York Recorded Music Society

[Stanley Stewart]

Daffodils now blooming in the garden again and a rare sunny Spring day brought a sense of relaxation to the drive en route for Dower Court. Fortuitously, A Taste of Spring was the topic for Gwen Knight's gracious presentation. I always select an armchair, facing the attractive 10' rectangular window as its Chekhovian outlook always resonates with me.

Memories galore during the presentation. Gwen started with Sinding's Rustle of Spring which prompted boyhood thoughts of my first hearing, circa 1942, in Intermezzo, (aka Escape to Happiness); Ingrid Bergman playing a concert pianist and her adulterous affair with violinist Leslie Howard. The theme music a popular Family Favourites choice for many years.

Delius's On hearing the first cuckoo...followed with instant images from Ken Russell's great documentary and what a pleasure it was to hear Beethoven's Spring Sonata, Op 24, in a fine and delicate recording by Perlman and Ashkenazy.

The first half concluded with two movements from Smetana's Ma Vlast and during our tea break we exchanged reminiscences of personal visits to Prague; I shall never forget the intense pleasure from a CPO concert, followed by a seat near St Charles's Bridge, overlooking the Vltava, facing the old town on t'other side, and the spectacular view of the castle with a slight tilt of the head. Sheer magic on a summer's evening in the mid 80s.

Spring was represented in the second half by Grieg's, Last Spring which still instantly touches the heart and became earworm for the rest of the day. RVW and The Lark Ascending followed to stir the imagination, cheek by jowl with Spring from the Four Seasons, S-M-I-T-F/, Neville Marriner, of blessed memory.

Further memories in Gwen's closing item, Appalachian Spring, Aaron Copland's toe-tapping classic. Again, back to the early 60s, in the wake of West Side Story, when Ballet USA visited London's Piccadilly Theatre with a memorable programme dominated by A.S. choreographed by Jerome Robbins. A lovely close to a rejuvenating journey where I heard much more than the first cuckoo!

[Lat-Literal]

Daffodils now blooming in the garden again and a rare sunny Spring day brought a sense of relaxation to the drive en route for Dower Court. Fortuitously, A Taste of Spring was the topic for Gwen Knight's gracious presentation. I always select an armchair, facing the attractive 10' rectangular window as its Chekhovian outlook always resonates with me.

Memories galore during the presentation. Gwen started with Sinding's Rustle of Spring which prompted boyhood thoughts of my first hearing, circa 1942, in Intermezzo, (aka Escape to Happiness); Ingrid Bergman playing a concert pianist and her adulterous affair with violinist Leslie Howard. The theme music a popular Family Favourites choice for many years.

Delius's On hearing the first cuckoo...followed with instant images from Ken Russell's great documentary and what a pleasure it was to hear Beethoven's Spring Sonata, Op 24, in a fine and delicate recording by Perlman and Ashkenazy.

The first half concluded with two movements from Smetana's Ma Vlast and during our tea break we exchanged reminiscences of personal visits to Prague; I shall never forget the intense pleasure from a CPO concert, followed by a seat near St Charles's Bridge, overlooking the Vltava, facing the old town on t'other side, and the spectacular view of the castle with a slight tilt of the head. Sheer magic on a summer's evening in the mid 80s.

Spring was represented in the second half by Grieg's, Last Spring which still instantly touches the heart and became earworm for the rest of the day. RVW and The Lark Ascending followed to stir the imagination, cheek by jowl with Spring from the Four Seasons, S-M-I-T-F/, Neville Marriner, of blessed memory.

Further memories in Gwen's closing item, Appalachian Spring, Aaron Copland's toe-tapping classic. Again, back to the early 60s, in the wake of West Side Story, when Ballet USA visited London's Piccadilly Theatre with a memorable programme dominated by A.S. choreographed by Jerome Robbins. A lovely close to a rejuvenating journey where I heard much more than the first cuckoo!

I very much enjoyed your post and the previous one - thank you and I am pleased that you had an enjoyable time.

[Stanley Stewart]

Thank you, Lat-Lit! Great fun during our interval teabreak. I had 'a senior moment' trying to recall the name of the composer of The Mask of Time (first bo-boo) and Chairman Gavin, (hmvman), used his smartphone to provide Michael Tippett, of course. "No, no," said Mary,Mary, quite contrary, before realising that I intended to say, "The Mask of Orpheus" which I'd just transferred from a complete Act 2, Prom, (2009) to DVD on the previous evening and the composer was, of course, Harrison Birtwistle - a splendid interview with 'Harry', too. Must write, separately, about this remarkable work and its impact in the spacious setting of the RAH, with the bonus of subtitles. Gavin, as usual, totally unflustered, bless 'im. Ah, me, a life crowded with incident.

[hmvman]

Gavin, as usual, totally unflustered, bless 'im.

