Category: Daily Dispatch

  • Power Outage Sleep Deprivation and Solar Flare Prep

    Power Outage Sleep Deprivation and Solar Flare Prep

    After thanking my lucky stars on Saturday that I don’t live in New York City (and not for the first time, I might add), a violent thunderstorm knocked out power last night until after 1 a.m. Rather than ensure an early and extended night’s sleep, as one might expect, a confluence of unfortunate circumstances (too much caffeine consumed too late in the day, an unusually late take-out dinner, chirping smoke alarms) made for a very long night. There is only so much reading one can do by flashlight.

    Roughly three hours sleep, and the day is off to a rough start. Volunteer work in the morning, a script to be written, and recording to be done for tomorrow night’s “Picture Perfect.” All First World problems, I know. The internet is made for whining.

    Good training for the impending solar flare that is fated to destroy all electronics. Nessun dorma!


    The apocalyptic forecast:

    https://www.newscientist.com/article/2150350-a-tech-destroying-solar-flare-could-hit-earth-within-100-years/

    Luciano Pavarotti finds the fortitude I lack:

  • Fauré & Gounod: Youthful Masterpieces

    Fauré & Gounod: Youthful Masterpieces

    Don’t let those grey whiskers fool you.

    From a certain limited perspective, I suppose, Gabriel Fauré might have been considered a little long in the tooth when he came to compose the music we’ll hear on this week’s “Music from Marlboro.” But, as he so eloquently demonstrated, when it comes to art, age is only a number.

    At 76 years-old, Fauré surprised just about everyone when he unveiled his Piano Quintet No. 2 in C minor in 1921. For one thing, no one except his wife knew he was even at work on anything. He was supposed to have retired, having stepped down from the directorship of the Paris Conservatory only the year before.

    Though the composer’s health in his later years was far from the best, thanks in part to decades of heavy smoking, the Quintet conveys a surprisingly youthful spirit, full of tenderness and ardor. Paradoxically, a knowing serenity hangs over the piece, lending it a kind of wisdom and balance. I am reminded of Wordsworth’s assessment that poetry is the spontaneous overflow of powerful feelings recollected in tranquility.

    We’ll hear it performed at the 2015 Marlboro Music Festival by pianist Roman Rabinovich, violinists YooJin Jang and Scott St. John, violist Shuangshuang Liu, and cellist Will Chow.

    The program will open with Charles Gounod’s classically proportioned and wholly delightful “Petite symphonie” for nine wind instruments. Gounod, best known for his opera “Faust,” “Funeral March of a Marionette” (appropriated by Alfred Hitchcock), and for his setting of “Ave Maria,” was 66 when his “little symphony” was first performed in 1885. Though structurally the work travels a well-worn path, beaten a hundred years earlier by composers like Haydn and Mozart, its long-limbed melodies and occasional harmonic surprises mark it as a product of its time. Despite its evident nostalgia, its spirit of youth is ever-green.

    It was played at Marlboro in 2013 by flutist Marina Piccinini, oboists Nathan Hughes and Joseph Peters, clarinetists Anthony McGill and Alicia Lee, bassoonists Brad Balliett and Steven Dibner, and hornists David Cooper and Radovan Vlatković.

    This summer’s Marlboro Music Festival will run through August 11, as always on the campus of Marlboro College in Marlboro, Vermont. This weekend will include performances of music by Mozart, Tchaikovsky, and Marlboro composer-in-residence Jörg Widmann, on Saturday at 8 p.m.; and Schubert and more Widmann, on Sunday at 2:30 p.m. For more information, visit marlboromusic.org.

    To get you in the mood, join me for an hour of French music that belies and defies the passage of time, on the next “Music from Marlboro, this Wednesday evening at 6:00 EDT, on WWFM – The Classical Network.

    Marlboro School of Music and Festival: Official Page


    Timeless beauties: Gabriel Fauré (left) and Charles Gounod

  • Couperin & Neo-Classical Music Today

    Couperin & Neo-Classical Music Today

    Everything old is new again this afternoon on The Classical Network.

