Galina Vishnevskaya and Mstislav Rostropovich perform Rachmaninoff and Glinka

   Song is definitely a cultural phenomenon. It unites poetry, music and performance in one clear economic form. It is more than just a communiqué, it is an exposure comprising human processes: emotional and intellectual, private and social, natural and cultural. Song is present since ancient times, throughout history, to the present day. There were special moments, when song in various forms became particularly important, like late mediaeval canson or early baroque accompanied monody. Song is especially significant as a medium of rebellion and protest. Artistic song was also probably most characteristic musical form of romantic era. In 19th century European culture poetry was probably more popular than ever before, and musical elaboration of poems took prominent place in many social events. No wonder almost every composer was trying his potential in songs, song cycles, small forms for voice or even instrumental miniatures constructed as songs.
   Russian composers were especially creative in this field which was the result of great romance tradition giving song special place in repertoire and in collective memory. Russian culture until XVIII century was developing in isolation. In consequence of religious and cultural differences, Russian music was almost impenetrable from West European positions. The first Russian composer who became internationally recognized was Mikhail Glinka (1804-1857). He become famous for his operatic works, especially A Life for the Tzar (1936 original title Ivan Susanin) Ruslan and Lyudmila (1942) after poem by Alexander Pushkin. He was also author of chamber and orchestral compositions, with most popular symphonic piece Kamarinskaya (1848) and two Spanish Overtures (1845 and 1851). He composed also numerous artistic songs to romantic poems by Alexander Pushkin, Nestor von Kukolnik, Friedrich von Schiller and Adam Mickiewicz.

Galina Vishnevskaya – Songs by Rachmaninov and Glinka (1976)

   Romantic era was the time of great rise of culture in imperial Russia. During the one century Russian composers gained rated positions and become leading power in late romantic period. One of late romantic composers was Sergei Rachmaninoff, composer and pianist famous mainly for his four piano concertos and Rhapsody on a Theme of Paganini. He is remembered as brilliant pianist and his works are often present in virtuoso piano recitals, especially Preludes. His works comprise three operas, three symphonies, two string quartets, and series of choral works, many of them liturgical. And maybe the biggest amount of his works are compositions for voice with piano with famous Vocalise Op. 34 No. 14 (1912). He was composing songs to great Russian poetry, to lyrics of Ivan Bunin, Alexander Pushkin, Yakov Polonsky and Fyodor Tyutchev.
   Both composers, Glinka and Rachmaninoff are great masters of artistic song, and this part of their work was the subject of frequent renditions. One of the best is Deutsche Grammophon album with the recital of songs written by two romantic composers. Chronologic order was reversed and five Rachmaninoff songs were placed in side A of the record: Ночь печальна (Night is Mournful) Op. 26 No. 12, Не пой красавица (Beauty, Don’t Sing Anymore) Op. 4 No. 4, Музыка (Music) Op. 34 No. 8, Весенная вода (Spring Waters) Op. 14 No. 11 and Вокализ (Vocalise) Op. 34 No. 14. B side comprises 8 songs by Glinka: Сомнение (Doubt), Я помню чудное мгновение (I Remember the Wonderful Moment), Как сладко с тобой мне быть (How Sweet is to Be with You), К ней (To Her), Только узнал я тебя (I Just Found You), Венецианская Ночь (Night in Venice), Жаворонок (The Lark) and Баркарола (Barcarolle). This album of songs by Mikhail Glinka and Sergei Rachmaninoff was recorded in 1976. It is beautiful presentation of two Russian artists, singer Galina Vishnevskaya and famous cellist and conductor Mstislav Rostropovich who was also perfect pianist and sophisticated accompanist. Four stars for poetic and musical features of repertoire and for the quality of performance.

