PUGGINGHAM PALACE

Kansas City Symphony: Kahane Conducts Mozart and Rachmaninoff

2012-01-18T20:39:00.001-06:00

Presumably, when a concert featured a piano or violin concerto in, let's say, 1760, the soloist was the composer and had written the piece for himself. Very likely, the composer/soloist would also conduct the orchestra. Such was the case of Mozart who wrote most of his early concerti (1-13) for himself. After the 13th, written in 1783, Mozart began to compose piano concerti for others to perform while a conductor led the orchestra.

One of the reasons for the change was that the concerto was growing in stature and complexity. No longer a sweet trifle created to amuse, the concerto was assuming its role as a major musical form, second only to the symphony in importance. Earlier concerti started with an orchestral introduction followed by the solo’s entrance. This was either alone or with minimal accompaniment. The orchestra would sometimes echo a theme or close a phrase and then bring the movement with a final tutti. The orchestra was usually a small chamber ensemble of strings and maybe a few winds. By 1780, the era of Mozart’s later piano concerti (and certainly by this concert’s featured work his 25th Piano Concerto in C major K 503), the concerto had reached symphonic proportions. The orchestra had grown too with brass, expanded winds and strings plus tympani.

It takes a coordinated, yes even gutsy, pianist to solo and also conduct such a symphonic concerto. This evening’s Kansas City Symphony guest conductor, Jeffrey Kahane, is not only a superb pianist (a Van Cliburn Competition finalist) but also a skilled conductor of orchestras large and small (Colorado Symphony, Los Angeles Chamber Orchestra) and thus well equipped for the challenge. Kahane conducts with economy of motion, using fingers, nods and eyes to get what he wants out his forces, allowing him to equally concentrate on the demanding solo part.

Kahane’s Mozart 25th was a bit on the leisurely side yet a smooth, romantic reading befitting this most majestic of concerti. Not a spectacularly flashy concerto, Kahane highlighted the heroic nature of the work, especially in the dramatic opening Allegro maestoso. The long lined central Andante was poetic but could have used a bit more contrast from the first movement; attributed to the slower tempo of the opening movement. There was no doubt of the conviction of the performers, however, with the Kansas City Symphony winds in their usual fine form.

Instead of a skittering, lightweight Rondo, Mozart treats us to a most symphonic finale. Although still discernable as a rondo form, the movement has all the organic elements of a tightly argued sonata. Kahane relished the more brilliant writing for the solo in this movement as much as he milked the long, flowing lines of the Andante. A well balanced and powerful conclusion to this marvelous work.

Throughout the concerto, Kahane’s pianism was more expressive than precise (fine with me) perhaps owing to his split attention to the largish forces and demanding score. A most fine performance, with nary a missed entrance or miscue from the orchestra, good balance but marred by some weak string passages, a minor flaw in a sparkling jewel of a performance.

Although I had my heart set on the previously announced program with Asher Fisch conducting the Mahler “Blumine” movement and the Brahms/Schoenberg Quartet in g, I am sure the capacity audience better enjoyed the big and lush Rachmaninoff Symphony # 2 than the more unfamiliar works.

Again Kahane led a tad leisurely performance, but not to the point where the work became a bloated barge. It is fitting to remember that for many years this work was performed in a radically cut version of about 35 minutes. The first complete recording was not made until 1968.

Kahane and the orchestra were at their best in the brooding, mysterious and oh-so-Russian first movement, emphasizing the soaring themes and Orthodox chant inspired moods. The subtle shifts in meter and tempo kept the long movement moving, permitting us to luxuriate in the bounty of melody and passionate passages just long enough.

The vigorous scherzo must have woke a few snoozers; the big cymbal and bass drum crash that signals the entrance of the second theme and central part of the movement caused quite a burst of chatter and murmuring among the audience. The end of the scherzo, with its reference to the Latin Dies Irae (day of wrath) chorale could have been a bit more chilling, which is about the only little quibble I have here.

The big adagio is a feast of romantic melody; one can almost see the torrid images of lovers straight from the cover of Harlequin Romances. Song writers love to pluck themes from Rachmaninoff’s works for popular songs, and the main theme of this movement is no exception. Kahane’s slower tempo worked against him here and the movement became a bit slack with some weak sister climaxes. The English horn, violin and clarinet reveries were certainly highlights of the movement as was the lovely string passage with horn obbligato (how the horns have improved over the last 5 years) about ¾ through the movement, ending in a transcendent chord with soft and sweet flute and viola figures floating above. This was a movement made up of some fine moments, but just not jelling to a perfect whole.

As if dispelling all the Russian gloom and soulful passion, the finale is an Allegro Vivace Italian tarantella. The movement certainly has no shortage of fine melodies, but now they all spring from sun and light. The motives from previous movements make a final appearance to sum the big symphony up nicely. Kahane and the orchestra brought the work and the demanding program to a vibrant and exciting close.

A Fragment

2012-01-14T23:31:00.000-06:00

This weekend’s Kansas City Symphony concerts were supposedto be conducted by guest conductor Asher Fisch who for reasons unknown to medid not make it. Thus Jeffery Kahane filled in an changed the program. Insteadof Mahler’s Blumine Movement from the Symphony # 1, Mozart Piano Concerto # 17and the Brahms/Schoenberg Piano Quartet in g, we got a different Mozart PianoConcerto (#25) with Kahane as solo and conductor and the Rachmaninoff Second Symphony.

Somewhat like the orphan “Blumine”, I was preparing a second “must hear” essayabout it to go along with the earlier one about the Brahms/Schoenberg Quartet. Seeing it was now a moot point, Iwent no further than what you see below. Although the Kahane performances werequite good, I have a pang of regret that the KC audiences were not able toexperience two rarely heard and wonderful works. The Brahms/Schoenberg essaywas published earlier here but not on the KC Symphony Blog.

Thus, as it is, Isubmit my “Blumine”; a bit disjointed and unpolished, much like the work ithonors.

The Mahler’s first symphonic essay took a circuitous routein both form and performance venue before emerging as the familiar and popularSymphony # 1 in D major. The “Blumine”, to be performed by the KCS along withthe Brahms/Schoenberg Piano Quartet, was once a part of this symphony but wasdiscarded by Mahler after a few performances. After its rediscovery in 1966, ithas occasionally been performed as a part of the Symphony but more frequentlyas a separate piece, as in this case. A little history lesson is in order so asto understand how this movement disappeared for 70 years.

Mahler first conceived of this work as “A Symphonic Poem inTwo Parts” when it was premiered in Budapestin 1889. “Blumine” (although not yet labeled as such) was the second movementof this early form which is recognizable as the First Symphony but with manydifferences in orchestration and some formal reorganization. This performancewas not well received and thus Mahler made some extensive revisions for asecond performance, this time in Hamburgin 1893. Now titled “Titan, a Tone Poem in Symphonic Form”, the movement gainedthe title “Blumine” (Flowers, or Flower Chapter) and remained as the secondmovement. Mahler prepared an elaborate program for the piece; the first part(current first movement, “Blumine” and the Scherzo) was called “From the Daysof Youth: Youth, Fruit and Thorns”. The second part “Commedia Umana” consistedof the current “Funeral March” movement and the Finale.

Only a couple of performances were given of this versionbefore a 4^th performance in Berlinin 1896 where Blumine was formally struck from the score, all traces of theprogram and the name “Titan” wereremoved. The work was published in its current form in 1899 titled Symphony # 1in D Major.

Blumine remained unperformed and lost until it wasdiscovered in a copy of an early manuscript donated to Yale University.Benjamin Britten performed it soon after and the enterprising New HavenSymphony under conductor Frank Brieff performed and recorded it, interpolatedinto the definitive score as the second movement. Since then, severalperformances have been given and recorded of the early Budapestand Hamburgversions.

So what of the music? Mahler biographer Henry-Louis de LaGrange was not too kind:

“There can be no doubt as to the authorship of ‘Blumine,’and yet few other arguments can be stated in its favor. It is the music of alate-nineteenth-century Mendelssohn, pretty, charming, lightweight, urbane, and repetitious, justwhat Mahler’s music never is.”

Frankly, I kind of like the early versions with Blumine. Performingmuch the same services as the Adagietto of the 5^th, the shortinterlude comes as a quiet, simple respite in the hothouse charged atmosphereof the symphony. I do agree with de La Grange, it is a bit like Mendelssohn scoredwith a decidedly late century palate. However it looks forward to Mahler’sgrander creations such as the aforementioned 5^th and the 3^rd’sposthorn serenade.

Several fine recordings of the Symphony with Blumine are available, mostlyincluding Blumine as an appendix, notably Zinman/Zurich Tonhalle on RCA andNeeme Jarvi/Royal Scottish Orchestra on Chandos. The 1883 Hamburg “Symphonic Poem in Two Movements:Titan” is easiest to find in a Challenge Classics recording with Jan Willem deVriend conducting the Netherlands SO. Haydn House, an LP to CD reissue sourcehas the original Frank Brieff/New Haven recording.

We Three Pugs 2011

2011-12-21T13:52:00.000-06:00

Although The Dowager Empress, HM Puggles has passed on to the Rainbow Bridge, I was reminded of her favorite Christmas Carol that we published every year around this time. So, in honor of a great lady and Queen I give you this one more time. Merry Christmas and a Happy New Year from HRH Olive, The Princess Royal and staff:

HM Puggles, 1999-2011

We Three Pugs

(to the tune of We Three Kings)

We three Pugs of Orient are

Snuffling low we can not go far

Bellies dragging, tails a'wagging

Hounding the Milk Bone Jar

Oh! Oh!

We love treats and we love hugs

We love all 'cause we are pugs

Licking, sneezing, snoring, wheezing

Guide us to the warmest rugs!

Merry Christmas

Happy New Year

From Puggingham Palace

D & O

Baker's Dozen Best Recordings 2011

2011-11-30T06:13:00.001-06:00

My annual Baker's Dozen best recordings of the year is here. Since it is my list, I set the rules which are frequently broken. Most of these are new recordings or releases for the year. Some may be new to me or simply old wine in new skins. Whatever the case, here is what I have enjoyed and noted for the year in no particular order:

1) MAHLER: SYMPHONY # 10. ILLUSTRATED LECTURE BY COOKE,BERTHOLD GOLDSCHMIDT LONDONSO (1964) AND PHILHARMONIA ORCHESTRA (1960) TESTAMENT 1457

This 3 disc set was the Grammophone Magazine winner for BestHistoric recording, and deservedly so. Includesthe 1960 BBC broadcast lecture by Deryck Cooke, illustrated with piano andorchestral examples, the full 1960 broadcast performance of the sketches asthey had been compiled at that time by Cooke and finally the 1964 WorldPremiere of the 10^th by Berthold Goldschmidt and the London SO. Allare recorded in decent mono and both orchestra performances exhibit somewhatscrappy playing, but what an incredible historical document.

2) IVES/BRANT: CONCORDSYMPHONY. COPLAND: ORGAN SYMPHONY. MICHAEL TILSON THOMAS SAN FRANCISCO SO SFO 38

I first heard of Canadian Henry Brant (1913-2008) as aclassical music crazed teen. I confess I wanted to write a piece for my High Schoolauditorium based on his spatial music concepts. The high brass would sound outof the projector box, the tubas and trombones out of the vents in the floor,the strings on the stage, the winds in the isles.. the percussion in the hallwayoutside.. yeah I was nuts. His rendition of Ives’ Concord Sonata as a Symphonyis all wrong; too modern and craggy for Ives, but an incredible and addictivelistening experience. A bonus is a fine recording of Copland’s first symphonywith the original organ part.

3) BRUCKNER: 9 SYMPHONIES. GUNTER WAND COLOGNE RADIO ORCHESTRA RCA/SONY 7776582

Budget priced reissue of these fine recordings of Bruckner’smajor Symphonies, but does not include “Die Nulte” or the Symphony in F if youhave to have those. Skrowaczweski/Saarbrucken is my standard, but for the pricethese can not be beat.

4) JOYCE DI DONATO: DIVA/DIVO. VIRGINCLASSICS 41986

Home town girl (I have a picture of me with Joyce to proveit) makes good in this wonderful collection of arias exploring gender bendingtrouser roles from Gluck to Richard Strauss.

5) CHARLES-MARIE WIDOR: PIANO CONCERTO # 1 OP 39, PIANOCONCERTO # 2 OP 77, FANTASIE, OP 62. MARKUS BECKER, PIANO. THIERRY FISCHER BBCNATIONAL ORCHESTRA OF WALES HYPERION CDA 67817. ROMANTIC PIANOCONCERTO SERIES # 55

A recording for those who think C-M. Widor only wrote a famous Toccata forOrgan to be used at Easter or weddings. These two bravura concerti and thebrilliant “Fantasie” are simply fabulous music. A second set has appeared onDutton/Epoch but seems to be hard to find. With great sound and easyavailability, this is the one to have for sure.

6) HAVERGAL BRIAN: SYMPHONY # 1 “GOTHIC”. BBC NATIONALORCHESTRA OF WALES,BBC CONCERT ORCHESTRA, SOLOISTS AND CHOIRS HYPERION CDA679712

Renowned for its listing in theGuinness Book of World Records as the longest symphony, the Gothic is, ofcourse, rarely performed. But on July 17 2011, over 800 musicians under thedirection of Martyn Brabbins performed this monster at a Royal Albert HallProms Concert. This is a live recording in fine sound and likely the bestperformance we’ll hear in a lifetime.

7) HAVERGAL BRIAN: ORCHESTRAL MUSIC VOL. 1. BURLESQUEVARIATIONS ON AN ORIGINAL THEME, ENGLISH SUITE NO. 5, RUSTIC SCENES, ELEGY,LEGEND: “AVE ATQUE VALE”. GARRY WALKERBBC SCOTTISH SYMPHONY ORCHESTRA. TOCCATACLASSICS TOCC 00110

Every few years, Toccata Classics gives us some gems fromthe vast oeuvre of Havergal Brian, he of 32 symphonies and tons of unperformedand even lost works. In 2005 a recital of songs was well received and a welcomeaddition. This year Toccata seems to be embarking on an orchestral series,hopefully to include the symphonies, since the Naxosseries seems to be abandoned. Volume 1 contains premiere recordings, firststudio or professional recordings of works ranging from 1903 to 1968.

8) HAVERGAL BRIAN: ORCHESTRALMUSIC VOL. 2 MUSIC FROM THE OPERAS. SYMPHONICVARIATIONS ON ‘HAS ANYBODY HERE SEEN KELLY?’, THREE PIECES FROM ‘TURANDOT’, FAUST:NIGHT RIDE OF FAUST AND MEPHISTOPHELES, THE CENCI: PRELUDIO TRAGICO, A TURANDOT SUITE (ARR. MALCOLM MACDONALD).GARRY WALKER BBCSCOTTISH SYMPHONY ORCHESTRA. TOCCATA CLASSICS TOCC 00113

Long neglected Havergal Brian (1876–1972) is having a banneryear. His music is interesting and always colorful, albeit frequently clunkyand not always structurally sound. This disc features orchestral excerpts fromsome of his 5 unperformed operas.

9) MARTINU SYMPHONY # 4, TRE RICERCARI, PIANO CONCERTO # 4

TURNOVSKY CZECH PHIL APEX 0927498222

Almost everyone first heard this wonderful Symphony via thisold Turnabout LP that has seen several iterations over the years. Now availablein a budget CD with great sound and couplings.

10) MICHELLE BREEDT,SOPRANO NINA SCHUMANN, PIANO: “SHAKESPEARE INSPIRED” TWOPIANISTS RECORDS 1039077

South African-born Michelle Breedt is featured in thisinnovative Shakespeare-in-song collection from Two Pianists Records, also from

South Africa

.Just about every English composer of note from Arne through Coates, Parry,Delius, Vaughan Williams and on to Britten and Rubbra is included. Mostentertaining and enlightening.

11) ANDRZEJ PANUFNIK: SYMPHONIE ELEGIACA (NO. 2), SINFONIASACRA (NO. 3), SYMPHONY NO. 10. KONZERTHAUSORCHESTER BERLIN. LUKASZ BOROWICZ CPO-777 683-2

These works have all received fine performances before, especially the popularSinfonia Sacra. But this finely played and recorded disc from the Polish RadioSymphony is especially sweet since Panufnik was exiled from and his musicbanned in his native Polandfor so long. Volume 4 of an ongoing series of his symphonic works.

12) ALLAN PETTERSSON: SYMPHONIES NOS. 1 (ARR. LINDBERG)SYMPHONY # 2 NORRKÖPING SYMPHONYORCHESTRA CHRISTIAN LINDBERG BIS-1860 (PLUS DVD)

When I am depressed and ready to jump off a bridge, I listento the music of Pettersson and suddenly I realize I am not as bad off as Ithought. Pettersson’s music, from his first symphony to his last works, isrelentlessly gloomy, dark, mysterious and angry; much like the man himself. Yetit is sincere and well written which is what makes it so interesting. Theearly, incomplete first Symphony is a performing edition by Lindberg receivingits first recording.

13) IVES: 4 VIOLIN SONATAS HILARY HAHN VIOLIN, VALENTINALISITSA, PIANO DEUTSCHE GRAMMOPHON 001608202

Amazing that an Ives recording has been at thetop of the Classical Music charts for a good part of the year, displacing theusual “crossover” glorp. Maybe the boys arebuying the album because of the two pretty ladies on the cover. Whatever themotive, finest performances we can expect in a long time of these quirky andeven fun pieces.

Russian Muse

2011-11-28T08:21:00.001-06:00

Alexander Ringer, my most influential music historyprofessor at the University of Illinois, feltstrongly that one must study the educational pedigree, so to speak, of acomposer to really understand their music. Who were their teachers? Who weretheir teachers’ teachers? For example, one of Bohuslav Martinu’s favoritestudents was songwriter Burt Bacharach. I don’t know about you, but I can hearthe same quirky, rhythms, shifting meter and bright colors in Bacharach’s“Promises, Promises” as I can in Martinu’s charming works.

Thus in the Thanksgiving weekend’s “Russian Spectacular”concert led by guest conductor Carlos Miguel Prieto we get a rare chance tohear this concept illustrated by three works from composers who were studentsand mentors to each other. I challenge you to listen to the works as theyprogress from mentor to student across three generations. So, let’s look a bitat these three Russian giants and see how a Russian Imperial Navy officerinfluenced a child prodigy who then mentored one of the 20^thcentury’s most important composers.

Born in 1844, Nikolai Rimsky-Korsakov strove to develop acharacteristic Russian nationalist style of classical music. This involvedfrequent use of Russian folk melodies and folklore tinged with the harmoniesand rhythms of Asia rather than the traditionalWestern European forms and harmonies. Eventually Rimsky-Korsakov settled into acareer as a professor at the Saint Petersburg Conservatory (where Glazunovlater mentored Shostakovich) and began infusing Western forms and conventionswith a characteristic, yet almost indescribable Russian “soul”.

And what better example of that than the opening work inthis concert; Rimsky-Korsakov’s Russian Easter Overture. Here is a work writtenfor a typical western orchestra and in a common western form that literallylives and breathes the unique Russian Orthodox musical tradition. Many of themelodies used in the overture are from the Orthodox liturgy and Rimsky-Korsakoveven includes several biblical quotations in his manuscript. While in arecognizable western form, Rimsky-Korsakov used some unusual time signatures tocapture the melismatic flow and improvisation of the Orthodox chant. Opening in5/2 (5 beats to a measure and each beat is a half note long), the work closesin a flowing 2/1, something you do not hear often for sure. But listen to howperfectly these “stretched” time signatures recreate the passionate call andresponse liturgy straight from a candle lit St Basil’s Cathedral.

Rimsky-Korsakov opened up this Russian soul to new andbright orchestral colors. Since Orthodox churches usually do not use anyinstruments in their music, Russian music tended to be dark and big, like thebasses in the choir. Rimsky-Korsakov, trained as a military band leader used hisskill with winds and percussion to expand and brighten the palate. Hear thetouches of color from the harp and percussion, the clanging bells, the chantingtrombone, exuberant brass fanfares as the faithful celebrate the Easter feast.

By the last quarter of the 19^th century, Rimsky-Korsakovwas Czar as far as Russian music was concerned. Since he devoted a lot of timeto teaching, his influence was deeply felt.

Enter the son of a wealthy St Petersburg publisher, Alexander Glazunov.From all accounts a child prodigy, Glazunov was introduced to Rimsky-Korsakovin his teens, around 1882. Given a score for a symphony (his Symphony #1)Rimsky-Korsakov recognized his obvious talent and arranged a performance. Theaudience, composer Alexander Borodin among them, was astounded when a 16 yearold school boy took his bows on stage. Rimsky-Korsakov took Glazunov as astudent shortly thereafter.

Young Glazunov absorbed all the influences his sudden fameafforded him. From Rimsky-Korsakov he learned to skillfully orchestrate; hisadmiration of Tchaikovsky led to his romantic lyricism, combined with a senseof counterpoint hitherto not realized in Russian music. When he was electeddirector of the Saint Petersburg Conservatory in 1905, he was at the height ofhis international fame. His best works came from this period as well, includingthe Violin Concerto in A minor of 1904.

Listen to the very beginning of this one movement work, witheveryone in their lower or middle ranges, and you will hear the Russian Soulthat Rimsky-Korsakov nourished. Yet Glazunov took that “soul” and stretched itinto a technically brilliant concerto, full of double stops, skittering runsand luscious melodies. Glazunov is often dismissed as being solely aconservative academician, yet in the Violin Concerto he uses a one continuousmovement form, which is unique for the period. The orchestration, while not asbrassy and bright as Rimsky-Korsakov, is colorful and evocative. Nowhere inthis charming and perfectly proportioned work does one encounter the dryacademicism which often sapped inspiration from his music.

If Glazunov did not advance Russian music, his studentscertainly did. Living well into the 1930’s, Glazunov had to cultivate andmaintain his conservative style so he could make a living in RevolutionaryRussia. A revered composer, pedagogue and a stabilizing force as director of theconservatory in St Petersburg,Glazunov was a musical father to a generation of grateful Russian musicians,who tended to dismiss his music but revere him for his service.

Dmitri Shostakovich came along, total child of therevolution, and built a musical legacy on the firm foundation of Rimsky andGlazunov. His command of orchestral color, while not brilliantly flashy asRimsky, perfectly fit his often dark and moody music. Like Glazunov, he felt atease with the familiar and frequently strict forms of the sonata, symphony andconcerto, even when he stretched the forms into new shapes.

Shostakovich’s Russian soul was a wounded one. Struggling tomaintain his soul, he often hid his thoughts and emotions deep in the music.Many feel his work culminated in the magnificent Symphony # 10 Op. 93 of 1953.Shostakovich said the work “portrayed human emotions and passions”, but onesoon realized these human emotions and passions are really the soul of a nationand of its people trapped in misery and darkness. Stalin may have been dead,but his ghost lived on in a country still reeling from war and politicaloppression. The sardonic and frenetic scherzo, all of 3-4 minutes long, canonly represent a monster.. Stalin? It is said that was the composer’sintentions. Yet, in the subdued, dark hued mood of the Symphony, one can hearechoes of Russian and ethnic dances and even some hollow rejoicing.

The 10^th Symphony is Shostakovich’s most personalsymphonic utterance. Possibly written before 1953, it was held back untilStalin was dead and his oppression of musical ideas relaxed somewhat. To further personalize the symphony, he usesthe notes D Eb C B which roughly recreates his monogram of D SCH.

This was the first use of this monogram which the composerused from time to time to mark his work in a faceless, soul-less society.Listen for it especially in the 3^rd movement, a Mahler-likenocturne.

From the glory of the Czars to keeping traditions alive in arevolutionary time to surviving and hiding ones emotions in an oppressivesociety, we have progressed throughthree generations of Russian masters, each cultivating the soul of a vast andcomplex nation in their music. The “Russian Spectacular” theme for this concertis no mere marketing tool: these three works are spectacular examples of thelong and glorious Russian muse.

HRH Olive, The Princess Royal

2011-11-13T20:44:00.001-06:00

Royal Announcement

Puggingham Palace

From the Lord Great Chamberlain:

We joyously announce the arrival of The Princess Oliveat Puggingham Palace on 11/5/11

The Princess arrived in the Royal limo around 7:30PM andimmediately toured the Palace Garden. After greetingPalace staff, HRH settled in to her new Royal Apartment soon after.

HRH has received greetings from King Pip in which HM Pip hasproclaimed that she shall immediately be Styled and Titled HRH Olive, thePrincess Royal and is to receive all the benefits and honours due her.

HM King Pip further decreed 3 days of Festival Celebrationsbeginning Sunday November 5^th and continuing through TuesdayNovember 8^th. He hascommanded treats for all, plus parties and fireworks are ordered.

Her First Royal Portrait:

Did This Performance Make me a Brahmsian???

2011-10-30T20:20:00.001-05:00

After a strictly instrumental opening weekend concert thatinaugurated Helzberg Hall, Music Director Michael Stern and company focused onvocal/choral selections for the second concert. Anticipation was high as to howthe Kansas City Symphony Chorus and vocal soloists would sound in the new hall.In my, and many other’s opinion, anything had to be an improvement over theLyric Theatre, which usually rendered the chorus to mush and tended to obscureall but the most commanding of soloists. To show what the new space could orcould not do, Stern chose two choral works, Beethoven’s rarely heard “ElegischerGesang” in its chorus and strings version (original was for 4 voices and string quartet) and the grandBrahms “Ein Deutsches Requiem”. For some orchestral contrast, yet still keepingwith the requiem theme fitting for All Saints/All Souls Week, Stern selectedMessiaen’s orchestral “Les Offrandes Oubliées” as an interlude.

Beethoven’s sweet, short and sadly all but forgotten “ElegischerGesang” (“Elegiac Song” written in1814 originally for 4 voices and string quartet here arranged for chorus andstring orchestra) quickly demonstrated how the newly augmented chorus couldsound. The verdict: much clearer and focused, neatly balanced with theorchestra and certainly cleaner diction. However, the sheer size of the forcesfrequently made their voices a sound texture rather than clearly defined text,most often noted in climactic passages. Yet the Elegiac Song received a most heartfeltand “elegiac” performance, the chorus well balanced with the strong, always elegantstrings.

As a bonus, the chorus performed an a capella piece writtenfor the center’s opening gala by local composer Mark Hayes, titled “This Moment”.Having worked with Mark Hayes and having sang many of his compositions over theyears, it was instantly recognizable as his fine work. The soft, frequentlywhispered piece came off well in the hall and did not detract from the overalltheme of the evening.

Stern has been successfully insinuating the atmospheric music of 20^thcentury French composer Oliver Messiaen in his concerts the last few seasons.This season we are treated to Les Offrandes Oubliées (The Forgotten Offerings)written in 1930 for two pianos and later orchestrated by the composer. This ferventlyreligious interlude made for a most fitting contrast to the contemplativeBeethoven and the cooler Brahms to come.

The piece is cast in a single movement divided into threeclearly delineated sections representing Christ suffering on the Cross, thedecent of man into sin and finally salvation offered through the HolyEucharist.

The opening section marked “fairly slow, sorrowful andprofoundly sad” continued Beethoven’s elegiac, reverent mood. The strings andwinds were admirable in their clear intonation in high registers, perfect forMessiaen’s characteristic modal sound. Stern and his forces milked thecataclysmic burst of sound that announces the central “Lively, fierce, desperate,gasping for breath” section, representing human kind’s sinful ways. Theorchestra relished the Bacchanalian passion while Stern kept the violenceneatly in control. The brass and percussion were commanding and snarling,certainly not overly loud as I have heard from one complaint.

Heavenly calm, resembling much of the opening section, marksthe final “Slow, with great pity and great love”, celebrating the mystery and redemption of theEucharist. Even in this early work, one hears the characteristic sound world ofthe masterpieces (Turangalila-Symphonie, Des canyons aux étoiles, Oiseauxexotiques, etc.) to come.

Having explored the white hot religious ardor of Messiaen’sfaith, Brahms’ almost secular requiem comes into clearer focus.

