Three Best Recordings of the Year # 2 Steve Reich

I, for one, am glad to see some new classical recordings released on LP. Being of a certain age, I grew up on LPs and when I began collecting them again, I again relished the feel and heft of the big 12-in circles of vinyl. I have few new release LPs, they tend to be pricy, but every once in a while, it is worth it.

This Nonesuch release seems to retail for around $30 US, less than some I have seen. I, for one, to repeat that phrase, am a big fan of Steve Reich. Yes, I can not take hours of it, heck hours of Beethoven or Dvořák can drive me nuts. Maybe I am blessed with an ear that can catch the subtle changes as the piece goes on. I love the hypnotic rhythm and bright colors, a welcome contrast to some of the darker, heavy music to which I often listen. This is music to nod your head to, tap your foot and even conduct as if you are the maestro on the podium. 

This disc contains two works, "Runner" (2016) first performed as a choreographed piece in London and "Music for Ensembles" (2018) Commissioned by the Los Angeles Philharmonic and a consortium of other orchestras including New York, San Francisco, London, Sydney and Baltic Philharmonic. This and "Runner" are recorded by the LA Philharmonic, under the wonderful Susanna Mälkki, who gave the world premiere of "Music for Ensembles." 

The two works feed off each other. In the enclosed notes (O how I love liner notes I can actually see, rather than the microscopic ones on CDs) Reich tells interviewed David Lang that the works are indeed intertwined and that he wanted to compose a second "Runner." That he did, an extension of the previous work in the same format 1) Sixteenths, 2) Eights, 3) Quarters, 4) Eights, 5) Sixteenths. The arch symmetry and progression of pulse is perfectly realized. Not a real long disc, but just fun, colorful and well recorded. The vinyl was flawless and heavy, with excellent notes as mentioned. Minimalist fans, this is your “disc of the year!”

Three Recordings of the Year 2022 #1 "Invasion"

A Breath of Fresh Air: The 2022-23 Classical Symphonic Music Season in Kansas City and an Update!

Yes, my first blog entry since 12/2016. Even then there was only one for the year. Has it been that long? Guess so. Lots has happened since then.

1) I just kind of lost my muse; writing became forced and a chore. I would write something and then throw it out, unsatisfied at my ability to put thoughts to paper. I was doing some occasional writing for a web magazine but quit when a format change was made. Was just too much for me. I thought of going back and doing just topics of interest or musing/rants about life but that didn't work either. I was washed up.

2) Work at my former job got nuts. Lots going on, people always wanting something and never satisfied. I was so tired; I had no time to write.

3) Late 2019 I had a small stroke. It was not huge by many standards but affected by walking and balance. I had been suffering from stomach issues too, which just knocked me for a loop. This guy was getting old.

4) In April 2020 I had to retire, just as the Pandemic played havoc on live concerts all over theworld. There was nothing to write about.

So now, the concert world is getting back to business, we hope.

In KC, we are upon the last season for Kansas City Symphony Music Director Michael Stern, who is leaving after 18 eventful years. We got to hear a lot of great music during that time, witness the orchestra grow in stature and make some acclaimed records for Reference Recordings. Starting his tenure, Stern programmed much new and under-performed music. But as time went on, the repertoire settled on the standard classics, with scattered newworks here and there, most notably the wonderful works of Johnathan Leshnoff. I found myself less motivated to attend.

The 2022-2023 season features several guest conductors, many of whom are likely "trying out" for the position of musicdirector. Few are familiar to me, and I am still an avid listener. The guests seem to be bringing new and exciting works, most never heard here before to my knowledge.

Stern contributes the wonderful, seldom heard choral elegy "When Lilacs Last in Dooryard Bloom'd" written by Paul Hindemith in 1946, one I have not heard live. Walt Whitman wrote the poem in memory of Abraham Lincoln, when the country was still in mourning over his assassination. Hindemith used the poem to commemorate the death of Franklin Roosevelt. Moving, powerful, a profound work of genius, full of American spirit and pathos. Definitely hearing this one.

Guest conductor Teddy Abrams programs two incredible newer works, Caroline Shaw's "The Observatory" and Missy Mazzoli's "Violin Concerto" with Jennifer Koh as solo. Shaw's work, inspired by a trip to the Griffith Observatory in LA, is chaotic, colorful, calm and full of symphonic structure. Mazzoli's concerto was written for Koh in 2022. This will be one of the earliest performances of the work. Subtitled "Procession," the violin leads the ensemble through a series of escapades and healing spells. Not heard yet, but should prove to be a winner, as Mazzoli's music so often is.

Thomas Wilkins (one I have heard of as the long time Music Director of the Omaha SO and currently the Hollywood Bowl SO) brings us Samuel Coleridge-Taylor's "Suite from Hiawatha" drawn from his epic triptych "Song of Hiawatha" along with Gershwin and Nielsen. So admired was Coleridge-Taylor in the early 1900's that he gained the nickname "The African Mahler". Certainly one to hear.

Other notable works include Ligeti’s “San Francisco Polyphony”, Mason Bates’ “Garages of the Valley”, the late Polish Composer Grazyna Bacewicz’s “Overture” and Billy Childs’ Saxophone Concerto (a KCS co-commission,) both conducted by Ruth Reinhardt, plus Stern Leading “Five Freedom Songs” by Jessie Montgomery (another KCS Co-commission, Carlos Simon’s “AMEN!” and the Percussion Concerto by KCS favorite Adam Schoenberg.

Stern also conducts Amer’ican by James Lee II and “Jeder Baum Spricht” (Every Tree Speaks) by Iman Habibi early in the season.

Now….COVID….STAY AWAY!

But the biggest event I am looking forward to is the Kansas City debut of Marin Alsop with her Orquestra Sinfonica Do estado de São Paulo and a program of Rimsky-Korsakov’s “Scheherazade” and some wonderful, seldom heard works by the prolific Brazilian Hector Villa-Lobos.

We hear selections from “Bachianas Brasileiras No. 4 one of his series of works in homage of Bach, with a Brazilian flare (hopefully the gorgeous opening string only chorale Prelúdio (Introdução), the charming “Harmonica Concerto” and the exciting, more Brazilian folk inspired Chôros No. 10 ("Rasga o Coração") (Rend the Heart.)

The Choros, a favorite piece of mine, is scored for chorus and orchestra with a colorful, slower first half and a rowdy choral folk song 2nd half. Just exciting, rhythmic and a work of genius. So happy to hear Villa Lobos played in Kansas City and knowing that his works continue to be recorded as well, with a new Symphony cycle in progress. Know where I’ll be on October 10th!

Join me! It is so gratifying to see such diverse and new programs next season!

A Short Dozen of the Year's Best CDs, 2016

Past Beethoven's birthday and only my first entry for 2016. Unfortunately my weak wrists and right arm, victims of years of abuse through driving and spending too much time on the computer, prevent me from writing as much as I used to. But I will not be totally silenced! Thus my usual "Baker's Dozen" new, new to me, or, in one case, dusted off from the shelf CD list is a bit shorter this year. But as usual,each disc has stood out from all the rest I listened to or even bought in 2016.

In no order in particular:

1) Gounod: Complete works for pedal piano and orchestra
Roberto Prosseda, pedal piano;
Howard Shelley, Orchestra Della Svizzera Italiana                         Hyperion CDA67075

The pedal piano, popular in the late 1800's, is an impressive contraption meshing two pianos together with a pedal board much like an organ. Roberto Prosseda is the foremost proponent of the pedal piano and shines in this interesting and excellently recorded disc. This is volume 62 of the indispensable "The Romantic Piano Concerto" series on Hyperion which has brought back some incredible yet forgotten jewels from the Romantic era.

2) Martha Argerich "Chopin: The Legendary 1965 Recording"
Martha Argerich, piano
Warner Classics 5568062

This recording first became legendary because it was not available for years. Finally released in 1999 it lived up to its hype. Chopin is not always my first choice in listening, but Argerich blows the cobwebs off the music and brings it to life. Dusting this one off (literally) revealed anew Argerich's superb combination of steely technique and consummate musicianship.

3) Post-Haste Duo "Beneath a canopy of angels ... a river of stars."
Sean Fredenberg, Saxophones, Javier Rodriguez, Bassoon
Aerocade Music AM001

A bassoon and saxophone duo? Really? Yes, and it works just fine, thank you. A highly entertaining and inventive program so you just gotta hear this one! See my whole review on I Care if you Listen.

