Sunday, January 25, 2015

Special edition: Getting even more "Carried Away"



COMDEN, GREEN, and BERNSTEIN: On the Town: Act I opening: "I Feel Like I'm Not Out of Bed Yet"; Introduction; "New York, New York"


John Reardon, Gabey (and First Workman); Cris Alexander, Chip (and Workman); Adolph Green, Ozzie (and Workman); 1960 studio cast recording, Leonard Bernstein, cond. Columbia-CBS-Sony

Samuel Ramey, Lindsay Benson, and Stewart Collins, Workmen; Thomas Hampson, Gabey; Kurt Ollmann Chip; David Garrison, Ozzie; London Symphony Orchestra, Michael Tilson Thomas, cond. DG, recorded in concert at the Barbican Centre (London), June 1992

by Ken

A month or so ago I put together a pair of posts, "New York, New York, it's a heckuva town" and "A cluster of explosive young talents explode in On the Town," inspired by the terrific piece Adam Green wrote for Vanity Fair, "Innocents on Broadway," about the creation of the 1944 Broadway musical On the Town. The show, you'll recall, had book and lyrics by Adam's father, Adolph Green, and his eventual life-long writing partner, Betty Comden, and music by theirt good friend Leonard Bernstein, in collaboration with some other exploding young talents like choreographer Jerome Robbins, who'd had the idea for the ballet he created with Lenny B, Fancy Free, which became the germ for On the Town.

As Adam Green wrote: "On the Town was a landmark, the first show by a bunch of bright upstarts -- Bernstein, Comden and Green, and Jerome Robbins, all still in their 20s -- who would go on, together and apart, to help shape the cultural landscape of the 20th century."

In those posts I turned to the very special 1960 studio recording organzied by Columbia Records' Goddard Lieberson, which was conducted by the composer and featured a number of performers from the original cast, including Comden and Green themselves, re-creating the roles of Claire and Ozzie, which they'd actually written with themselves in mind (but in the end lhad had to auditon for!). Lieberson was a great proponent of "creators' recordings," and was largely responsible for invaluable projoects like Columbia's extensive Stravinsky-conducting-Stravinsky and Copland-conducting-Copland and, yes, Bernstein-conducting-Bernstein, and the 1960 On the Town, whether it was thought of as such or not, certainly qualified.


NATURALLY FOR THE MAIN POST I INCLUDED
THE GREAT ACT I DUET "I GET CARRIED AWAY" . . .

Saturday, January 17, 2015

How many of the "World's Best Places for 2015" do you plan to hit this year?

Sunday Classics note: This post was prepared for Down With Tyranny, but because of the musical tie-in I thought I would share it here, though I'm not necessarily thrilled with the musical examples. Ezio Pinza and Tancredi Pesaro, both indisputably great basses, get off to a fluttery start in the Vespri siciliani recitative and aria, and in the chunk of the Ping-Pang-Pong trio from Turandot, while I love the RCA recording with Mario Sereni as Ping, I supplemented it at first with the first two CD Turandots I could lay hands on, then dumped one and added two more that I dubbed from LP, and I'm still far from happy -- the truth is that even on records the role of Ping in particular doesn't get sung all that well.

Pretoria Square, Palermo
Recitative, Giovanni da Procida
Palermo! O my country!
Country so regretted!
The exile greets thee after three years of absence!
On thy enchanted shores I had my birth.
I discharge my debt toward thee.
Here is liberty!
Aria, "E toi, Palerme!" ("E tu, Palermo!")
And thou, Palermo, o beauty that's outraged!
Thou, always dear to my enchanted eyes,
ah! raise thy face, bowed under servitude,
and become again the queen of cities!
Everywhere on foreign ground
I went seeking avengers for thee,
but, insensible to thy misery, each said:
"Rise up against your oppressors,
and you will be supported: Rise up!"
And I come -- there I am!
And thou, Palermo, etc.


