I watched this live, and I was at the time convinced that it was the most heroic public performance I had ever seen. In a freaking monsoon.
Well; he is with Jimi Hendrix now. And with Schubert, Mahler, Hank Williams, and Buddy Holly.
Eternal rest grant him, O Lord.
# # #
Harry Connick, Jr: We Are In Love
Recorded at Evergreen Radford Studio, North Hollywood, California in March, 1990 and RCA Studio B, New York, in April and May, 1990; released on CD and analog cassette 1990, on MiniDisc circa 1992, and on non-compatible single-layer stereo SACD (apparently from 44.1kHz PCM sources) 2000.
CD Columbia CK 46146
Harry Connick Jr., piano, vocals; Branford Marsalis, tenor and soprano saxophones; Russell Malone, guitar; Benjamin Jonah Wolfe, bass; Shannon Powell, drums; Harry Connick Jr., Marc Shaiman, George Butler, Bobby Colomby, producers; recorded and mixed by Joel Moss.
Talk about an unlikely success. In 1990, American actor, singer, pianist, and composer Harry Connick, Jr. released as anachronistic an album as anyone could imagine—male vocals, most tracks with big-band-style orchestral accompaniment. Connick wrote most of the songs, but there were also standards including “A Nightingale Sang in Berkeley Square” and Cole Porter’s “It’s Alright With Me.” We Are In Love sold two million copies in its first year, and Connick picked up the Grammy for Best Jazz Vocal Performance—Male.
Connick’s voice is of the “Boy Next Door” variety, but he makes the most of it; and the recording job is stunningly good. Thanks to the advocacy of MSB Digital’s Vince Galbo, Connick’s “A Nightingale Sang in Berkeley Square” (with excellent contributions from Branford Marsalis on tenor saxophone and Benjamin Jonah Wolfe on bass, who are the only musicians on the track) has become a favorite hi-fi-show demo track. Continue Reading →
Yevgeny Sudbin: 18 Sonatas by Domenico Scarlatti (1685–1757)
Sonatas K 417 in D minor; K 208 in A major; K 159 in C major; K 56 in C minor; K 213 in D minor; K 125 in G major; K 373 in G minor; K 119 in D major; K 69 in F minor; K 425 in G major; K 29 in D major; K 99 in C minor; K 12 in G minor; K 479 in D major; K 9 in D minor; K 318 in F sharp major; K 141 in D minor; and K 32 in D minor.
AUTOGRAPHED Compatible stereo + MCH SACD/CD BIS 2138; CDQ or 24/96 download, Classics Online.
Domenico Scarlatti wrote these sonatas for his patroness Maria Magdalena Barbara, the Infanta of Portugal.
Mitzi “married up,” later becoming the Queen of Spain. (No, her nickname was not “Mitzi;” so, don’t bother writing in. But please, do find a different reason to write in!) Maria Magdalena Barbara had a nearly-insatiable appetite for… keyboard sonatas. Scarlatti wrote more than 500 of them. Furthermore, Scarlatti wrote almost all of those sonatas for the harpsichord.
Therefore, it is an historical irony, one reflected upon by Yevgeny Sudbin in his truly excellent liner notes, that today, these works are most often associated with Russian pianists; Vladimir Horowitz being the prime example. Sudbin claims that Russian musical education uses Scarlatti’s keyboard music more than does any other country’s pedagogy; and, that well may be true. Ten years ago, Sudbin made his début (all-Scarlatti), recording for Sweden’s label BIS; it received rapturous reviews. Volume Two, so to speak, is his tenth-anniversary celebration.
The bottom line is, this recording is an absolute “must-buy” for piano lovers. (Historically-Informed Performance people, perhaps not so much.) Sound samples and more, after the jump. Continue Reading →
Árstíðir singing “Heyr himna smiður” in the train station of Wuppertal, Germany; September 15, 2013.
I find most “flashmob” music videos annoyingly contrived and manipulative, often bordering on the transparently insincere. The above impromptu handheld YouTube is a major exception to that rule—no fake perma-smiles, and no forced artificial interactions with passers-by.
