York Recorded Music Society

[hmvman]

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!

I'm saying nothing….

[Lat-Literal]

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

Thank you, ferney, for your interesting and informative comments about Babbitt. I will revisit him. Re the anechoid, doesn't it depend on the focus? For example, what if you or I were in an anechoid and either typing or reading contributions on this forum? Wouldn't our awareness be less on any blood in circulation and our nervous systems and more on echo or other resonance? But as with most things Cage, it sets the mind running off in less than usual ways. I have never experienced total silence but I have been in total darkness.

That was a long time ago in the Blue John Mine when they switched the light off to enable those of us who were there to have that specific experience. It probably wouldn't be allowed now on health and safety grounds. We were warned beforehand that we might feel that we were about to topple and then advised that we should grab the bar in front of us if that happened. Everyone did grab hold of the bar. The rush in the ears and the wobbly legs felt like two parts of the same voice to me although I could be completely wrong.

However, I would make a distinction between the eyes and ears. It seems to me that deep down anything but light is likely to be felt as a representation of uneasiness or danger whereas silence or an absence of echo - surely those are rather different from each other? - could be experienced as calming or, if unnerving at all, more akin to anodyne. In a vacuum of sound, there may be a loss of security or soul but in a vacuum of light someone could be wielding a machete. On balance, I think I my preference is for talking cactii.

I'm saying nothing….

Very wise.

I wish I'd chosen that option.

[ferneyhoughgeliebte]

Thank you, ferney, for your interesting and informative comments about Babbitt. I will revisit him.

- a fascinating composer whose work I find returns increasing dividends the more I hear it.

Re the anechoid, doesn't it depend on the focus? For example, what if you or I were in an anechoid and either typing or reading contributions on this forum? Wouldn't our awareness be less on any blood in circulation and our nervous systems and more on echo or other resonance?

Yes - and there are youTube videos of people popping balloons and playing instruments in anechoid chambers. Cage was deliberately focussing on what silence itself "sounded" like. As you say ...

But as with most things Cage, it sets the mind running off in less than usual ways.

I have never experienced total silence but I have been in total darkness.

That was a long time ago in the Blue John Mine when they switched the light off to enable those of us who were there to have that specific experience. It probably wouldn't be allowed now on health and safety grounds. We were warned beforehand that we might feel that we were about to topple and then advised that we should grab the bar in front of us if that happened. Everyone did grab hold of the bar. The rush in the ears and the wobbly legs felt like two parts of the same voice to me although I could be completely wrong.

Yes, they still do that these days - I was in the Treak Cliff Cavern last October, Not long enough for me to experience the dizziness you describe - I was more aware of the "solidity" of the total darkness, and so fascinated by the synaesthetic experience of "light" (or the total absence of it) becoming something tactile that I didn't have time to register any other physical effects. I was struck, too, by the absence of any light, even those floating "colours" I can see when I shut my eyes - it wasn't even "black" - or any kind of black that I'd ever seen before. Completely extraordinary (in the literal sense of the word) and haunting experience.

However, I would make a distinction between the eyes and ears. It seems to me that deep down anything but light is likely to be felt as a representation of uneasiness or danger whereas silence or an absence of echo - surely those are rather different from each other? - could be experienced as calming or, if unnerving at all, more akin to anodyne. In a vacuum of sound, there may be a loss of security or soul but in a vacuum of light someone could be wielding a machete.

I've never been in an anechoic chamber, but my feeling in the total darkness was one of enchantment rather than fear/insecurity: I knew that the conditions were temporary, and so just "explored" the new experience whilst they lasted.

On balance, I think I my preference is for talking cactii.

??? !

I wish I'd chosen that option.

Don't even consider it!

[Lat-Literal]

Yes - and there are youTube videos of people popping balloons and playing instruments in anechoid chambers. Cage was deliberately focussing on what silence itself "sounded" like.

Ah yes, and no. Conceivably you could be in an anechoid chamber on your own and create a sound like a yelp. You don't need a youtube video of balloon popping to make actual sound there. But what I had in mind was the sort of silence - as it is generally perceived - that would be you reading a contribution from a forum member or typing something in a way that didn't make a sound if that were possible. In the case of the reading, well, I don't know how you do it. Presumably you don't speak the words aloud but you might hear them internally as you read or else you would absorb the words in a more abstract way - closer to silence and perhaps nearer to thinking than a "silent" verbalizing or vocalizing.