Despite a text assembled by the composer mostly fromBiblical passages, “Ein Deutsches Requiem” is actually a humanist rather than anovertly Christian work. Brahms recognized this and it is even suggested that heconsidered calling his magnum choral opus “A Human Requiem”. Thus Brahms’classic coolness and restrained emotion suits this service for the dead well.This is a requiem for the living, a time of comfort and reflection rather thana sublime (In Paradisium in the Latin Mass) or anguished (Dies Irae) vision ofwhat is to come.

To make this piece really work, it needs a bit of guts alongwith the grandeur, remembering that this is that “Human Requiem” and not aglacial Papal funeral mass. Slack tempos, little dynamic energy, unfocusedchorus and coldly mechanical solos can quickly slip this monster into sonic drudgery.Unfortunately the traditional and all too common view of this work headsstraight into such a wreck. Stern and company led a vital and well pacedperformance, steering clear of the tendency to sink into an interminablemorass, providing the requisite good dose of guts to go with the glory.

Most impressive was baritone Christopher Feigum in his solosin Parts III and VI. Singing with style and with incredible diction, his twolengthy contributions provided a fine dose of the dramatic guts as mentionedabove. So did the chorus’ earth moving “Death where is thy sting?” section inPart VI, well serving as the aural and dramatic climax of the work. Finally,with the spectacular sonics of Helzberg Hall, the power of the talented voicescould be unleashed, really speak to the audience and not be buried in a haze.

Soprano Layla Claire’s contributions were equally fine yet moreethereal rather than overtly dramatic, perfectly fitting their role.

Brahms’ Requiem, as some of my readers may know since I sortof can not keep it a secret, is not on my top 10 (or even top 1000) list offavorites. I own nary a recording of it and have heard it live only oncebefore, a previous Kansas City Symphony performance from sometime in the mid toearly 90’s. Stern, Chorus Director Charles Bruffy and their forces can be proudof a fine performance of a work that many find inspiring and glorious andchallenged this skeptics’ preconceived notions.

Kansas City Lyric Opera: Turandot

2011-10-10T07:50:00.002-05:00

It is a bit of a moot point to review a final performance of a production; by now it is history. But, I felt a bit of an obligation to my 2 fans to record my impressions of the first Lyric Opera of Kansas City production in the new Muriel Kauffman Theatre, Puccini's final opus "Turandot". This new from the ground up Lyric production featured soprano Lise Lindstrom in the title role, (fine performance, but a bit screechy on top and tended to channel Joan Crawford's haughty demeanor rather than Maria Callas') tenor Arnold Rawls as Prince Calaf, (superb "Nessun Dorma") soprano Elizabeth Caballero as the tragic slave girl Liu, (all around wonderful in this most demanding role) and, in his Lyric Opera debut (about time) Colby, Kansas native Samuel Ramey as the exiled King Timur (perfectly powerful and tragic).

The sets by Lyric Opera designer R. Keith Brumley were functional and evocative of ancient China without being stereotypical. The colorful costumes caught and reflected the sets reds and yellows, especially Turandot's icy white gowns. Ping, Pang and Pong's (wonderful, cynically comic performances by Michael Chioldi, Scott Wichael and Doug Jones) pastel gowns, almost clownish make up and whipping fans provided bursts of color and comic relief among the white and gold of the royalty and the drab browns of the peasants. The extras were numerous but never in the way in the finely choreographed performance. A fine children's chorus and powerful adult chorus that could press you back into your seat filled the stage to capacity.

Music Director Ward Holmquist led the orchestra in a finely paced and nuanced performance; the new pit and acoustics meant we could actually hear even the most delicate phrases. Also noticeable were fewer instances where the orchestra drowned out the singers.

The acoustics and line of sight from my perch in the Parterre section, straight back from dead center stage were fabulous. Not sure I really like the glitzy, bright colors and the huge lighted transparent panels that line the boxes, but it does make for a more welcoming atmosphere than the dark Lyric Theatre space. The new "Figaro" individualized subtitle system worked well, but in my row was down to low due to no seat backs in front of us.

The old Lyric Theatre simply did not have the space on stage or in the pit for really grand opera. That has certainly changed.

On tap for the season: Cosi Fan Tutte, Nixon in China and Barber of Seville.

Kansas City Symphony: Music Revolutionized

2011-09-25T17:02:00.000-05:00

Admittedly I faced the opening night of the Kansas City Symphony's new season with a bit of trepidation. Going to the new Kauffman Center was a bold change of routine. How do we get to the new parking garage? Where are our seats? How do we get to them? What door do we use? Where are the restrooms? The place is so big; will it be a daunting task or a walk in the park? My Symphony partner Gerry and I decided to get there an hour early so we would not get lost in the shufflle.

Turns out it is quite easy. Parking was a snap and is just a few steps to an elevator and then an escalator to get from the garage to the spacious Brandmeyer Great Hall. We had time to explore, enjoy a beverage and see all the assembled humanity. Finding our entrance and seats was easy and not intimidating at all. When we found our entrance we were so pleased to see the same usher that had greeted us for the last few seasons at the Lyric, a serendipitous touch of "home" in the new surroundings. He was as thrilled to be in the new setting as we were.

Our seats in the Grand Tier row AAA (I mean what could be better than Triple-A?) although smack in the middle of a long row, had an amazing high view and were so much more comfortable than the old Lyric Theatre's Balcony Row G we had occupied for so long.

As for the sound... perfectly balanced, never tricky or harsh. When Maestro Stern, Frank Byrne and Shirley Helzberg spoke without microphones at the beginning of the evening it was as if we were in a room 1/8th the size. The orchestra percussion, which in the Lyric could easily overpower the orchestra, was blended yet totally audible. The pounding bass drum in "The Pines" would have driven me to the street in the Lyric, but in Helzberg Hall it was a powerful texture and presence just as it should be. Every detail is captured; the ppp pizzicati in the Emperor, the harmonics of the piano and harp (with my compromised hearing for me to hear high pitched harmonics is a miracle) and even the middle voices (viola, clarinets, bassoons, etc) were clear instead of a muddy stew. Is it auspicious that we sat in the same row as the renowned acoutician Yashuhisa Toyota, who was here to witness the opening weekend of his creation? I mean, he has to know where all the good spots are. Unfortunately he was swept up in the sea of people as we left and I could not ask.

And among all this was a concert.

Music Director Michael Stern conducted a program that was tailor made for the inauguration of a new hall and season: "Fireworks" by Igor Stravinsky, Piano Concerto # 5 "Emperor" by Beethoven with Emanuel Ax as solo, a new commission by Chen Yi "Fountains of KC" and the "Pines of Rome" by Respighi. We all stood and sang the National Anthem as a start to the festive evening.

Fireworks, as befitting its name, was perfectly festive, incendiary and ephemeral. An early work from 1908, its sparkling orchestration so impressed Serge Diaghilev that he commissioned Stravinsky to compose a ballet for him, the ever popular Firebird. A short and almost fanfare like opener, Fireworks immediately demonstrated to the packed hall that we were now in a new world.

For a grand hall and edifice... a grand and powerful concerto. Of all the sometimes superfluous names given to compositions, "Titan", "Jupiter", "Great", Beethoven's Piano Concerto # 5 truly deserves the moniker "Emperor" no matter how it gained it. Ax and Stern assuredly gave it a most imperial performance; full of fastidious detail (the acoustics helped to illuminate even the most delicate of passages, showing the Emperor was also a kind and subtle monarch) yet demonstrating the potent sonority and energy that makes this a most thrilling and virtuosic concerto. Stern and the hall (both taking advantage of each other) highlighted the often blurred woodwind and brass allowing each note and figure to sound as it should. The subtle contrabass and cello pizzicati were breathtaking as they supported Ax's often delicate lines. The orchestra could quietly support and alternatively boldly declaim as necessary. This somewhat cool and detailed performance was no less valid than a more splashy performance, Ax's command of his gifts was displayed in his restraint and obvious reverence for this masterpiece.

Befitting a new hall and season we were treated to a new work as well. University of Missouri Kansas City professor and renowned composer Chen Yi brought us the first of several works commissioned to celebrate the Kauffman Center and Kansas City's fame as a "City of Fountains" (Kansas City has more public fountains than any other city in the world except for Rome), the imaginative "Fountains of KC". The "KC" can be interpreted as Kansas City or Kauffman Center, whichever you prefer.

This is a piece that deserves to be called "splashy". Evoking fountains, water and liquid in all its forms, "Fountains" is a major addition to Chen Yi's impressive catalogue. (One has to hear her "Si Ji" (Four Seasons) whenever it is recorded or played in your area, a most impressive piece). Spurting water, flowing streams, liquid tempests and palpable excitement permeate the piece. Despite being bi-tonal and even microtonal, Chen Yi's vibrant and imaginative orchestration brings the tone clusters and dissonances to life much as Schoenberg does in his 12 tone works. In her most informative notes, Professor Chen reveals that the style of Chinese music that inspired "Fountains" is from Xi'an, a Sister City to Kansas City, a most thoughtful touch.

How to demonstrate what a new hall can do? Play Respighi's brash and brassy "Pines of Rome". For all who wish to detract this work, you have to admit it is a showpiece and thus has its place from time to time. Showing off has been a human trait since the cave man days... so who is to argue? Delicate melodies (Principal Clarinet Raymond Santos was beyond superb as was Kristina Goettler's oboe and Kenneth Lawrence's English horn solos), commanding brass, pounding percussion (as noted above wonderfully integrated into the whole texture) and evocative moods... what is not to like? Never descending into total Hollywood (the piece is halfway there as it is) Stern let the sound and power take us away, blowing us all literally away in a tide of sound and color.

Stern and the orchestra gave us a festive recessional, the "Racoczy March" from the Damnation of Faust (please Maestro.. do this piece sometime....) by Berlioz, as we descended the grand staircases for a champagne toast to this most magnificent hall which has revolutionized music in Kansas City forever.

St Louis Symphony: Three Stravinsky Masterpieces

2011-09-17T15:59:00.000-05:00

With the gala grand opening of the new Kauffman Center for the Arts in full swing, September 16th, 2011 was probably the most important day for classical music in this town since some early settler took his or her fiddle and eked out a Schubert tune or maybe a bit of Bach. So what did I do to celebrate? I left town.

I was not invited nor had the mega bucks to attend so Dunbar the faithful Buick and I headed across the state to hear the more affordable (even with the price of gas) opening performance of the St Louis Symphony. In a concert that New Yorker Magazine critic Alex Ross called a "humdinger", Music Director David Robertson led the orchestra and chorus in three Stravinsky masterpieces, "Petrushka", "Les Noces" and "Le Sacre de Printemps". Stravinsky's arrangement of the "Star Spangled Banner" opened the eve, Robertson invited the audience to sing along.

Of course I went for "Les Noces", a vocal/choral tour-de-force ballet-cantata for 4 solo voices (a fine line up of Dominique Labelle, Kelly O'Connor, Thomas Cooley and Richard Paul Fink), 4 pianos and percussion. It took me a long time to warm up to and appreciate this unique work. Written in the early 1920s and premiered in June 1923, Les Noces (The Wedding) is an earthy, vibrant and ultimately rewarding evocation of a Russian peasant wedding. It has to be a royal bitch to sing for all involved with its declamatory chant, high tessitura, and fast, complex rthythms. The relentless chiming of the dry, high pianos and frequent use of metallic percussion makes for a dramatic, driving texture and makes balancing the ensemble critical.

Last night's performance was nothing short of unforgettable. The 4 soloists were incredible, special note to Dominique Labelle who negotiated the soprano's (Bride) throat killing lines with ease and musicality. It can easily descend into shouting and screaming. O'Connor and Labelle were magnificent in the almost tear jerking mother and bride duet. Cooley and Thomas both could conjure a deep Russian sound but a couple times got swallowed up in the sound in some of the more thick scored passages with the whole ensemble and chorus. Their duet in "The Bridegroom's House", evoking God and the Saints to bless the union, was also a highlight. Cooley's final serenade to the Bride, an exhortation of earthly lust, assumption of primacy in the marriage and tender feelings for his bride was one of those goose bump raising moments in music.

I can not say enough about the St Louis Symphony Chorus who precisely and clearly whispered, shouted, chanted and chugged along, never just a backdrop but an integral part of the drama. The percussion and pianos were well in tune and together, dry as Stravinsky wanted. The final ringing chords were incredible, allowing the subtle harmonies and overtones present to bring the work to a satisfying close.

After listening to it again, maybe it was multiple attempts to like Stravinsky's English language, languid recording that delayed my admiration of this piece. His version never clicked and the English took away all the deep sonorous Russian soul. Ancerl's on Supraphon is the one to have.. or tune in to KWMU and listen to the live broadcast on Saturday.

It is hard to imagine masterworks like Petrushka and Le Sacre taking a back seat, but for me they were just icing on the cake. The demanding program made for an opera length evening as two intermissions were required to clear the whole orchestra from Petrushka, set up the pianos for Les Noces and then set up the huge forces for Le Sacre. It made for good sales at the concessions I am sure.

Sadly, the evening's disappointment was an under-rehearsed, slack Petrushka. Plagued with ensemble issues, iffy intonation, horn bobbles and a general lack of propulsion, it never quite jelled. The performance was video narrated with scenes and drawings from the original production, but were sometimes hard to see with the microphone wires in front and the general glare of the orchestra lighting.

I could point out all the disappointing moments but that is pedantic. Principal flute Mark Sparks' solo in the first Tableau could truly have brought a puppet to life with its sincere and deep expression and perfect phrasing. Peter Henderson handled the extensive piano part with grace and propulsive force, until Stravinsky just seems to forget about it in the 3rd and 4th tableaux. Not a total write off, but the piece never danced.

Maybe after the electrical Les Noces, Robertson and the whole orchestra got energized as Le Sacre received a most exciting and technically excellent reading. Scenes from the ballet and drawings from the original choreography were also projected on the screen. Right from the misty, primeval opening, Robertson and company dug into this complex and colorful score. The Dance of the Adolescents was appropriately clumsy and knock-kneed. The round dance was trance like and ritualistic, perfectly realized. The Sages emerged from the depths with frightening power and swaggering violence, you could see them knocking the children and animals out of the way of their sacred procession. The violent awaking of the earth was simply shattering, but the famous frosty chord before the awakening of the earth was a bit weak and not together. The final Danse Sacrale was the epitome of controlled fury. Even conductor Robertson was propelled by the power of the music as he danced his way to a most satisfying and terrifying conclusion, which in some performances comes off more like an accident rather than an exhausted collapse.

I am sure the orchestra did an exhausted collapse as well after this demanding yet satisfying program. Kudos to all and to Maestro Robertson for the courage to do it!

HM

2011-09-14T08:25:00.001-05:00

Puggles Duchess Windsor, Dowager Empress, Queen of Pugs, Supreme Ruler of Alaska, Princess Royal of Baltimore Place, Grand Duchess of Missouri, Grand Duchess of Kansas City and St Louis, Duchess of Illinois, Duchess of Clinton, Duchess of Caddo Parish, Baroness Pugtona, Royal Order of the Greenie and Treat, Grand Order of the Scrunchie, Knight Commander of the Royal Order of Kibble, Patroness of the Royal Pugharmonic Orchestra.

April 30,1999-September 14th, 2011

Spiritual Journey: A Look Back

2011-09-12T08:23:00.000-05:00

Looking through the "dashboard" of my blog I found this in the draft files, never having been published. I do not know why... maybe I just forgot or wanted to revise it. Anyhow, after reading it I felt it to be a pretty good summary of my thinking back in April 2010. Since then, I have reconciled somewhat with the United Methodist Church (my local one, not the evil Mother Church) and found particular meaning and enrichment in the stately, high church Eucharist of St Mary's Episcopal. So much so that I am going to take some classes offered by St Mary's to learn more and perhaps join the church.

I did not want to waste this piece, looking back it was kind of a straight from the heart thing, so I am posting it today, a year and a half after it was penned. ~ Pato

So, inquiring minds want to know, where am I on this "spiritual journey" of mine?

De-railed, grounded, floundering, if you must ask.

As you may know, nasty and saddening events at the last two churches I attended left me cold, bitter and wondering if it was all worth it. Back in March, I went back to the last church I attended and still hold membership therein. As I reported it left me cold, and I have been back once since then. I have not been motivated to return. I remember my grandmother Clark telling my parents that exposure to church was good for a kid, that is where they learn how to be proper ladies and gentlemen. (She hated my guts so I am sure this was a backhanded slap at me directed at my parents who were very lax in taking me to church while my sister practically lived at hers at the time. Ironically, the roles reversed as the years passed.) Now I see church as a place to learn bigotry, hate, distrust, political infighting, greed and power.

Writer John Shore sums it up so nicely in his essay "10 Ways Christians Fail at Being Christian."

Easter, the big holy day of Christianity was spent at a beautiful, glittery, sensuous (not in the dirty minded sense, but one that fills all the senses) ritualized service. Gold and incense, flags, banners, robes and fine new dresses were on display. Any sense of excitement?? Not much. I confess I was sitting waiting patiently for the service to end so we could all head to Amy's for Bloody Marys which she assured me were chilling as we sat. I guess the point of the old style ritualistic services like this one at Grace and Holy Trinity Episcopal Cathedral and those of Catholics is that if you repeat the same thing over and over, you soon will believe it.

About 3/4 through the 1 hour and 45 minute service, someone read all the prayers. We were to ask for blessings on everyone from the church high and mighty to the little old lady in the nursing home. The reader came to a point where she read the names of soldiers killed in the silly and pathetic wars Bush started and Obama has not the balls to finish.

Ok... where is god or God or Yahweh, or G-d or whatever in all this? Why do wars and killing persist and we glorify it; all in the name of whatever god or prophet we are hooked on at the time? Makes no sense. So again I was in the middle of a church service and thought again "what hooey....". I glanced at my watch to see how long it was before Bloody Mary time.

My friends Amy and Megan are on a similar journey, but instead of throwing in the towel, they seem to persist in finding a church to meet their needs and wants; one like we had and was dismantled. Of the two, Megan is closer to me in her thoughts. It was one of her blogs (you must read 10 Churches) in which she mused:

"Of course, I’ve tried to contemporize the story. I’ve studied it academically and come up with a logical answer: it’s all one giant metaphor. After a couple days of mourning, the disciples asked themselves, “What would Jesus do?” and headed out to spread the good news. His ideas were resurrected. His body, however, was not."

I think she is on to something. Christianity is absorbed, possessed and verily controlled by a desire to ensure its existence by perpetuating a myth. Thus the message is lost in a cloud of incense scented ritual or rigid dogma. Look what churches are debating: who to let in or kick out, who to ordain or not, money, sex, buildings, structure, scandal, politics, growth, oh yes.. and money again. Where is peace, love, love all, care for the poor... the things that the person that was Jesus obviously taught and very likely died for? If one reads the Bible with a critical mind, you'll find more contradictions, missing chapters, inaccuracies and implausible events than a 5th grader's attempt at a novel.

So why do I even bother, why am I even considering still being a church goer? For me, it has been a wonderful social outlet. I have met my dearest and most wonderful friends at churches I have attended for any length of time. I am not one of those folks who enters a room and immediately knows everyone or glad hands all he sees. I tend to keep my distance and people do the same to me. But for some reason in a church setting, I feel more comfortable and I feel a connection to the people there. "The fellowship of kindred minds" as the old hymn goes rings true. So I have this fear that if I abandon church all together, I will be left in the cold.

That is worse than being left in hell.

Must Hear Concerts # 1 Brahms-Schoenberg Piano Quartet

2011-09-11T22:38:00.002-05:00

Just a short two weeks away (give or take a few days), the Kansas City Symphony will open its 2011-2012 season in its new home, The Kauffman Center for the Performing Arts. This astounding edifice will literally put Kansas City on the musical map. Some coastal snorts probably think it is just a new boondoggle built by us locals to keep some workers employed and to make our town look like we are in the big leagues. But not so the Kauffman (please DO NOT start calling it "The K" like the stadium), which is truly a top rank performing arts venue. The new season is chock full of favorites and crowd pleasers to ensure the capacity crowds (just try to get a decent ticket for some concerts) come back for more but also features some more interesting and rarely heard pieces that I will not want to miss. This is the first of a couple two or three posts on what I think are some of this season's more off beat "must hear" works.

I am not a big fan of Brahms. Yes, it is true...and I know 99.9873% of those who read this are. But I just have never warmed to the big, heavy, foursquare, unadventurous, monotone works that Johannes produced. However, there are a couple that intrigue me mainly because they are the antithesis of the above. Someone must have been listening to me whine, since one was on last season's Kansas City Symphony calendar, the charming and delicate "Alto Rhapsody" for Alto, Men's Chorus and Orchestra. This January, frequent guest Asher Fisch will present Brahms' Piano Quartet op 25 as orchestrated by Arnold Schoenberg (who thought Brahms was a progressive genius by being regressive... or something like that) along with a future off-beat must hear selection, the discarded "Blumine" movement from Mahler's Symphony # 1 in a concert that will probably not pack in the crowds like October's German Requiem (don't ask my opinion) will.

Brahms composed his first Piano Quartet in 1861. Compared to what Liszt, Wagner, Berlioz were doing (and even some of the late chamber works of Beethoven), it was positively old fashioned. Brahms did succeed in writing a grand piece, symphonic in scope and length but hampered by the restrictions of his ensemble.

Schoenberg argued that Brahms was progressive since he tended to make use of frequently limited and tightly controlled thematic material, much like Schoenberg's 12 tone system. However, in his orchestral works, Brahms was far from a colorful or delicate orchestrator and therein lies the tale. The constricted material needs some color and contrast to effectively show off how brilliant it really can be. Unlike the dour Johannes, Schoenberg could take a 3 or 4 note cell (his student Webern could too) and with his masterful orchestration and tight control over dynamics and texture make it seem like an unchained melody. Schoenberg liked the Op 25 Quartet, heard the symphony hiding within that Brahms could or would not hear (Brahms famously took a while to get up the nerve to actually write a full orchestral symphony) and set to work orchestrating it for full orchestra in 1937.

Schoenberg did not change a single note of the original score, but he sometimes radically altered Brahms' compositional style. Far from just adding splashy color, Schoenberg's orchestration illustrates Brahms' finely wrought melodies and motives and emphasizes the symphonic scope of Brahms' original work. Relying less on a typical Brahmsian string dominated texture, Schoenberg used brass (including some pretty raucous trombones and trumpets) to double the whole melodic line rather than simply introduce them to reinforce a climax . Winds are more prominent as well. Schoenberg's used the definitely non-Brahmsian xylophone in his recasting of the "Rondo alla Zingarese" fourth movement to great effect. Like seeing a cleaned fresco or a colorized film, new details emerge that not only changes the appearance but gives a fresh perspective to the art.

The work is in four movements, again another example of its symphonic yearnings. The opening Allegro is a study in contrasting themes (5 of them) that benefit greatly from the expanded palate. The second movement is a gentle Intermezzo; Schoenberg uses extensive pizzicato in this movement to bring out some usually hidden rhythmic details. The slow movement's march section comes to full life with the full brass and percussion, giving it some gravitas that the quartet can never match. Using contrasting string techniques of Schoenberg's inventive use of strings and winds brings highlights the powerful forward motion mixed easily with quiet delicacy in the final pages of this movement, missing in the more monochrome original. In the style of his Hungarian Dances, the finale dances and sings with bright percussion, braying brass, skittering winds and clashing cymbals, you almost want to shout "Huzzah!" at the end , caught up in the colorful, propulsive dance.

Those who love Brahms and the few of us that do not will love this arrangement. Like a jailer with a key, Schoenberg unlocked the gates, giving the imprisoned notes their freedom to dance and soar for a time.

Mahler "Blumine" from Symphony # 1
Mozart Concerto for Piano # 17 (Asher Fisch Conductor and Soloist)
Brahms-Schoenberg Piano Quintet # 1 op 25

January 13, 14 and 15 Helzberg Hall

Summerfest KC: Finale

2011-07-31T19:51:00.007-05:00

The last day of July, another 100 degree day, brings the SummerFest concert series to a close. Three short contrasting works comprised the first half, the Muzio Clementi Trio in D op 31 # 2 for Piano, Violin and Cello, "Three Character Pieces" for viola and bassoon by Tunsian born Iraqi-American Karim Al-Zand and "Petroushskates" by Joan Tower. The last half consisted of a grand finale of sorts, using many of the Summerfest instrumentalists in a single work, the Brahms Serenade # 1 op 11 in the original chamber version.

Fitting Clementi's title of "father of the piano", his trio was dominated by the piano with the strings as accompaniment, almost a piano concerto with a tiny orchestra. Charming, bubbly and full of skittering melodies, the piece was a delightful and audience pleasing opener. Pianist Dan Velicer chose to emulate a period pianoforte with his crisp and somewhat brittle tone, perfect for the piece. The string parts were a bit thankless, but Mary Grant, violin and Susie Yang, Cello made the best of it, contributing to a finely wrought performance.

I was prepared to not like the Al-Zand work, written in 2006 apparently for two friends, since I could not imagine a more unappealing paring of viola and bassoon. I didn't hate it, but it just didn't quite always work. The composer describes the work as "short vignettes mostly light-hearted and cheerful". The first vignette fared best with the two instruments, similar in tone and range, weaving a wandering melodic line between them. It went nowhere, but that was part of the point. The second piece "Moderate Groove" was more like "Moderate Dyspepsia". The bassoon's burping leaps from belch to squeek accompanied by groans and moans from the viola just left me queasy. The brisk last piece "Buoyant, lively" skittered along merrily to a comic end, eliciting twitters (non-electronic) from the audience.

Joan Tower's music has often left me feeling it is more contrived than genuine, relying on catchy titles or programs to disguise some rather ordinary music. "Petroushskates" fit that bill nicely. A realization of Stravinsky's harlequin tale on ice skates scored for violin, cello, flute, clarinet and piano, the piece vaguely takes the chords from the Shrovetide Fair scene and creates a manic perpetuum mobile of sliding chords and phrases. Probably fun to play but, as was my only attempt at ice skating, more of an ordeal than a pleasure to hear.

The origins of Brahms' Serenade #1 are shrouded in a bit of mystery and musicological controversy. Some say it began as an octet, then a nonet, or for small orchestra before emerging in the orchestral version most known today. It may have began as a 5 or maybe 4 movement work before Brahms added a second scherzo to make it a 6 movement symphonic serenade; we don't know for sure since Brahms apparently discarded the original chamber manuscripts. Several arrangements and reconstructions exist; this afternoon's was a 6 movement version for 10 players (basically the nonet with a second violin: violins, viola, cello, bass, flute, oboe, clarinet, bassoon and horn). Regardless of all the details, the end really justifies the means, for the music is delightful in this reduced scoring, lightening the texture and bringing out (as reduced scorings do) the inner voices and harmonies. When the playing is as precise and enthusiastic as this performance, it is doubly satisfying.

Especially noteworthy was the outstanding horn of Kelly Cornell, which never overwhelmed but took every advantage of Brahms' prominent use of the insrument for both melodic and harmonic effect. The ensemble was usually spot on and well rehearsed yet flowing and flexible. The tempi were a bit on the quick side, not a bad thing at all with Brahms in my opinion. The central adagio worked well in the quicker mode (it is an Adagio non troppo after all) but the two interlocked Minuetti could have been more graceful. The short second scherzo and following Rondo didn't outlast their welcome in a rather long piece and brought the work to a fitting and joyous close.

Yes, I actually said something nice about Brahms. I have made a habit of telling prominent music figures here in KC and elsewhere that I do not care for Brahms. In return I usually receive looks of pity and bewilderment. I tend to like my Brahms in the more obscure forms, such as the wonderful Alto Rhapsody and the Schoenberg arrangement of the Piano Quartet, so this chamber-ized Serenade worked just fine for me.

Again great thanks to the musicians, Summerfest staff and St Mary's for the venue and the fabulous reception afterwards.