Samuel Ramey (bs), Giovanni da Procida; Munich Radio Orchestra, Jacques Delacôte, cond. EMI, recorded April 1988

[in Italian, as "O patria! O cara patria" . . . "E tu, Palermo"] Nicolai Ghiaurov (bs), Giovanni da Procida; London Symphony Orchestra, Claudio Abbado, cond. Decca, recorded January 1969

[in Italian, compressed to fit one 78 side] Ezio Pinza (bs), Giovanni da Procida; orchestra, Rosario Bourdon, cond. Victor, recorded Feb., 17, 1927

[in Italian, compressed to fit one 78 side] Tancredi Pasero (bs), Giovanni da Procida; orchestra. Odeon, recorded 1936

by Ken

Okay, it's possible that I was motivated to share this feature from AARP, "World's Best Places for 2015," because two of the designated places have inspired such memorable musical effusions, starting with the one we've just heard, the emotional return of the exiled Sicilian patriot Giovanni da Procida to the Sicillian capital of Palermo, his hometown (No. 6 on the list) at the opening of Act II of Verdi's Les Vêpres siciliennes" (The Sicilian Vespers).

Sunday, January 11, 2015

TV Watch (or Listen): "Cheer up, Hamlet! Chin up, Hamlet! Buck up, you melancholy Dane!" -- welcome to "Slings and Arrows"


Cheer up, Hamlet! Chin up, Hamlet!
Buck up, you melancholy Dane!
So your uncle is a cad who murdered Dad and married Mum;
that's really no excuse to be as glum as you've become.
So, wise up, Hamlet! Rise up, Hamlet!
Perk up and sing a new refrain!
Your incessant monologizing fills the castle with ennui;
your antic disposition is embarrassing to see;
and by the way, ya sulky brat, the answer is: "Ta BE!"
You're driving poor Ophelia insane!
So shut up, you rogue and peasant,
grow up, it's most unpleasant,
cheer up, you melancholy Dane!

by Ken

In the clip, that's Graham Harley as veteran New Burbage Festival trouper Cyril -- seen here, as always, in the company of fellow trouper Frank, played by Michael Polley -- belting out "Cheer up, Hamlet!," the rousing opening theme song seen and heard over the opening credits comfortably nestled after the opening scene of each of the six episodes of Season 1 of Slings and Arrows, the show that for sublime season after season after season (but alas, only those three seasons) between 2003 and 2006 took us behind the scenes of the fictional New Burbage Festival, said to bear a more than passing resemblance to the Stratford (Ontario) Festival.


IN EACH OF THESE SEASONS --

Sunday, January 4, 2015

Sunday Classics inquiry: How can Mime solve his problem?

WAGNER: SiegfriedAct I Prelude



Vienna Philharmonic, Georg Solti, cond. Decca, May and Oct. 1962

Bayreuth Festival Orchestra, Daniel Barenboim, cond. Teldec, recorded live, June-July 1992

Berlin Philharmonic, Herbert von Karajan, cond. DG, recorded Dec. 1968 and Feb. 1969

Sadler's Wells Opera Orchestra, Reginald Goodall, cond. EMI-Chandos, recorded live, August 1973

by Ken

I would have liked, but couldn't find, a nice image of a darkened theater to accompany these miraculous opening pages of Siegfried, the third installment in Wagner's cycle The Ring of the Nibelung, mostly occupied with music associated with the dwarflike Nibelungs, plunging us into the crisis faced by the Nibelung we will re-meet when the curtain rises, Mime (that's two syllables: MEE-muh), the brother of "the" Nibelung, Alberich, the Nibelung of the title.

This is such amazing,music, starting with that weird trio for two bassoons and bass tuba over hushed timpani, punctuated by those stabbing fluorishes first from the cellos, then from the violas. It's music that's murky, growly, mysterious, music that seems to me to demand a heightening of all the senses -- and above all of the imagination, for both performers and listeners. From the performers' standpoint, this is where your musicianship and musicianly instincts are tested, or rather exploited.

You'd have to be a real dunderhead to miss the potent brew of expectation and dread trembling to life here. As it happens, I heard just such a dunderheaded performance; that's one of two recent encounters that I want to tell you a little about, encounters that landed us here at the start of Siegfried, the third installment in Wagner's Ring of the Nibelung.

I don't think any of our conductors here have anything to apologize for. Though I've arranged them in order of increasing range of inquisitiveness, Solti's performance seems to me quite lovely, alert and shiveringly alive. Barenboim, however, hears somewhat darker colors, and a more foreboding tread. Then Karajan really digs in, and finally Goodall takes the most searching view, taking nothing for granted here.


I HAD AN EXCHANGE WITH A NEW READER --

Thursday, December 25, 2014

Sunday Classics holiday edition: It's "The Nutcracker" -- the whole deal! (One more time!)


