Organ Recital Dr Richard Elliott

Thankfully the wonderful Casavant Frères op 3875 organ does not sit grandly idle as some concert hall organs do. Last evening, a very full Helzberg Hall audience was treated to the first in a series of four organ recital concerts featuring prominent organists from around the country. Each concert is hosted by Michael Barone, host of Public Radio's long running “Pipedreams” program. The organist was Dr. Richard Elliott, Principal Organist of the Mormon Tabernacle in Salt Lake City.

The concerts begin with an informal fireside chat between Barone and the organist, discussing the organist's training and experience and then progressing to a demonstration of some of the organ's voices and timbres. While the experienced organists might find this a bit uninteresting, for the layman, it was a fascinating glimpse into the world of the King Of Instruments.

The program was well designed to show off the capabilities of Opus 3875. Its French genes were highlighted by the majestic Louis Couperin Chaconne from 1658. The organ's characteristic sec French reeds were in full show in this grand arrangement by Joseph Bonnet.

The magnificent Bach Toccata and Fugue in F displayed Elliott's talent on the pedals and his ability to keep the drama of the toccata and the entrances in the Fugue flowing through Bach's torrent of notes. Elliott was aided by the organ's clear and precise pedals. A piece titled “Cantelena”by former Tabernacle Organist John Longhurst let the dulcet flutes have their fine, yet ephemeral moment. The piece was lovely, but did not make a long lasting impression. Composed for a Tabernacle radio broadcast, perhaps that was its intention.

Elliott's arrangement of “Every time I feel the Spirit” was a fine and amusing arrangement, capturing the improvisational style of African-American spirituals. But no matter how agile the organist, music like this just comes out a bit clunky when played on a concert organ; a rousing “Amen” coda made things all right however!

The main course was an arrangement for organ of Mussorgsky's Pictures at an Exhibition. I had heard orchestra, piano and brass ensemble live and even on rock band, synthesizer and guitar through recordings. But never on an organ.

While Elliott's technique was formidable, to me this arrangement sounded like it was arranged by Charles Addams instead of Jean Guillou/Keith John, emphasizing the spooky and otherworldly voices of the organ. This fit the music well in the strange “Gnomus”, “Catacombs” and “Baba Yaga” sections and to some extent the “Old Castle”. The “Ballet of the Chicks in their Shells” was fleet and light, marred by the unnecessary bird chirping sound effect. But Elliott and Op 3875 made the grand “Great Gate at Kiev” the highlight of the evening. Grand and glorious but not over-the-top, the might of the pipes could easily force the audience back in their seats. Elliott even negotiated the unforgiving runs and finger work in this mighty movement, which really fit the organ the best of all.

The encore of “I got Rhythm” simply blew me away. Much more idiomatically arranged for the organ than the earlier spiritual.

Thus a new concert series for the Kansas City Symphony and Op 3875 is off to a fine start. A most enjoyable and enlightening evening.

KCS Brahms and Barber

Three works, filled with unrelenting high drama comprised this weekend's Kansas City Symphony program, Michael Stern, Music Director Conducting. Samuel Barber's gripping Symphony #1 in One Movement, that monument of Romantic concerti the Grieg Piano Concerto and one of Brahms' most forward looking and satisfying works, the Symphony # 4.

The Barber Symphony in One Movement has a prominent place in the list of modern symphonies in one movement along with the Sibelius 7^th, Myaskovski 21^st (a suggestion for a future concert) and the Roy Harris 3^rd. Unlike these more organic symphonies, the Barber is really in four classically defined movements albeit played without a hint of pause.

The Barber's 20 minute span seemed to fly by; the performance was intense, tightly wound, focused and detailed, yet never fussy. There may be more polished performances around, but Stern captured the turbulent emotions and the aforementioned high drama as well as anyone has. He also took care to bring out the underlying classical form of the symphony, which helps to clarify and bring order to the frequent torrent of notes and themes thrown at us in a short time. Among many fine moments in this richly rewarding performance; the collapse of the first movement into the fidgety scherzo, the poignant and aching oboe (underpinned by some incredibly rich string chords and glittering harp) and cello solos in the slow movement and finally that movement's utterly shattering climax.

As an aside, I so agree with the program guide's recommended recording of this work, something I often do not do. The Zinman/Baltimore recording, originally an Argo release now on Decca, is a must hear that includes a fine Adagio for Strings devoid of all syrup, allowing us to hear a work Toscanini described as “simple and beautiful”.

I am really not sure who won the “Battle of the Grieg Concerto”; the soloist Spanish pianist Jorge Federico Osorio (who I only know through his recording of the Rodrigo Piano Concerto) or Stern and the orchestra. A wonderfully dramatic, clear and fanfare-like reading of the famous opening flourish promised a muscular, winged performance free of “Song of Norway” sentimentality. But as the concerto progressed, attentive listeners worried. Sometimes Osorio had to slow his runs and passages to keep up with the orchestra...and just as often the orchestra slowed to align with the solo. The movement never fell apart and Osorio's technique was riveting, but one could see and hear the tension between the solo and the orchestra as they struggled to stay on the same page. Redeeming the movement was Osorio's thunderous cadenza that also whispered with chime-like runs.

The short-ish central adagio could have been just a bit more languid, offering more of a contrast to the outer two movements. Osorio's prodigious technique allowed him to float the piano's gorgeous central theme over the gently pulsing strings. The orchestra's winds and especially the horns contributed some fine solo and ensemble work in this tender intermezzo.

The launch into the dancing, folk melody laced finale threatened to resume the first movement's battle but this time everyone took a deep breath and drove the concerto to a brilliant but slightly heavy handed conclusion. Special mention here to Principal flute Michael Gordon's expressive (as always) solo.

Never a work that will inspire foot tapping and finger snapping, the Brahms 4^th Symphony works well when it does not over stay its welcome. The 4^th is the work most often cited as proof of Brahms' progressive nature with the unusual variation-finale, tightly controlled relationships between motives and exploration of remote key signatures. Stern recognized this as well as Brahms' indebtedness to Beethoven in a well detailed performance that also pulsed with Beethoven-esque power. Some fans may have wished for more warmth and autumnal glow from the work, but for me, a brisk reading that also manages to catch the overall architecture of the work is the most satisfying and impressive.

The first movement began a little shaky and the horns were a touch off center in some of their exposed passages but all progressed to the grand climax of this majestic movement. Stern's attention to detail and the fine playing of the strings and winds allowed us to clearly hear how Brahms takes the little motive at the beginning and uses it to create an expansive sonata movement.