4) Charles Ives Piano Sonata # 2 "Concord, Mass. 1840-1860" Aaron Copland Piano Sonata
Easley Blackwood, piano
Cedille Records CDR900000 005

I love this work. Much of Ives leaves me cold, but the "Concord" (along with the 4th Symphony which shares much in style and form with the sonata, The Symphony: Holidays and a few others) is a masterpiece in the truest meaning of the word. Blackwood is an accomplished composer (listen to his symphonies sometime) as well as a formidable pianist. Blackwood brings out the inner voices and quirky but often breathtaking harmonies and, importantly, has some fun with the piece when required. A fine performance of the seldom heard, knotty Copland is a perfect filler. This is an older recording (1991) that I just got around to exploring this year.

5-7) Ben Johnson The Ten String Quartets
Kepler Quartet
New World Records 80637-2 Quartets 2, 3, 4 & 9 (2006)
New World Record 80693-2  Quartets 1, 5 & 10   (2011)
New World Records 80730-2 Quartets 6, 7, & 8,  "Quietness" for quartet and narrator  (2016)

I ran into Professor Johnston a few times at the University of Illinois in the late 70's. This music crazed but musically untalented psych major (organizational and industrial) regularly studied at the music library and thus occasionally rubbed elbows (including getting smashed drunk with a soon-to-be famous singer, no I will not name the guilty party) with the esteemed faculty and students. Johnston was famous then, as now, for using microtonal techniques and influences of Harry Partch in his works. His quartets, written between 1951 and 1995, are his most familiar works, if you can call them that. The final disc features the world premiere of Quartet # 6, alleged to be the most difficult quartet in the repertoire. It, along with most of the other works, defies description by this amateur. Suffice to say, all are totally absorbing works that transcend their frightful complexity.

There may be more than that out there, I am probably forgetting one or two discs, but I am leaving it at that. If I remember, I might add one or two.

See you around sometime.

Baker's Dozen Best CDs, 2015 Edition

Here it is, for all it is worth, my list of best CDs of 2015. Everyone seems to do it, so why not? Since it is my list I make the rules, thus some of these are discs that have been released earlier but I first encountered this year. Fair enough?

In further news, no Havergal Brian this year but we have Handel and Vivaldi instead. Those who know my listening habits might know those two masters are not often on my list, but two great recordings changed that this time around. There are, as usual, discs of 'new" music, 5 out of 13, about a right mix.

Happy listening, there is something for all here from Vivaldi to Gibson.

Edward Burlingame Hill Symphony # 4, Concertino # 1 for Piano and Orchestra, Concertino # 2 for Piano and Orchestra, Divertimento for Piano and Orchestra

Anton Nel, Piano, Austin Symphony Orchestra, Peter Bey

Bridge 9443

Edward Burlingame Hill, 1872-1960, is more famous for his pupils, Leonard Bernstein, Elliott Carter, Roger Sessions, Walter Piston, Randall Thompson, and Virgil Thompson, than his own work. Bernstein never really championed his teacher; he recorded Hill's Prelude for Orchestra and that was it. The 4th Symphony and 2nd Piano Concertino are both world premieres. Hill's music combines a bit of Brahms and jazz with a French touch now and then, decidedly conservative, well crafted but really rather average despite the eclectic influences. The two Concertinos are the highlights here. Anton Nel, Piano, and the Austin (TX) Symphony under Peter Bay, are to be thanked for these revealing performances of a neglected figure in American music.

Antonio Vivaldi Concerti per Flauto

Maurice Steger, recorders, I Barocchisti, Diego Fasolis

Harmonia Mundi 902190

Vivaldi.....yawn.... yawn. Not so fast, well actually rather vivaciously fast. This stunning album of the flute concerti performed on recorders wins the “Most Fun” award this year. I am not sure if the quick (really quick) tempi, brash sonorities and virtuoso solo lines are “correct”.... I don't care; sheer musical excitement from first to last note. I have played this disc over and over, each track a jewel. A late 2014 release that I did not get around to hearing until this summer, much to my loss.

Otto Ketting Symphony # 3, Symphony # 4, “Printemps”

Netherlands Radio Philharmonic Orchestra, Netherlands Radio Chamber Philharmonic, JaapVan Zweden, Thierry Fischer, Otto Ketting

Etcetera 2009

Not a new recording, but as I mention, sometimes I note recordings that are new to me. Ketting (1935-2012) was a teacher, composer and trumpet player. The big names in Dutch music (Haitink, van Zweden, Vonk, Porcelijn) have performed his works, but recordings remain elusive. This is a great intro to his powerful, imposing works, that are boldly colorful (even in the strings and brass only 4th Symphony) and accessible. Check out his final symphony # 6 on a YouTube performance as well, probably will be a while before it gets a recording.

Zhou Long/Chen Yi: Symphony 'humen 1839'; Zhou Long: The Rhyme Of Taigu; The Enlightened

New Zealand Symphony, Darrell Ang.

Naxos 8570611

Pulitzer winner and KC based Zhou Long's music tends to be a bit more elusive and introspective than the more brash and colorful compositions by wife Chen Yi. but it is always worth the effort. The attraction here is “The Enlightened” which was premiered by the KC Symphony in 2005. Glad to see it finally committed to disc under the fine direction of Ang and the NZ forces.

Saint-Saëns Symphony # 3, Introduction and Rondo Capriccioso, La Muse et le Poète"

Noah Geller, Mark Gibbs, Jan Kraybill

Kansas City Symphony, Michael Stern

Reference Recordings 136

In an earlier review, I called the Kansas City Symphony and all associated with this recording “gutsy” for tackling some pretty established repertoire. Here again, Reference Recordings, Michael Stern and he Kansas City Symphony have proved they can compete with the best. The two concertante works are performed with all the necessary gusto, poise and flair to bring them off most successfully. The Symphony, the big draw for this incredibly realistic, audiophile recording, comes off highly successful, with the organ well integrated into the texture as it should be.

“Woman at the new Piano” new piano works by Tom Flaherty, Peter Yates, Adam Schoenberg and James Matheson.

Nadia Shpachenko, Genevieve Feiwen Lee, piano

Reference Recordings “Fresh” 711

Prodigiously talented, California-based pianist and teacher, Nadia Shpachenko (with the highly able of assistance of Genevieve Lee on the two piano works) has recorded a delightful and diverse program of brand new works she commissioned in 2013 from four outstanding composers. The usual fine and clean Reference Recordings sound and a most varied and energetic program make this a must hear and, better yet, own disc.

G. F. Handel, The Messiah

Doyle, Davislim, Zazzo, Neal Davies, B'rock Belgian Baroque Orchestra Ghent, Bavarian Radio Chorus, Peter Dijkstra

BR Klassik 900510

The Messiah has been recorded about as many times as McDonald's has sold a Big Mac. So like a big, greasy burger, do we really need a new Messiah? In this case, I would say “heck with the diet, yes we do.” “Period” Messiahs are often dry, mechanical performances with a chorus of 6 and an orchestra of 4. On the opposite, there are the bloated, bellowing affairs with the whole town as chorus, soloists who think it is a Wagner opera, a couple of orchestras, and the biggest local organ for good measure. Dijkstra's ensemble and chorus is just the right size to propel the drama forward without overwhelming or getting lost in the whole affair. The Bavarian Radio Chorus is unmatched, with clear and crisp diction and tight ensemble. The soloists are uniformly fine, and Dijkstra takes things at a fair, but not excessive clip. This is how historically informed music should sound, full of drama and life, not slow, icy sludge.

Jean Martinon, The Complete Chicago Symphony Orchestra Recordings

Robert Casadesus, Piano; Benny Goodman, Clarinet; Chicago Symphony Orchestra, Jean Martinon

RCA/Sony 88843062752 (10 discs)

Oh Chicago... you did not know what you had with Jean Martinon. The caustic critics berated him and compared him unfairly to Reiner; Martinon being a polar opposite of the autocratic German. We are richer, however, for what we do have. Repertoire ranging from Weber (Clarinet Concerti with Benny Goodman) to the definitive performance of Peter Mennin's Symphony # 7 (tragically neglected) and Martinon's own 4th Symphony. The Nielsen 4th is still a benchmark today, as are the Roussel selections. A bargain price too.

NOW Ensemble “Dreamfall”

Music of Scott Smallwood, Mark Dancigers, John Supko, Nathan Williamson, Sarah Kirkland Snider, Andrea Mazzariello & Judd Greenstein

NOW Ensemble

New Amsterdam 64

Upon first listening, one might think of this as background music since much of it is consonant and melodic. Closer listening, which is highly recommended, opens a larger world of color, drama and sound. The brilliant members of NOW derive lots of color and textures from such a small ensemble, owing to the eclectic but well balanced instrumentation. The Gorgeous sound lets the listener hear all the sonic nuances and intricate rhythms.