Return to Forever – Romantic Warrior

   Since jazz and rock were genres of music growing on conflict with official culture, artists were always referring to traditions different than accepted in establishment culture. While American rock ensembles were almost strictly connected to rhythm and blues roots, some were just duplicated rock and roll patterns, but numerous European bands and musicians were looking for inspiration in more specific tradition. Interesting concept was flourished in England, Italy and France. Many musicians playing popular songs, folk rock and progressive rock were experimenting with different folk traditions. It was natural many of them had found folk music sources in mediaeval culture. In fact connections between mediaeval traditions and folk culture were as common as deep. And of course it has different effect in popular and in more ambitious genres of music. Popular and progressive bands like Jethro Tull, Procol Harum, Yes, King Crimson were building clearly European sound and whole artistic means, totally different than Jimmy Hendrix, Chicago, Blood Sweat and Tears or Santana.
   During jazz-rock revolution many jazz musicians playing fusion were looking for possibilities of using different folk patterns. While John McLaughlin and his bands Mahavishnu Orchestra, Shakti were exploring far East traditions, Weather Report was mixing electric jazz sound with South American rhythms and sounds, Return to Forever found mediaeval musical idioms as perfect basis for building their creative music. In fact there was nothing like this before. Already in Hymn of the Seventh Galaxy musicians were building elevated emotions, one could consider them as religious. This attitude set the trend leading to perfect realization in Romantic Warrior album. Chick Corea and Return to Forever become one of most respected artists of seventies and Romantic Warrior was sold in half million copies.

Return to Forever – Romantic Warrior (1976)

   What’s interesting, especially if we notice Romantic Warrior is Return to Forever’s sixth studio album, this album is again an original work. And the first one in band’s discography published by Columbia Records. Interesting fact is this was the first time “featuring Chick Corea” reference has been omitted. It was probably decision of Columbia Records trying to reinforce the position of the band. Maybe after first five records Return to Forever was too explicitly associated with Chick Corea and managers wanted to show it more as an independent group than yet another Corea’s project. This is probable idea considering fact, every member of the quartet has on this album his own composition. But most interesting quality of Romantic Warrior is creative use of some mediaeval ideas. Themes played in unison and modality are clearly taken from mediaeval music. Tempos and virtuosity also can evoke some elements of old dance music.
   Selected sounds of electronic instruments give the effect of mystery, a context in which even acoustic piano or guitar sound differently than usual. Chock Corea is playing whole collection of keyboards instruments, marimba and percussion instruments. Stanley Clarke plays bass, Al DiMeola guitars and Lenny White drums and set of percussion. It is extremely interesting how jazz-rock connected to mediaeval motifs can be universal. Good example are solos in composition by Lenny White Sorcerres. Although guitar solos have clear rock feeling Al DiMeola’s discipline is perfectly jazzying. The same with Chick Corea’s accoustic piano solo which is both classic and jazz and somehow pop music. This shows the greatness of Retrun to Forever. This album demands four and half stars. Why not five? Only because there are few other Corea’s album which deserve full grade.

Christoph Willibald Gluck – Orfeo ed Euridice

THE 300th ANNIVERSARY OF CHRISTOPH WILLIBALD GLUCK'S BIRTH

   When Christoph Willibald Gluck was born, the 2nd of July in 1714, Europe was still in the state of war, but the clash of arms was heard mainly on peripheries of the continent. It was breakthrough year in Great Nothern War of Russian-Polish-Danish coalition against Swedish domination on Baltic Sea region. After long siege Barcelona was taken and Spanish Succession War was about to end. Republic of Venice isolated in newly established European balance has been attacked by Ottoman Empire in what was later called the Small War. The state of permanent variability was enhanced by rapid changes in science and technologies. Old habits and regimes were in permanent collision with new ideas and the progress in science and humanities. The conflicts in first half of 18th century were principally the echoes of global crisis in 17th century and the best solution was to clear oversized systems of the values and to start entirely new ideological standpoint. This situation has strong influence on creating the classical music, art of classicism, philosophy and science of the Enlightment era.

   In 18th century opera was one of well established musical forms, with more than a century of history. The moment opera started in 1600 marked the beginning of new era, but in fact it was not clearly baroque form. Conceptually opera was build entirely on renaissance idea of synthesis of arts, but in first century of its development new form was under strong effect of baroque culture. Many composers of opera and dramma per musica were making numerous concessions to singers’ vanity and audience’s expectations. This led to dramatic weakness and caricaturally changed proportions of various components of opera. Some baroque composers tried to restore the idea of balanced elements from various fields of art, but the one who made the first real reform of opera was Christoph Willibald Gluck. He subordinated music to drama and restored dominant position of dramatic effect obtained by play, music and every other element. Even overture had its dramatic function. He also reinforced the position of the choir, and reduced difference between arias and recitatives. 