Either way, there would be something of sound in it, even if only in connotation, it being language. Additionally, given that the words would be communicated to you by someone else who had written them, there is inevitably a reactive aspect there just as there would be in other people from the words that you type to them on the forum. I might suggest that the reactive aspect is likely to contain elements of the person doing the communicating and the person receiving the communication to varying degrees. The extent of each may depend on respective content and anticipation. What is that if it isn't echo - a silent echo of some sort - which is shaped to a large degree by the focus of your attention which is on those words rather than your physical self? I am not saying that there is something wrong with the anechoid chamber or that it misrepresents what it does but that ironically, given the fact that it is a sealed compartment, much depends on the circumstances within it, including internal and external focus. Sound may be a part of it. Echo goes broader.

Yes, they still do that these days - I was in the Treak Cliff Cavern last October, Not long enough for me to experience the dizziness you describe - I was more aware of the "solidity" of the total darkness, and so fascinated by the synaesthetic experience of "light" (or the total absence of it) becoming something tactile that I didn't have time to register any other physical effects. I was struck, too, by the absence of any light, even those floating "colours" I can see when I shut my eyes - it wasn't even "black" - or any kind of black that I'd ever seen before. Completely extraordinary (in the literal sense of the word) and haunting experience......I've never been in an anechoic chamber, but my feeling in the total darkness was one of enchantment rather than fear/insecurity: I knew that the conditions were temporary, and so just "explored" the new experience whilst they lasted.

Good to hear that not everything has changed in the last 40 odd years. Now you mention it, I think there may have been in me "a feeling of the "solidity" of the total darkness" there like being bricked in by a massive slab of blackness, momentary, or if there wasn't I can conceive it. My instinct is to think that the feeling of falling there as one might experience in a lift was a reaction to the changing circumstances - a sudden change from light to dark - in which arguably there was dissociation between the mind and physical frame once the former had no means of seeing the latter as separate from the environmental surround or perhaps more likely it was adjustment to that sudden occurrence.

I also understand the "floating colours" when the eyes are closed, especially in half light. Often in swirls or blotches that appear to spread, the colours can change although rarely beyond three or four times. They can occur naturally when they often mimic in a colour form what has been seen very recently when the eyes were open or they can to some extent be self-induced following thoughts about a colour or the word for a colour but then it is sporadic. Certainly changes between one colour and another seem to have a mind of their own. This happens much more rarely than it did in childhood. Children play all sorts of visual games like seeing animal shapes in shadows or the designs of wallpaper or curtains. Perhaps, therefore, what is being described here beyond such things is commonplace, at least at a young age and where there aren't loads of other kids running about all day and night, not that I have ever written or spoken about this before. One thing I do know is that I had a tendency to feel that I could draw those colours towards me and there was a certain point in that process where it felt slightly dangerous in that it could lead to a need to flinch. I doubt if it did my visual cortex many favours in the long run. None of this seems especially mysterious or bizarre. I think it is about enhanced awareness which as the decades pass either largely goes or goes into the focus of thought and purpose.

What I have done during office breaks is ask people what they mean when they talk about "the mind's eye". This required some spoon feeding - "if you have a bus in your mind's eye, is it the size of an actual bus and perceived as positioned in front of you or more like a photograph of a toy bus in you head that doesn't necessarily seem very small because in that moment the need to know its dimension is suspended and for the most part seemingly irrelevant?" Those who were willing to engage in this - a minority - admitted that they sort of understood what I meant by the question. However, they were quite unable to answer it. Needless to say it has been a very long time indeed since I was invited to a party. However, I would be very happy to offer a contribution via video link to all the good people of Dower Court in the event that they discuss Cage next time with reference to Babbitt.

[Stanley Stewart]

A belated end to the 2016/17 season - almost 3 months since our last rendezvous - but we had a splendid turnout last night, heralded by a fine but rare summer's evening. As ever, the driveway approach to Dover Court always gives my heart a pang. "O look, it's Manderley", I occasionally mutter to a perplexed Gavin at the wheel!