ArtIfacts Recent Chamber Works Of Mara Gibson

Thomas Aber, Michael Hall, Robert Pherigo, Luisa Sello, Mark Lowrey, Ya-Ting Liou, Blas Gonzalez, Alvin Wong, Instrumentalists

Available on Spotify, CD Baby, Amazon or old fashioned CD by contacting www.Maragibson.com

Kansas City based Mara Gibson writes demanding music requiring concentration and an open ear. A Gibson composition, either a solo work such as “Flone” for solo flute or a larger scale work “Moments” scored for clarinet, viola and piano always opens a world of color, drama and unexpected sound. These works are making their CD premiere so hopefully many more listeners will come to appreciate her distinctive voice.

Alan Hovhaness, Symphony # 48 “Vision of Andromeda”, Prelude and Quadruple Fugue, Soprano Saxophone Concerto

Greg Banaszak, saxophone, Eastern Music Festival Orchestra, Gerard Schwarz

Naxos 8559755

So what?? Hovhaness is my guilty pleasure...sue me. Yeah, I know the story, it all sounds the same, simplistic, uneven in quality, etc. etc. With performances this fine, in high class sound and music that is so perfectly melodic, exotically colorful and ultimately enjoyable, who listens to critics anyway? Listen and get absorbed in Hovhaness' world.

Vladimir Jurovski Symphony # 5, Russian Painters: Symphonic Pictures

Michail Jurovski, Norrköping Symphony Orchestra

CPO 777875

A bit of geneology, Vladimir Michailovich Jurovski (1915-1972), the composer of these two fine examples of Soviet era symphonic works, is the father of conductor Michail Jurovski (1945-) and the grandfather of conductor Vladimir Michailovich Jurovski (1972-). Got that? Symphony # 5 is one of those wonderful, colorful, bold, brassy works composed in Shostakovich's and Prokofiev's shadow toeing the line (usually) of Socialist Realism. Symphony # 5, (1971, one of his last works) is a big affair full of drama, but never over done. The recording is marred only by the inadequate organ in the final bars. “Russian Painters”, an earlier work, is an update on Mussorgsky, and quite interesting in its own right.

Patrick Castillo “The Quality of Mercy”, “Cirque”, “This is the hour of lead”

Abigail Fischer, Mezzo, Karen Kim, Violin, and Ensemble and electronics.

Innova 926

“This is the hour of lead” sets two poems (Dickinson and Yeats) that bookend a center section of short interludes and vocalise. A substantial meditation on death and loss,“this is the hour of lead” seems more of an opera scena than a song cycle. “The Quality of Mercy” combines the ensemble, mezzo (Fischer is excellent, never harsh or screachy) in an “abstract mediation on reconciliation.” “Cirque” is an austere outing for solo violin, a nice contrast to the busier larger works. Further proof that “classical” music is not dead, but evolving quite well, thank you.

ArtIfacts: Recent Chamber Works by Mara Gibson

Mara Gibson's music is all about sound. That is certainly not to say there is no form or melodic elements, but rather to say conventionality yields to the palate of sounds and even visual media available to the modern composer. Mara celebrates sound through the stretching the limits of an instrument or ensemble. Her work celebrates the creative process as well through the connection of words and music and the connection of physical elements and musical sound. In all her works on this CD of recent chamber works, moments of lyric intensity are interrupted by sounds that one might think is coming from another instrument or sound world. Never done just for shock or display, the new sounds propel the works along and become a part of the long stitched fabric. Thus a key to experiencing her music to the fullest is not to concentrate only on the short motifs but to look at the long view of a work... it becomes crystal clear.

Yes, her music is tough listening. This is not music to listen to while folding laundry, Lord knows I tried that and soon the laundry was forgotten. It requires concentration and an open ear, which opens a world of color, drama and sound. Since Mara Gibson lives and teaches in Kansas City, I have had many opportunities to hear her music live and often experienced their first performances. Her music is even more engaging and satisfying heard live as you feel as well as hear its power and motion.

The generously programmed CD begins with 2013's “Moments” for clarinet, viola and piano. Gibson's epic trio in three parts further divided into eight movements (“methods and “improvisations”) is inspired by a quote from Confucius:

“By three methods we may learn wisdom: First, by reflection, which is noblest; second, by imitation, which is easiest; and third by experience, which is the bitterest.” 

The piece starts with the viola and clarinet vaguely in unison. After this short introduction, their tones bend and separate as they go their own way. The piano's role is to comment and reflect on the other instruments musings while providing cohesion and framework. All three members have extensive, improvisatory solo “moments”. The clarinet's is melodic, even jazz edged. The viola explores the woody, earthy textures of its strings through extensive pizzicato. The piano grandly concludes the solo “moments” with a climatic cadenza worthy of Henry Cowell using both the piano's keys and the strings. The third part, “Experience,” serves as a coda, with the trio finally playing as an integrated ensemble. The music here had a tinge of bitterness and resignation but a also a certain final confidence and consonance.

Michael Hall, viola, Thomas Aber, clarinet and Robert Pherigo premiered this piece and give it a loving, compelling performance. Not likely to hear any better.

2014's "Flone", for flute alone, written for and performed here by Italian flutist Luisa Sello, is based on Bach's "Partita for Flute" BWV 1013. Atavistic fluttering and the pizzicato of tapped keys evoke earth sounds as the theme from the Allemande of the Partita emerges and takes flight. The theme is embellished until it climaxes and deconstructs into fragments, returning to the earth music of the opening. A most compelling and fascinating work and sure winner of the Most Cleverly Appropriate Title of the Year award.

“Canopy” for solo viola and mixed media was inspired by “Ferment,” a massive outdoor sculpture installation by Roxy Paine at the Nelson Atkins Museum in Kansas City, and premiered by violist Michael Hall at the unveiling ceremonies in April 2011. The work has become one of Gibson's most performed works and receives its deserved CD premiere. “Ferment” is at once recognizable as a tree but also foreign and desolate in its cold, hard, metallic construction. Gibson’s substantial 15 minute piece has many of the same characteristics; the mixed media blending and contrasting its other worldly, metallic sounds with the warm wood of the viola. “Canopy” explores organic growth, long lines from the viola predominate while the media comments on and propels the soloist, alternating periods of stasis and growth finally reaching the fragile threads of a lone, barren tree’s highest, most delicate branches. “Canopy” is a most fascinating and colorful work, deserving of its many performances; the one here with the incomparable violist Michael Hall being as definitive as one can get.

“Map of Rain Hitting Water” (2006 rev. 2012), conceived for solo percussion and video (by media artist Caitlin Horsman), is inspired by the poem “Clarence Playing” by Wayne Miller....

By the song’s end, he reaches into a brief
Rapture of completion (as a child reaches
into a cabinet of sweets). Though,
Now he thinks perhaps the music’s
More like a map of rain hitting water—

...and the relationship between how words visually appear on the page and how they sound. Unfolding slowly and hypnotically, “Map” is just as enjoyable without the video (which can be seen here) as it is with the images. Compositions like this can often become meaningless Muzak. But Map, with mostly metallic percussion (with a persistent pulse of a woodblock and log drum) is always colorful and expressive, it slowly progresses and subtly draws you into its world. Brilliantly performed by Mark Lowery who commissioned it and for whom it was composed. The bright, clear recording brings out every nuance and shade of color in the percussion and associated sounds.

Two short works “Hands” and “Lullaby” (2006) for two pianos (fine performances from pianists Ya-Ting Liou and Blas Gonzalez) are movements from larger work titled “Duo”. “Hands” is a propulsive moto perpetuo of falling figures, starting in the lowest register and ending in the eerie highs. “Lullaby”, appropriate to its title, is a short, magical essay evoking a music box or two gently (and sometimes not so gently) tempting to leave reality and enter a world of dreams and suspension of time.

“E:Tip”, for cello and fixed media, is one of three works for varying ensembles inspired by the trajectory and refraction of an eclipse. “E:Tip” stretches the tones of the cello through time and space, ebbing a flowing through a cloud of sound created by electronically manipulating the droning of bullfrogs in a pond. Another successful example of Gibson's hypnotic and gently unfolding sound essays, wonderfully realized here by Alan Wong, cello.

