Saturday, August 27, 2011

Claudio Arrau in recital 15 August 1982



Beethoven: Sonata in E-flat major, op. 81a, "Les Adieux"
Liszt: Sonata in b minor
Beethoven: Sonata in f minor, op. 57, "Appassionata"
Liszt: Après un lecture de Dante (Fantasia quasi Sonata)


Arrau claimed direct musical descent from Liszt and Beethoven, for whose works his rich, powerful sound was ideally suited. This program was selected to show off that relationship. Recorded live at the Salzburger Große Festspielhaus in Austria as the fourth recital of the Salzburg Festival 1982.

Claudio Arrau in recital 15 August 1982
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Saturday, August 20, 2011

Claudio Arrau plays Beethoven: Sontas #3 and #8 ("Pathétique")



Sonata #3 for piano in C, op. 2/3
Sonata #8 for piano in c, op. 13, "Pathétique"


Digitally mastered, 1987. Arrau recorded the Beethoven sonatas several times throughout his life. He lived long enough so that his final recordings took advantage of the new digital technology. From his old age, Arrau left us with the insight that one of Beethoven's earliest and overlooked works can be every bit as interesting as the most famous nicknamed sonatas.

Arrau Beethoven 3 and 8
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Ilana Vered plays Chopin



Sonata #3 in b, op. 58
Nocturne in f, op. 55/1
Ballade #4 in f, op. 52
Valse in a, op. 34/2
Polonaise in A, op. 40/1, "Militaire"
Mazurka in a, op. 17/4
Mazurka in B-flat, op. 7/1


One of Vered's earliest commercial recordings, this was released in 1974 on London "Phase 4" and established Chopin as her specialty.

Vered plays Chopin
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Halleluja: The Portsmouth Sinfonia at the Royal Albert Hall (1974)


Self-described as the world's worst orchestra and often mentioned in the same breath as Florence Foster Jenkins, the Portsmouth Sinfonia was an exercise in musical Dada that ran from 1970 to 1980. Its members were students at the Portsmouth College of Art whose idea was to democratize classical music by taking it away from the "tuxedo Nazis" and putting it in the hands of people with little or no experience on the instrument they were playing. For a few examples, Gavin Bryars played cello, Brian Eno played clarinet, and Michael Nyman played euphonium in the Sinfonia.

The Sinfonia was not so much a camp joke as it was a satire on the commercialized stuffiness of the Royal Philharmonic and the London Symphony Orchestra. Its members attended rehearsals regularly, approached their performances seriously - and accepted wrong notes proudly as just a part of life. When the copyright administrator for Also sprach Zarathustra refused to let the Sinfonia release their performance of the work, complaining that they had made changes to it, their manager offered that "it wasn't intentional, but happened more as a result of incompetence". And when the BBC refused to let them perform in their Promenade Concerts, which were supposed to make classical music accessible to the masses, the Sinfonia rented the Royal Albert Hall themselves and performed to a sold-out audience.

So the Portsmouth Sinfonia's second LP comes to us courtesy of the BBC's stuffiness. It was recorded live on 28 May 1974 and contains seven earnestly performed and almost recognizable works by Tchaikovsky, Sibelius, Schubert, Rossini, and Handel.

These MP3s were made from the LP using NCH Software's Golden Records analogue-to-digital ripper. Its filters for normalization (to render Mr Bond's comments audible) and click/pop reduction (to remove much of the surface noise) were applied.

Portsmouth Sinfonia at Royal Albert Hall
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Tuesday, August 16, 2011

American Gamelans 1981


Lou Harrison and his graduate students performed their own works on the Mills College and CSUSJ gamelans as the closing event of New Music America '81.

Lou Harrison was one of the most interesting innovators to come out of the United States. His work bears some affinity to that of Harry Partch in the experimentation with unusual scales, although Harrison favored Indonesian gamelans in traditional sléndro and pélog tunings. He and his partner, William Colvig, built gamelans for the schools where Harrison taught (the gamelan Si Betty for California State University, San Jose, and the gamelan Si Darius at Mills College) and he and his students performed seven of their own works on these instruments for the New Music America Festival 1981 in San Francisco. One of those students, Larry London, took Harrison's experimentation a step further by constructing a harp in a thirteenth-century Greek scale to play against the gamelan's Indonesian scale. All in all, a very interesting hour of music.

Lou Harrison's American Gamelans 1981
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The Well-Tempered Clavichord, Ralph Kirkpatrick



Fourteen preludes and fugues from the Well-Tempered Clavier

Before Kirkpatrick, the Well-Tempered Clavier was performed on Bösendorfer pianos and on harpsichords with thirty-two-foot registers. Ralph's clavichord caught everyone off guard - even his engineers didn't understand how to record it. The sound of the nine pieces from Book One recorded in 1961 is different from that of the five pieces from Book Two recorded in 1969 and yet the microphones were jammed next to the tangents during both sessions. Kirkpatrick held up well under that scrutiny.

The Well-Tempered Clavichord
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Sunday, August 14, 2011

Bach: Trio Sonatas, Marie-Claire Alain



J.S. Bach: The Trio Sonatas
Marie-Claire Alain


All four trio sonatas, recorded between May 1978 and April 1980 on the Schwenkedel de la Collégiale organ, Saint-Donat, Drôme. Alain was an organist's organist: flawless in rhythm, articulation, and registration. Not just accurate but stylish as well.

Alain - Bach trio sonatas
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