Even better, the music is not “opera bits” being forced through a meat grinder; it’s a haunting 20th-century a-cappella tune and harmonization for a 13th-century Icelandic hymn text, “Hear, Smith of Heavens.”
While the audio quality is not the best (and the camera work would have benefited from a monopod); here, there is an organic authenticity that most flashmob music videos lack. The train station is a rather good stand-in for a cathedral. Proof again that state-of-the-art sound is sometimes the slave of jejune music, and that the slenderest knowledge of greater things means more.
The band Árstíðir’s name, in English, means “Seasons.” They deserve their five million YouTube views for this unforgettable moment. Well done, chaps!
Text, in translation, after the jump. Continue Reading →
Michael Franks: Sleeping Gypsy
Recorded at Capitol Records, Hollywood, and in Rio de Janiero, Brazil, August-November 1976; released on LP 1977, CD 1990; various digital remasterings, including an SHM-CD for the Japanese Domestic Market (2012).
Michael Franks, vocals, banjo, guitar, mandolin; Joe Sample, João Donato, piano; Wilton Felder, bass; Larry Carlton, Hélio Delmiro, guitar; John Guerin, João Palma, Larry Bunker, drums; Michael Brecker, tenor saxophone; David Sanborn, alto saxophone; Ray Armando, percussion; Claus Ogerman, arranger and conductor; Tommy LiPuma, producer, Al Schmitt, engineer.
Yacht Rock? Or perhaps more like, “Jetliner to Brazil” Rock… .
If the soundworld of Joni Mitchell’s Court and Spark or that of Steely Dan’s Aja appeals to you, I think you will enjoy Michael Franks’ third studio album, Sleeping Gypsy. Sleeping Gypsy has a substantial overlap in session personnel with Court and Spark, and a partial overlap with Aja.
But over and above the sonic contributions of the finest of Los Angeles’ 1970s on-call musicians, what Sleeping Gypsy shares with its far better known contemporaries is literate and literary songwriting, and an adult perspective.
Sound samples and more after the jump. Continue Reading →
(Courtesy www.maritasolberg.com; photo credit Felix Broede.)
Marita Sølberg: Opera Arias
Opera arias by Catalani, Mozart, Gounod, Bizet, Leoncavallo, Puccini, Bellini, Rachmaninoff, Dvořák, Verdi, and R. Strauss.
Norwegian National Opera Orchestra
John Fiore, conductor
CD Simax Classics PSC1336
Say “Hello” to Marita Sølberg!
Marita Sølberg’s name was unknown to me when I stumbled upon her upcoming new release (which came out last Friday) on Naxos’ (Simax’ US distributor’s) ultra-top-secret, password-protected publicity website, which is, I am told, hosted on a server in the kitchen of an excellent barbecue place down near Chattanooga. The track list contained both old favorites and a couple of unknown arias, so I dutifully hit “Download.”
The program starts with a very well-played (Norwegian National Opera Orchestra; John Fiore, conductor), well-recorded orchestral introduction to the famous Puccini-esque aria “Ebben; Ne andro lontana” from Catalani’s obscure-except-for-one-aria opera La Wally. So far, so good.
Then, Miss Sølberg started to sing, pensively and almost languidly. Oh dear me. This one does not go into the “Discard” pile… . (More than half of the new recordings I listen to, I pass over in silence.)
Generous sound clips and more, after the jump. Clickez!
Soprano Hila Plitmann singing the final movement of David Del Tredici’s Final Alice with the Detroit Symphony, Leonard Slatkin conducting. (Note, “Del” is a given name, and not part of an Italian surname.)
What a concept!
In 1975-76, David Del Tredici wrote the first-ever (and perhaps only) “Steampunk” piece of classical orchestral music. (It is based upon Lewis Carroll’s Alice in Wonderland, after all.) The music is very accessible, and in general tonal and melodic, though there are episodes of dissonance and finally, chaos.