Every work is worth a listen or twelve, each one always displaying Gibson's considerable, distinctive voice. Well recorded with excellent and intelligent notes and bios of the performers and composer, the CD is available through CD Baby, Google Play, Amazon, Spotify or in old fashioned hard copy by contacting the composer at www.Maragibson.com

ArtIfacts is a labor of love, a festival of performers and a composer enjoying their craft and relishing their collaborations. And contemporary music is richer for the effort.

Nadia Shpachenko: Woman at the "New" Piano

Woman at the New Piano is an album with a surely cosmic purpose; a commemoration in music of an (almost) monumental (and now likely forgotten) event that thankfully did not come to pass. “In the year 2012”, pianist Nadia Shpachenko writes in the album notes, “the nation was swept by a fear that had not been seen since the Y2K transition of January 1, 2000." According to a Mayan calendar and accompanying legends, the world would end on December 21^st, 2012 since the calendar went no further, or something like that. Waking up seemingly alive and in the same world as the day before, Nadia thought “let's celebrate and document this great transition! Let's write and perform new pieces which capture where we are, and where we are going. It's a whole new world, let's play it!”

Indeed this prodigiously talented, California-based pianist and teacher, has recorded a delightful and diverse program of brand new works she commissioned in 2013 from four outstanding composers, Tom Flaherty, Peter Yates, Adam Schoenberg and James Matheson. Released on the Reference Recordings FRESH! label, devoted to recordings of new artists and new repertoire. 

I was particularly interested in the four movement suite “Picture Etudes” by Adam Schoenberg for solo piano since I was very familiar with the orchestral version “Picture Studies” having attended the premiere with the Kansas City Symphony in 2012. But before I could program the machine to play those tracks, I was immediately immersed in the absorbing, colorful and animated sound world of Tom Flaherty's “Airdancing” for Piano, Toy Piano and Electronics.

Inspired by floating and falling images of cliff divers, giant squids and daredevil “Fearless Felix” Baumgartner's dramatic supersonic skydive from 39km above the earth, “Airdancing” is 8 minutes kinetic movement that takes you along on a falling, floating journey. The prominent timbre of the toy piano may first evoke the works of George Crumb and John Cage, but very soon dark and foreboding electronic percussion sounds contrast and then lighten to propel the work forward. Flaherty often integrates the instruments into a single entity and then just as suddenly unleashes them to go their separate ways, careening to a sweeping, swirling end that evaporates in to eerie silence.

Arresting, dramatic, exhilarating and sometimes briefly serene, “Airdancing” stretches the listener's imagination and challenges the ear while being accessible and frankly smile producing enjoyable. Reference Recordings' clear, detailed sonics bring out every nuance, never overwhelming the toy piano but also never distorting it to absurdity. Shpachenko clearly commands and loves this colorful work, and is more than ably assisted by Genevieve Feiwen Lee on the toy piano and electronics.

So after listening to “Airdancing” a few times, I skipped on to the Schoenberg (although taking the works in the CD's order is just as rewarding).

“Picture Etudes” and the related “Studies” draws obvious connections to Mussorgsky's “Pictures at an Exhibition”. Both works have piano and orchestra versions and musically reflect a series of paintings in a gallery. While Mussorgsky's pictures are of one artist, Schoenberg's inspiration came from paintings by a variety of artists in the Nelson-Atkins Museum in Kansas City, MO. Four of the Ten orchestra movements were selected by the composer to make up “Etudes” If curious about the orchestra version, it has been recorded by Reference Recordings and the Kansas City Symphony for future release.

“Three Pierrots”, inspired by Bloch's “Die Drei Pierrots Nr. 2) is ironic, witty and pulsing with nervous, percussive energy. A lot of story and music in a short two minutes. Following is “Miró's World” a reflection on “Women at Sunrise” Joan Miró. Similarly spontaneous and rhythmically vibrant (even adding a part for a drum), “Miró's World” is playful and a bit jazzy, contrasting with the following “Olive Orchard” inspired by Van Gogh's same titled painting. Languid and romantic, “Olive Orchard” is simply beautiful music and the emotional core of the suite. Shpachenko never lets the music get mushy or sweet, Van Gogh's intensity and drama are never far from the surface. “Kandinsky” a musical portrait of Wassily Kandinsky's “Rose with Gray” serves as the finale to the suite. The percussion returns to accent the dry, starkly dramatic piano which sweeps and propels the piece to a crashing, sweeping conclusion.

Shpachenko makes a most convincing case for these portraits and we are unlikely to get such a definitive, affectionate recording soon. As with Mussorgsky, the piano only version gives the listener insight to the inner voices and the frame of the music while the orchestral can dazzle with color and power. Both are worth hearing.

Schoenberg also provides the concluding work on the CD. Also existing in an orchestral version, “Bounce”, for two pianos, is a ten minute playful romp inspired by the 100^th anniversary of the “Rite of Spring” and the impending birth of Schoenberg's son. Danceable, fun, enjoyable and superbly executed by Shpachenko with Genevieve Feiwen Lee on the second piano.

Peter Yates' colorful “Pandora's box”, as the composer describes them, six movement suite “Finger Songs” ably demonstrates Shpachenko's range of technique. From sophisticated jazz in “Mood Swing”, misty landscapes in “Mysterious Dawn” and on to adolescent hijinks and light hearted fun with hints of Ragtime in “Gambol” and “All Better”, “Finger Songs” is an important addition to the contemporary piano literature, totally accessible, totally interesting and 100% fun to hear.

Tom Flaherty returns in “Part Suite-a” (to rhyme with partita), a decidedly darker and more introspective than “Airdancing”. A take-off on the baroque suite, the three movements are woven around characteristic elements of the passacaglia, sarabande and scherzo forms. The darker, complex “Passacagliatude” unfolds to a powerful essay from a simple bass ostinato. “Lullabande” is a sweet lullaby with the characteristic sway of the ancient dance. The concluding “Scherzoid” is a virtuoso, tumultuous, romp tinged just a hair with some drama.

The longest single movement in the program, James Matheson's “Cretic Variations” takes us on a kaleidoscopic voyage from a single repeated high note through contrasting variations to an ambiguous quiet ending. The title refers to the poetic cretic foot meter (long, short, long) which, as the composer notes may “..lend itself better to Dr Seuss than more serious poetic endeavors”. Matheson stretches and teases this inherently simple phrase to create a powerful, lyrical and demanding set of variations. Another work that can, and should, become a staple of recitals and programs.

Stellar performances, usual fine Reference Recordings sound throughout, informative liner notes and a most varied and energetic program make “Woman at the New Piano” a clear winner and a new favorite here.

Woman At the New Piano
Nadia Shpachenko, Piano
Genevieve Feiwen Lee, Piano and Toy Piano

Reference Recordings FRESH FR 711

Packard Dream Cars at "Art of the Car"

The annual Art of the Car Concours was held today on the grounds of the Kansas City Art Institute. Hundreds of antique and collector cars were on display. This year was quite special in that several concept and "dream" cars was displayed. Notably the rare alignment of four dream cars from the late, great Packard Motor Car company. These incredible monuments of style and elegance from one of the legends of luxury motoring are owned by the same collector but rarely displayed all together in public. So for this round, I am focusing on the Packards, all owned by noted collector Ralph Marano; maybe some others will show up in another post. 

The Pan American

Based on a 1951 250 Convertible, the Packard Pan American was the inspiration for the production Caribbean convertible. One of 6 made.

Based on a "Bathtub" "Pregnant Elephant" 1948 chassis, this classy convertible sports a body by Italian Carrozzeria Vignale. Sleek and low, the pictures do not do it justice. Only the characteristic grill identifies it as a Packard. 

The hood is longer than it looks in the photo. Very well proportioned.

Rear view of the jaunty Vignale.

Fine from any angle, I had seen the car in Collectible Automobile painted red.
Much more elegant in black.

The 1955 Request was a concept based on a production 400 Hardtop. The name came
from the many requests to return to a traditional upright, classic grille. I love it. Would it
have saved Packard if it was put into production? Probably not... but what a way to go.

The rear of The Request was pretty stock '55 400. The bronze and white paint scheme was unique
to The Request.

The Panther, sometimes the Panther Daytona. Another concept sleek convertible this time from 1954. Updated with
"cathedral taillights from 55-56. 

Panther's top is removable. Four made, two known to exist.

The wheel covers are unique to the car and cost a small fortune, or so I was told.

Blogger does some strange things, I could not get the caption under The Request to work without it sending the picture elsewhere. Sorry for the large font.... oh well...