Summerfest KC: Transformations

2011-07-24T19:20:00.010-05:00

A bit of a different format for my review of the 3rd Kansas City Summerfest concert on Sunday at the wonderful St Mary's Episcopal Church venue. While the opening Haydn Quartet Op #9, one of his earliest yet one that set the stage for the many quartet masterpieces to come, was well played, charming and a perfect opener and the Lowell Liebermann Fantasy on a Fugue by Bach was clever, witty, interesting and equally as well played, two works in this evening's concert and their composers merit a more in depth review.

Carlos Chavez was one of the most influential Mexican composers for a generation. Born in 1899, his six symphonies, colorful ballets and stints as director and or founder of many Mexican musical institutions made an indelible impression in his native land and abroad. But as the most interesting and intelligent program notes by Andrew Granade point out, even those who influence and become masters feel the need to pay homage to their teachers and mentors. Thus Chavez took two works by Debussy and two by Spanish master Manuel de Falla and transformed them into his Trio for Flute, Viola and Harp.

Debussy's popular "Snow is Dancing" comprises the first movement of the trio. The expansion from the piano only original turns the gentle snowflakes into a darker, more menacing and wind whipped snow shower. More than just sound and color, with Chavez's expanded palate the work took on a more profound tone; more of a tone poem than piano prelude. The haunting bell like sounds in the piece were inspired by Indonesian gamelan music and in Chavez's arrangement, the harp is most effective in emulating the soft, snow shrouded bells.

In the second movement, a transformation of "Asturiana" a song for voice and piano from the Siete canciones populaires espanolas by de Falla, the harp takes on not only the piano part but strums in imitation of a guitar. The viola and flute, in their lowest breathiest registers sing the melismatic and haunting melody so effectively and colorfully one does not even miss the voice singing of inconsolable loss that makes even the pine tree weep. The short agitated "Polo" again from the Siete canciones populaires espanolas, became a dramatic, rough and edgy scherzo in between the more lyrical "Asturiana" and the final "Golliwog's Cakewalk" movements.

The Cakewalk, familiar to many, also expands from a short piano prelude to a compact almost symphonic statement. Assigning the viola the Wagner quote from Tristan and Isolde gives the out of nowhere quotation even more pungency and absurdity. The harp and flute giggle haughtily at the off-the-wall, quotation. The ensemble had a nice, jazzy feel for the work and certainly communicated the fun they had in presenting Chavez's loving tribute to his mentors.

I never cease to be amazed at the music of Bohuslav Martinů. From many influences, Czech songs, French impressionism, jazz, music of the classical and baroque eras, Martinů nonetheless possessed a most distinctive voice. The characteristics of infectious rhythm, bright and often brittle sonority combine with jaunty folk like melodies, jazzy riffs and an unfailing ear for orchestration gracing every work of his I have ever heard, so what is not to love? Besides, the music looks like is as much fun to play as it is to hear.

Thus a fitting ending for the evening was one of his last works, the Musique de Chambre #1 from 1959, imaginatively scored for violin, viola, cello, clarinet, harp and piano. Out of the depths of an ambiguous introduction come the Gypsy/Romani melodies and figures over harp and piano ostinati. You would be correct in even tasting a bit of the blues here and here, as Martinů turns this brief opening movement into a nostalgic travelogue.

The slow second movement could have been from the pen of Ravel or Debussy with its misty meditative mood and chiaroscuro harmonies. Prominent Harp and viola lent a melancholy atmosphere to this most beguiling movement. The finale would have you to believe it is more of the same with its contemplative opening, but the ghosts are dispelled and the motoric rhythms and dance return, propelling the work to a dancing conclusion.

Please, Kansas City music groups, program more Martinů. The KC Symphony did the 4th Symphony, but there are 5 others. The incredible "The Frescoes of Piero della Francesca" would be nice too. The Kansas City Chamber Orchestra would be a natural to do some of his chamber works and concerti and Summerfest programmers should note the rousing applause given this evening's performance.

Thanks so much to St Mary's Episcopal Church for a lovely venue and a bountiful reception and to Rev. Lauren Lyon for her special kindness this evening!

Summerfest KC: Scarlatti and Blackbirds

2011-07-17T20:49:00.004-05:00

Giving us music lovers a welcome respite from the summer drought of classical music, a dedicated group of local and guest musicians mount the annual Summerfest Chamber Series in Kansas City. The series of 4 concerts is a casual affair for the most part, performed Saturday evenings at the UMKC White Recital Hall and Sunday afternoons at St Mary's Episcopal Church. I am a bit prejudiced since I attend services at St Mary's but the ambiance of the ancient brick church with the polished but well worn wood floors, creaky seats and the hint of incense in the air makes for a most pleasant listening environment.

True to their formula, Sunday's concert combined the new and old, familiar and rarely heard. The Sonata # 2 for Flute, Violin and continuo by Alessandro Scarlatti opened the concert. 20th century composer Jean Francaix took 5 of Alessandro's son Domenico's sonatas and orchestrated them for Flute, Violin, Viola, Cello and Harp. The first half concluded with Vivaldi's Concerto for Bassoon and Orchestra. The second half consisted of a single work, the atmospheric and delightful "13 Ways" by American Thomas Albert, a setting of Wallace Stevens' "13 Ways of Looking at a Blackbird".

The Alessandro Scarlatti was a fitting opener, but suffered a bit from some iffy intonation and a too soft harpsichord. I don't like the harpsichord banging and chattering too loud (like two skeletons copulating on a tin roof in a thunderstorm according to Sir Thomas Beecham) but it should also be heard as at least part of the texture and harmony.

Francaix, via his skillful orchestration, took the more familiar Domenico's sonatas and made them into something new and fresh. Once could be excused if it seemed these were originally written in the early 20th century; characteristic they are of neo-classic Stravinsky or members of Les Six. As with Schoenberg and Webern's orchestrations of older works, Francaix's quintessentially sec French orchestration makes meaningful melody and motives out of what seem like common baroque ornaments. Giving melody and prominence to the cello, the liquid softness of the harp plus the mellow darkness of the viola adds some unexpected color as well. As one of my friends who attended the concert quipped, "I liked the redone Scarlatti better than the real Scarlatti." Scarlatti's sonatas are masterpieces on their own, but Francaix took them out of their shell and led them through a jaunty tour of France.

In the short and sweet Vivaldi (with an orchestra of a couple of strings and continuo), Soloist Joshua Hood reminded us that the bassoon is in all aspects a bass oboe with all that instrument's color and expressiveness.

Thomas Albert's 13 Ways (1997) is a most charming and approachable piece and was well received by the large audience. Each of the 13 sections is prefaced by some lines from Wallace's poem, read by various members of the ensemble (flute, clarinet, string trio, piano and percussion, with various doublings from the winds). Certainly atmospheric and quite descriptive of everything from the chattering and flocking of the ubiquitous birds, frosty mornings and languid evenings. The 5th look (..the blackbird whistling or just after) had the ensemble striking metal triangles and then dipping them in buckets of water for a most otherworldly effect, all while a piccolo chattered away. The faster or more dramatic sections used a breezy John Adams minimalist style while the 12th look (the river if flowing, the blackbird must be flying) had echoes of Bernard Hermann's imaginative film scores with its alto flute, bass marimba and slowly undulating strings.

The ensemble clearly had fun with the piece, which not only included the aforementioned water percussion and the narration but also involved the players moving occasionally around the room. Well played and presented, and compared well with the recording on Cedille records by the Eighth Blackbird ensemble, for whom the work was composed.

I missed the first concert last weekend but will be present at the next featuring a rarely heard trio for Flute, Viola and Harp by Carlos Chavez and the wonderful Musique de Chambre # 1 by Martinu.

Art of the Car 2011

2011-06-27T10:24:00.016-05:00

The annual Art of the Car Concours was held this weekend on the grounds of the Kansas City Art Institute. Celebrating the style and power of the automobile as a work of art, 180 cars graced the lawn on a hot, but cloudy Sunday. Rain threatened but thankfully held off allowing nearly 5,000 people to enjoy some wonderful, rare and beautiful machines.

We were greeted by the toothy grin of Dunbar the Buick's Great Great Uncle, a 1941 Super Convertible.

Greg relaxed and watched the crowd mingle. In center is a 1932 Cord 812 Beverly sedan.

A close up of the futuristic Cord, one of the most influential designs from the 30's. Front wheel drive too.

A massive and rare 1928 Cunningham V5. Picture does not do justice to the size of this classic. Cunningham was a hand built car from an old line carriage company in Rochester, NY. Ceasing production in 1931, they built hand made wooden hearse bodies for a few more years. V5 did not mean a V shaped 5 cylinder engine, but was a series name.

A jaunty 1920 Kissel Gold Bug Speedster. Amelia Earhart owned one.

A relic from the steam age. 1910 Stanley Model 62.

A one off show car by Nash from 1956. The Palm Beach was pure Nash underneath but sported a Pinninfarina body. If only... (sorry no back half of car, there was a crowd around it)

1953 saw the debut of 3 limited production super-luxo tourers from almighty GM as well as the similar Packard Caribbean. This one of them, a Buick Skylark. Greg noted the similarity in the side sculpture on today's Buicks, probably not a co-incidence.

The big, distinctive grille work of the Skylark

The luxurious hand made leather interior of the Skylark

A lucky survivor, 1974 Buick Le Sabre Luxus Convertible. Convertibles were on their way out by 1974, Buick built its last big convertible in 1975. One of 3,827 built, all original with 8,000 miles.

A big honking toothy 1948 Buick Super Convertible

A Chrysler Town and Country convertible from 1946. Lots of real wood work on this handsome machine.

A classy Mercedes 250 SEC from 1966

1947 Bentley, I always preferred the more rakish Bentley grille over the upright Rolls.

The air cooled Franklin 4 door sedan from 1926. Amelia Earhart had one of these too. She was a car nut.

Cadillac style from 1941 Fleetwood 60 Special

A rare visitor from Great Britain, a swoopy 1948 Diamler Green Goddess.

Stylish art deco steering wheel of a top of the line Studebaker President. 1938

Yep A Doozie! 1929 LeBaron bodied J

Even a Duesenburg engine is a work of art

Packards were out in force, a 1948 Packard Custom Eight.

Ask The Man Who Owns One 1934 Packard 1105 Super Eight 7 passenger sedan

The 7 passenger sedan was a loooooong piece of work!

Another Packard Convertible a 1932 902 Eight Coupe Roadster.

Minty fresh Packard 903 Deluxe Eight Convertible.

The imposing visage of a 1932 Packard 903 Deluxe Eight Sport Phaeton.

The interior of the Deluxe Eight oozed luxury and hand crafted style.

A Ford Flathead V8, but where is it at??....

...in the rear of a very rare (9 built) 1936 Stout Scarab. Art Deco in looks but way ahead of its time inside; almost a minivan in concept with a center folding table and swiveling chairs. This one came from North Carolina.

NASCAR inspired Ford Torino Talladega, built for speed on the super speedways of the day.

Season Finale Concert Bruch and Tchaikovsky

2011-06-19T16:48:00.005-05:00

So yesterday I mused about the final performances of the Kansas City Symphony at the venerable Lyric Theatre. (Season Finale) As advertised, the orchestra treated the audience to a champagne celebration on the steps of the old girl, toasting her years of service. Before and after that, we were treated to a fine swan song of a concert befitting a grand theatre. Michael Stern, Music Director, led the orchestra in three crowd pleasing works, The Hebrides Overture by Mendelssohn, the Bruch Scottish Fantasy with violinist Stefan Jackiw as solo and concluded with the grand and dramatic Tchaikovsky 4th Symphony.

By now you know that the triumvirate of Mendelssohn, Schumann and Brahms are not on the top of my list of composers that I would take with me on the proverbial desert island. Mendelssohn's Overture (also known as "Fingal's Cave") received a fine but somewhat subdued performance from the orchestra. The winds as usual were in fine form, contributing to an agitated opening section, depicting the wild Hebredean seas. Stern kept the overture at a fair pace, but I did not feel the epic flow and grandeur that Mendelssohn saw in the rugged cave. Maybe the somewhat fussy and square Mendelssohn just couldn't put it into music. The strings were in good form as were the brass and spotless horns.

Stefan Jackiw (the unpronounceable looking name is Jack-eev I am told) has all the potential to be one of the finest violinists of his generation. At 26, he has made quite a name for himself with very mature, sensitive yet powerful performances. I have heard him in a wonderful Tchaikovsky Violin Concerto performance with the Russian National Orchestra and in a solo recital. Jackiw and Stern offered the popular Bruch piece (at almost 30 minutes truly a violin concerto and more than just a trifle "fantasy") in a somewhat relaxed performance. Jackiw's tone was always spot on and clear, even in the highest registers, which Bruch used to great effect in this truly Scottish tinged work. His double stop melodic lines could have easily come from a Scotsman's viol or pipes as he sang his long and winding tunes. If the slower movements were a bit leisurely, the certainly allowed Stern, the orchestra and soloist to milk every turn and intimate detail of this complex and full score.

Jackiw was magnificent in the second movement's earthy, bagpipe drone influenced, main melody with special shout out to principal flute Michael Gordon for his incredible duet with Jackiw in this movement, matching the soaring skittering violin in every note. The Andante sostenuto 3rd movement was sweetly singing but again a bit reticent. The popular dancing finale seemed to light a fire under all concerned, with Jackiw's constant double stops pristine and clear, with just the right amount of grit. Certainly the capacity audience appreciated the sensitive and detailed performance.

Used to be I would cringe whenever I knew the KCS horns were all exposed and important. The incredibly powerful opening horn figure of the Tchaikovsky 4th is one such place, but demonstrating the transformation from small town orchestra to regional powerhouse, the horns were solid, bright, commanding, powerful but not overbearing. I knew we were in for something special. Seemingly igniting as if this were the last time they would ever play period, the orchestra nailed every passage, followed Stern's brisk but never rushed tempo, relishing every surging, drama filled passage of this hyper-romantic work. Yet, as in the wistful waltz like center section of the first movement, the orchestra could hold back and produce some contrasting delicate sounds as well.

Fine wind work as usual, commanding yet well integrated brass, judiciously used but spectacular percussion (the wonderful 3 cymbal pair crash) and crisp and together strings abounded. In particular the pizzicato strings were magnificent in the swift and vibrant Scherzo. The festive and busy finale brought the work, the 2010-2011 season and the career of the Lyric to a grand conclusion.

Season Finale

2011-06-18T09:51:00.007-05:00

Saturday AM I, as I have many times, opened my drop leaf desk, reached into the far right cubby hole and got the tickets for the weekend's Kansas City Symphony concert. Emblazoned on this set was "Season Finale: Tchaikovsky's 4th", obviously signaling the end of the road for this season. But more than that, this concert is the last in the venerable, lovely, frustrating, historic, acoustically nightmarish Lyric Theatre. Many are rejoicing, awaiting the new Moshe Safdie/Yasuhisa Toyota built Kauffman Arts Center. Some old timers want to cling to the past.

Befitting a befuddled Pisces, I have mixed emotions. The Lyric is a monument to 1920's Roman influenced architecture, and was modeled after the Temple of Vesta in Rome. Built as a Shrine Temple, it has been a movie theatre, live theatre, TV studio, opera house, ballet theatre and concert hall, frequently all at once. One can only imagine the great artists who have performed on its cramped stage. As I mentioned in a past post about the last performances of the Lyric Opera, (Retirement) many patrons seem to relish the intimacy and small venue atmosphere of the Lyric while others just thought it crowded. The wonderful detail in the ceiling of the hall, the huge columns, marble and big heavy doors lent an air of solid craftsmanship.

One just had to experience a performance in the old girl to realize her major shortcomings. The stage is small and cramped, limiting what opera can do. When the chorus joined the orchestra on stage, everyone was squished together virtually sitting on top of each other. With only one theatre shared by the symphony, opera and ballet, the various groups had to often rehearse in different locations and then spend crunch time getting used to the theatre.

For us patrons, the orchestra level had more spacious seats but offered muddy, dull and often simply dead acoustics, especially if you were trapped under the balcony. From many seats you could not see past the first couple rows of the orchestra; the winds, brass and percussion could be cardboard cutouts with speakers blaring recordings for all we know. The balcony had better sound and better views, but the seats were cramped with no legroom. I think European low cost airline Ryanair was inspired by the Lyric.

Tonight I and my friend Gerry (who replaced Barbara after she moved away) will occupy Right Center Balcony Row G seats 7 and 8 for the last time. Gerry is one that is thrilled about the move as he hated the cramped seats. He liked the orchestra section, but I was a butt and refused to move. Next season is Grand Tier row AAA # 117 and 118. The ticket office fellow gleefully told me that even though the seats for the next better section were gone, these were actually closer to the stage than my old seats, and had lots of leg room. That should make Gerry happy.

I saw lots of fine productions and concerts at the old Lyric, but I guess it is time now to move on. The new center is the talk of the concert world; according to those who have tested the waters, it is superb. The orchestra's Helzberg Hall will have a fabulous 4 manual, 102 rank Casavant organ installed early next year, the opera theatre has seat back screens for translations and scene descriptions. Great things are coming.

They are having a champagne toast to say good bye to the old girl tonight (I hope they learned from the last time and do NOT pop the corks before the first half ends) and I will join all to cheer the Grande Dame's glorious past and reflect on her murky future.

Kansas City Symphony: Mena Conducts Grieg, Beethoven and Schumann

2011-06-05T09:50:00.008-05:00

A sultry Saturday evening in KC extended its grip inside the venerable Lyric Theatre last night, the vintage AC units straining to cool the vast space. Perhaps the old building was groaning out a last protest towards its imminent demise as a performance space. Nevertheless, the show goes on and frequent guest Juanjo Mena was on hand to lead the Kansas City Symphony in a program of Grieg, Beethoven and Schumann. German pianist Markus Groh was the soloist in the Beethoven 3rd Piano Concerto.

Opening this program of music firmly rooted in the 19th century was the Lyric Suite op 54 by Grieg. One of Grieg's greatest accomplishments is that of his set of 66 Lyric Pieces for piano composed in 10 books from 1867 to 1901. Many of them such as Wedding Day At Troldhaugen, To Spring, March of the Trolls, and Butterfly are known to just about anyone who studied piano. Many of the little pieces have been arranged for orchestra but the set from op 54 (Shepherd Boy, Norwegian March, Nocturne and March of the Trolls) is most often performed and recorded.

A hint of shaky string intonation at the very beginning of the lyrical and passionate "Shepherd Boy" did not bode well, and indeed one could have asked for a bit more flexibility in phrasing and some harp to penetrate the string only texture. The "Norwegian March' came together well with some excellent as usual woodwind work (the recurring little clarinet figures for example), the brass were foreboding but never overwhelming. "Nocturne" could have used a bit more flow and grace but was redeemed again by fine winds. The final "March of the Trolls" must be great fun to play and the orchestra came to life with a perfect blend of macabre and bouncy enthusiasm.

In his 3rd Piano Concerto from 1800, Beethoven said Auf Wiedersehen to the more elegantly formal concerti of Haydn and Mozart and set about writing a most symphonic concerto. The opening orchestral tutti is a fully argued symphonic statement in and of itself, not merely a flourish filled opener. The piano is more fully integrated into the orchestral texture and is key to introducing new themes and setting a movement's tempo. This emphasis on symphonic argument and development renders this Beethoven's least "flashy" and, ultimately for me, most satisfying concerto. Groh and Mena and the orchestra seemed to agree with this assessment, milking all the subtle yet frequently palpable drama from the work. Groh's first movement cadenza was a perfect example of this, well integrated into the whole fabric, alternatively sweetly lyrical and boldly flashing.

The Largo, in all intents and purposes a nocturne worthy of Chopin, second movement begins with a simple prayer and ends with an elaborate song of praise. Groh's tone and rhythm was fluid and graceful, never slack, allowing the piano to sing its long, winding phrases. The orchestra mostly accompanies and comments in this movement and the forces well knew their role.

Groh launched into the fleet and spicy rondo with abandon, the orchestra following close behind, but getting overwhelmed in the brisk final measures. Groh tossed off the runs with grace and style, but unlike the unbeatable master Leon Fleisher, he didn't give the complex runs the subtle variations in tempo and emphasis that marks a superb performance.

Thankfully, someone got to the audience and there was no applause between movements as has been the custom as of late. Maybe they were too hot.

I rate Robert Schumann along with Brahms as one of those colorless, foursquare mid 19th century composers whose music just does not speak to me. I know many, many disagree with me, but it is what it is with me, dear readers. Thus a performance of Schumann's Symphony # 4 (not really his last, but as with many composers of his era, the numbering is AFU) was not my idea of a grand time on a hot summer night in a hot old theatre. Thankfully, Mena and the orchestra felt otherwise and delved into the score with relish. The first movement was perfectly dramatic, the brass forceful but never making the texture even more dense. The short Romanze was fine and Mena used just the right amount of tempo and dynamic change to relate the movement back to the introduction of the first movement, making them one grand gesture. Of course the whole symphony is played without much or any pause, making the whole thing one mega-sinfonia. A breezy and well articulated scherzo followed with some fine rhythmic string work from the strings. If the strings go slack, the whole shebang becomes even more turgid, and that certainly was not the case last night. Mena seemed to really relish the Viennese waltz segments of the scherzo's trio. The strings and brass were majestic in the grand transition from the scherzo to the finale, bringing the work to a fine conclusion.

Ok, maybe a better piece than I give it credit for (Schumann, especially his fabulous 2nd Symphony is a rung above Brahms in my book anyway) especially when an orchestra and conductor give a fine performance to an audience that by the end of the stifling evening seemed to want to just get on with it.

As for those who are bristling with my Schumann bashing, note that I actually have and sometimes actually listen to 4 Schumann Symphony sets in my collection, Szell/Cleveland, Bernstein/NYP, Dohnanyi/Cleveland and Chailly/Leipzig with Mahler's "Retuschen" that I actually find interesting, further infuriating the Schumann fans in the crowd.

Only one more concert series to go in the old Lyric Theatre in a couple weeks. Hopefully Helzberg Hall will have better HVAC than the old Lyric, or maybe as I said, the old girl is just shooing us out.

Kansas City Symphony: Brahms, Beethoven and Prokofiev

2011-05-22T07:33:00.013-05:00

Ask any of my classical music loving friends and they will tell you Brahms is not high on my list of favorites. There is a notable exception to this and that is the first piece on this weekend's Kansas City Symphony concert, Music Director Michael Stern on the podium: the lovely and compact "Alto Rhapsody", opus 53 performed by Mezzo-Soprano Sasha Cooke as solo and the Kansas City Symphony Chorus. Beethoven's sunny Symphony # 1 and Prokofiev's dramatic cantata "Alexander Nevsky" completed the program.

Written as a wedding present for Robert and Clara Schumann's daughter Julie, this gentle and yet frequently passionate jewel is not frequently heard in concert, probably due to the requirement of a solo alto/contralto and a sizable male chorus. Pity, for it is one of Brahms' most heartfelt and ingenious works. One of my aforementioned problems with Brahms is my perception that his orchestration and sound is colorless and conventional. Although the Rhapsody uses a standard classical orchestra, the deft writing for the alto voice coupled with the subtle power of the male chorus combines to create a stunningly beautiful and powerful message. The chorus is used sparingly, but to say it is in the background negates its important contribution.

Unlike some singers with such a cognac colored voice, Cooke's is clarion clear and free of wobble. The first two verses (from Goethe's "Harzreise im Winter") were appropriately anguished and touched with poignancy. When the clouds lift and the mood and key changes ("If there is on your psalter Father of love, one note his ear can hear then refresh his heart!"), Cooke's voice lightened and soared, the mood fully warmed by the clear and superbly balanced chorus. A most lovely and sincere performance by an artist at the height of her voice, accompanied by a fully seasoned and capable chorus and orchestra.

Beethoven was still under the spell of Papa Haydn when he wrote his Symphony # 1 in the last years of the 18th century, yet one can hear themes, rhythms and motives that will come to full fruition in the Eroica and beyond. Stern and the orchestra were truly in full command of this charming work, bringing out the drama and tension where appropriate and yet milking all its grace and wit as well. Especially noteworthy was the fleet and limber "Menuetto, Allegro molto e vivace" 3rd movement, a full symphonic scherzo in all but name, with precise strings and gaily chattering winds. The finale was taken at a brisk but not inappropriate tempo. The opening slow introduction was colored with the right amount of drama, the skittering strings taking the work to a grand conclusion.

Editorial: But please, KCS audience, WHO (???) is behind all the clapping after each movement? You didn't used to do that, but suddenly it seems all the rage. You all aren't rubes, you know better!

Prokofiev, like his countryman Shostakovich did to a much greater extent, turned to film music to make a living. Prokofiev, however, took his some of his film work and reworked it into concert forms. The score to "Alexander Nevsky", a 1938 Sergei Eisenstein film of the same name, was thus soon reworked by the composer into a dramatic cantata for chorus, mezzo solo and orchestra.

The work in 7 sections culled from the longer film score demands a large orchestra and chorus. Happily, Stern and all the forces delivered a dramatic and convincing performance. The usual God-awful Lyric acoustics muddled the chorus when the orchestra was in full throttle, but for the most part the chorus and orchestra were well balanced. The chorus seemed to be well drilled in this rhythmically challenging music and thus were precise in their diction and clean in their entrances. They certainly could menacingly shout and snarl when called upon, which was quite often.

The opening "Russia under the Mongols" dripped with melancholy over the occupation of Mother Russia, while the chorus foreshadowed the coming battles with their menacing tone. The "Crusaders in Pskov" section mockingly used Latin to evoke the brutal invaders, the chorus and large orchestra oozing with barely contained outrage; leading directly to the boldly confident "Arise ye Russian People", filled with folk song and dance.

Many consider "The Battle on the Ice" section the epitome of battle music and one of the most effective uses of music in film. Stern and the vast forces dug into the music with a furious and cinematic performance. Here the big sound of the full orchestra sometimes shoved the chorus into the background, but the whole sound was perfectly overwhelming.

While "Battle on the Ice" may be the more famous, the following "The Field of the Dead" is in my opinion Prokofiev's supreme achievement. A dark lament of a girl seeking her lost lover, Sasha Cooke's dramatic, tender yet almost shell shocked performance was well neigh perfect. Again, as in the Brahms, Cooke was dark and creamy but never becoming clotted cream. Her lament was sincere and frankly, for me, the highlight of the work. The orchestra and chorus brought the work to a cacophonous, huzzah! conclusion with Alexander's triumphal "Entry into Pskov", bells, brass, percussion (it was fun to watch the percussionist mount the ladder to strike the huge tuned metal plate) and chorus to the fore.

As an aside, it is somewhat unnerving to realize that I have only two more concerts in my now comfortable (well as comfortable as one can be in the cramped balcony, maybe "familiar" is a better term) Right Center Balcony Row G seat 7 perch. The new Kauffman Center is about done, the orchestra was treated to its first rehearsal there (thus making the Beethoven 1st the first music for orchestra heard in the new hall) and from all the buzz is quite spectacular. Sad in a way to see the lovely and historic (oh what great musicians have performed there) become redundant, but KC has a glut of theatre and concert hall venues so I do not see a rosy future for the old girl.

Nevertheless, performances like these make the legacy of the Lyric all the more wonderful and important.

Mahler 10

2011-05-18T18:49:00.011-05:00

Gustav Mahler died on this date 100 years ago. At that moment one of the greatest musical voices was stilled at the all too young age of 50. Racked with disease (which simple antibiotics could have cured, but alas had not been discovered as of yet) saddened with grief over a daughter who had recently died and the revelation of his unfaithful wife Alma and her affairs, many who saw him thought he looked 25 years older.

Mahler spent much of his last 3 years in New York at both the Metropolitan Opera, overseeing some widely acclaimed productions and then at the New York Philharmonic where some say his influence reigns today. Sadly, since this was before recording an orchestra became practical, we have no record of a Mahler led performance. We are poorer for that.