With the "Nutcracker Suite" sequence of Disney's Fantasia now unavailable, I thought to kick off we'd just look at this little teaser from Helgi Tómasson's San Francisco Ballet staging.

by Ken

[To repeat, this is a second "encore presentation" of 2011's complete-Nutcracker post (the first since since all the way back in 2012!), which I thought came out pretty darned well. As I wrote in 2012, you probably think it's a huge labor-saver just running a post "rerun," and perhaps I thought so too, but it didn't work out that way.]

The plan is pretty simple. As promised in last night's preview, when we heard two quite differently terrific performances of Tchaikovksy's own Nutcracker Suite, today we're going to hear the complete ballet, and chunks of it -- solely at my discretion -- twice!

Pretty much the last thing I added to what you'll see in the click-through is the plot synopsis (filched from Wikipedia). I went back and forth a lot about this, because I really don't pay much attention to plots, or even programs, when I listen to music written for the dance. I'm not a dance person to begin with, and I guess my listening orientation is to allow the music to plug its own built-in "program" into my imagination. Still, in the end it seemed to me that this curious format (for want of a better word) we've got going here at Sunday Classics is actually an extremely good way to hook up the plot and the music.

I'll have some quick (I hope) notes about the specifics when we get to the click-through, so let me just throw out two points about The Nutcracker:

(1) Tchaikovsky really didn't want to write the damned thing. So no, it was about as far from a "labor of love" as you can get.

(2) It was written to share a double bill with one of the composer's less-performed operas, Yolanta, which is the part of the bill that really interested and moved him. It has, in fact, nothing (that I can see or hear) in common with its birth billmate, and it strikes me as an incredibly difficult piece to really bring to life, but as with many difficult, fragile creations, its specialness holds special rewards. It deals, first, with the desperate desire of a very powerful man -- a king, in fact -- to shield a loved one, in this case his only daughter, from pain, in her case the knowledge that she's blind. But in the larger sense it deals with the futility of trying to protect someone from something it's impossible to "protect" her from, like reality. Someday we should undoubtedly talk about Yolanta. (But it's difficult.)


MOVING ON TO OUR COMPLETE NUTCRACKER

Wednesday, December 24, 2014

Sunday Classics holiday edition preview: For the first time since 2012, we bring back the legendary DWT gala "Nutcracker ('The Whole Deal')"

You'd want to think twice before bidding on this record. The ABC Command label tells you it's one of the inferior later pressings; you want an original gold-label issue. (Note: Unfortunately, last year's preview-opening video clip of the Nutcracker Suite segment of Walt Disney's Fantasia has disappeared -- not entirely surprisingly, I guess. To be honest, I don't like it much anyway.)

by Ken

As far back as the mind recalls, Sunday Classics has celebrated the holiday musically at last in part with music from Tchaikovsky's ballets, and last year I went whole hog and offered a complete Nutcracker, basically double-covered throughout, and assembled from, well, a whole bunch of recordings. And as I ventured in 2010's Nutcracker preview, what better way could there be to "warm up" for the main event than with the composer's own Nutcracker Suite, good old Op. 71a? In the click-through we've got two quite splendid, and interestingly different, performances.


WE HAVE TWO DIFFERENTLY SPLENDID
RECORDINGS OF THE NUTCRACKER SUITE

TCHAIKOVSKY: Nutcracker Suite, Op. 71a:
i. Miniature Overture



Pittsburgh Symphony Orchestra, William Steinberg, cond. Command, recorded c1963

Montreal Symphony Orchestra, Charles Dutoit, cond. Decca, recorded c1985

You'll note straightaway in the Miniature Overture that William Steinberg is taking a rather spritelier approach and Charles Dutoit a more buoyant, caressing one. Both the Pittsburgh Symphony and the Montreal Symphony play utterly delectably.


IN AUDIO TERMS, BOTH RECORDINGS HAVE
STELLAR PEDIGREES, IN CONTRASTING STYLES


Sunday, December 21, 2014

A cluster of explosive young talents explode in "On the Town"

For the 1960 recording, Betty and Adolph reprised their
1944 roles, anthropologist Claire de Loon and sailor Ozzie


BERNSTEIN, COMDEN, and GREEN: On the Town:
Act I, "Carried Away"


Betty Comden, Claire; Adolph Green, Ozzie; 1960 studio cast recording, Leonard Bernstein, cond. Columbia-CBS-Sony


by Ken

On a daily basis we're assaulted by so much slop and slime that I worry about insufficient attention being paid when we're given worthwhile stuff. So it has been on my mind to call your attention, as I mentioned last night, to a really outstanding piece in the November issue of Vanity Fair called "Innocents on Broadway," in which Adam Green gives us a richly and beautifully detailed portrait of the early life and early career of his father, the great lyricist (and sometime actor) Adolph Green, which also includes similarly rich portraits of a band of remarkably talented people whose rising careers were intertwined with his -- notably his eventual writing partner of 60 years, Betty Comden; his best friend, Leonard Bernstein; and the amazing actress Judy Holiday.

