The musical form I had the most commercial success in (as a classical-music record producer and label owner), was the string quartet. Granted, my remarkably successful string-quartet recordings consisted of quartet arrangements of sacred and traditional Christmas music. But those recordings are a lot more “classical” in character than “crossover” in character. In other words, no Frosty and no Rudolph. My three original JMR Arturo Delmoni & Friends Rejoice! A String Quartet Christmas CDs have been reissued by Steinway & Sons Recordings as a 3-CD set.
Whatever happens to me from here on out, evidence of my devotion to the string-quartet form will live on. That’s because I am the dedicatee of Morten Lauridsen’s (to-date) sole work in that genre, a transcription for string quartet of his chamber-choir chanson “Contre Qui, Rose.” “Contre Qui, Rose” is one of Lauridsen’s settings of Rainer Maria Rilke’s French-language poems. Lauridsen chose among the Rilke poems that mentioned roses for his 1993 cycle Les Chansons des Roses. The story continues after the jump link. Continue Reading →
Congratulations to Fedor Rudin! The Vienna State Opera has appointed him to fill one of their vacant co-concertmaster positions. I am tempted to say “Even better” that in parallel with that, he will be on probation for two years as an (I assume co-) concertmaster of the Vienna Philharmonic. (So, yes, I have a slight bias in favor of symphonic music.) But being a concertmaster of one of the world’s great opera companies is not small potatoes; and come to think of it, neither is being a concertmaster of one of the world’s great ballet companies (as is Arturo Delmoni, of the New York City Ballet).
Readers with long memories may recall that I published a guest editorial taking the Indianapolis Violin Competition to task for giving prizes to violinists who “played like competition winners.” Mr. Rudin’s selections by one of the world’s top opera companies and by one of the world’s greatest symphony orchestras makes me feel validated that I published an opinion piece that singled him out as someone who was unfairly denied advancement to the Final round.
So here we have a video clip from four years ago of Mr. Rudin playing Paganini’s legendarily difficult fifth Caprice, with a degree of smoothness I find rather mind-boggling. Interesting cultural note: Paganini’s fifth Caprice is beloved of “shred” guitarists such as Yngwie Malmsteen.
After the jump there are images from a public-domain score of the sheet music for Paganini’s Caprice No. 5. Continue Reading →
Khatia Buniatishvili (born 1987) chose the music of Franz Liszt for her 2011 Sony Music début CD. So I think it fair to assume that Liszt holds a special place in her heart (an assertion that is validated by a quick perusal of her heart-on-sleeve personal website). My impression had been that she was a pianist who felt the gravitational pull of the monuments of the virtuoso repertoire–her website’s home page features an announcement for her recent recording of Rachmaninoiff’s second and third concertos.
So I was as surprised as I was delighted (and moved) by stumbling upon a live-performance video of her (I surmise) giving a pensive encore (I assume, before the expected blazingly-fast, final encore) at the Verbier Festival: Liszt’s restrained and wistful embellishment upon Schubert’s D 957 No. 4 “Ständchen” (“Serenade”)(“Leise flehen meine Lieder”), which is one of the small quiet glories of the vocal repertoire.
My beau-idéal in pianism is Ivan Moravec; and I must say that this clip is the only thing I have heard from a young player before the public today that reaches Moravec’s level of inwardness and quiet contemplation. Brava.
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Friday, November 9 (2018), Deutsche Grammophon will release the CD Light Eternal—The Choral Music of Morten Lauridsen. Amazon’s pre-order price for the CD is $12.59, which is a truly excellent price. But this CD would be a bargain at full list price. There is also a 24/88 hi-res PCM download from HDTracks, reasonably priced at nearly 90 minutes of music for $20.98 (There are two bonus tracks with the download). The album will also be streaming from Apple Music, Spotify, and Tidal. And if you don’t mind reduced sound quality and the occasional advertisement, the album appears as an authorized playlist on YouTube. That’s right! You can hear the whole thing before you buy it!
My experience in producing and selling classical-music recordings is that most people don’t have formal training in music history or music theory, but they do want beauty in their lives, and they recognize it when they hear it. This is one of those recordings. If you care about choral music, especially contemporary American choral music, or if you simply want to add some beauty to your life, please vote with your wallet and buy this CD (or download), and also please consider buying half a dozen, a dozen, or more, as stocking stuffers (or, as “holiday,” or even non-holiday gifts). Lauridsen’s music is contemporary music that honors the entire tradition of choral singing, from O magnum mysterium‘s soundworld, which to me calls to mind the soundworld of Allegri, to Madrigali—Six FireSongs on Italian Renaissance Poems, which is perhaps best described as modernism—but with a heart and a soul.