The 4^th is overall a tragic symphony and no where is that more apparent in the slow movement. Here, oddly enough, Stern backed the drama off a bit, bringing out the mood of resignation and reflection instead of doom and catastrophe. The opening horn call was spot on, where some of their other entrances were not this evening. The always fine winds shown brilliantly as well as did the rich strings when called upon.

Stern avoided the tendency in some performances to turn the scherzo into a thumping romp, bringing to mind Sir Thomas Beecham's comment about Beethoven's 7^th Symphony: "What can you do with it? It's like a lot of yaks jumping about." Stern's reading was bereft of all traces of yak, but had just enough rustic character to liven things up a bit.

The finale, an orchestral passacaglia, was grand, imposing and yes dramatic while at the same time energetic. Stern negotiated the ebb and flow of the many tempo fluctuations in this complex and unusual movement, while milking the climaxes for their power and relationship to the music in general.

Many more wonderful concerts coming up this season including free chamber concerts, a Thursday series and an organ series. At a time when many orchestras are floundering and mired in financial crisis, we are truly privileged to have our Kansas City Symphony to enjoy. See you at Helzberg Hall soon!

Must Hear Music in Kansas City, 2012-2013 Edition

The marquees, ads, banners, and such will be trumpeting major works that the Kansas City Symphony will be featuring this coming season; the second in the literally world renowned Helzberg Hall. Mahler 6^th, Beethoven Eroica, Carmina Burana and Schubert 9^th will be featured, for example. But tucked in among these incredible jewels are some lesser known gems that a serious concert goer should not miss. Here are two, with more to follow.

Berg Violin Concerto “To the Memory of an Angel” (1935)

May 31-June 2 2013 Gil Shaham Violin, Michael Stern Conducting.

If any work can convince a skeptic that the twelve-tone school of composers did not always write “ugly music” it would be this exquisite concerto from 1935. A touching and glowing instrumental requiem for Manon Gropius, daughter of Architect Walter Gropius and Mahler's widow Alma, the Violin Concerto has emerged as Alban Berg's most popular work. It was also his last completed work.

In contrast to the craggy but colorful Schoenberg and the minimalist Webern, Berg carefully chose the notes of his tone row; teeters on the edge of tonality. He also incorporated fragments from an Austrian folk song and a Bach chorale that springs almost naturally from his chosen sequence of tone.

Berg conceived his Concerto in two movements, each then subdivided into two parts. The opening Andante presents the twelve-tone row on which the concerto is based, immediately establishing a tonal and contemplative mood. The more animated second half, marked Allegretto, serves as a scherzo with two trios and was described by the composer as a portrait of Manon Gropius. In this section, we hear music associated with the vivacious young actress including folk dances, waltzes, and even a section that is to be played “Wienerisch” or Viennese. With the entrance of the folk song, the movement quickly becomes bitter and colder; death is approaching.

From this nostalgic and wistful movement, we plunge into the more dramatic and funereal second. The allegro first section, which the composer designated “Catastrophe,” serves as the concerto's dramatic cadenza, building to the work’s climax. After the shattering climax, the work relaxes in a mood of resignation. Berg quotes a Bach chorale “Es ist genug,” (It is Enough) from his cantata O Ewigkeit, du Donnerwort ( Eternity, you thundering word), a cantata of farewell and acceptance of death.

The conclusion, marked “Deliverance,” develops the chorale theme into a rhapsodic “Requiem for Manon”. Themes from earlier sections are quoted, reflecting times past. Few other twelve-tone works have a section such as the final measures of the concerto, which quietly radiates bittersweet resignation.

As a bonus, Maestro Stern has selected American composer Carl Ruggles’ brief yet haunting and “Angels” for muted brass to open the evening. This strange, ephemeral work blends brilliantly with the mood and tone of the Berg. A fine piece of programming.

Mahler "Blumine"  (1889)

May 17-19, 2013, Asher Fisch Conducting.

Mahler’s first symphonic essay took a circuitous route in both form and content before emerging as the familiar and popular Symphony # 1 in D major.“Blumine” was once a part of this symphony but was discarded by Mahler after a few performances. After its rediscovery in 1966, it has occasionally been performed as a part of the Symphony but more frequently as a separate piece, as in this case. A little history lesson is in order so as to understand how this movement disappeared for 70 years.

Mahler first conceived of this work as “A Symphonic Poem in Two Parts” when it was premiered in Budapest in 1889. “Blumine” (although not yet labeled as such) was the second movement of this early form which is recognizable as the First Symphony but with many differences in orchestration and form. This performance was not well received so Mahler made some extensive revisions for a second performance in Hamburg in 1893. Now entitled “Titan, a Tone Poem in Symphonic Form”, the movement gained the title “Blumine” (Flowers) and remained as the second movement.

Only a couple of performances were given of this version before a  fouth performance in Berlin in 1896 where Blumine was formally struck from the score. All traces of the program and the name “Titan” were removed. The work was published in its current form in 1899 titled Symphony # 1 in D Major.

Blumine remained unperformed and lost until it was discovered in a copy of an early manuscript donated to Yale University. Benjamin Britten performed it soon after and the enterprising New Haven Symphony under conductor Frank Brieff performed and recorded it, interpolated into the definitive score as the second movement. Since then, several performances have been given and recorded of the early Budapest and Hamburg versions.

So what of the music? Mahler biographer Henry-Louis de La Grange 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 a late-nineteenth-century Mendelssohn, pretty, charming, lightweight, urbane, and repetitious, just what Mahler’s music never is.”

Frankly, I kind of like the early versions with Blumine If one enjoys the lovely Adagietto of the 5^th Symphony, the short interlude will also come as a quiet, simple respite among the otherwise emotionally charged atmosphere of the symphony. I do agree with de La Grange that it is a bit like Mendelssohn scored it with a decidedly late century palate. However. it looks forward to Mahler’s grander creations such as the aforementioned 5^th and the 3rd’s posthorn serenade.

Several fine recordings of the Symphony with Blumine are available, most including Blumine as an appendix, notably Zinman/Zurich Tonhalle on RCA and Neeme Jarvi/Royal Scottish Orchestra on Chandos. Haydn House, an LP to CD reissue source, has the original Frank Brieff/New Haven recording, for the most curious.

