I’ve been a fan of Brad Mehldau’s music for many years now, and own all of his releases (as main performer, not as sideman). I think he’s an extremely innovative pianist, and I especially like his work with his trio. This new album, recorded live at the Marciac Jazz Festival in France, in 2006, features a solo performance, one of only two live solo releases he has made (the other is the 2004 Live in Tokyo).
This is an attractive album, with energetic performances, and flattering sound. (I felt that the Live in Tokyo album had somewhat brittle, harsh sound.) In solo performances, Melhdau tends to wander a bit more than when he has a rhythm section backing him, and this album is a bit less attractive than his live recordings with his trio (such as the 2008 Live at the Village Vanguard). But it’s a fine example of his work, and any fan of jazz piano should definitely get this. Not only does it have two CDs, but also a DVD, with all but one of the songs. (I haven’t watched the DVD yet.)
However, there’s one thing I need to point out. I ordered this set directly from the label, Nonesuch, which provides MP3s by download as soon as the album is released, so you can listen to the music before you get the discs. There are some oddities on some of the tracks: a couple of them end with loud applause that doesn’t fade out; it just cuts off as the next track starts. For example, Lilac Wine has very loud applause at the end (and it deserves it; it’s a beautiful song), then cuts off immediately as Martha My Dear begins. But at the end of Martha My Dear, the same thing happens; it cuts from applause to My Favorite Things.
It is not normal that a professionally edited album would have this abrupt cut between tracks, and, now that I have the CDs, I can see that it’s the MP3s files that were truncated. In fact, in the MP3 files, four of the songs on the second disc – the ones that have the abrupt edits – are missing a total of over 2 minutes. From the amount of applause, it seems like Lithium was the last track in the set, and the rest were encores. Nonesuch’s MP3s are therefore just hacked off at the ends, and there’s no reason for this. So do buy the CDs; don’t buy any MP3s from Nonesuch. I note that Amazon is not selling this in MP3 format, but the timings on iTunes are the same as the bad MP3s I got from Nonesuch, so if you want this album, get it on plastic. While you don’t miss any of the music, the abrupt cut from applause to music is jarring and annoying.
UPDATE: I heard back from Nonesuch, who replied, “We have looked into this issue, and have learned that the original MP3s were indeed mistakenly truncated. We have corrected the files.” So apparently the files will be fixed on their site and on iTunes, but if you do have the truncated files, do get in touch with whoever you purchased them from to get new copies.
Over at Macworld, I look at a 99-CD box set of music by Franz List (this one) which Hyperion Records is now offering for download. Is this the biggest music download to date? I can’t find anything bigger, though there are plenty of classical box sets that contain more music. One day, even the big box sets from Brilliant Classics will be available by download…
There are some kinds of music that, when you first hear them, sound like they are music that you’ve always heard in your head, but never on a record. That’s how I felt when I first heard Brian Eno’s Ambient 1: Music for Airports shortly after it was first released. The self-effacing title of this 1978 album suggests that it might be a form of muzak, or taffelmusik. In fact, that was, in some ways, the goal of the work. It was designed to be played as background music, but the kind that you could focus on at any time and appreciate the qualities of the music. Eno, according to Wikipedia,
conceived this idea while being stuck at Cologne Bonn Airport in Germany in the mid 70s. He had to spend several hours there and was extremely annoyed by the uninspired sound atmosphere.
This four-part, 48-minute work, was the first album to bear the moniker “ambient,” though it was not Eno’s first truly ambient work. While other albums featuring a similar tone were made prior to Music for Airports, this was the first one consciously designed with what would become the ambient ethos.
Eno’s Discreet Music predated Music for Airports by three years, and, featuring the eponymous 30-minute track, as well as three experimental “remixes” of Pachelbel’s Canon, was the first true ambient work, designed as a background track for Robert Fripp to play over in concert.
Eno would go on to create other album-length ambient works, such as the 61-minute Thursday Afternoon, in 1985 (perhaps his best long work), the 58-minute Neroli (as of this writing, just 99 cents in MP3 format on Amazon) in 1993, and the 1999 I Dormienti, a 40-minute soundtrack for an installation.