I'm like the proverbial swan, Stanley… :eek:

[Stanley Stewart]

After the national despondency of recent weeks; the tragic events at Westminster and the sickening brutality of chemical warfare in Syria, it was a relief to be driven by Gavin to Dower Court and our penultimate meeting of the 2016/17 season at Dower Court, a glorious day when the city walls were also covered by a host of golden daffodils en route, accompanied by the splendour of blossoms in the trees.

Member, Philip Paul, instantly sustained the tone with his tribute to Carlo Curley, (1952-2012), by setting out his wares on the presentation table, dominated by an A4 sized portrait photo of himself at the organ - an Episcopalian church in Boston, USA, with Carlo Curley standing alongside as a keen listener. I could almost hear the southern Carolina accent in his voice! The presentation littered with a profusion of witty retorts throughout as a three dimensional portrait emerged, deserving our laughter, e.g. meeting a slightly dishevelled Philip at a subsequent meeting, he greeted him, "Howdy, been bear hunting?"

A lovely start with Carlo in an organ duet playing, All Through the Night" - setting the right tone for the presentation. Indeed, it was a learning curve for me all the way through as I can instinctively respond to an organ recital, although knowing little about the difference between pedal and electronic processes. Philip shrewdly chose a well contrasted selection throughout including Elgar, Bach, Barber, Thalben-Ball and Mendelssohn - even had me foot-tapping with March of the Priests - but the skull-tingling moment for me was an exquisite Curley performance of Macdowell's, memorably melodic, To a Wild Rose. Must seek it out.

However, I need to know much more about this remarkable man and noticed a copy of a biography, In the Pipeline, (1998) in Philip's collection. Straight on to the river people when I returned home and was relieved to see a copy 'in very good condition' for 57p, (sic) + £2 .80 postage. A brand new copy listed for £169! Lower price now confirmed with delivery later this week.

[Stanley Stewart]

Yesterday, 6 May, was the official end of our 2016/17 season, although we meet again for a knees-up rendezvous in July on a date to be confirmed.

Member, David Archer's topic was Bred in the USA, part 3 of his presentation, exploring the influence of American music from Bernstein and Ellington to Glass and Whitacre, a revelation in so many aspects, heard with a most intense stillness which has become the hallmark of our Dower Court meetings. I need several days to digest the width and breadth of his input, starting with the new direction in American composition from around the mid-1940s; the placement of harmony and rhythm, in particular. I quickly realised that I've been dilatory in seeking guidance from Alex Ross', The Rest is Noise, and instantly addressed this when I got home.

A start was made with Copland's, Fanfare for the Common Man, Wm Schuman's, New England Triptych, and Virgil Thomson's score, Louisiana Story, (1948) - a reminder of the role played by Film Societies for films denied a theatrical release, I still recall as a teenager, Robt Flaherty's imagery and the sustained beauty of its photography.

Pleasing reminders of Morton Gould with his Saratoga Quick-Step and the witty Henry Cowell's,
Trio: Four Combinations of three Instruments. A sharp sit-up and pay attention time when David focussed on the work of John Cage and the direction of music - yes, of course, Sonata V, 4' 33" secs, the significance of Silence. Discuss...and we did; usually we avoid interventions until a suitable break but David must have realised that our creative juices were now fully engaged and 'attention must be paid'. It seems that a friend of Cage's father lived by the mantra "If told you can't do it - tell them you can!"

Morton Feldman, Palais de Mari and Ned Rorem's, Trio End of Summer followed, lovely contrasts.
A piece de resistance ended the first half; PDQ Bach (Peter Schichele) - 1712 Overture, a real hoot which made me splutter as the parody continued.

Part 2: warm memories of Duke Ellington. Caravan, and the impact Bernstein made with West Side Story, 1957, and its electric Overture, and 'the times they are-a- changing' tone with Steve Reich's, The Desert Music, John Adams, Harmonielehre, Philip Glass, 1000 Airplanes on the Roof, Eric Whitacre, I thank you God for most this amazing Day and Michael Torke's Javelin.

The presentation really ended on a 'high' as David fully deserved a sustained ovation which encouraged him to propose a future presentation, solely devoted to the work of John Adams (or was it Philip Glass?) - anyhow, a unanimous, 'yes, please' whoever it is.

"I thank You God for most this amazing day:
for the leaping greenly spirits of trees
and a blue true dream of sky; and for everything
which is natural which is infinite which is yes

(i who have died am alive again today,
and this is the sun's birthday; this is the birth day
of life and of love and wings; and of the gay
great happening illimitably earth)

how should tasting touching hearing seeing
breathing any - lifted from the no
of all nothing - human merely being
doubt unimaginable You?

