30 Days of Music Tidbits, Day 10, Handel Singing to Remember

Front_page_Ariodante
“Front page Ariodante.”  via Wikimedia Commons.

For today: British mezzo Sarah Connolly singing “Scherza Infida” from Handel’s “Ariodante.” This was one of those recordings that seeks you out. Connolly had sung for “The Sixteen,” Harry Christopher’s elite chorus, and then started a solo career, which has become pretty starry. This early solo recording of hers–about 12 years old now–garnered great favor in Gramophone. I heard this cut from it excerpted on the demo CD they used to send. And I found myself playing it over and over…something I haven’t done for years, then got the full CD, which I have played over and over since then.

Something about her ardor and restraint is so very British, and so very moving…

30 Days of Music Tidbits, Day 9 (late), Bad Reviews and the Right to be Forgotten

So, trying to find any light to shed about the flap over Dejan Lazic’s request to have a critical review removed, and not really sure if there is any larger lesson. Neither the web nor music criticism works in such a way, much as we might wish they might–performers and critics both were prefer their efforts weren’t in the permanent record, but now that is how it works.

 

JohannesBrahmsOne positive outcome of this is that it has gotten me to go listen to Lazic for myself. Interesting pianist, unusual combo of old-school rhetorical flourish and super-modern pin-point clarity. He manages to engage me in a work I have come to loathe (after a teenage infatuation with it), Brahms alternately pompous and cloying B-minor Rhapsody. Lazic doesn’t quite scrub all the triteness out of it for me, but it definitely is a fresh take. Suggests his playing would be well-suited for Liszt.

30 Days of Music: Day 8, Tidbits, Your Brain on Music

Although I’m sort of a “neuro-skeptic” about all these “findings” from fMRI. Sticking somebody in a brain scanner while they play pinocle or whatever and discovering great truths seems to me a dubious methodology (although granted it’s been going on a decade).

But this is so charming, and such a boon to musical duffers such as myself that I thought I’d share.

flute_lesson_sized
Flute lessons as recorded on the walls of the pyramids.

30 Days of Music: Day 6, Resources, Grove Dictionary Dictionary of Music

Grove Online is the big daddy of classical music resources (at least in English). Its origins rest with one of the crazy 19th century encyclopedists, George Grove, who was asked to write a musical dictionary for amateurs.

Over the years it grew to a hefty twenty plus volumes, and is now the authoritative source, available online for a fairly sizeable subscription (although many academic and some public libraries offer access for card holders.) It combines “life and works” info, including musicological and interpretive music history context where relevant, and there are multimedia examples you can play or pull into programs like Sibelius.  They are trying to deal with the question of how you update a professionally written and edited (rather than crowd-sourced) encyclopedia. Not completely up-to-date: Did just check and they still have Peter Maxwell Davies as the Master of the Queen’s Music (it’s Judith Weir now). So best to combine with other resources, but still the place to go for things like a comprehensive summary of the history of the mass in Western Classical music.

Grove

And on a lighter note, here’s Dame Kiri in a favorite encore of hers, “Art is Calling For Me,” which I heard the next rising star, Pretty Yende sing in a wonderful recital recently.

Best line “I want to be want to be a screechy peachy cantatrice.” Neither Pretty, nor Kiri have the least bit screechy about them! Only truly great singers can bring this one off..

30 Days of Music Tidbits: Day 6, Performers, Oscar Shumsky

Thinking back to my music reviewing days, one of the concerts I most enjoyed was a National Gallery of Art Garden Court shumskyperformance by the violinist Oscar Shumsky, not perhaps a household name like Perlman or Heifetz–to say nothing of the modern attention hogs. He was not after stardom and in fact for most of his adult career taught, played chamber music, led festivals and the like. But as he neared seventy, he returned to the concert stage, and gave solo recitals that were a model of musicianship and good humor.

For his NGA program, he played sonatas in the first half, and came out for the second half (having changed from bow tie to ascot) and presented bon-bons, explaining that unremitting seriousness of the “sonata abend” format—an evening composed exclusively of long masterworks, although all well and good, did not capture the full range of the violin’s personality or of what people might enjoy hearing. Fritz Kriesler, whom he idolized, had often followed this approach, filling the last half of concerts with lighter pieces–delightful, and often short, even tiny–hence the name bon bon, and delivering them with dazzling technique and panache.

