tag:blogger.com,1999:blog-325167362024-03-17T23:01:35.398-04:00Finding Beauty in EphemeraViews and reviews of over-looked and under-appreciated culture and creativityRalph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.comBlogger3594125tag:blogger.com,1999:blog-32516736.post-4737079004540540742024-03-15T12:05:00.001-04:002024-03-15T15:26:00.919-04:00#ClassicsaDay #WomensHistoryMonth Week 2, 2024<p> The #ClassicsaDay team has made Women's History Month the March theme since 2017. The challenge remains: post classical music videos from female composers on your social media channels. There are plenty of options when it comes to 21st- and 20th-century composers.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQjcoLkH2azwAT75PiCvfNAJ-4wWmI6eIPqunrgCrPIJDxb-mUpRvEFvbaVu8P5iCG47ekIhRLk71KyU3hbnCP_hrFwjmYRplM5SOxwewYDL2HOotyEqyraBDIkv7e3MC4TqNZ1MGOMQCyVKr26AicQtpV7SFg6tU4ty8UJvgD8uXeOE7hw8SsTQ/s600/03%20Womens%20History%20Month%202024.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="600" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQjcoLkH2azwAT75PiCvfNAJ-4wWmI6eIPqunrgCrPIJDxb-mUpRvEFvbaVu8P5iCG47ekIhRLk71KyU3hbnCP_hrFwjmYRplM5SOxwewYDL2HOotyEqyraBDIkv7e3MC4TqNZ1MGOMQCyVKr26AicQtpV7SFg6tU4ty8UJvgD8uXeOE7hw8SsTQ/w400-h216/03%20Womens%20History%20Month%202024.jpg" width="400" /></a></div><p>What continually surprises me is how much music is yet to be discovered from earlier centuries. And also how much of it was known at the time, but somehow fell into obscurity. Here are my discoveries for the first week of #WomensHistoryMonth. </p>
<h4>3/11/24 Caterina Assandra (1590-after 1618): O Dulcis Amor Jesu</h4>
Assandra was a Benedictine nun, as well as a composer and organist. She published at least two books of motets (only Op. 2 survives), as well as several other sacred works.<div><br /><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/YkqFWUTGlkM?si=OYHJkN7EUSQhEjH9" title="YouTube video player" width="560"></iframe><h4>3/12/24 Francesca Caccini (1587–1640?): Chi desia</h4>
Francesca's father Giulio was one of the founders of opera. Francesca's sister Settimia was a successful singer and composer. Francesca's "La liberazione di Ruggerio" (1625) is the earliest known opera composed by a woman.</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Z39HqtdNgzM?si=1hyiSPkMfEt0SVuM" title="YouTube video player" width="560"></iframe><h4>3/13/24 Settimia Caccini (1591–1638?): Due luci ridenti</h4>
Settima's father Giulio was one of the founders of opera. And her sister Francesca was a respected composer of opera as well. Although a prolific composer herself, only eight of Settima's works survive.</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/SEwfbtNBZ10?si=chFNffUjAmoBIFIV" title="YouTube video player" width="560"></iframe><h4>3/14/24 Claudia Sessa (c. 1570 – c. 1617/19): Occhi io vissi di voi</h4>
Sessa was a nun. She was also an instrumentalist, singer, and composer. Two of her sacred choral works were published in 1613. </div><div><br /></div><div> <iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/y3gg2OCcV7g?si=z3zzHv8dSkTD2qgO" title="YouTube video player" width="560"></iframe>
<h4>3/15/24 Lucrezia Orsina Vizzana (1590–1662): O magnum misterium</h4>
Vizzana was a nun in the convent of S. Christina, Bologna. And she was also a singer, organist, and composer. A collection of her choral music, Componimenti musicali de motetti concertati a l e più voci was published in 1623.</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/LkXFsAMa4aE?si=nrNoZVoiKpa5WpmW" title="YouTube video player" width="560"></iframe></div></div>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-38646017870316795652024-03-08T12:05:00.001-05:002024-03-08T17:11:42.563-05:00#ClassicsaDay #WomensHistoryMonth Week 1 2024<p> The #ClassicsaDay team has made Women's History Month the March theme since 2017. The challenge remains: post classical music videos from female composers on your social media channels. There are plenty of options when it comes to 21st- and 20th-century composers.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQjcoLkH2azwAT75PiCvfNAJ-4wWmI6eIPqunrgCrPIJDxb-mUpRvEFvbaVu8P5iCG47ekIhRLk71KyU3hbnCP_hrFwjmYRplM5SOxwewYDL2HOotyEqyraBDIkv7e3MC4TqNZ1MGOMQCyVKr26AicQtpV7SFg6tU4ty8UJvgD8uXeOE7hw8SsTQ/s600/03%20Womens%20History%20Month%202024.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="600" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQjcoLkH2azwAT75PiCvfNAJ-4wWmI6eIPqunrgCrPIJDxb-mUpRvEFvbaVu8P5iCG47ekIhRLk71KyU3hbnCP_hrFwjmYRplM5SOxwewYDL2HOotyEqyraBDIkv7e3MC4TqNZ1MGOMQCyVKr26AicQtpV7SFg6tU4ty8UJvgD8uXeOE7hw8SsTQ/w400-h216/03%20Womens%20History%20Month%202024.jpg" width="400" /></a></div><p>What continually surprises me is how much music is yet to be discovered from earlier centuries. And also how much of it was known at the time, but somehow fell into obscurity. Here are my discoveries for the first week of #WomensHistoryMonth. </p>
<h4>03/04/24 Kassia (c.810-867): Hymn of Kassiani the Nun</h4>
Kassia, also known as Kassiani wrote extensively on theology, and composed prolifically. Many of her hymns have become part of the Eastern Orthodox hymnody.<div><br /><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/K24uYcbLA_U?si=tqDUiF3Ctw14oZuR" title="YouTube video player" width="560"></iframe><h4>03/05/24 Herrad of Landsberg (c. 1130-1195): Creatrices</h4>
Herrad was an Alsatian abbess of Hohenburg Abbey. Her major work was the <i>Hortus deliciarum</i>, an illustrated encyclopedia of all knowledge known to 12th-century Europeans. It also included 20 songs, notated with neumes.</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/5v6XMu5Ex3E?si=22vwG9ghO7RDREm5" title="YouTube video player" width="560"></iframe><h4>03/06/24 Maddalena Casulana (c.1540–c.1590): Madrigal VI</h4>
Casulana was a lutenist, singer, and composer. She was the first female composer to have an entire book of her music published. She would have three collections of madrigals published in her lifetime: in 1570, 1583, and in 1586.</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/sInEHAWEf44?si=E-rbt_CGzWwo7p2B" title="YouTube video player" width="560"></iframe><h4>03/07/24 Alba Tressina (fl. 1590): Anima mea liquefacta est</h4>
Tressina was a Carmelite nun in Vecnza. Leone Leoni was the maestro di cappella at eh Vicenz Cathedral. Thanks to him, four of Tressina's motets have been preserved.</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Loo6GKDI9lQ?si=8esPm8TqvKOW-yTA" title="YouTube video player" width="560"></iframe><h4>03/08/24 Vittoria Aleotti (c.1575–after 1620): Lasso quand’io credei d’esser felice</h4>
Vittoria was one of two gifted female composers in the same family. Vittoria published a single set of madrigals in 1593. Her younger sister Raffaella also published a collection of music the same year.</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ZHIk8LB6bbk?si=eZdO57H2LMycc5qM" title="YouTube video player" width="560"></iframe></div></div>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-1867346564578171652024-03-01T12:05:00.008-05:002024-03-02T09:42:46.033-05:00#ClassicsaDay #BlackHistoryMonth Week 4 2024Classical music originated in Western Europe, but it's not exclusive to dead, white European males. The challenge for February is to post videos of classical music either written or performed by musicians of color. <div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirD9oWu4WJ-rvoQKxiqbEtca3JeHt1io48RDX4ZDrANJBhUXmMlW2caQzPcpSQqOxA9wu03Jocmp-A0sb-sAEg6qX2lSPtj77W_gtSKnHTF8dKy_XirFdLQuiOEEjXIuEXTSS6a3EqWKMkg8EjtbZVvZOaB9d0t817766Sjtvw_F66cc3pPLvLHg/s600/02%20Black%20History%20Month%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="600" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirD9oWu4WJ-rvoQKxiqbEtca3JeHt1io48RDX4ZDrANJBhUXmMlW2caQzPcpSQqOxA9wu03Jocmp-A0sb-sAEg6qX2lSPtj77W_gtSKnHTF8dKy_XirFdLQuiOEEjXIuEXTSS6a3EqWKMkg8EjtbZVvZOaB9d0t817766Sjtvw_F66cc3pPLvLHg/w400-h216/02%20Black%20History%20Month%202.jpg" width="400" /></a></div><br />There's a lot to choose from. I decided to focus on composers, but there are plenty of conductors and performers going back farther than you might think. Here are my posts for the fourht and final week of #BlackHistoryMonth <div><br /></div><div>
<h4>02/26/24 Shawn Okpebholo: There is Always Light</h4>
This trio for clarinet, bassoon, and marimba was composed in 2021. The title comes from the spiritual "Hold On."</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/QQmW_O13Da4?si=qoCY7lK8USud3YS9" title="YouTube video player" width="560"></iframe><h4>02/27/24 Coleridge-Taylor Perkinson: Worship A Concert Overture for Orchestra</h4>