Much of Eno’s music is ambient in nature, and he has recorded many other albums with the same tone, but others are more collections of shorter tracks, or collaborations, such as those with Harold Budd or Robert Fripp. But the five long ambient albums remain the most successful approaches to ambient music. While there are now thousands of people composing “ambient” music – after Eno, it became a genre of its own – Brian Eno’s albums are the pillars of this type of music. If you’re unfamiliar with this music, go for Music for Airports and Thursday Afternoon first. The title track of Discreet Music is excellent (though I don’t like the remixes of Pachelbel’s Canon). And Neroli is a dark, yet moving piece as well. No matter what, you owe yourself to discover this moving, meditative music.
For more than five years I’ve been buying John Eliot Gardiner’s Bach Cantata Pilgrimage series recordings on his label, Soli Deo Gloria. After this extraordinary series of performances was made in 2000, Deutsche Grammophon, which recorded them all, released several volumes of the series, then pulled the funding. Gardiner, armed with tapes of the performances, wisely decided to found his own label to sell these discs, starting with subscription sales, then expanding to distribution around the world in record shops and via online dealers (such as Amazon).
I received the final two volumes of this series (four CDs) in the mail this morning, which close this musical adventure. (These are the last two volumes that SDG will release; it’s still not clear if they will release their own discs of the four CDs that DG released from the Pilgrimage series.) This has led me to consider this series and its importance.
I’ve been a Bach fan for decades, and I first discovered the cantatas in the groundbreaking recordings by Nicolaus Harnoncourt and Gustav Leonhardt, where only boys are used for the higher vocal parts, in line with the way Bach himself performed them. While these are excellent recordings, the boy singers are very unequal. Over the years, I’ve collected other cantata recordings and series: those by Helmut Rilling, less “HIP” but with excellent choirs; Suzuki Maasaki’s wonderful ongoing series which is tight and brilliant, yet perhaps lacking in spontaneity; the many recordings by Philippe Herreweghe, which feature crystal-clear performances; and many other recordings by a variety of conductors and performers. Yet I find, in Gardiner’s recordings, despite some imperfections, an energy and a spirit that the others don’t have.
John Eliot Gardiner set out on a wild and risky journey: to perform all of Bach’s cantatas in venues around the world from Christmas 1999 through the end of 2000, in celebration of the 250th anniversary of Bach’s death. As he says on his web site:
“When we embarked on the Bach Cantata Pilgrimage in Weimar on Christmas Day 1999 we had no real sense of how the project would turn out. There were no precedents, no earlier attempts to perform all Bach’s surviving church cantatas on the appointed feast day and all within a single year, for us to draw on or to guide us. Just as in planning to scale a mountain or cross and ocean, you can make meticulous provision, calculate your route and get all the equipment in order, in the end you have to deal with whatever the elements – both human and physical – throw at you at any given moment.”
Beginning with the Christmas Oratorio (recorded on this DVD), Gardiner went on the Quixotic journey, facing trials, tribulations, and logistical issues. (There’s a documentary on the previously-mentioned DVD discussing the pilgrimage, giving an idea of what they were up against. There’s also another DVD with three cantatas from one performance.)
I’m a Deadhead; a fan of the Grateful Dead, the quintessential live band of the 60s and 70s (and on through to the mid-90s), that toured constantly, and that proved that live music, with its spontaneity, is truly unique. My equating the Gardiner Bach Cantata Pilgrimage with a Grateful Dead tour may sound odd to some readers, but those familiar with the two worlds will see the links. Here was a conductor going on tour to record this astounding body of works without a net, taking risks and counting on the excellence of his performers, and hoping not to have too many problems along the road. This was a long, strange trip that has worked out quite well, as can be heard in the recordings of the cantatas.