"This year would have been my father’s 100th birthday," Adam G writes early on,
and it would have made him indecently proud to see it marked by productions of so many of the musicals that he and his partner, Betty Comden, wrote in their 60-year collaboration: a stage adaptation of their 1953 MGM movie, The Band Wagon, as part of the Encores! series at New York’s City Center; a live broadcast on NBC of their 1954 version of Peter Pan; the first Broadway revival of their 1978 screwball operetta, On the Twentieth Century. Most of all, though, he would have been thrilled to see the ebullient revival, also on Broadway, of On the Town, their 1944 musical, about the amorous exploits of three sailors on 24-hour shore leave in the big city, which introduced the phrase “New York, New York, a helluva town” into the American lexicon and announced the arrival of a new generation in the American musical theater.

"ON THE TOWN WAS A LANDMARK"

Saturday, December 20, 2014

"New York, New York, it's a heckuva town"


In June 1992, lyricists Betty Comden and Adolph Green narrated a famous London concert performance of On the Town at the Barbican Centre with the London Symphony Orchestra conducted by Michael Tilson Thomas. (An audio recording made at the same time is still available, but there doesn't seem to be a DVD issue of the concert.) Here Comden and Green introduce the opening number, as our three sailors, let loose for a single day on the city, sing "New York, New York," with Thomas Hampson as Gabey, Kurt Ollman as Chip, and David Garrison as Ozzie.

"On the Town was a landmark, the first show by a bunch of bright upstarts -- [Leonard] Bernstein, [Betty] Comden and [Adolph] Green, and Jerome Robbins, all still in their 20s -- who would go on, together and apart, to help shape the cultural landscape of the 20th century."
-- Adam Green, in "Innocents on Broadway,"
in the November issue of Vanity Fair

by Ken

After a six-year stint at DeWitt Clinton High School in the Bronx, he headed out into the world with this inspiring send-off from a teacher who had seen him perform in the class show he had written and directed: "I hope you've got enough talent to make a living at that, because otherwise you're in big trouble."

We have no way of knowing how many people in similar circumstances we never hear more about, either because they just weren't good enough or, more poignantly, because they just never found a way to impress their talents on a big, uncaring world. In this case, though, "he" was Adolph Green, and not only he but a tight circle of his intimates were headed for great things, which came into focus for a number of them when On the Town opened on Broadway on December 28, 1944.

Green's son, Adam, has written a really wonderful piece for Vanity Fair about the history that culminated in that historic night, with both Adolph Green and Betty Comden, who had written the lyrics and who would go on to enjoy a 60-year partnership, in the cast (in roles they had sensibly written for themselves), and with music by Adoph's best friend, Leonard Bernstein. It's such a good story that I want to offer a closer glimpse of it tomorrow, but for tonight I thought we'd hear a musical preview.



IN 1960 COLUMBIA RECORDS ASSEMBLED A STELLAR CAST,

including a number of members of the 1944 original cast (among them Betty and Adolph), for a studio recording of On the Town with the composer conducting. I thought we'd hear the opening number from that classic recording.


Adolph Green and Leonard Bernstein at the recording session, with producer Goddard Lieberson in the background

BERNSTEIN, COMDEN, and GREEN: On the Town: Introduction (including "New York, New York")

John Reardon, Gabey; Cris Alexander, Chip; Adolph Green, Ozzie; 1960 studio cast recording, Leonard Bernstein, cond. Columbia-CBS-Sony


TOMORROW: "A cluster of explosive young talents explode in On the Town"
#

Sunday, December 14, 2014

Sunday Classics diary: I love this theme, especially when it's played like this





by Ken

I love this theme. It's majestic, maybe even monumental, irresistibly forward-moving, even swaggering, and at the same time tender and uplifting -- if I could put it into words, I guess I wouldn't need the music.

Now, the theme can be played kinda fast:



And it can be played kinda slow:



And it can be played the way we just heard it:




THIS LAST PERFORMANCE IS THE ONE
THAT GOT MY ATTENTION THIS WEEK


Tuesday, December 9, 2014

Re. release of the "Senate Torture Report," what might Beethoven's Don Florestan and Donna Leonore have to say?