Kansas City Symphony Season Finale: Pärt, Hovhaness & "The Ninth"

Undoubtedly Beethoven's evergreen Symphony # 9 in D minor is a fitting choice to conclude a festive season of Kansas City Symphony concerts. Symphonic music in Kansas City has enjoyed a veritable seismic shift with the new hall and excellent musicianship from the orchestra and chorus, much as the music world experienced in 1824 when Beethoven himself premiered his new work. The unprecedented inclusion of soloists and chorus, the monumental length and a scherzo fully removed from its minuet forebears paved the way for symphonies by Berlioz, Bruckner, Saint-Saëns (the Organ Symphony heard just last week), Mahler and beyond that little resembled those of Haydn or Mozart.

At about an hour, the Beethoven 9^th is not quite long enough for a full evening but long enough that a traditional opening half of an overture and a concerto would be a bit too much. Thus choosing the accompanying works can be as challenging as the music itself. I admit that when I first heard that Maestro Stern had selected the Hovhaness Symphony # 2 (Mysterious Mountain) I blurted out a quite positive reaction that can not be published here due to some “adult” language. Let's just say “Brilliant” was part of the phrase.

The Hovhaness work, written in 1955 for Leopold Stokowski, serves as a perfect prelude to the affirming Beethoven not because of any reference to “mountains”, the whole concept of the unscaleable, monumental or even mountain-top expression of joy. Hovhaness, in several interviews, admitted the title was given to the work after its completion at the suggestion of Stokowski, thus there is really little overtly “mountain” about it. Why it works, and why it worked so effectively in last night's concert, is that its meditative beauty and sweetness is a musical expression of the joy of serenity, something that is lacking in our time and an essential foil to the more overtly visceral joy of Beethoven's symphony.

The addition of Pärt's “Fratres” as the first work on the program served as a sort of bookend to the whole evening. A simple, chant-like call to prayer and meditation on brotherhood emerges from an elemental, deep drone and primitive wood and skin percussion, the very primal spark that leads humankind to the mighty acclamation of “Freude, schöner Götterfunken” that sends the 9^th to its victorious close.

Both Fratres and Mysterious Mountain seem easy and repetitive at first hearing, but neither work is a walk in the park for an orchestra. Taken too fast, they lose their serenity, too slow they become sheer boredom. If the conductor or orchestra loses concentration, they are a sticky goo.

Fratres received the most leisurely performance of the evening, Stern and the orchestra made the most of the undulating strings' slowly shifting progression, punctuated by the dry and brittle percussion. The simple, elegant work belies the complex, almost mathematical relationships between the chords and their progression, the first spark of science and logic that really can go hand in hand along with brotherhood and human spirituality.

Stern's “Mysterious Mountain” bordered on the fast side but his attention to detail and to color won the day. The quick tempo and attention to rhythm served the exciting double fugue center section well (listen to Hovhaness' Prelude and Quadruple Fugue for an equally fascinating exploration of the fugal form). The important brass, harp and celesta parts added their unique timbre and color to the string dominated piece. Stern's compelling performance and his straight from the heart short talk before the work served to inspire and enlighten the audience, many of whom I would imagine were hearing Hovhaness for the first time. For this long time Hovhaness fan (I admit to my guilty pleasure), the sight of the audience standing to applaud the work and the performance was worth the whole evening.

Almost, if not totally, deaf by the time it was premiered, Beethoven's Symphony # 9 really is one of humankind's greatest achievements. Schiller's poem "Ode an die Freude" is far from the deepest, most profound writing. Yet Beethoven, in his genius, wrapped it around some of the most sublime and memorable music ever penned and thus created what has to be humankind's national anthem.

Stern and his forces brought out the anger and fire in the often mysterious and stormy first movement, establishing from the start that this was going to be muscular, exciting Beethoven and not stonily monumental, which is fine by me.

Beethoven's fiery scherzo forever kicked the proper and polite minuet to the curb with its pounding tympani and jagged rhythms. And how many of us children of the 60's remember this was the closing theme of the Huntley-Brinkley nightly news? Stern again took the movement at a fair, but not rushed clip. The famous tympani blows were crisp, powerful, clean and well integrated; sometimes they can sound like an unwanted intrusion when too aggressively played. The strings dug into the dancing, angular rhythms with gusto and clarity.

Stern's quick tempi could have been tempered a bit for the flowing and sublime slow movement. But the crystal clear acoustics and Stern's trademark attention to detail brought out all the wonderful inner voices of this prayerful movement.

The orchestra launched headlong into the finale, storming the heavens with the best of them. The soloists, Erin Wall, Soprano; Sasha Cooke, Mezzo; Thomas Cooley, Tenor and Robert Pomakov Baritone were generally superb in the thankless and taxing solo parts. Pomakov seemed to run out of air in the opening O Freunde, nicht diese Töne... and Cooley was overwhelmed by the choir at the end of the Janissary music section, but otherwise they tackled the formidable parts with ease and superb musicianship. The large chorus threatened a couple of times to overwhelm all but were always clear, disciplined, in tune and precise, a real joy to hear. The massed “Seid umschlungen...” was breathtaking. Stern resisted the tendency to drive the concluding orchestral tutti home in a frenetic rush yet made an emphatic and dramatic statement nonetheless.

Thus, all assembled were treated to a journey from the primal awakening of Fratres through the meditation on mountains and ascension to the life-affirming “Seid umschlungen Millionen! Diesen Kuss der ganzen Welt!” A thought provoking program, well executed.

The Muse willing, see you next season.

Kansas City Symphony: Saint-Saëns and Brahms

A full program and a festival atmosphere was at hand this weekend with the Kansas City Symphony, Michael Stern Music Director and conductor. After much preparation and a couple of solo work outs, the newly installed Casavant op 3875 pipe organ was ready for its debut with the orchestra. Paul Jacobs, probably the country's premier organist (had to chuckle when I heard a lady down the row from me wonder if Jacobs is as good as E. Power Biggs was... at least she did not say Virgil Fox), had the honor of introducing the organ to the subscription series in the juicy and deservedly popular Saint-Saëns Symphony # 3 “Organ”. Also on hand was super-star violinist Joshua Bell as soloist in the Brahms Violin Concerto in D. Beginning the extensive program was the world premiere of Stephen Hartke's “Muse of the Missouri”.