A normal end-of-term ritual as members bring their selection of discs, a 10 mins restriction to allow fair participation. I'm always impressed by the geniality of the occasion; a relaxed but attentive group of listeners, fostering a pleasing tone of unity with a degree of mirth between items. A timely start with two organ recital tracks by Francis Jackson and a reminder that he celebrates his centenary on October 2 - a reminder prompt, too, that I must now approach BBC 2/BBC 4 to encourage a documentary. Must be lots of archival material available. I gather that Dr Jackson is alive and well and resident near Malton, North Yorks.

Good to hear Delius's, Summer Evening, alongside a rare outing for Elgar's P & C marches, Nos 2 and 3, seldom heard today. I also warmed to several unknown to me classical guitar selections and charmed by a brass band arrangement of Mascagni's Cav, Easter Hymn, and a resonant cornet solo of Roses of Picardy, an engaging solitary sadness which appealed to me.

My own choice was Noel Coward's recording of London Pride after mentioning the master's diary entry re his inspiration as he sat at Marylebone Station, waiting for a friend, after a blitz raid and how moved he felt to watch Londoner's go on their way with a 'business as usual' dedication, their determination reflected in the lyrics, alongside a memorable, "...all Park Lane in a shimmering gown..."; the horrendous recent fire at Grenfel Towers, North Kensington, also crossed my mind. Lightened the tone with Alice is at it again, mischievously suggestive!

At the break, a fellow member approached me as he had forgotten to bring his contribution and asked me to select two further Coward recordings, "preferably saucy" - got a big laugh from the assembly, and I pinpointed, A Bar On The Piccola Marina and I Went To A Marvellous Party, a joy to hear in Noel's immaculate enunciation.

Altogether, a lovely way to spend an evening with due thanks to Gavin for his customary efficient and unobtrustive operational management throughout. Here's to our 2017/18 season!

[Stanley Stewart]

A stimulating start to the 2017/18 season, although en route for Dower Court, Chairman Gavin anticipated a minimal turn-out as the date had to be set at short notice and he'd had several
'apologies' from regular attenders unable to attend, due to prior arrangements, and anticipated a "few, we happy few...", for the AGM which marks the start of a new season. However, in
Shakespearian mode, "...Heaven hath a hand in these events..." We'd hardly started when a surprise contingency of Dower Court residents - there is an open invitation for them in return for the generosity of our free rental in an ideal setting - and it was a real pleasure to stop and welcome several new faces. Reminded me of my years in repertory theatre when we arrived glum-faced for a matinee on a fine summer's day as we expected a fairly empty 'house' only to be greeted by a good attendance which instantly energised the proceedings! Encouraging, too, for Gavin as, after concluding a brisk AGM, and following his unanimous 'coronation' as Chairman, he started the new season with an intriguing title presentation, 'Spanish with a French Accent'; in an e-mail exchange amused me with a declaration that there would be no Chabrier! More later on this.
His trailer informed us that "It's been said that the best Spanish music was written by Frenchmen
and he'd be exploring some French music with a Spanish flavour by composers such as Debussy,
Ravel, Massenet and Saint-Saens" - and some of it was, indeed, exquisite. The deep pleasure in our Dower Court meetings is always the quiet but relaxed intensity of the occasion.

Particularly engaging for me as I could also explore a subtext in the presentation beyond the historical comparisons in an age when Napoleon's army was invading territory in Eastern Europe as the Spanish sought rich pickings in South America. Even the feuding between French and Spanish composers added to the wider scenario.

The musical selection truly mouth-watering, the surprise element for me was often recognising the music but unable to recall a title, except for the excerpt from Saint-Saens, Havanaise in E, which made me smile as, unprompted, I could hear, 'Sugar in the Morning, sugar in the evening
etc as soon as I heard it. Most gratified when Gavin unexpectedly e-mailed his selection on Saturday evening as I began to stretch my memory having left my notes at Dower Court! I think he may have realised that I was a bit tentative as we chatted in the return journey.

My favourite was Massenet's, Nuit D'Espagne, so delicately sung by Hugette Tourangeau - lovely to hear her voice again - with Richard Bonynge (piano). The small pleasures en route also included, Lalo, Symphonie Espagnole - 2nd and 3rd movements, Debussy, La Soiree dans Grenade (from Estampes), Pascal Roge (piano) - must look further here - Debussy, Iberia, (from Images pour Orchestre, Chaminade (arr Kreisler), Serenade Espagnole, Massenet, Le Cid ballet suite, Another ear-catcher, a reminder of CBSO in the era of Louis Fremaux, as well as a further prompt that I must acquire the newly released CD box set of Fremaux's tenure at B'Ham but I've spent my Sept budget on a Bernstein six DVD set now on release - I suspect a recidivist urge to press the button on the Fremaux set. "Infirm of purpose..." Ravel, Alborada del Gracioso, Pascal Roge.
Ibert, Valencia (from Escales). Much amusement here as I caught Gavin's eyes as I clearly heard chords from Chabrier's Espana in the rum-te-tum rhythm, typical Ibert - earworm for the rest of the day!