(now the ears of my ears awake (and)
now the eyes of my eyes are opened) ee cummings (1894-1962)

[Lat-Literal]

Yesterday, 6 May, was the official end of our 2016/17 season, although we meet again for a knees-up rendezvous in July on a date to be confirmed.

Member, David Archer's topic was Bred in the USA, part 3 of his presentation, exploring the influence of American music from Bernstein and Ellington to Glass and Whitacre, a revelation in so many aspects, heard with a most intense stillness which has become the hallmark of our Dower Court meetings. I need several days to digest the width and breadth of his input, starting with the new direction in American composition from around the mid-1940s; the placement of harmony and rhythm, in particular. I quickly realised that I've been dilatory in seeking guidance from Alex Ross', The Rest is Noise, and instantly addressed this when I got home.

A start was made with Copland's, Fanfare for the Common Man, Wm Schuman's, New England Triptych, and Virgil Thomson's score, Louisiana Story, (1948) - a reminder of the role played by Film Societies for films denied a theatrical release, I still recall as a teenager, Robt Flaherty's imagery and the sustained beauty of its photography.

Pleasing reminders of Morton Gould with his Saratoga Quick-Step and the witty Henry Cowell's,
Trio: Four Combinations of three Instruments. A sharp sit-up and pay attention time when David focussed on the work of John Cage and the direction of music - yes, of course, Sonata V, 4' 33" secs, the significance of Silence. Discuss...and we did; usually we avoid interventions until a suitable break but David must have realised that our creative juices were now fully engaged and 'attention must be paid'. It seems that a friend of Cage's father lived by the mantra "If told you can't do it - tell them you can!"

Morton Feldman, Palais de Mari and Ned Rorem's, Trio End of Summer followed, lovely contrasts.
A piece de resistance ended the first half; PDQ Bach (Peter Schichele) - 1712 Overture, a real hoot which made me splutter as the parody continued.

Part 2: warm memories of Duke Ellington. Caravan, and the impact Bernstein made with West Side Story, 1957, and its electric Overture, and 'the times they are-a- changing' tone with Steve Reich's, The Desert Music, John Adams, Harmonielehre, Philip Glass, 1000 Airplanes on the Roof, Eric Whitacre, I thank you God for most this amazing Day and Michael Torke's Javelin.

The presentation really ended on a 'high' as David fully deserved a sustained ovation which encouraged him to propose a future presentation, solely devoted to the work of John Adams (or was it Philip Glass?) - anyhow, a unanimous, 'yes, please' whoever it is.

"I thank You God for most this amazing day:
for the leaping greenly spirits of trees
and a blue true dream of sky; and for everything
which is natural which is infinite which is yes

(i who have died am alive again today,
and this is the sun's birthday; this is the birth day
of life and of love and wings; and of the gay
great happening illimitably earth)

how should tasting touching hearing seeing
breathing any - lifted from the no
of all nothing - human merely being
doubt unimaginable You?

(now the ears of my ears awake (and)
now the eyes of my eyes are opened) ee cummings (1894-1962)

A very interesting read. Thank you. A shame, though, that there was no Lou Harrison.

50 Favourites:

Ackerman, Adams, Antheil, Barber, Beach, Bernstein, Brant, C Cameron White, Chadwick, Copland, Cowell, Creston, Dawson, Del Tredici, Dett, Diamond, El-Dabh, Ellington, Flynt, Fry, Gershwin, Glass, Gottschalk, Gould, Griffes, Hanson, Harris, Harrison, Hovhaness, Ives, Samuel Jones, MacDowell, Nancarrow, Oliveros, Persichetti, Pinkham, Piston, Florence Price, Reich, Rochberg, Riley, Rorem, Rzewski, Schuman, Artie Shaw, Still, Thompson, Thomson, Whitacre, Young.......there are, of course, several other very considerable figures.

[Stanley Stewart]

Thanks, Lat-Lit. Your '50 favourites' provide prodigious reading as well as reminding me of my innate conservative taste, viz, my May budget has been allocated for a 8CD Warner Classics boxset, Rachmaninov: 4 pc's, piano works, 3 symphonies, orch works, CBSO,LSO/Andre Previn and I eagerly await delivery of Brahms, Die Schone Magelone, Christian Gerhaher/Gerold Huber on Sony Classical - Gerhaher's spiritual baritone probably at its most enticing.

I hugely enjoy a quiet period on Saturday evening after our afternoon rendezvous as I begin to piece together and articulate the journey of the afternoon's presentation; the same processes I used as a thesp immediately after a good rehearsal, followed by a few dozen director's notes, a system of coordinating a sense of direction before next day's rehearsal.

In his presentation, David Archer pursuing his theme on the gradual change to atonal music sharpened my interest when he covered an area American research in a 'noiseless chamber' and the processes in our brains v a process of blood circulation in a lower part of our body as we listen to music! I really need to look more closely for a wider understanding here and hope that Alec Ross may offer a degree of enlightenment in The Rest is Noise, otherwise I shall talk to David at our next meeting. I'm probably havering anyway.