Hartke's “Muse of the Missouri”so named after the fountain on Main between 8^th and 9^th Streets, was the third and final installment of works commissioned to commemorate the opening season of the Kauffman Center for the Performing Arts. All three, Chen Yi's “Fountains of KC” and Daniel Kellogg's “Water Music” took their inspiration from the many fountains that grace Kansas City. Of the three compositions, Hartke's was for me the least successful. As with Respighi's famous fountains, the work seeks to musically depict not only the fountain but the surrounding landscape. Although complete with flowing passages evoking the relentless flow of the fountain and the Missouri River, a jazzy interlude and metropolitan hustle and bustle, “The Muse of the Missouri” was even more generically contemporary than Kellogg's piece. Hartke's use of a banjo could have been almost stereotypically “down home country” and thus condescending, but he used to instrument deftly and coloristically to great effect, much as Mahler did with the guitar and mandolin in the 7^th symphony.

Yes, it is time for me to say something nice about Brahms. For a performance of Brahms to be enjoyable, the musicians should take the old granny out of her rocker and give her a nice romp through the park. Stern and soloist Joshua Bell did just that in the Violin Concerto in D op. 77 which filled out the first half of this weekend's program.

What can kill a performance of this huge work is a too long and lazy first movement that makes the other two seem like trifling encores. Bell's perfect intonation and incredible technique combined with Stern's swift (but really not rushed) tempi and attention to the contrasting lyrical and rhythmic episodes really moved the work along allowing the music to sing and flow effortlessly. The imposing first-movement cadenza, in this case composed by Bell, was to my ears a bit jarring and too over-the-top, no matter how technically brilliant it was. This was, for sure, gutsy and visceral Brahms, full of exquisitely executed double-stops, and glorious gypsy dance rhythms in the finale well contrasted with a full but never overwrought central slow movement. The latter mentioned movement opened with a beautifully limpid oboe solo setting the stage for Bell's freely expressive performance. As heard in the intermission chatter, some patrons felt Bell “sawed” his way through the Brahms and was “rough and too fast”. For traditionalists, perhaps that is so. But to my ears, Bell brought the old gal to life. Bell's encore, a set of variations on “Yankee Doodle” were simply super-human. The crystal clear sul ponticello passages were simply indescribable.

And then a second half that was a blockbuster in and of itself.

To fully appreciate not only its power but also its subtlety, the Saint-Saëns Organ Symphony must be heard by a fine pipe organ in a grand hall. Recordings, as many celebrated and “demonstration quality” (we used to call them “lease busters”) as there are, do not capture the essence of Saint-Saëns' sound palate. Instead of a recording's impenetrable sonic wall, in a concert hall one can hear the subtle tension of the organ chords in the 2^nd part, not just underpinning the orchestra but how they actually are an integral and never overwhelming part of the fabric. At the same time, a listener can fully experience how the organ and orchestra chords meld and progress into the same movement's stately chorale. Same with the grand final movement, the organ is not just a jarring intruder, but again an integrated part of the whole grand scheme.

I also find it amusing that recordings of this work almost always feature a star performer in what is not all that flashy a part. Of the four movements, or sections actually, the organ appears in only two. So as to make amends and for us to fully experience Mr. Jacob's artistry, the second half began with a solo performance of the Elgar Pomp and Circumstance Military March # 1 in D, known to graduates everywhere. Jacob gave the Casavant a fine workout in most rousing and pleasing performance of this chestnut.

Sadly, many performances drag the first section to almost a stand still, but Stern chose a stately yet gently propulsive tempo that let us luxuriate in the strings radiance just long enough. The scherzo section requires some rhythmic crispness from the strings and winds to make its proper effect and Stern and the symphony did just that. When the organ appears in the slow 2^nd section, Casavant Frères opus 3875 is roundly voluptuous and sweet but never sticky. In the final section, she wakes up the audience with her glorious, commanding voice. The vast forces combined in a finely paced movement thankfully devoid of the tendency to rush the final chords and tympani cadenza in a frenzy of un-coordinated sound and fury. A fitting introduction of this magnificent organ into the symphony's subscription programs. Now, Maestro, give us a redo of the Berlioz “Te Deum” with a real organ.

KC Symphony: Bronfman, Bartok, Kellogg and Mozart

Pianism of the first degree is always on display when Yefim Bronfman comes to town. This concert was no exception as this titan of the piano tackled one of the most complex concerti in all of piano literature, the Bartok Concerto # 2. Michael Stern led the Kansas City Symphony in this work as well as the world premiere of Daniel Kellogg's “Water Music” and the Mozart Symphony # 41.

Written in 1930-1931, the second explores Bartok's fascination with the piano as percussion instrument while celebrating the folk music of his native Hungary. While some may think the first movement (where the piano is mostly accompanied by winds and percussion) is simply a raucous, pounding romp, Stern and Bronfman made sure we heard not just the rhythms of a wild folk dance but also the occasional lyrical Hungarian folk voices hidden beneath all the violent action. The all important orchestral brass and winds were at their best, only a couple of times getting close to overwhelming the piano with their accumulated power.

Bronfman and all were perfectly in sync and quite affecting in the haunted, oriental tinged slow movement, bringing out the lyrical and melodic interplay in this somewhat rhapsodic movement. Lesser focused performances let the music wander, but Stern and Bronfman kept this movement flowing yet in control.

The last movement is another driving, surging folk dance. As in the similarly percussive first movement, Bronfman never slipped into relentless pounding but dazzled with his almost effortless command of this jagged, cluster filled dance. The main reason this performance worked so well overall was due to the pianist and the symphony emphasizing, but not dawdling over, the more lyrical and relaxed passages in the outer movements, giving the work an ebb and flow that many lack.

The concert began with the world premiere performances of Daniel Kellogg's “Water Music” the second of three works commissioned by the Symphony to celebrate the opening of the Kauffman Center and the fountains of Kansas City.

Kellogg took his inspiration from three of our fountains and crafted a colorful three movement work for large orchestra.; The JC Nichols Fountain is portrayed in “Battling Torrents”, the downtown “Muse of the Missouri” inspired the quieter, slow central movement and the finale “Cascades” captures the Henry Bloch fountain at Union Station. For the uninitiated, Kansas City supposedly has more fountains than anywhere else but Rome.

The audience seemed to enjoy the work, as did my concert compatriot Gerry, who usually hates anything written past 1900. I tended to a different view. Although colorfully orchestrated, “Water Music” was thin on melodic ideas and structure, relying on the color to hold it all together. The sea creatures, bears and horses in “Battling Torrents” romp and play for sure, but in a generic 20-21^st century accessible music form that could have depicted any action.

