Wolfgang Amadeus Mozart – Die Zauberflöte

THE 270th ANNIVERSARY OF W. A. MOZART’S BIRTH

★★★★★

   Mozart's operatic works as a collection occupy a privileged place in the history of the genre. The composer's genius was fully reflected here, just as in his symphonies, concertos, chamber works, and religious music. Over the course of his creative life, the composer changed his attitude to existing operatic forms, combining various tendencies and opposing solutions to achieve the classical form of opera as a synthesis of the genre in his latest operas. Composed in 1787, Don Giovanni, with a libretto by Lorenzo Da Ponte is one of Mozart's most recognized achievements. In this dramma giocoso one can notice the unique results of combining opera buffa and opera seria. His last operas are opera seria La clemenza di Tito composed in 1791 to a libretto by Pietro Metastasio and Caterino Mazzolà and the Singspiel Die Zauberflöte (The Magic Flute), composed the same year to a libretto by Emanuel Schikaneder. Collaboration with outstanding librettists allowed him to establish formal assumptions that remained fresh for many decades, becoming the foundation of formal solutions used by Romantic composers.

   Mozart's operas have another feature that should not escape the attention of a sensitive listener. The means by which Mozart enhances the dramatic expression and illustrates the attitudes and aspirations of the characters constitute a constantly expanding catalog of the devices of classical music. This became an important element of semantics after the abandonment of the Baroque system of musical rhetoric. And although subsequent composers chose the means of expression more or less individually, Mozart's works are so clear that they can be a great way to penetrate the world of musical meanings. While instrumental music remains an abstraction up to a certain point, the semantic framework of every opera is the libretto. The Enlightenment ideas present in the dramatic work of librettists determine the situation where in Mozart's operas we receive a fundamental set of musical semantic means. The 22 operas composed by Mozart, ranging from simple Singspiels to complex operas, are a mirror reflecting both the era of Viennese classicism and the extraordinary path of innovation of the brilliant composer. The eight operas that Mozart composed in the last decade of his life have permanently entered the repertoire of world opera houses.

Wolfgang Amadeus Mozart – Die Zauberflöte (1986)

   The position of The Magic Flute, Mozart's last opera, is a phenomenon that can only be understood as the result of the creator's brilliant intuition. From the point of view of form, it is a Singspiel. On the symbolic level, it is a lecture on the Masonic vision of the world, the system of values, ​​and the role played in it by aware and properly prepared individuals. Behind the simple, uncomplicated form of the Singspiel, behind the fairy-tale story of love that overcomes adversity, there is an interesting explanation of Masonic ritual and symbolism. To save Pamina, Prince Tamino undergoes tests of silence, fire, and water, and finally is initiated into the Temple of Wisdom. This opera can be perceived at the same time as a children's fairy tale and as a philosophical parable. All this makes it one of the most popular works in the history of the genre, both in stage productions and on phonographic releases.
   The series of major recordings of The Magic Flute begins with the Berliner Philharmoniker recording of 1937, conducted by Beecham. Later came post-war recordings: a live recording from Salzburg conducted by Furtwängler in 1949, and a Viennese recording by Karajan published the following year. It's also worth mentioning the very interesting Rome recording from 1953 conducted by Karajan and sung in Italian. In 1954, Fricsay recorded The Magic Flute for Deutsche Grammophon. Ten years later, in 1964, two great performances were issued almost simultaneously: Klemperer’s rendition for EMI, and Böhm’s for Deutsche Grammophon. The following decade brought recordings conducted by Suitner (ETERNA 1970), Sawallisch (EMI 1973), and Karajan (DG 1980). It would be difficult to single out the best performance—each is unique in its own way. Any work of genius can be interpreted in many ways. At the center of this balance between classical approaches and more contemporary visions of Mozart's music is The Magic Flute, recorded in 1984 as a co-production between the German label Eterna and the Dutch company Phonogram International B.V. The recordings were made at the Lucaskirche in Dresden with German musicians. That same year, the three-disc album was released under the Philips label in the Netherlands. In 1986, Eterna released a Direct Metal Mastering version of the album for the East German market.
   The artistic value and the quality of the pressing make this edition highly sought after, even despite the passage of 40 years. This is because the recording conducted by Colin Davis can be considered exemplary in many respects, achieving a balance between dramatic elements and classical form. Two words come to mind when describing the fundamental characteristics of this recording: elegance and simplicity. Davis conducts the Staatskapelle Dresden in a manner far from routine, yet resists natural emotion, resulting in a greater subtlety of sound and a richness of orchestral color. Against the backdrop of a vivid, balanced orchestra, the solo parts of the characters, sung and spoken, build a familiar fairy-tale narrative, revealing additional meanings and significance. Among the stars of this recording are Kurt Moll (Sarastro), Luciana Serra (Queen of the Night), Margaret Price (Pamina), Peter Schreier (Tamino), Mikael Melbye (Papageno), and Maria Venuti (Papagena), as well as Theo Adam and Armin Ude (priests) and many more. Ultimately, this recording is a compelling story about character development and the maturation of values. Highly recommended with the highest possible rating – a full complement of stars.