Kansas City Symphony records Saint-Saëns

In addition to being uniformly excellent, the Kansas City Symphony can also be called “gutsy”. New releases from former recording giants New York, Berlin, London, Philadelphia and Chicago are often newsworthy events due to their relative rarity. Yet here is our local band releasing its 6^th professional recording with a 7^th in the future. How things have changed.

The Kansas City Symphony is also gutsy in its choice of works to record. Often, regional orchestras record works that perhaps they have premiered, have a local connection or are not exactly standard repertoire. The Kansas City recordings have featured works by Britten, Vaughan Williams, Elgar, Prokofiev and Bartok, to name a few, that are standard repertoire or have “definitive” recordings. This disc from Reference Recordings is a blend of the familiar and rare: an all Saint-Saëns disc featuring the less known “La Muse et le Poete”, op 132 for Violin, Cello and Orchestra combined with the popular and very frequently recorded Introduction and Rondo Capriccioso for Violin and Orchestra op. 28 and the Symphony # 3 “Organ” op 78. Concertmaster Noah Geller handles the violin solos, Principal Mark Gibbs cello on “La Muse” with with local organist and Organ Conservator Jan Kraybill in the Symphony. Music Director Michael Stern was on the podium.

The Organ Symphony may be the top billing on the cover, but the warmest, most vivid sonics and top rank, stellar performances belong to the other two works.

The rare gem on the disc is "La Muse et le Poète", for solo violin, solo cello and orchestra. A late work from 1910, “La Muse...” reflects the influence of Debussy, Ravel and their contemporaries with its denser harmonies, lush orchestration and rhapsodic form. Despite the programmatic title, the work is more of a spirited conversation than a dramatic encounter, though the violin seems to be the “Muse” inspiring the more reflective cello “Poète”. Both soloists are treated to many virtuoso passages, which Geller and Gibbs negotiated with poise and flair. The violin and cello are closely miked, with every nuance of phrase and tone exposed, but they are also well integrated into the orchestral fabric. Since Gibbs and Geller work together frequently as section Principals, they instinctively converse and play off each other, essential (but not always heard in performances I sampled) in keeping the work focused. This charming and passionate performance stands up nicely to the competition, notably a Joshua Bell/Steven Isserlis recording and an all French affair on Erato coupled with the Third Violin Concerto and First Cello concerto.

The “Introduction and Rondo Capriccioso” is a much earlier (1863) and more popular work, written in a Spanish influenced style for the virtuoso Pablo de Sarasate. There is plenty of competition for this always entertaining chestnut, but on first hearing this performance stands well with the rest. Geller's tone was always precise and clear. The dramatic introduction was pleading and romantic, a perfect foil for the more animated rondo to follow. His rubato in the familiar rondo theme was just right, the many double stops perfectly executed (and clearly captured), and one has to hear the violin's spine-tingling downward run from the cold, clear stratosphere to the sensuously warm and expressive rondo theme. Stern and the orchestra are not to be forgotten, albeit Saint-Saëns' writing favors the soloists, always providing sympathetic and enthusiastic orchestra accompaniment.

The well known Symphony # 3 “Organ” completes the disc's program. The orchestra chose this work to inaugurate The Kauffman Center for the Performing Arts' 102 rank Casavant organ in June 2012, with Paul Jacobs on the organ, and this performance was quite similar. The Kauffman Center's Casavant is well tuned for symphonic performances, thus it was integrated into the whole orchestral fabric, not drowning out everything within hearing distance. Stern lead a stately performance, with a quite slow second movement that might not find favor with all but certainly accentuated the lushness of the movement. The organ's grand entrance in the final movement was powerful but not earth shattering; again it was more integrated to the texture. Rarely in a recording have the duo pianists' contributions been so perfectly embedded in the sonic texture, yet clear and bell like. Another “must listen” spot. Stern kept the symphony's final moments under control as well, not letting the tympani muddy everything with a frenzy of uncoordinated sound and fury. A cool-ish performance that never really took off and frankly would have benefited from a more white hot approach. Far from a poor performance, it just pales in comparison to a lot of the competition, mostly the never duplicated Munch/Boston Symphony on RCA.

Of course the renowned sonics of Reference Recordings, created by Recording Engineer Keith O. Johnson and produced by David Frost are of demonstration quality and surely the organ in the Symphony can cause some leases to be broken or at least a few knocks on the ceiling when the volume is unleashed. (thankfully none here yet at least). Best not to think of this recording as a “sonic extravaganza” (anyone remember the LP of the Virgil Fox/Ormandy/Philadelphia “Organ Symphony” recording with a cover like an 1890's circus poster?) but an example of how state-of-the-art recording technology can realistically capture the sound, texture and deft coordination of expansive orchestral forces combined with solo instruments of vastly varying sound quality and volume.

Inextinguishable

Continuing the theme of works written around and in response to World War I, the Kansas City Symphony led by Music Director Michael Stern gave the local audience the somewhat rare opportunity to experience the Nielsen Symphony # 4 “Inextinguishable”, written in 1916 at the height of the war. Nielsen is a tough nut to crack and his music gives up its secrets, power and genius reluctantly. I should know. I have tried and tried to appreciate and understand, even enjoy, the music of a composer many classical music cognoscenti rank in high esteem.

Taken at face value, the symphony can become a series of disjointed episodes that have little organic flow. What the “Inextinguishable” needs, it appears, is a committed, forceful and almost reckless (ready to skitter off the road any second) performance that makes this symphony more than just a somewhat conservative, yet quirky, early 20^th century work. The conductor has to keep all the horsepower in control, throttling back at times to allow the orchestral engine to accelerate to full speed. Stern and the Kansas City Symphony did just that. And made a believer out of me after all.

A good example is the first measures of the symphony. The white hot outburst from the full orchestra and the all-important tympani seamlessly decelerates to a calmer, almost wistful section that in abruptly interrupted by an agitated episode... the world is starting to crumble. Every section of the orchestra marched in lock step to Stern's urgent vision of the work. The always admirable winds of the orchestra were in full bloom, especially the clarinets in the above mentioned slow theme. The tympani was well integrated (a real problem in some performances, it is not really a tympani concerto), the brass solid and the strings lush. The violas' “machine gun” figures were well done and again integrated into the whole, not just some poorly placed interruption. The very end of the movement glowed with Straussian grandeur, never overwrought, but powerful and rich.

Moving on with out pause, the winds are again prominent in the quietly energetic second movement. Stern brings out Nielsen's humanity in this more relaxed episode, yet never lets the tension completely down... the world is still at battle. Finely balanced in ensemble and perfectly animated in tempo, Stern integrated this movement in the whole scheme of the symphony, making it more than just a charming scherzo.

The searing third section follows without pause. Intense with finely tuned release and tension, the deeply moving section flows via a shimmering bridge passage (with lovely oboe solo from Principal Kristina Fulton ) to the climactic finale.

Stern let the forces loose in what has to be the most insanely dramatic eight minutes in the orchestral literature, and maybe the most thrilling eight minutes of the KCS season. Stern flicked through the many gear changes in the movement, never losing momentum. Note must be made of the thrilling horn passages, that soared over it all with precise and clear intonation, brushing aside the days when Kansas City Symphony horn solos made one cringe. Stern brought back the wistful “inextinguishable” theme from the first movement in full glory. The dueling tympani were fine but the extra tympani on the right just seemed to be a little timid, lessening the thunderous impact of the passages. Some of the audience just seemed to not get it (or were shell shocked) and the response was muted in comparison to the easier to handle opening half. But hey.. took me years to see what this incredible work had to offer.

Opening the concert was Richard Strauss' 1888 “Don Juan” op.20. In 1880's Weimar this bold and ardent tone poem dazzled the audiences as easily as it does still today. From the soaring opening (one of the most exciting in all orchestral literature) through the tender love music and on to the climatic fall from power and his death, Stern brought “Don Juan” to vivid life. As in the Nielsen, the winds, especially the horns were well balanced and colorful. The strings, however, could use some strength to be more lush as befits a Strauss tone poem, but one could not quibble over their commitment and frequent beauty. The final stab of the trumpet, signaling Don Juan's demise brought the work to a powerful close. A fine and certainly challenging curtain raiser in every (positive) sense of the word.

Pianist Steven Lin joined the orchestra for the Mozart Piano Concerto # 20 in D minor K466. Lin, winner of many awards and recipient of excellent reviews world wide, was clearly an audience favorite here as well, receiving a most sincere and prolonged ovation. The opening movement of the concerto is one of Mozart's most dramatic solidly in the dark of D minor. One hears the foreshadowing of Beethoven in this big boned, lengthy concerto and Stern and Lin took pains to keep that in the forefront.

