Mostly Music
quinta-feira, junho 27
Remember
REMEMBER me when I am gone away,
Gone far away into the silent land;
When you can no more hold me by the hand,
Nor I half turn to go yet turning stay.
Remember me when no more day by day
You tell me of our future that you plann'd:
Only remember me; you understand
It will be late to counsel then or pray.
Yet if you should forget me for a while
And afterwards remember, do not grieve:
For if the darkness and corruption leave
A vestige of the thoughts that once I had,
Better by far you should forget and smile
Than that you should remember and be sad.
Christina Rossetti
terça-feira, junho 25
JOY AND PAIN
I was going to write a long post today. But look at the time! I am super tired...So this will be short.
Friday was Júlia's 15th birthday party (for those who don't know, Júlia is my daughter}. She decided to have a big bash, a formal affair, and to make it more fun and less expensive, to share it with a good friend Tatá. The party was a total success, all the girls in long dresses (99% black!) the boys wearing suits and ties. There was a huge table of cold-cuts and cheeses, and fruits beautifully arranged. Two waiters served the drinks, a DJ took care of music and lights. The party was in the garden, tables and chairs all around, full moon in the sky. Around 100 people, very few adults, as it should be. Dancing was over only at 3 in the morning, and cakes were served - delicious! All this was arranged by the two girls, with absolutely no help from the parents (except for the check-signing part, of course!). Nothing was missing from this event - not even the police, called in by neighbors who couldn't sleep (the poor people!!!! I really do see their point). We went to bed at five!
But the next day was sad. The rain that fell non-stop and flooded the garden, washing away all the remnants of decoration, was but an expression of our own grief. We learned that Tatá's mother Sílvia, who had been hospitalized a few days before the party, had passed away in the morning.
I am still happy we had such a gorgeous party. I had talked to Sílvia two weeks ago, she called me to thank me for having helped Tatá choose her gown. II knew she wanted this party to happen, she wanted it very much. I took many pictures of Tatá, radiant in the new dress, and I had hoped her Mom would be able to see them, even though I knew she probably would not be at the party. It was not to be.
We are all very upset.
terça-feira, junho 18
Wouldn't he make a great music critic?
Swans sing before they die - 'twere no bad thing
Did certain persons die before they sing.
Samuel Taylor Coleridge
Spell Checker Poem
Eye halve a spelling chequer
It came with my pea sea
It plainly marques four my revue
Miss steaks eye kin knot sea.
Eye strike a key and type a word
And weight four it two say
Weather eye am wrong oar write
It shows me strait a weigh.
As soon as a mist ache is maid
It nose bee fore two long
And eye can put the error rite
Its rare lea ever wrong.
Eye have run this poem threw it
I am shore your pleased two no
Its letter perfect awl the weigh
My chequer tolled me sew.
-Sauce unknown
I can be so nice...
This recording has it all: some of the most marvelous music ever written for the violin; beautiful, lively sound take; refreshingly intimate program notes; but more important than any of that, two truly first-class performers. The double CD is a real treasure. Rachel Podger is that rare find, a violinist with the sweetest sound, a flawless intonation, technique so good that it just disappears in the background, a musical instinct that is always awake, and a sense of style which permeates every musical gesture. She can convey exuberant joy or thoughtful sadness, and it all sounds round, and luscious and exciting. The first movement of BWV 1023, for example, with its startling beginning, full of cumulative tension leading to a lyrical reflection, is a feat of simultaneous intellectual understanding and concentrated emotion.
Trevor Pinnock proves here that he deserves the high reputation he enjoys. His accompaniment is always sensible and sensitive, providing a solid ground for Podger’s imaginative castle-building. Jonathan Manson has the almost impossible task of adding to this duo. He not only survives, but actually contributes to the final result, with some very refined and unobtrusive gamba playing. This is chamber music at is best. The dynamic contrasts are surprisingly varied and these performances are the greatest advocates not only for period instruments but also for a whole trend in performance, which calls for poignant leanings on harmonically important notes, freedom within a chosen tempo, carefully suspenseful cadences, more frequent rhythmic inflections and ornamentation that sounds improvised. All of this is done with good taste and wisdom, and the result is that the music sounds moving where it should, energetic where it demands it, without the slightest hint of mustiness or restraint. If you are only going to buy one recording this year, this might be the place to spend your money.
BACH Sonatas for violin and obbligato harpsichord and Sonatas for Violin and continuo: No. 6 in G, BWV 1019; No. 1 in b, BWV 1014; No. 2 in A, BWV 1015; No. 3 in E, BWV 1016; No. 4 in c, BWV 1017; No. 5 in f, BWV 1018; No. 6 in G, BWV 1019a; Cantabile from No. 6, version 2, BWV 1019a; Continuo Sonata in e, BWV 1023; Continuo Sonata in G, BWV 1021. Rachel Podger (vn); Trevor Pinnock (hpd); with Jonathan Manson (vdg). (period instruments) CHANNEL CCS 14798 9 (2 CDs: 139:23)
Fanfare, 5 – p.136
I can be so mean...
This CD is not bad.
Heavens, what a terrible opening line! Let me try again: this CD is not devoid of qualities. Not much better, is it? But I am just trying to be honest, without being unfair.
Well, maybe I should start by saying that if my criticism sounds too harsh, it is probably because Ms. Ross faces extremely tough competition.
Her playing is correct, technically clean, with satisfactory intonation. Her sound is quite beautiful. So what is wrong, then?
From the very first track one is struck by an almost stifling stillness. Not the stillness born of the missed heartbeat, of suspended breathing, of the fear of breaking the magic. No, it is rather a lack of impulse, a regularity of rhythm and inflection that weights the music down. Part of this feeling is due to the unchanging articulations (very polite, with no rough edges) and overall even dynamics. This homogeneity of sound ends up by blurring the distinction between ornament and structure, transforming long-winded phrases into fragmented sequences of notes. But the problem goes beyond that. The squareness somehow spills over to the emotional scope of the interpretations. There is no amplitude of gesture here, no daring or drama.
The Largo of BWV 1017, for example, one of Bach’s most heart wrenching moments, goes by at a brisk pace, almost allegro. A fitting background music for a day in the shopping center. The harpsichord accompaniment does not help dispel the impression; it is equally non-plussed and well behaved, with little depth of perspective. One misses the solemn approach of S. Kuijken (notwithstanding Gustav Leonhardt’s metallic-sounding harpsichord), the vital energy of Rachel Podger (reviewed in Fanfare, n.5, pg.136), or even the almost sentimental phrasing of Emlyn Ngai (reviewed in Fanfare, n.).
Some may consider the constant legato, the lack of forward drive and dynamic contrast, the emotional restraint a quality, a sign of serenity, control and balance. To me, it is deeply disturbing. If there is one field of art where Mies van der Rohe motto “Less is more” does not apply, it must be that of music performance. As in the present recording, unfortunately, less is less.
BACH Violin sonatas: in E, BWV 1016; in F, BWV 1022 (arr. Unknown); in c, BWV 1017; in g, BWV 1020 (also attributed to C. P. E. Bach); in A, BWV 1015. Jacqueline Ross (vn); David Ponsford (hpd). ASV 228 (70:12)
Fanfare, March/April 2002
domingo, junho 16
General Review of the Sex Situation
Dorothy Parker
Woman wants monogamy;
Man delights in novelty.
Love is woman's moon and sun;
Man has other forms of fun.
Woman lives but in her lord;
Count to ten, and man is bored.
With this the gist and sum of it,
What earthly good can come of it?
