The Sixteen continues its exploration of Henry Purcell’s Welcome Songs for Charles II. As with Robert King’s pioneering Purcell series begun over thirty years ago for Hyperion, Harry Christophers is recording two Welcome Songs per disc.
In February this year, Albanian soprano Ermonela Jaho made a highly lauded debut recital at Wigmore Hall - a concert which both celebrated Opera Rara’s 50th anniversary and honoured the career of the Italian soprano Rosina Storchio (1872-1945), the star of verismo who created the title roles in Leoncavallo’s La bohème and Zazà, Mascagni’s Lodoletta and Puccini’s Madama Butterfly.
Collapsology. Or, perhaps we should use the French word ‘Collapsologie’ because this is a transdisciplinary idea pretty much advocated by a series of French theorists - and apparently, mostly French theorists. It in essence focuses on the imminent collapse of modern society and all its layers - a series of escalating crises on a global scale: environmental, economic, geopolitical, governmental; the list is extensive.
Amongst an avalanche of new Mahler recordings appearing at the moment (Das Lied von der Erde seems to be the most favoured, with three) this 1991 Mahler Second from the 2nd Kassel MahlerFest is one of the more interesting releases.
If there is one myth, it seems believed by some people today, that probably needs shattering it is that post-war recordings or performances of Wagner operas were always of exceptional quality. This 1949 Hamburg Tristan und Isolde is one of those recordings - though quite who is to blame for its many problems takes quite some unearthing.
The voices of six women composers are celebrated by baritone Jeremy Huw Williams and soprano Yunah Lee on this characteristically ambitious and valuable release by Lontano Records Ltd (Lorelt).
As Paul Spicer, conductor of the Royal Birmingham Conservatoire Chamber Choir, observes, the worship of the Blessed Virgin Mary is as ‘old as Christianity itself’, and programmes devoted to settings of texts which venerate the Virgin Mary are commonplace.
Ethel Smyth’s last large-scale work, written in 1930 by the then 72-year-old composer who was increasingly afflicted and depressed by her worsening deafness, was The Prison – a ‘symphony’ for soprano and bass-baritone soloists, chorus and orchestra.
‘Hamilton Harty is Irish to the core, but he is not a musical nationalist.’
‘After silence, that which comes closest to expressing the inexpressible is music.’ Aldous Huxley’s words have inspired VOCES8’s new disc, After Silence, a ‘double album in four chapters’ which marks the ensemble’s 15th anniversary.
A song-cycle is a narrative, a journey, not necessarily literal or linear, but one which carries performer and listener through time and across an emotional terrain. Through complement and contrast, poetry and music crystallise diverse sentiments and somehow cohere variability into an aesthetic unity.
One of the nicest things about being lucky enough to enjoy opera, music and theatre, week in week out, in London’s fringe theatres, music conservatoires, and international concert halls and opera houses, is the opportunity to encounter striking performances by young talented musicians and then watch with pleasure as they fulfil those sparks of promise.
“It’s forbidden, and where’s the art in that?”
Dublin-born John F. Larchet (1884-1967) might well be described as the father of post-Independence Irish music, given the immense influenced that he had upon Irish musical life during the first half of the 20th century - as a composer, musician, administrator and teacher.
The English Civil War is raging. The daughter of a Puritan aristocrat has fallen in love with the son of a Royalist supporter of the House of Stuart. Will love triumph over political expediency and religious dogma?
Beethoven Symphony no 9 (the Choral Symphony) in D minor, Op. 125, and the Choral Fantasy in C minor, Op. 80 with soloist Kristian Bezuidenhout, Pablo Heras-Casado conducting the Freiburger Barockorchester, new from Harmonia Mundi.
A Louise Brooks look-a-like, in bobbed black wig and floor-sweeping leather trench-coat, cheeks purple-rouged and eyes shadowed in black, Barbara Hannigan issues taut gestures which elicit fire-cracker punch from the Mahler Chamber Orchestra.
‘Signor Piatti in a fantasia on themes from Beatrice di Tenda had also his triumph. Difficulties, declared to be insuperable, were vanquished by him with consummate skill and precision. He certainly is amazing, his tone magnificent, and his style excellent. His resources appear to be inexhaustible; and altogether for variety, it is the greatest specimen of violoncello playing that has been heard in this country.’
Baritone Roderick Williams seems to have been a pretty constant ‘companion’, on my laptop screen and through my stereo speakers, during the past few ‘lock-down’ months.
Melodramas can be a difficult genre for composers. Before Richard Strauss’s Enoch Arden the concept of the melodrama was its compact size – Weber’s Wolf’s Glen scene in Der Freischütz, Georg Benda’s Ariadne auf Naxos and Medea or even Leonore’s grave scene in Beethoven’s Fidelio.
First impressions are important. For instance, one expects certain things from Bang on a Can and their four-year-old record label Cantaloupe – there are graphics, ideas, names, and especially musical styles that have become predictably associated with the New York...
