York Recorded Music Society

[makropulos]

Good to hear from you, makropulos. Ten years ago, I used to make regular trips to London on spec but today, alas...

I treasure the two biographies of Charles Mackerras on my shelves and vividly recall his work at the ENO during my London years, along with his later productions for WNO on tour at the Dominion Theatre. Coincidentally, I have put an off-air video of his Proms 2002 performance of Haydn's Creation to one side for transfer to DVD. I'm confident that your presentation will be much appreciated.

Thanks, Stanley. I am extremely interested to hear about your video of The Creation. I have the audio from the same concert, as does Charles's daughter. But neither of us has the video. I wonder if you'd mind me sending you a private message about this?

[hmvman]

Forgive the self-advertisement... This is not York RMS, but pretty close: a little bit West in Ilkley this coming Wednesday (6 April) at 7:45 p.m. in St. John's Church Hall, Ben Rhydding (entrance in Margerison Road), I'm doing a talk for the Wharfedale Recorded Music Society on Charles Mackerras: a programme of private or broadcast recordings of works he never recorded commercially - several of them utterly marvellous and all of them interesting. The society in Ilkley is exceptionally friendly and I know any visitors would be made extremely welcome (they always are). If any one can come, it would be lovely to see you.

Thanks for the info, makropulos. I would've liked to have gone over to Ben Rhydding to hear your talk but I'm already committed to other things on Wednesday. I hope it goes well. Yes, the Ilkley group is a very friendly crowd.

[Stanley Stewart]

Sheer joy as I exclaim, "Now is the winter of our discontent
Made glorious summer by this sun of York...;" as we assembled at Dower Court for
a presentation by member, Philip Paul, 'Dietrich Buxtehude, 1637-1707' - a instant click in the mind, wasn't 1937, 300 hundred years later, the Coronation of George V1 and 1707, the British Union of the Crowns - yes, it was that kind of day when a series of dates sought for an irrelevant connection - perhaps all the dense politicking of late!

Realised, too, that I knew little Buxtehude, apart from the connection with the influence on the younger, J S Bach and welcomed the range which our speaker presented including the choral, chamber and harpsichordist works. I must acquaint myself with the wide choice of organ recordings but it was a pleasure to hear the radiant voice of Dame Emma Kirkby and recalled several of her York recitals with Anthony Rooley in the 90s. He used to get a bit impatient at the end of the evening as the demand for encores began to match the length of the recital.
Did a bit of homework in the evening, although my mind was a bit agitated for the start of The Wars of the Roses, Henry V1, on BBC 2, but was fascinated to look further at the
meaning of 'stylus fantasticas' the volatilty of tempo used by Buxtehude and its imagery. The learning curve continues in so many aspects. Yesterday's meeting was officially the end of our season but Chairman Gavin, (hmvman) was warmly greeted when he announced further informal gatherings in June and July. "We few, we happy few..."

[Stanley Stewart]

Yesterday, (10 Sept), a real pleasure to assemble at Dower Court for the first meeting of the YRMS in the 2016/17 season. The pleasure enhanced when I see the faces of our regular members; I'm inclined to mumble Hamlet's greeting to the Players when they enter the superb and ultra -comfortable meeting centre, "I'm glad to see thee well!"

Chairman, Gavin, sanguine as ever, particularly as he faced a heavy schedule; setting up the recording equipment, presiding over our admittedly. straight-forward AGM, before continuing with a 90 mins presentation - all this takes a cool nerve and a fair measure of chutzpah. His chosen subject, York Connections; a particularly rich selection of pickings, Dowland and Purcell, of course, and it's always a joy to hear Sound the Trumpets resonate, or the Minster organ at full blast, or Dame Janet Baker at her most radiant in Where corals lie. My stand-still moment provided the highlight and unearthed an almost forgotten memory, a substantial extract from David Blake's Violin Concerto, In Praise of Krishna, the intense pleasure of the unexpected. Yes, of course, as Gavin advised this was a commision for the 1976 Proms - instant memories of a hot summer, stifling as I stood at the RAH, providing the same sort of stimulation I experienced
t'other night, Prom 55, (shown on BBC 4, 4 Sept); Hans Abrahamsen's, Let Me Tell you, spell-binding in its nuances as well as coping with a new talent on the podium - Mirga Grazinyte-Tyla - gifted with 'that little something extra' which signals the arrival of an exceptional artist, one to watch as I became mesmerised by the power of her presence and instinctive contact with her musicians. Barbara Hannigan's extraordinary technique has also ensured several viewings during the week.

