“A Chronicle of Verie Coole New Things I’ve Been Listening To, Or…

…If the Recordinge Industrie is in Such Bad Shape, Why Does It Still Put Out So Much Good Stuff?”

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Beethoven: Triple Concerto, Choral Fantasy. Two of Beethoven’s one-of-a-kind works for soloists and orchestra receive fresh and lively (indeed, recorded live) performances by conductor Laurence Equilbey, the Insula Orchestra, Accentus Choir (which whom Equilbey has made several beautiful albums) and soloists Bertrand Chamayou, David Kadouch, Alexandra Conunova and Natalie Clein. A nice touch is the use of an 1892 Pleyel piano, “authentic” for neither Beethoven’s time nor ours, but just right nonetheless. The performers sound like they’re enjoying themselves with works that benefit from not being approached with great solemnity. Listen on Tidal or Spotify.

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Anna Meredith: Fibs. The final “Album du jour” on this blog before our long hiatus was “Varmints,” the 2015 debut techno-pop album by British classical composer Anna Meredith. I was blown away, almost literally so in the case of its opening track, “Nautilus.” Now, just in time for the rebirth of the blog, Meredith has put out “Fibs” a wild ride of beats, bleeps, soaring tunes and non-stop invention. I dare you to resist! Listen on Tidal or Spotify.

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The Beatles: Abbey Road (Super Deluxe Edition). Most fancy new remasterings of favored old albums have struck me as little more than excuses to buy them again, to which I plead guilty on several counts. This one’s more than that. Supervised by Giles (son of Sir George) Martin, the present redo of the lads’ final masterpiece brings the musicians into intimate contact with the listener, for once justifying use of the cliché “like hearing it again for the first time.” The release also includes a zillion extras and outtakes that may interest you more than they do me, but since I’m listening via high-quality streaming (Tidal and Qobuz, more about which in a future post), I don’t have to feel guilty about how much I shelled out for the whole package. Give it a listen on Tidal or Spotify.

The Unpublished Letter

Here’s a letter I submitted a few weeks ago to the Daily Hampshire Gazette, but which has not been published. I’ve added some hyperlinks, but the text is otherwise unaltered.

Last month, Slate.compublished a transcript of a secret audio recording of a “town-hall” that New York Times executive editor Dean Baquet held with the paper’s staff regarding the Times’s coverage of the Trump presidency. One of the key takeaways was that the Times’ coverage of “Russiagate” was driven as much or more by established narrative as by emerging evidence – or lack of evidence – and that now that the Mueller report has basically put that story to rest, it was time for a new anti-Trump narrative. That turned out to be “Trump is racist,” a narrative that would drive the paper’s coverage going forward, and which led to the “1619 Project,” a series of articles based on the premise that the legacy of slavery still underpins virtually all American institutions. Never mind the facts, the historical context, or other opinions – it was the narrative that counted.

As at the Times, so at the Gazette in its “Covering Climate Now” series. What’s the narrative? Let me quote the opening of one of the articles in the series: “It’s a problem threatening our very existence on Earth.” Not “is it” an existential problem, but “it is” an existential problem. Case closed, narrative established. But while there is consensus (which I agree with) that the earth is warming and that much of the warming is attributable to human action, there is no such consensus that warming threatens human existence. Read the likes of Dr. Judith Curry and Bjorn Lomborg, check out “Watts Up With That?” blog, and read the reports of the IPCC, and you might come away with a far less dire prognosis of the earth’s future health. Of course, even bringing this up gets one ostracized by climate alarmists and activist scientists, and will doubtless lead to furious letters in response, but that doesn’t mean that these heterodox opinions are invalid. The Gazette, like the Times, disserves its readership (which doesn’t look to the Gazette’s staff to be its thought leaders), and damages its journalistic reputation by its narrative-first coverage, and by suppressing the evidence that does not fit the narrative.

What Think You: Should the Music Stop When the Phones Come Out?

The Wife® just forwarded me a Classic FM article about the latest collision of traditional classical concert etiquette with changing times and new technologies. Here’s the gist:

Violinist Anne-Sophie Mutter was in the middle of performing Beethoven’s Violin Concerto last night when the glare of a smartphone stopped her mid-movement.

Mutter was performing the slow, middle movement of the concerto, when she suddenly stopped and confronted a member of the audience in the front row – because they had their phone out and were filming her performance.

So what do you think — did Mutter do the right thing or the wrong thing by stopping the show? Please add your opinion in the comment section. You may choose to do so before reading my snap judgment, which follows.

OK, here goes: I think she was wrong. This is not an endorsement of the audience member’s behavior. I’m not asking Mutter to alter her opposition to being recorded. But this was not sufficiently disruptive behavior to disturb the entire audience’s enjoyment (which they paid for, of course) for one person’s action. What’s next — stopping the show for one too many unwrapped candies or foot shuffles? Of course, the concert staff should exhort the audience not to use their phones during the concert. But this is a case when the reaction to the misbehavior was more disruptive than the misbehavior itself.

What think you?

From the NEPR Archive: Woodman, Spare That Piano!

On Sunday afternoon, The Wife and I are heading to one of our favorite classical concert series for a recital of Romantic piano music on an 1893 Pleyel piano. For background on the series, here’s a blog post I wrote for New England Public Radio in July 2012.

 

Dueling Goldbergs

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“Quick, Robin — into the Bachmobile!”