Grace Bumbry, Václav Neumann – Gluck – Orfeo ed Euridice (1966)

   Christoph Willibald Gluck was one of the greatest opera composers ever. Thank to collaboration with librettist Raniero de’Calzabigi he was able to create works showing this form in new light. After about two dozens of traditional operatic works in Italian style, in 1762 he produced first opera of new type Orfeo ed Euridice. After Viennese premiere his reforms were poorly received. Paris was more ready to break with tradition and the work was acclaimed. His next operas Alceste (1767) Paride et Elena (1770), Iphigénie en Aulide (1774), Armide (1777) and Iphigénie en Tauride (1779) became successful realizations of new operatic esthetics. This reform decided opera was able to survive and be well in the era of Enlightenment. Gluck was recognized opera composer but his instrumental music never become popular, although nine symphonies and eight trio sonatas complement the picture of his creative possibilities. He was also composing sacred works even if he did it very rarely. His small portfolio of religious works comprises De profundis clamavi for choir and orchestra and lost Miserere.
   Later works give composer appreciation but 250 years later Orfeo ed Euridice is the most popular opera by Gluck. This work is transitional form between opera in Italian style and new trends. Maybe this is what makes the work so flexible. There are dozens of great performances on vinyl and on digital media. One of old but still very clear is 1966 recording made in Heilandskirche in Leipzig. Published under Eterna label but in cooperation with Electrola, during next years this recording was frequently republished in various countries. Perfectly sung by Grace Bumbry (Orfeo), Anneliese Rothenberger (Euridice) and Ruth-Margaret Pütz (Amore) with Rundfunkchor Leipzig and Gevandhausorchester Leipzig under direction by Václav Neumann, this is great recording. In fact it still sounds fresh, and after almost half of the century this is clear exposure of quality rendition. 

Angels in the Architecture

   As a gesture of justice, let's try to observe 20th century art of sound without excitation, just as one more century in the history of music. But it is not an easy task. No wonder, past century was highly irregular period of rapid changes and modifications. Social issues were significant too, and for sure economic changes had strong impact on functioning of the culture, but still it was technology improvements which had really changed our life. Electronic means of sound during the process of production and reproduction has exchanged music dramatically and at any level of its functioning. In a way this revolution was even bigger than famous improvement in printing technique developed by Johannes Guttenberg. Before the era of electronic revolution many parameters of sound and space were just randomly. Composers were trying to make structures proper for every kind of reproduction, for good and poor performers, for small and big halls and auditoriums. Their aim was to compose music which could be played in every shape, in every possible circumstance with almost the same effect.
   In 20th century electronic means revolve everything upside down. From early mechanical phonographic recordings, than modified by electronic and digital technology, the process was a new quality in musical culture. Earlier theoretical attitude was always focused on structures and means, constructive, harmonic, orchestral, supported by the descriptive reports on performance characteristics. And rapidly musicologists were able to compare different ideas and distant realities. Old school performances with all its faults gave way to perfect performances of generations learned from records. Learning from recordings resulted the experience impossible to acquire in traditional culture. Recorded in studio, or just collected and merge from many recorded fragments compositions were moved to listeners' homes as the sound product of perfect quality. This change has influenced all kinds of music, and cultural practices. 

Angels in the Architecture (1987)

   When musicians realize the common place for listening music became home and how related social behavior had changed, they started artistic search for adequate means of expression. In fact earlier changes also generate artistic revolutions, every social, economic, religious change has strong impact on culture, so there’s no surprise changes in 20th century had been changed a lot. In 1980’s, partly as a reaction on disco frenzy, partly to recognize new possibilities of creating artificial sounds and spaces, group of musicians started recording music for contemplative listening, composed more as static sound picture than narrative musical construction. Creators of this new way were recruiting mainly from progressive rock, electronic, alternative and session musicians. This part of music, strongly connected to electronic sound experiments and minimal music ideas has been called ambient music and in early 1990’s it was widely spread as alternative for rock, dance and popular music.
   One of labels specializing in ambient records was Editions E. G. which was continuation of famous in 1970’s E. G. Records. It has started in 1969 from artistic management of David Enthoven and John Gaydon who were managers of such giants as King Crimson, T. Rex, Emerson Lake and Palmer and Roxy Music. In next decade E. G. Records was still the label significant for the whole artistic movement developed from progressive rock. In 1987 label Editions E. G. (then marketed by Virgin) released sampler of ambient productions We have here classics of Harold Budd, Brian Eno, Roger Eno, Michael Brook, experimenters and intellectualists with great Robert Fripp, Bill Bruford, Patrick Moraz, Phil Manzanera and Penguin Cafe Orchestra.
   Thirteen compositions from albums signed by featured artists comprises both meditative and radical compositions and everything here is outside the mainstream. But now, when more than the quarter of the century has passed, former experiments sound nobly and honestly. It’s fascinating how time made them pure and clearly understandable, free of novelty and thus full of meanings. There’s one more chance to look behind the curtain of our memory. And what we can find in past, show us where we really are.