Delighted to note that Chabrier: Musician and Art Collector Extraordinaire is the choice of Guest Speaker, James Murray, at our next meeting, October 14th. Gavin assures me that the topic is entirely coincidental!

[Lat-Literal]

A stimulating start to the 2017/18 season, although en route for Dower Court, Chairman Gavin anticipated a minimal turn-out as the date had to be set at short notice and he'd had several
'apologies' from regular attenders unable to attend, due to prior arrangements, and anticipated a "few, we happy few...", for the AGM which marks the start of a new season. However, in
Shakespearian mode, "...Heaven hath a hand in these events..." We'd hardly started when a surprise contingency of Dower Court residents - there is an open invitation for them in return for the generosity of our free rental in an ideal setting - and it was a real pleasure to stop and welcome several new faces. Reminded me of my years in repertory theatre when we arrived glum-faced for a matinee on a fine summer's day as we expected a fairly empty 'house' only to be greeted by a good attendance which instantly energised the proceedings! Encouraging, too, for Gavin as, after concluding a brisk AGM, and following his unanimous 'coronation' as Chairman, he started the new season with an intriguing title presentation, 'Spanish with a French Accent'; in an e-mail exchange amused me with a declaration that there would be no Chabrier! More later on this.
His trailer informed us that "It's been said that the best Spanish music was written by Frenchmen
and he'd be exploring some French music with a Spanish flavour by composers such as Debussy,
Ravel, Massenet and Saint-Saens" - and some of it was, indeed, exquisite. The deep pleasure in our Dower Court meetings is always the quiet but relaxed intensity of the occasion.

Particularly engaging for me as I could also explore a subtext in the presentation beyond the historical comparisons in an age when Napoleon's army was invading territory in Eastern Europe as the Spanish sought rich pickings in South America. Even the feuding between French and Spanish composers added to the wider scenario.

The musical selection truly mouth-watering, the surprise element for me was often recognising the music but unable to recall a title, except for the excerpt from Saint-Saens, Havanaise in E, which made me smile as, unprompted, I could hear, 'Sugar in the Morning, sugar in the evening
etc as soon as I heard it. Most gratified when Gavin unexpectedly e-mailed his selection on Saturday evening as I began to stretch my memory having left my notes at Dower Court! I think he may have realised that I was a bit tentative as we chatted in the return journey.

My favourite was Massenet's, Nuit D'Espagne, so delicately sung by Hugette Tourangeau - lovely to hear her voice again - with Richard Bonynge (piano). The small pleasures en route also included, Lalo, Symphonie Espagnole - 2nd and 3rd movements, Debussy, La Soiree dans Grenade (from Estampes), Pascal Roge (piano) - must look further here - Debussy, Iberia, (from Images pour Orchestre, Chaminade (arr Kreisler), Serenade Espagnole, Massenet, Le Cid ballet suite, Another ear-catcher, a reminder of CBSO in the era of Louis Fremaux, as well as a further prompt that I must acquire the newly released CD box set of Fremaux's tenure at B'Ham but I've spent my Sept budget on a Bernstein six DVD set now on release - I suspect a recidivist urge to press the button on the Fremaux set. "Infirm of purpose..." Ravel, Alborada del Gracioso, Pascal Roge.
Ibert, Valencia (from Escales). Much amusement here as I caught Gavin's eyes as I clearly heard chords from Chabrier's Espana in the rum-te-tum rhythm, typical Ibert - earworm for the rest of the day!

Delighted to note that Chabrier: Musician and Art Collector Extraordinaire is the choice of Guest Speaker, James Murray, at our next meeting, October 14th. Gavin assures me that the topic is entirely coincidental!