Shumsky did the same in this NGA concert, transporting us all. That concert wasn’t recorded, but here’s his performance of one of Kriesler’s arrangements, Falla’s “Danse Espagnole “from La Vida Breve. A live recording–and you can tell–but such élan in the phrasing, and virtuosity with a twinkle in the eye–the man had style!

30 Days of Music Tidbits: Day 5, Droll Words, Lord Berners

bernersGerald Hugh Tyrwhitt-Wilson, better known as Lord Berners, 1883-1950, was an eccentric British composer, painter and writer–Grove Dictionary pegs him well as part of a “slender British avant garde which emerged after World War I.” –A sort of English Satie if you can imagine it, best known for some ballet music and a truly wonderful autobiography. The initial volume of which, “First Childhood,” begins thus:

I can remember very vividly the first time I became aware of my existence; how for the first time I realised that I was a sentient human being in a perceptible world. I seem to have acquired this state of self-consciousness very much in the way in which one masters the technique of riding a bicycle or of performing some trick of juggling, when, at a given moment and without any apparent reason, it is suddenly found that the thing can be done.

This awakening of my perception was not brought about by any very remarkable incident. There was no salamander in the fire, no tolling of bells to announce some famous victory or the accession of a monarch. Much as it would enhance the interest of my story and lend it a touch of the picturesque, a strict regard for truth forbids me to connect the circumstance with any occurrence of national or even of local importance. The conditions in which this epoch-making event in my mental career took place could not possibly have been more trivial. I was merely standing beside a table in the library at Arley, when, all at once, what had hitherto been a blurred background became distinct, just as when someone who is shortsighted puts on spectacles. Objects and individuals assumed definite shapes, grouping themselves into an ordered whole, and from that moment I understood that I formed part of it—without, of course, a full premonition of all that this exactly entailed. The commonplace features of this first landmark in my experience remain clearly recorded in my mind’s eye; the massive mahogany table with its cloth of crimson velvet, the fat photograph album with gilt clasps that could be locked up as though it were a receptacle for obscene pictures, whereas in reality it contained nothing worse than family portraits; the china bowl full of Christmas roses, slightly frost-bitten as those flowers usually are, a pastel portrait of my grandmother as a girl; in the middle distance my grandmother herself, my mother and a few aunts and, in the doorway, my nurse waiting to take me out for a walk. An ensemble which, you will agree, was entirely devoid of any kind of poignancy, although it may have had a certain charm as a Victorian conversation piece.

* * * * *

People I have questioned on the subject of the first awakening of their consciousness, have proved strangely uninformative. They could in most cases remember some particular incident that had occurred at an early stage in their lives, but none of them were able to recall the exact moment in which they had realised for the first time that they were human beings. Some even confessed that, as far as they knew, it had never happened to them at all. And I daresay they have managed to get through life just as happily.

The phenomenon I have described took place when I was three and a half years old. Up to that point my life had not been wholly uneventful…


The entire text is available on Gutenberg.ca
and has been reprinted as well.

30 Days of Musical Tidbits: Day 3, IMSLP

Today a resource for musicians: IMSLP, a repository of public domain scores that offers untold riches..

IMSLP

From their FAQ:

IMSLP stands for International Music Score Library Project and started on February 16, 2006. It is a project for the creation of a virtual library of public domain music scores based on the wiki principle; it is also more than that. Users can exchange musical ideas through the site, submit their own compositions, or listen to other people’s composition; this makes IMSLP an ever-growing musical community of music lovers for music lovers.

It takes a bit of trial and error to get the hang of searching it (and the instrumentation search can be quirky), but in addition to many, many scores, there are recordings, talk forums, and historical notes. Combined with “ForScore,” a sheet music app for the iPad, IMSLP has become a a regular browsing destination for me–fueling, among other things, an arguably unhealthy fascination with 19th century salon music. God was there a lot of it!

One such treat, the once wildly popular “Berceuse” from Benjamin Godard’s opera Jocelyn.

30 Days of Musical Tidbits: Day 2, Mitsuko Uchida

_Is_Talent_Enough___Mitsuko_Uchida_starts_the_debate_-_YouTube Uchida is both an extraordinary pianist, and also one with thought-provoking things to say about music and the arts. She was asked by a trust in London to kick off a panel on various aspects of the music business. She addressed the question “Is Talent Enough?” with candor and charm.


 

Here she is playing the slow movement of Mozart’s C Major Sonata (K. 545). Selah.