Perkinson wrote classical music and founded the Symphony of the New World. He also composed for Max Roach, wrote film scores, and did arrangements for Marvin Gaye.</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Toqi5zTwHuk?si=k0S1WmtArjBqg7Zp" title="YouTube video player" width="560"></iframe><h4>02/28/24 Zenobia Powell Perry: Echoes from the Journey</h4>
Perry was a composer and civil rights activist. Many of her compositions reference the Black Experience. In this work, she uses spirituals to illustrate that experience from Reconstruction through the 1960s.</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ztl041cHQac?si=xRtazcQ9QCat6UzV" title="YouTube video player" width="560"></iframe><h4>02/29/24 Samuel Coleridge-Taylor: Ballade in A minor for Orchestra, Op. 33</h4>
This work was composed the same year his cantata <i>Hiawatha's Wedding Feast</i> was premiered, 1898. It was one of 92 works he published before his death at age 37.</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/yIJ2HYoM9-Q?si=KpvNtDGidsO6VPzp" title="YouTube video player" width="560"></iframe></div><div><br /></div><h3 style="text-align: left;">Next Month:</h3><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY8J6WM-JfNylZ0_uEfjm0sqzTrodBlairHlOcSya8Gj581hgMP0MU-iNdmSSKXXdHy8V0vGB_ohxEMDlTX-tWG8fYvvxw0S7RDa_JXVaHVF3UagTfz7s6HFgklXo9pChRN0z8lm5tIHoAoSEbXPNaPCr2_-TmONW0SycyN8U8ikEz9S4wqQphsw/s600/03%20Womens%20History%20Month%202024.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="600" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY8J6WM-JfNylZ0_uEfjm0sqzTrodBlairHlOcSya8Gj581hgMP0MU-iNdmSSKXXdHy8V0vGB_ohxEMDlTX-tWG8fYvvxw0S7RDa_JXVaHVF3UagTfz7s6HFgklXo9pChRN0z8lm5tIHoAoSEbXPNaPCr2_-TmONW0SycyN8U8ikEz9S4wqQphsw/w400-h217/03%20Womens%20History%20Month%202024.jpg" width="400" /></a></div><br /><div><br /></div>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-64579233008779722272024-02-23T12:05:00.007-05:002024-03-02T09:38:00.679-05:00#ClassicsaDay #BlackHistoryMonth Week 3, 2024Classical music originated in Western Europe, but it's not exclusive to dead, white European males. The challenge for February is to post videos of classical music either written or performed by musicians of color. <div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirD9oWu4WJ-rvoQKxiqbEtca3JeHt1io48RDX4ZDrANJBhUXmMlW2caQzPcpSQqOxA9wu03Jocmp-A0sb-sAEg6qX2lSPtj77W_gtSKnHTF8dKy_XirFdLQuiOEEjXIuEXTSS6a3EqWKMkg8EjtbZVvZOaB9d0t817766Sjtvw_F66cc3pPLvLHg/s600/02%20Black%20History%20Month%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="600" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirD9oWu4WJ-rvoQKxiqbEtca3JeHt1io48RDX4ZDrANJBhUXmMlW2caQzPcpSQqOxA9wu03Jocmp-A0sb-sAEg6qX2lSPtj77W_gtSKnHTF8dKy_XirFdLQuiOEEjXIuEXTSS6a3EqWKMkg8EjtbZVvZOaB9d0t817766Sjtvw_F66cc3pPLvLHg/w400-h216/02%20Black%20History%20Month%202.jpg" width="400" /></a></div><br />There's a lot to choose from. I decided to focus on composers, but there are plenty of conductors and performers going back farther than you might think. Here are my posts for the third week of #BlackHistoryMonth <div><br /></div><div>
<h4>02/19/24 Julia Perry: Prelude for Piano</h4>
Perry won two Guggenheim Fellowships and studied with Nadia Boulanger in Paris. She was on the faculty of Florida A&M University, a historically black land-grant university.</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/_rl_JvzLIaQ?si=FysEEUWodiQmw-79" title="YouTube video player" width="560"></iframe></div><div><br /></div><div><br /><h4>02/20/24 James Lee III: Sinfonia Concertante for Violin and Orchestra</h4>
Lee studied with William Bolcom and Bright Sheng. He's currently on the faculty of Morgan State University. His Snfonia Concertante was written in 2017.</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/mFnDqZhOjJM?si=zBo2KEz-isLDkU3A" title="YouTube video player" width="560"></iframe></div><div><br /><h4>02/21/24 Joseph Bologne, Chevalier de Saint-Georges: Sonata for Two Violins</h4><div>Bologne was a virtuoso violinist as well as a composer. In the 1790s he was one of the most famous -- and popular -- musicians in Paris. </div><div><br /></div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/wpkAgioTLVc?si=zB6Df1SVuggy_Sw0&start=101" title="YouTube video player" width="560"></iframe></div><div><br /></div><div><br />
<h4>02/22/24 Edmond Dédé: Two pieces for Piano</h4>
Dédé was a child prodigy. But as a free-born Creole in the antebellum South, opportunities were non-existent. He moved to France and became an important composer and opera conductor.</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/OTF--c32huI?si=sq2JgjJbwMjLt23a&start=101" title="YouTube video player" width="560"></iframe></div><div><br /></div><div><br /><h4>02/23/24 William Grant Still: Wood Notes</h4>
Still was a ground-breaking artist. He was the first Black to: conduct a major orchestra; have an opera performed on national TV; have a symphony played by a major orchestra; and have an opera performed by a major opera company.</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/JWPnl9JACgc?si=RQJ1YIIcQtwtSeNT&start=101" title="YouTube video player" width="560"></iframe></div>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-88770000653801921002024-02-22T12:05:00.001-05:002024-03-09T05:06:01.814-05:00Chromosphere Explores Woodwind Orchestra's Potential<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtme_G4ldpDZ1XsePcORuBvaszga3mleCYZaQv636nnyuvtfIQ2DMm7OMdg_8UlPK2Nv0RCCD5cc86cF_EhrCFqjP-Skofy4ho8V87N3WplbD9Brlf6AkPy19ECwTZpQlAsc-XGLuXIM1uCrRG-drQ0W5VyDkT5Ub92JOuSIECvNL6w7GVOcrnyA/s300/Chromosphere.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtme_G4ldpDZ1XsePcORuBvaszga3mleCYZaQv636nnyuvtfIQ2DMm7OMdg_8UlPK2Nv0RCCD5cc86cF_EhrCFqjP-Skofy4ho8V87N3WplbD9Brlf6AkPy19ECwTZpQlAsc-XGLuXIM1uCrRG-drQ0W5VyDkT5Ub92JOuSIECvNL6w7GVOcrnyA/s1600/Chromosphere.jpg" width="300" /></a></div>Let's be clear. A woodwind orchestra isn't a regular orchestra with the strings and brass removed. The Czech Philharmonic Wind Ensemble has 18 players. This lineup includes four sax players -- a rarity in a standard orchestra.<p></p><p data-block-id="df4f58e2-f83a-4abc-b1eb-e28c30e5ee8c">It's definitely a contemporary grouping of instruments. And this release presents grouping of contemporary British composers. </p><p data-block-id="fa8d2e1a-c6ae-4cf1-b28a-45611e720de5">Judith Bingham is the most prominent of this group. Her work "Mozart's Pets" premiered in 2021. It's a lighthearted blend of instruments depicting animals with Mozart's music. </p><p data-block-id="90d5f1d9-528b-4527-be2f-c8c0c6dd4f47">"Domes" by Kamran Ince is an entirely different kind of music. The work was originally written for orchestra in 1993. Ince reworked it for woodwind orchestra in 2022. He creates long, flowing lines with wavering dissonances. It's somber, ethereal, and thought-provoking. </p><p data-block-id="a2f274d0-e5b9-40bb-8a58-a99e956f3f8c">The works by Keiron Anderson, Charlotte Harding, and Christopher Hussey are of similar quality. This isn't high school band music. These compositions use instrumental combinations in effective and imaginative ways. </p><p data-block-id="c2004bbf-834b-47d6-9f8f-c803499c9c75">These works are written at a level of complexity that engages the listener. And rewards multiple listening. </p><p data-block-id="c2004bbf-834b-47d6-9f8f-c803499c9c75"><b><i>Chromosphere: Symphonic Colors of the Woodwind Orchestra<br />Czech Philharmonic Wind Ensemble<br />Divine Art DDX 21117</i></b></p>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-71494624704199334112024-02-21T12:05:00.001-05:002024-03-09T05:12:43.062-05:00Argentinian Contemporary Music Takes Flight<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1nFca_aWoJ4b6TX6kLNao7hX2KTeEYpWcN3iedVYTEYcH8XoA2i5aYHEcFLZbOtSY6j7KO_N5i541T0CCuZa2fAYFOGOCZAvEx_mxBdRz365ekaR0f6RoiKNe1JowTWcdQfU-vcTUp-jIpEyXraDfqS9eJY7WWDXxnt6KvJCwW0TxSOBJ7qDmKQ/s300/Alas.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1nFca_aWoJ4b6TX6kLNao7hX2KTeEYpWcN3iedVYTEYcH8XoA2i5aYHEcFLZbOtSY6j7KO_N5i541T0CCuZa2fAYFOGOCZAvEx_mxBdRz365ekaR0f6RoiKNe1JowTWcdQfU-vcTUp-jIpEyXraDfqS9eJY7WWDXxnt6KvJCwW0TxSOBJ7qDmKQ/s1600/Alas.jpg" width="300" /></a></div>Initially, the album title confused me. But "Alas" (as used here) isn't a lamentation. Rather, it's the Argentinian word for "wings." This release features music by Argentinian composers. And.these works do indeed take flight.<p></p><p>Alberto Ginastera is Argentina's greatest composer (or at least best-known). He's represented with his <i>Variaciones concertantes</i>, Op. 23. This work gives many instruments in the orchestra a place in the spotlight. And the musicians of Orchestre de Lutetia handle them deftly. </p><p>The title track, "Alas" is also the most recent composition on the album. Gerardo Di Giusto's fantasy for violin, cello, and orchestra is a high-octane work. De Giusto uses traditional Argentinian dance rhythms to keep things moving. And they provide a sense of urgency throughout the composition.