Despite his busy opera and concert schedule, Mahler found time to compose in the summer when he returned to Vienna and his summer cottage in the mountains. There he set to paper, in these last days, 3 masterpieces, the 9th Symphony, "Das Lied von der Erde" and the mysterious, controversial and often misunderstood unfinished Symphony # 10.

If the 9th and "Das Lied" are stories unto their own, the 10th is worthy of a novel.

Mahler worked feverishly on the 10th during the summer of 1910 in Austria. He had completed the 9th and Das Lied but had yet to have them performed. Dear Gustav thought he had cheated the curse of the ninth (a superstition that all great composers will die after completing their 9th symphony, as did Beethoven) by interjecting "Das Lied" in between the 8th and 9th, making the unnumbered "Das Lied" a de facto 9th. Thus a grand 10th was planned and soon was making great progress before he left Austria in September to fulfill his obligations in New York. Becoming progressively sicker, he returned to Europe in April and died in Vienna in May. The 10th, partially done but awaiting the summer Mahler never saw, lay incomplete.

If his wife Alma and friend Bruno Walter had their way, we would have heard none of the work at all. The opening Adagio was complete and fully orchestrated and scored. The other 4 movements were in various stages of completion, but the music, the notes as it were, were all there. What was missing was orchestration, dynamics, phrasing and the inevitable revisions. Because of that only the Adagio was ever published but rarely played. Alma forbid any completions.. Walter wanted it all destroyed. I have never forgiven him for that.

Since there is much material to work on, several completions have been made of this remarkable work. Clinton Carpenter completed a version as early as 1949 but only published a final version in 1966, Hans Wollschläger worked on a version in the 50's but gave up. English musicologist Joe Wheeler did several versions in the 50's and 60's as well. Another English musicologist Deryck Cooke published his version in 1964 after rousing much interest in the work in a pioneering radio broadcast in 1960. Cooke's version was the first to be performed in 1964 in London with the LSO under the direction of Berthold Goldschmidt, who, truth be known, contributed more than he has been credited. These historic performances, plus Cooke's 1960 illustrated lecture can be heard in a Testament release. Since then others have made their own versions, and all have their supporters, but that of Cooke (and subsequent revisions) has become the standard.

My tired eyes and hands can not permit me to go on all much longer, so I will spare you a note by note description of this fabulous work, it is one that has to be heard. Any completion of an unfinished work is an amalgam of compromise and educated guess work, and the Mahler 10th is no exception. But since the adagio was complete and so much of the music is there, what we have is a flawed, certainly not as Mahler intended, symphony that is so powerful it is hardly describable in words. Mahler was moving into a new sound world with the 10th (the 9th too for that matter); gone were the Wunderhorn Songs, the cowbells and folk instruments, replaced by lean, spare textures, darker sounds and the beginnings of dissonant expressionism. Mahler's anguish fills every page. The last movement begins with a muffled funeral drum (controversy rages to this day as to the number of beats, volume and texture of that drum), ends with a scream of pain and release to an angelic close. In between is one of the most achingly beautiful melodies ever written.

Something in this piece speaks to me like nothing else. I first heard it in the 70's on a Decatur Public Library LP of the first commercial recording by Ormandy/Philadelphia. Since then I have amassed every recording ever made, either LP, CD or download (we don't always talk about those). If you want a list of the recordings, go to the Wikipedia article on Mahler 10 there is a fine list there, compiled by yours truly. I never tire listening to it and it is playing now (Sanderling Berlin SO, one of my favorites) as I write.

Soon I will finish this little essay, grab a glass of wine and listen again to this creation. I will raise a toast to Gustav, immerse my being in the sound, occasionally close my eyes, and, as one would do upon seeing the ruins of antiquity, imagine what Mahler would have done if he had not passed to the great beyond 100 years ago today.

Kansas City Symphony: US Premiere Dorman "Frozen in Time"

2011-04-30T08:16:00.010-05:00

Appropriate fare for a concert close to Earth Day, the Kansas City Symphony, under the direction of Music Director Michael Stern, performed 3 works dramatizing the creation of our terrestrial orb. Franz Joseph Haydn's "The Representation of Chaos" from his oratorio "The Creation" opened the program. Darius Milhaud's jazz drenched "La Création du Monde" (The Creation of the World) followed. The first half ended in spectacular fashion with the US premiere of Avner Dorman's "Frozen in Time" Concerto for Percussion and Orchestra, which the composer describes as "an imaginary snapshot of the Earth's geological developments from prehistoric times to the present day. Austrian percussionist Martin Grubinger was soloist. Earthy and elemental in its own right, Dvorák's lively Symphony # 8 comprised the concluding half.

Haydn's "Representation of Chaos" was a most innovative piece for its time. In an era where musical compositions were held to strict form and harmonic relationships, Haydn's diffuse overture seems to have themes, phrases and harmonies shifting to and fro as if in a primordial soup. Structurally, however,it is a fairly tight sonata form. Haydn invokes his "chaos" by avoiding cadences as much as possible and allowing ends of phrases to fade into the texture, foreshadowing Tristan and Isolde many years later. Stern led the reduced orchestra in a leisurely, appropriately meandering performance. Some iffy string intonation at the beginning marred the performance somewhat as the small orchestra left many parts exposed.

French composer Darius Milhaud, like many European composers in the 20's (Stravinsky comes to mind of course), became influenced by jazz. While many copied the almost orchestral bands such as Paul Whiteman, Milhaud's influence was in the small clubs of Harlem, where few white people ventured. When called upon to write a ballet in 1923, Milhaud used this inspiration for "La Création Du Monde", a setting of African creation stories. The small 18 member ensemble (two flutes, oboe, two clarinets, alto saxophone, bassoon, horn, two trumpets, trombone, timpani, percussion, piano, 2 violins, cello and bass) dug into the jazzy score with often appropriately raucous relish, yet frequently relaxed to allow us to savor the colorful details and lovely melodic lines.

Paraphrasing the slogan for Jiffy Pop popcorn from the 1960's, Avner Dorman's "Frozen In Time" Concerto for Percussion and orchestra is as much fun to watch as it is to hear.

An amalgam of earth music ranging from ancient African to jazz and rock, "Frozen In Time" has an elaborately staged but never pretentious program. The first movement "Indoafrica" is based on Indian classical rhythmic cycles and scales. The huge battery of drums transports the music to rhythmic Africa while the marimba and mallets represent the more melodic Indian tradition. "Eurasia", a slower central movement, is laced with elements of European and Central Asian traditions. The ghost of Mozart appears as does the Italian Siciliana and some frosty Nordic chords and sounds. The orchestra strings predominate, underpinning the metallic percussion. Haunting and delicate in contrast to the more frenetic outer movements, "Eurasia" would be satisfying as a stand alone piece. "The Americas", with everything from Cuban dance to Broadway swing, brings the whole work to a most rousing conclusion. Snippets of the "Indoafrican" and "Eurasian" music weave in to remind us we are but one Earth.

The huge orchestra has plenty to do and is surely an integral part of the work, but the show is all the solo's. Martin Grubinger, who premiered the piece and has played all over the world now, is simply indescribable. Lean as an athlete and full of enthusiastic energy, he is fully in command of the work and the percussion. I do hope he records the piece sometime, but only if video is provided. His encore, (my lousy hearing did not let me catch what he was playing, but it seemed to be an Austrian hymn or lullaby of some sort), was the epitome of subtlety. Played on the marimba, often on the threshold of audibility, it left the audience breathless. Both Grubinger and the work received a rapturous ovation that most composers and performers only dream about. Sadly, the composer was not able to be at the performance but he can be assured that Kansas City certainly has many Avner Dorman fans after last night.

Sometimes, after such an overwhelming experience, the final work on the program can seem like an after thought or a fluffy dessert at best. In this case Stern and the orchestra gave a rousing and exquisitely detailed performance of Dvorák's masterpiece. From the delicate opening bars of the introduction through the dancing conclusion of the finale's coda (the various tempo shifts cleanly shaped and accented without jarring, Stern and the orchestra superbly negotiated the score's sweep and flow. Wonderful solos from the always fine KCS winds contributed to this fine and well received performance.

Retirement

2011-04-13T10:48:00.008-05:00

After a combined total of around 10 years, I am retiring tonight. It was sort of forced on me; progress often makes people and things redundant. I love that word "redundant", more graceful than "useless" or "unwanted", but still ringing with finality. I don't think my "employer" even really noticed until I mentioned it yesterday when I agreed to work on Wed rather than Friday.

At least 4 times a year since around 1998 (minus my 4 years in St Louis and elsewhere) I volunteered at the Lyric Opera of Kansas City's "Ingram Room", an opulent, private lounge for the most generous of patrons. They could sip a glass of wine from fine gold rimmed, crystal glasses, indulge on hors d'oeuvres or sweets on elegant green and gold plates and chat amiably in the frankly small, over stuffed room.

For the most part, the high and mighty of KC society were a pleasant lot. The truly rich were usually the nicest, the younger working rich (bankers, lawyers, etc) were often the most pretentious and nasty. One lady, whose hubby is with a firm that sponsors some of the productions, is a nasty, royal, trashy pain in the ass. Hope to never see her again. I no longer do business with their business either and that makes me feel better.

It was fun watching the upper crust flit, flirt, munch and sip. Sort of like watching a display in a zoo; species Richius Americanius genus Kansasian Citianius. "Hello!!! how are you, so good to see you!" Yeah, right, I know they hate each other actually. More fun was herding them out at the start or at intermission so we could get on with the real work, enjoying the treats the caterer brought.

For my first few years, Donna was the coordinator. We called her "Angel Bitch". She was the nicest, kindest lady you could know, but her Ingram Room was done her way. Wine bottles were always in a bottle coaster, "labels forward" her demand. We were quiet during the opera, everything in its place. I missed the AB days, they were the best.

One performance found me in my usual place behind the bar when I noticed a couple of ants crawling on the counter. I reported it to AB but she did not want to believe me until she saw the little creatures scurrying around. DISASTER! I soon saw they were coming from a live orchid on the counter. So it was removed and the ants dispatched post haste. Unfortunately, the person who designed the room (in the style of Marie Antoinette's boudoir) was there and was not amused at the removal of the orchid. It was not until Donna showed him the plant crawling with the little critters that he believed it, but still blamed us for ruining the evening. I knew not who this person was, but now I do... nothing has changed.

One of the many people who passed through the Ingram Room was describing one of the hors d'oeuvre selections to a be-furred and glittering patron: "Crudités with a spicy penis..spicy penis....uh uh oh dear a pee sauce...." she stuttered totally embarrassed and tongue twisted. The gracious patron just said "dear, let's just refer to it as 'the sauce'." She was trying to say spicy peanut sauce, but it just was not to be. We laughed until it hurt.

You get to know people's habits when you serve them regularly and they, no matter their station in life, appreciate it. I endeared myself to many by remembering their drink of choice (we usually just had wine, soft drinks and coffee so it was not a big deal) and having it at the ready for their asking. Joan loved a bit of white wine with a splash of sprite on ice for a frosty spritzer at intermission. Evan, the Opera General Manager,usually asked for a Sprite at intermission. When I would hand him one with out asking, he was usually amazed. "I guess they know me here" he mentioned to a fellow patron when presented with the fait accompli. Another patron always wants red wine, so I have one ready for him. Mrs. Ingram always wants decaf coffee at intermission, half a cup please. Jim will always be the first to taste the evening's fare and pronounce his verdict.

Sometimes, I would sneak in and see the opera but often it was more fun just hanging around at intermission, eating the goodies and gossiping. I learned a lot that way, got to hear all the drama of mounting a professional opera and even got to meet some of the cast and composer Jake Heggie to boot. I so wanted to ask him about his life with Johanna Harris, but I thought not to pry.

This week marks the last opera in the old faithful Lyric Theatre. The new Kauffman Theatre at the Kauffman Center (God do those folks have $$$) will replace the venerable structure. There will be a patron lounge, but it will not be "ours". The Center will staff it and cater. The lovely items of the Ingram room were recently sold to benefit the Opera Circle. I got a gold washed brass basket in which we placed napkins or silverware for the desserts. I had washed, served out of, put away or handled in some fashion just about every item in the place so it was fitting that I take one home.

I am sure the Opera's new home will be a whole new experience, with better seats, acoustics and even monitors in the seat backs for the translations. But as much as the Lyric has become redundant, I will miss the more intimate feeling of a small family, sometimes a crazy, bickering one, producing art for the community to enjoy. In gaining a big, modern, state-of-the-art theatre, we lose a bit of a connection.

Me? I lose a job and the intangible benefits that went with it. Think they will present me with a gold watch?

St Louis Symphony Mahler 2

2011-04-10T20:21:00.009-05:00

It seems I am falling into a pattern. Every year or so I gas up the old Buick and head east on I70 to the other side of the state to my old haunt St Louis, MO to partake of a special concert by the usually excellent St Louis Symphony. A couple seasons ago it was a wonderful Britten War Requiem with Music Director David Robertson and my favorite Diva (and Facebook friend) Christine Brewer. Next was an increasingly rare appearance by the great Maestro Stanislaw Skrowaczweski and his specialty the Bruckner 8th. So, in keeping with tradition, I headed to St Louis for a special concert of Mahler's grand Symphony # 2 with the St Louis SO, Christine Brewer, soprano, Kelley O'Connor, Mezzo and the St Louis Symphony Chorus all under the direction of Music Director David Robertson. Samuel Barber's "Prayers of Kierkegaard" opened the show.

Barber's "Prayers of Kierkegaard" for Chorus, Soprano and Orchestra (based on the writings of Soren Kierkegaard) received a grand and emotional performance. The opening prayer, beautifully pure and sung with perfectly Gregorian piety by the men of the chorus, was followed by the reverent and passionate "Lord Jesus Christ who suffered all life long featuring Brewer's commanding but clear and sincere soprano voice. The final two prayers increased in drama and thickened in choral and fanfare laced orchestral texture concluding with the final prayer, a richly thick chorale "Father in Heaven, hold not our sins up against us".

But the evening was really all about the Mahler and overall it was a satisfying and frequently eloquent performance. Frankly the two vocal movements came off best of all, aided by the masterful soloists and the magnificent chorus. Robertson and the orchestra certainly did no harm to Mahler and his incredible score; in fact the performance was full of finely tuned details, moderate and appropriate tempi and fine orchestral work. But to my ears, the first two movements lacked the passion, swagger and flow that would have made this a perfect live Mahler 2.

Take the fabulous second movement "Andante Moderato" for example; finely played, lush strings, a perfectly delicate performance of the pizzicato string/flute/piccolo episode, fine pace... but no flow. The best performances will have the landler rhythm almost like that of boats rowing, a strong accent and push, a glide and then another accent as the oars hit the water for the next stroke. Robertson was just too foursquare. The damn street noise of sirens careening down Grand Ave didn't help, but what can one do?

The first movement began with a thrilling flourish; the basses digging into the opening motives with vigor and a tinge of foreboding. As the movement progressed, one sensed one was listening to a fine performance, but with the same bit of slackness as I described for the Andante. Again, far far far from a poor performance, maybe I just have Bernstein's white hot performances burned into my Mahler senses.

The incredible scherzo, "In ruhig fließender Bewegung" (with quiet, flowing movement) is one of my favorite Mahler movements. Robertson and the orchestra began to stir in this movement, with more elasticity and drama and a better sense of Mahler's flowing, folk derived rhythms. Sadly, the movement was marred by a too harsh and sharp rute that sounded more like solid sticks than the brush-like reeds which contribute more of a texture than a sound.

Kelley O'Connor's "Urlicht" was beyond description, and almost seemed to bring the work to life. I have never, ever been so moved by the opening "O Röschen rot" that just seemed to ignite out of the dark rudeness of the Scherzo. O'Connor's mezzo was dark, but clear; I hope she records the part with a major orchestra someday. A purely magic movement. Ok, I thought about not mentioning the off-the-mark brass in the chorale just after O Röschen rot, but jarring it was and blemished this otherwise incredible movement.

Yet as if inspired by this delicate moment, the orchestra came to life in a thrilling, powerful and dynamic finale. The augmented brass never was harsh or overwhelming, the percussion perfectly integrated into the texture and the woodwinds and strings always bright and precise.

The chorus' hushed entrance "Aufersteh'n, ja aufersteh'n" was just heavenly. This well trained and professional group could whisper and yet a moment later bring the old beams of Powell Hall down around us. Brewer (her soprano slowly rising from the hushed chorus was mesmerizing) and O'Connor soared majestically above it all as required, just as comfortable being part of the vocal texture as they were as soloists. Blemishing this otherwise fine movement were the offstage brass which were off tempo and off tune, not well coordinated at all.

The concert was done in memory of longtime chorus member and chorus manager Richard Ashburner, who died all too suddenly and young this past March. There was hardly a dry eye in the chorus or among the soloists and several in the audience as well during the long and well deserved applause.

I know I sound a bit picky, but as my friend and fellow concert goer Steven said, we have a right to be critcal, since as devoted fans of Mahler, we know the music probably as well as any chorus or orchestra member. It was a fine and sometimes glorious Mahler 2, worth the cross state trip for the fine choral and solo performances in the last two movements.

Kansas City Symphony: Elgar and Ravel

2011-03-27T15:27:00.007-05:00

Larry Rachleff, Music Director of the Rhode Island Philharmonic and Director of Orchestras at Rice University in Houston, made one of his regular appearances with the Kansas City Symphony this past weekend. Rachleff, quite in demand as a guest conductor and teacher, always brings a fresh and interesting program and a certain sense of energy. This concert consisted of 4 fairly standard and familiar works, the Overture to Benvenuto Cellini by Berlioz, the colorful Piano Concerto in G by Ravel, Barber's Adagio for Strings and concluding with the popular "Enigma" Variations by Elgar. Argentinian Ingrid Fliter was the soloist in the Ravel.

Berlioz's Massive opera about the free spirited Italian sculptor is rarely performed or recorded, but the overture remains one of his more popular pieces. Unfortunately, this performance seemed a bit flat and lacking drama despite some fine ensemble playing and well paced tempo. The grand coda, Popes and pomp and all, seemed forced rather than grandly conclusive.

All came together much better in the sometimes delicate, often jazzy and frequently lushly beautiful Ravel. Fliter, a pianist not familiar to me, easily handled the extremes of the score; sweetly lyrical, technically brilliant and jazzy when called upon. The delicate, flowing central Adagio was most effective. Fliter's refined technique and Rachleff's nuanced accompaniment allowed us to hear each note of the many long lines and florid runs, revealing that Ravel would often place a few staccato notes in between long legato phases, something not always noted in less graceful performances. A disappointment was the grand bluesy outburst in the first movement that just wasn't perfectly cataclysmic and laced with flutter tonguing brass as in the best performances of this work. Special note to the fine clarinets and trombones who often had some of the more jazzy elements and to Kenneth Lawrence for his achingly beautiful English horn solo in the adagio.

The second half opened with the strings in the well known Barber Adagio for Strings arranged from his String Quartet op 11. If any work from a US composer has become a cultural icon, this one is it. Premiered by Toscanini, championed by Stokowski. praised by Sibelius and soon to become the music that told a nation that Roosevelt had died, the Barber Adagio is certainly an institution. Rachleff and the KC Strings gave a fine and heartfelt performance of this emotional piece, marred only by some questionable intonation in the high tessatura of the climax.

Rachleff apparently loves the popular Elgar Variations as he mentioned in his short talk and by noting that it is one of the most frequently performed pieces in the classical repertoire. Rachleff guided the orchestra through the characteristic variations portraying the pugnacious Dan the Bulldog, the stuttering Dorabella, the moody R.P.A. and the loyal and noble "Nimrod". Easily the best performance of the night, the orchestra seemed to relish Elgar's enigmatic work and, along with the committed direction of Rachleff, provided a more than satisfying conclusion to the evening.

Kansas City Symphony: Latin American Extravaganza??

2011-03-20T07:43:00.010-05:00

Billed by the marketing department as a "Latin American Extravaganza", the weekend's Kansas City Symphony concerts were really more "la música sobre de América Latina" than "la música Latino Américana". Yes, there were some wild dances and throbbing drums, but the selections were far from a rum laced fiesta and with A veddy British Vaughan Williams piece in the middle to boot.

Music Director Michael Stern was on the podium leading the orchestra in "Sidereus" a new orchestral work by Osvaldo Golijov, the Viola Concerto by Krzysztof Penderecki (pat me on the back, I actually spelled his name correctly without looking it up), the "The Wasps, Aristophanic Suite" by Ralph Vaughan Williams and 4 Dances from Estancia by Alberto Ginastera. Roberto Diaz was the soloist in the Penderecki.

Argentinian Osvaldo Golijov burst on the music scene a few years ago with his world music influenced and visceral compositions "La Pasión Según San Marco" (The Passion according to St Mark") and the opera "Ainadamar" about the life and death of poet Federico Garcia Lorca. Although I initially was taken with the power and rhythm of "La Pasión", deeply inspired by Latin American singing and worship, its overall sameness, relentless percussion orchestra and wailing vocals wore thin over time. "Ainadamar" simply failed to make a strong impression as well.

Sidereus is the first strictly orchestral work of Golijov's that I have heard. The work was commissioned by 35 orchestras in the US as a tribute to the career of renowned orchestra manager Henry Fogel and premiered in Memphis in 2010. The title is drawn from Galileo's book "Sidereus Nuncius" (Starry Messenger)written by the astronomer after first observing the moon through his telescope and discovering the moons of Jupiter.

The 10 minute work is scored for a very conventional orchestra with only tympani for percussion. A rising motive usually in horns and brass, described in the notes as being "inspired by the moon over Patagonia" is paired with arpeggio phrases from winds and strings. Frankly the work is pleasant, certainly well crafted and reminiscent of movie music in many respects, and more than a bit disappointing in its lack of vision and architecture, despite the fine performance by the symphony.

The haunting, almost funereal Viola Concerto by Polish composer Krzysztof Penderecki from 1983 would seem to have little, if any, connection to Latin America. But lo it does as it is the result of a commission from Venezuela for the 200th anniversary of the birth of liberator Simon Bolivar. The 20 minute concerto in one movement is typical of Penderecki's move towards a more tonal post-Romantic style. Although craggy at times, the work is primarily elegiac and dark in tone, serving the viola's tenor tone quite well. A dark and powerful opening soliloquy leads to the body of the work which juxtaposes a series of contrasting tempi episodes and virtuoso cadenzas for the viola. The coda is an almost nostalgic recap of the opening soliloquy. Diaz was in full command of his rich instrument (a monumental 1595 Amati Viola once owned by William Primrose) and communicated the deep pathos and committed passion of a liberator which lie beneath the surface of this moving work. Stern and the orchestra maneuvered through the often thick texture with commanding ease, never diminishing the soloist.

If Diaz played the violin he would be an internationally celebrated name. His contributions to music as the former principal viola in Phildelphia and Washington DC, member of the Minnesota and Boston SO and the current President and CEO of the Curtis Institute of Music, should earn him the acclaim this incredible artist deserves.

The Vaughan Williams "Wasps" suite is a sizable piece based on incidental music he wrotein 1909 for Aristophanes' play "The Wasps". About the only thing "Aristophanic" about the piece is the buzzing motif from the overture and the clever March of the Utensils, part of the absurd trial of the dog in the play. The music is always fun, if not really top drawer Vaughan Williams. The fine winds of the symphony were on display in this brisk and lively performance. Rumor has it that the symphony is going to record this music for an upcoming release on Reference Recordings, echoing the success of the recent Britten recording that won a Grammy Award.

Alberto Ginastera's suite from the ballet "Estancia", an early work from this most fascinating composer, concluded this concert. Ginastera's 1943 work was based on scenes from life on an Argentine ranch (an "estancia") and was the most overtly "Latin" music of the evening. Especially memorable was the atmospheric and tender "Wheat Dance" featuring sweetly glowing and tender solos from the flute, harp and woodwinds. The concluding "Final Dance: Malambo" was a fiesta of drums, braying horns and repetitive foot stomping rhythm. A most fitting conclusion to a satisfying concert, but hardly a "Latin American Extravaganza".

Mardi Gras 2011

2011-03-08T06:28:00.007-06:00

HAPPY MARDI GRAS

2011

Laissez les bons temps rouler!

2011 Kansas City Auto Show

2011-03-04T07:56:00.007-06:00

2011 Greater Kansas City Auto Show. Click on the pics for full size.

We went early PM so the crowds were thin:

From Drop Box

Greg was checking out the latest in pickup trucks. He remembers farm trucks when the front bumpers were optional. I didn't capture his expression from the sticker shock.

From Drop Box

2011 Lincoln MKS. I hate the grille, I would replace it with one from an 80's Lincoln. Back then their classic style grille exuded timelessness and elegance. This damn thing snarls.

When Lincolns were boats: 1948 Continental

My God! King Ranch Power Stroke Turbo Diesel. Too macho for me.

Remember when Hyundai cars were cheap econoboxes? 2011 Equus, $60K Plus.

The New MB Gullwing SLS AMG $224K

I think the original looks best. MB 300SL Gullwing from 1955. Worth more than the new one.

I let them display my new Jaguar XJ.

I had to ask.. does one need to insert a coin in the slot and then push the button to get the car to start? 2011 Mini Cooper.

The Pinninfarina name still evokes magic images of sleek, Italian style. Maserati GranTurismo.

From Drop Box

More practical (and about $100,000 cheaper) Italian style, the 2011 Fiat 500 to be sold by Chrysler this summer. Can this little machine resurrect a name that means "trash" to many? Looks fun and well put together, a smaller Mini and cheaper too. But so many love Scion; I find them kind of throwaway cars myself. I'd buy one of these.

On the Chrysler side, consensus seems to be that the new Chrysler 200 is nice but dull. The front of the Dodge Charger is far from that. Car has tremendous presence.

From Drop Box

Used to be if you wanted a Cadillac Station Wagon you had to own a funeral home or have one built for you. The New CTS Sport Wagon is classy and full of gadgets. You press a button on the door and it pops open....slick. Not a fin or the name DeVille in sight either.

Dunbar's young cousin, 2011 Buick Regal. I'd buy one. The new smaller Verano is nice too. Great recreation of the iconic 1950's tooth grille.

New electric Chevrolet Volt. The demonstrator fellow had driven one and said he loved it. Quiet, powerful and practical. Still hard to get, expensive and the Republicans hate it so the future is questionable in dumb ass America.

The only thing wrong with a Kia Forte Koup is the silly name. A slick, well equipped little 2 dr for less than $23 K with all options.

We were about done and turning around to head out for a Mexican dinner for Greg's b-day. We passed the Subaru display and not a lesbian in sight.... sorry.. couldn't resist.

It’s Time to Play ‘Sheen, Beck, or Qaddafi?’

2011-03-02T04:59:00.001-06:00

It’s Time to Play ‘Sheen, Beck, or Qaddafi?’

This is harder than you think. In my opinion, Qaddafi (one of the myriad of spellings of his name) comes out better than expected and Sheen is just plain fucking nuts.

Royal Invitation

2011-02-23T18:00:00.002-06:00

Look what HM got in the mail today. She is not sure if she is going, as she can't stand Camilla, would not be able to see anything and the date conflicts with her own 12th birthday celebrations. She is a good friend of the Bride, so she may end up in London for the weekend.

Shuttered but Not Forgotten

2011-02-17T07:49:00.004-06:00

Rumored in the press for a while but buried among stories of aliens and socialists, was the news that the book seller Borders Books and Music was in trouble. Storm tossed by the economic downturn and the public's turn to online resources for books and music, the iconic stores were suffering huge losses. When they declared Chapter 11 Bankruptcy yesterday, it was inevitable that store closings were part of the plan. A list was published and I checked out the soon to be shuttered locations and found a few old favorites among the victims.

I admit, I do not shop much at real live book stores anymore, mostly because I am not that big of a book reader and because their classical music selections became a shell of what they used to carry. The last book I bought from Borders was also so dammed expensive, made all the worse by realizing that if I was a bit patient I could have saved over $10 to have it shipped to me from an online seller.

