodox stereo (so to speak) in an acoustically-appropriate space. In the case of Volume One, that was New York City’s Holy Trinity Church, a photo of which can be found after the jump, along with sound samples. Continue Reading →
(Recorded January 1987 by the BBC Transcription Unit in the Great Hall of University College School, London. Jillian White, producer; Campbell Hughes, engineer.)
Here’s what I wrote then, and I still feel the same way:
I received this recording as a Christmas present from violinist Arturo Delmoni. It quickly became an all-time family favorite, not only for its world-class singing and vocal ensemble (a young Mark Padmore is in the tenor section) but most of all for its consistently tranquil and gently enveloping sound-world—just like a lullaby, except more varied and musically interesting. (Arturo Delmoni, of course, knows something about Christmas music, in that he led the string quartet in the three Rejoice! A String-Quartet Christmas projects.)
More comments, and sound samples, after the jump. Continue Reading →
Velvet-voiced pop and jazz tenor Mel Tormé (1925-1999) and songwriter Bob Wells wrote “The Christmas Song” in less than an hour, one sweltering day during the summer of 1945. Tormé wrote the music, and collaborated on the lyrics. (That Tormé’s parents were Jewish immigrants from Russia did not stop Tormé from writing what is generally regarded as the most popular and beloved English-language Christmas song of the pop-music era.) Tormé had been a child-prodigy singer and drummer; he was also a composer and arranger.
Though revered as an interpreter of Great American Songbook songs, Tormé’s musical worldview included deep respect for classical composers Frederick Delius and Percy Grainger (talk about strange musical bedfellows). Rock and roll, he liked not so much. Tormé’s essential musical conservatism endeared him to Playboy magazine founder Hugh Hefner. (And if anyone out there needs a Media Studies, American Studies, or Musicology research topic, I nominate Hugh Hefner’s role in keeping jazz on life support in the US during the ascendancy of rock music.)
Over the course of time I have owned recordings of Brahms’ violin concerto by at least 14 different violinists. For a few of those violinists, I obtained recordings of more than one performance. And for one performance, David Oistrakh’s 1969 away game with George Szell and the Cleveland Orchestra, I collected multiple formats (LP, CD, and SACD), including at least half a dozen different LP pressings ultimately (and however multifariously) derived from the same original master tape. (OK, call me a bit barmy.)
The violinists whose Brahms concerto performances I purchased and kept (rather than passed along or donated) ranged from Kreisler and Menuhin and Heifetz and Kremer to… Uto Ughi. To say the least, Cavalier Uto’s career in the US has not been, um, huge. From the violinists whose names were not household, my favorite recording was by Hermann Krebbers. Krebbers, who was perhaps as little-known in the US as Ughi, recorded the Brahms concerto with Bernard Haitink and the Royal Concertgebouw Orchestra in 1973.
Please click on the jump link to learn the relevance of all that to Alexander Kerr’s truly wonderful Barber concerto performance with the Rhode Island Philharmonic, as well as an embedded audio-only YouTube of Kerr’s Decca recording of a charming Shostakovich film-score number. Continue Reading →
Courtesy of Deutsche Grammophon; cover photo by Marco Borggreve.
The Emerson String Quartet: J.S. Bach, The Art of the Fugue, BWV 1080
CD Deutsche Grammophon 474 495-2
(Streaming via Tidal; no hi-res download appears available.)
Recorded January and February 2003 at the American Academy of Arts and Letters, New York City. Da-Hong Seetoo, producer and engineer.
One of the bits of musical non-trivia that I have carted around me for ages is the fact that American composer Roy Harris (whose third symphony is for me the best example of mid-twentieth-century, typically exuberant American musical creativity) also, with collaborator M.D. Herter Norton transcribed for string quartet Bach’s The Art of the Fugue.
M.D. Herter Norton, by the way, was Margaret (also sometimes Mary; and, informally Polly) Dows Herter, who with her husband W.W. Norton founded the publishing firm that bears his name. (W.W. Norton is still a major publisher—if not the major publisher—of music-history texts and anthologies for college use in the English-speaking world.) Margaret Norton was a violinist, an independent scholar of music, and translator from the German of about a dozen volumes of the poetry of Rainer Maria Rilke. She was very important in the early years of the American Musicological Society, as well as co-authoring, editing, or translating articles for the The Musical Quarterly.
After the jump, there is a scan of the cover of that score, from 1936. And generous sound samples. I think most music lovers will find this CD (or the stream from Tidal) extremely rewarding.