</p><p>Patrick Langot, cello, and Alexis Cardenas, violin make a fine team. They make the rhythms snap, and their playing has a fresh, raw sound. </p><p>Langot is also featured on Alejandro Iglesias Rossi's<i> Llorando silencios.</i> This work for solo cello also incorporates many concepts of Argentinian music. , It makes for an effective showpiece. Langot's performance is assured and engaging.</p><p>Langot is also the soloist for Gabriel Sivak's <i>Descaminos.</i> This is a more contemporary work. Sivek uses masses of sound to create a mysterious world for the cello to explore. </p><p>Four composers, four compositions. All are Argentinian, and that's really the only common denominator. Recommended.</p><p><b><i>Alas<br />Patrick Langot, cello; Alexis Cardenas, violin<br />Orchestre de Lutetia, Alejandro Sandler, conductor<br />Evidence Classics</i></b></p>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-38524725721924238282024-02-20T12:05:00.001-05:002024-03-09T04:57:04.312-05:00Richard Flury String Quartets of Interest<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVMZmSpt96nHtrY5xSVEFOXzNLPwXBayYJhKuNNciPW1VuV1ZcxFLpu7kAiwSqF_zuNDUccBvFGK8MedFaHnIs7VDUP6O5ZKp5pocA20jTtWpadJo9FDWWKhYObofC2kZyNuiWncCDYVWPMZo3ns3Ppe3Uheo5oC8B5hO7Bo338ejFQ4emcN_vYw/s300/Flury%20Chamber%20Music%20V1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVMZmSpt96nHtrY5xSVEFOXzNLPwXBayYJhKuNNciPW1VuV1ZcxFLpu7kAiwSqF_zuNDUccBvFGK8MedFaHnIs7VDUP6O5ZKp5pocA20jTtWpadJo9FDWWKhYObofC2kZyNuiWncCDYVWPMZo3ns3Ppe3Uheo5oC8B5hO7Bo338ejFQ4emcN_vYw/s1600/Flury%20Chamber%20Music%20V1.jpg" width="300" /></a></div>Toccata Classics previously released eight volumes of Richard Flury's music. These albums featured his orchestral music, choral works, and even an opera or two. <p></p><p>This release begins a survey of his chamber music. It presents two of Flury's seven string quartets. He composed the first in 1926. No. 4 was written in 1940.</p><p>Flury was a Swiss composer and conductor. He studied composition with Hans Huber and Joseph Marx. He also studied conducting with Felix Weingartner. In 1931 he joined the faculty of the Solothurn Canton School. Flury remained there until his death. </p><p>Flury composed steadily and prolifically. His seven string quartets span a half-century. No. 1 shows the 30-year-old composer finding his voice. </p><p>It's an attractive work, with some modernisms thrown in. I could hear hints of Hindemith, Bartok, and even a little Schoenberg. But it's all mixed together in a well-constructed composition. And at no time does it sound derivative. </p><p>By 1940 Flury had found his voice. And that voice spoke the language of the late Romantic period. In some ways, I think it's a stronger work. It seemed more relaxed, and more organic in its development. </p><p>The Colla Parte Quartet delivers some fine readings of these works. Their playing is both animated and engaged. The quartet gives the impression that these works are fun to play. And that is not a bad thing.</p><p><b><i>Richard Flury: Chamber Music, Volume One<br />String Quartets, Nos. 1 and 4<br />Colla Parte Quartet<br />Toccata Classics TOCC 0712</i></b></p>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-22369094233930358572024-02-16T12:05:00.001-05:002024-02-17T10:41:55.241-05:00#ClassicsaDay #BlackHistoryMonth Week 2 2024Classical music originated in Western Europe, but it's not exclusive to dead, white European males. The challenge for February is to post videos of classical music either written or performed by musicians of color. <div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirD9oWu4WJ-rvoQKxiqbEtca3JeHt1io48RDX4ZDrANJBhUXmMlW2caQzPcpSQqOxA9wu03Jocmp-A0sb-sAEg6qX2lSPtj77W_gtSKnHTF8dKy_XirFdLQuiOEEjXIuEXTSS6a3EqWKMkg8EjtbZVvZOaB9d0t817766Sjtvw_F66cc3pPLvLHg/s600/02%20Black%20History%20Month%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="600" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirD9oWu4WJ-rvoQKxiqbEtca3JeHt1io48RDX4ZDrANJBhUXmMlW2caQzPcpSQqOxA9wu03Jocmp-A0sb-sAEg6qX2lSPtj77W_gtSKnHTF8dKy_XirFdLQuiOEEjXIuEXTSS6a3EqWKMkg8EjtbZVvZOaB9d0t817766Sjtvw_F66cc3pPLvLHg/w400-h216/02%20Black%20History%20Month%202.jpg" width="400" /></a></div><br /><div><br /></div><div>There's a lot to choose from. I decided to focus on composers, but there are plenty of conductors and performers going back farther than you might think. </div><div><br /></div><div>Here are my posts for the second week of #BlackHistoryMonth</div><div><br />
<h4>02/12/24 William L. Dawson: Soon Ah Will Be Done</h4>
Dawson arranged several African-American spirituals that quickly entered the choral repertoire. "Soon Ah Will Be Done" was written in 1934, when he was at Tuskegee Institute.</div><div><br /></div><div>
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<h4>02/13/24 R. Nathaneil Dett: Ave Maria</h4>
Dett was born in Canada but spent most of his life in America. He was the first Black composer to join ASCAP. He's one of many American composers to study with Nadia Boulanger.</div><div><br /></div><div>
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<h4>02/14/24 Jose White Lafitte: La Bella Cubana</h4>
Lafitte was a Cuban-French violin virtuoso active in the late 19th Century. Most of Lafitte's works were written for the violin.</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Q_8JmRRAjc8?si=oS8-LOUJLgGKrhDi" title="YouTube video player" width="560"></iframe><p></p>
<h4>02/15/24 Jessie Montgomery: Strum</h4>
Montgomery is a violinist as well as a composer. She's served as composer-in-residence for the Chicago Symphony and is on the board of Chamber Music America.</div><div><br /></div><div>
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<h4>02/16/24 Undine Smith Moore: We Shall Walk Through the Valley</h4>
Moore is known as the "Dean of Black Women Composers." Much of her work was inspired by African-American spirituals and folk music.</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/OtzLGbqoUAk?si=lozCHz2bAuxzfSBS" title="YouTube video player" width="560"></iframe></div>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-76800589932792391212024-02-15T12:05:00.001-05:002024-03-09T04:50:45.230-05:00Solomiya Ivakniv Masterfully Performs Ukrainian Sonatas<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKhPeUBW_PT53ZM13rvGdjhN3R9Z8uqGGjySBbCnAzu9ewAxXJTw_hw1Ar6LIfmXs8H4rrri1uaijLTzED5jnqhWcmD1YQg5FK2UaekXi9IgaWCJCm01_PIofKu89XSMKnr3_LXzhLGjkhNNi8VkaotabGY5LpwVvZ9BB3vMgBwcS1N2vx267v7A/s300/Ukrainian%20Masters.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="298" data-original-width="300" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKhPeUBW_PT53ZM13rvGdjhN3R9Z8uqGGjySBbCnAzu9ewAxXJTw_hw1Ar6LIfmXs8H4rrri1uaijLTzED5jnqhWcmD1YQg5FK2UaekXi9IgaWCJCm01_PIofKu89XSMKnr3_LXzhLGjkhNNi8VkaotabGY5LpwVvZ9BB3vMgBwcS1N2vx267v7A/s1600/Ukrainian%20Masters.jpg" width="300" /></a></div>Full disclosure: I have been a fan of Ivakniv's playing since I reviewed her debut recordings. And I follow her on Facebook. So I know first-hand her work to get the music of her native land before new audiences.<p></p><p>Ivakhiv plays with a full, rich sound that often bristles with intensity. And perhaps never more so when she's playing music by Ukrainian composers.</p><p>The three composers represented here draw deep inspiration from Ukrainian culture. And Ivakhiv taps into that inspiration.</p><p>Seven Beck makes an able partner. I've always been impressed with his solo recordings and his work with Quattro Mani. He plays with energy and feeling, a perfect complement to Ivakhiv's performances.</p><p>"Masters" is an accurate word for these composers. Viktor Kosenko is one of the fathers of Ukrainian classical music. He melded classical traditions with Ukrainian folk music. His 1927 Violin Sonata is indeed a masterwork.</p><p>Myroslav Skoryk goes a step further. In addition to folk, he draws from jazz and pop for his musical creations. In the case of his 1991 Violin Sonata No. 2 he gives us a cheeky little work that's full of good humor and attitude.</p><p>Sergei Bortkiewicz's Violin Sonata in G minor is the most traditional-sounding of the three. His 1922 work has a Rachmaninov-like post-Romantic sound: lush and gorgeous.</p><p>Highly recommended.</p><p><br /><b><i>Ukrainian Masters<br />Kosenko, Skoryk, Bortkiewicz<br />Solomiya Ivakniv, violin; Steven Beck, piano<br />Naxos 8.579146</i></b></p>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-72708213190513835962024-02-14T12:05:00.001-05:002024-02-14T12:05:00.254-05:00Daniel Gortier Debuts With Favorites<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0e8KdX5yjGhPwR9Lx92mCxNQm2uTdwS2DlLpIgqiGPhvKsdMgZD2fYj2FmTGhxtnH4njf4lHp-c4siBPyhQRiWW0Vb1ji_k7Z57wzczfAXVVVF8FJyROrirGV3J4DgNKMx1tHYaZu12Jyq-YxBCEOmYeS9ivNj3ASPPOcurUlzhMduVZyd9EhZA/s300/Grieg%20Lyric%20Pieces.