Johann Georg Albrechtsberger – Concertos for Jew’s Harp & Mandora

   Johann Georg Albrechtsberger was one of prominent composers in classical period Viennese school. He was only four years younger than his friend Joseph Haydn. Educated in philosophy and in music, he was skillful composer, using with competence almost all known techniques. Big part of his work is connected to his service as organist of Viennese court (from 1772) and Kapellmeister of St. Stephen Cathedral (from 1792). His numerous compositions for piano, organ, chamber ensembles, orchestral and vocal music was accompanied by theoretical works in subject of harmony and theory of music, treatise on composition and many others. He was also famous as a teacher of at least two generations of composers. His pupils were Johann Nepomuk Hummel, Anton Reicha, Ignaz Mosheles, Franz Xaver Wolfgang Mozart and many more. But his best known student was Ludwig van Beethoven, who came with Haydn’s recommendation and found in Albrechtsberger competent and experienced master of composition.
   Although in perspective of popular history and its simplified facts Albrechtsberger is remembered mainly as Beethoven’s teacher, his theoretical, practical, personal and artistic impact on European culture is really difficult to overestimate. His ideas in theoretical studies and teaching directions were setting trends many years after he gone. Some of his compositions have experimental character even today, even if these pieces are now just a curiosity. Probably most famous are concerti for Jew’s harp (Maultrommel) and string orchestra. Jew’s harp is small instrument used in Europe from 14th century. It was very popular until 20th century and today in different types and names is circulating in world wide culture. Johann Georg Albrechtsberger was only famous composer of western music who wrote concerti for this folk instrument. He composed seven, but only half of them survived. Two were recorded June 29, 1981 in München.

J. G. Albrechtsberger – Concertos for Jew’s Harp & Mandora (1981)

   Survived in Hungarian National Library in Budapest, Concerti for Jew’s harp, Mandora and Orchestra E Major and F Major were composed between 1769 and 1771. Compositions written in early classical gallant style illustrate the moment of establishing classical form. Concerto E Major is constructed in traditional three part form, Concerto F Major is in four movements with Menuett as third movement, connecting this work to some construction ideas of symphonic form. Both concerti feature two small folk instruments: Jew’s harp and mandora, which is name for various instruments. From Albrechtsberger’s textbook on composition we know in 18th century it was small type of lute with 8 pairs of strings tuned according to the key of the composition. Soloists in 1981 recording were Fritz Mayr playing Jew’s harp and Dieter Kirsch playing mandora. Performances were directed by Hans Stadlmair leading Münchener Kammerorchester. The cover features painting by Dirck van Baburen, Youth Playing the Jew’s Harp (1621). This famous Utrecht painter left series of works showing young men playing various musical instruments, which are probably his self portraits. 

Joshua Rifkin – Piano Rags by Scott Joplin – Volume II

   Ragtime was one of styles of the late nineteenth century popular music. It had flourished from dance forms and romantic miniatures and combined a clear construction with lots of attractive features. The main characteristic was syncopated, dance, ragged rhythm, which was the source for the name of the whole style in popular piano music. It has some formal similarities with marches by John Philip Sousa and with European folk dances. Between different the most popular was “classic style ragtime” presented by Scott Joplin and Missouri school. The term was created by John Stillwell Stark, publisher and promoter of ragtime music who considered these compositions as classical music pieces. In Stark’s sheet editions Scott Joplin was presented along with Joseph Francis Lamb, James Scott and many others, including editor’s eldest son Etilmon J. Stark. In twentieth after the Great War, ragtime has declined as the new trends in popular music were growing up.