[ferneyhoughgeliebte]

I presume that Milton Babbitt's name is omitted from lists because people don't want to state the obvious?




Thought not

[Stanley Stewart]

Incidentally, ferney, I intended to refer to one of your earlier postings, *67, (6 Nov,'16), in which you fortuitously predicted the need for a much wider presentation on the subject matter; the seeds were sown last Saturday.

[ferneyhoughgeliebte]

Incidentally, ferney, I intended to refer to one of your earlier postings, *67, (6 Nov,'16), in which you fortuitously predicted the need for a much wider presentation on the subject matter; the seeds were sown last Saturday.

[hmvman]

The presentation really ended on a 'high' as David fully deserved a sustained ovation which encouraged him to propose a future presentation, solely devoted to the work of John Adams (or was it Philip Glass?) - anyhow, a unanimous, 'yes, please' whoever it is.

It was Glass.

[Lat-Literal]

I presume that Milton Babbitt's name is omitted from lists because people don't want to state the obvious?

Thought not

My taste is more conservative with a small c than Stanley in his generous post might imply. I deliberately went for range in my 50 but also recognise that it would be hard to justify rationally the inclusion of Ackerman or Jones or Shaw in a classical context above others. Babbitt, Feldman, Sessions, Seeger, Fine, Lees, Corigliano and Zwilich were among those who for various reasons crossed my mind and Ruggles and Riegger were just outside the list which far from being set in stone was scribbled quickly. But I am not an avant gardist.

Where that sort of consideration applies, I prefer composers whose work hovers on the border of conventionality and innovation - eg Harris - or at the other end of the scale is unequivocally original and experimental, hence Brant, El-Dabh, Flynt and Young etc. Of course, these things may change, just as people who are unfamilar with some composers on my list might subsequently listen again to them and enjoy more. In the wider context, it has surprised me that I have found North American classical composition so interesting and often rewarding, not least as I think it can be argued it all has a certain fringe quality from the outlook of Europe. And unlike North American sports, many of which are not truly international and yet are more popular in the US, that is true for the American public too who would no doubt be able to name more European composers than American ones.

Thanks, Lat-Lit. Your '50 favourites' provide prodigious reading as well as reminding me of my innate conservative taste, viz, my May budget has been allocated for a 8CD Warner Classics boxset, Rachmaninov: 4 pc's, piano works, 3 symphonies, orch works, CBSO,LSO/Andre Previn and I eagerly await delivery of Brahms, Die Schone Magelone, Christian Gerhaher/Gerold Huber on Sony Classical - Gerhaher's spiritual baritone probably at its most enticing.

I hugely enjoy a quiet period on Saturday evening after our afternoon rendezvous as I begin to piece together and articulate the journey of the afternoon's presentation; the same processes I used as a thesp immediately after a good rehearsal, followed by a few dozen director's notes, a system of coordinating a sense of direction before next day's rehearsal.

In his presentation, David Archer pursuing his theme on the gradual change to atonal music sharpened my interest when he covered an area American research in a 'noiseless chamber' and the processes in our brains v a process of blood circulation in a lower part of our body as we listen to music! I really need to look more closely for a wider understanding here and hope that Alec Ross may offer a degree of enlightenment in The Rest is Noise, otherwise I shall talk to David at our next meeting. I'm probably havering anyway.

That third part is very interesting but doesn't it play havoc with the upper chakras?

[ferneyhoughgeliebte]

But I am not an avant gardist.

No - but neither was Babbitt, Lats (Boulez wouldn't programme his work when he was principal conductor of the NYPO because it was "too academic"). I can understand why Babbitt's (marvellously life-affirming) Music isn't to everyone's taste - and even why he and his colleagues might be excluded from a two-hour talk on American Music given at a meeting of enthusiastic Music lovers in a Recorded Music Society - but Babbitt raised the bar of Music Study in the United States for twenty years (before his work and that of his colleagues, American composers travelled to Paris to study; for a brief period, French students came to Princeton): nobody cared more that people listened and knew how to listen well to Music. (And, of course, his most famous student is Stephen Sondheim. )

The "noiseless chamber" referred to by Stanley is the Anechoic ("echo-free") Chamber at Harvard University, in which John Cage spent some time in 1951. He discovered that in complete silence, human beings can hear two sounds; one very low (created by blood circulating) the other very high (created by the nervous system).

https://www.youtube.com/watch?v=jS9ZOlFB-kI

https://www.youtube.com/watch?v=AB0MmHlVPQI

[Stanley Stewart]

Many thanks for your clear and concise comments, ferney. The links also appreciated as I feel that the agenda may yet expand over a few seasons, subject to approval, of course!