Interesting post as always, Stan - the Spaniard, Mompou, wrote some of the best "French" piano music and then there is the more vague but of merit as in Hahn. Slightly tangentially, I thought I was discovering the appropriate website and instead got the one of the York Musical Society. I see that, among other things, they are about to perform a composition by Rutter. Our local group - voice auditions in the church on Monday next over which I've hovered but doubt if my heart would be in it - is also "doing" Rutter just before Christmas. Is there a huge grassroots movement across the nation for this composer of which I was previously unaware? Fine, I think, but had it been Stainer I may have risked it.

[Lat-Literal]

A stimulating start to the 2017/18 season, although en route for Dower Court, Chairman Gavin anticipated a minimal turn-out as the date had to be set at short notice and he'd had several
'apologies' from regular attenders unable to attend, due to prior arrangements, and anticipated a "few, we happy few...", for the AGM which marks the start of a new season. However, in
Shakespearian mode, "...Heaven hath a hand in these events..." We'd hardly started when a surprise contingency of Dower Court residents - there is an open invitation for them in return for the generosity of our free rental in an ideal setting - and it was a real pleasure to stop and welcome several new faces. Reminded me of my years in repertory theatre when we arrived glum-faced for a matinee on a fine summer's day as we expected a fairly empty 'house' only to be greeted by a good attendance which instantly energised the proceedings! Encouraging, too, for Gavin as, after concluding a brisk AGM, and following his unanimous 'coronation' as Chairman, he started the new season with an intriguing title presentation, 'Spanish with a French Accent'; in an e-mail exchange amused me with a declaration that there would be no Chabrier! More later on this.
His trailer informed us that "It's been said that the best Spanish music was written by Frenchmen
and he'd be exploring some French music with a Spanish flavour by composers such as Debussy,
Ravel, Massenet and Saint-Saens" - and some of it was, indeed, exquisite. The deep pleasure in our Dower Court meetings is always the quiet but relaxed intensity of the occasion.

Particularly engaging for me as I could also explore a subtext in the presentation beyond the historical comparisons in an age when Napoleon's army was invading territory in Eastern Europe as the Spanish sought rich pickings in South America. Even the feuding between French and Spanish composers added to the wider scenario.

The musical selection truly mouth-watering, the surprise element for me was often recognising the music but unable to recall a title, except for the excerpt from Saint-Saens, Havanaise in E, which made me smile as, unprompted, I could hear, 'Sugar in the Morning, sugar in the evening
etc as soon as I heard it. Most gratified when Gavin unexpectedly e-mailed his selection on Saturday evening as I began to stretch my memory having left my notes at Dower Court! I think he may have realised that I was a bit tentative as we chatted in the return journey.

My favourite was Massenet's, Nuit D'Espagne, so delicately sung by Hugette Tourangeau - lovely to hear her voice again - with Richard Bonynge (piano). The small pleasures en route also included, Lalo, Symphonie Espagnole - 2nd and 3rd movements, Debussy, La Soiree dans Grenade (from Estampes), Pascal Roge (piano) - must look further here - Debussy, Iberia, (from Images pour Orchestre, Chaminade (arr Kreisler), Serenade Espagnole, Massenet, Le Cid ballet suite, Another ear-catcher, a reminder of CBSO in the era of Louis Fremaux, as well as a further prompt that I must acquire the newly released CD box set of Fremaux's tenure at B'Ham but I've spent my Sept budget on a Bernstein six DVD set now on release - I suspect a recidivist urge to press the button on the Fremaux set. "Infirm of purpose..." Ravel, Alborada del Gracioso, Pascal Roge.
Ibert, Valencia (from Escales). Much amusement here as I caught Gavin's eyes as I clearly heard chords from Chabrier's Espana in the rum-te-tum rhythm, typical Ibert - earworm for the rest of the day!

Delighted to note that Chabrier: Musician and Art Collector Extraordinaire is the choice of Guest Speaker, James Murray, at our next meeting, October 14th. Gavin assures me that the topic is entirely coincidental!

Interesting post, as always, Stan - the Spaniard, Mompou, wrote some of the best "French" piano music and then there are those who are more vague but of merit as in Hahn. Slightly tangentially, I thought I was discovering your appropriate website and instead got the one of the York Musical Society. I see that, among other things, they are about to perform a composition by Rutter. Our local group - voice auditions in the church on Monday next over which I've hovered but doubt if my heart would be in it - is also "doing" Rutter just before Christmas. Is there a huge grassroots movement across the nation for this composer of which I was previously unaware? Fine, I think, but had it been Stainer I may just have risked it.