Trailer embed and track listing after the jump. Continue Reading →
Franz Schubert, Trio, op. 100, D. 929; “Trout” Quintet, op. 114, D. 667
(Vincent Coq, piano; Jean-Marc Phillips-Varjabédian, violin; and Raphael Pidoux, cello.
With Cristophe Gaugué, viola and Stéphane Logerot, double bass in op. 114)
CD Harmonia Mundi HMX 2908748
Streaming of these performances from the original CD releases is available from Tidal.
Trio op. 100 recorded at The Arsenal, Metz, July, 2000; quintet recorded at IRCAM Paris, June 2002. Jean-Martial Golaz, producer and engineer.
Poor Alex North. Stanley Kubrick hired him to compose a score for 2001: A Space Odyssey. However, when it came time to give the movie its première, to his embarrassed chagrin (he actually was sitting in the audience) North discovered that Kubrick had decided to ditch North’s score and stick with his own cut-and-pasted “guide” score.
Kubrick had assembled his “guide” score from a wildly disparate selection of pieces or movements—from Ligeti to Richard Strauss to Johann Strauss II to Khachaturian, and then back to Ligeti. So North, at the time a rather successful film composer whose credits included A Streetcar Named Desire, The Misfits, and Spartacus, was left holding the bag in public, at least in terms of professional reputation (and almost doubtless in various financial senses). Reportedly, Kubrick was so difficult for North to work with that North supervised the recording sessions for his score while lying in a hospital bed brought in for the purpose, because of stress-induced muscle spasms in his back.
I don’t think the same thing could have happened with Kubrick’s under-rated Thackeray adaptation Barry Lyndon. After the surprising success of 2001: A Space Odyssey‘s soundtrack LP, I think Kubrick always would again decide to pick his own music—and brook no opposition. And because Barry Lyndon is a costume drama set in the mid-18th century, it is likely Kubrick did not get any pushback from studio executives about using classical (and some folk) music. For Barry Lyndon, Kubrick chose music from Irish traditional-music greats The Chieftans; and from Schubert, Bach, Handel, Mozart, Frederick the Great, Vivaldi, and Paisiello.
As I have written before, I think that the climactic third and final duel scene in Barry Lyndon inspired Ridley Scott’s penultimate scene (“Tears in Rain”) in the original Blade Runner film. Not incidentally, the final duel in the film Barry Lyndon was entirely Kubrick’s own invention; it does not appear in Thackeray’s novel.
A Trio Wanderer Schubert Trio op. 100 slow-movement live performance video, and more commentary, after the jump. Continue Reading →
The Internet radio station I listen to most often is Bavarian Radio’s Classical channel. To get to it, click here and scroll down to the “Radio” section of the home page, and then click on the “BR Klassik” tile. A pop-up window will appear with the BR player application. I should do a separate blog entry on br.de; for the moment, all I need to tell you is that its programming is a refreshing breath of fresh air, especially if you are sick of US commercial (or, for that matter, much of “public”) classical radio, where the “Mozart Minute” is followed by “Drivetime With Dvorák.” A welcome feature of br.de is frequent delayed broadcast of live concerts.
So, the other morning I clicked on the BR Klassik tile, and I was greeted by the familiar sounds of the first movement of Brahms’ violin concerto. In mere seconds, my ears were decisively grabbed. I played a little game with myself, not looking at the player app and trying to guess the identity of the violinist. Hmmm… this one’s a toughie! Sounds like a studio recording… . A huge and complex tone–one could imagine one was listening to chords on a pipe organ. Effortless technique. Thoughtful interpretative touches. A musical conception of the work as a whole, and not merely as a sequence of technical challenges. No playing fast, only for the sake of playing fast. Hmmm. Not Oistrakh, not Menuhin, not Mutter. But a first-rank player, no doubt.
OK, I give up. Oh. Ioana Cristina Goicea.
Now, the 2018 winner’s performance of the Brahms concerto from the German Music Competition (held this March in Siegburg) does not appear to be available on demand. So I have posted the next best thing, a performance of the Tchaikovsky (from the Michael Hill International Violin Competition) that exhibits all of the virtues noted above. Ms. Goicea, born in Bucharest, is reportedly still pursuing her graduate studies in Germany. All I can say is, she’s one to watch—and more importantly, to listen to. Will some international concert management firm please sign her, pronto?
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My post about Gidon Kremer & Co.’s chamber-orchestra version of Astor Piazzolla’s “Oblivion” (from the soundtrack of Marco Bellocchio’s film version of Pirandello’s Henry IV) had as its jumping-off point a rumination on the Nobel Prize in Literature. After listing many literary luminaries who never got the award, I did say, “Still and all, there are a few unimpeachable selections (Bob Dylan, in my opinion, is most definitely not among them).”
