Category: Daily Dispatch

  • Bortkiewicz Ukrainian Composer Triumph

    Bortkiewicz Ukrainian Composer Triumph

    Some guys just can’t seem to catch a break.

    Sergei Bortkiewicz, born in Ukraine, lived through two world wars and the Russian Revolution. He endured both poverty and personal tragedy. However, through it all, he managed to create music of lasting beauty.

    This Sunday night on “The Lost Chord,” learn more about his turbulent life and transporting music, including the Quatre morceaux, Op. 65, the Symphony No. 2 in E flat major, and the Elegie, Op. 46.

    I hope you’ll join me for “Big Talent from Little Russia,” tonight at 10:00 EDT, on WWFM – The Classical Network and wwfm.org.

  • Mady Mesplé Opera Legend Dies at 89

    Mady Mesplé Opera Legend Dies at 89

    I am sorry to learn that soprano Mady Mesplé has died. For years, she was opera’s reigning Lakmé.

    https://www.youtube.com/watch?v=XWA9jgaM8E4

    You may recall the use of her recording of the “Flower Duet” for a certain airline advertising campaign.

    By coincidence, I only just referenced this aria (below) in today’s Classic Ross Amico crossword. You’ll find a link to the puzzle in an earlier post on my Facebook page.

    Mesplé was 89 years-old. A more complete appreciation here:

    https://www.gramophone.co.uk/classical-music-news/article/the-french-soprano-mady-mesple-has-died

  • Bad Haircut? Crossword & Duck Wigs!

    Bad Haircut? Crossword & Duck Wigs!

    Can’t get a decent haircut? Prepare yourself for a brush with the barber!

    We’re in pursuit of the hirsute in today’s Classic Ross Amico crossword. Comb your knowledge of long-hair music in the time of COVID.

    To fill out the puzzle, follow the link and select “solve online” at the bottom of the page. You’ll then be able to type directly into the squares. Once you feel you’ve exhausted the puzzle, you’ll find the solutions by clicking on “Answer Key PDF.”

    https://www.armoredpenguin.com/crossword/Data/2020.05/3105/31055231.739.html

    I think you’ll agree, it kind of grows on you. But if the “shear” enormity makes you itch, regain your fighting trim by sharpening your resolve with these snazzy photos of ducks in periwigs:

    https://www.boredpanda.com/white-crested-ducks-washington/?fbclid=IwAR0g4IzzA_hLWznt4usPDw3HHiokWvWEybwgCLL1yI1ybBGyqfJE9VEIYz8&utm_source=facebook&utm_medium=social&utm_campaign=organic

  • Princeton Symphony Orchestra Virtual Event

    Princeton Symphony Orchestra Virtual Event

    A virtual salon, or comfort food for the musical couch potato?

    Find out tomorrow, as you catch up with your friends at the Princeton Symphony Orchestra. The PSO invites you to cap your weekend with a special online, at-home event, this Sunday at 4 p.m. EDT.

    “Zoom along” for this virtual get-together that will include a conversation with PSO music director Rossen Milanov, performances by violinist Daniel Rowland and cellist Maja Bogdanović, and an appearance by PSO concertmaster Basia Danilow. Reminisce about your favorite PSO moments, and take part in the Q&A.

    Registration is free. For more information, visit princetonsymphony.org.

  • Igor Levit Plays Satie’s Vexations Live

    Igor Levit Plays Satie’s Vexations Live

    It’s been brought to my attention by R. Bradley Wilson that pianist Igor Levit will perform Erik Satie’s “Vexations” – complete – beginning Saturday at 8 a.m. EDT. The event, intended to highlight the plight of artists worldwide during the coronavirus pandemic, will be streamed live from Berlin.

    Satie, who had a bone-dry wit, instructs the performer to repeat a sing-song snatch of what could generously be described as a melody 840 times. He probably never expected anyone to take him up on it. Levit projects that his rendition will span some 20 hours.

    Because of its extreme demands on performers (and listeners), “Vexations” has only very seldom been played in its entirety. Rarer still has it been undertaken by a single pianist.

    The composer coined the term “furniture music” to describe this sort of exercise – music to be played in the background; to be heard, but not really listened to. The repetitive nature also serves to heighten the effect of any extramusical intrusions. Anything that occurs during the span of the performance becomes part of the experience.

    Needless to say, Satie, who died in 1925, became something of a folk hero to John Cage. It was Cage who arranged for a team of pianists to present the work, probably composed in 1893-94, for the first time in public in 1963.

    When Peter Evans attempted it himself a few years later, in 1970, he reached repetition 595, after 15 hours, and found he could go no further. He wrote, “I would not play this piece again. I felt each repetition slowly wearing my mind away. I had to stop. If I hadn’t stopped I’d be a very different person today… People who play it do so at their own great peril.”

    Robert de Leeuw launched into his own marathon undertaking in the 1980s. In his case, he was shut down by the venue after 117 repetitions. De Leeuw did go on to record the piece – or rather the first 35 repetitions. He instructed purchasers, for the full experience, to play the record 24 times.

    To learn more about Levit’s quixotic – and vexatious – enterprise, visit:

    https://www.broadwayworld.com/bwwclassical/article/Pianist-Igor-Levit-To-Give-20-Hour-Livestreamed-Performance-Of-Saties-VEXATIONS-20200528#:~:text=To%20raise%20awareness%20for%20the,geographical%20borders%20and%20time%20zones.

    Then enjoy a profile of Levit in the May 18th edition of The New Yorker:

    https://www.newyorker.com/magazine/2020/05/18/igor-levit-is-like-no-other-pianist

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