“The Muse of the Missouri” is described by the composer as “a contemplation of the passage of water through the passage of time”. I guess the slow, undulating music did just that. But as that activity can be a bit tedious, so went this slightly over long movement.

“Cascades” was frankly similar to the first movement, but best captured its fountain in music. The vibrant movement danced and played almost stopping (as the fountain does) and then erupting in watery dance.

The orchestra did a fine job with this likely difficult and unfamiliar music; the lavish percussion and augmented winds were outstanding as usual. But Respighi did it all so much better and memorably (with a different set of fountains of course) as did Chen Yi in her “Fountains of KC” that began the season.

The early Classical era orchestra of the Mozart “Jupiter” looked almost forlorn and overwhelmed by the stage after the big orchestras of the Kellogg and Bartok. But genius as he was, Mozart used these more limited forces to create one of the truly great icons of music. Stern and the small orchestra presented an elegant yet never fussy reading of this grand symphony. This was “old school” Mozart, symphonic and powerful when needed yet sweetly refined when called for. A perfect foil for the more clangorous music that comprised the first half.

Nixon had to go to China

The most awaited Lyric Opera of Kansas City production in years brought John Adams' once bound for neglect but now classic "Nixon in China" to the new stage at the Kauffman Theatre this week. Importing a production (and most if not all the production staff) from Vancouver (Vancouver Opera's Geral Director James Wright started his opera career at the Lyric) the technology rich production was frankly a musical and visual thrill from first note to last; 3 hours flew by. I regret not taking advantage of seeing it a second time.

Adams' music pulsed, swung, rocked and gently rolled under the masterful hand of Lyric Opera Music Director Ward Holmquist, who had a hand as vocal coach and assistant conductor in the world premiere in 1987. Alice Goodman's libretto is a masterpiece of symbolism and oblique references combined with just as many in-your-face moments. The sets were a show unto themselves, with projections of "The Spirit of 76" banking over a cloudy Peking and swooping over the stage to land on the runway. As Pat Nixon visited a pig farm, a health center, a school and park, videos were projected onto the placard signs the entourage was carrying. A visual of the Forbidden City reflecting the White House as Mao and Nixon was the talk of intermission, some thought it was showing the Communists were superior and the White House was upside down and inferior. Sigh....

James Maddalena, who created this role in the world premiere and has done it at least a hundred times, is perfect as Nixon, a visionary yet deeply flawed leader. Maria Kanyova who has performed Pat Nixon in Canadian Opera productions, was in fine voice and so perfectly projected the overwhelmed Pat as she struggled to figure out this strange land. Richard Paul Fink was a great Kissinger, a somewhat thankless role  since he is portrayed as somewhat of a farce and a buffoon, symbolizing all that is evil on the capitalist side.

Absolutely beyond reproach was Audrey Luna as Chiang Ch'ing aka Madame Mao. She was the epitome of steely evil, bringing the house down with her vocally incredible coloratura aria "I am the wife of Mao Tse-Tung." The whole second act, with the surreal ballet "Red Detachment of Women" morphing into a metaphor of the Cultural Revolution, was superbly staged and danced. Luna, and the rest of the principals were also fine in the  generally quiet, reflective 3rd act, punctuated by the screamingly surreal dancing of the Maos and Nixons (the music Adams later used for his popular concert piece "The Chairman Dances"). "Let's show these mother fuckers how to dance!" screams Madame Mao as she gyrates and fox trots with Mao as young revolutionaries.

My utter frustration was with many who saw these performances and totally missed the whole idea. A grumpy neighbor of mine who is an opera buff literally spit invective at it, saying an opera that uses microphones for the orchestra and singers is not opera but Broadway at its worst. Some one else I know cautioned all who considered going that they were going to lose time they could never regain by watching this trashy crap. She also whined that the vaunted acoustics of the Kauffman Theatre were a joke.." I could not hear a thing".. BS. I hear that a lot from people, who expect more than what any concert hall can provide. They seem to think they should be able to hear the stage hand's change jingle in his pocket from the farthest seat in the balcony over a full orchestra and cast. Adams' score is thick, the orchestra and voices amplified to gain a modern, steely, television effect and Goodman's libretto often poetic and metaphorical. NO ONE could understand every word. I, with a bum ear, heard it all quite clear thank you.

Nixon in China works when you let the music and the visuals wash over you and realize that the whole historical  event was played out by some brave but inherently commonplace and flawed figures; an ambitious President focused on his image, an aging almost senile revolutionary leader, a cruel, power hungry woman taking advantage of her position, despised by all, a naive First Lady, along for the ride and a pragmatic Zhou  En-lai who is tired as well, and fearing for his country's future.

It deserves its place as a modern classic.

2012 Kansas City Auto Show: "Eco-Performance" rules

The advertising theme for this year's Greater Kansas City International Auto Show was so apropos: Signs of Spring, a baseball, a Robin, and the Car Show. 

Another theme this year was Eco/Electric. Several new hybrids and even all electric cars were on display. As usual, Greg and I wandered around the show on a wet and cool Sunday, running into some friends and taking it all in. Some highlights, you can click on the picture for a larger image:

Ford got the first display as you came in the door, as it always does. The new 2013 Focus looks snarky and slick. It has to take on the popular Hyundai and KIA models in this class.

Big mouth grilles are all the rage this year.

There is a hybrid Ford in your future. The C-Max line will be all hybrid in 2013

The 2013 Escape gets a major redo; less boxy and sporting the new Ford face

I remember when pick up trucks had no chrome at all, it was usually an option. So were bumpers. 2012 Ford.

For FOMOCO's luxury brand Lincoln, not a Town Car in sight.

The MKS for 2013 will get a softer grille instead of the snarly one it has now.

Wondering over to the Cadillac section, I bemoaned the loss of the tail fin. But look!!!! They are still here in spirit:

The new XTS is soon to debut. Looked fabulous in dark blue and tan.

She has tail fins too.

The new ATS sedan, based on the Cruze/Verano chassis looked like a fine small Cadillac. Will it finally shake the "small Caddy curse?"

Mitsubishi is marketing an electric car, the "i". Strange name, but cute little car. Actually kind of roomy inside. 

Nearby Subaru had a sporty new BRZ to be built in limited quantities. It was not making a big buzz here.

Surprise of the show for me was the redone VW Beetle. Longer, sleeker and more masculine than the old one.

Interior had some classic styling cues, but was still modern and functional. No more flower vase.