But about 10 years ago I (and it seemed many others as well) frequented the stores and kept them in good stead. When I lived in Jefferson City, a visit to the Borders in KC or St Louis was a breath of civilization, I could get things I never saw in Jefferson City's Wal-Mart dominated retail world. On business trips, they were a place I could go to be around people and not stuck in a drab, same old hotel room.

One of the stores slated to close is the one in Deerfield, IL at 49 S. Waukegan Rd. Located at a busy intersection in north suburban Chicago, this was one of my refuges. As I motored back to the drab little room I rented from a friend in Waukegan while living a short time in the area, I passed this store and usually took a few minutes to stop. I had little else to do. I would get a cup of coffee, wander around, get a magazine or a CD and just relax in the middle of my stressful commute. But time must have chipped away at the customer base and it is among the unlucky. I doubt even I could have kept it going.

Another old haunt is the one in east Wichita at 1715 Rock Rd. I frequented Wichita during my Beverly days even if my business took me elsewhere in south central Kansas. Wichita was a breath of urban air in among the small towns and wheat fields. Just down the street from this Borders was a fine Asian restaurant with some good Chinese and sushi to boot. After pigging out, I (and sometimes others traveling with me) would retire to the store for coffee, browsing and usually a purchase or two. If I were still frequenting Wichita (have not been there in years) like I used to, I would certainly miss this location and would be annoyed to have to go all the way out west of town for the remaining store. I guess that is where the business is now.

Sadly, the closest one to me will be the only one in the area to close. Located up north of the river at 8628 Boardwalk in among a big box, strip mall development, I sometimes popped in when suburban shopping at the near by Target, Kohls or the dreaded Wal-Mart was planned.

Barnes and Noble, Borders competitor (and like Walgreens and CVS, seem to locate opposite each other) seems to be weathering the storm a bit better. There is a B & N close to me, but I always preferred the more casual and friendlier Borders. They had better CD selection too. I really do not get to that store much either, and I can walk there on a good day.

Sadly I fear it may be inevitable that all Borders will eventually close. Bankruptcies like these seldom work out. As I mentioned, I am part of the problem, but when the stores fail to stock what I want (I know my book and CD tastes are not actually in the mainstream) I have to take my dollars elsewhere.

Thanks Borders locations mentioned above, you were a fine and well remembered part of my life. I wish it would have ended differently.

Out and About

2011-02-15T07:27:00.005-06:00

I usually devote a whole entry to the American Heartland Theatre productions I see, but frankly I have been busy and thus have had insufficient time to sit down and review. A chance to see the Kansas City Chamber Orchestra followed this past Monday. So, with a few minutes of down time before the demands begin, I submit my combined review of these two shows.

American Heartland Theatre's "Maybe Baby it's You" succeeded due to two fine actors and some subtle and sometimes not so subtly witty dialog. This is a light hearted work, as usual no real plot except the exploration of male/female relationships from dating through an elderly divorced couple realizing there is still some affection there. Of course, anything with the amazing Jesslyn Kincaid is worth the effort to see. As usual she was in fine form as the woman (the characters have no names), especially her brilliant channeling of Medea, the blind date of an unfortunate fellow. Newcomer Chase Ashurst made a splash in his AHT debut as the man with his physical comedy and fluid changes of character. As usual, not an earth shattering, life changing, disturbing or controversial evening of theatre, just a fine time with some fine actors giving us a break from all the above. "Maybe Baby It's You" runs through this weekend.

The Kansas City Chamber Orchestra is celebrating its 25 season next year, bringing chamber music to more intimate settings around town. This concert, at the grand Old Mission United Methodist Church in Mission, KS, was a new and quite satisfying venue for me. The previous KCCS performances I heard were in the horrible space that is Visitation Catholic Church, ugly, too open and "live" a space for concerts in my opinion. At Old Mission, the small strings only ensemble sounded warmer and larger, with better balance between the basses and the rest of the orchestra. This was a more varied and more "romantic" program than past encounters which leaned mostly on the baroque repertoire.

A finely done Finzi "Eclogue"(we do need to hear more of the wonderful and intimate music of Finzi) with KCCS Conductor and founder Bruce Sorrell on the piano, a lively early Divertimento (K138) from Mozart and a couple of chestnuts the "An Irish Melody: Londonderry Air)" by Frank Bridge (a kind of diffuse arrangement that did not come off well, the evening's only disappointment) and the Nocturne movement arranged for strings from Borodin's 2nd String quartet (known to Broadway musical fans as "This is my Beloved" from "Kismet") comprised the first half. The second half was comprised of Dvorak's wonderful Serenade for Strings in E op.22. Normally heard in a bit larger ensemble, the spacious and warm sound of the church worked well, making the small ensemble seem larger. The candlelit sanctuary of the church contributed to a fine evening of romantic chamber music, fitting for Valentine's day.

KC Symphony: Khachaturian, Mozart and Smetana

2011-02-06T07:41:00.014-06:00

"Some 'classical warhorse' pieces are popular", explained my classical music mentor Herb, "simply because they are damn fine pieces of music." I put Smetana's wonderful tone poem "The Moldau" or more properly known in Czech as "Vltava" in this august category. What is not to love about this perfect 10 minute travelogue? Visually descriptive without being boringly obvious, colorful, brimming with memorable melody (indeed the opening main theme was played on the tour bus when our group arrived in Prague in the 90's) and perfectly proportioned.

Unfortunately, being a warhorse often means some pretty rough and ready performances, such as the Moscow State Symphony concert I heard a few years ago, where the Vltava swept all the castles, nymphs and peasants along in a torrent. Music Director Michael Stern and the Kansas City Symphony kept the Vltava in her banks while still evoking the majesty of the river and the life along its shores. Under Stern's direction, the farmers danced spritely, the mermaids cavorted sensuously in the mists and the great Vyšehrad Castle loomed commandingly over the city. A most fine and enjoyable performance of this fabulous chestnut.

While "Vltava" boldly closed the concert, the opening work, Messiaen's 1991 "Un Sourire: Homage to Mozart", began the program in a more delicate and subtle mode. Written in 1991 for the 200th anniversary of Mozart's death, "Un Sourire" has all the static mystery and antique modal harmony that characterizes much of Messiaen's oeuvre. The short work physically resembled Mozart not in the least, but impressionistically captured Mozart's brilliance, elegant simplicity and transcendent beauty. A highlight was the orchestra's fine mallet percussion which provided drier, rhythmic contrast to the more slow moving winds and strings in this episodic work.

If someone did not "get" the Messiaen piece, it should have been made quite clear from the following performance of Mozart's Symphony # 38 "Prague". For his loyal and appreciative fans in the Bohemian capital, Mozart wrote one of his more sublime and festive symphonies. Stern and the orchestra captured this elegance for the most part with a well paced, incisive performance. Only some string intonation gaffs and a somewhat lax opening slow introduction to the first movement marred this masterpiece of contrapuntal writing; Stern brought out each of the melodies that flowed from Mozart's pen like the mighty Vltava.

The long central slow movement (this is a 3 movement symphony, somewhat rare in late Mozart) was full of charm and elegance under Stern's direction, the strings much better in tune with delicate winds in attendance. The short finale brought the homage to Prague to a spirited but somewhat abrupt end.

Khachaturian's bravura Violin Concerto of 1941 certainly pleased Papa Stalin (he gave it a coveted Stalin Prize soon after) with its bombardment of folk like melodies, swirling dances and fireworks. It takes a steady hand and firm control from both soloist and conductor to keep the thing from spiraling into banality. Latvian violinist Baiba Skride and Stern did quite well in that regard, taking the work and its technical demands seriously. That certainly did not diminish the fun as Skride was always in perfect tone, taking each daunting passage in stride while keeping focus on the work's forward movement. Skride and Stern milked the lovely and long central Andante for all its melodic potential and brought it all together in a fiery finale that brought the audience to its feet.

Kansas City Symphony: Rum and Vodka

2011-01-30T07:12:00.012-06:00

Audience favorite Giancarlo Guerrero joined the Kansas City Symphony in one of his signature Latin themed programs this weekend. A roaming guest conductor when he first appeared here, Guerrero is now the highly successful Music Director of the Nashville Symphony. His programs are always exciting, colorful, well thought out and his energy infectious; this one combining Spanish favored works by Giménez, Sierra and Ravel with the Shostakovich Cello Concerto # 2.

Jerónimo Giménez, a name hitherto unfamiliar to me, will be familiar to devotees of Spanish Zarzuela. Giménez (1854-1923) was a prolific composer, churning out several Zarauela a year. The Interlude from "La Boda de Luis Alanzo"(the marriage of Luis Alanzo) is a brief 6 minute romp full of rhythm, fanfare, folk melodies and hijinks.

I was first introduced to the music of Roberto Sierra through a recording of his 3 previous Sinfonias on Albany records. Although the performances seemed fine, I came away somewhat unimpressed and found the music mostly unmemorable. I was most favorable towards the Sinfonia # 1 from 2004, a more substantial and dramatic work than the other two; number 3 (subtitled "La Salsa") reminding me too much of "El Salon Mexico" or Gershwin's "Cuban Overture". The latest, Sinfonia # 4 (premiered by Guerrero and his Nashville Symphony in 2009), is certainly festooned, chock-full and even loaded with Latin percussion and color, but is a very tense, dramatic and intricately designed work.

In 4 shortish movements totaling 25 some minutes, Sierra uses the Latin elements, pulsing percussion, talking bongos, shimmering mallets, to advance his dramatic argument. Quite effective was languid 3rd movement, "Tiempo de Bolero", evoking the slow, sultry dance form in a complex, contrapuntal style, keeping the dramatic tension of the work flowing. The brilliant "Muy Rapido" finale, was colorful and reminiscent of the first movement bringing the Sinfonia to a satisfying and powerful conclusion.

In among all the Spanish and Latin American flavored works comes the Shostakovich Cello Concerto #2 with Alisa Weilerstein the soloist. Reservations about this being a most odd, about-face selection disappeared when you realized the spareness and coolness of this most austere work was like a stiff, icy shot of Stoli in between rounds of sweet Cuba libres or complex Piña Coladas. The work carried on the power and drama of the Sinfonia # 4 in a subtle, raw manner; a most welcome contrast to the other works that wore their emotion on their sleeves. Guerrero led a well paced and generally finely balanced performance of this strange work. The orchestra is more frequently used as a chamber ensemble than as a large force with prominence to the extensive percussion, which in this performance had a tendency to be too commanding at times, but handled the death rattle ending with dry finesse.

Weilerstein captured the often wide ranging expressions of the demanding cello solo; brittle and acerbic when called up yet dramatic and warm when the lyrical side of work broke through the gloom. Other performances I have heard have done a better job of integrating these bi polar extremes of mood, but this performance held together quite nicely and was the perfect foil to the more gregarious works on the program.

Serving as the bottom slice of bread this Latin-Russian sandwich was Ravel's homage to Spain, the impressionistic Rhapsodie Espagnole. Appropriately dreamy and veiled in the opening "Prelude de la Nuit" and following "Malagueña" and "Habanera" dances, the Rapsodie ended in a vibrant, colorful "Feria", closing the concert much in the way it began.

It Snowed II

2011-01-20T17:43:00.003-06:00

Some Snow Pictures from 1/20/11

From the Palace roof top:

About 9AM and not much traffic on Main St:

Our Snowy 'hood:

And for those thinking KC got some snow, here is Maria snowboarding in Sun Valley, ID:

Kansas City Symphony: Martinu, Grosse Fuge and Andre Watts

2011-01-16T14:56:00.005-06:00

A performance of one of Martinu's 6 symphonies is always a welcome occasion. For me they are among the greatest 20th century examples of their form, along with the cycles of Sibelius and Shostakovich, and much more satisfying than the symphonies of Nielsen or Prokofiev. When the performance was as fine as last night's Kansas City Symphony performance, it is an even more delectable treat. Michael Stern, Music Director was on the podium in a program featuring the Martinu Symphony # 4, Beethoven's most fascinating and bizarre work, the Grosse Fuge, Op133 in a string orchestra arrangement by Felix Weingartner and the Rachmaninoff Piano Concerto # 2 with piano legend Andre Watts as solo.

Two things that will kill a performance of a Martinu Symphony, an inattention to detail and slack rhythm, were not present at all in this fine performance. Stern milked the cinematic elements of the piece, let all the color and brilliant orchestration shine through and kept up a brisk but tenable pace. I heard more than one patron state that they absolutely enjoyed the work and had never heard a piece by Martinu before. Mission accomplished, Maestro.

The Beethoven Grosse Fuge is an acquired taste like scotch or pickled herring with sour cream. Since those delicacies are some of my favorites, it would then lead one to the conclusion that I enjoy the Grosse Fuge as well. The piece works best in its original string quartet version but the Weingartner arrangement for strings with basses doubling the cello is heard occasionally in concert. An overall well done performance, but the even more introspective central section of this sprawling, insanely incredible work lacked the necessary focus to negotiate the many changes of tempo, mood and thematic entrances. The Kansas City Symphony strings were at their best in the wild and wooly dramatic sections of this most grand and untamed fugue. As Stravinsky stated: [The Grosse Fuge] "is an absolutely contemporary piece of music that will be contemporary forever."

While I was most thrilled with a chance for some live Martinu and the Grosse Fuge, I am sure most of the packed house was waiting for the Rachmaninoff and Andre Watts. Watts was a legend from his debut in the early 60's and championed by Leonard Bernstein, with whom Watts made many recordings. Most of these Columbia/CBS recordings have disappeared or have been abused, appearing in "100 Greatest Piano Hits" type of recordings, cheapening Watts' legacy. Now in his 60's, Watts is still a brilliant virtuoso and thus tossed off this demanding concerto like it was a piece of candy. Magisterial is the only way I could describe it. Stern and the orchestra provided stellar accompaniment and joined in the rapturous applause for this titan of the piano.

Winter Flower

2011-01-12T12:25:00.002-06:00

To remind everyone that the world has not frozen over completely, here is a wintering hibiscus showing off in the Palace pool room.

It Snowed

2011-01-10T06:47:00.006-06:00

It snowed, It snowed
It snowed last night
Everything is sparkling with diamond light

("It Snowed" ~ Meaghan Smith)

Outside of my Ipod, where I have a copy of this ditty in a Christmas music collection, I will not hear those words today around here. What I will hear is:

"look at this shit"

"That's it, I am moving to Florida"

"Can you believe this?"

"I am so sick of weather"

Ad nauseum....

Yes, Virginia, I can believe it; Snow in this part of the world is a fact of life, been doing it for a loooooooooooooong time. And, friends, we can't do much about it quickly, but we are making great strides in getting rid of this "shit". Keep feeding global warming, using petrochemicals, burning off forests and this "shit" will either disappear or take over the world, which ever you prefer. You will soon be sick from no weather at all.

As for Florida, the few times I have been there you can keep the place. And with a newly elected crook for a Governor, rampant Teabaggers and a population of rich aging people, the toxic political climate is not a fair exchange for a few rays of mosquito infested sun.

You know what? Just chill (pun intended). Make a snow man, throw some snow, get out and shovel a bit and work off the belly fat, use the scarf Aunt Mabel knitted for you, relish the fact that the decay of this crazy city is covered for a few moments in glimmering crystal. Then take your time getting where you need to be, or stay home and read, build a fire, relax, hoist a glass to the men and women who make a living removing snow, pay a neighbor kid a few bucks to shovel the drive, the possibilities are endless.

Why are we this way? I chalk it up to the fact that we are all just old and living in a dying empire, bombarded by negativity and frustration. As for me, I have already relished the sight of the world around me covered in fresh snow, the cold, crisp air with the snowflakes dancing around me. HM has enjoyed a snoot full as she snorted around in the stuff, remembering all over again that she likes it. I felt 10 years old again until a neighbor came out and moaned and whined.

Enjoy the winter wonderland while it lasts; you'll all be growling about the heat in a few months.

Kansas City Symphony: Dukas, Strauss and Prokofiev

2011-01-09T17:58:00.006-06:00

It is likely that for some last night's Kansas City Symphony program was a bit of a revelation. Surely some in the audience had never heard Dukas' charming "Scherzo: L'apprenti sorcier" without a frenetic mouse and marching mops or realized that Richard Strauss' "Also sprach Zarathustra" was actually 30 minutes long, not just the opening minute or two fanfare. Music Director Michael Stern (who we hear will be with us for an additional 5 years) conducted with Van Cliburn Award winner Haochen Zhang soloist in the Prokofiev 3rd Piano Concerto.

Dukas' 1897 masterpiece is a textbook study in the art of the symphonic scherzo, vividly retelling the story of the sorcerer and his apprentice who over hears some of the wizard's spells and uses them himself with comic results. This was a spritely performance, light and fleet of winds and brass with well accented percussion. The all important bassoons were light and comical, as they should be. The subterranean contrabassoon rumbled the house to the delight of the audience. More than a Mickey Mouse piece, this is a superb (and all so enjoyable) composition given a fine performance.

Van Cliburn Competition winner Haochen Zhang is often mentioned in the same breath along with his fellow compatriots Lang Lang and Yuja Wang. His considerable talents were aptly showcased in Prokofiev's popular and bravura Piano Concerto # 3 from 1921. Zhang captured the steely brilliance of this showpiece without banging and minimal histrionics as you-know-who (mentioned above... rhymes with bang) would do. Every note was clear and ringing, and there were lot of them. Stern and the orchestra provided and equally impressive accompaniment, following the twists and turns of this complex score with care and precision without being mechanical. Zhang and Stern also took pains to milk the frequent lyrical passages to their fullest, providing some relief from the relentless torrent of sound. Zhang's Chopin encore demonstrated he could make the piano sweetly sing.

Strauss' "Zarathustra" received a fine performance marred by a somewhat rushed opening and an anemic (alas electric) organ that just didn't provide enough grandeur. The following "Von den Hinternweltern" section warmly glowed, the grand reappearance of the three note fanfare theme in "Der Genesende" shook the house with the pause (remember when this was the LP side break??) just the right length for dramatic effect and the guest Concertmistress (damn I did not write her name down) was wonderful in the waltz tinged "Tanzlied". The high winds were spot on in the delicate closing moments, but the horns bobbled some of the more climactic moments. Not a bad performance, just short of drama and of the needed power that a larger ensemble would bring.

Next week, a concert I have been looking forward to hearing: Martinu's wonderful 4th Symphony.

A Bit of Fun

2010-12-31T06:51:00.003-06:00

I thought I would end the year with a bit of fun. This is a graphic video representing the world's airline traffic in a 24 hour period. Note the sun rising over Australia and Asia, sweeping over Europe then to the Americas.

HAPPY 2011 FROM PUGGINGHAM PALACE!

We Three Pugs 2010

2010-12-23T07:12:00.009-06:00

We Three Pugs 2010

As she predictably does every year at this time, HM Puggles, Queen Of Pugs, Supreme Ruler of Alaska, etc, etc. wishes to share her favorite Christmas carol:

We Three Pugs

(to the tune of We Three Kings)

We three Pugs of Orient are

Snuffling low we can not go far

Bellies dragging, tails a'wagging

Hounding the Milk Bone Jar

Oh! Oh!

We love treats and we love hugs

We love all 'cause we are pugs

Licking, sneezing, snoring, wheezing

Guide us to the warmest rugs!

Merry Christmas

Happy New Year

From Puggingham Palace

D and P

2010 Best Recordings of the Year

2010-12-06T10:03:00.011-06:00

The time for my list of my 10-13 favorite recordings of the year is upon us.

Traditionally, one of the year's last posts on Puggingham Palace is a "baker's dozen" list of the best recordings of the year, in my humble opinion of course. Since it is my game, I set some loose rules; the recordings are mostly new releases for the past year but can also be older recordings that I heard for the first time or dug out of my collection.

2010 seemed to be a better year than 2009 for new releases. I had trouble making a list of 10 last year but the 13 I have chosen this year came easier. This was also a year of big box releases; reissues in large bargain sets of an artist's career recordings. You will see a couple of these in my list.

So as usual, in no particular order here are my top Baker's Dozen for 2010

1) Mahler Symphony # 10 Carpenter Edition. David Zinman, Zurich Tonhalle Orchestra RCA 88697768962. So new it is not available in the US until Dec 7 but I got my copy from the UK (cheaper too). A new recording of the 10th is always welcome; when it is an excellent new recording of the Carpenter edition it is even more welcome. This edition is emerging as the only viable alternative to the Cooke edition.

2) Bernstein Symphony Edition Sony 768365. 60 bargain priced discs with almost all of Bernstein’s original Columbia recordings of symphonies. His complete Mahler, Beethoven, Sibelius, Tchaikovsky and Brahms cycles are included along with some Shostakovich, Schubert, Mozart and the indispensable Haydn.

3) Richard Strauss Great Scenes. Christine Brewer, Donald Runnicles, Atlanta SO Telarc 31755. So I plug people I know, it is my list and I can do as I please. Besides, this is one of the best Strauss recordings in a long time.

4) Dvorak Symphonic Poems: Noonday Witch, Golden Spinning Wheel, Water Goblin, The Wood Dove. Sir Charles Mackerras Czech Phil. Supraphon 4012, Mackerras (who died this year in July) may have been born in New York of Australian parents and brought up in Sydney, but he had an uncanny knack for Czech music. These live performances are simply the only way to hear this wonderful music. Has there ever been a more atmospheric beginning of the “Golden Spinning Wheel”?

5) "Transformations" Yuja Wang, piano. Deutsche Grammophon 001410802. Scintillating and bravura performances of Stravinsky, D. Scarlatti, Brahms and Ravel. I’ll take Wang’s musical, mature and brilliant performances over "Bang Bang" any day.

6) Weinberg Symphony # 1 and 7.Thord Svedlund, Gothenberg SO, Chandos 5078. I for one am thrilled to see new recordings of one of the Soviet Union's most important yet neglected composers. This is a continuation of the symphony series began a few years ago and, with 22 some symphonies, we have a ways to go. Good performances, usual quality Chandos sound.

7) Weinberg Cello Sonatas. Dmitry Yablonsky cello, Hsin-Ni Liu, piano. Naxos 8.570333. 2 Sonatas for Cello and Piano and 2 for solo cello from this prolific composer. Wonderful works, well played. This has been a good year for Mieczyslaw Weinberg (also spelled sometimes as Moisey Vainberg).

8) "Sacrificium" Cecilia Bartoli, Mezzo Soprano. Decca 001341202 (Deluxe CD with Book) Catalog # 001388602 for CD without book. Released late in 2009 (again my list so I can bend the rules), this unique album explores the world of the Castrati from the 17th and 18th centuries. 2 discs, a huge book with everything you ever wanted to know about Castrati (for the uninitiated, they were boys castrated at or before puberty to preserve a high voice. They had the range of a soprano but the power of a male voice) with too many artsy photos of Bartoli’s head on the torsos of male statues.

A ton of florid music, with probably more recorded notes per minute than any other disc in history. Well done and worth taking off the shelf now and then to explore this lost (thankfully) art. Available without the book but really it is worth the extra $10 for some fascinating reading.

9) Avner Dorman Concerto for Mandolin, Concerto for Piccolo, Concerto Grosso, Concerto in A for Piano. Various soloists, Metropolis Ensemble, Andrew Cyr. Naxos 8.559620. Where else can you find exciting, jazzy and brilliant contemporary concerti for mandolin and piccolo? The Concerto Grosso and early Piano Concerto make fine disc mates. Can I suggest a Ukulele Concerto?

10) Hendrik Andriessen Orchestral Works. Netherlands Radio Philharmonic, Edo De Waart, Jean Fournet, Willem van Otterloo, Jaap Van Zweden, Albert van Raalte Conductors (recording dates 1947-2005). Etcetera 1307. A new to me 2007 release of orchestral works by Dutch composer Hendrik Andriessen. Neo-classical (think Martinu, Hindemith, etc) in style, but never dry. Especially notable are the powerful “Ricercare” and the 4 compact symphonies. Hendrik should be heard more often; as with Egon Wellez he is more often talked about than actually performed. The discs may be hard to come by, Amazon usually has it and can be bought as a download as well.

11) Roussel Symphony # 4 Concert for Small Orchestra, Rhapsodie Flammade, Petite Suite, Sinfonietta. Stéphane Denève, Royal Scottish National Orchestra. Naxos 8.72135. Best cycle of the 4 symphonies of this much neglected master of neo-classic 20th century music.

12) Levine Conducts Mahler Symphonies 1, 3-7, 9 and 10. (London SO 1 and 6, Chicago SO 3, 4 and 7, Philadelphia Orchestra 5, 9 and 10) RCA. Reissues of great recordings long hard to get. Re-mastered sound is excellent. One of the best 3rds ever benefiting from Levine’s years of opera performances. I have been trying to back away from so much Mahler, but when this became available at a bargain price, I had to have it. Sadly, Levine never finished the cycle for RCA, thus the 2nd and 8th are missing. Been a real bitch to get a hold of this album for some reason. Only Amazon seems to have it in the US as of this date.

13) Icon: Alicia De Larrocha. Music of Soler, Granados, Albeniz, Turina, De Falla and Montsalvatge. Alicia De Larrocha (with Victoria De Los Angeles, Soprano) EMI 29486. I don't own this set, I have so much of it on other releases, but here is all of De Larrocha's EMI recordings, some of her best really, in an 8 CD bargain priced box. No one, but no one did this repertoire better.

Kansas City Symphony: Barber, Berlioz and Wolf

2010-11-20T07:41:00.004-06:00

I was a late arrival with the works of Hector Berlioz in comparison with other favorite composers. Although Symphonie Fantastique had its moments, his other works just failed to ignite my passion. But it was a chance to hear Harold in Italy a few years ago that revealed (aided by my advancing maturity) Berioz's brilliance. Thus I welcomed this weekend's Kansas City Symphony concert featuring Principal Violist Christine Grossman as solo in "Harold in Italy, Symphony in Four Parts with Viola Obbligato", Op. 16, The concert opened with the sunny "Italian Serenade" by Hugo Wolf and the Barber Piano Concerto with James Tocco as solo.

With an ensemble likely smaller than those on many recordings, Stern was able to bring out many of the chamber like sonorities in this complex and often busy work. Especially delicate and revealing was the quiet opening with soft (but slightly hesitant) basses building with the winds and strings to a climax, revealing the viola with the Harold theme accompanied by shimmering harp and sweet arpeggios in the woodwinds. The detail and intimacy set the tone for the rest of the work.

Grossman's tone, phrasing and ability to project over the frequently busy orchestral fabric was important in communicating the program of the work. The Harold theme was clearly heard as it wove its way through the various scenes, something not always encountered even in recordings.

The second movement Pilgrim March was equally fine, the only blemish being the sul ponitcello arpeggios that were blurred in the orchestral fabric, one of my favorite passages in the work.However, the quiet reverent ending with harp, viola and winds was superb. The Abruzzi Serenade was sweetly rustic with an always wonderful contribution by the orchestra's English horn Kenneth Lawrence. The finale, "Orgy of the Brigands and Memories of Scenes Past", brought out all of Berlioz's and Stern's stops with a vigorous but never vulgar performance.

Grossman received thunderous and well deserved accolades from her hometown crowd as did the whole ensemble for bringing this fascinating and not all that often heard work to life.

The Barber Concerto is one of the composer's masterpieces but not as often heard as the Violin Concerto. Written in 1960-1962 for John Browning (the last movement was not finished until a few days before the premiere and was pronounced unplayable until revised) the Pulitzer Prize winning work is also one of his more complex and frenetic scores. Tocco certainly had the technique, vision and maturity to keep this work from becoming solely a clangorous nightmare. Same could not always be said for the strings, who frequently faltered in intonation and struggled to keep up with the busy scoring of the outer movements. All was in fine form, however, in the central Canzone, the calm eye of this hurricane of a concerto. Tocco kept the reflective melody going without it becoming sweet and slick, delicately accompanied by the orchestra. The final movement was all of show and speed but done with clarity of texture and thrill-every-moment verve, despite the aforementioned slips.

Opening the concert was a sweetly expressive performance of a little heard bon bon, the Italian Serenade of Wolf.