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0e8KdX5yjGhPwR9Lx92mCxNQm2uTdwS2DlLpIgqiGPhvKsdMgZD2fYj2FmTGhxtnH4njf4lHp-c4siBPyhQRiWW0Vb1ji_k7Z57wzczfAXVVVF8FJyROrirGV3J4DgNKMx1tHYaZu12Jyq-YxBCEOmYeS9ivNj3ASPPOcurUlzhMduVZyd9EhZA/s1600/Grieg%20Lyric%20Pieces.jpg" width="300" /></a></div>This is Daniel Gortier's debut on Propero Classical. He presents his favorite Lyric Pieces by Edvard Grieg. And it makes quite a nice program -- and a strong debut.<p></p><p data-block-id="83a6bca4-b38e-40f0-aef6-a0ff58cbf089">Grieg wrote 66 of these short characteristic pieces. They were composed over 34 years and published in ten volumes. Some are among the best-known works by Grieg. And many are notoriously difficult. </p><p data-block-id="0e3ef8d3-4a9f-4fd0-aa27-99cd631f9820">Often pianists show off their technical expertise with the virtuoso-level selections. Gortier takes a different route. All twenty-one of the selections are favorites of the pianist. And many of those are easy to play. </p><p data-block-id="23bae9d4-d30a-4497-b6e9-429e47cf29bd">But Gortler's purpose isn't to show off his chops. Rather, it's to express himself through these works. And that purpose elevates even the simplest pieces in this program. Gortier is a thoughtful performer. His playing is expressive and lyrical. </p><p data-block-id="e99f65b1-7f7b-4b04-a7a8-c6e41f79d073">As recorded, the piano has a warm, rounded sound. It's well-suited to the music and Gortier's playing.</p><p data-block-id="fb4fe896-788f-407f-a930-8c39b36d2906">Gortier's put together an enjoyable program and a well-executed one. </p><p data-block-id="fb4fe896-788f-407f-a930-8c39b36d2906"><b><i>Edvard Grieg: Lyric Pieces<br />Daniel Gortler, piano<br />Prospero Classical PROSP0082</i></b></p>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-25747314663042670252024-02-09T12:05:00.006-05:002024-02-10T10:41:18.405-05:00#ClassicsaDay #BlackHistoryMonth Week 1 2024Classical music originated in Western Europe, but it's not exclusive to dead, white European males. The challenge for February is to post videos of classical music either written or performed by musicians of color. <div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirD9oWu4WJ-rvoQKxiqbEtca3JeHt1io48RDX4ZDrANJBhUXmMlW2caQzPcpSQqOxA9wu03Jocmp-A0sb-sAEg6qX2lSPtj77W_gtSKnHTF8dKy_XirFdLQuiOEEjXIuEXTSS6a3EqWKMkg8EjtbZVvZOaB9d0t817766Sjtvw_F66cc3pPLvLHg/s600/02%20Black%20History%20Month%202.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="600" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirD9oWu4WJ-rvoQKxiqbEtca3JeHt1io48RDX4ZDrANJBhUXmMlW2caQzPcpSQqOxA9wu03Jocmp-A0sb-sAEg6qX2lSPtj77W_gtSKnHTF8dKy_XirFdLQuiOEEjXIuEXTSS6a3EqWKMkg8EjtbZVvZOaB9d0t817766Sjtvw_F66cc3pPLvLHg/w400-h216/02%20Black%20History%20Month%202.jpg" width="400" /></a></div><br /><div><br /></div><div>There's a lot to choose from. I decided to focus on composers, but there are plenty of conductors and performers going back farther than you might think. </div><div><br /></div><div>Here are my posts for the first week of #BlackHistoryMonth</div><div><br />
<h4>02/04/24 Julia Perry: A Short Piece for Orchestra</h4>
Perry already had a strong reputation in Europe when she went to study with Nadia Boulanger. This 1952 work was written during that time.</div><div><br /></div><div>
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<h4>02/05/24 Undine Smith Moore: Afro-American Suite for flute, cello, and piano</h4>
Moore based this suite on five traditional spirituals. It was premiered in 1969.</div><div><br /></div><div>
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<h4>02/06/24 Rosamond Johnson: Lift Every Voice and Sing National Negro Hymn</h4>
James Weldon Johnson wrote the hymn "Lift Every Voice" in 1900. His brother Rosamond set it to music. It's since become the unofficial Black National Anthem.</div><div><br /></div><div>
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<h4>02/07/24 Julius Eastman: Stay On It</h4>
Eastman used advanced aleatoric techniques with this work. It can be played by any combination of instruments. Musical cells can be repeated ad-lib, and players can jointly determine when to move from one section to the next.</div><div><br /></div><div>
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<h4>02/08/24 Harry T. Burleigh: The Lord's Prayer</h4>
Burleigh studied with Antonin Dvorak and was renowned as a singer as well as a composer. Most of his works were for solo voice or choir.</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/UhtWi-7siFs?si=xX8vfHoHNq8-7Ixp" title="YouTube video player" width="560"></iframe></div>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-13163306644141899052024-02-06T12:05:00.001-05:002024-02-06T16:23:16.425-05:00Gerald Cohen: Voyagers Explores String Quartet Possibilities<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzHxG2L4BdGHfJUiJPWd_dK06u4QcKwxyAZHi2m6Oe4s_8cu1YwYW1niDTEuc5HbsMvS9oEHrLaxENARP-p2oh-xvBa1Hs_z3Pnih6zHg24YABWBIa0wNOooyLz-tfnHfWY78nnWnOJ45jCa11CWgZEwv2-VJWhgldmjdMi3kGNg2Vxze0d7wRUg/s300/Cohen%20Voyagers.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="298" data-original-width="300" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzHxG2L4BdGHfJUiJPWd_dK06u4QcKwxyAZHi2m6Oe4s_8cu1YwYW1niDTEuc5HbsMvS9oEHrLaxENARP-p2oh-xvBa1Hs_z3Pnih6zHg24YABWBIa0wNOooyLz-tfnHfWY78nnWnOJ45jCa11CWgZEwv2-VJWhgldmjdMi3kGNg2Vxze0d7wRUg/s1600/Cohen%20Voyagers.jpg" width="300" /></a></div>What I like best about this release is the program. Gerald Cohen's three works all involve the string quartet -- but used in three very different ways. <p></p><p>"Voyagers" was written for the 40th anniversary of the Voyager spacecraft launch. It quotes from a Beethoven string quartet, a Renaissance galliard, and an Indian raga. Cohen's original music ties these disparate sources together into a cohesive whole. </p><p>Cohen uses the dark, resonant character of the clarinet and bass clarinet effectively. The instruments blend well with the string quartet. Together they create something that sounds homogeneous, yet exotic. </p><p>The Cassatt String Quartet commissioned "Playing For Our Lives." That gives their performance here a degree of authority. It premiered in a concert of music by Holocaust victims. The work is a contemporary memorial to the musicians and composers murdered in the camps. </p><p>Cohen reproduces all the emotions tied up in the music of Terezin. It meant temporary escape for the prisoners. It meant propaganda for the Nazis. It meant entertainment for the guards. And for the performing inmates, it meant another day of life (as the title suggests). </p><p>Those conflicting emotions blend in a work that's sad and restless, with outbursts of rage. It's a powerful work. And it successfully memorializes the Holocaust experience of both survivors and victims. </p><p>Cohen wrote the "Preludes and Debka" in 2001. The melody comes from the Sephardic tradition. Balancing the trombone against the string quartet is a challenge most composers avoid. Cohen bests the challenge masterfully. </p><p>Part of his solution is to keep the trombone reigned in. Although it carries the bulk of the melodic content, it seldom plays at full volume. Cohen doesn't try to blend the brass instrument with the strings. Rather, he uses the opposing timbres to sharpen contrasts. </p><p>Cohen's overall style is modernist but very accessible. This is contemporary music at its best. The composer created this music in response to the world he lives in. He used the language of his time. And he did so in a way that connects with contemporary audiences. And it's well-crafted, ensuring this music continues to connect with future audiences.</p><p><b><i>Gerald Cohen: Voyagers<br />Cassatt String Quartet<br />Narek Arutunian, clarinet and bass clarinet<br />Colin Williams, trombone<br />Innova</i></b></p>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-21130497158620927922024-02-02T09:25:00.001-05:002024-02-03T09:29:43.633-05:00#ClassicsaDay #Classical1924 Week 5<p> It's become an annual tradition. For the first month of the new year, the Classics a Day team looks back a century. So the challenge for January 2024 is to post performances of classical works that were either composed, premiered, or first recorded in 1924.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrlwFwBtCSzkMsuawQSMeUb4ooAkeb1Fi-x_G7PZU-HU-5Ew_bs2VwXRw4fNaRQYylNRamOPWrrT8PUErdUFPO8oL88iyAQQ0XAc_8Yyz69jGjBCUL9s3jbMytno5FgzbeFxJ5iyfZszplME4d6zNcRpA9RaTySRwk7WFtmUohAEFEiJyTZn1gZQ/s600/01-24%20classics%20a%20day%201924.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="600" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrlwFwBtCSzkMsuawQSMeUb4ooAkeb1Fi-x_G7PZU-HU-5Ew_bs2VwXRw4fNaRQYylNRamOPWrrT8PUErdUFPO8oL88iyAQQ0XAc_8Yyz69jGjBCUL9s3jbMytno5FgzbeFxJ5iyfZszplME4d6zNcRpA9RaTySRwk7WFtmUohAEFEiJyTZn1gZQ/w400-h216/01-24%20classics%20a%20day%201924.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">It turns out 1924 was a landmark year for classical music. Here are my posts for the fourth week of #Classical1924.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><p></p>