Needless to say, the Blake violin concerto, NMC label, is now on order and I'm eager to make its acquaintance. Another choice of Gavin's, Peter Aston/Alleluya Psallat also caught my attention and demands a closer look.

Our next meeting is October 8th, Beethoven & Brahms, with guest presenter, Stephen David.
Wasn't it Brahms who said, 'Life is terrible - and so short', perhaps this summons up ardour and resignation in equal measure!

[Stanley Stewart]

Beethoven & Brahms - a most enticing two-fer, presented by Stephen Davis at yesterday's assembly at Dover Court. Would it be indigestible and top-heavy? Not so, as Stephen cleverly side-stepped by succinct intros followed by substantial extracts from Fidelio, followed by full performances of Beethoven's PC and Brahms's, Sym 1, after the teabreak.

The Leonore No 1 overture always grabs the listener by the throat, followed by the vocal pleasure of the quartet which brought instant memories for me of a Covent Garden production, late 70s, conducted by Colin Davis with, in particular, Jon Vickers as Florestan; his Act 2 intro, chained in a gloomy dungeon, "Gott! Welch Dunkel Hier!" was an unforgettable, blood curdling moment and I regretted its omission yesterday. Returning home, I checked on my recordings, Philharmonia/Klemperer and BPO/HvK - both with Vickers - an obligatory spin before supper!

Beethoven's PC 3 and, indeed, Brahms Sym 1, are both works of poetic and magisterial splendour, bravura and warmth - the mind reeling at the sheer invention on display; my energy quotient on a high as I began to unravel the available Testament recordings of the Beethoven and Brahms - Toscanini instantly comes to mind. At the post-talk informal discussion, I mentioned a memory prompt, the Eroica documentary, several BBC outings in the first decade of the millenium, and was surprised that it hadn't been seen by our members. I did an off-air video/DVD transfer in 2006, and watch it a couple of times each year. The programme includes a first full performance of the Eroica with the late-lamented Frank Finlay as Haydn, snr, in the audience; his concluding comment, "From today, nothing will ever be the same"

My spirits were equally galvanized as we went on our way.

[Stanley Stewart]

Yesterday's (5 Nov) rendezvous at Dower Court eagerly anticipated to hear member, David Archer's, second presentation on American composers, Bloomed in the USA. "From the Wall Street crash in 1929 to the end of WWII, the United States faced many growing pains. It was also a time when music bloomed with home grown talents such as Copland and Harris and emigres like Rachmaninov and Korngold." Indeed, many old acquaintances but the learning curve was also widened with names and extracts from works new to me; William Grant Still, 1895-1978, Sym No 2, 1937, extract. I warmed to David's summary that the composer in the years of the Depression, was optimistic about the future but not afraid about nostalgia for the past!

New names also included Florence Price, 1887-1953, Paul Creston, (1906-1985), Erich Bloch, 1880-1959, his work not his name unknown but the finale from his Suite Symphonique, 1944, encouraged me to look further. Equally, Bohuslav Martinu, 1890-1955, better known to me as his work has increasingly been heard in the last decade and may it continue to flourish. We heard the 1st movement of his Sym 4, (1945).

Fortunately, David had the generosity to produce an A4 sheet with all the names and dates of birth/death plus details of the extracts; all useful for quick reference in pin-pointing an era. He included a photograph of each composer; a pleasure to see, say, a still of Samuel Barber, in uniform, to savour as we listened to his music for Night Flight (1964/64). Behind the music, the photograph also prompted a hearing of his sonorous voice reciting Dover Beach as I listened.

David held our attention for little short of three hours of stimulation at a time when the Presidential election has dominated the news; even the TV schedule sustained the occasion with a BBC 2 screening last night, of Glory, 1989, with its focus on the years of the Civil War I asked David whether he intended to continue with Part 3; he replied in the affirmative, Yes, America today!
Seconded.

[ferneyhoughgeliebte]

I asked David whether he intended to continue with Part 3; he replied in the affirmative, Yes, America today!

Shouldn't that be "Part 4"? There's a generation of composers producing work between 1945 and 1999 - after those you mention and before those working "today".