My current tentative York based dates are, alas, 7th-10th/11th Oct if it happens at all - not at all certain - so any hello would not be at YRMS but it could easily be somewhere else.

The story behind this, not that it needs telling, is I've managed to dig out yet another person who is disgruntled that I haven't met up for seven years but with whom I had sufficient closeness and presumably not a little regard over the previous 20 odd - apparently I used to be surprisingly sociable. He's just retired early (at 52), bright, but a bit of a stick in the mud - the urgent Bootham Crescent idea is not exactly appealing to him but I feel that given he has been so charitable he needs a trip there and also a discussion about classical music in the Blue Bell to widen his horizons. He is also wonderful at drawing/painting so, appearances aside, he is no oik although only the chosen few of us have ever been allowed to know. At the end of the day as with the previous one, I have to accept that he is helping me to go to the places I wish. Hence there will be fair play based on compromise and immense gratitude.

[Stanley Stewart]

A glorious day for our autumnal season at Dower Court and a superb antidote
after the dire "...weary, stale, flat and unprofitable ..." R3, morning broadcast of
Record Review.

Serendipity, too, as James Murray's presentation featured the life of Alexis-Emmanuel
Chabrier, (1841-1894) which merged so well with Chairman Gavin's talk at our last meeting
and its French Connection. Realised by the interval break that my Chabrier collection was sparse
although I've always prized the handsome EMI double cassette tape - remember those? -
of L'Etoile and its sparkling score, Orchestre et Choeurs de Opera de Lyon/JEG.
I also warmed to the extracts from Gwendoline and during our tea break, I made a beeline for a large CD collection which James is handling from the estate of Hugh Scully, many in sealed cover and sold at a generous discount, usually around a fiver per disc. Glad now to have a Chabrier selection on the Magdalen label, 2012, with recordings from Barbirolli, Beecham, Bernac and Poulenc, Marcelle Meyer, and Janine Micheau - a glorious sense of melodie and my heart did a flutter when I heard L'ile heureuse exquisitely floated by Felicity Lott/Graham Johnson, acc.on the Hyperion label. Contacted the river people and the 2 CD set - last copy! - is still available and ordered.

Fascinated by Chabrier's legal training and work as a civil servant, his struggle for recognition
as a composer as the musical establishment treated him as an amateur but gradually
poets and fellow musicians were convinced of his ability and originality. Amused and touched
to hear how connived with his employers to get a few days off to attend a performance
of Tristan and Isolde at Munich in the company of Duparc no less. At the opening bars, he burst into tears and withdrew to his hotel at the end of Act 1. Illness dogged him for 15 years until
it killed him. A state of dementia meant that he continued to take curtain calls but
couldn't recall his own music. I'm grateful to have James's set of notes at four pages
for further study as well as a reference point as I work through the 2 CD Hyperion set.

Our members are always quiet and attentive as they listen but I did laugh at a delicious moment during the catchy Habanera when they responded to a moment of frisson with a spontaneous raising of an arm in a pointing gesture!

James deserved a sustained ovation at the close and congratulations were also deserved for
the splendid display of Chabrier stills he placed along several tables. Chuffed to hear that
he will include York next Spring when he undertakes a circuit tour on the career of
Jerome Kern.

[hmvman]

Chuffed to hear that
he will include York next Spring when he undertakes a circuit tour on the career of
Jerome Kern.

And there's Werner Egk to look forward to before then, Stanley.

[Stanley Stewart]

And there's Werner Egk to look forward to before then, Stanley.

Bring 'im on!

[ferneyhoughgeliebte]

Bring 'im on!

Egk 'im on?

[Lat-Literal]

A glorious day for our autumnal season at Dower Court and a superb antidote
after the dire "...weary, stale, flat and unprofitable ..." R3, morning broadcast of
Record Review.