<h4>01/29/24 Edward Elgar: Arthur Suite</h4>
Elgar had composed incidental music for Laurence Binyon's "Arthur." Elgar created an orchestral suite from the score, which premiered in 1924.<div><br /><div>
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<h4>01/30/24 Heitor Villa-Lobos: Choros No. 7</h4>
This was the third Choros Villa-Lobos composed. He completed it in Rio de Janeiro in 1924. The septet calls for flute, oboe, clarinet, alto saxophone, bassoon, violin, cello, and optional offstage tam-tam.</div><div><br /></div><div>
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<h4>01/31/24 Bela Bartok: The Wooden Prince Suite, Op. 13</h4>
Bartok's musical pantomime premiered in 1917. Bartok was unsatisfied with the score and felt it had a lot of padding to accommodate the scenario. In 1923 he began work on a trimmed-down orchestral suite. He finished it in 1924.</div><div><br /></div><div>
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<h4>Next month:</h4><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtqlmJEwKb3Yg2fU4a3qxm9LciAGL3dm1RuxzQ5oDpBkqq9tDbJQn6RZsIPl2UO4pV263S9AUq8Mf-_P5kJZc_rPbRvEGem6EjfrIcZWTD-1LcW3ATtAGqvCgCa2A4Le3QyO7-3dTY4A-1s3xYMCmgg9zNacpgTBPRi_7c1shpJclUOLRafj3n2w/s600/02%20Black%20History%20Month%202.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="600" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtqlmJEwKb3Yg2fU4a3qxm9LciAGL3dm1RuxzQ5oDpBkqq9tDbJQn6RZsIPl2UO4pV263S9AUq8Mf-_P5kJZc_rPbRvEGem6EjfrIcZWTD-1LcW3ATtAGqvCgCa2A4Le3QyO7-3dTY4A-1s3xYMCmgg9zNacpgTBPRi_7c1shpJclUOLRafj3n2w/w400-h216/02%20Black%20History%20Month%202.jpg" width="400" /></a></div><br /><div><br /></div>
</div></div>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-69574062157558579942024-02-01T12:05:00.001-05:002024-02-03T09:36:06.088-05:00A Century of American Viola Sonatas (sort of)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAgoWCepnkc0knHGPbkkhmp7ZkHgwIR6RKjApgjPxtqnD4BOrLFrBlBVQleyxM3MxF7lSe0vpf4vqYDY_6MDvJf5AtahuyCpgbKDBFB3l3gXPdxsgmf9XgIhvKdCDepmm1SBFLgtg3cmrMGgF_Q2Q-VqdTUCpfZ7cxqtWYBIZGONRtOJj6GATgiA/s300/Century%20of%20Viola%20Sonatas.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAgoWCepnkc0knHGPbkkhmp7ZkHgwIR6RKjApgjPxtqnD4BOrLFrBlBVQleyxM3MxF7lSe0vpf4vqYDY_6MDvJf5AtahuyCpgbKDBFB3l3gXPdxsgmf9XgIhvKdCDepmm1SBFLgtg3cmrMGgF_Q2Q-VqdTUCpfZ7cxqtWYBIZGONRtOJj6GATgiA/s1600/Century%20of%20Viola%20Sonatas.jpg" width="300" /></a></div>I like everything about this recording save the title. Because it isn't quite true. "A Century of American Viola Sonatas" does include viola sonatas written by Americans. <p></p><p>But the earliest is Ulysses Kay's 1939 Sonatine. The latest are the sonatas by David Tcimpidis and Libby Larsen. Both date from 2004. So there's a 65-year span between the earliest sonata and the latest -- not a century.</p><p>And that 65-year survey is a little uneven. Ulysses Kay has two works, one from 1939 and the other from 1942. In addition to sonatas by Tcimpidis and Larsen, there's one by Eric Ewazen. His piece is from 1991. So two from the beginning, then a 49-year gap, then the remaining three.</p><p>Hardly the century-long survey the title suggested to me! But that's the only negative I have with the release. The works are all first-rate compositions. Kay's two works and Tcimpidi's sonata receive world recording premieres. All three are strong additions to the viola's repertoire. </p><p>Both Larsen and Ewazen have solid reputations for music that connects with audiences. Their viola sonatas are no exception. Both have an immediate appeal that draws the listener in. </p><p>The performances are also solid. Basil Vendryes plays with assurance and authority. Pianist William David makes every work seem like a collaboration. This raises the overall performance to a new level. </p><p>This release isn't a survey. But it is a collection of American viola sonatas. And ones that are well-constructed and pleasingly performed. </p><p><b><i>A Century of American Viola Sonatas<br />Basil Vendryes, viola<br />William David, piano<br />Toccata Classics TOCN 0026</i></b></p>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-36154380133494014802024-01-31T12:05:00.001-05:002024-02-03T09:51:07.335-05:00A Fresh Look at Vivaldi Concertos<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3wciw5OYIaa91Eu5CAb4S-bQJDsZHk2TE6akELkVidKy4B0c1zFqBZ60lgu3zseMAjoKin-Nka1bc8RAbbw_vzu0T4VSVvl972JXBui36-eTM1w2zxR1gpxYBcEZElwX3fwha_HZAyPytQ0wdvWB_rFneTVUAtQBOIVKpYiwliejR3D8pgOFF4w/s300/Vivaldi%20Concerti%20per%20una%20vita.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3wciw5OYIaa91Eu5CAb4S-bQJDsZHk2TE6akELkVidKy4B0c1zFqBZ60lgu3zseMAjoKin-Nka1bc8RAbbw_vzu0T4VSVvl972JXBui36-eTM1w2zxR1gpxYBcEZElwX3fwha_HZAyPytQ0wdvWB_rFneTVUAtQBOIVKpYiwliejR3D8pgOFF4w/s1600/Vivaldi%20Concerti%20per%20una%20vita.jpg" width="300" /></a></div>Long-time readers know that I'm interested in the unusual. And the albums I review reflect that interest. Can any album of Vivaldi -- especially one that includes part of the "Four Seasons" -- possibly be unusual? <p></p><p>Why, yes it can. Violinist Théotime Langlois de Swarte has created an insightful program of Vivaldi. It's a collection of violin concerti, but it's unlike any I've heard before. </p><p>Most albums present an assortment of Vivaldi three-movement concerti. And they all have a homogenous sound.</p><p>Not here. The musicians perform in different combinations and techniques, depending on the concerto's origin. Some, like the Concerto in A minor, RV 356 were meant for private concerts. Here the ensemble is stripped down to a small chamber group. It's a clean, intimate sound I don't often hear with Vivaldi.</p><p>Many of the concertos were written for the young ladies of the Ospedale della Pietà. These concertos, like the one in D minor, RV 813 have a much fuller sound. The Ospedale had some unusual instruments, such as the archlute, ottavino, and a psaltrey. Le Concort uses these to fill out the continuo. They give the concertos a distinctive sound -- and a fresh one at that.</p><p>The album also includes concertos written for festivals and special occasions. This is music-making on a grand scale, with multiple soloists and a large ensemble. Le Concert matches the number of players to the type of concerto (private, Ospedale, or public). And by doing so they enhance the character of the concerto. And that's something I seldom hear. This release makes it clear these concertos had different functions and audiences.</p><p>And mention must be made of the "Summer" Concerto, RV 315. This is the world premiere recording of the original version. Vivaldi revised these concertos for publication to give them a broader appeal. Hearing what he originally created is revelatory. Especially if you, like me, have heard this concerto far too many times. </p><p>This is an extraordinary collection of music. Théotime Langlois de Swarte is a superb musician; as a performer, as a conductor, and as the curator for this program. Highly recommended. </p><p><b><i>Antonio Vivaldi:Concerti per una vita<br />Le Consort; Théotime Langlois de Swarte, conductor & violin<br />Harmonia Mundi HMM 902373.74<br />Two CD Set</i></b></p>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-83037586546868945112024-01-30T12:05:00.001-05:002024-02-03T09:42:59.476-05:00John Carmichael: Toward the Light -- Honest Music-Making<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKIP1LR-JGY5ZTzomPkcuwLxzu_PxGN9hIyH4GZABQRiz92pqIIaVecfcRnzq2C4wZFePQPk7OHFmPhmbWZ4cnD4v-OdacfKIDW1jpDx7QX4aCEpsD5dWq_Eq0XAIruw7JNx1_BwIoNBFsJ8pokbfTvq32snZkxjtaYv7LLqmPma5kzceyvjSUvQ/s300/Carmichael%20Piano%20Concerto%20No%202.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKIP1LR-JGY5ZTzomPkcuwLxzu_PxGN9hIyH4GZABQRiz92pqIIaVecfcRnzq2C4wZFePQPk7OHFmPhmbWZ4cnD4v-OdacfKIDW1jpDx7QX4aCEpsD5dWq_Eq0XAIruw7JNx1_BwIoNBFsJ8pokbfTvq32snZkxjtaYv7LLqmPma5kzceyvjSUvQ/s1600/Carmichael%20Piano%20Concerto%20No%202.jpg" width="300" /></a></div>I admit I wasn't at all familiar with John Carmichael's work before this release crossed my desk. I'm glad it did. "Toward the Light" has a healthy sampling of Carmichael's catalog. Enough to encourage me to explore further. <p></p><p>John Carmichael is an Australian pianist and composer, who worked mainly in the UK. A good deal of his works involve the piano. This release includes his second piano concerto. Four of the five chamber works on the release include piano. </p><p>Carmichael writes in an accessible post-Romantic style. The tonal structure of his music is easy to follow -- but never cliche. The Piano Concerto No. 2 features Antony Gray, soloist, with the St. Paul's Sinfonia and Andrew Morely.