   Scott Joplin was composer of melodic, syncopated pieces of classic ragtime. He was the one of first professional Afro-American composers in United States and leading composer of piano music in ragtime era. He wrote 44 ragtime pieces shortly called “rags”, a ragtime ballet and first Afro-American opera Tremonisha. His early years were a moderate success, but after great success of Maple Leaf Rag in 1899, he became appreciated and praised composer. He settled in St. Louis and was trying to develop his style. Ragtime in this period is in most cases based on the matrix of Maple Leaf Rag. But Joplin was creative and searching pianist so he was breaking sometimes these schemes and building more complex forms. Good example is Solace titled as A Mexican Serenade. 

Joshua Rifkin - Piano Rags by Scott Joplin - Volume II (1972)

   Two years after comeback of Joplin’s music, in 1972 Joshua Rifkin recorded next Joplin Piano Rag album. Under the title Piano Rags by Scott Joplin – Volume II it features eight compositions from most successful period in composer’s life, between 1902 and 1909. Starting with Elite Syncopations from 1902 and concluded with Pine Apple Rag from 1908, album shows most subtle and classical side of Joplin’s work. Firmly establish rhythms of steady left hand, syncopated melodies of right hand and brave harmonics were clear instruction for next generation of composers of popular music and jazz. Opening the second side Bethana is a concert waltz and one of his most romantic compositions. And again Solace – A Mexican Serenade shows how clear Joplin’s musical narration can be. This recording became standard of interpreting Joplin’s music. It is supported by academic authority of the performer and critical acclaim. In 1976 Scott Joplin was awarded posthumously with a Pulitzer Prize.

Mahavishnu

April 30 - INTERNATIONAL JAZZ DAY celebrated under the auspices of UNESCO since 2012

   In the history of fusion jazz the band called Mahavishnu was the legend. In fact the brand was shared by two different bands, even though both were closely related to English guitarist John McLaughlin. First Mahavishnu was performing in period 1971-1976 and it was the band playing blend of different styles from progressive rock to modern jazz and funky. Mahavishnu in seventies was the band establishing jazz-rock sound with violin, synthesizers and electrified guitar. Eight years after first Mahavishnu was disbanded, John McLaughlin back to the idea of fusion. In 1984 he reestablished under the name Mahavishnu whole new band with Mitchell Forman on keyboards, Jonas Hellborg on bass, Bill Evans on saxophones and drummer Billy Cobham, a pillar of first lineup and second member of both incarnations. New band was active to 1987 and recorded two studio albums – Mahavishnu (1984) and Adventures in Radioland (1986).
   Although both Mahavishnu bands were playing fusion by the assumption, and both were artistic projects by John McLaughlin, their sound and style characteristics were essentially different. Most clearly it was change of lineup. Tenor and soprano saxophones played by Bill Evans with deep sound and full-blooded jazz phrases gave whole band strong expressive character. Thickness of jazz structures founded on perfectly established bass phrases by Jonas Hellborg and dense keyboard progressions by Mitchell Forman are building quite new idea of fusion. Opening composition Radio-Activity is perfect sample of this new style, it’s more radical and far more electrified. There’s more of power jazz playing here than trying to reestablish any connections with rock or popular music. In fact 1984 was the moment when under pressure of disco and pop music, the best part of rock scene was declining into dark. And this paradoxically loosed the bounds with rock, giving new fusion band more space for clear jazz and sound experiments.

Mahavishnu (1984)

   And experiments with the sound became the basis of 1984 album John McLaughlin recorded with new lineup of Mahavishnu. Changes of instrumental setting, additional musicians and instruments Danny Gottlieb on percussion instruments, Katia Labeque on synthesizers and piano in When Blue Turns Gold, where played also Hari Prasad Chaurasia on flute and Zakir Hussain on table – all these artists gave the sound w the band their stigma. But what has changed most was guitar. Its sound became essentially new factor in Mahavishnu style. And not only the sound but whole performance is different. After series of great recordings with Shakti and various significant experiences with world music, John McLaughlin had powerful and potential for creating wide spectrum of improvising ideas. The sound spectrum of leader’s guitar is a beyond imagination. Guitar synthesizer Synclavier II, digital guitar and Les Paul Special he used were just state of the art equipment, giving much more possibilities than any artist really needed. Imagination and sound developments gave this record free feeling and noble stability. It’s one of best record of this strange year.