As You Like It (7/11/20)

I liked it. I didn’t love it. This was a black and white 1936 film version starring Laurence Olivier and Elisabeth Bergner. Oddly, she got top billing. Not oddly, she was married to the director of the film, Paul Czinner. More to the point, the score for the film was written by William Walton (1902–1983).

I liked the score. I am not a dyed-in-the-wool Shakespeare scholar but it seemed to me that Walton played a little fast and loose with some of the songs from the Shakespeare text. On at least one occasion, it seemed to me as though a song usually sung by Touchstone (the Fool) was reassigned to a different character, and it occurred much earlier in the film than it does in the play.

The story, of course, is filled with characters assuming other lives, characters assuming other genders, and characters behaving in a silly manner. Not quite Monty Python silly, but pretty darn close. Hey, it’s a Shakespeare comedy.

Not surprisingly, all ended well (but that’s another play/movie for another time). The music by William Walton, though, was totally on spot.

ConcertMeister

Great Performances – Gloria: A Life (6/26/20)

When I first saw this Great Performances listing, I almost blew it off. Gloria Estefan? Nah. Gloria Vanderbilt? Maybe. But really, what's in a name?
Oh! Gloria Steinem.

I'm glad I watched. I learned a lot. Christine Lahti starred in an all-female cast. Most of the production staff were female, as well. The presentation was expertly done. The theater production (and thus, this recording) was from 2019, so it was very relevant and up to date if a little heavy handed, politically—not that there's anything wrong with that.

I enjoyed the performances. Act II, the 'talking circle' after the theatrical performance, was also a little heavy handed. But that's to be expected. When the subject is inequality, the solution is obvious. No more inequality. Sometimes heavy handedness is the only way to make that point.

Kudos to PBS and Great Performances. (Off my soap box now.)

ConcertMeister (TV style)

Midday Masterpieces (6/3/20)

Kerson Leong, violin
Tu Mach, piano

Kudos to WQXR for providing a virtual Midday Masterpieces. (I know, I’m woefully late in reporting.)

Ysaÿe: Allemande from Violin Sonata No. 4
Bach: Andante from Violin Sonata No. 2
Kreisler: Liebesleid (with Tu Mach, piano)
Ysaÿe: Allegretto poco Scherzoso from Violin Sonata No. 1
Kreisler: Recitativo and Scherzo
Tarrega: Recuerdos de la Alhambra (arr. Ricci)
Raff: Cavatina (with Tu Mach, piano)

With all of that, Mr. Leong played very well and his mother (Tu Mach) was a very generous supportive artist. With the exception of the two works accompanied by piano, these were solo violin pieces. The concert, though, was a little heavy on ‘down’-ish music. This is pretty much to be expected in these pandemic times. I’m not sure, though, what the correct balance should be between somber and uplifting.

In terms of a pre-recorded concert … um, it was pre-recorded. I would much prefer a live recording with at least some sort of audience, even if it couldn’t include me. And I know this sounds oxymoronic, but if there are costume changes (his shirt), then how much can we be convinced that it was ‘live’?

Also, it was presented in partnership with The Violin Channel. As a result, it sounded to me as though his living room recording studio was slightly enhanced in terms of sound editing (specifically a little reverb).

So I’m grateful that WQXR kept us in the virtual loop but less than impressed with the virtual result.

ConcertMeister

Great Performances (6/12/20)

An American in Paris

To my mind, this PBS presentation was a ballet with a few songs, a few lyrics, and even fewer bits of dialogue.

Please don’t get me wrong. The choreography and dancing were stunning. The music was S’Wonderful. The dancing was S’Marvelous. The storytelling left a little to be desired for my taste.

If you love, love, love ballet, this is your cup of tea. If you love, love, like Broadway musicals, this might float your boat.

I would have liked to have seen a more fleshed-out story. As always, this is my opinion only. In these troubled times of ours, I’m happy to see any and all productions, since our choices are limited. I just wish I’d liked this one better. But I just may be grumpy and longing for live performances. I also just may be a ’Meister downer.

ConcertMeister

Bach’s Solo Cello Suites (5/24/20)

Yo-Yo Ma
WXQR and other online venues

OK, the playing was absolutely wonderful. The lack of information ahead of time and during the performance was woefully sad. I understand that I’m going to need to do more exploring in this ‘new normal’ world. Still.