For live recordings, they are truly astounding. Naturally, Gardiner and his crew didn’t only record the actual performances; they also recorded the rehearsals just in case. I’m sure that some movements come from rehearsals because of problems with the performances, but those rehearsals were still live; they weren’t performed in a studio with the luxury of time and a stable location. Gardiner managed, throughout this tour, to keep his group performing at a very high level, and the recordings feature, in addition to a solid core of performers, a wonderful selection of singers (the singers varied from concert to concert, some staying for several concerts, others coming back from time to time, others only singing once).
One can certainly find weaknesses in this series; there are some singers who are not top-notch, and the musicians are not as tight as they could be in all performances. But overall, the quality of this series is extraordinary. One may prefer the scintillating recordings of Suzuki Maasaki, who has the leisure of recording them in studios with the time he needs. One may like Helmut Rilling’s recordings, which, while less HIP, show a great understanding of the works. Or the many other conductors who have recorded some or many of the cantatas and have their own vision (such as the one-voice-per-part recordings of Joshua Rifkin and his followers).
But I find that the unity that Gardiner and his musicians present in this series is perhaps unique in the history of recording Bach cantatas. What he did, during this pilgrimage, will likely never be repeated, and the recordings we have bear witness not only to this complex venture but also to an excellent group of musicians who went all-out to share their love for this ageless music.
If you haven’t heard these recordings, check out any of them; check some out on Amazon.com, and you can listen to samples on the Soli Deo Gloria website. And, to get a taste of Bach’s sacred music, there’s a 22-CD box set of John Eliot Gardiner conducting Bach’s passions, his B minor mass, and a number of cantatas, including the four discs worth of cantatas from the Pilgrimage that Deutsche Grammophon originally released (and which SDG did not release; so if you want the entire series, you need to get this box in addition to the SDG recordings.)
Thank you, Mr. Gardiner, for your amazing tour and its recordings.
About a year ago, a friend turned my on to Brad Mehldau. We had been corresponding by e-mail, talking about music, and I mentioned that I was a big Bill Evans fan. The friend mentioned Mehldau, suggesting that I look into one of his Art of the Trio albums. I did. I was hooked.Now, with about ten Brad Mehldau albums – some solo, but most with his trio – I’ve become and unconditional fan. So I keep my eyes open for every new release. This new recording, his first with his new label Nonesuch, is the first live solo disc he has made. He performs many familiar songs, a few new ones, and the now-obligatory Radiohead cover (a nearly 20 minute rendition of Paranoid Android).
The sound is great; the piano seems recorded from a slight distance, allowing the music to bloom in the hall, and the performance is what I have come to expect from Mehldau: tight, yet flexible, with restrained improvisation that highlights his creativity and feeling for the music.
My favorite track on the album is River Man, the final track, a somewhat melancholy ballad that is perfectly fitting for the last song of a set or a recording. Here, Mehldau takes the repetitive left-hand part as a solid base for a lyrical improvisation of the song’s simple tune, and increases the tension and complexity as he goes on. Sheer bliss.
There is something interesting to note about this album. It is available in two forms: on CD and by download from the iTunes Music Store. What is interesting, however, is that the iTunes Music Store offers the equivalent of a double CD for a little more than the usual album price ($13.99), whereas this double CD is not available on plastic. Even more surprising, the iTunes Music Store does not mention this difference, and the only indication on Brad Mehldau’s web site is a link on the main page, but there’s nothing on the page for the disc itself. It’s almost as if they wanted to keep it under wraps, to see whether fans notice.
So, if you just have to have the disc, go for plastic; but if you want the music, you get about two hours’ worth from the iTunes Music Store version. In either case, go for it: this is perhaps Mehldau’s best recording yet.
“Everything begins in mystique and ends in politics,” said French poet Charles Péguy. This sentence, which begins chapter 11 of The Rest is Noise, may sum up the entire book, and the music of the twentieth century. Alex Ross, music critic for the New Yorker (and blogger: his web site is also called The Rest is Noise ) has written a comprehensive study of classical music after the 19th century, which looks less at the music itself than at the political and social context surrounding composers, as well as their inter-relations. Not that the music doesn’t count, but Ross focuses more on the âwhyâ than the âwhatâ.