In my opinion, handing the award that should have gone to James Joyce but never did, to Bob Dylan, just sealed the deal as far as the Nobel Literature Prize’s being a cross between the Nobel Peace Prize and a popularity poll. Who is next? Danielle Steel? (After all, she has sold 800 million copies of her more than 150 books.)
So, I have long thought that it was past high time that Mr. Zimmerman could use being taken down a peg or two. I am hugely glad to report that Dan Bern has done just that for us (and if “Jerusalem” is not a Bob Dylan Parody, time is out of joint… ).
Dan Bern’s “Jerusalem” has it all: the mind-numbingly repetitious guitar playing; the whiny vocal; the total self-absorption of the lyrics; the apocalyptic grandiosity of the vision; and, most of all, the passive-aggressive approach to affairs of the heart (“Accept my love, don’t test my love/ ‘Cause maybe I don’t love you all that much”). I particularly love that the singer’s therapist’s name is Dr. Nusbaum, which is close to the German for “Nut Tree.”
One might quip that the specialty of Dan Bern’s house is “Filet of Bob Dylan.”
(Thanks to Positive Feedback Online‘s Clark Johnsen for introducing me to this song.)
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I think that the assertion that the Nobel Prize in Literature is essentially silly (and therefore, we are fools for taking it seriously) has something to be said for it. (Those happen to be the positions of the British novelist and translator Tim Parks.)
Not one of: James Joyce, Tolstoy, Ibsen, Henry James, Robert Graves, Graham Greene, Mark Twain, Nabokov and Chekhov made the cut. But strange omissions compete with strange awardings—John Steinbeck “got the gong” (a slang term for a large medallion), yet James Joyce did not? Furthermore, the requirement that a candidate must be alive to receive the prize meant that late-blooming (or posthumously published) authors such as Kafka, Proust, Calvino, and Mandelstam could not even be considered.
Still and all, there are a few unimpeachable selections (Bob Dylan, in my opinion, is most definitely not among them).
In my opinion, Yeats, T.S. Eliot, Solzhenitsyn, Faulkner, and Hermann Hesse all deserved the money and the medal. I even think that Sigrid Undset (who?) was a deserving recipient. Undset’s massive (1400 pages) Medieval trilogy Kristin Lavransdatter should be much better known. I am tempted to say that if you loved The Lord of the Rings, you should try Kristin Lavransdatter. (In the period when she was “working up to” Kristin Lavransdatter, Undset had published a Norwegian translation of the Arthurian legends.)
For what all this has to do with Gidon Kremer and Astor Piazzolla, please click on the jump link. Continue Reading →
What is it about Australians, New Zealanders and Tasmanians and grand pianos??? At the ripe age of 15 years, Adrian Mann asked his piano teacher how long a piano bass string would have to be, not to require a copper wire over-wrap (to add mass, and thereby lower the resonant frequency). Her answer was, “Very long.” Over the next several years, young Adrian taught himself to build a piano almost entirely from scratch; the result is nearly 19 feet long. He is now doing business under the name Alexander Piano. Hyperion Knight was on tour in that part of the world, and so he stopped in, with the above result. There are two other Hyperion K. videos on Alexander Piano’s YouTube page.
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In terms of cultural impact in the broadest sense, Glenn Gould (1932-1982) was one of the most important musicians of the 20th century.
Susan Sontag once quipped that every analogy is a lie, so: you have been warned. I think that Glenn Gould’s place in classical music in the mid-twentieth century is analogous to Miles Davis’ place in jazz during that same era. If people owned only one real jazz LP, it likely was Kind of Blue; and if people owned only one real classical LP, it likely was Gould’s J.S. Bach Goldberg Variations. Gould, more than any other pianist, is associated with the Goldberg Variations, to the extent that the opening measures of the “Aria” are carved on his gravestone.
Unlike most classical pianists of the time, Gould largely ignored the 19th-c. Romantic piano repertory exemplified by Chopin and Liszt, concentrating instead on Renaissance and Baroque music. Gould brought early music before the general public at a time when it was almost exclusively the province of academic specialists, or performers on period-correct instruments. In 1956, Gould’s intuitive understanding of Bach’s style of counterpoint, and his unprecedented clarity of articulation on the grand piano fell like a thunderclap, upon critics and the listening public alike. (Gould’s first Goldbergs album was recorded in 1955, but released in 1956.) Gould’s 1955 Goldbergs remain one of the best-selling non-crossover classical recordings of all time.
What Gould revered in Bach was his sense of sonic architecture. I think that the heart of Bach’s art was that Bach created ordered musical structures to reflect the nature of a God who had created an ordered cosmos that was (largely) comprehensible by the use of reason. (Yes; I know. I am painting with a brush so broad that it can’t fit into a one-gallon paint can.) Therefore, it might not come as a total surprise that in this video clip from a television interview, Gould takes Richard Strauss to task for his Romantic self-indulgence. Or, does he really?