I’m guessing that Mr. Ma played the six J. S. Bach suites in numerical order, but I never really found that out. I’m guessing that each suite had several movements, but I never really found that out. While listening to the two-and-a-half-hour concert, I was never quite sure when one suite ended and another began. Maybe that’s on me; I have n0t studied the intricacies of the solo cello suites. A little guidance would have gone a long, long way.

I knew about the performance because it was announced ahead of time on WQXR (and BabyBro alerted me). I guessed that the live performance was not happening in NYC (and I was right), otherwise WQXR would have been promoting the venue much more strongly. It took place in Boston, not that there’s anything wrong with that.

After all was said and done (though little was said), I enjoyed the performance. The suites themselves are a little too similar for my taste, and they leave a little to be desired, for me, in terms of specific interest. One of the most interesting things to me was when Mr. Ma (after the fourth suite?) explained that he needed to reset the pin on his cello after the workout the instrument had been given.

Teaching moment: the pin is the metal piece at the bottom of the cello that links it to the floor. Some cellists will use a strap of some sort to connect to the leg of the cellist’s chair and has a hole that the pin can poke into for stability. Most cellists do not use one. I’m guessing that Mr. Ma did not. Since it was radio, I’ll never know unless I do a lot more online exploring, which I am not inclined to do.

Overall, it was a once in a lifetime listening experience. And though I’m glad I experienced it, I was not bowled over. I really would have appreciated an online program—order of suites, movements of each suite, etc. Yes, the music is aural. Knowing what to expect is visual. I like to experience both.

ConcertMeister

Serenade to Music (4/28/20)

Ralph Vaughan Williams (1872–1958)
WQXR (4/23/20)

Ralph (pronounced “Rafe”) Vaughan Williams wrote this work in 1938 for orchestra and sixteen vocal soloists. He later created versions for orchestra and chorus as well as for orchestra only, with solo violin. I was fortunate many moons ago to perform the orchestra-chorus version. The text is taken from portions of Shakespeare’s Merchant of Venice. Here’s the deal, though. I almost always hear the orchestra-only version on WQXR (New York City’s classical music station). Imagine my surprise and delight when I heard the orchestra-chorus version recently. I was moved to email the station:
~~~~~~~~~~~~~~~~~
This past Thursday was the first time I have heard the vocal version of RVW’s Serenade to Music on WQXR in a long, long time. I really appreciate it. I sang it years ago with an amateur choral society. Every time I see it on a WQXR playlist, I hope that it will be the vocal version.

This is a real pleasure.

David Mallard
DuckDeadeye
~~~~~~~~~~~~~~~~~~
After a couple of misfires (OK, I’m not the most tech-savvy ’Meister), I got this response:
~~~~~~~~~~~~~~~~~~
Thanks for this note, Mr. Mallard.
You and a couple of others are among the fierce listeners who want the full vocal version every time, and while I don't blame you a bit, I like the other version, too.
And if you haven't heard the “original cast” recording of the work, please enjoy it here:
https://www.youtube.com/watch?v=tq8sczVU5o8
~~~~~~~~~~~~~~~~~~~

Now, for the record, I don’t really want the vocal version every time. Once in a while would be nice though. Which is why I was so moved to email them in the first place.

Anyhoo, the piece is about fourteen minutes long, in case you’re inclined to listen. And also for the record, the on-air talent often says (of the orchestral version) that listeners respond with, “What is that? I love that; I want that.” And I agree. However, I also think that it’s important to hear the work as it was originally created as well as in other versions created by the composer himself.

ConcertMeister (aka RadioMeister)

America the Beautiful (4/11/20)

Hello, all. In this strange new world we're living in, I'm sending a link to a virtual performance. I may try to do a few more. (And a shout out to my cousin Lee.)

https://www.youtube.com/watch?v=drAwiNNG3Fk&feature=youtu.be&fbclid=IwAR2GunKF26E2mkG4kOm8DEMlcbebYFNgDJEmSWDjsEeXemjku1KVSwZfRAo

You may have to copy the link into your browser. Sorry, I'm new at this.

Stay safe and sane.
ConcertMeister