First impressions are important. For instance, one expects certain things from Bang on a Can and their four-year-old record label Cantaloupe – there are graphics, ideas, names, and especially musical styles that have become predictably associated with the New York festival/coterie since its inception in 1987. The cover of Elida manages to confound those expectations – it looks like a restrained library edition, or perhaps the documentation of an old live performance, using a single color (deep turquoise) and classic fonts. In fact, in a pleasant if not arresting postmodern twist, the coolly antiquarian fonts are perhaps the clearest indication that this is a ‘new’ work.
As for my first impression of the music, it was even more memorable. A lovely wash of piano and violin that suggests a marriage of Victorian parlor music and eastern European busking is shattered by a voice that sounds as though it belongs to an otherworldly descendant of Alvin and the Chipmunks, and for that matter one that is having a rather blithe nervous breakdown. With more time to absorb and reflect, the listener becomes acclimatized to this odd and not unpleasant universe – many of the sounds would be familiar to devotees of romanticism, others would fit well in a klezmer band, and many passages suggest gestures derived from a constellation of minimalism, new age, and folk ballads. In fact, the overall aesthetic concept seems most like that of progressive rock, or fusion jazz – a set of gestures freely assembled from a variety of styles and references that hold together mostly because of their mutual amiability, as though several different musical genres could build up good-humored, easy-going relationships over long acquaintance.
As a matter of fact, Elida is a collection of tracks by a Czech violinist/vocalist who has a background in classical, folk and various kinds of community performances. Bittová openly presents her personal life in her music, as well as in her publicity material; one has the impression she would be pleasant to make music with, and pleasant to know – in her biography she focuses on her country home, on growing up with music and dance, and on what appears to be a deeply integrated approach to living and playing. She seems, in fact, to be a skilled, flexible performer who has moved into composition – which is perhaps why the compositional side of this record, though competent, is not particularly innovative, nor does it outline a completely distinctive musical persona. In fact, after that startling first track, the rest of the CD settles down into a series of milder, less remarkable hybrids – at times I thought of Jane Siberry, at others Kate Bush, but when those singers came to mind it was with a certain longing to go hear their work instead.
Aside from that, this album is not like most of the music that comes out of the Bang on a Can composers and their circle. This is in fact a loose collection of songs, based on short, private lyric poems by Richard Müller and Vera Chase – it might be useful to think of Elida as a gentler, more popular version of one of those Kurtág song cycles, with their charged female musings and comparably spare textures. Unfortunately the poems themselves are rather adolescent and clichéd, except for the last lines of Müller’s ‘Painters in Paris’. As for Bang on a Can, although it was founded as an all-inclusive contemporary music festival (I was lucky enough to live in New York for several months the year it began, and still remember with pleasure the odd mixture of uptown and downtown styles that was so radical at the time, along with a gorgeous piece by Lois V Vierk performed by accordionist Guy Klucevsek), it has in the long run drifted towards something more predictable, and distinctly more limited. Bang on a Can has, in fact, settled down to a particular kind of post-minimalism that runs smack in the middle of the now very, very wide stream of musical works produced by the many clones of Louis Andriessen. I had expected Elida to be somewhat like Lost Objects (2001), the collaborative post-minimalist opera by Michael Gordon, David Lang and Julia Wolfe, Bang on a Can’s three founders; although Lost Objects is not as consistently interesting as, say, most of John Adams’ stage works, it nevertheless includes some solo-with-chorus sections that remain for me, even after numerous rehearings, disturbingly beautiful.
This is not, however, That Kind Of Thing. Bittová is undoubtedly talented and pleasant as a violinist and as a singer, with a flexible voice that employs several strongly contrasted colors – although it would be nice if she could bring more body and depth up into her high ‘chipmunk’ range, which becomes less enjoyable after one hears it for a while. And Elida is also pleasant, interesting at times, and always very musical – it is clear that this is a record made by good musicians who are doing the kinds of things they enjoy. Given all that, it may be mean of me to point out the limitations of the work; but, frankly, I have heard so many varieties of post-minimalism, hybridity, folk integrated with contemporary and popular, and playful vocalization, that it seems only fair to expect something more remarkable than this. Perhaps I’ve gotten jaded, as it seems that the postmodern styles I used to love continue to run and run, without growing or developing beyond boundaries that were too familiar ten years ago. But, let’s face it: so many people are engaged in all of these stylistic tropes these days, including many of my university students, that it doesn’t seem unfair to expect that a well-hyped new work produced in New York and featuring well-known names should have something, well, surprising about it. Unless, given that many contemporary musicians seem to have been marking time since the millennium, waiting until the next Big Idea pops up, while busily digging up grants, corporate sponsors, and trendy connections with formerly distant cultures, that is simply too much to ask?
Paul G. Attinello, Ph.D.
University of Newcastle upon Tyne