    Join me for today’s Noontime Concert and a recital given in honor of the 350th anniversary of the birth of François Couperin. “François Couperin at 350” will be presented by Rebecca Pechefsky. Pechefsky performed selections from two of Couperin’s keyboard suites, in advance of her participation in all-Couperin marathon, which was held in Cambridge, UK, in November of last year.

    This broadcast concert was recorded at the chapel of Saint Bartholomew’s Church, 325 Park Avenue, in New York City, in September. Free Midtown Concerts are held at St. Bart’s every Thursday at 1:15 p.m. during the regular season, thanks in part to Gotham Early Music Scene, or GEMS.

    Immediately following today’s concert broadcast (circa 12:45), stick around for “Variations on a Theme by Couperin” by the Dutch composer Hendrik Andriessen. It will lead off an afternoon of music inspired by composers and characteristics of the Baroque and Classical eras. Some of it may be in the form of tributes or sets of variations; others will emulate the clean lines and leaner textures of the 18 century; others still could be pastiches or straightforward arrangements of works by earlier masters.

    Neo-baroque. Neoclassical. Everything’s Neo, from 12 to 4 p.m. EDT, on WWFM – The Classical Network and wwfm.org.

  • Julian Bream Turns 86 WWFM Celebrates

    Julian Bream Turns 86 WWFM Celebrates

    Holy smokes! Julian Bream is also 85 today!

    So we’ll celebrate him AND Sir Hairy Birtwistle, also 85, among our featured artists, between now and 7:00 EDT, on WWFM – The Classical Network and wwfm.org.

    ERRATUM: Actually, Bream is 86. Wikipedia has got it wrong. Pardon my slipshod scholarship.

  • Birtwistle at 85 An Appreciation?

    Birtwistle at 85 An Appreciation?

    Has Sir Harrison Birtwistle ever cracked a smile? One that isn’t at the expense of his audience, I mean?

    Today is Sir Harry’s 85th birthday. Despite sharing his fascination with Gawain, Punch, the Minotaur, Anubis, Orpheus, King Kong, and any number of other subjects that form the bases for his operas and concert works, I find he’s a composer whose music I have only ever moderately warmed up to.

    I vastly prefer the output of his contemporary and fellow former enfant terrible of the so-called Manchester School, Sir Peter Maxwell Davies. Late in life, Max may have been appointed Master of the Queen’s Music – you can’t get more establishment than that – but he never lost his impish glint. To some extent, it is that sense of mischief that makes even his earlier, more scandalous works somehow approachable.

    I don’t really need music to be “easy” or even tonal. There are times when I can put on a Birtwistle record and totally go with it. But I don’t know that anything he has written engenders much affection in me. This is not an objective assessment, of course, and perhaps you will react differently.

    Birtwistle has a local connection, by the way. He attended Princeton University on a Harkness Fellowship, beginning in 1965. There, he completed his opera “Punch and Judy,” which begins with Punch tossing his baby into the fire. This commences a murder spree that includes the stabbing of Judy, his wife. All this is presented in human form, making it much more disturbing than when enacted by puppets.

    Perhaps you will find something to latch on to in one of these pieces recommended by The Guardian.

    https://www.theguardian.com/music/tomserviceblog/2014/jul/15/harrison-birtwistle-80th-birthday-five-introductory-pieces

    If I had to recommend one with which to start, it would be “Earth Dances” from 1986. I confess, listening to it now, it is not as impenetrable as I remember it being. In fact, it actually kind of makes sense.

    There is something primordial in Birtwistle’s work, but it is not someplace I choose to live. At least the music has integrity, which I can’t always claim for some contemporary works of an easier-going disposition.

    See what you think. Here is Birtwistle’s “Earth Dances.”

    His music may not be the most conducive for wrapping up a work day, getting one through the afternoon commute, or enhancing the enjoyment of a cocktail hour, but we’ll see how I feel. One of his could be among the featured selections on my air shift today from 4 to 7 p.m. EDT, on WWFM – The Classical Network and wwfm.org.

    If so, hang in there – it’s also the birthday of British Light Music master, Ronald Binge!

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