The final Classical Series event of the year, the KCS turns to the annual Messiah performance and Christmas concert series. January brings two interesting concerts with Strauss' "Also Sprach Zarathustra", the Prokofiev 3rd Piano Concerto, Beethoven's "Grosse Fugue" and the wonderful Martinu 4th Symphony.

As this is likely the last entry of the year, we wish you a Happy Thanksgiving and Merry Christmas from all of us at the Palace!

Kansas City Lyric Opera: Norma

2010-11-14T17:07:00.004-06:00

It is kind of a moot point reviewing the Kansas City Lyric Opera's production of Vincenzo Bellini's "Norma" while its final performance is underway. I saw it last Wednesday and just now, on a cool Sunday evening, am getting around to putting my impressions in print. It is not like a ton of people would go based on my musings anyway or the cast was waiting up late at a cocktail party waiting for my make or break review to come in, as in the old movies.

What was most surprising is that the Lyric, in its 50+ years of performances, had never produced Norma. I heard various reasons; lack of strong voices and lack of a decent English translation (for ages, the Lyric only performed in English) were the ones I heard most. So a debut of sorts for an 1831 opera.

The wait worth it? Soprano Brenda Harris as Norma, the Druid High Priestess and soprano Laura Vlasak Nolen as Adalgisa (which I always want to call Analgesia), while no Sutherland and Horne (or the great Shirley Verrett for that matter)certainly had the power and range to tackle these most demanding roles. Together their voices blended well, Harris being a bit brighter than Nolen, bringing a power and poignancy to the wonderful duet "Mira, O Norma". Harris was fine, but restrained, in the beloved (and deservedly so) aria "Casta Diva" which sealed this opera's popularity and gave us a word that is now almost over used.

Short and powerfully built with a strong voice, tenor Rafael Davila, in the thankless role of the total ass Pollione, the Roman Proconsul of Gaul, was excellent. He was soft and seductive when paired with his love Norma, but bellicose and arrogant in the crowd scenes. The supporting cast was uniformly excellent.

I suppose to pay for the strong voices, the production had to cut costs in the scenery and supporting chorus. Diaphanous scrims and curtains sufficed as the forest primeval of Gaul, supporting an x-shaped set of tiered platforms and there was little variation between scenes. The chorus of Druids was skimpy and often drowned out by the orchestra. The great gong of the god Irminsul descended on the stage when required, again looking a bit skimpy and a tad tacky.

But the singing of Harris and Nolen, plus the brutish Davila, made this a worthy production and certainly whetted the audience's appetite for more bel canto operas. La Sonnambula maybe?

RIP: Paul the Psychic Octopus

2010-10-26T16:09:00.005-05:00

Small in stature, kind of slinky and slimy in a way, but a hero to all, Paul the Oracle Octopus died today in his underwater home at Sea Life Aquarium in Oberhausen, Germany. He was born in Weymouth, England but spent his life in Germany. He was around 2 1/2 years old.

Paul rocketed to fame with his uncanny predictions of the outcome of sporting events, most notably the outcome of eight World Cup matches this year. Paul's prognostications were made by choosing a mussel from one of two transparent boxes on which the flags of the two opposing teams was painted. There was something like a 1 in 256 chance that he would get all eight predictions right. Paul made some enemies in his adopted homeland when he predicted Germany's demise in the games. But the little cephalopod was a hero in Spain for predicting their eventual win over The Netherlands.

In a World Cup that was roundly seen as rather boring and full of annoying officiating and noisy crowds, Paul stood, or should we say swam, out as a truly amazing spectacle.

RIP Paul.

Kansas City Symphony: Roberto Minczuk, a tour of Italy

2010-10-24T16:49:00.008-05:00

A tour of Italy was the fare for the second concert of the new season of the Kansas City Symphony this weekend. Brazilian Roberto Minczuk, currently the Music Director of the Calgary Philharmonic and conductor of the acclaimed set of Villa Lobos "Bachianas Brasileiras" on BIS, was guest conductor.

The concert opened with a spirited, well paced performance of Verdi's 1855 Overture to "I Vespri Siciliani". As with the closing, less appreciated "Feste Romane", it was great programming to use one of Verdi's more traditional in form yet lesser known curtain raisers.

Continuing with lesser known Verdi, the Kansas City Symphony Chorus, sounding better than ever frankly, joined the orchestra in the "Quattro Pezzi Sacri", the "Ave Maria", "Stabat Mater" "Laudi alla Vergine Maria" and the last piece he wrote "Te Deum". The unaccompanied pieces "Ave Maria" and the "Laudi alla Vergine Maria" (for women only) were exquisitely sung with feeling and fine diction. The orchestral accompaniment tended to drown out the chorus, as usual, but Minczuk kept the balance as good as it gets in the horrible vocal acoustic of the hall. My only quibble would be that the performance was too resolutely reverent and solemn, making the over 40 minutes of the of four works tedious. The final "Te Deum" could have used more operatic drama, but certainly was well sung and played technically.

The second half featured two turn-of-the-century Italian masters, Ferruccio Busoni and Ottorino Respighi.

Busoni's music for Turandot is almost as colorfully oriental tinged as that of the more famous Puccini. Minczuk chose selections from the 1905 suite as a tempting taste of this neglected composer. Plenty of fine winds and percussion work in these sometimes chamber like vignettes. Those familiar with his fiendishly complex piano music and huge piano concerto ending with a huge choral finale, may find these colorful, fun miniatures surprising but satisfying.

Musical snobs love to disparage Respighi as solely a showman, a skilled orchestrator who used every instrument but the kitchen sink to thrill audiences with sound and color but little substance. I won't argue that point again; there is no mistaking that Respighi's music is challenging to the orchestra and splendid ear candy.

The final part of the Roman Trilogy "Feste Romane" from 1926 is the longest and most demanding of the trilogy, and thus is less often heard than "Pines" or even the softer, more impressionistic "Fountains".

Minczuk whipped the orchestra into a blood driven frenzy in the opening Circuses, the winds howling, the lions snarling, the martyrs praying while meeting their violent deaths in front of a bloodthirsty crowd. The Lyric's lack of a decent organ was the only let down, but the off stage, antiphonal herald trumpets were used to great effect.

The "Jubliee" was well paced, the trod of the pilgrims relentless but never dragging or plodding as in some performances. Principal horn Alberto Suarez was perfect in the demanding horn solos in the "L'Ottabrata", as was the rustic mandolin serenade.

The raucous, episodic "Epiphany" held together perfectly, highlighted by Roger Oyster's sloppy-drunk (those who know the music realize that is a actually a compliment) trombone solo.

A fine program, colorful, with works not always heard on the concert stage. Next up, looking forward to Berlioz's masterpiece Harold in Italy.

_________________

It Gets Better

2010-10-20T11:04:00.001-05:00

PURPLE represents Spirit on the Rainbow flag and that’s exactly what I wish for all GLBTQ people, especially young people, who feel bullied and are subjected to violence and bigotry. It gets better. Reach out and you will meet people who will love you and respect you for who you are.

Please wear purple on October 20th.

American Heartland Theatre: "The Love List"

2010-10-15T08:43:00.004-05:00

It is the start of the new season at Kansas City's best theatre venue, The American Heartland Theatre. As usual the play was funny, Mark the bartender made some great scotches to have before, during the show and at intermission and the local restaurant Streetcar Named Desire made us fine pork tenderloins. Greg and I are creatures of habit if nothing else.

For its opening show this season, AHT chose the KC premiere of "The Love List" by Norm Foster. Veterans Scott Cordes and Sean Grennan star along with newcomer Shanara Gabrielle and her wardrobe of incredible shoes.

The play is short on plot, as usual for a comic romp, and a little slow to get started. I was thinking "this will be a leave during intermission evening" but as the show progressed and the gags rolled on, it became a light and amusing entertainment.

Needing a 50th birthday present for Bill, his long divorced, terminally boring number-cruncher of a friend (Grennan), Leon (Cordes) buys him a "love list" from an unseen gypsy. This seemingly harmless list of ten qualities that define the perfect woman soon turns mysterious when Leon leaves and the gorgeous dream woman named Justine appears (Gabrielle).

We all soon figure out what is going on. As Leon puts it in the shows best line "a tear in the cosmic pie crust" makes their perfect woman come to life, endowed with the 10 traits they ascribe on the "Love List". The fun begins when they start changing the list, and Justine instantly reflects the new personality. Here is where the play takes off as Gabrielle is amazing working through the lightning quick mood and costume changes.

It all kind of ends with everyone getting basically what they deserve and learning to be careful what you wish for.

Deep, emotional, riveting, topical theatre? Nah, for that read the paper. To escape the trauma of the end days of the US empire, see a play like this... and have a drink or two.

"The Love List" now through October 24th.

Fantasy Shopper

2010-10-12T07:34:00.003-05:00

According to my Pisces birth sign, I am prone to fantasy and dreaming. I fit that to a "T", frankly. I spend hours on the internet in my fantasy world. I plan trips to exotic locales, first class or chartered jet of course, buy Park Lane apartments in London (the one I want is a cool $5million, right at Speaker's Corner), rack up thousands of dollars at Louis Vuitton and order a Maserati or two.

A more down to earth fantasy involves using the ubiquitous "Build Your Own" features in auto web sites to create the best car I can find for $20,000. My dream 20K chariot would have most options, automatic (I can drive a stick, but in the day of efficient automatics, who needs to?) and a sunroof. A coupe or sporty hatch is best, a nicely tuned sedan is ok.

But in doing so I have found that, true to form, the US automakers are behind again. Only one is competitive at all, that being Ford with the new Fiesta and the revamped Focus. Chrysler is not even in the game.

Chevrolet has the feisty new Cruze, but it is priced too high and does not have a coupe or hatch yet. To get one well optioned and with a spare tire (yes, spare optional) is a shade over $20K. Cruze, the largest of my fantasy buy, also relies on a small turbocharged 4 which worries me about reliability and complexity.

Ford's sweet looking Focus coupe is just over $20 with what I want on it, but is also bigger than the others, except for the Cruze. The Fiesta, an European design built in Mexico, is more my price and style. No coupe, but a sleek hatch is snarky and certainly practical.

Although I am not one who automatically thinks Asian cars are better built than any US, in this case I have to defer to a choice to which I keep going back, the Kia Forte Koup. Hate the silly name, but for less than $19K a nice size, sleek coupe in red with leather and sunroof, or the bigger engined slightly better equipped Koup SX with a powerful 2.4 liter 4 for $90 over 20K.

Sorry GM, my fantasy leans to Kia for now with the Fiesta running a close 2nd. However, I think Dunbar the Buick, however sedanish and old tech he may be, is safe for now.

Unless someone wants to give me a nice Christmas present.

Kansas City Symphony: Hilary Hahn Sibelius and The Firebird

2010-10-10T08:48:00.010-05:00

As the evenings cool and the leaves turn, the dearth of culture begins to subside and the patrons trek back downtown. Thus this weekend marked the beginning of the 29th season of the Kansas City Symphony. Michael Stern, Music Director was on the podium leading a strong program of popular and colorful works and a Kansas City premiere.

The program opened with the aforementioned local premiere of a KCS co-commissioned piece "Starburst" by Jonathan Leshnoff. Leshnoff has won considerable critical acclaim and recognition for his recent Symphony (performed by the KCS a couple of seasons ago) and a recording of his Violin Concerto. Stern has formed a successful collaborative venture with Leshnoff, and recently recorded the Symphony with the IRIS Orchestra.

While I enjoyed the Symphony and was impressed by the Violin Concerto, "Starburst", at 7 minutes or so, is a work of lesser stature and impact. That is not to say it is great fun; the simple, repetitive motives and rapid, colorful development of them are easy on the ear and likely a challenge to play. "Starburst" may find a home as an opening work for orchestras with adventurous natures.

We have heard the Sibelius Violin Concerto three times now in the last 6 seasons with the performances getting better each time. The Barnabas Keleman/Stern in 2007 and Karen Gomyo/Andrew Grams last season each had their issues with Gomyo's the better of the two. But for now, I can not imagine another soloist that can top Hilary Hahn in this work, especially after her acclaimed recording with Salonen/Swedish Radio on DG.

Hahn simply owned this most strange, hardly "showy", but fabulous concerto from first note to last. The opening was misty and tentative, the solo violin entering shyly, slowly building in intensity and emotion. Hahn's tone was creamy but clear, projecting with clarity (mostly) through Sibelius' often thick scoring. Neither Hahn's shimmering virtuosity nor Stern's powerful orchestra got in the way of the brooding, almost desolate musical landscape.

The lovely Adagio was suitably romantic but never overblown, with enough subtle drama and tension to keep the movement flowing.

Keeping the intensity flowing, the energetic last movement came not as a jarring surprise as it does in some performances, but as an inevitable release of energy from the tension of the other two movement. Hahn brisked over the rapid passages that tie lesser artist's fingers into knots. My favorite little spot, the odd passage of dare I say gypsy-like harmonics from the solo, came of well, not buried in the orchestral fabric.

Stern and the orchestra stayed in the background when needed, (their barely perceptible "vamp" at the beginning of the finale was perfect, more a texture than sound) and yet blazed with Sibelian glory when needed (the first movement outburst at the end of the exposition is a prime example). The audience and I showed our enthusiastic appreciation for an incredible performance from an artist at the peak of her powers.

For the last half of the concert, Stern and the orchestra turned to two colorful dance inspired classics, Ravel's Valses nobles et sentimentales and the Suite from Stravinsky's Firebird.

Ravel may have wanted to write a "chain of of waltzes in the style of Schubert" but he succeeded in making them unmistakably French. Stern and Co were perfectly elegant and sophisticated in these charming dances, drawing them out of the gloomy mist of the opening (brilliantly hushed in this performance) into the light of a Parisian salon.

The 1919 Suite from the Firebird brought the concert to a colorful close. The Introduction and Dance of the Firebird and the Round Dances of the Princesses were suitably exotic and laced with excellent solo work from the winds. The Infernal Dance of Kashchei burst force with shattering power, awakening all who might have been lulled into the dreamy world of the opening sections. Stern and the orchestra gave their all as they moved through the sweet Berceuse and on to the grandly celebratory finale.

The orchestra was sounding quite good technically (it did as well in the productions of Carmen the week before) despite some new players and the still unsettled question of a new Concertmaster. The last season in the venerable Lyric Theatre off to a fine start.

Absolut Not

2010-10-08T12:59:00.005-05:00

It must be the shorter days and cooler evenings that have got me back to thinking about blogging. Having the opera and symphony to write about has helped as well. It is a good exercise for the mind, and certainly more productive than listening to the drivel that is on TV or radio these days. So look for some semi-regular updates.

One thing you may be hearing about is a new battle I am undertaking. No, not the eradication of stupidity, I have given up on that and will let the loons drive the final nails into the coffin of the US Empire. This is a more personal battle.

Life is killing me. A few years ago, I was confirmed as one of the growing number of people with fat-ass disease, aka diabetes. I have never seen a disease where its victims are villified as much as diabetics. It is automatically assumed that you are an ice cream glorping, sugar-charged, snack-attacking fattie if you have type 2 diabetes. Only the type 1 (usually childhood onset) diabetics are the real victims that need to be supported. Type 2s.. lose weight and buck up.

Do we segregate cancer victims? No. Heart disease caused by diet and lack of exercise? No.

Anyway, I now poke my finger religiously, record my blood glucose levels, watch what I eat, swim regularly, take my growing pile of medication like a good boy and it just keeps climbing. Diabetes runs in the family (grandfather on mom side, uncle and cousins on dad's, sister... who knows who else) so I was rather doomed from the beginning.

Now the added nightmare that my love of and frequent indulgence in "adult beverages" is taking its toll. Yep. Tried to deny it, joked about it.. but it has come to bite me in the ass, well, liver actually.

One thing about being a diabetic, you get used to shedding blood. Every 3 months, the same surly phlebotomist takes vials of my blood for the lab techs to study. For the most part I do not hear anything. This last time was different.

My June test showed elevated liver enzymes. The Dr cautioned me and sent me on my way. But the new numbers must have been really bad. They called me and said, in essence, that I am either a roaring alcoholic or have hepatitis. I need to come in on Monday and get a work up for Hepatitis and some more specific liver tests. "How high?", I asked. "Way higher than June", came the HIPPA-inspired non answer. "Meanwhile, severely limit alcohol consumption immediately. Have you knowingly been exposed to Hepatitis?" "Yes sir, no sir," came my annoyed reply.

So since about 8PM on Tuesday 10/5/10, I have been without my beloved vodka or scotch. Doing so and not going berserk means I am not an AA destined alcoholic, I hope. You see I enjoy my vodka, scotch and other brews and essences because I like them. I can taste the difference between Popov and Stoli, or Absolut and Grey Goose. Each scotch has a story to tell. A fine Flor de Cana rum from Nicaragua, smooth as a brandy, is a work of liquid art. I want one. But I can live with out it and won't resort to shoplifting a bottle of hooch from the local Shell station to satisfy a need.

I am not an alcoholic am I? Hope not... I hate meetings. What is next??? My coffee likely. If that is the case, there is no hope.

Stay tuned.

Kansas City Lyric Opera: Carmen

2010-10-06T21:32:00.004-05:00

A couple of seasons ago, The Kansas City Lyric Opera managed to do what many thought impossible or at least difficult; that is to make Georges Bizet's magnum opus "Carmen" boring and laughable. Thus a new production to start this season, the last in the lovely but sadly inadequate Lyric Theatre, was met with some trepidation on my part.

For some reason, maybe it was a long, hot summer bereft of culture, Carmen was the hot ticket for its run this past week. Most nights were sold out and the start of the show was held to allow the last minute patrons to buy their tickets and find their seat.

So what did they get?

A fine Carmen for sure, but not the "best I have ever seen", "ready for the Met", hype I heard. Standing head and shoulders above all was the brilliant Carmen of Sandra Piques Eddy, a fine as acted and sung Carmen as one could ask. Her voice was alternately sweet or sultry, seductive or venomous as required. Piques Eddy vividly portrayed all of Carmen's incarnations, from a simple cigarette girl, to a gipsy on to the arrogant trophy girl of a toreador and finally victim of her own seductive powers. Her voice was dark and steamy as a Seville night but clear and with impressive French diction. It was a thrill watching her act and literally become Carmen on the stage.

Tenor Dinyar Vania portrayed hapless Don Jose, who gives up everything, including his honor, mother, the love of a sweet girl and his life for the seductive Carmen. Although Vania was in fine voice and played Don Jose with a touch of "dumb jock" swagger, he was a good but not fabulous Don Jose. He was best in the last acts as his desperation for Carmen takes all sanity from him, propelling him deeper in to his own hell.

Alyson Cambridge was a saintly, yet somewhat too small voiced Micaela. For some reason, maybe she was just too saintly and shy, her part never jelled and you never felt she really had any love or connection at all with Don Jose. Her famous and well sung Act III aria "Je dis que rien ne m'épouvante" seemed to come as a surprise to even her. Marcello Guzzo's Escamillo was ok, but lacked real presence or the proper arrogance of a celebrated toreador. David Lawrence Michael was more impressive as Zuniga, the lieutenant of the guards.

The sets were fine, but again all the hype I heard escaped me. This was a dark Carmen in lighting, set detail and costume. Some cost cutting was quite evident; the same sets depicting the square in Seville was used for the third act set in a "wild and deserted place". More attention to detail could have made the setting more effective. The tavern scene (with a fabulously sung Quintet) and the parade in the fourth act, were also lacking in numbers and brilliance.

Thus, far from the tragic mess of the Carmen of 2006, this well attended production redeemed itself for sure. Happily, many patrons got to see and hear, in the form of Sandra Piques Eddy one of the best acted and sung Carmens this town has ever seen.

She is certainly "best I have ever seen" and "ready for the Met".

Бефстроганов

2010-09-18T19:39:00.005-05:00

Ferdinand the Bull, you are safe from my teeth more so than Porky Pig would be... except when I have the craving for Beef Stroganoff.

This classic dish has been around forever. Elena Molokhovets' cookbook published in Russia in 1861 gives the first known recipe for "Govjadina po-strogonovski, s gorchitseju" or "Beef à la Stroganov, with mustard" This recipe called for lightly floured and sautéed beef cubes with a sauce of prepared mustard and bouillon, and finished with a small amount of sour cream. It was likely named after an aristocratic Russian family. Later recipes added mushrooms, onions and beef cut into the characteristic strips. Immensely popular (and kind of exotic) in the 1950's, the dish is now served around the world in many variations.

My favorite recipe is a combo of the classic 1961 Craig Claiborne recipe and my own likes and tastes. Claiborne makes a very traditional Stroganoff without mushrooms and onions, so I add those (green onions sometimes) and a splash of Worcestershire sauce, (which no one else seems to add) but with things like cornichons, tarragon and tomato sauce added to some recipes, I am safe.

I made some tonight as I was in a stay-at-home-Greta-Garbo-(I want to be alone)-mood. As I was buying a few things for it that I was lacking, I ran into a friend of mine. She asked what I was buying which led to a discussion of the dish. I told her I was omitting the noodles (it is really designed to be served over noodles or rice) since they were carb packing enemies of mine. She thought I was nuts, and thus given tacit permission, I relented. Such a great dish, easy, elegant when done well and relatively quick.

My recipe: (as usual the amounts are estimated and variable according to taste, I never measure)

Meat:
1 lb beef (sirloin, flank steak, whatever you can find just not that horrible stew meat)
salt/pepper to taste
splash of Worcestershire sauce
1 sm can of button or a handful of sliced fresh mushrooms
2-3 green onions (or handful of chopped white onion)

Sauce:
butter (about 1 1/2 tablespoons)
flour (about a tablespoon)
1 can beef consummé (not canned broth, consummé is more intense and richer)
squirt of prepared mustard
splash of wine optional
sour cream, lots

Trim beef into strips, salt and pepper them and splash with the Worcestershire. Let marinate for a hour or so in fridge.

In saucepan melt about 1 1/2 tablespoons of butter and then add about a tablespoon of flour to make a nice light roux. Heat consummé to boiling and add to roux, whisking until roux is dissolved and sauce is nice and thick. Here you can add a splash of wine, red or white, as you desire. Set aside.

Drain beef. In some butter, sauté the beef until browned. Add the mushrooms and onions and cook until beef is done and onion/mushrooms tender.

Reheat the sauce gently and add great gobs of sour cream (I am an addict).

If you are being elegant, put the hot beef on a platter and pour the sauce over. Or just throw it all together and mix the beef in the sauce.

Gotta serve it over plain, lightly buttered noodles.

хороший (Russian for good!)

Lunacy on the Loose

2010-09-08T07:57:00.013-05:00

Further proof that the USA has lost is collective mind. I can just see some sun-baked nutcase think that this is the horse of the apocalypse or something Islamic:

Something Worth Sharing

2010-07-29T08:54:00.002-05:00

I happened to catch this today, along with an article in the KC Star that the efforts of the Administration to jump start the economy has worked. But, since the US is now careening perilously towards stupidity, many will not believe it since Rush or Glenn or some other entertainer didn't scream it out.

"Can a nation remain a superpower if its internal politics are incorrigibly stupid?" Writes E. J Donne of the Washington Post. Then there's the structure of our government. Does any other democracy have a powerful legislative branch as undemocratic as the U.S. Senate?

"When our republic was created, the population ratio between the largest and smallest state was 13 to 1. Now, it's 68 to 1. Because of the abuse of the filibuster, 41 senators representing less than 11 percent of the nation's population can, in principle, block action supported by 59 senators representing more than 89 percent of our population. And you wonder why it's so hard to get anything done in Washington?"

Mr Dionne is more optimistic than I am, I think the US is in a steep decline and becoming increasingly irrelevant. But since Rush doesn't think the same... all is well.

In American Politics, Stupidity is the Name of the Game

Number 1001

2010-07-22T16:08:00.004-05:00

In March 2009, I posted that I was going to shut down Puggingham Palace when I hit 1,000 posts. (777 Down). A discussion of doing it right then and there led to cries of "I'll miss you"..."Don't"...

So I kept my word and kept up until my 100th post "The Caddies Come to Town" on July 17th.

But does # 1001 mean Puggingham Palace may live on? Maybe.

I am not abandoning everything, but don't look for a lot of regular updates. No more "Coupl'a Things", recipes, updates on the garden, reports from the Palace and I am certainly leaving the political ranting to the rest of you... you are doing a good enough job anyway.

So, what of the future?

Probably music and concert reviews which I also post at the Classical Music Guide so I will just come here and post the same thing. If there are exciting events, things I just have to say, some things to share... I'll likely post. I am not taking Puggingham Palace down, so it will be here to browse through or for people to find on search engines.

Thus I bid all farewell for a while. Keep checking or do an RSS subscription, friend me on Facebook or email at donaldopato@gmail.com.

We'll be in touch!

The Caddies Come to Town (and # 1000)

2010-07-17T20:10:00.012-05:00

Is there anything that says it better? (1958 Eldorado Seville)

(You can click on the pictures to make them larger)

In the 1930's everyone coveted a Cadillac V8 Convertible Sedan.

In 1960, you arrived in style in an Eldorado Seville Hardtop

The twin four-barrel carburetors of a 1956 Eldorado:

The rare and exquisite 1957 Eldorado Brougham. At $13,074 you could buy two De Ville Convertibles and have money left over. Only 400 made.

What was so special about this 57 Brougham was its fabulous interior complete with the set of magnetic silver tumblers, perfume atomizer and other luxuries that are ultra rare these days.

Back in time, a jewel-like 1914 Touring Car:

The 1914 Engine was a work of art. I shudder at having to polish all the brass:

From the 40's a perfect 1947 Convertible. Having overtaken Packard, Cadillac was at the top of its game:

50's Buck Rodgers fins in extremis, 1959 Series 62 4 door Hardtop:

The Series 60 Special of the late 30's -42 was one of the first modern car designs. Note no running boards, the sleek styling and modern window design. This one has been lowered a bit but is representative of its brethren:

The epitome of the 60's 1964 Eldorado Convertible.. red of course... and wire wheels:

Well, for my 1000th post, I can think of nothing better than ending (?) Puggingham Palace with a pictorial survey of the 2010 Cadillac/La Salle Grand National Meet held here in Kansas City this weekend. I motored the intrepid Dunbar The Buick over to the Double Tree Hotel in Overland Park on this hot ass (90+) AM to wander through the collection of some of the Standard of the World's finest.

Once upon a time, a Caddy was the epitome of having "made it". Elegant, huge, impressive, powerful, truly a Standard. Today, it is less of a figure. In the 80's, like Packard did in the 40's, Cadillac handed over the mantel to Lexus, BMW, Mercedes and other foreign makes (even Hyundai with its new Genesis line) and has played catch up ever sense. These were cars when Cadillac meant power and prestige. We'll never see the likes again.

Republican Hypocrisy.... again

2010-07-15T07:50:00.002-05:00

As Puggingham Palace moves on to its next iteration, whatever that may be, I had to post a slam about my least favorite group in the world, Right Wing Hate Filled Rich Ass Hypocritical... ok blood pressure is up so here it is:

Unemployed 0 Rich 1

Everytime the Tea Drinkers fart, it is front page news. But the conservative controlled media here and the timid liberals keep this from being seen

Just one question? How can you people sleep at night?

Rayville Bakery/VanTill Farms

2010-07-11T21:11:00.007-05:00

Greg showed me a flyer he picked up at the Kansas City River Market; "we need to check this out sometime." Rayville Baking Co, who sell their delicious fresh made breads at the market, opened a restaurant on their farm in nearby Rayville, MO. Friday night features hand made, wood fired oven gourmet pizzas and their own VanTill Family wines in a bucolic outdoor setting. "Sounds like a fun change of pace", Greg said. You have to know Greg that a "change of pace" for him is akin to a life changing experience for most of us. I eagerly agreed.