Serendipity, too, as James Murray's presentation featured the life of Alexis-Emmanuel
Chabrier, (1841-1894) which merged so well with Chairman Gavin's talk at our last meeting
and its French Connection. Realised by the interval break that my Chabrier collection was sparse
although I've always prized the handsome EMI double cassette tape - remember those? -
of L'Etoile and its sparkling score, Orchestre et Choeurs de Opera de Lyon/JEG.
I also warmed to the extracts from Gwendoline and during our tea break, I made a beeline for a large CD collection which James is handling from the estate of Hugh Scully, many in sealed cover and sold at a generous discount, usually around a fiver per disc. Glad now to have a Chabrier selection on the Magdalen label, 2012, with recordings from Barbirolli, Beecham, Bernac and Poulenc, Marcelle Meyer, and Janine Micheau - a glorious sense of melodie and my heart did a flutter when I heard L'ile heureuse exquisitely floated by Felicity Lott/Graham Johnson, acc.on the Hyperion label. Contacted the river people and the 2 CD set - last copy! - is still available and ordered.

Fascinated by Chabrier's legal training and work as a civil servant, his struggle for recognition
as a composer as the musical establishment treated him as an amateur but gradually
poets and fellow musicians were convinced of his ability and originality. Amused and touched
to hear how connived with his employers to get a few days off to attend a performance
of Tristan and Isolde at Munich in the company of Duparc no less. At the opening bars, he burst into tears and withdrew to his hotel at the end of Act 1. Illness dogged him for 15 years until
it killed him. A state of dementia meant that he continued to take curtain calls but
couldn't recall his own music. I'm grateful to have James's set of notes at four pages
for further study as well as a reference point as I work through the 2 CD Hyperion set.

Our members are always quiet and attentive as they listen but I did laugh at a delicious moment during the catchy Habanera when they responded to a moment of frisson with a spontaneous raising of an arm in a pointing gesture!

James deserved a sustained ovation at the close and congratulations were also deserved for
the splendid display of Chabrier stills he placed along several tables. Chuffed to hear that
he will include York next Spring when he undertakes a circuit tour on the career of
Jerome Kern.

Interesting that Chabrier and Duparc, who I like a lot, travelled in each other's company before each succumbed to illness. I can never quite make up my mind on the first, while noting that he was able to draw on the past in such an innovative way that he influenced Les Six and many others. There are one or two warhorses in his orchestral output, if I'm not entirely mistaken on the meaning of that word, and the piano music, while it has charm, is at times a little twiddly for my liking. His songs fare better and, with hindsight, have the capacity to surprise. For example, for anyone who enjoys Scott Walker's lengthy avant-garde period, there might be interest in just how similar this can sound. Bish Bosch indeed!

Emmanuel Chabrier - L'invitation au voyage (Charles Baudelaire) - Bruno Laplante - https://www.youtube.com/watch?v=xJADYm5b7-4

[Stanley Stewart]

Thanks for the useful link, Lat-Lit. :smiley and the fascinating connection with Scott Walker's avant-garde period. I used to go to his gigs at the Astoria, Finsbury Park,
in the late 60s when he also featured Jacques Brel to an intently listening audience instead of the teeny-boppers of the Walker Bros earlier years.

The Musique adorable twofer has also arrived - "...these songs steal into the heart...
a set made for a lifetime's listening and enjoyment".

[Stanley Stewart]

A splendid autumnal day last Sat, (11 Nov), as we wended our way to Dower Court for member Stephen Davis's presentation,
A Tale of Two Composers - Beethoven & Stravinsky- we reminisced about his two-fer last October, on Beethoven-Brahms.
I recall his use of pithy comments, leaving generous time for substantial musical extracts. As a non-musician, I warm to
this approach as I prefer to do a degree of homework as preparation - my message above, *65, outlines on Beethoven,
a DVD, Eroica (2011) and, say, Stravinsky, Riot at the Ritz, (2006) + a 60 mins documentary, Igor Stravinsky, Composer,
which always provides a fresh insight on both composers. Stephen's presentation reminded me that I should also delve
on my shelves for the work of Robert Craft on Stravinsky, along with his magnetic recording of Stravinsky's Requiem Canticles.
He specifically didn't mention them but they bounced automatically from aspects of his narrative. A fascinating quid pro quo!
He did Beethoven proud with a selection of overtures; Coriolan, Prometheus, St Stephen, each an enticing world of invention
in itself; the pleasure compounded by including the last three movements of Beet PC 4.

Stravinsky came to the fore after the tea break with a substantial recording of The Firebird which set my heart alight
as I recalled a full performance at ENO by the Maurice Bejart Dance Co and a thunderous reception which not only
brought the house down but the building next door as well!

Good to see a good turn-out on Saturday; the stillness and concentration always a quality to savour in itself.