Beginning with Richard Strauss conducting Salome in 1906, an event that âilluminated a musical world on the verge of traumatic change,â Ross sketches out the complex history of modern music. In what, at times, is more a series of articles than a single coherent narrative, Ross looks at all the main currents of musical thought and fashion, and gives the reader an excellent understanding of why certain composers wrote the music they did. For music does not exist in a vacuum; it depends on the cultural context of the times. Modernism didn’t just happen overnight, but can be seen as an organic result of what came before. From Wagner to Mahler, the seeds of twentieth-century music had been sprouting before the beginning of the century. Of course, no arbitrary boundary, such as a date, can separate musical styles, and Ross shows just how music evolved around the cusp of the twentieth century.Ross flits around in time and space, grouping composers by location and affinity, sometimes going forward, sometimes moving backwards in time, to give a bird’s-eye-view of the music that was being created. From Germany to France, from the United States to Russia, he looks at the many styles of classical (as well as, briefly, jazz and rock) that grew and morphed into the next style. Yet to this reader, something strange results from this type of analysis. This narrative suggests just how much this music depended on fashions, fads, on the desire, among some composers, to be different for difference’s sake (it âbegins in mystique and ends in politicsâ). While I appreciate much music of this period, I remain perplexed by the respect given to, for example, severe atonal music, which offers no satisfaction to the listener.
Reading Ross, I get the feeling that much of this music was created more as a counterpoint to other, earlier tonal forms of music, and less out of some desire to write music that pleases. With a variety of systems and gimmicks, many composers simply let the music write itself: SchÃ¶nberg, perhaps, with his twelve-tone series, or Cage, with his embracing of randomness, are two such examples. Reading about the systems and tricks of these and other composers does not make me want to hear what they wrote.
At times, Ross tries to actually describe the music he is discussing. This is strange; reading something like, âThe viola offers wide-ranging, rising-and-falling phrases,â or, âthe strings play restlessly swirling lines while the brass carve out the whole-tone chords.â He also gives blow-blow descriptions of some works, such as Britten’s Peter Grimes and Stravinsky’s The Rite of Spring. In a way, this is like describing the color blue to a blind person; there’s no way to give an impression from music through words on a page. And that’s probably the weakest part of this book: even though it’s not intended to make you hear music, you simply want to as you read about all these different composers. Ross has included a playlist at the end of the book, Suggested Listening (unfortunately hidden between the notes and index), and his web site contains excerpts from many works that you can listen to.
Ross’s writing shines when he writes about the few composers who, if pages are any indication, seem to move him most: Sibelius, Shostakovitch and Britten. These three get much deeper treatment than others, with Sibelius especially getting a thirty-page biographical essay. (This could be seen as anachronistic, since Sibelius’s music, while being written in the twentieth century, is certainly rooted in the 19th.) His analysis of music during Nazi Germany, and during the United States in the Cold War period, are especially interesting for their historical information. Yet sometimes it seems that the politics is more important than the music, and, without hearing what’s being discussed, this analysis becomes academic.
At times, it’s not clear how much Ross actually likes the music he’s writing about; he is very detached, and gives few qualitative opinions. But it’s clear that he knows his subject, down to the details, and the interesting juxtapositions of biography and politics make this an extremely interesting read, especially to understand these composers in context. This is a long book, but, at times, I wished it were longer. Ross, on his blog, mentioned how much had to be cut from his manuscript, and it’s a shame that there’s not more. Especially since some composers get short shrift, or are ignored entirely. Charles Ives, perhaps one of America’s most unique composers, gets just a couple of pages, and such names as Vaughan Williams, Walton and Hovhaness barely get a mention. He also manages to totally ignore the vibrant musical culture of twentieth-century Scandinavia, which has seen, since Sibelius, a number of world-class composers.
Nevertheless, this book is a delightful read, and it deserves a place on the shelves of any music-lover who is interested in the history of the twentieth century and how it influenced music. While it’s only words about music, it can help listeners understand the complex relationships between composers and their times. After reading this, it’s time to go out and listen.