"We need reliable intelligence," Young Johnny McCranky said today on the Senate floor. And, he insisted, "Torture produces more misleading information than actionable intelligence."

by Ken

Earlier this evening Howie wrote about the will-they-or-won't-they-release-it situation of the "executive summary" of what I'm just going to call the Senate Torture Report. And he already had me thinking about it yesterday when he passed along the above clip of Young Johnny McCranky on the Senate floor.

As it happened, I took a half sick day this morning, and listened on the radio on to ongoing yammering about the Torture Report release issue, and while most of the commenters -- including local callers-in to WNYC -- were lining up in the expectable ranks for or against, I was made aware that Young Johnny has broken ranks loudly with his normal compadres, the national-security nutjobs for whom any matter slapped with a "national security" label becomes a hot-button issue, whether real national security is really involved or not. I don't have to name names, right? You know the mentality: To invoke "national security" is to end all discussion.

But, as we've known, Young Johnny doesn't toe the "national-security nutjob" line when it comes to torture. And we know that his thinking about the subject comes from a different source than does the "thinking" of, say, "Big Dick" Cheney, who has no reality outside his diseased imagination. Maybe I shouldn't have been surprised, but, having mostly written Young Johnny off as a person of any intellectual or principled responsibility, I'm refreshed to hear him standing by his principles.

And it matters. Because normally when it comes to matters slapped with that "national security" label, it's hard to find turf to his right. Not so here.

In the clip, after acknowledging that, yes, release of the Torture Report summary might lead to violence in some places, but noting that "sadly, violence needs little incentive in some quarters of the world today," and after pointing out that for the world there aren't going to be a lot of surprises in the account of the "degrading treatment" inflicted by American interrogators on terror suspects (black sites, secret prisons, waterboarding -- the standard kaboodle), and arguing that while the report might provide "an excuse" to harm Americans, people who would do so "hardly need an excuse for that," the senator gets to the heart of the mattter:
What might come as a surprise, not just to our enemies but to many Americans, is how little these practices did to aid our efforts to bring 9/11 culprits to justice, and to find and prevent terrorist attacks today and tomorrow. That could be a real surprise, since it contradicts the many assurances provided by intelligence officials, on the record and in private, that enhanced interrogation techniques were indispensable in the war against terrorism. And I suspect the objection of those same officials to the release of this report is really focused on that disclosure: torture's ineffectiveness. Because we gave up much in the expectation that torture would make us safer. Too much.

CHALK IT UP AS A COINCIDENCE . . .

. . . but this afternoon at work I had a set of proofs that really had to get read, especially after my morning's absence. So naturally I was thinking about a blogpost instead. In the hope that it might possibly help me block out outside thoughts, I decided to put on a CD. For various reasons I don't do this much these days, and so I don't have that much on hand in the office. One thing I do have is the 85-disc-or-so Toscanini Complete RCA Collection, and occasionally I'll pull out a disc at random, which is what I did today. It turned out to be a compendium of shorter Beethoven pieces that begins with a Leonore Overture No. 3 from June 1, 1945, and so this is what I found myself listening to with Young Johnny McCranky still talking about torture in my head.

Talk about being "on point" for tyranny, authoritarianism, torture, and the suppression of any awkward information on those subjects! Leonore No. 3 was Beethoven's third attempt at an overture for his only opera, which happens to deal with these very subjects, and after musically recollecting the happier-days memories of the secretly imprisoned and tortured Spanish truth-teller-to-power Don Florestan, the overture evokes the trumpet calls that in the opera will herald the arrival at the prison of the royal minister Don Fernando. Unfortunately for Florestan, his nemesis, the governor of the prison, Don Pizarro, has had just enough advance warning of the Minister's visit to take the necessary step to eliminate any risk of his exposure: planning the elimination of Florestan. In Pizarro's hastily improvised plan, this should cover his ass, and he and the minister can enjoy a lovely session of mutual congratulations.