The Romanze second movement was lyrical and “romantic” without being fussy. The more agitated central section contrasted well with the more graceful sections that surround it. Stern kept the orchestral balance in line and in sync with the soloist. The rippling, energetic finale spun forth in a controlled torrent, Lin enjoying every soaring phrase and dazzling run. Throughout the performance Lin was technically brilliant and sparkling, but just did not mine the underlying drama and tragedy and even elegance and grace that marks fine Mozart 20 performance. With time and maturity, Lin will be an even better Mozart interpreter, with his commanding technique combined with a deeper more dramatic vision, he will be one to turn to.

For me this was a expertly performed, intelligent and challenging program; each work having an underpinning of tragedy and conflict intertwined with “inextinguishable” human spirit and redemption.

Bucket List II: A Mad King and other Englishmen sing

Before he tried to save the Orkney Islands from mining destruction, became "Master of the Queen's Musick" and infamous for a nasty break up with his partner, Peter Maxwell Davies was a true bad boy and maverick. Nothing demonstrated that reputation better than the "Eight Songs for a Mad King", for baritone and six instruments. Eight Songs is one of those pieces more talked about than performed due to the daunting task of finding a singer that can (or is willing) to sing/perform the insane (pun intended) role of the Mad King George III. Lucky for us the newEar Contemporary Music Ensemble felt up to the task and found a singer willing to learn the part.

Saturday April 25th concert featured the Eight Songs paired with a sampling of works by contemporary English Composers. "A Purcell Garland" a collaborative effort of Colin Matthews, George Benjamin and Oliver Knussen on three Fantasias by Henry Purcell and Johnathan Harvey's Sting Trio opened the program.

The three Fantasias that compose "A Purcell Garland" are a look back at England's first great composer through Contemporary eyes and techniques. In the more modern voice, the bass instruments (piano and cello) have a melodic component that would not be assigned to them in Purcell's time, thus deepening the texture and emphasizing the inherent drama and pathos of these short pieces. Even using modern instruments (Violin, Viola, Cello, Clarinet and Piano/Celeste), the harmonic language and spare use of vibrato recalls the sounds of a 17th century ensemble.

Matthew's arrangement of "Fantasia 13" is the most expansive since the original breaks off after about 30 bars. The composed section, an agitated fantasy, references and comments on Purcell's original, before returning to the somber mood of the opening. Benjamin's "7th Fantasia" is more straightforward, more of an orchestration in contemporary sound than an arrangement. In this performance, pianist Robert Pherigo used a harpsichord rather than a celeste to good effect. Knussen's re-working of the familiar "Fantasia upon One Note" expands the theme with the constantly sounding C fading in and out of the texture. In this performance, newEar included the optional part for viola, adding depth of sound and texture to the piece. These three inventive and colorful exercises affectionately looked back to the heritage of Purcell and his importance as the foundation of English music tradition, providing an appropriate and informative opening to the program.

Johnathan Harvey (1939-2012) was a prolific composer of chamber, electronic and vocal works and an active teacher, but actually this was my introduction to his music. The "String Trio" from 2004 is terse and gritty a la Ferneyhough and ultimately a most satisfyingly challenging piece. The work begins with echoes of Bartok in its rustic, folk-like sound world and drumming sounds from the cello but soon evolves into Harvey's trademark spatialism as the three instruments, engage and disengage in a short motives and long, linear passages evolving eventually to a wild, skittish dance. Slower and more contemplative sections introduce a spiritual aspect, inspired by his liturgical drama based the Passion and Resurrection of Jesus Christ. This spiritual and pastoral aspect provides a foundation to experience the work as a long melodic whole and not just a series of disconnected sounds and episodes. Not easy listening, frequent quiet passages in harmonics and delicate pizzicato requires concentration and possibly several "listens" (thankfully a fine performance is available on CD with Harvey's 4 String Quartets with the incomparable Arditti String Quartet) to reveal the argument of this intense essay. Sunho Kim, Violin, Nell French, Viola, and Larry Figg, Cello were technically brilliant, especially in the exposed, threadbare passages of harmonics and extreme pianissimo. The tight ensemble reveled in the innate lyricism of the work as well. As fine a performance of this thorny work as one could imagine, well done.

The "Eight Songs for a Mad King" (1969) put the then 35 year-old Peter Maxwell Davies on the map. Written for "The Pierrot Players" (a group he founded) and actor Roy Hart who was known for his immense vocal range and ability, "Eight Songs" pushes the performers to extremities of technique and emotion. Maxwell Davies’ librettist, Randolph Stow, created eight monologues that King George III, slowly descending into complete madness, shouts, sings, screams, whispers and growls to his beloved caged birds. The instruments (violin, cello, flute (d. piccolo), clarinet, piano (d. harpsichord) and percussion) representing his caged birds, often engage in solo dialog with the variously lucid King. Bass-Baritone Kenn Kumpf, singer, teacher and composer from Chicago, portrayed King George.

"Eight Songs" is as intense to experience as it must be to prepare and perform. The King not only sings to his birds (the first performance famously had each of the instruments in bird cages) but frequently addresses the audience as if they were members of the Court witnessing the sad, demented King's rants. Due to space limitations, there was no attempt at "staging" with this performance, but the intimacy of the space brought the King directly into our presence. While the King may be mad, and the vocal part more of a set of instructions rather than a musical score, the work is quite a logically laid out musical structure. Each of the songs is based on one of the eight tunes from a music box once owned by the King, interwoven with references to not only Handel but to musical forms and characteristics of King George's era.

Rarely performed, (newEar's Andrew Granade said they wanted to perform it because not only was it a Kansas City premiere but also because "it was fun"), this performance was spectacular in about every way. The instrumental balance was excellent, never overwhelming the singer yet always present and technically without fault. Kumpf was simply brilliant with his panoply of vocal sounds in every possible octave while maintaining quite understandable diction, essential for the audience to pick up on the irony and even wit of the libretto. In the climactic 7th song where the King grabs, strums and ultimately smashes her violin, Sunho Kim spent the rest of the piece in pitiful sulking, adding a touch of amusement to the otherwise tense piece. For the eighth song, "The Review, a Spanish March", the bass drum marched the now fully mad King off the stage and out the door as he "died howling.... howling..howling...." Totally brilliant.

The program notes were informative and intelligent with the full text of "Eight Songs" provided.

Mad Kings and Englishmen was easily one of the best performed and intelligently programmed concerts in recent newEar memory; a complete musical experience from nostalgically elegant court dances all the way to insane in-your-face theatre.

Back to Basics

I envisioned this blog as something in between. There is room, I thought, for someone to review and comment upon classical music concerts and the occasional recording from an informed listener's perspective. More than "I liked" or "I didn't like" but less than the technical reviews who excoriate a performance where the "second bassoon misses the quiet back beats that are essential to the architecture..." and so on.

But I noticed that in my recent writing, I was starting to lean towards the latter... and not being a trained musician, was failing miserably.

Thus I am going to head back to what I think I do best, comment on what I heard but from the informed listener's aspect. I know a lot about music, I know what I like. I can tell good from bad, committed from apathetic and when a performer or ensemble communicates their message. That is what made "Puggingham Palace" and now "Pictures on Silence" what it is... whatever that is. It made it fun for me, and being selfish, that is what I am going to do.

Back to basics, and if lean towards the extremes as I mentioned above... call me on it.

A Concord Essay

I love the term “bucket list” and think everyone should have one. For the un-initiated, the term comes from a movie where two terminally ill men go off on an adventure to do things they always wanted to do before they euphemistically “kick the bucket”. One of life's greatest pleasures is to cross off something on one's list.

This past Saturday February 21st, I got to do just that. I heard a live, complete performance of a work on my music “bucket list”, the Piano Sonata No. 2 (Concord, Mass., 1840-1860) by Charles Ives. In St Joseph, Missouri of all places, performed by the remarkable, über-talented and shall we say brave pianist Robert Pherigo. Assisting in this insane genius work was Rico McNeela in the tiny, but often omitted viola line in the first movement and Lyra Pherigo in the more important but also sometimes omitted flute part in the Thoreau movement.

As was typical of the feisty and innovative composer, Ives broke most of the piano sonata rules. The sonata is programmatic to a point, something rather unusual for a piano sonata, being a musical portrait of transcendentalist authors who lived in Concord, Massachusetts, around 1840-1860: Ralph Waldo Emerson, Nathaniel Hawthorne, the Alcott's Louisa May and her father Bronson, and Henry David Thoreau. Most classical sonatas were in three movements, but Ives included four, stretching the work to almost symphonic stature. Few, if any, piano sonatas have parts for viola and flute scattered about either. Early material exists from around 1904 and it seems the work was conceived as a piano concerto. Work on the solo sonata started in earnest around 1910-11 and was mostly finished around 1915. Ives tended to fiddle with his music off and on thus the work was revised in 1947, the edition that seems to be played the most.