Note: on September 23, it was announced that Alex Ross received a MacArthur Foundation “genius” grant. Congrats!
For nearly thirty years, I’ve been a fan of The Durutti Column, the name used by multi-instrumentalist, singer and composer Vini Reilly. I discovered The Return of the Durutti Column, Vini’s first album, back in 1980, shortly after it was released, and was immediately hooked. His combination of catchy melodies, his unique style of guitar playing, and his laconic voice give his music a tone that is his alone. So as, each year or so, a new Durutti Column album comes out, I buy it unhesitatingly.
The latest album, sunlight to blue… blue to blackness, is available from Kooky Records, a small label that has released the last few Durutti albums. (It is actually not released until June 23; I got a pre-release copy of it.)
Vini Reilly can be said to repeat himself; but that’s part of the charm of each Durutti Column album. The first track, a heart-rending acoustic guitar piece called “Glimpse”, is a reworking of a few early Durutti Column melodies, but is played with such delicacy and beauty, that it makes me melt. The first five tracks on this album are instrumentals, several featuring themes and riffs from earlier works, and the sixth track is a rhythm-box version of “Never Known”, a great old song from the 1981 disc LC. I’ve never been a big fan of Vini’s “electronicized” music, such as his Obey the Time album, but the song works well. “Ananda” is a beautiful piano-based track, written and performed by Poppy Morgan, with “intrusive guitar” by Vini. “Head Glue” is a very languid duet sung by Vini and XXXX, and “Demo for Gathering Dust” is, as its title suggests, a version of a song on the Idiots Savants disc released last year, in which Vini shows off his acoustic guitar skills (though it gets a bit vague near the end as he riffs out on chords). “Cup a Soup Romance” is another guitar instrumental, and “Grief” is a solo piano piece.
All in all, another beautiful album from Vini Reilly. In a way, though, the three songs with vocals don’t really fit with the other eight tracks; this album would have been a bit more satisfying as an instrumental-only disc. But there’s not a weak song on it, and I’d recommend it to all, fans of The Durutti Column or newcomers.
For those who weren’t around or listening to music in 1979, it’s hard to imagine how different the world of “popular” music was. Critics and retailers hadn’t fragmented music into the many genres you see today in stores, and many of today’s genres didn’t even exist. Rap was taking its first steps, ambient and electronic music were considered avant-garde, new age was just budding, and punk and disco were battling it out in the record bins. New wave was just following in the footsteps of punk, as progressive rock was in its final death throes.
Amidst the punk and new-wave music that came out of England, as part of the late-’70s independent music scene, was a now-legendary record label based in Manchester: Factory Records. Its first two groups were Joy Division (which, after the suicide of lead singer Ian Curtis, morphed into New Order) and The Durutti Column, but Factory released many other records by little-known groups, and the Factory concept, together with other independent labels in the UK, such as Rough Trade, revitalized a moribund music scene.
If you like Bach, you simply must be familiar with his sacred cantatas. These vocal and instrumental works, written to be performed in church on Sundays and on feast days, feature some of Bach’s finest melodies. This set, conducted by Leonhardt and Harnoncourt, was groundbreaking when it was first released, starting in the 1970s. At the time, it was the only complete set of cantatas, but now many others are available. Performed in what is now called historically informed performance, this set is unique in that it has no female singers; only boys are used for the soprano voices, unlike other recordings.
This re-release is a reminder just how great this music is, and how important it is to know. While I have this set, and like it, I prefer more recent recordings, such as the in-progress complete sets by John Gardiner or Maasaki Suzuki. But the pure instrumental sound achieved in these recordings, and the simplicity of the boy singers’ voices, makes it an essential recording. It’s not cheap, but for Bach fanatics it is a must-have.
Are you a classical music fan? Then this new article is a must-read for you. I’ve written the first of a short series for Playlist, the website of Playlist Magazine. Find out about compressing and importing classical music, joining tracks and more here.