So here I was trying to read my proofs, and we came to the first lyrical subject of the overture, and I was struck by how beautifully shaped this Toscanini performance is. Beautiful shaping, you have to understand, is something we don't usually think of in connection with Toscanini, at least the later Toscanini who is most familiar from his most-circulated recordings, which are more often thought of as impressing with their sense of drivenness. And here is old Maestro Arturo (he was 78 at the time of this recording), without sacrificing any sense of forward movement, giving beautiful shape to the music to which the tortured and starved Florestan, dying in his secret dungeon, will recall:


Julius Patzak (t), Florestan; Vienna Philharmonic, Wilhelm Furtwängler, cond. Live performance from the Salzburg Festival, Aug. 3, 1948

Plácido Domingo (t), Florestan; Staatskapelle Berlin, Daniel Barenboim, cond. Teldec, recorded 1999

Jon Vickers (t), Florestan; Metropolitan Opera Orchestra, Karl Böhm, cond. Live performance, Feb. 13, 1960

Here is the section of Leonore No. 3 in question, as played by a conductor of almost the opposite reputation from Toscanini, the ever-so-spaciously inclined Hans Kanppertsbusch (from a complete recording of Fidelio with the Bavarian State Orchestra made in December 1961):



And here's the Toscanini performance sandwiched between two performances of Leonore No. 3 we've heard before:

BEETHOVEN: Leonore Overture No. 3, Op. 72a


Metropolitan Opera Orchestra, Bruno Walter, cond. Live performance, Feb. 22, 1941

NBC Symphony Orchestra, Arturo Toscanini, cond. RCA-BMG, recorded in Studio 8-H, New York City, June 1, 1945

Philharmonia Orchestra, Erich Leinsdorf, cond. Capitol-EMI, recorded c1958


WHAT A MAN DOES FOR HIS PRINCIPLES,
AND WHAT'S DONE TO HIM AS A RESULT

I wrote at some length about the uncompromisingly principled Don Florestan and his equally uncompromising wife in a May 2012 post called "Beethoven's superhero couple: The Florestans have for sure done their duty," with particular reference to the monologue he sings as we first meet him in his dungeon, gaunt and skirting death, at the opening of Act II. We really don't know what Florestan's "crimes" were against the governor of this state prison, Don Pizarro, but it's obvious that Pizarro regards him as a mortal threat. He seems to understand all too well: the thing we need to keep in mind here: that Florestan doesn't compromise his principles, rergardless of the consequences. And the same is true of Leonore.

I realize that the torture dynamics here don't align exactly with those investigated in the Torture Report. Here the tyrant isn't trying to extract information from his torture victim; he's just trying to ensure his permanent silence. Still, what wouldn't the like of "Big Dick" Cheney give for the ability to similarly silence their enemies at home?

Here I'm thinking not of the high dramatics of the dungeon scene, and how the Minister's arrival by sheer luck comes just in the nick of time to prevent Pizarro from exacting his final revenge on Florestan. I'm thinking of the following scene, in which the prisoners have been released and the Minister -- a close personal friend of Florestan and Leonore -- arrives and sings in platitudes so plangent that it's hard to believe a political prisoner has just barely escaped execution.

Although the Minister has only a few more lines to sing than we hear here, the role is so important, the writing so beautiful and noble, that even in the opera house it is usually assigned to something close to a front-line baritone or bass -- and on records it has been cast with genuine front-line talent, as we also hear here. (You'll note that in the orchestral introduction Toscanini definitely lives up to his reputation for, er, getting on with it.)

BEETHOVEN: Fidelio: Act II, Scene 2, Arrival of the Minister
Outside the prison. A crowd of people and liberated prisoners are gathered before the gates.