The final movement of Final Alice is the Acrostic Poem epilogue to one of the “Alice” books. The first letters of each line of the poem together spell out Alice Pleasance Liddell, the name of the girl Carroll based Alice on. Tredici instructs all the orchestral players who can, to hiss out like a steam engine the name of each of the first letters. That’s what the strange sounds you are hearing are. There’s also a rather obvious Elgar quote or homage, I think, too.
Video after the jump!
David Oistrakh: Shostakovich Violin Concerto No. 1 (1956)
Recorded January 2, 1956, Carnegie Hall, New York City
(with Cello Concerto No. 1)
CD Sony Classical
Masterworks Heritage “Mono Era” Catalog No. 63327 (1998)
(No high-resolution download available, apparently.)
David Oistrakh, violin; the New York Philharmonic, Dimitri Mitropoulos, conductor.
Mstislav Rostropovich, cello; the Philadelphia Orchestra, Eugene Ormandy, conductor.
Dmitri Shostakovich is something of a polarizing figure. The greatness of his music is not universally acknowledged. The nay-sayers suggest that the difficult circumstances of his life under Stalin (who fancied himself a music critic, and who published concert reviews under a pseudonym) cause people to disregard the disjointed weirdness of much of Shostakovich’s output.
Liner-note writer David Fanning, writing about the late string quartets, characterized one of Dmitri Shostakovich’s characteristic modes of expression as “anxious circling and a kind of crippled polka . . . .” But that is only one of Shostakovich’s modes of expression. There also can be found a kind of selfless monumentality; a humane nobility; and a reverence for the history of musical expression from Orthodox Chant to Mozart.
Those other, non-weird, features of Shostakovich’s art I think were best expressed in his First Violin Concerto and in its première commercial recording in New York in 1956 by David Oistrakh, who was touring America during a brief warming in the Cold War.
Autodidact culture-vulture Marilyn Monroe was in the audience for Oistrakh’s Carnegie Hall recital début in late 1955. Shortly thereafter, Oistrakh played the US première of Shostakovich’s violin concerto with the New York Philharmonic, and within days, they recorded it. I think that recording, in very acceptable monophonic sound, is one of the most important recordings of the 20th century.
More, the sound bytes, and a YouTube after the jump. Continue Reading →
This CD is not just for classical listeners—anyone who loves beauty and wants more of it in his or her life should buy this recording. This cleverly-constructed disc is arranged like an old-fashioned recital program.
Serious music at the start (if you want to call Schubert’s contagiously lighthearted Arpeggione sonata “serious,”); followed by a guitar/cello treatment of Falla’s Spanish Popular Songs; then a wee homeopathic dose of accessible new music; and then all four shoes drop in a succession of surefire crowd-pleasers: “Dance of the Blessed Spirits,” “The Swan,” Bachianas Brasileiras No. 5 (“Aria”), and finally Paganini’s Moses variations.
The recorded sound is absolutely stunning, completely worthy of the best systems at the next audio expo. Hint, hint. (Recorded by Bruce Egre at Cleveland State University’s Waetjen Auditorium.)
Words about the performers, followed by some generous sound bites, await you after the jump. Clickez-vous, s-v-p!
Arturo Delmoni, accompanied by Steve Martorella, in the Auditorium of the Third Meeting House (1774-1775) of the First Baptist Church in America, playing Nathan Milstein‘s (one of Delmoni’s teachers) transcription of Chopin‘s C-sharp minor Nocturne. (The violin is muted.)
Rehearsal for Arturo Delmoni’s recital May 23, 2010. Steinway piano; violin J.B. Guadagnini (1780). The intro and outro chat audio are from the Canon camcorder, but the music is synched up from the 24/96 audio recording made with Pearl Microfon (Sweden) CC 22 cardioid condenser microphones (ORTF array) and a Sound Devices 702 CF recorder. Audio, video, and editing by John Marks.
There is a weed whacker at some distance outside, and it can be faintly heard. So be it. A special moment in time, frozen to a CF card.
# # #