</p><p>The way Gray performs the work suggests it's a joy to play. The gestures are big, but not overblown. The technique is challenging, but not impossible. And the music itself is engaging and well-crafted. And this is a very good performance. </p><p>Also included is the Piano Trio "Toward the Light." Here the piano performs in partnership with the violin and cello. And yet it's a very full part with lots going on. </p><p>The balance is a little better in the Aria for viola and piano. Carmichael writes effectively for the viola. He uses the instrument's dark tone to write some wonderfully resonant melodies. </p><p>"On the Green" is a work for wind ensemble -- no piano. It includes pairs of oboes, clarinets, horns, and bassoons. Plus a contrabassoon. I think it's a real charmer. Carmichael uses his instruments to create a variety of interesting timbres. The music's straightforward, almost bordering on light classical.</p><p>And there's nothing wrong with that. "On the Green" has an immediate appeal. It should be a staple with community bands everywhere. I know it hasn't, but perhaps this recording will help. </p><p>What I found most appealing about Carmichael's music was its honesty. Carmichael is straightforward in his intent. And the clarity of that intention makes his music appealing (at least to me). </p><p><b><i>John Carmichael: Toward the Light<br />Piano Concerto No. 2; Piano Trio "Toward the Light"; Aria for viola & piano; Contrasts<br />Short Cuts - Divertimento for flute, oboe, clarinet & piano; On the Green<br />Divine Art ddx 21103</i></b></p><div><br /></div>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-73839081643716176322024-01-26T12:05:00.001-05:002024-01-26T12:05:00.136-05:00#ClassicsaDay #Classical1924 Week 4<p> It's become an annual tradition. For the first month of the new year, the Classics a Day team looks back a century. So the challenge for January 2024 is to post performances of classical works that were either composed, premiered, or first recorded in 1924.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrlwFwBtCSzkMsuawQSMeUb4ooAkeb1Fi-x_G7PZU-HU-5Ew_bs2VwXRw4fNaRQYylNRamOPWrrT8PUErdUFPO8oL88iyAQQ0XAc_8Yyz69jGjBCUL9s3jbMytno5FgzbeFxJ5iyfZszplME4d6zNcRpA9RaTySRwk7WFtmUohAEFEiJyTZn1gZQ/s600/01-24%20classics%20a%20day%201924.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="600" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrlwFwBtCSzkMsuawQSMeUb4ooAkeb1Fi-x_G7PZU-HU-5Ew_bs2VwXRw4fNaRQYylNRamOPWrrT8PUErdUFPO8oL88iyAQQ0XAc_8Yyz69jGjBCUL9s3jbMytno5FgzbeFxJ5iyfZszplME4d6zNcRpA9RaTySRwk7WFtmUohAEFEiJyTZn1gZQ/w400-h216/01-24%20classics%20a%20day%201924.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">It turns out 1924 was a landmark year for classical music. Here are my posts for the fourth week of #Classical1924.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><p></p>
<h4>01/22/24 Arnold Schoenberg: Wind Quintet, Op. 26</h4>
This work was one of the first Schoenberg composed in his 12-tone technique. It was completed in 1924 and premiered in September of that year.<div><br /></div><div>
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<h4>01/23/24 Alban Berg: Three Fragments from "Wozzeck"</h4>
Berg completed "Wozzeck" in 1922. The complete opera premiered in 1925. But in 1924 these three excerpts were premiered. Their success helped establish Berg's reputation as a major composer.</div><div><br /></div><div>
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<h4>01/25/24 Alexander von Zemlinsky: Lyric Symphony</h4>
Zemlinsky completed this work in 1923. It received its premiere performance in Prague in 1924 with Zemlinsky conducting.</div><div><br /></div><div>
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<h4>01/26/24 Igor Stravinsky: Concerto for Piano and Wind Instruments</h4>
Stravinsky finished this work in Paris in 1924. He retained the performance rights, allowing no one but himself to perform the concerto. He said it was to protect the work from "incompetent or Romantic hands." </div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/pyRX_bq3Tds?si=OYy5brT1EhPzT-WB" title="YouTube video player" width="560"></iframe></div>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-10968028452257076912024-01-25T12:05:00.001-05:002024-01-25T18:04:23.952-05:00Justin Dello Joio: Oceans Apart<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5fAnoWpj9mROmbjAHytD5F43ylsss7NkGIoMngmmrnM3SfUz7DJy0qD4Evy_3tO4DWbrdomvTvAY9EHmsm9r0z47QnyXwTQbLdtlxD7BDy0KAC8JZ1CrVpmDmHdLDOQ0mlPILM5IFcr-Tgce_TUpnN0HZjZkxGzTQtSltWZCqoP-gV2yTBxkq0A/s480/Della%20Joio%20Oceans%20Apart.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="478" data-original-width="480" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5fAnoWpj9mROmbjAHytD5F43ylsss7NkGIoMngmmrnM3SfUz7DJy0qD4Evy_3tO4DWbrdomvTvAY9EHmsm9r0z47QnyXwTQbLdtlxD7BDy0KAC8JZ1CrVpmDmHdLDOQ0mlPILM5IFcr-Tgce_TUpnN0HZjZkxGzTQtSltWZCqoP-gV2yTBxkq0A/s320/Della%20Joio%20Oceans%20Apart.jpg" width="320" /></a></div>I consider this an important release. Justin Dello Joio's "Oceans Apart" was commissioned by the Boston Symphony. Garrick Ohlsson was the intended soloist for this piano concerto. And in January 2023 the work was performed. Alan Gilbert led the Boston Symphony Orchestra, with Garrick Ohlsson, piano soloist. <p></p><p>This is a recording of that performance, hence its importance. It is performed by the commissioning artists, with input from the composer. And it's a tremendous composition.</p><p>Dello Joio writes that the work was inspired by divisions: political divisions and cultural divisions. The concerto effectively evokes those concepts. Themes break off unresolved. Various groups of instruments seem to compete for attention. And even the foundation of the music seems unsettled. </p><p>Dello Joio writes in what I call a post-tonal style. That is, the overall language is tonal. However, the nature of the harmonies and their resolution aren't traditional. Yet they make sense.</p><p>Ohlsson is in top form in this recording, as is the BSO. I hope more orchestras program this work. It deserves a wider audience. </p><p>Also included in this release are two Dello Joio chamber works. The Due Per Due for cello and piano is a tour de force for the performers. In this case, Carter Brey, cello, and Christopher O'Riley, piano.</p><p>Blue and Gold Music was composed for the tricentenary of Trinity School. This work for brass quintet and organ sparkles with originality. There's little heralding fanfare here. Just solid writing that utilizes the characteristics of the instruments involved. </p><p><b><i>Justin Dello Joio: Oceans Apart<br />Concerto for Piano and ORchestra<br />Garrick Ohlsson, piano<br />Boston Symphony Orchestra; Alan Gilbert, conductor<br />Carter Brey, cello; Christopher O'Riley, piano<br />American Brass Quintet<br />Bridge Records Bridge 9583</i></b></p>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-12324621694489523572024-01-24T12:05:00.001-05:002024-01-25T18:07:18.267-05:00Ivor Gurney: Piano Sonatas Tell a Story<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4X_ODG9pqSABaT1TqCBOYRor53HDqV-8gTdA3eHuccLnyIIibxUxLgO8P0yFkmWYM8AShMX-WWMogExDwpO4dYVjZSG-xtomgi6917DhzrPd2Eq_aluqf6OirRluRMjOTHr8jN3RWgJiN6Mnsl1hU55HFyLFYssmVYR96vJ0dVhGyWTwmOLqrhQ/s300/Gurney%20Piano%20Sonatas.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="297" data-original-width="300" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4X_ODG9pqSABaT1TqCBOYRor53HDqV-8gTdA3eHuccLnyIIibxUxLgO8P0yFkmWYM8AShMX-WWMogExDwpO4dYVjZSG-xtomgi6917DhzrPd2Eq_aluqf6OirRluRMjOTHr8jN3RWgJiN6Mnsl1hU55HFyLFYssmVYR96vJ0dVhGyWTwmOLqrhQ/s1600/Gurney%20Piano%20Sonatas.jpg" width="300" /></a></div>This release presents a selection of piano music by Ivor Gurney. Some of the music was composed immediately before the First World War. The rest soon after. Heard together, they tell a story. <p></p><p>Ivor Gurney was one of the most promising composers of his generation. But that was the generation that went off to fight World War I. Gurney had suffered from bipolar disorder since his teens. </p><p>During the war, he was on the front lines, where he was both wounded and gassed. He likely suffered PTSD on top of his disorder. In any case, Gurney was institutionalized in 1922 at age 32. </p><p>Gurney was both a poet and composer. He continued to write verse until he died in 1937. But he stopped composing around 1929. </p><p>Gurney's pre-war output includes a poem for piano and the Piano Sonata No. 1. His early style mixed late-Romantic Brahms with British folk harmonies and modes. The Poem for Piano, "Autumn" has an elegiac quality. Here the "Englishness" of the melodic turns and harmonies are readily apparent.