PEOPLE and PRISONERS [variously]: Hail! Hail!
Hail to the day, hail to the hour,
long yearned for, though unimaginable,
when justice and clemency together
appear before the gates of our tomb!
Hail! Hail!
Hail to the day, etc.
Hail! Hail!
[DON PIZARRO and the Minister, DON FERNANDO, enter, escorted by soldiers.]
DON FERNANDO: Our noblest king's wish and suggestion
lead me to you, you poor souls, here,
so that I may lift the veil of wickedness
which has wrapped you all in heavy gloom.
No, no longer kneel slavishly --
harsh tyranny is far from my mind.
A brother is seeking his brothers,
and if he can help, he gladly will.
PEOPLE and PRISONERS: Hail to the day, hail to the hour!
Hail! Hail!
DON FERNANDO: A brother is seeking his brothers,
and if he can help, he gladly will.
ROCCO [rushing through the guards, with LEONORE and FLORESTAN]: Well then, help these poor people!
DON PIZARRO: What do I see? Ha!
ROCCO: Does it move you?
DON PIZARRO: Away! Away!
DON FERNANDO [to ROCCO]: Then speak!
ROCCO: Let all mercy, all mercy
unite this couple!
Don Florestan --
DON FERNANDO: The man believed dead?
That noble man who struggled for truth?
ROCCO: And suffered numberless torments.
DON FERNANDO: My friend, my friend,
the man believed dead?
In fetters, in fetters,
pale he stands before me?
LEONORE and ROCCO: Yes, Florestan!
Florestan, you see him here.
ROCCO: And Leonore!
DON FERNANDO: Leonore!
ROCCO : Let me present this jewel among women.
She came here --
DON PIZARRO: Let me say two words!
DON FERNANDO: Not a word! She came --
ROCCO: -- to my gate there,
and entered my service as a boy
and did me such good, loyal service
that I chose her for my son-in-law.
MARZELLINE [who with JAQUINO has joined the crowd]: Oh, woe is me! Woe is me! What do I hear?
ROCCO: That monster in this very hour
wished to bring about Florestan's death.
DON PIZARRO [pointing to ROCCO]: Bring it about, with him!
ROCCO : In league with us.
Only your coming called him off! Etc.
PEOPLE and PRISONERS: Let the villain be punished,
who oppressed the innocent!
Justice holds the sword
of vengence poised for judgment!
Let the villain be punished!

José van Dam (bs-b), Don Fernando; Karl Ridderbusch (bs), Rocco; Zoltán Kélémen (bs-b), Don Pizarro; Helga Dernesch (s), Leonore; Helen Donath (s), Marzelline; Chorus of the Deutsche Oper Berlin, Berlin Philharmonic, Herbert von Karajan, cond. EMI, recorded 1970

Nicola Moscona (bs), Don Fernando; Sidor Belarsky (bs), Rocco; Herbert Janssen (b), Don Pizarro; Rose Bampton (s), Leonore; Eleanor Steber (s), Marzelline; NBC Symphony Chorus and Orchestra, Arturo Toscanini, cond. RCA-BMG, broadcast performance, Dec. 17, 1944

Franz Crass (bs), Don Fernando; Gottlob Frick (bs), Rocco; Walter Berry (b), Don Pizarro; Christa Ludwig (ms), Leonore; Ingeborg Hallstein (s), Marzelline; Philharmonia Chorus and Orchestra, Otto Klemperer, cond. EMI, recorded 1962
#

Thursday, November 27, 2014

Have a happy Charles Ives-accompanied Thanksgiving!


"Certainly one of the things Ives wants to do is to provoke us, to challenge us to think about music in ways we never have," says Michael Tilson Thomas as he talks about and performs Charles Ives's Holidays Symphony with the San Francisco Symphony Orchestra in their PBS series Keeping Score. You can watch the Ives show here.

by Ken

We've done it before, and by gosh, we're going to do it again: celebrate Thanksgiving with the symphonic poem the American original composer Charles Ives (1874-1954) created to depict Thanksgiving, which formed part of his Holidays Symphony (or New England Holidays), made up of Washington's Birthday, Decoration Day, The Fourth of July, and lastly Thanksgiving and Forefathers' Day, which fall somewhere between independent pieces and movements in a collective whole.

This commentary appeaers on the webpage accompanying the Keeping Score show devoted to the Holidays Symphony.
A hundred years ago, Charles Ives composed a portrait of a year in New England. The Holidays Symphony veers between tender sentiment and savage chaos, a sonic three-ring circus. Beautiful and provocative, the composition, like the rest of Ives' music, encourages the listener to think about sound in new ways.

The poet Walt Whitman makes an interesting comparison with Ives. Both men experimented with their art forms, juxtaposed serious themes with frivolous beauty, and spent decades editing and revising their masterpieces. Also like Whitman, Ives imagined various musical strains from around the world merging into a single song of mankind, but whereas Whitman used music as a metaphor, Ives used music as his medium.

The emotional material for Ives' music came from his experiences growing up in the town of Danbury, Connecticut, the son of the town bandmaster, George Ives. George had been a Union Army bandmaster in the Civil War and had a playful relationship with music that he that he passed on to his son. Once, George had two bands march toward each other while playing different songs, just to know what it would sound like.

Ives wrote most of his music between 1900 and 1920, a period in which the United States became a world power. He worried that prosperity was leading Americans to lose touch with their values. In an attempt to enshrine the America he cherished, Ives composed four movements that trace boyhood memories of seasonal celebrations, an American "Four Seasons." This was the Holidays Symphony.