[Stanley Stewart]

Indeed, ferney. David's research is usually assiduous but I suppose the final decision may incline him to favour a comprehensive presentation. Yesterday, he neatly and shrewdly covered the work of 14 composers in under three hours but traversing the developments post WW2 until today would be quite a feat requiring detailed analysis, alongside musical extracts. I'll pass on your comments at our next meeting and will report back on any developments thereafter. Nevertheless, fascinating material and, yes, Part 4 is a consummation devoutly to be wished.

[ferneyhoughgeliebte]

[hmvman]

Thanks for your summary of yesterday's meeting, Stanley. Just a 'heads up' (as Americans say) that David will be presenting Part 3, "Bred in the USA" at our meeting next May!

I'm not sure there is a part 4 - yet...

[Stanley Stewart]

Yesterday's (3 Dec) meeting was potent for me when I realised that it was also the start of my third year as a proud member of the YRMS and I've always revelled in the sheer generosity of spirit fostered by chairman Gavin, (member, hmvman) who drives me to the super attractive site of Dover Court and sees me home again! As our final gathering for 2016, we all had the opportunity of presenting our own seasonal choice in a 15 mins slot; a wide ranging programme, starting with Poulenc and a selection of nuggets along the way; my particular favourite was Dame Evelyn Glenny's solo virtuosity in percussion, Dancing. Towards the end of the presentation I had to suppress a giggle when it crossed my mind that we hadn't heard 'that one' from the master of Brook Street, W1, until the last contributor obliged! A special thank you to Kay, for organising our interval treat of goodies - and such a delicious claret, too. Another heart warming occasion.

[Stanley Stewart]

Our first 2017 assembly started with a real fizz on Saturday (7 Jan). James Murray, always a welcome visitor from Cornwall, focussed on the life of Albert Lortzing, (1801-1851), a dazzling concept in itself for me as he traversed several decades of the composer's short life-span as composer, actor, singer, dramatist, theatre director and conductor. Whew! I knew little about the man and his work and was glad to have done some prep homework in the Viking Opera Guide as listening to James's concise presentation, my mind was racing every which way seeking reference points about the work of other composers in the first half of the 19th century, as well as keeping-up with the substantial narrative in the talk. Grateful to have a copy of his detailed notes for guidance.

Don't think I'm a likely convert to Lortzing's output but will reserve judgement until I watch a DVD of the late 60s Hamburg production of Zar und Zimmermann and its heady ensemble performances, now on order - breaking a NY resolution! The potent extracts reminded me of Lortzing's admiration for Mozart and, yes, ahead of its time, could hear the patter of G & S, too, - a delight to discover that the performance was conducted by Charles Mackerras with its sparkling energy. My thespian roots hooked by the technique of the farcical elements, as much as the precision of the timing, so I'm eager to see this production as well as grasping its musical development. A learning curve in itself. Farce, like comedy, is a very serious business.

No surprise to learn that Lortzing had a tendency to satirise the high ideals of the upper classes, alongside a portrayal of life below stairs. He existed in a life of poverty, a family to support at a time when there was no royalty remuneration in place throughout Germany, and his work had an enormous box office appeal. James told us that the composer's popularity in Germany didn't go into decline until the late 1970s; until then he was the fifth most performed behind Verdi, Mozart, Puccini and Wagner. Zar und Zimmermann received almost 5000 performances between 1947 and 1975. The extracts with Gottlob Frick, Fritz Wunderlich, Lucia Popp, Helga Hildebrand, Karl Riddersbusch and Heinrich Schlusnus, alongside Irmgard Seefried, Gottfried Hornik, Hans Sotin - memories of his Hans Sachs at Covent Garden in the late 80s - Hermann Prey, Anneliese Rothenberger, Thomas Stewart, Gundula Janowitz and Josef Greindl in other Lortzing works provided an entrancing experience.

A bar line has been set for the rest of the season!

[Stanfordian]

Our first 2017 assembly started with a real fizz on Saturday (7 Jan). James Murray, always a welcome visitor from Cornwall, focussed on the life of Albert Lortzing, (1801-1851), a dazzling concept in itself for me as he traversed several decades of the composer's short life-span as composer, actor, singer, dramatist, theatre director and conductor. Whew! I knew little about the man and his work and was glad to have done some prep homework in the Viking Opera Guide as listening to James's concise presentation, my mind was racing every which way seeking reference points about the work of other composers in the first half of the 19th century, as well as keeping-up with the substantial narrative in the talk. Grateful to have a copy of his detailed notes for guidance.

