Tune in this Saturday, June 15th, after the opera, when Mark Pinto will host a special New Releases. He's stretching out and broadcasting for us Mahler's last completed symphony, the Ninth. We can't spill the beans on whose recording it is, but it's gotten raves! You will not be disappointed.
If you have the time to tune in just for this monument of orchestral literature, get to your radio or point your browser to wrti.org by about 4:15 pm.
I admit I approach any new recordings of these, my favorite Tchaikovsky symphonies, with a bit of trepidation. Over the years I’ve encountered one too many recordings, as well as concert performances, that lay on the incurable Romanticism a bit too thick. Thematic presentations are muddled and tempos are stretched so that each movement, regardless of the tempo indication, seems to plod at the same pace.
It’s as if some conductors believed that Tchaikovsky, who always wore his heart on his sleeve, needed help expressing his feelings.
It's all movement and angles on Now Is the Time, Sunday, June 9th at 10 pm. Sergio Cervetti's two harpsichord pieces Candombe and Alberada spin and dance, while Elizabeth Brown's chamber work Liguria bends deliciously (she's also the flutist).
Another composer/performer is the Philadelphia area's Steve Bowman, whose electronic Odd Angle of the Isle is mixed down from live club dates (no sequencers! no multi-tracking!). Steven Winteregg imagines an orchestral bullet train speeding through France with a brisk TGV, but David Evan Thomas's Thrum nudges the Minneapolis Guitar Quartet through layers and soft waves to close the program.
The cold snap is behind us and we’re feeling the warmth of spring on Now Is the Time, Sunday, May 19th at 10 pm. Ingrid Arauco’s Florescence buzzes and hums for the flute and harpsichord of Mélomanie, and Derek Bermel brings Thracian Sketches in all its Bulgarian-inspired rhythms to viola and percussion.
George Tsontakis takes us to the Mediterranean with orchestral Gymnopedies that are more Greek than French, but France infuses the sound of Avner Dorman’s Moments Musicaux for piano.
Things heat up with the computerized kicks of Thrum by John Gibson, and finally, with the two electric guitars that rock David Lang’s Warmth.
We’re traveling far and enjoying the journey on Now is the Time, Sunday, April 21st at 10 pm. From his CD Stream of Stars, Dylan Mattingly’s Atlas of Somewhere on the Way to Howland Island imagines the last flight of Amelia Earhart, somewhere over the Pacific, finishing with the movement “Islanded in a Stream of Stars.”
James Aikman’s CD Tremors From a Far Shore yields his Violin Sonata No. 2, a large-breathed work opening with a piano-centered Habanera. It also includes a second-movement Homage to his grandmother. Miguel del Aguila’s softly delicious Pacific Serenade leaves us wanting to hear more from him, as we continue on our way.
Kile's review including music from Francis Pott: In the Heart of Things
Whether communication is too easy, or articulation is too difficult, our time is not a time of counterpoint. Instead of corresponding, we post or tweet; instead of reasoning, we shout and repeat, louder and louder. Music is often an event or a stepping-up of rungs of events: hooks and ladders, clanging past, looking for a fire.
In the Heart of Things: Choral Music of Francis Pott Commotio. Matthew Berry, conductor Naxos 8.572739
The choral music of Francis Pott, however, flows by, refreshingly contrapuntal. That joy in the working of voices is particularly evident in his 2012 CD, In the Heart of Things. If counterpoint seems anti-modern, he admits it, and points to Thomas Tallis, William Byrd, and other past masters of the polyphonic Mass as models. That’s appropriate, because In the Heart of Things is a collection of his choral music revolving around the most substantial work on the recording, his Mass for Eight Parts.
From the Kyrie through the Agnus Dei, this Mass is a triumph of intricate beauty. Upper, middle, and lower streams of voices glide by and mingle, their complexity unnoticed because they shimmer. Sometimes they sneak in, as the “Hosanna” does at first in the Sanctus, or roll in waves, gathering strength as at the end of that movement.
Sometimes the power is overwhelming, as at the end of the Gloria, the final “Amen” surging, unexpected, rank upon rank. Pott composed the Agnus Dei in memory of someone he didn’t know, a past singer of the choir that commissioned this. His gentle, pointed lyricism melts the voices into a sea of comfort.
Francis Pott was raised in the English chorister tradition, and knows this repertoire from the inside. His setting of a familiar text, such as Balulalow (known by many from Benjamin Britten’s A Ceremony of Carols), or the new Mary’s Carol (Pott wrote this in memory of his father-in-law), always balances freshness of expression with aptness to the language.
His Lament honors a soldier killed in Afghanistan. Using the poem of Wilfrid Wilson Gibson, “But we, how shall we turn to little things / And listen to the birds… nor feel the heart-break in the heart of things,” we know the composer feels deeply what we also feel. This fellow-feeling is at the heart of artistry.
Francis Pott weaves a living counterpoint of music and emotion because he himself has sung it. His music breathes the life of tradition, but it is ever fresh, ever modern.
Review including examples from David Bennett Thomas, Paths.
Listeners look for categories, but artists freely create, and David Bennett Thomas is, first of all, an artist. Neo-this, post-that, or fusion-with-something-else may be of interest to others, but the artist is interested only in creating.
David Bennett Thomas works in jazz and classical music, but he doesn’t put one foot in one and one in the other. He’s a professional, so he commits to either, depending on his purpose. He’s an artist, so he’s true, regardless of what he’s composing. He laughs and loves life, so his music is filled with humor and, perhaps what is most revolutionary in our earnest age, happiness.
The subtitle of this five-CD set is “1100-1965,” and this is, in fact, a new release of the 1966 recordings, with 30 bonus tracks added. The original LPs accompanied the publication of a new edition of the printed music, and the project brought together the finest English sacred choral repertoire, from the conquest of the Normans to the conquest of Howells.
We rise to inspirations and challenges in the new year on Now is the Time, Sunday, December 30th at 10 pm. Nicholas Vasallo explodes a supernova in Antares Rising, but Robert Xaver Rodriguez's Scrooge is a lightly dramatic take on the Dickens tale. David Del Tredici accompanies his song New Year's Eve, and a single clarinet sings between eerily resonating pianos in Voices Rising of Rodney Rogers, inspired by the ancient chant Iste confessor.
Daniel Sturm revoices, for flute and harp, a Czech tradition of touching nature in Early Rising, and Maggi Payne manipulates the commonest of found sounds into the surprising celebration that is FIZZ.
It's expectation, light, and looking up on Now is the Time, Sunday, December 23rd at 10 pm. Welcher's Zion for band refers to what is now the national park in Utah—the haven for Mormons in the 19th century—and the old American hymn tune. Skyriding, from Brouwer's Light CD, is "a water ride in a celestial amusement park," and Zaimont's Chroma depicts the aurora borealis.
Daron Hagen and Carson Cooman's choral music fit the show for the turn from Advent into Christmas, ending with Hagen's original and exciting Hosanna.