The older I get, the less I latch onto one all-time favorite recording of a great classical work. Indeed, I find discussions of which is the “best” recording of this or that piece deeply boring. This may seem paradoxical, but only if you correlate — falsely, in my view — advanced age with stubborn adherence to the good old days. In my many decades of music presenting, I’ve heard from plenty of very open old folks and very closed young ‘uns. If there’s one thing that may correlate with advanced age it’s the decreased willingness to put up with lousy-sounding crap because some smart people said you’re supposed to like it. Life’s too short, especially when there’s less life ahead of you than behind you.

No, for me the score is never settled on the great works, and I’m always on the prowl for the next interesting version.  Such as two 2016 recordings of one of my all-time faves, J. S. Bach’s Goldberg Variations ( known to Bach-geeks as BWV 988, i.e., No. 988 in the Bach Werke Verzeichnis, “Catalogue of Bach’s Works”). And what a matched set of brilliant young keyboardists are featured on the recordings, Russian-German pianist Igor Levit (b. 1987) and Iranian-American harpsichordist Mahan Esfahani (b. 1988).

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I’d really rather not get into a better-and-worse comparison, since both Goldbergs are conceived and executed at the highest musical level. I will say, however, that I found Levit’s, for all its taste and control, and for the notable tenderness of the minor-key variations, a little dull. This is playful music, damn it, and I miss a sense of play in Levit’s Bach. Is that ungenerous? You may think so after listening on Spotify or Tidal, or downloading from Presto Classical.

Then check out Esfahani (download, Spotify and Tidal) and see if you can hear why I was vastly entertained by his flexible and creative approach. It helps that he’s playing a beautiful-sounding harpsichord (modeled on a German instrument from Bach’s era) with one of those great Baroque tunings (I couldn’t tell you which) that give each harmony a different color — it might sound sour at first, but you’ll get used to it. While I’m sure he planned and practiced everything to a fare-thee-well, Esfahani gives the illusion of making the piece up as he goes along. OK, he takes a few liberties, including a stripped-down, ornament-free rendition of the opening “Aria” (the first time through, at least), like seeing a beautiful face for the first time without makeup or jewelry. You got a problem with that?

 

 

The Blog Is Back…

…for the first time since I started Uber driving in early 2016. Let’s get right to it.

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What I’m listening to: Jaime, the debut solo CD by Brittany Howard, the 30-year old lead singer for Alabama Shakes, absolutely knocked me on my tukhes. Which at my age, could cause such a pain. But the risk is worth it in order to experience music this personal, this powerful. Name your favorite diva of American song, whether Bessie or Billie or Patsy or Janis, and young Ms. Howard does not disgrace herself by comparison. Purchase CD or download (high-quality, please) here. Spotify here. Tidal here.

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What’s coming up: Chris Goudreau has a nice write-up in Thursday’s Gazette of this Friday night’s concert at the Northampton Center for the Arts by archguitarists Peter Blanchette and Mané Larregla. Wait — there are two archguitarists? That’s right! Maître Blanchette, who invented the damned thing as a baby (OK, as a teenager), almost went and croaked on us after falling ill during a European tour last year. But judging from last weekend’s out-of-town tryout at the 1794 Meetinghouse in New Salem, his playing has lost none of its softness and sweetness. Neither has he lost a jot of his endearing on-stage loquaciousness. And this time, Peter’s joined by his Spanish friend Mané, an accomplished guitarist and recent convert to the archguitar. Renaissance dances, Satie, and of course, Bach — what could be bad? Details here.

That was fun. Maybe I’ll do it again soon. Stay tuned…

 

Album du jour: Anna Meredith, “Varmints”

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You may want to fasten your seatbelt before you start in on this album, lest you be blown out of your chair by the irresistible force of its opening track, a skipping, loping fanfare called “Nautilus.” One could well imagine it, rescored for standard symphonic instruments, lifting the lid on a classical concert, not to mention threatening to lift the lid off the concert hall.

And Anna Meredith could do the rescoring too, since she’s a bona fide classical composer, graduate of the Royal College of Music and former composer-in-residence with the BBC Scottish Symphony Orchestra. So, what’s a nice composer like Anna Meredith doing in the world of techno-pop? To quote from Laura Snapes’s profile of Meredith in the Guardian:

Eventually, though, Meredith decided that she wanted to explore an area that few classical composers tiptoe into: the pop world. To be more specific, the avant-synthpop and peak-time howlers of her debut album Varmints. She had grown frustrated by classical’s constraints, where months of work can climax in a single performance – and often to a sneery audience. “I don’t want to write music that people are enduring just to get to the Elgar in the second half,” she says wearily. She repeatedly highlights the snootiness during our gallery walkabout – an awareness that safeguards her own compositions. “I’ve got quite a pretentious-ometer running. If there’s ever a more direct way to say something, I’d rather do that. That’s what I’m asking myself the whole time: can you be braver, can you be bolder, can you be simpler?”

(Ms. Snapes, by the way, also gave “Varmints” a glowing review in the American indie music mag Pitchfork.)

Then again, Anna Meredith doesn’t just compose “nice” classical music, to judge from her best-known works, such as her big hit from the 2012 BBC Proms, a visually and aurally arresting spectacle called “HandsFree”:

Now, if I hadn’t known about Meredith’s background before listening to “Varmints,” would I have guessed that it was the work of a classically-trained composer? Probably not, especially during the approximately half of the album (e.g., “Taken,” “Something Helpful”) with a strong pop orientation, replete with melodic hooks and conventional pop vocals (some by Meredith herself). But on the big instrumentals, such as “R-Type,” “The Vapours” and the aforementioned “Nautilus,” the shaping, shading and invention of the music equals or excedes that of almost any techno artist now active. They also really rock. So for now, at least, classical’s loss is our gain. Check it out below or at Anna Meredith’s
Bandcamp page, where you can purchase “Varmints” on CD or vinyl with complimentary download.