Don't think I'm a likely convert to Lortzing's output but will reserve judgement until I watch a DVD of the late 60s Hamburg production of Zar und Zimmermann and its heady ensemble performances, now on order - breaking a NY resolution! The potent extracts reminded me of Lortzing's admiration for Mozart and, yes, ahead of its time, could hear the patter of G & S, too, - a delight to discover that the performance was conducted by Charles Mackerras with its sparkling energy. My thespian roots hooked by the technique of the farcical elements, as much as the precision of the timing, so I'm eager to see this production as well as grasping its musical development. A learning curve in itself. Farce, like comedy, is a very serious business.

No surprise to learn that Lortzing had a tendency to satirise the high ideals of the upper classes, alongside a portrayal of life below stairs. He existed in a life of poverty, a family to support at a time when there was no royalty remuneration in place throughout Germany, and his work had an enormous box office appeal. James told us that the composer's popularity in Germany didn't go into decline until the late 1970s; until then he was the fifth most performed behind Verdi, Mozart, Puccini and Wagner. Zar und Zimmermann received almost 5000 performances between 1947 and 1975. The extracts with Gottlob Frick, Fritz Wunderlich, Lucia Popp, Helga Hildebrand, Karl Riddersbusch and Heinrich Schlusnus, alongside Irmgard Seefried, Gottfried Hornik, Hans Sotin - memories of his Hans Sachs at Covent Garden in the late 80s - Hermann Prey, Anneliese Rothenberger, Thomas Stewart, Gundula Janowitz and Josef Greindl in other Lortzing works provided an entrancing experience.

A bar line has been set for the rest of the season!

Hiya Stanley,

I'm particularly interested in your Albert Lortzing thread. I'm reporting from a production of 'Der Wildschutz' at the Semperoper Dresden this coming May.

[Stanley Stewart]

Thank you, Stanfordian. Please share your views on the Dresden production of 'Der Wildschutz' in due course as I'm eager to widen my experience of Lortzing's work and I'm sure that James Murray will also be interested. In the meantime, a DVD of the Hamburg production of Zar und Zimmermann is wending my way for delivery on 14 Jan.

[Stanley Stewart]

A refreshing drive - as a passenger - to Dover Court, yesterday, under clear blue skies.

Member Irene Parkin added to the allure with A Brief History of Musicals, the topic of her presentation. Irene always brings a warm presence to her talks and I relish her tendency to introduce a work, or a performer, to her narrative, and, sometimes, cunningly leaves a beat before, sotto voce, she detonates any reservations!

The subject matter had a wide canvas and a rich choice, particularly as film soundtracks also entered the equation. The 1936 film version of Show Boat with Paul Robeson's electric version of Ol' Man River fostering that rare sense of silence we usually get at the theatre or concert hall - it registers in those precious seconds when the recording finishes. Never fails. Irene and I exchanged glances when she chose Kathryn Grayson, 1951 film version of Showboat, 'You are Love' duet, as she knows that I don't enjoy an operatic approach to music theatre, neither does she, but got a joint nod of approval when she played Kim Criswell's singing Kern's music from the show, free of coloratura warbling!

Otherwise, it was a magical occasion when we could indulge in the music and lyrics of Porter, Gershwin, Bernstein, Rodgers & Hart, Berlin and Kern. Memories stirred in every which direction. Listening to the suite from On The Town, I was transported to the late 80s when I got a hot ticket for a platform performance at the Barbican, with Bernstein conducting and writers Adolph Green and Betty Comden as presenters. When comes there such a time again? Written during WW2, the New York scene wonderfully creates the city that never sleeps and amidst the joy of carefree abandon and energy of three sailors on furlough, the subtext also captures the daily risk of the time as military personnel regularly bade farewell to their kith and kin at, say, Grand Central Station. However, we also revelled in the lyrics of Kiss Me Kate and the sharp wit of Brush Up Your Shakespeare, before the presentation concluded with the Great White Way anthem, 'There's No Business Like Show Business' and the probable RARE use of a standing ovation, now prostituted on a regular basis. We had no such indulgence but I did reflect on the therapy of music, particularly at this time of international tension, and was touched to experience a small group of enthusiasts gradually finding relaxation and a sense of rejuvenation in making music together in a lovely setting!