I kind of like Buicks, always have... including my 1990 Century named Dunbar. The new Verano has some of the softest, yet supportive seats in the business.

The Chevy Cruze based Verano has all the current Buick styling touches, but a different rear.

Although I think Century would have been a better name, the Regal GS is the sport sedan in the line up.

The 2013 Encore is a player in the smaller luxury SUV market.

Chevrolet has introduced the new redesigned Malibu. With all 4 cylinder power and lots of Camaro cues to boot.

Camaro tail lights mark the Malibu from behind.

The small Sonic is an improvement over past Chevy subcompacts. Roomy and versatile hatch and sedan versions are available.

The Repubs have done a number on the Volt, buy one and you are hate the troops, a liberal commie or something like that. Pricey yes, but the car of the future here today. I'd buy one if I had the cash.

From the Dodge Boys comes the Yellow Jacket, a Super Bee for the new century. Limited editions, the Charger model will get a Super Bee model but was not shown at the show.

Big:

Bigger:

Want a big, brawny, powerful sedan? The Dodge Charger is your thing:

The imposing front of a Dodge Durango, redone for 2012

This looks nothing like my 1974 Dart Swinger. The new Dart should be a fine competitor.

Rear has the styling cues from big bro Charger. Alfa Romeo blood runs through the Dart's veins.

Just what one needs to go to the mall. 2012 Range Rover.

Rich Man's toy:

Even richer man's toy:

Richest Man's Toy.

For the poor, a Tomato Worm Green Hyundai Accent. As an aside, Hyundai cars have the most pitiful horns on the planet. My plumber called them "Faggy-ass horns".

Hudson Motor Company merged with Nash in the 50's to create American Motors. AMC bought Jeep and then Chrysler bought the remains of AMC to get Jeep. Through all that, the old Hudson name "Jet" reappears on a Jeep Liberty model. Only geeks like me care, or even notice. (see my new shoes in the reflection?)

Not a big Toyota fan here, although I owned one once. I can not see out the back of this thing. 2012 Prius

See the resemblance between the following vehicles?

(Seagrave Fire Engine, 1950's)

(2012 Toyota Prius V)

I do :)

That is all for this year. Though I saw lots of new vehicles I would be proud to own, my 22 year old Buick, Dunbar, is quite safe. He gets me from point to point and is paid for.. lots said about that.

The Debut of Opus 3875

The organ is not called the king of instruments for nothing. A fine organ can fill a great hall with glorious sound, make a church congregation sing, make mourners cry and at the same time can whisper softly and twitter with the birds. As an organist friend of mine once said while touring a group around the installation of a fine, vintage 1918 Austin organ, “an organ is really a living, breathing organism, full of life and needing care and feeding, just like a human.”

It then goes without saying that any concert hall worth its salt has to have a fine concert pipe organ. Many do not, notably cross state rival St Louis and Carnegie Hall in New York (it has a famous Rogers Electric organ). The Lyric Theatre, the KC Symphony’s old home, had a simple old electric organ of dubious quality.

So a fine new hall, such as Helzberg Hall, had to have a fine pipe organ. And who better to build it than Casavant Frères of Quebec, probably the finest organ builders around today. Somewhat unique in concert halls today, the organ was built along with the hall and not as a later, compromised addition.

On March 10 and 11, renowned organist James Davis Christie, organist for the Boston Symphony and chair and professor of organ at Oberlin Conservatory, dedicated the Casavant Organ, opus 3875 in a solo recital.

Christie told the audience he thought op. 3875 was the best Casavant he has ever played, “and I have played many”, he remarked. Celebrating the organ’s French heritage, his program was heavy on the French repertoire (annoyingly ignoring Messiaen, Tournemire and Widor) but included works ranging from 1644 to the present day.

The organ is magnificent and is a joy to see with its funky wood covered, angled pipes. I just seemed to notice a lack of earth shattering power and an overall mellowness that is probably best for a concert hall organ, but will not overwhelm you like the best of the cathedral organs. Op. 3875 is a fleet lady, with clear and precise action, allowing the organist to trill and throw off scales like a piano. She could handle the smoothest of legato, as demonstrated by Christie’s own “Élégie” (2006, the most recent work on the program) and the lightest of skittering trills as in Italian Giuseppe Gherardeschi’s (1759-1815) amusing Rondo.

Where I wished for more power was in the major French work the Sonata # 1 in D for Organ by Alexandre Guilmant. Christie played two movements of the work, the finale and the “Pastorale”. The simple and charming Pastorale came off best, benefiting from the aforementioned mellow qualities of the organ and an incredible Voix Humaine stop. The finale needed some more depth and clarity in the lowest registers. Same with the famous Bach Toccata and Fugue in d, which seemed a bit rushed and just lacking that wall shaking, buzzing power in the lower notes.

Still a magnificent achievement and likely one of the top 5 concert hall organs in the country. The mellowness and restrained power qualities that detracted a bit from the solo recital are ideal for an organ with orchestra. In June, we get to hear op. 3875 in the famous Saint-Saëns Organ Symphony.

Out of the box, Op 3875 is really quite an impressive work. A world of organists and organ music awaits this grand lady.

Christoph von Dohnányi Visits the KC Symphony

There are maestros and then there are maestros. If I was speaking those words you would hear the subtle accent on the second maestro. Christoph von Dohnányi is undeniably a member of that upper rank.

German born Dohnányi has enjoyed a stellar career with orchestras and opera companies all over Europe and the US. He is mostly remembered here for his long and productive tenure with the Cleveland Orchestra in the 80s and 90’s. There he mentored several young conductors including current New York Philharmonic Music Director Alan Gilbert and one Michael Stern, Music Director of the Kansas City Symphony.

Stern was in the audience for the Sunday performance to hear his old boss lead his orchestra in a thoughtfully conceived program of three works that contrasted humor and hijinks with somber reality. Opening the program was Alfred Schnittke’s absurdist tour-de-force (K)ein Sommernachtstraum (Not a Summer Night’s Dream), followed by Richard Strauss’ comic/tragic “Till Eulenspiegel”. The second half consisted of Tchaikovsky’s Symphony # 6 “Pathétique”.

The full house Sunday audience caught and appreciated the humor of Schnittke’s 10 minute homage to Shakespeare’s cast of impish characters. Written in 1985 just before a near fatal stroke, (K)ein Sommernachtstraum comes from his polystylistic period (where basically anything was fair game) before his declining health turned his music bleak and gray, making late Shostakovich sound like a Strauss polka.