</p><p>The first piano sonata of 1910 demonstrates Gurney's ability to handle large forms. This three-movement work is well-crafted. The structure of the sonata is there. Although it's been modified to accommodate modal and non-traditional harmonies. </p><p>From Gurney's early post-war output are two other piano sonatas, and his Five Preludes. The preludes are a little deceptive. They're a sparkling set of miniature gems. George Rowley gives them a spirited performance. But they seem to come from a different place than Gurney's pre-war works. </p><p>Piano Sonatas Nos. 2 and 3 were both started in 1919. The third sonata is a more complex work than the first. And it has a different character. Even at its liveliest, there's a sense of serious purpose here. </p><p>Gurney never completed his second sonata. The second movement stands as a torso that hints of potential. It's a beautiful, somber work, and does quite well as a stand-alone piece. </p><p>George Rowley plays with insight and sympathy. He's adept at bringing out both the optimism of the early works and the pessimism of the post-war ones. </p><p>Only a small fraction of Gurney's music has been recorded. This is a welcome addition to that slender catalog. </p><div><div><b><i>Ivor Gurney: Piano Sonatas</i></b></div><div><b><i>George Rowley, piano</i></b></div><div><b><i>Naxos 8.574479</i></b></div></div>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-21307813963429129782024-01-23T12:05:00.001-05:002024-01-25T18:09:59.359-05:00Irina Muresanu/Violeta Dinescu Amazing Collaboration<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbH6U9vqSyPTiIp3TD92InzM5SWlZPfgpz4j8I3OEGcxCzV0U8ULJB-QUlpGcjKoKIx2W6f9S9ksD-z-F_o_j5uaLu4QofsBp-1sXbZLPElNAJShWdYNyy53zF6B_Xdro6PxNg05EouQnr8ssZCi-ae0JSA2XHhfBJwjIS1jtvWnIzW_KPvZOcnA/s300/Dinescu%20Solo%20Violin%20Works.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbH6U9vqSyPTiIp3TD92InzM5SWlZPfgpz4j8I3OEGcxCzV0U8ULJB-QUlpGcjKoKIx2W6f9S9ksD-z-F_o_j5uaLu4QofsBp-1sXbZLPElNAJShWdYNyy53zF6B_Xdro6PxNg05EouQnr8ssZCi-ae0JSA2XHhfBJwjIS1jtvWnIzW_KPvZOcnA/s1600/Dinescu%20Solo%20Violin%20Works.jpg" width="300" /></a></div>This is the kind of release that excites me. Violinist Irina Muresanu collaborated with composer Violeta Dinescu to create this recording. Why exciting? Because it's a document we're privileged to have. <p></p><p>Joseph Joachim collaborated with Johannes Brahms in the creation of his violin concerto. But we don't know how he performed it. There are no recordings to give us insights. But these are modern times. It's possible to record those types of collaborations.</p><p>And in this case, that collaboration is especially fruitful. And with this recording, listeners can enjoy the music. And other artists can learn from Muresanu's informed performances. </p><p>Romanian composer Violeta Dinescu has an impressive catalog covering all the major genres. In Romanian violinist Irina Muresanu, she's found a kindred spirit. As Dinescu says in the liner notes, Maresanu has found the "space between the notes," the essence of her work. </p><p>And that's what makes these compositions live. There's an underlying Romanian character to these pieces that Muresanu brings out. It's often a subtle character -- just the way a note bends, or a double stop is articulated.</p><p>These works push the limits of the instrument, and a little beyond. And yet they have a lyrical quality to them. </p><p>Muresanu won the Montreal International Violin Competition. One of her showpieces was Dinescu's "Aretusa" (included in this release). So make no mistake. These are indeed definitive performances. And ones not to be missed. </p><p><b><i>Irina Muresanu Plays Violeta Dinescu<br />Solo Violin Works<br />Metier MEX 77106</i></b></p>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-25036212783285220562024-01-19T12:05:00.001-05:002024-01-19T12:05:00.135-05:00#ClassicsaDay #Classical1924 Week 3<p> It's become an annual tradition. For the first month of the new year, the Classics a Day team looks back a century. So the challenge for January 2024 is to post performances of classical works that were either composed, premiered, or first recorded in 1924.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrlwFwBtCSzkMsuawQSMeUb4ooAkeb1Fi-x_G7PZU-HU-5Ew_bs2VwXRw4fNaRQYylNRamOPWrrT8PUErdUFPO8oL88iyAQQ0XAc_8Yyz69jGjBCUL9s3jbMytno5FgzbeFxJ5iyfZszplME4d6zNcRpA9RaTySRwk7WFtmUohAEFEiJyTZn1gZQ/s600/01-24%20classics%20a%20day%201924.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="600" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrlwFwBtCSzkMsuawQSMeUb4ooAkeb1Fi-x_G7PZU-HU-5Ew_bs2VwXRw4fNaRQYylNRamOPWrrT8PUErdUFPO8oL88iyAQQ0XAc_8Yyz69jGjBCUL9s3jbMytno5FgzbeFxJ5iyfZszplME4d6zNcRpA9RaTySRwk7WFtmUohAEFEiJyTZn1gZQ/w400-h216/01-24%20classics%20a%20day%201924.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">It turns out 1924 was a landmark year for classical music. Here are my posts for the third week of #Classical1924.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><p></p>
<h4>01/15/24 Arthur Wood: My Native Heath</h4>
Wood was a staff composer for Boosey & Hawkes. This orchestral suite featured several orchestrated country dances. Only "Barwick Green" from this suite is still performed.<div><br /><div>
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<h4>01/16/24 Ralph Vaughan Williams: Hugh the Drover</h4>
This opera premiered in 1924 at His Majesty's Theatre. Vaughan Williams makes effective use of folk songs and sets a prize fight to music. Easter egg: at midnight the town's church bells play "York," one of RVW's favorite hymn tunes and the foundation for his "Pilgrim's Progress."</div><div><br /></div><div>
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<h4>01/17/24 Paul Hindemith: Klaviermusik (Concerto for Piano and Orchestra), Op. 29</h4>
This work was a commission from Paul Wittgenstein, the left-handed pianist. Wittgenstein never performed it. And since the commission included life rights, no one else could play it until after his death. It was finally premiered in 2004 with Leon Fleisher.</div><div><br /></div><div>
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<h4>01/18/24 Erich Wolfgang Korngold: Piano Concerto for the left hand in C-sharp, Op. 17</h4>
The left-handed pianist Paul Wittgenstein commissioned this work. Korngold completed it in 1923. Wittgenstein premiered it in Vienna in 1924 with the composer conducting.</div><div><br /></div><div>
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<h4>01/19/24 Karl Weigl: Piano Concerto for the left hand</h4>
Weigl wrote this work on commission from Paul Wittgenstein, the left-handed pianist. Wittgenstein never performed the work in public. The exclusive nature of the commission prevented anyone else from performing the work until after his death in 1961.</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/6eZaq6cLDKI?si=7ahtdVzIEuWvlaUY" title="YouTube video player" width="560"></iframe></div></div>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-80265049768262582842024-01-18T12:05:00.001-05:002024-01-20T14:35:49.806-05:00Cappella Romana Deliver Arvo Pärt's Spirituality<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOEUreJh8hVJ6YETCcLSx5PnVOaW3y9FCqKy3Tkaperl58rvNicK1WMNPM0ksiwnVj4oGayYm3UF7EVNsw0YbxLX6IE4kioOHwFLdzZ7VlEOyv-AkS1hZW089JlIcC8sYR-Vz7HUzURYXk7x3lUOWQx_2uAJsEUXF8-vRVzAd0XSNx7MpjRzoyZw/s300/Part%20Odes%20of%20Repentance.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOEUreJh8hVJ6YETCcLSx5PnVOaW3y9FCqKy3Tkaperl58rvNicK1WMNPM0ksiwnVj4oGayYm3UF7EVNsw0YbxLX6IE4kioOHwFLdzZ7VlEOyv-AkS1hZW089JlIcC8sYR-Vz7HUzURYXk7x3lUOWQx_2uAJsEUXF8-vRVzAd0XSNx7MpjRzoyZw/s1600/Part%20Odes%20of%20Repentance.jpg" width="300" /></a></div>The liner notes lay out the goal of the Capella Romana. "The mission... is to experience and understand the transcendent beauty of the sacred music of the Christian East and West, especially of Byzantium, cultivating heritage and sharing it worldwide." That's one heck of a long sentence. And one heck of a mission.<p></p><p>But that's what they do, and with this album, they succeed. "Transcended beauty" aptly describes Arvo Pärt's music. </p><p>Pärt is a deeply spiritual composer and practices the Eastern Orthodox faith. His music is new, yet old. It's inspired by Medieval and Renaissance music, and by Eastern Orthodox chant. </p><p>This release collects Odes of Repentance from various Pärt compositions. There are selections from "triodion." Kanon Pokajanen (Kanon of Repentance), "Zwei slawische Psalmen," and a few stand-alone works. </p><p>The subject matter gives the program a stylistic cohesiveness. These are songs of penance. They are slow, quiet works. There's a hint of sorrow, but mostly introspection. And introspection is one of Pärt's strengths.