So this past Friday, we motored off to tiny Rayville, MO (pop 204, several horses and a post office) to sample the VanTill's offerings. Tagging along for the ride was Greg's neighbor Sue and her friend Marie. Greg even broke out the new Hyundai Tucson he bought a few months ago and never drives. The ride up, along MO highway 210 and then MO 10, is pleasant and scenic, snaking along the Missouri river bottom and skirting the bluffs. On this Friday, the fields were green, the trees full and the traffic light. Watching the darting and diving of a bi-plane crop duster we happened to spy along the way was something us city folk do not often see. Police and ambulance helicopters, yes.. but few crop dusters.

It took an ambling hour to get there and we found it with no problems. Once parked, we entered the building and asked the lady we saw where the restaurant was. She directed us to the restrooms. When we clarified what we wanted she sent us back outside whereupon we were told we had to go back in and order from the front. Since it looked more like their wine and baked goods store, we just assumed... well.. assumed wrong. I would suggest that the management make the ordering process a bit more clear.

Once ordered and directed again in the right place we found a spacious iron table on the patio; one of those large party tents with the sides rolled up. The bar was a table with the selections of the wines and Boulevard beer in the bottle. You could help your self to water and lemonade.

But the night was about the pizza. We ordered several to sample the wares. One was a bacon gorgonzola with balsamic glazed onions, red sauce, garlic, mozzarella and the aforementioned bacon and gorgonzola cheese. Greg selected a rosemary pear pizza with white sauce, chicken, Asiago, mozzarella, rosemary, garlic and bosc pears. The other choice was the Mediterranean with red sauce, chicken, hot Italian sausage, mozzarella, garlic, feta, onions, Kalamata olives and spinach.

The pizzas are baked right in the same room in the hand built brick oven. The crusts are crisp and tasty with just the right thickness. The bacon gorgonzola was wonderful, the strong flavors blending into a bright and unforgettable combination. The rosemary pear was a revelation. I am not always fond of fruit used in odd ways; keep the strawberries, cherries and other fruits out of my salad, soup and pizza and put them where they belong. But, as with the bacon gorgonzola, the unique flavors combined so well. The sweet pears and the lush sauce blended with the chunks of tasty chicken, perfectly accented with just enough rosemary and garlic as not to overwhelm. This is a pizza worthy of any serious pizza restaurant.

The Mediterranean was interesting and flavorful. Although tasty and perfectly baked, it was just a bit too busy with all the ingredients piled on. Damn good pizza however and quite unique.

The pizzas are generous sized and range in price from the basic spinach blanco (white sauce, spinach, cheese and tomatoes) at $13 to the $17 Mediterranean. For an extra $3.50 a generous sized fresh Greenhouse Greens salad is available with a choice of dressing. The greens were grown on the farm and thus freshly picked and mixed with tomatoes, cucumber, onion and olives. Fresh, sweet, crisp and wonderful.

If you are nuts, like we were, you get a dessert too. Everything from vanilla ice cream to some of the best home made strawberry shortcake I have ever had. Not overly sweet, the shortcake was a fresh baked biscuit-like cake, not those nasty twinkie sponge things. The strawberries were grown on location, likely picked that day, and so naturally sweet. The cream on top was fresh and silky. At $4.50 it is a bargain and only available in season.

Greg had a beer, but the ladies and I split a bottle of the VanTill's own wine. We chose a white chardonel. Chardonel grapes, a hybrid chardonnay and seyval, are popular among Missouri wineries. It is a dry white wine with an abundance of fruit. I actually prefer the crispness of the regular chardonnay as opposed to the softer chardonel, but Sue and Marie were captivated by it. A fine bottle of wine, but I think next time, with the pizza, a red would be better.

Charming place, friendly staff, but don't go expecting fine tableware or to be waited upon; everything is ordered (except the wine) and paid for at the front counter. A bit clumsy, but it works once you figure out the system. As with any alfresco dining, the flies can be a problem and remember you are out in the country so they are plentiful. Get extra paper plates (the usual place settings, thankfully there were no plastic forks) to cover your pizza.

A perfect end to the evening is to stroll to the nearby green houses and see where your strawberries, rosemary, salad greens and such were grown. A few grape vines and flower gardens dot the area. Be sure to take home some bread, jam or wine if you want.

So, definitely worth the travel time from the big, bad city and we plan to go again before the summer ends. They do have the restaurant open year round with the patio covered and heated.

But go during strawberry season for the wonderful shortcake.

VanTill Farms/Rayville Baking 13986 Hwy C Rayville, MO

What I am Listening to Today: Hollywood String Quartet

2010-07-07T20:33:00.005-05:00

Chamber music does not get much better than this; one of the most remarkable recordings of some of the most incredible chamber works ever written.

The Hollywood String quartet, founded by Felix Slatkin (1st violin) and his wife Eleanor Aller (cello) (parents of conductor Leonard Slatkin) was active from 1939 to 1961, winning awards and achieving celebrity status akin to some of Hollywood's other denizens. Frank Sinatra was a fan and had them collaborate on his Close to You album.

But their forte was the classical quartet, especially Beethoven and Schubert. The Schubert String Quintet D.956 (1828) is an undisputed masterpiece and was one of Schubert's last works. The work, oddly scored with "extra" cello instead of viola, is bold, lyrical and almost symphonic in scope The Hollywoods' performance is sensitive yet powerful. Relish the perfection in ensemble, intonation, and attention to detail. The gutsy, folksy and animated opening of the bouncy scherzo is sheer perfection, not harsh as the other performance in my collection by the Cleveland Quartet. The long, sweet adagio receives a most sublime performance here, never cloying or sentimental.

I could go on, but this wonderful work and performance has to be heard to be appreciated.

On the surface, it seems strange to pair Schubert with the "modern" Arnold Schoenberg. But Verklärte Nacht (Transfigured Night) is not one his acerbic 12 tone pieces, but a lush, almost hyper-romantic tone poem for string sextet. Again the Hollywood Quartet negotiates this tricky and thickly scored piece with such aplomb that I felt I truly heard it for the first time. Schoenberg himself was so taken by the performance that he wrote the liner notes for the recording's first appearance on Angel records in the 1950's.

Testament Records are easily available in the US but frightfully expensive. I got mine from the wonderful folks at MDT in Darby, UK for less than $14 with shipping. Archiv has it on sale for $17 and Amazon wants an outrageous $26. Shop around.. but hear this disc if you love chamber music at all.

Happy 4th

2010-07-04T19:53:00.002-05:00

This is more true than we wish to think:

Happy 4th of July

The Art of the Car

2010-06-27T20:50:00.006-05:00

The Kansas City Art Institute held its annual "The Art of the Car" Concours this weekend and as custom for the past three years, I went to browse the cars on display and contribute to the worthy cause. All proceeds from the concours go for scholarships to the Institute. As in past events, a wide variety of cars made it to the show, everything from a 1919 Pierce Arrow that was used by Woodrow Wilson while President to a tiny 1950's King Midget, a very basic kit car that was somewhat popular for a time.

Here are just a few of my favorites:

Wilson's 1919 Pierce Arrow. The picture does no justice to the size of this machine.

The detailed powerplant of a 1959 Aston Marton DB III

Rare 1948 Olds Series 66 wood bodied wagon. Few of these partially hand made wagons were made.

French/Russian Coachbuilder Jacques Saoutchik was famous for his swoopy bodies on Talbots, Delahayes, Pegasos and even a Cadillac or two. This is a 1950 Talbot-Lago.

The clean, sleek 53-54 Bourke-Loewy Studebaker got all gummed up for 55, but was still light years ahead of the competition.

Studebaker, using the service of Raymond Loewy and his talented staff, kept turning out sleek and moden designs... that just didn't sell. This 1963 Avanti (as the 55 Commander above) still looks modern today.

Nothing says SMILE! like a 1950's Buick!

1940 Cantrell Bodied Packard. The wood on this car is immaculate.

Rare beauty from the golden age of stock car racing. Ford built about 750 of these aerodynamically enhanced Torinos for racing. Most were raced, but at least 500 had to be built for sale to qualify. I had never seen one in person before.

From the smaller end of the spectrum came this 55 Nash Metropolitan. Sentimental favorite for me, as I learned to drive a column shift on one of Chuck Gooden's many Metros. I think the one I drove was yellow and white. There were 3 Metros at the show.

Hotter than hell at the show, but it always is so that was nothing new. 206 some cars were in the show. I didn't stay to hear the best of show winner, chosen as a people's choice award. But I bet the Pierce got it. The KC Star has a few more pics, here.

Reaching Tilt Level

2010-06-25T07:31:00.007-05:00

Is anything easy anymore? Does anyone care? Is "service" just a cruel joke to relieve us of our hard earned money? Is business so damn good you can just piss off or ignore your customers at will? And really, is the anniversary of the death of that clown Michael Jackson really more important than the on going gulf oil disaster, the fucked up wars, the continuing nightmare of the US political landscape...???

With frustration levels above the "tilt" level for many, it is no wonder so many Americans are on anti-depressants, beat their families, kick their dogs or go completely Howard Beale and join the Tea Party. I am about at that level, but rest assured, I have no intentions of drinking the tea; more of a coffee guy here anyway.

With the world on edge, it takes little to send one off into rant-and-rave land. Case in point: after 6 years of good service, I am going ballistic over my dry cleaners. They lost one of my favorite and expensive shirts last week. I was going to wear it at a funeral this past weekend, but since it was first, late in getting back and second, lost in laundry purgatory I had to change plans. So do you think they care? On the surface, maybe. I gave them a week and then inquired yesterday. Nothing. I don't think they have even looked. The clerk, who knows me as a regular customer, told me she "has to light a fire under their butts" when something like this happens. It could take months she said. So maybe by the time I need it again, it will reappear. Meanwhile... I am looking for a new cleaners.

This was combined with a second hassle-fest regarding setting up a new Dr apt. My old clinic was so swamped that getting an appointment was as about as likely as winning Powerball. So I was referred to a local Doc who had an office near by only to find out he had closed it and went to online consultative services managed by "HelloHealth".

With a name like that I should have been suspicious but I decided to play along. On Monday AM I registered, set up an appointment and then went on with my morning online routine which involves checking my bank account at UMB. Imagine my chagrin finding that within a few minutes, "HelloHealth" had tied up over $100 in charges on my debit card. I canceled everything and wrote to them to take the charges off. "Oh, don't worry" came the somewhat condescending reply on Tuesday, "these are just pre-authorizations and will go away soon". It took them until Friday and now I am being billed for $25 monthly service fee. MESS! And I never talked to the Dr at all. So here we go for round 2.

Internet, automation, cell phones all that was supposed to make things easy with around the clock instant access. Yeah, that can work just fine until something goes wrong Then you find you are thrust headlong into the virtual reality world of cyberland, whatever that is. Try to reason with a computer or an email service... it will drive you to drink. Well... try to reason with a human anymore... that does about the same.

Maybe I should just join in and do shoddy work, make excuses, ignore people (I am still waiting for a fellow to come out and give me a bid on my roof, I know I will never see him, guess he didn't need the business.... oh yes, my elevator emergency light battery and a call back from the insurance agent too,) and generally not do a thing until someone calls me on it. Seems to work out for a lot of folks.

When all seems frustration and despair, there can be a ray of light. I was perusing the Land's End catalog and noticed again some stylish and colorful summer Madras shirts, now on sale and with free shipping. So I went online to order one. The one I wanted said it was back ordered until June 14th. Since it was June 21st the day I was ordering, I wondered if it was actually available. So I called their number to inquire. Amazingly, a nice lady answered live on the first ring! No "press 1 for English" or "listen carefully as our menu options have changed" a real live person. She checked and sure enough the shirt was still on back order and probably would not be available again this summer. But, she went on, here are the colors immediately available in your size. My second choice was available but in very limited quantities. "Here, let me order it for you know while you are on the line," she offered. And I did. And it is on the way.

See it isn't that hard to do good business. Unlike Plaza Ford Ideal Cleaners and HelloHealth, Land's End has my business. Hopefully for a long time.

Electric

2010-06-21T07:48:00.001-05:00

Testing how much you remember from your science classes:

Coffee Spill, BP Style

2010-06-19T07:15:00.005-05:00

How BP execs deal with a coffee spill

Marvin Parker Memorial Garden 2010

2010-06-18T13:55:00.005-05:00

The Marvin Parker Memorial Garden is in full bloom this season. Many of the same gardeners returned from last year and some new ones added as well.

This year, Greg and the Parker sisters worked on getting a flower garden started on the slope heading up to the garden proper. The Parker Sisters' flowers are filling up the east slope:

Each gardener has a plot if they want or can help with the chores and take from the community plots. This is a garden of lettuce and broccoli towards the front of the garden. Several gardeners have harvested some early broccoli, some let it go to seed not paying attention.

Sue has a nice stand of bush beans this season!

My string beans are heading up the pole. These were from seeds from last year's beans.

I am trying fennel this year. Growing like a weed, but I know not a thing about it. On the bottom of the picture are my peppers, I have picked 3 already this season. You may see some thin, blade-like plants between the frilly fennel fronds and the eggplant. Those are leeks... I hope.

These are the start of a whole field of eggplants in my plot. I have regular size and some of the Chinese ones as well.

Not pictured are some Italian bush beans, some shallots and a lone Roma tomato plant that came up volunteer from last year.

So far plentiful rain has fallen in between plentiful sunshine so we are hoping for a bountiful year again this season.

Final 10

2010-06-16T07:50:00.002-05:00

The countdown has begun. I said a while back that I would do 1000 posts here on Puggingham Palace/Pato News and this one makes 990. So the final 10 are approaching.

I may stop completely, I may go on a long hiatus, who knows? Keeping up the blog is now a chore, not a joy. I stare at the blank page and then get up and go on to do something else. Many of the topics I used to love to rant about do not stir my creativity any more. Politics makes me vomit, church is nothing, the dog does little but sleep and eat, the car sits in the lot, concerts are over for the season, and frankly nothing inspires me. So like The Mary Tyler Moore Show, my favorite TV show ever, I want to quit while I am ahead.

Many years ago, I was inspired to start journaling. Sadly, most of my scribbles dating back to the 70s are unreadable; penmanship was never a strong suit of mine. Some Volumes are lost, I fear, as I have not been able to locate them. Looking back can be fun but looking back can also be depressing if you feel you have not made any progress. Most of the time I revel about how silly I was and how things that looked like disasters were just ripples.

So, few dear readers, look for the final 10. Probably not much earth shattering, just me making my way through it all.

AHT: "The Dixie Swim Club"

2010-06-11T07:54:00.006-05:00

Greg and I are creatures of habit, especially when it comes to the regular American Heartland Theatre productions we have attended for the last few years. Greg picks me up at 6, and off we go to the Crown Center for the evening. We park in almost the same spot right by the theatre level door and head off to the Streetcar Named Desire for dinner. There we both order the pork tenderloin with extra mayo and fries (I get onions he doesn't), scotch and water to drink and sit at the same table with usually the same waitress. Greg always gives me his pickle. A stroll to the theatre upstairs, order scotch and water from our favorite bartender Mark, and wait for whatever we are going to see. Last night was no exception but we were hatching plans to escape at intermission if "The Dixie Swim Club" (billed ominously as the "Next Steel Magnolias") was more than we could handle.

"Chick" plays or "Chick Flicks" usually are crashing bores for almost any member of the male population. Greg and I are hardly the most typical of men, neither of us are big fans of loud, obnoxious, boorish films or whatever and we both say please and thank-you a lot. Nevertheless, we considered if we were going to order an intermission drink in case we fled the show. We decided what the heck and planned for the whole evening.

Danm glad we did.

"The Dixie Swim Club" is a typical AHT play, breezy, light hearted, intimate (the theatre is small and it is easy to feel right on stage with the actors, plus we feel we know most of them through their regular appearances) and well paced. The plot is simple: 5 North Carolina ladies from a college swim club get together each August at a beach house for a reunion.

Sheree (the wonderful Cathy Barnett) is an annoying hyper-organizer who gags her friends each year with inedible health food snacks. Cheryl Weaver is Lexie, a Blanche Du Bois type with a husband-du-jour. Accident prone Vernadette (the fabulous Debra Bluford) lives a trailer-trash life with a no-good husband and a kid with a mile long rap sheet. The irrepressible Missy Koonce plays Dinah, an aggressive, martini drinking lawyer with no time for a social life. Finally there is Jeri Neal (Jennifer Mays), who became a nun but decided a worldly life was more her style completes the group.

The knee slapping one liners and silly situations fly like mosquitoes in the Okefenokee Swamp and frankly a less talented and looser ensemble would soon send "Dixie" into a proverbial comic swamp. But these ladies have impeccable timing, talent to burn from subtle glances and raised eyebrows (Koonce is a master at this, even when she was not speaking, her eyes, posture and gestures spoke volumes) to over the top theatrics (Vernadette's hilarious paean to the biscuit is a show stopper) which elevates the simple material to an outstanding comic production.

As the play takes the ladies from their 40s into their 70s, a bit of drama creeps in as regrets, illness and death take their toll. But thankfully it does not descend too far or get as sticky sweet as a Georgia peach and leaves the audience with a light hearted exploration of friendship.

Keeping the feeling of an intimate, friendly theatre, the actors in each show assemble to greet the audience. Since Greg knew Missy Koonce well and I had met her, we decided to drop in. I guess I made an impression on the cast as I laughed my ass off in my front row seat. I was treated to an impression by Cathy Barnett of my reactions. She was dead on.

A real treat, so we were glad we stayed and recommend "The Dixie Swim Club" for y'all to see, including the menfolk.

Dixie Swim Club through June 27 AHT

Kansas City Symphony: Russian Fireworks

2010-06-06T17:54:00.009-05:00

The Kansas City Symphony ended its season with a more conventional program than those of late. Three Russian/Soviet favorites were on tap: for an overture, the witty Colas Bruegnon Overture by Kabalevsky, the ever popular Tchaikovsky Piano Concerto #1, and the Prokofiev Symphony # 5. Music Director Michael Stern was on the podium, with Vladimir Feltsman piano in the Tchaikovsky.

Of all of Kabalevsky's many works only a few such as the Colas Bruegnon Overture, the Comedians Suite and occasionally one of the concerti are heard today, in contrast to the popularity of his contemporaries Shostakovich and Prokofiev. Of the three, Kabalevsky was certainly the more conventional and managed to stay out of trouble with the authorities. Although he was on Zhdanov's famous list, he escaped with nothing more than a warning.

Colas, a 3 act opera about a year in the life of an irrepressible French wood carver and the characters in his village, is a witty and vigorous piece, a perfect festive opener. Stern and the orchestra gave it a sparkling and enjoyable performance, marred only by some over aggressive brass in spots.

Feltsman certainly has an affinity with the Tchaikovsky, as any Russian pianist should, thus his formidable technique and his love for the music was on full display. Unfortunately, his technique and enthusiasm made Feltsman a bit of a pounder in this performance, something the music needs in some spots (the opening of course) but less of in the middle movement and the more lyrical second theme of the sprawling first movement. The big movement seemed to bog a bit as it went along spinning out theme after theme, but Feltsman and the orchestra whipped up a stunning ending that left the orchestra and audience breathless. They received one of the longest and most enthusiastic mid-work rounds of applause I ever encountered. Feltsman, bemused at first, won the audience over with his encouraging gestures. Stern made sure the audience knew there was more to come.

The sweet second movement was appropriately languid and almost impressionistic in the simple A section and lovingly dance like in the middle. This was the most successful movement as Feltsman demonstrated that his technique and power could also gently rock and sing.The brisk, frolicking finale benefited from Feltsman's power and drive, so much so the orchestra struggled some to keep up. The usually fine KC Symphony winds added some wonderful color throughout, but the strings were feeling a bit underpowered and disengaged, especially as the work progressed. Still the large and appreciative audience gave all a hearty accolade.

The mighty Prokofiev 5th received a brisk, damn the torpedos performance bringing out the underlying tension of this powerful work written in the waining days of WW II. The winds had a field day with Prokofiev's shrieking and motoric writing. Stern milked the brooding and turbulent 3rd movement most effectively, allowing the finale to propel the work to a blaze of fireworks at the conclusion. My only disappointment there was the way too understated, manic "clockwork" passage just before the final cadences. I was told that the orchestra was particularly uncomfortable due to some awful humidity that seemed not to succumb to the theatre air conditioning. Thus they played the Prokofiev without jackets. Perhaps the heat and humidity contributed to a performance that seemed relentlessly rushed in spots and dotted with some rough entrances and ensemble. Nonetheless, it was basically a convincing and powerful performance of this symphonic masterpiece and a fitting end to the season.

I look forward to my usual balcony Row G 7 seat next year for the Martinu 4th, Berlioz Harold in Italy, the US premiere of Avner Dorman's "Frozen In Time" Percussion Concerto (which I got to hear a preview performance courtesy of this most charming and friendly composer, the Sibelius Violin Concerto with Hilary Hahn, Jonathan Biss in Brahms and Stefan Jackiw in Bruch, among other great pieces. And foremost, the last full season in the lovely but uncomfortable and acoustically lousy Lyric Theatre.

Sheer Nun-sense

2010-06-03T08:36:00.003-05:00

Ah, hypocrisy reins in the Roman Catholic church. An Arizona Bishop has excommunicated a nun who approved an emergency abortion for a woman suffering from pulmonary hypertension. She and the 11 week old fetus would have died. Basically being pregnant was killing her, the baby would not have survived either.

The Bishop, a patsy for the ass kissers in Rome, took his high horse road and excommunicated everyone, pleasing no one but The Pope.

The article asks a very pertinent question. Why was such swift action taken on this when abusive priests were and are permitted to keep all their rights and privileges in the cult?

Damn glad I am not a Catholic.

Nun Excommunicated

Another One

2010-06-02T15:37:00.004-05:00

Ford Motor Co. board voted today to end Mercury vehicle production in the fourth quarter. Thus the up and down life of Ford's middle child comes to an end.

The fate of the 72-year-old Mercury brand, born as an upscale Ford in 1939, has recently been in question. Thus this announcement comes as little surprise. Mercury sales peaked in 1978 at more than 580,000 vehicles but have been declining ever since. Ford sold about 92,000 Mercurys last year. That was a good year for a Grand Marquis in the 80s, not counting the other models in the line up.

In the 40s and 50s Mercury was more of a baby Lincoln rather than a Ford. The unique bathtub Mercs of the 50s (think any low slung hot rod you have seen) were more related in style to the Lincoln Cosmopolitans than the Ford Tudor. Same with the late 50s when the Turnpike Cruiser was the most Buck Rodgers thing on the road. In the 60s, Mercury suffered along with many of the mid class rivals and became more upmarket Ford than baby Lincoln. Its best years were the 70s, when the Monterrey model was closer to Ford and the Marquis was a step below a Continental.

The most well known Merc was the Cougar, itself a spin off from Ford's Mustang. Cougars were suave, sexy and luxurious and above all successful. Cougar's cat emblem virtually identified all Mercury autos for a generation, where one could buy one "a the sign of the cat."

Even then one could see the problem that eventually spelled doom for Mercury. None of its cars were unique, none screamed Mercury. Even when there was a unique Merc (that is one not sold by Ford dealers) it was a derivative of some other Ford product. Those include the German "Merker" of the late 80s and the awful Australian Capri. Mercury got a mini van care of Nissan whose "Quest" was re-badged and slightly restyled as the Villager. Thus the badge fought annually for relevance, only the long in the tooth Grand Marquis keeping it afloat.

In the last few years, Mercury became even more irrelevant. All products were nothing but re-badged and disguised Fords, from the Milan (Fusion) sedan to the SUV Mountaineer (Explorer). Those between 75 and death will have to get a-hold of their last available Grand Marquis soon.

I owned one Merc, an exasperating 1986 Grand Marquis with few miles but a nagging engine problem that led it to an early grave. Rode like a dream and was solid otherwise. My friend Steve had an 84 that we took to Cleveland and back in the late 90s. Great car.

So another great name joins the ranks of cars consigned to the dustbin. Times have changed, the old multi-layer marketing plans that relied on a customer being loyal to a brand and moving upscale as they got older and more wealthy just doesn't work anymore. Life has been tough on the middle kids; Olds, Pontiac and now Mercury. Who's next?

Some say Chrysler may drop the Chrysler brand and go to Dodge and the new Fiat made cars.

Tough time to be a car fan.

Mercury 1939-2010

Fatwa!

2010-05-29T18:50:00.001-05:00

I shake my head in wonder.....

Fatwa issued that would have allowed women to breast feed their male colleagues so they could work together!

Literary Masterpiece

2010-05-28T21:38:00.008-05:00

There is a literary masterpiece that every serious reader should know, but sadly out of print in its purest, original form. I am referring to the original 1961 Craig Claiborne "New York Times Cook Book". Coming the same year as Julia Child's "Mastering the Art of French Cooking", these two books opened new worlds for the average US cook. Reading through these wonderful recipes provides credence to the idea of a superior being. You can see that an omnipotent mind created the basic ingredients that when combined with human creativity and curiosity produces a piece of edible art.

The NYT book is, of course, broader in scope covering many cuisines and styles than Julia's. Some recipes are startlingly simple, for example the one for corn on the cob. Some, like the elegant Aubergines a la Boston, are more complex, but always well thought out and easy to follow, You can recreate a Brazilian Feijoada that was served to the great composer Heitor Villa-Lobos, make a traditional, classic and quite easy Chicken Kiev (in 1961 that dish was quite exotic), serve a delicious and unique black beans in rum, or find a good recipe for Sauerbraten (there are actually two in the book).

And so much fun to read with a genteel, elegant prose. The garlic in a Ratatouille Nicoise is to be added "..according to conscience and social engagements". For Lobster Americaine (Lobster in a tomato sauce with cognac) Claiborne argues that "American chefs say it was created by an American and the French say no such thing, unless it was a French chef lured to the US by the Yankee dollar."

Dear Craig misses the boat when it comes to his inadequate gumbo recipe which does not include celery or bell pepper, two parts of the "holy trinity" that are required (I think by law) for a proper gumbo.

In 1990, the book was revised and to me lost so much of its character. Some 40% of the recipes were replaced and many others changed. I am sure today's chefs look at these recipes as unadventurous, bland and utterly boring. I say to hell with their raspberry-garlic reduction coulis and constant tinkering with tradition; this is good cooking. Maybe not what mama used to make, unless you were on the Park Avenue side of life, but grand, tasty dishes considered gourmet and classic when the world was a bit simpler.

If you ever see one, grab it.

Drill, Baby, Drill!

2010-05-27T08:26:00.006-05:00

Hey Sarah!! How's that drilly, spilly thing working for ya? ;)

addendum:

This was left as a comment but I thought it was worth posting:

RIP Art Linkletter

2010-05-26T16:12:00.003-05:00

From the "I thought that person died 20 years ago" file:

Art Linkletter dead at 97

BBQ Jesse Mae Style

2010-05-25T20:30:00.002-05:00

One of my favorite memories as a kid is that of the frequent BBQs my neighborhood had. Our little cul-de-sac loved to eat. Someone would start a grill and before you know it, salads, vegetables and beer would arrive and the party would start. The best ones were when Jesse Mae cooked.

Jesse Mae was a sort-of Southern Belle. Born in Cairo, Il (pronounced Kay-row) she was just enough genteel southern to be a bit exotic in our lilly white neighborhood. And damn she could cook. Nothing fancy, but great BBQ, salads and all that I can still taste.

The one gift I have from this remarkable lady is her BBQ sauce. Trust me, no Gregory Court BBQ was complete without it. I asked my sister to find it for me and sure enough, mom had written it down. Simple, tasty, totally unhealthy.. but damn... it is like home.

I am going to make a batch and use it this summer to remember when I was just a goofy kid, enjoying life in the suburbs.

Jesse Mae Perks' BBQ Sauce:

1/3 lb lard

2/3 qt vinegar either white or apple cider

4 tbs salt

3 tsp black pepper

2 tsp cayenne pepper

2 tbs paprika

Melt lard in large pan. In qt jar add all dry ingredients to vinegar and shake well to blend. Add the vinegar mix to the melted lard. Cook 15min until thicken. DO not boil.