The work begins with a solo starting deep in the 2^nd violins (Schnittke puckishly specifies the musician occupying the back desk of the 2^nd violins, technically the farthest one from the Concertmaster’s position). Accompanied by piano, the melody is so simple and sweet that one could be forgiven in thinking that Mozart had been substituted without warning. Quickly taken up by flute and harpsichord, the melody is subjected to gradual layering of dissonances and transformations: a demented carnival ride waltz, a banal and amateurish Ivesian march, shattering climaxes and hints of Schubert and Romantic excesses slide in and out before the sweet melody returns to the flute and violin in glorious C major… with just a hint of tolling, ominous bells.

Dohnányi was in firm control, yet let the mayhem progress with wit and style. I heard many chuckles and noted frequent smiles from the audience. One fellow behind me exclaimed “I really liked that!”  For even more bizarre Schnittke, find a recording of the Symphony # 1. I have never been able to get through it.

Dohnányi’s Till Eulenspiegel was a fine performance with vivid color, enabled by fine playing from all the symphony sections, especially the essential brass and winds, but maybe a bit too controlled. With amazing clarity and ability to coax all the virtuosity out of the orchestra, Dohnányi and his forces brought out motifs and colors that I have not heard in live performances before. Perhaps in emphasizing clarity he underplayed some of the chaotic, skittering rhythms. The final funeral march and execution was certainly dramatic enough, with powerful horns and solid strings. I wished for a bit more scream from the shrill and Eb Clarinet as Till was strung up on the gallows as it was swallowed a bit by the large forces. This is an episodic work and Dohnányi verily mocked the stuffy academics, spun a lustily brash love scene as Till flirted with all the girls and wrung the drama and terror from the aforementioned march to the scaffold. I adore Dohnányi’s Cleveland recording with Decca, so maybe I have that perfect performance imprinted in my head. With just some minor quibbles, this one was really pretty close.

The second half Pathétique was one of many outstanding moments; a fine paced, brassy march, an elegant Allegro con gracia, and a deeply passionate finale. The opening movement began with an almost perfectly inaudible bassoon solo by associate principal bassoon Miles Maner (exactly what Tchaikovsky wanted, it is famously marked pppppp). Brass intonation was a bit problematic here and in the rest of the symphony as well. Although finely played, the first movement just did not seem to take off. Again, as in the Strauss, it seemed to be Dohnányi’s penchant to control and bring out detail. However, as the work progressed through its 4 movements, I saw that Dohnányi correctly judged the subtitle of the work to mean “passionate” not “pitiful” or hysterical”. This was a journey of many paths, some taken, some abandoned, some more important than others. The hushed ending was thus not a let down but a solemn and inevitable letting go. Noisier, more dramatic and faster performances abound of this masterpiece, but few are as cogent and ultimately satisfying as this mature and expressive performance.

Kansas City Symphony: Audiophile Recording

A group of about 400 invited subscribers and friends of the Kansas City Symphony gathered at Helzberg Hall Wednesday for a most interesting and enlightening experience, a preview concert of a new recording of the Symphony by Reference Recordings. Gone forever, it seems, are the days when the major orchestras of the US and Europe churned out new recordings by the dozens every month on the great labels of the era… Columbia, Deutsche Gramophon, Decca… conducted by the giants of the time. Filling that gap are smaller labels like Reference Recordings who produce a smaller number of fine recordings each year.  Lucky for us here, Reference has forged a bond with our local band and has released two well received recordings, including a Grammy winner.

I have to give all involved great credit for daring to record major standard repertoire pieces that often have some very heady competition. No unknown or unrecorded composers or works on this latest disc containing three 20^th century orchestral showpieces, Prokofiev’s “Love for Three Oranges” Suite, Bartok’s “Miraculous Mandarin” Suite and Hindemith’s “Symphonic Metamorphosis of Themes by Carl Maria von Weber.”

This was no mere run though to test the microphones (although that really was the main purpose). We were treated to a true, focused concert with some of the best playing I have ever heard from the KCS, and we have heard a lot; crisp, exciting, lyrical, brisk but not excessive tempi and visceral. The Prokofiev crackled with wit and snap, the often violent and complex score of the Bartok was breathtaking, clear and detailed without being fussy. Those paying attention may have noted the organ pedals at the beginning, the first time many have heard the mighty new Casavant organ. Michael Stern’s very first concert as Music Director included the Hindemith Metamorphosis and wowed the audience then. This one was even better with fabulous wind solos, chiming and clean percussion, and dancing rhythms.

On hand were Reference Recordings’ wizards of sound, “Professor” Keith Johnson, the finest recording engineer around and producer David Frost, the best of his profession as well. This team, as Maestro Stern noted, has won about as many Grammy Awards as there were people in the hall. With the orchestra focused and enthused, the already fine sound of Helzberg Hall and the RR team.. can you say “instant audiophile classic”? Sure you can.

Kansas City Symphony Mahler 2

They say no one likes a show-off, but can we make an exception for the Kansas City Symphony? When you have a fine new venue such as Helzberg Hall you just have to show everyone what it can do. A work tailor made for showing what a hall and ensemble can do was the sole work on this weekend’s program, Mahler’s grand Symphony # 2 “Resurrection”. Michael Stern led the combined forces of the Symphony and Chorus with Kelly O’Connor and Jessica Rivera as soloists.

Much like the previous Symphony #1, the “Resurrection” was slow to evolve into its final form. The first movement started as a tone poem titled Totenfeier (Funeral Rites), written in 1888. The middle movements, 2 and 3, date from 1893. The problem was finding the right text for his proposed choral final movement. Conductor Hans von Bulow’s funeral in 1894 provided the inspiration and the text, Friedrich Klopstock's “Die Auferstehung (The Resurrection)”, a setting of which was performed at the funeral. After composing the finale, Mahler went back and inserted a short song “Urlicht” just before the finale, sort of a transition from the worldly to the heavenly.  Also like the first, Mahler toyed with programmatic subtitles and descriptions of the movements, up until the work’s premiere. They were later abandoned, letting the music speak for itself.

From the very first gruff flourish of the lower strings I sensed that this might be a slightly cool “Resurrection”. Stern and the orchestra just seemed to lack the n’th degree of drama that marks the very best of performances of this monster of a symphonic movement. As the movement progressed, great details abounded; crisp, precise percussion, well executed wind solos and careful focus on dynamics, the latter most essential. The forces found their moxie in the grand build up and exhausted collapse that occurs after the development and by the end of the movement the inherent drama was emerging.