</p><p>The Capella Romana delivers beautifully sung performances with hushed reverence. Director Alexander Lingas brings out Pärt's spirituality through the choir's singing.</p><p>When it's time to get off the merry-go-round of daily life, play this album. It can transport you to a world of quiet contemplation. And that's not a bad thing at all. </p><p><b><i>Arvo Pärt: Odes of Repentance<br />Cappella Romana; Alexander Lingas, director<br />Cappella Records</i></b></p><p><br /></p>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-31679046301259387412024-01-17T12:05:00.000-05:002024-01-20T03:52:06.314-05:00Evgeni Koroloiv Brings Insights to Handel<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_uExmbEheQPVuhgqoVutRciSGbzFghDuCPpvSgb1CFHtxopK9dLci-wYFVgrsItetGI7bTM0kV4jmg3-R10L1M9QnFAlSVXaBR7n0sin5UTSo0x647TPrcwIalrNjX2HfIEblDhR-LPsVx824gJhWiSsadL6NU2ahiT7pl6ssJBcM20RgDfyaWQ/s300/Handel%20Keyboard%20Suites.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_uExmbEheQPVuhgqoVutRciSGbzFghDuCPpvSgb1CFHtxopK9dLci-wYFVgrsItetGI7bTM0kV4jmg3-R10L1M9QnFAlSVXaBR7n0sin5UTSo0x647TPrcwIalrNjX2HfIEblDhR-LPsVx824gJhWiSsadL6NU2ahiT7pl6ssJBcM20RgDfyaWQ/s1600/Handel%20Keyboard%20Suites.jpg" width="300" /></a></div>Tastes evolve. At least, mine have. When I first started listening to classical music, I wasn't particular about origins. A violin sonata transcribed for clarinet? Fine. Baroque keyboard music played on a modern piano? Cool. <p></p><p>All that mattered was the sound. If it sounded good, I was good. Then I discovered the authentic instrument movement, and my attitude changed. Bach didn't write for a Steinway. I wanted to hear his keyboard music played the way he intended, on an instrument of his time. And don't even talk to me about transcriptions.</p><p>I've since mellowed. No matter how precise the notation is, the performer has to make musical judgments. And in the case of playing Baroque music on the piano, a lot of them. The modern piano has a host of expressive options unavailable to the harpsichord. Using them judiciously can yield insights into the works. </p><p>Evgeni Koroliov is just such an artist. In this release he performs selections from two volumes of Handel's keyboard suites. The works date from the 1710s (though published later). Handel was a gifted melodist, and many of these pieces have wonderfully crafted tunes. </p><p>But he could also write contraputally (as in Suite 3, Set I). His counterpoint isn't as thick as Bach's -- but it's pretty darned melodious. </p><p>Koroliov's phrasing illuminates the structure of these works. There are subtle divisions between melodic and supporting harmonic lines. Small changes in dynamics signal major events. The pedal is used sparingly but effectively. </p><p>Authentic? No. But musical? Yes. Koroliov gives us engaging, thoughtful performances of this material. And isn't that what we're listening for?</p><p><b><i>Georg Friedrich Handel: Piano Suites<br />Evgeni Koroliov,piano<br />Profil</i></b></p>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-77208143275885466752024-01-16T12:05:00.003-05:002024-01-20T03:51:56.286-05:00Solid Choral Compositions from Richard Lambert<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBz_FllxZI9rpI3OEY1T-ehekcru0hwqH3Rod498W1OscWP9JC6ptzvZyvJi0eL5GUhVJpYhXrW8vRVU8ZjVlOHr8agYhvbfDWy54r59j2ulWXnrAcxPIcKDHoojOb2OejCLibPZR_LD51HV8K8-DjgF_Ap6V0pS4zkajzsSi39FeK9eNsy1GaJg/s300/Lambert%20Choral%20Music.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="300" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBz_FllxZI9rpI3OEY1T-ehekcru0hwqH3Rod498W1OscWP9JC6ptzvZyvJi0eL5GUhVJpYhXrW8vRVU8ZjVlOHr8agYhvbfDWy54r59j2ulWXnrAcxPIcKDHoojOb2OejCLibPZR_LD51HV8K8-DjgF_Ap6V0pS4zkajzsSi39FeK9eNsy1GaJg/s1600/Lambert%20Choral%20Music.jpg" width="300" /></a></div>This release features twelve works given their world recording premiers. Choirs throughout the English-speaking world are familiar with Richard Lambert's work. This album exposes his music to a wider audience. <p></p><p>The collection presents a good overview of the composer's style. Lambert has an engaging, accessible style. His music can be challenging, but it's always playable and listenable. And those are the two elements of success in the world of choral music. </p><p>The album has what it calls a "Christmas Sequence." The Christmas carols in this section are all original Lambert compositions. Although they weren't originally conceived of as a whole. The earliest carol dates from 1995, the latest from 2021. The sequence is simply a collection of Lambert's carols. </p><p>Still, it's a nice sequence. And the carols are real standouts. In many cases, Lambert takes a familiar text and creates a new melody for it. "Away in a Manger" and "The Holly and the Ivy" take on new meanings in these resettings. </p><p>The most ambitious work on the album is "a plague o' your houses." I've not heard anything quite like it. Lambert composed the work during the Covid lockdown. A narrator, personifying different plagues, sets the stage. The choir articulates the feelings and impressions of those living in a plague zone. Lambeth augments the sound with a string quartet and percussion. </p><p>The work has a disorienting quality to it. The mood it sets is somber, yet restless. Oppressive, and yet unsettled. I think "...a plague" is worth the price of admission (or download). Consider the other selections bonus material. </p><p>Karolina Csáthy directs the Accordare Choir. They sing with feeling and precision -- two qualities for the success of "...a plague." </p><p><b><i>Richard Lambert: Choral Music, Sacred and Secular<br />Accordare Choir, Karolina Csáthy, director<br />Toccata Classics TOCC 0713</i></b></p>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0tag:blogger.com,1999:blog-32516736.post-73035076799144136312024-01-12T12:05:00.002-05:002024-01-20T15:08:55.670-05:00#ClassicsaDay #Classical1924 Week 2<p> It's become an annual tradition. For the first month of the new year, the Classics a Day team looks back a century. So the challenge for January 2024 is to post performances of classical works that were either composed, premiered, or first recorded in 1924.</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrlwFwBtCSzkMsuawQSMeUb4ooAkeb1Fi-x_G7PZU-HU-5Ew_bs2VwXRw4fNaRQYylNRamOPWrrT8PUErdUFPO8oL88iyAQQ0XAc_8Yyz69jGjBCUL9s3jbMytno5FgzbeFxJ5iyfZszplME4d6zNcRpA9RaTySRwk7WFtmUohAEFEiJyTZn1gZQ/s600/01-24%20classics%20a%20day%201924.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="325" data-original-width="600" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrlwFwBtCSzkMsuawQSMeUb4ooAkeb1Fi-x_G7PZU-HU-5Ew_bs2VwXRw4fNaRQYylNRamOPWrrT8PUErdUFPO8oL88iyAQQ0XAc_8Yyz69jGjBCUL9s3jbMytno5FgzbeFxJ5iyfZszplME4d6zNcRpA9RaTySRwk7WFtmUohAEFEiJyTZn1gZQ/w400-h216/01-24%20classics%20a%20day%201924.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">It turns out 1924 was a landmark year for classical music. Here are my posts for the second week of #Classical1924.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><p></p>
<h4>01/08/24 Arthur Honegger's Pacific 231</h4>
Honegger had completed this work in 1923. It was premiered at a Paris concert conducted by Serge Koussevitzky. It shared the progam with Prokofiev's reconstructed Piano Concerto No. 2<div><br /><div>.
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<h4>01/09/24 Leoš Janáček: String Quartet No. 1</h4>
This quartet was written within a space of 15 days in October, 1923. It was inspired by the Tolstoy's novel "The Kreutzer Sonata," which is the subtitle for this work. The Czech Quartet premired the quartet at a Contemporary Music Society concert in Prague in 1924.</div><div><br /></div><div>
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<h4>01/10/24 Gustav Holst: Choral Symphony</h4>
Holst completed this work in 1924. It was premiered in october 1925. Although sometimes known as the First Choral Symphony, Holst never got beyond writing some sketches for a planned second.</div><div><br /></div><div>
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<h4>01/11/24 Bohuslav Martinu: Concertino for Cello, Winds, Percussion and Piano in C minor, H 143</h4>
This concertino was one of seven major works Martinu composed in Paris in 1924.</div><div><br /></div><div>
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<h4>01/12/24 Maurice Ravel: Tzigane, Rapsodie de concert</h4>
The original version for violin and piano premiered April 26, 1924 with violinist Jelly d'Aranyi, who commissioned the piece. The orchestral version premiered October 19, 1924 with the Conertgebouw Orchestra and violinist Samuel Dushkin.</div><div><br /></div><div>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/tQjh9Z71RJ4?si=BlvFn5chm4sd0liy" title="YouTube video player" width="560"></iframe></div></div>Ralph Graveshttp://www.blogger.com/profile/14758413012114957573noreply@blogger.com0