Like icing on a tasty cake was the informative pre-concert talk by author and composer Kyle Gann, one of the foremost authorities on Charles Ives, the Concord Sonata and Vice President of the Charles Ives society. Gann focused on the work's background and the personages that inspired it while highlighting the recurring themes and motives that tie the sprawling work into a quite logical and organic whole.

More than a recital or concert, this was an old fashioned “happening” for those who remember what that meant.

The performance? I make no bones that I am nowhere near qualified to judge, just looking at the score gives me a headache. I found it technically excellent to my ears, having heard the work many times in recordings and Robert negotiated the work from memory without a visible sweat or concern. A Hamelin, Fitzpatrick, Denk or Kalish might bring more polish, technical brilliance and more experience with the complex score (Hamelin's “Alcotts” will bring goose-bumps, but this one was not far behind) but Pherigo brought the work and Concord, Mass. to life for the appreciative audience, many of whom I am sure, like me, had never had the opportunity to hear it live. Even Gann said it had been a while for him. Certainly far far far and did I say far from a slam-bang run through, Robert found the humor, the lyricism, the tenderness, nobility and humanity in this complex score. On that damp, winter night in St Joseph Robert brought the work to life, let us glimpse the world of the denizens of Concord and communicated Ives own commentary on them and on humanity itself.

Kansas City Symphony: Old and New

The Kansas City Symphony concerts for the weekend of January 16-18 likely attracted two different types of listeners; those who never tire of hearing the standard repertoire again and again and, quite oppositely, those looking to hear new works fresh from the composer's pen. A new concerto by composer, conductor, pianist, jazz and pop artist Andre Previn just premiered last November was sandwiched in between two giants of the orchestra repertoire, the Mozart Symphony no. 35 “Haffner” and Brahms' Symphony No. 1. Michael Stern, music director conducted, with Jaime Laredo, Violin and Sharon Robinson, Cello as solos in the Previn.

The Cincinnati Symphony plus a consortium of orchestras, including the Kansas City Symphony, commissioned Previn to write the Double Concerto for Violin, Cello and Orchestra for Laredo and Robinson. Orchestras in Austin, Detroit, Los Angeles, Canada and Europe are scheduled to perform the work over the next few months.

The Double Concerto, clocking a compact 20 minutes is certainly bright, colorful (yet fairly conventionally scored) with little, if any, qualities that would offend the most conservative of listeners. Yet immediately afterward it was difficult, if not impossible, to really remember anything about the work.

The first movement “Quasi Allegretto” immediately introduces the violin and cello echoing the Brahms Double Concerto. There the comparison ends. Glowing, busy and certainly virtuosic, the movement lacks organization and seems to move from one episode and mood to another. Laredo and Robinson, long time collaborators and spouses, dig in to the busy music, keeping their lines and glowing tones above all the fray.

Part bluesy nocturne, part-heart-on sleeve romantic fantasy, the second movement marked “slow” has more emotional gravitas and, due to the slower tempo, seems to be more organized. Chains of lovely melodies abound, major key statements and swelling dynamics morph into minor key angst... yet again the movement leaves little lasting impression. The final movement, “Presto” is a fun, skittish romp ending in big honking C major chords for all assembled. The prestige and orchestras behind this work will ensure that many will hear it but to me the Double Concerto is “gone in 60 seconds”... here one second, gone the next.

Mozart's “Haffner” Symphony No. 35 in D, K.385 opened the program. Stern and the symphony reminded the audience that the work began as a serenade (not to be confused with the Serenade also known as “Haffner” in the same key, K.250) with a sprightly and spirited performance. Mozart asked that the first movement be “played with fire” and the last “as fast as possible; Stern and his forces certainly obeyed Mozart's command. Stern's graceful but not fussy “Andante” 2^nd movement contrasted nicely with the energetic 1^st, 3^rd and 4^th movements. Mozart added flutes and clarinets to the symphony's orchestration giving it a more mellow yet full texture. This touch benefited the always excellent KCS woodwinds, allowing them to contribute to an appropriately propulsive opener.

When I was introduced to the Brahms Symphony No. 1 in c op 68. my classical music mentor Herbert Glass told me that the work needs to start off “like a force of nature” or else it is a failure. Dr. Glass was a geologist by profession so he knew much about forces of nature, of course. And he is right and so was Stern and the KCS in their performance. Right from the start this was a powerful and forward performance. Not a glacier force but one like a flowing river, relentless but with control.

I am known to readers and friends as not a big fan of Brahms. Perhaps I have been exposed to too much glacier-like performances. Brahms had to be big, heavy, bulky and sometimes sweet, like a good German dinner. Stern has always gotten Johannes up from the table and out for a brisk jog in the woods, all to great benefit. Trust me, there is still great majesty and throughout, the final pages of the first movement, the opening of the finale, and the climatic pages of the “allegretto” 3^rd movement, are just a few. Stern also is keen to note the change in mood and temperature the middle two movements bring to the work. He does not allow them to wallow but provides just enough contrast and release of tension to make the final movement even more persuasive.

Special mention must be made to the excellent brass performances in this work. Not all that long ago, the anticipation of a prolonged horn or trumpet solo caused great anxiety among the regulars in the hall. Not now. The horns, introducing the alphorn inspired theme, emerged glowing and golden from the low strings and tympani, followed by the dulcet flute. A minor bobble of the trumpet and trombone chorale there after marred little, the whole episode was breathtaking. The chorale theme, an homage to Beethoven, demonstrated the excellent sound of Helzberg Hall, one could hear the darker husk of the violas, bringing out a texture not often captured on a recording. Stern milked the drama from the movement's final pages, not a headlong dash but an unleashing of the once bottled up force of nature.

Best CDs of 2014... Number 14

What a dolt I am! I forgot one. Not until I was rummaging around in my CDs (after HRH Olive the Pug knocked a few over) did I remember this recording that I planned to add to my list. I can't very well knock one off  the list after publishing it, so I will just do this supplement and add #14 to the list:

Darius Milhaud The Oresteia of Aeschylus: Agamemnon, Les choëphores, Les euménides
University of Michigan Percussion Ensemble, University of Michigan Symphony Orchestra, University of  Michigan Choral Union, Kenneth Kiesler, Conductor
Naxos 660349 3 discs

A long time ago, a strange LP of a strange sounding work "Les choëphores" caught my eye. Even though conducted by the New York Philharmonic and Leonard Bernstein, it was only available as a "Columbia Special Products" LP and thus really hard to get. My local record store tried and was told it did not exist. It finally made an appearance on CD a few years ago and I picked up a copy, but it soon disappeared from the catalog. I didn't know about the Markevitch version that was on DG occasionally. My curiosity was only partly satisfied, what about the rest of the trilogy? All the years of not being able to get it made me so damn curious about it.. you know what it is like when you can't have something.... it makes it all the more intriguing.

Finally, here it is in all its. Strange, percussive, fascinating, dramatic, violent and in-your-face glory. Great sound, great performances (the Markevitch "Les chöephores" is better than the Bernstein and in some ways better than this performance, if you want to explore them) and great fun. But good grief, NO TEXTS. What a shame, but still a landmark recording.

I should be shot for forgetting this!

Baker's Dozen Best Recordings 2014

Well! Here we are again. It is time to reflect on the past 12 months, review the defining events of 2014, recall celebrities who have passed away and of course the best of this and that. I concentrate on the latter, leaving the obits and news analysis to the talking heads of the TV. So yes, the best recordings of 2014 list is here. As usual, since the list is mine, I make the rules. These are not always brand new recordings, sometimes they are ones I heard for the first time in 2014 or dusted off my shelf. No pop or jazz, since that is not really my thing, and I am sure I have missed some “blockbusters” because the artists or repertoire were not of interest to me. No “Dude” or Sir Simon Le Rat (sic) or other “big names” recording more Mahler or whatever they are into now. You are more likely to find recordings of Havergal Brian (none this year though) or Morton Feldman (one this time around) than Bach, Beethoven or Brahms. So with all that, here are my baker's dozen favorite recordings, as usual listed in no particular order.