Brush on chicken or chops.

The best.

Kansas City Symphony: Higdon and Hindemith

2010-05-22T08:24:00.011-05:00

If you believed the big media build up, this weekend's Kansas City Symphony concert was all about:

1) The local premiere of recent Pulitzer winner Jennifer Higdon's "The Singing Rooms" for violin, chorus and orchestra.

2) Ravel's Bolero.

Me? I came for the Hindemith Nobilissma Visione Suite.

Debussy's "Prélude à L'Après-midi d'un Faune" (that is fun to type) opened the concert. Michael Stern conducted with Jennifer Koh violin and the Kansas City Symphony Chorus in the Higdon.

As the Higdon work unfolded, I drifted in thought to the 1936 article in the Soviet newspaper "Pravda" that condemned Shostakovich's opera "Lady MacBeth of the Mtsensk District" as a "Muddle Instead of Music". They could have been talking about "The Singing Rooms".

Based on poems by Higdon's Curtis Institute colleague Jeanne Minahan Mc Ginn, the composer described the piece as a "house where the violin sings, the chorus sings and the orchestra sings." But, as in a house inhabited by too many people, there was just too much going on and too many family members fighting each other for attention. The percussion banged, clanged and clinked with every sound imaginable, a full orchestra and chorus filled the stage to overflowing taking turns overpowering each other. Plus the incredible virtuosity of Jennifer Koh had to fit in now and then. Thus this massive piece, about 30 minutes duration, went nowhere slowly.

Higdon goes on to state that "every room has its own sound world". Could have fooled me. The sections "Three Windows: Two Versions of the Day", "Things aren't always", "The Interpretation of Dreams", "Confession", "History Lesson". "A Word With God" and a reprise of the "Three Windows" poem, all sounded quite the same. Each section could be characterized as featuring similar declamatory choral lines, lots of percussive effects and Koh sawing away at the violin. Higdon obviously lavished great attention on the choice of texts, but then buried them in the mix as the chorus was mostly unintelligible. A tender dialog between the cor anglais and the violin about 3/4 through the piece was a rare highlight as was a rhythmic battle between clapping percussion and the violin.

Thus I lay the blame for my dislike and the lukewarm reception of the piece mostly on the over ambition of the composer. The piss-poor Lyric Theatre acoustics, thick orchestration and some sloppy diction from the huge chorus certainly contributed to the blurring of the text and program. Frankly, I think the piece could work as a chamber piece for small chorus, ensemble and violin, allowing the listener to appreciate and follow the meticulously crafted program. Just a suggestion, Ms. Higdon.

The highlight for me was a coolly elegant and noble performance of one of Hindemith's masterpieces "Nobilissma Visione", a balletic retelling of the story of St Francis. Using 1/3 as many performers, Hindemith set the scenes of the conversion of St Francis from worldly playboy to the pious, humble saint more realistically and vividly than anything Higdon attempted in her much more ambitious work. Stern and the orchestra fully understood and communicated the restrained, rarefied joy and humility of St Francis as represented by Hindemith. The rich full strings and the excellent work of the violas (Hindemith was prejudiced you know), subtle brass and always excellent winds contributed to this most fine performance of a piece that is simply not heard enough. Stern has an affinity for Hindemith ( a fine "Symphonic Metamorphoses" brought the house down in his inaugural concert several seasons ago) and thus I ask him to please do the masterful Symphony in Eb some day.

The Debussy was a fine performance with a standout solo by flutist Michael Gordon and Stern's detailed attention to the many ebbs and flows of the piece.

And Bolero? As one expected, this brisk performance was a crowd pleaser. Spoiled only for me by a horn flub in the cleverly scored section for flutes, celesta and horn. Percussionist Christopher Mc Laurin received a well deserved accolade for his rock steady snare drum.

Service Without a Smile

2010-05-21T12:09:00.009-05:00

Along with the implosion of polite public discourse, political compromise and co-operation comes the end of customer service. It is dead for all practical purposes. No one cares, you pays your money and you takes your chance. If something is wrong, well good luck in finding someone who cares. Good luck even finding someone to provide service. And if they say they will do something... I give it 50/50 that they will.

I have so far been stood up by 3 different concrete contractors. My friend Amy has been stood up by three totally different one. I guess they are so busy in this booming economy that they do not care for my piddly little $2000 job. I made a call to a structural engineer firm, asked for a fellow by name, told his voice mail who had referred me and never heard back.... nothing. It is a 50/50 chance my roofer will come by after reminding him he promised to come by and look at a problem 2 weeks ago. (It seems he is on his way... we will see...). Please, if you do not want my business, then tell me so. I'll go quietly and not bother you. But if you say you do and then piss me off and I will be sure everyone I know will hear about you.

And then when you do get served.. well that is a different story.

Years ago, I worked my way through college as a waiter in a fine restaurant in my home tow, The owner was a bit of a stooge, but the manager was smart and went on to own several successful restaurants. He always told us that if a customer wanted something in reason, they were to get it. If they asked for bluefin tuna and we didn't have it, that was something else. No sauce on a dish.. no problem, a pepsi and vodka with a shot of gin... whatever floats your boat...

Last night at a fancy, jackets-for-gentlemen members only club the waiter got in to a heated argument with a member who was hosting a party (little ol' me got to go!) over how to make a Brandy Alexander. This guy was belligerent and even brought over an i-phone or some such device to show him that it was made with chocolate. The customer wanted one with just ice cream and brandy. That is the way I have always had them. Now, if it were me, he would have had it the way he wanted it. When I stated that I did not like chocolate, he did not offer to make me one without, he simply said it was that way or nothing. I passed until Scott raised a bigger ruckus. It was quite tasty but they forgot the nutmeg... I didn't want to start another war.

Sad that we have come to this. I blame the work environment these days for creating the throw-away employee, laying off at a whim to make someone else richer, cutting manpower to the bone, taking away benefits and making loyalty as rare as hen's teeth.

I don't have a solution.. well maybe I do. When I worked for a company that actually stressed and practiced customer service on a daily basis, we made money, we did well and I had less employee issues than in the past. So it can be done. It just takes a change from "making value for our stakeholders" (translate make our rich stockholders richer) to "doing onto others as you want them to do unto you".

Simple really.

Coupl'a Things XXXVI

2010-05-19T10:32:00.011-05:00

1) RIP Yvonne Loriod, French pianist and wife of the late composer Oliver Messiaen who died Monday, May 17, at the age of 86, after years of poor health.

Loriod was born on 20 January 1924 near Paris. She had piano lessons from childhood, as did her sister Jeanne, four and a half years younger. Jeanne Loriod, who died in 2001, became a leading exponent of the electronic instrument the ondes martenot. Long regarded as a brilliant pianist, Yvonne giving monthly recitals as a young girl and by 14 she knew the whole of Bach’s “Well-Tempered Clavier” and all 32 Beethoven sonatas.

Yvonne was Messiaen's second wife. He had fallen in love with her when she was a teenage student of his at the Paris Conservatoire and she was his muse for five decades (they only married in 1961 after the death of Messiaen's first wife, in a sanatorium, after many years of mental illness). Loriod's playing was the inspiration for music from the gigantic cycle Vingt regards sur l'enfant-Jésus, for solo piano, to the piano parts of orchestral pieces in the Turangalila Symphony and Des canyons aux étoiles. She also specialized in modern French piano music, being a leading proponent and performer of the piano works of Pierre Boulez.

2) Happy Birthday to Overland Park, KS! On May17th, 1960 voters in the Mission Urban Township approved the motion to form a city, which was made official on May 20th. Just 50 years ago, this sprawling suburb was mostly farm and field. Now it is the second largest city in Kansas behind Wichita with over 175,000 people. When it officially incorporated as a city, it had less than 29,000. Despite the late blooming, it quickly overtook older suburbs such as Olathe, Prairie Village and Lenexa and passed by state capital Topeka and Kansas City, Kansas in population.

We would sometimes like to, but we could not live without you OPKS? Maybe we could with out many of your drivers who never seem to know how to signal or what "one way" means and some of your politicians as well. You are vital to the area and you know it. So enjoy your birthday. Are they serving cupcakes? (inside joke to KC area people.. we sometimes call OPKS and its county "Cupcake County")

Anyway...many more!

3) Move over Susan Boyle, 80 year old Janey Cutler is this year's sensation from Britain. What is with these spunky Scottish ladies and their singing? Must be the pubs and scotch.

Janey Cutler - Britain's Got Talent 2010 - Auditions Week 4 @ Yahoo! Video

Kansas City Symphony: Vienna 1785-1911

2010-05-16T07:14:00.010-05:00

Associate Conductor Steven Jarvi, now in his second year with the KC Symphony, got his (official) chance to conduct a subscription concert this weekend. I say official as he was pressed into service last season when Music Director Michael Stern was indisposed. Jarvi, a student of Michael Tilson Thomas and the New World Symphony in Miami and no relation to the other Jarvi musical family, chose a concert highlighting the music of Vienna from 1785 through to the end of the empire and the advent of Schoenberg and his "Second Viennese School". Music of Mozart, Schubert, Mahler and Richard Strauss comprised the demanding concert.

The only major disappointment of the evening was the opening Schubert Rosamunde Overture. The stiffly foursquare, totally forgettable run through was redeemed a bit by Jarvi's slashing, brash work up of the final pages, thus at least ensuring a brisk round of applause.

Much better was the Mahler Adagio from the Symphony # 10 that rounded out the first half; a performance that was a thousand times more committed and passionate than the Barenboim/Staatskapelle Berlin performance I heard in New York almost exactly a year ago. Jarvi spoke eloquently about the work before the performance, giving the audience a taste of what was going through the bitter, dying composer's mind at the time and demonstrating his own passion for the music.

The performance was quite excellent, marred only by some string intonation issues (usually in the fiendishly difficult pianissimo upper registers the composer demands) and a bit too aggressive brass. Unfortunately, when they were actually called upon to be brash, the trumpets bobbled their high-pitched blasts. But on the whole, Jarvi mastered this most incredible piece of music and notably negotiated the subtle change of gears in this long lined, linear work more successfully than Barenboim. The adagio is not a splashy, colorful work, so it is imperative that the tempo relationships are adhered to so as to provide some contrast and movement. Jarvi understood that was the key to bringing this movement to life.

My friend Gerry, who was with me for the concert, was bemused at my lack of applause after the performance. "You said you adored this piece... was it not a good performance?" "Frankly, it was excellent," I responded, "but you know me, I am old fashioned and thus do not clap between movements." So, with a quite successful Adagio under your belt, Maestro Jarvi, please tackle the completed Mahler/Cooke 10th. There is so much glorious music that should be heard more often. Yes, I know the second scherzo is somewhat of a mess, the first scherzo is a bit clunky and Mahler would have likely pruned the finale a bit... but damn what a symphony and I promise I will applaud.

Jarvi and the orchestra were at their height in the second half. Pianist Simone Dinnerstein joined the orchestra for the Mozart Piano Concerto # 21 in C K 467. Showing our age, Gerry and I were both surprised no mention was made in the notes of this being the famous "Elvira Madigan Concerto", springing from its use in a 1967 film about the tragic Swedish tightrope walker and her doomed love. We figured it was because many in the audience were not born by 1967 and had never seen or heard of the now obscure film.

In a previous recital by Dinnerstein, I noted her cool and somewhat detached style combined with a formidable technique. This style worked well in this swift, yet totally classic performance of this masterpiece. I was a bit put off, however, by Dinnerstein's splashy cadenzas. Although technically brilliant, to me they clashed with the simple elegance of this noble concerto. The KC Symphony winds and strings provided a most deft and perfectly balanced accompaniment, adding to the cool grace and elegance of this satisfying performance.

Bounding on the podium with a flourish (delighting his female cheering section seated to the left of me), Jarvi concluded his concert with the suite from Richard Strauss' "Der Rosenkavailer". The KCS horns were in full bloom tonight, contributing to a well turned performance that tended to drag just a bit as Jarvi swooned over and milked some of the more juicy waltz melodies. But the audience loved this crowd pleaser, bringing a well thought out concert to a close.

Sadly, this was the last performance with our wonderful concertmistress Kaniko Ito. Ms Ito's husband, Martin Storey, has landed a plum job as principal cello with the BBC Scottish National Orchestra and thus Ito will be moving on to Glasgow. What a loss for us. Godspeed Kaniko!

Coupl'a Things XXXV

2010-05-14T11:21:00.008-05:00

1) I note with now more pity than outrage that The Pope Formerly known as Cardinal Ratslinger calls abortion and same-sex marriage two of the most “insidious and dangerous” threats facing the world today.

Never mind about war, famine, disease, poverty, priests fucking children for sport and that little problem of terrorism. Of course the Catholic Empire can not do anything about the above and in many ways has been the leading cause of much of it throughout history. So the mighty, god ordained Vicar of Christ, picks a couple of issues of which he can not find a shred of evidence that they have caused more harm than war. Really, is same sex marriage all THAT insidious, or are you just pissed, Pope Nazi XVI, that you can't get married to your sweetie, Cardinal Fang?

There are more people in the world than not who feel the Roman Catholic Empire is among the most “insidious and dangerous” threats facing the world today.

Kick this fucker to the curb.

2) On a lighter note, I can only wonder about the chain of errors that occurred within the US Postal Service that resulted in a letter from a business to Chicago addressed to a business in Salem, New Hampshire appearing in my mail box.

3) Bad day for nudity in Missouri. Despite record unemployment, a state budget cutting essential services, a justice system out of control and myriad of other problems, the legislature led by Matt "Needs to Get Laid" Bartle R-La La Land, banned nudity from strip joints and basically makes it so difficult for them to operate that most will shut down. What will all the poor single moms and college slut ladies do now? What will all the married dads, drunk boys and truckers do for entertainment?

4) No wonder I drink too much.

Adieu KFUO

2010-05-10T20:10:00.006-05:00

Another sad farewell to an institution that has served its community well for 62 years. KFUO FM radio, St Louis' only classical music station, will cease broadcasting classical music in the next few weeks. Owned by the Lutheran Church Missouri Synod, the station was sold for 26 million dollars to, of all things, a Christian Music broadcaster Joy FM.

Many in the arts community, disappointed LCMS members, listeners and even local politicians battled what seemed like a foregone conclusion that St Louis would lose this radio treasure. The church did everything to block any other group besides Joy FM from bidding on the station's license. For example, a group of donors to the listener-supported station attempted their own effort to purchase the station and keep classical music on the St. Louis radio dial, but the group couldn't come up with as much money as offered by Joy FM.

One of the reasons for that could be that the church refused to provide the donor group a copy of the term sheet for the station. Thus the controversial and high powered attorney and LCMS Board member from Omaha Kermit Brashear could shepherd the sale through the approval process and claim no one else was interested. The sweetheart deal means Joy FM only pays $3 million up front and the rest over many years. Who knows if they will ever get the full $26 million.

Even though I no longer live in St Louis, 99.1FM was set on my car presets so when I traveled back and forth from Illinois to Kansas City, I would have at least an hour or two of excellent music. KFUO also played a wide variety of good classical music, not just short baroque pieces and excerpts. At Christmas, I could hardly wait to get in range to hear their continuous Christmas music broadcasts, so much better than the pop crap that permeated the dial. I got to know the announcers, Tom Sudholt, Ron Klemm, Dick Wobbe and John Clayton and could recognize their voices. Even though I heard them rarely since I left St Louis, they still seemed like old neighbors.

But no more. Greed wins out.

KFUO 1948-2010. Thanks for everything.

LCMS 1847- thanks for nothing.

Leave It To Beavers

2010-05-06T08:56:00.003-05:00

I am bemused today by reports from Alberta, Canada of a giant beaver dam so big that it is visible in NASA and Google satellite photos, giving it a certain cachet along with the Great Wall of China and the Panama Canal. Supposedly Sarah Palin can see it from her window.

The dam is situated in northern Alberta's Wood Buffalo National Park and stretches about 1/2 mile deep in the forest.

Busy little beavers they are, using just their instincts with no government money or environmental oversight, the dam has been a work in progress since the 70's. Canadian citizens, with their usual good humor, were proud of the accomplishment of their furry mascot accompanied by cheers of "own the podium!" and a sense of pride that the structure was one of the most impressive things ever built in Canada. Some were wondering, however, if this dam thing was not the work of one giant beaver or maybe a conspiracy of rodents to take over Alberta. Perhaps a government plan to produce "green" power by installing generators.

Any way, here is the pic. I am assuming the large brown thing is the dam.

Beaver Dam

Salt of the Earth

2010-05-04T21:31:00.004-05:00

Supposedly, Henry Ford (not sure if it was HF I or HF II) would always take a new executive prospect to lunch. If he/she salted their food before tasting, he would have reservations about hiring them. Mr Ford seemed to think these people would act before getting all the facts and thus be a risk.

I probably would not be hired.

BUT I am getting better on cutting back on the old salt, just a short twist of my handy dandy salt grinder and I am usually fine. Unfortunately, being of the single set and a work at home person to boot, I eat out a lot. It is easier, faster and sometimes even cheaper than a home cooked dinner. And with a Micky D's up the street, it is so tempting to count out a couple of bucks and get two warm, ready to eat sausage and egg burritos for $2 than it is to prepare a fake egg omelet and turkey bacon. I am sure it is loaded with salt too, probably what makes it good.

But upon reading an article about the most salty food in the US (thankfully my burritos did not make the list) I think the old fake eggs and turkey bacon may just make more appearances. Plus, with a new used copy of the fabulous 1961 New York Times cookbook in my possession, I have all sorts of new things to try.

10 Saltiest Restaurant Meals

1. Chili’s
Jalapeno Smokehouse Burger w/ Jalapeno Ranch (6,460 mg)
Mashed Potatoes w/ Gravy (1,050)
Seasonal Vegetables (490)
Total sodium: 7,770 mg

2. Chili’s
Buffalo Chicken Fajitas w/ Tortillas & Condiments (6,290)
Bowl Black Bean Soup (1480)
Total sodium: 6,950 mg

3. Denny’s
Meat Lover’s Scramble (3,180)
Hash browns with Onion, Cheese and Gravy (3,820), Small Milk (100)
Total sodium: 6,165 mg

4. Red Lobster
Admiral’s Feast (4,400)
Caesar Salad w/ Caesar Dressing (1,120)
Creamy Langostino Lobster with Mashed Potato (1,110)
Cheddar Bay Biscuit (350)
Light Lemonade (55)
Total sodium: 5,925 mg

5. Olive Garden
Tour of Italy (lasagna) (3,830)
Breadstick (with garlic-butter spread) (400)
Garden Fresh Salad w/ House Dressing (1,930)
Coca Cola (5)
Total sodium: 5,725 mg

6. Olive Garden
Chicken Parmigiana (3,380)
Breadstick (with garlic-butter spread) (400)
Garden Fresh Salad w/ Dressing (1,930)
Raspberry Lemonade (15)
Total sodium: 5,320 mg

7. Denny’s
Spicy Buffalo Chicken Melt (3,820)
Vegetable Rice Pilaf (820)
Small Tomato Juice (680)
Total sodium: 5,090 mg

8. Dairy Queen
Spicy Chili Bowl (3,900)
Large French Fries (1,040),
Large Mountain Dew (150)
Total sodium: 4,625 mg

9. Arby’s
Large Beef ‘n Cheddar Sandwich (2,200)
Large Mozzarella Sticks w/ Marinara Sauce (2,380)
Dr. Pepper (Small Cup) (45)
Total sodium: 3,280 mg

10. KFC
Large Popcorn Chicken (1600)
Biscuit (530)
Macaroni & Cheese (880)
Jalapeno Peppers (480)
Large Lipton Green with Peach Tea (280)
Total sodium: 2,760 mg

10 Saltiest Packaged Foods

1. Hungry-Man
Grilled Bourbon Steak Strips in sauce with rice and green beans (one prepared meal)
Total sodium: 6,990 mg

2. Boston Market
Meat Loaf with Mashed Potatoes and Gravy (one prepared meal)
Total sodium: 5,680 mg

3. Maruchan
Instant Lunch Chicken Vegetable Soup (recommended serving = 64g)
Total sodium: 1,420 mg

4. Celeste
Sausage and Pepperoni Pizza for One (one pizza)
Total sodium: 1,230 mg

5. Rold Gold
Pretzel Rods, (recommended serving six pretzels)
Total sodium: 1,220 mg

6. Hormel
Chili with Beans (recommended serving one cup)
Total sodium: 1,200 mg

7. Jimmy Dean
Breakfast Bowl with sausage, egg, potatoes and cheddar cheese (one prepared meal)
Total sodium: 1,090 mg

8. Hebrew National
Quarter Pound Franks (one frank)
Total sodium: 1,070 mg

9. Oscar Mayer
Lunchables Lean Ham and Cheddar Cracker Stackers (one prepared meal)
Total sodium: 1,060 mg

10. Kraft Easy Mac
Microwavable Macaroni and Cheese Dinner (one prepared meal)
Total sodium: 1,050 mg

I think I could make a Chicken Parmesan without using 3,380 mg of salt.

HM's 11th Birthday Photos

2010-05-02T15:07:00.002-05:00

Some photos from HM's 11th birthday, taken by Royal Photographer Lord Snowpug:

Browsing the treats at Three Dog Bakery:

After Returning home:

Enjoying Sausage for breakfast in her fine silver:

The Sausage was a special treat:

2010 11th Birthday Official Portrait:

Royal Announcement

2010-04-30T06:30:00.002-05:00

Royal Announcement
Puggingham Palace

HM's Birthday Celebrations

Today, we celebrate the 11th birthday of Puggles Duchess Windsor, Queen of Pugs, Supreme Ruler of Alaska, Princess Royal of Baltimore Place, Grand Duchess of Missouri, Grand Duchess of Kansas City and St Louis, Duchess of Illinois, Duchess of Clinton, Baroness Pugtona, Royal Order of the Greenie and Treat, Grand Order of the Scrunchie, Knight Commander of the Royal Order of Kibble, Patroness of the Royal Pugharmonic Orchestra.

By Royal Decree, all Pugs in PugVillage, Alaska, Kansas City, all places mentioned above and everywhere HM sees and rules will get extra treats in honor of the Royal Birth. HM has further declared this to be a Most High and Wonderful, Grand, Fabulous Royal Day.

HM will be spending the day at the Palace, receiving guests and reading birthday wishes from all over the world. Later this PM, after a photo shoot from Lord Snowpug, she has ordered the Limo to take her to the Three Dog Bakery for her only public appearance and to receive her customary Birthday Big Scary Kitty Cookies.

We wish HM many more birthdays and a most happy one today.

~ Palace Communications

Teocali, Authentic Mexican

2010-04-29T08:21:00.006-05:00

When one works at or around home, a person feels the need to get out of the place now and then. So when most are returning home from a work place and want to cozy up in their own home, I am planning an escape. Thus I eat out more than I should. You would think that I would know every restaurant in town, but that is not the case. I tend to find a favorite or two and stick to my routine. Even in my escape from routine and familiar I tend to play it safe.

Thus my new favorite, once a week at least, hot spot is a charming, small and locally owned (usually my prerequisite for a good restaurant) Mexican restaurant, Teocali.

Teocali has been around since 2006, but I first visited about 6 months ago. A neighbor of mine suggested it to me in the past, but I was absorbed in Thai then and had no time for Mexican. When Greg told me about it, I remembered the ringing endorsement of my neighbor and decided to try it out.

Set just south of the sprawling UMKC medical complex and Children's Mercy Hospital, Teocali is bustling at lunch with all the doctors, nurses and students from the hospitals and medical school. The lunch specials are a bit cheaper and more routine fare such as tacos, burritos, taco salad, etc. than the dinner menu but are tasty, quick, fresh and with generous but not wasteful portions.

The owners state, both on their website and to customers personally, that the dishes are authentic and similar to the recipes used by their family for generations. The Gutierrez family is usually around while open and are always friendly and chatty. One can tell that the place already has a regular following.

Dinner menu is a bit more limited than some Mexican places, but that is fine by me as the selections are carefully prepared and sometimes off the beaten path. For example, one has to experience the unique Flautas Nortenas, a bit larger and not as dry as regular flautas, with a crisp flour tortilla wrapped around flavorful chicken and a tangy, smoky chipotle sauce. My friend Greg loves the sopes; masa patties layered with beans, meat, lettuce, tomato, monterrey cheese and sour cream, a variation on a traditional tostada. Last night I had some of the best carne asada I have ever had, tender and spicy with 6 plump, butter and garlic kissed shrimp, a bargain at $13.99. The fajitas are generous and full of tasty grilled meats and lots of onions and peppers. The ubiquitous sides of rice and beans are always flavorful and fresh. I have been less impressed with the burritos; the meat inside, whether chicken or beef is on the bland side. The chips and salsa (which they, like a growing number of restaurants do, charge for) are excellent.

My biggest quibble is with the margaritas. Strong, generous sized and tasty, but they are on tap and are often a bit fizzy. A carbonated margarita is not really my thing, but it does not stop me from enjoying them. However, last night there was not a hint of fizz and on some but not all past visits the fizz has been less noticeable. My suggestion: find a way to keep them easily on tap but without the carbonation. The bar is well stocked and features a slew of tequila which I have not sampled but looks impressive as I remember my tequila slamming days.

Tex-Mex fans will be disappointed in the lack of thick sauces, heavy cheese and hot spices. The flavors are more natural, smoky and lighter than the usual, which makes Teocali a special and unique treat.

Teocali is located at 2512 Holmes directly south of the UMKC Dental School and just east of Crown Center. Sadly, not open Sunday, my favorite day to go out, but open to 10 most nights for the late crowd.

Planned Obsolescence

2010-04-24T10:55:00.005-05:00

I remember the excitement when it arrived at my sister's doorstep. Just removed from Kansas City and a bout of unemployment, I had landed a job in the Chicago area. I was rooming with a friend in a clap-trap house in the wonderful suburb of Waukegan but was relishing the fact that I had some money again. My old computer had been eaten by a virus and was functioning erratically and totally unreliable. So I ordered a new Dell computer with state of the art memory processor, big new monitor and all the latest software preloaded. Paid a lot for it too. Since I was not sure how secure the delivery would be in Waukegan, I had it sent to my sister who was usually home.

Excitedly I came down that weekend, opened her all up and with in minutes had it functioning; dial up modem and AOL to boot.

Now, in about an hour or so.. she is going to be scrapped. I hate the throw away society we are in, but if the damn thing is now obsolete and I have no room to store it, what can one do? A local group is sponsoring a free electronics recycling day and she is going out there along with an old printer and a VCR, other remnants of obsolete machinery. At least I am not going to dump it on the street or in the trash, hopefully some parts or whatever will find a new use.

The big old CRT monitor is staying behind; they are so worthless they charge you to take them off your hands. Something tells me it may end up as a door stop, or in the trash.

Dell Dimension 8100 1999-2010 thanks for the years of service.

From Our Local Rag III

2010-04-17T14:09:00.003-05:00

This tidbit was in the online edition of Our Local Rag today:

"KC Goose is shot to death"

"A goose was shot to death near Trace County Park this morning. Kansas City Police dispatchers received a call today about shots being fired near Blue Parkway and 87th St.

When they arrived, they reported a goose had been shot and died.

A shotgun was involved (really, ya think so??), but no other information was immediately available."

Sad to see the journalistic standards of a paper go down so quickly. Of course since all the pros were fired or laid off, what does one expect?

Volcano!

2010-04-16T12:56:00.004-05:00

Click here and watch the Eyjafjallajokull volcano in Iceland do its thing. She has made a mess of flying all over Europe these last couple of days.

Ugly looking critter too:

To the Moon

2010-04-15T21:27:00.003-05:00

Apollo 11 Saturn V Launch (HD) Camera E-8 from Mark Gray on Vimeo.

Fabulous video of the launch of a Saturn V rocket carrying Apollo 11 to the moon, July 16, 1969. Basically old 16mm film slowed to a HD format. Do yourself a favor and watch on full screen.

Those were such exciting and heady days.