NOW WE HEAR TWO PERFORMANCES OF THANKSGIVING,

including one conducted by Michael Tilson Thomas -- an earlier recording with the Chicago Symphony. Along with the performances we have the Keeping Score Web commentary on Thansgiving.

IVES: Holidays Symphony:
iv. Thanksgiving and Forefathers' Day



Baltimore Symphony Chorus and Orchestra, David Zinman, cond. Argo, recorded September 1994

Chicago Symphony Chorus and Orchestra, Michael Tilson Thomas, cond. CBS-Sony, recorded 1986
The Thanksgiving movement can be traced to Ives' college days at Yale. Music originally written for the organ at Center Church in New Haven was reworked into the final movement of the Holidays.

Thanksgiving illustrates the changes that occur when ideas confront one another. Once again Ives divides the orchestra into groups playing hymns in two opposing keys. Most prominent is the traditional Thanksgiving hymn, "The Shining Shore." Again, the bottom drops out, and we hear the swing of a scythe—either the harvest or the Grim Reaper has arrived. The ultimate question is asked again and as the music picks up again toward celebration and noise, the listener expects a confrontational crunch.

Instead, Ives surprises us. A large chorus sounds out Thanksgiving hymns. The choir sings a round and the whole procession passes into the distance. The different songs merge into one universal hymn of mankind.

Recognition came late to Ives. Thanksgiving was first publicly performed at the premiere of the complete Holidays Symphony in April of 1954, just a month before Ives' death.

Happy Thanksgiving! (And also Forefathers' Day, though that's not till December 22.)
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Sunday, November 16, 2014

Sunday Classics report: The Schneider Quartet's legendary Haydn recordings finally make it to CD


The cover of the booklet accompanying the indispensable Music and Arts CD reissue of the legendary not-quite-complete 1951-53 Haydn Society cycle of the Haydn string quartets by the Schneider Quartet

by Ken

For decades now it has been one of the gaps in the ranks of available recordings, through much of the LP era and, until now, the whole of the CD era. But this month Music and Arts has released a specially priced 15-CD set of the 54 Haydn quartets recorded by the Schneider Quartet in the early '50s, "newly remastered mostly from the original master tapes." The massive project was spearheaded by company founder Frederick J. Maroth but was pursued, becoming a memorial, following his death in November 2013.

Alexander Schneider (1908-1993), described by Tully Potter, in his customarily excellent essay for the album booklet, as "one of the more remarkable musicians of the last century." was a violinist who expanded into something of a one-man music industry." He had spent a dozen years (1932-44) as second violinist of the Budapest Quartet, the third Russian to replace the old Hungarian players. (His older brother Mischa, a cellist, had preceded him by two years. A few years later, with the coming of violist Boris Kroyt, the Russianization of the Budapest would be complete.) Schneider eventually rejoined the Budapest, and even though the second violinist is normally thought to play the least defining role in a string quartet, to be the most interchangeable element, it's fascinating how much animated and musically probing the Budapest was with Schneider than without.

In the period between his Budapest stints, Schneider undertook also sorts of chamber music initiatives and became a mainstay, first of Pablos Casals' Prades Festivals and then of the Marlboro Festival (more and more often as a conductor), and devoted more and more of his energies to performances with young performers. Around 1950 his attention turned to the great body of Haydn's string quartets, and it became known that the newly formed Haydn Society, taking advantage of the dawn of the LP era, was planning to record all of the string quartets with a Haydn formed for the purpose by Schneider, which came to include violinist Isidore Cohen (later second violinist of the Juilliard Quartet and the violinist of the Beaux Arts Trio), violist Karen Tuttle, and cellist Madeline Foley, in time replaced by Herman Busch (whose brothers included the outstanding conductor Fritz Busch and violinist Adolf Busch, the father-in-law of pianist Rudolf Serkin).

The quartet did perform all the Haydn quartets in concert, but with funds critically short was unable to record the 24 quartets of Opp. 9, 54/55, 64, and 71/74, though it turns out that Op. 64 was actually begun; the first and last movements of Op. 64, No. 1 have their first commercial release, edited from unedited master tapes from a session in October 1954. The Schneider Quartet Haydn performances remain unmatched for their combination of structural integrity with personal relish and big and bold interpretive choices.

By way of illustration, I thought we would listen to a couple of movements we've already heard, the first movement of Op. 33, No. 2, and the famous theme and variations movement of Op. 76, No. 3, and then dip into the early quartets.