Stern wisely followed Mahler’s instructions to observe an at least 5 minute gap between the first and second movements, something that is not often done today and missing on a recording unless you do it your self. It allows one to digest the sprawling first movement and illustrates the contrast of the more delicate and less episodic movements to come.

Those who follow my musical scribbling realize I often march to a slightly off beat drummer. Thus I am one who feels the three inner movements are more interesting and even fulfilling than the more stormy and grandiose first and last movements. They are among Mahler’s most sublime and intricately scored symphonic statements.I can’t decide if the second movement or third is my favorite… or maybe “Urlicht”.

The second, “Andante moderato, in the style of a Ländler”, is a delicate, flowing and subtle statement. If taken too slow and square, it degenerates into a vulgar waltz, or at worst, a static, lilt challenged (thank you for that phrase Maestro) mess. But under Stern’s capable leadership, this incredible movement flowed with a perfect tempo and just the right amount of rubato. The work’s scherzo “In ruhig fließender Bewegung” (With quietly flowing movement) was appropriately ghostly, tinged with irony and even humor. The KCS trumpets were magnificent in the strange, off kilter waltz episode about half way through the movement. The clear acoustics and Stern’s attention to detail allowed us to hear all the strings and harps that are also moving behind the brass. The powerful final “death cry” brought this demonic section to a screeching halt, just as Mahler wanted.

Picky note: the rute or bundle of reeds Mahler calls for in this movement was just right; a part of the texture and not a jarring slap. I listen for this and have dismissed performances of this fascinating movement if the rute wakes me from my reverie.  Also, am I the only one who can channel Luciano Berio’s “Sinfonia” while hearing this movement? Those who can, know what I am talking about… those who can’t need not bother.

The short “Urlicht” movement was, in my most humble opinion, the most sublime example of the vocal art I have ever heard in Kansas City. As when I heard her perform the same part in St Louis last season, Mezzo Kelly O’Connor’s cognac colored voice just materialized from the ghostly gong stroke that closes the scherzo. Major kudos go to the KCS brass who did not muck up the serenely reverent chorale after this glorious moment, as its cross state rivals did. Maybe I am a man of few words, or more likely of simple thought, but for me “Urlicht” is the true emotional high of the work; an epiphany of understanding and hope. Every time I hear it, I am reduced to a blubbering fool. Consider it done again.

O red rose!
Man lies in greatest need!
Man lies in greatest pain!
How I would rather be in heaven….

In my warped world, Mahler could have ended the whole thing there. But we’d miss the excitement of the stunning finale, with the huge chorus alternately whispering and shouting, instruments parading on and off the stage, (practically an entire orchestra is placed off-stage), and a percussionist mounting a ladder to sound the dark, metallic chimes at a couple of climactic moments. I was concerned that such a large chorus would not be able to negotiate the more quiet and introspective passages, but they did with clear diction and subtle power, although the opening “Aufersteh'n, ja aufersteh'n” at its best a hushed, expectant whisper, was a bit too forceful. Soprano Jessica Rivera soared over the massed choral voices in her brief but essential part. Sadly, the new Cassavant Organ is not ready and we had to settle for the feeble electronic organ for the subterranean pedal points at the end.

The fine acoustics, spacious stage and choral loft certainly helped, but I am sure Stern, the orchestra and chorus would have provided us with just as fine and committed a performance anywhere they performed.

Europa Galante Chamber Orchestra: Vivaldi Pyrotechnics

Sometimes, the best laid plans... I had looked forward to seeing my conducting hero Stanislaw Skrowaczewski  perform the Schubert 9th in St Louis. At 88, he can't be conducting much longer. I thought the same when I saw him do the Bruckner 8th in St Louis in 2009, so hope I am wrong. But, horrid wet and stormy weather and threat of overnight and AM fog kept me at home.

Plan B, my neighbor had an extra ticket to the performance of The Europa Galante Chamber Orchestra, Fabio Biondi leading, with guest Mezzo Soprano Vivica Genaux. I was not all that thrilled at first, as Baroque music, Vivaldi and florid singing are not among my top choices. I hope I got a seat where I could sneak out early if needed.

I ended up staying for a most remarkable and exciting show.

Biondi and his small band have made a name for themselves by dusting off the works of Vivaldi and his contemporaries with exciting and visceral programs. No slow, scratchy, out of tune, bland and pedantic "authentic" performance here. The orchestra is usually two or three to a part with harpsichord, theorbo, and violine on continuo. The orchestra is usually two or three to a part with harpsichord, theorbo, and violine on continuo and they tune their instruments to the standard of the time. Whether you call them historically informed or authentic, their sound and vitality is heads above some other groups I have heard which seem to sap all the life out of the works.

Alaskan born mezzo Vivica Genaux is in demand for her vivid portrayals of baroque opera roles, her incredible technique and her equal ability with bel canto roles. She has a vibrant and engaging stage presence, may be a bit over-the-top drama at times but one can tell she loves the music and loves performing it even more.

The intelligently arranged program juxtaposed string works by Vivaldi, Locatelli and Nardini with arias from Vivaldi's operas including "Tito Manilo", "Farnace" and "Catone in Utica".

Genaux probably sang more notes in the evening than did the all the members of the chorus singing the Mahler Second down the street. Her runs and leaps were breathtaking and always clear. She verily oozed the drama and passion in the arias, many of them likely written for castrati. Most notable: the poignant "E prigonerio e re" (I am both prisoner and king) from "Semiramide" and "Alma oppressa" from "La fida ninfa". In her final aria "Agitata da due venti" ("I am tossed by two winds") from "Adelade" , Genaux's torrent of runs and trills literally blew across the audience like stormy winds.

The band's instrumental selections were equally fine. Vivaldi's Concerto for 2 Violins in A minor was so admired by Bach that it is one he transcribed for keyboard. Biondi and the leader of the second violins Andrea Rognoni were equally fine solos for this vibrant work. The Locatelli Concerto Grosso Op.7 # 6 "The Weeping of Arianna" with its sobbing phrases and long Largo sections, was particularly compelling and totally unknown to me. Simply fine examples of baroque writing and performance.

So, although I was tinged with regret over not travelling to St Louis for the Schubert, I was rewarded with a new (to me) discovery in the Europa Galante Orchestra... one that I will be exploring in the future.