Britten: Works for String Orchestra Camerata Nordica, Terje Tonnesen, Director

BIS 2060

Britten tuned 100 in 2013 and of course big box releases were plentiful. With all the big guns firing, this 2013 release escaped me until this year. I have been slow to appreciate all of Britten's works; the “War Requiem”, “Peter Grimes” and “Sinfonia da Requiem” are givens, but much of his work long has baffled or left me cold. But this charming, well performed and enlightening disc opened the string orchestra works to my enjoyment. There is nothing “simple” about the “Simple Symphony”, the Bridge Variations is a masterpiece and Lachrymae is simply beyond description. Get this disc.

Yevhen (Yeven or Evgeny) Stankovych (Stankovich): Symphonies 1, 2 and 4 Theodore Kuchar, Ukraine National Symphony Orchestra

Naxos 8555741

These are actually 1995 Marco Polo recordings re-released on Naxos. I enjoy exploring the vast unknown of 20th century Russian/Soviet Bloc music. A lot of junk was produced (even by the big names) but there are many, many jewels buried in the trash heap. Ukrainian Yevhen Stankovych (seemingly the preferred spelling) is prolific yet lyrical, dramatic and listenable. Unlike many, the ghost of Shostakovich and Prokofiev is not overwhelming, but still always there. One of the jewels hidden in the pile.

Brahms and Schumann Piano Quintets Joyce Yang, Piano/Alexander String Quartet

Foghorn Classics FCL2014

The talented Alexanders and brilliant Joyce Yang take on two towers of 19th century chamber music, the Brahms Piano Quintet in f Op 34 and the Schumann Piano Quintet in Eb op 44. Frankly any recording that elicits a positive comment about Brahms from me is worth noting. No stodgy, elegant (read dull and technical) readings here, these are gutsy, lively, exciting and maybe even a bit edgy performances. Excellent production, including concise yet informative notes.

Bartók And Kodály Complete String Quartets Alexander String Quartet

Foghorn Classics FCL2009 (3 discs)

While we have the excellent Alexanders in front of us, mention must be made of this always intelligent, intense, musical, satisfying and well recorded set. Add this to the list of recordings that challenge and maybe surpass the classic Julliard recording of the Bartók cycle. Combine the fine and less well known Kodály quartets and you have a special release indeed.

Troubadour Blue: Nils Bultmann Works for Viola. Nils Bultmann, Hank Dutt violas, Parry Karp cello, Stephen Kent, didjeridu.

Innova 851

Thanks to I Care if You Listen and my fellow contributor Jarrett Goodchild, I had the notion to listen to this disc of works by San Francisco based composer/violist Nils Bultmann. Bultmann is one of the rare composers who can open your ear while not assaulting it, his music is tonal but inventive, rhythmic and visceral. The works on this recordings will both challenge and please. One simply has to hear “From the Depths” an imaginative and strikingly beautiful set of duos for viola and didjeridu and the “10 Viola Duets” for 2 violas are as often amusing as they are fascinating.

Columbia-Princeton Electronic Music Center: Music by Babbit, Arel, Davidovsky, Luening, El-Dabh, Ussachevsky.

Columbia/Sony 3268 (Available as an ArchivMusic on demand CD)

I remember this recording, released in 1964, from my teen years as I explored classical music. I don't think I ever owned a copy, but heard it at the library where probably most of the copies ended up. But it, along with other trail blazing recordings, led me to daydream about being an electronic music composer, which of course did not come to pass. This disc was on the cutting edge of the avant garde in the 60's, but now we giggle at the almost absurd series of bleeps, buzzes, warbles and squeals that comprise the works' electronic elements. The big names of the early electronic era are here and the compositions are representative of their time.... 50 years ago... seems like yesterday. Nostalgia for the radicals out there.

American Masters: Violin Works by Mason Bates, John Corigliano and Samuel Barber. Anne Akiko Meyers, Violin, Leonard Slatkin London Symphony Orchestra

eOne 7791

Three works for violin and orchestra from three American masters who share much more than is obvious. Barber (Violin Concerto 1939) was a mentor to Corigliano (Lullaby for Natalie 2010) who was Mason Bates' (Concerto for Violin “Archeopteryx” 2012) teacher. I reviewed this disc for I Care if You Listen in November and frankly I think I was too hard on the Bates Concerto. Further listening reveals a finely crafted, tuneful work that fits and compliments the other two works. The Barber is an utter masterpiece so maybe the others pale in comparison, but in that case, so do many others. Fine, fine recording. A keeper for sure.

Stanislaw Skrowaczewski: The Complete Oehms Classics Recordings. Music of Bruckner Brahms, Beethoven, Berlioz, Schumann, Skrowaczewski and others.  Saarbrücken Radio Symphony Orchestra,  Bavarian Radio Chorus,  Saarbrücken Radio Philharmonic Orchestra, Oehms Classics 90

The great Stanislaw Skrowaczweski turned 90 in 2013 and Oehms released this wonderful set of his recordings for them late last year. Complete Beethoven, Brahms, and Bruckner and Schumann Symphonies plus some Bartok, Berlioz, the two Chopin Piano Concerti and some of Skrowaczewski's own excellent compositions. I first heard him when he was the Music Director at Minnesota and always find his performances suave, exciting and musical. My conducting god, I drove 4 hours one way to hear him do Bruckner 8 and would do it again in a heartbeat. Lucky the performance here is first rate so I can stay in tonight.

Organ Polychrome: The French School. Jan Kraybill, Organ. Casavant Organ, Kauffman Center for the Performing Arts, Kansas City, MO                                         Reference Recordings RR133

A hallmark of a great concert hall is a great organ. Not used every day, but when a work requires an organ it is nice to have one around. The Casavant here is a fine “symphonic” organ and blends well with the orchestra. As a solo it is a fine instrument, especially under the control of Jan Kraybill, who oversees it and two other wonderful organs in Kansas City. Great, idiomatic performances of many of the French masters, including Widor (thankfully not the overdone “Toccata”), Vierne, Gigout, Guilmant, Franck, Alain... et al. Lease breaking sonics to boot.

Morton Feldman String Quartet #1, Three Pieces for String Quartet, Structures for String Quartet. Flux String Quartet                                                                               Mode 269 3 discs and DVD

At a mere 90 minutes instead of the 6 hours required for String Quartet # 2, # 1 is a trifle. But what a trifle; serene, glowing, glacial, energetic, softly ringing.... one incredible sound after another. Feldman is an acquired taste, but like that of scotch, anchovies or whatever... it is worth it for those in the know. The recording perfectly captures all the subtle changes in dynamics and harmonics. The DVD allows you to hear the whole quartet without interruption. Three Pieces and Structures are also vintage Feldman and are much, much shorter. It is a cold, misty dark December evening as I write this... I think I will pull this disc out... it fits.

Miraculous Metamorphoses: Bartok, Miraculous Mandarin Suite, Prokofiev, Love for Three Oranges Suite, Hindemith, Symphonic Metamorphosis on Themes by Carl Maria von Weber. Kansas City Symphony, Michael Stern. 
Reference Recordings RR132

Performances that can stand with the best of them and sonics that sound fabulous even on my computer speakers combine for another Reference Recordings/Kansas City Symphony “hit”. One also has to give the Kansas City Symphony, Reference Recordings and all involved great credit for daring to record major standard repertoire pieces that often have some very heady competition.

Shostakovich Symphony # 14 (1969) Gal James, Soprano, Alexander Vinogradov Bass Vasily Petrenko Royal Liverpool Philharmonic                                                         Naxos 8.573132

Overall, an excellent performance but I still can not live without the Barshai led performances with Vishnevskaya/Reshetin or with Simoni/Vaneev in the Cologne recording. Barshai was there at the beginning and had the music in his veins. The Curtin/Estes Ormandy is a sentimental favorite, with some of the most impressively ghoulish cover art ever devised. I thought the Liverpool strings were a bit weak and James less impressive than Vinogradov, but other critics disagreed. Overall a fine addition to the Shostakovich canon.

Shostakovich Symphony # 13 “Babi Yar” Alexander Vinogradov, Bass, Royal Liverpool Philharmonic and Chorus                                                                               Naxos 8.573218 

If the 14th was a fine recording, then the powerful 13th was perfection. Vinogradov is dark, brooding, frightening and frightened with deep voice that is still clarion clear. The chorus is not as idiomatic as a fine Russian ensemble, but is clear and present, well blended with the other forces. This is also one recording that does not let down after the long and dramatic first movement, the other four are equal in their drama and pathos. Great performance and a fitting end to a fine cycle. Petrenko is just 38 so he may yet have an even finer cycle in store some day.