E. T. A. Hoffmann – Die lustigen Musikanten

THE 250th ANNIVERSARY OF E. T. A. HOFFMANN’S BIRTH

★★★★✰

   Writer, jurist, and... forgotten composer – E.T.A. Hoffmann chased musical genius his entire life, leaving behind a trail of lost scores and revolutionary ideas that shaped early Romanticism. Through the exploration of his fascinating musical biography and the Warsaw mystery of his missing sheet music, attention is drawn to an exceptional album release that has saved his work from obscurity.
   E.T.A. Hoffmann was born on January 24, 1776, in Königsberg. The capital of East Prussia was a port city with rich traditions dating back to the times of the state of the Teutonic Order and its affiliation with the Hansa. From its founding in 1255, thanks to external security and vibrant trade relations, the city of Königsberg quickly achieved a prominent position among the centers of European civilization. This city with its famous Castle and Albertina University became the place where Ernst Theodor Amadeus Hoffmann was born and raised.
   Shaped by his time at Königsberg University, the lectures of Immanuel Kant, and the Sturm und Drang poets, the future composer viewed the world from a universalist perspective. Cultural diversity was a natural state of mind, and questions of identity did not occupy his attention. He focused rather on individual freedom and the creative calling of individuals. As a writer, he opened new creative perspectives, paving the way for fantasy literature. As a composer, he created in the style of his era, although despite technical adherence to the models of the classical Viennese School, his compositions reveal some signs of the emerging Romanticism. Stage works are particularly important from this point of view, and the fantasy opera Undine (composed in 1816) should be considered the first romantic opera.

E. T. A. Hoffmann – Die lustigen Musikanten (1984)

   The Singspiel Die lustigen Musikanten (The Merry Musicians) is the composer's second work for stage. The first was the Singspiel Die Maske, written by Hoffmann in 1799 to his own libretto. Five years after The Mask, the 28-year-old composer created music for a two-act play by Clemens von Brentano. The premiere, prepared by a theatre company in Warsaw led by Wojciech Bogusławski, took place on April 5, 1805. The composer was still unknown, and the play, despite favorable reviews, had a very short run. Four years later Hoffmann hoped to re-stage his Singspiel in Bamberg, but he discovered that the orchestral parts had disappeared. They were discovered in Warsaw several years after the composer's death.
   The premiere recording of excerpts from this work was published in 1984 by Schwann Musica Mundi in Germany. The selection includes three instrumental pieces: Overture, Interlude (Zwischenaktmusik), and Prelude to Act II, as well as eight pieces: arias, duets, and ensembles featuring the principal performers. Sopranos Verena Schweizer (Fabiola) and Judith Schmidt (Azelle), bass Klaus Lang (Piast), and tenor Thomas Schulze (Ramiro) provided a solid interpretation of the text and a balanced performance of the score. Four soloists perfectly fit this short version of Hoffmann’s composition. Radio-Symphonie-Orchester Berlin conducted by Lothar Zagrosek delivers a pleasant and clear sound balance. The recording made on August 23-25, 1983 at Jesus-Christus-Kirche in Berlin and pressed in direct metal mastering technology gives readable and clear sound. This recording is an important addition to the still limited catalogue of recordings of E. T. A. Hoffmann's music.

Ewa Demarczyk Sings Zygmunt Konieczny's Songs

★★★★✰

   The modern song genre has its roots in Romantic culture. As a dramatic narrative blending lyrics and music into a complete theatrical spectacle, the song emerged as a new type of performing art. This represented both a continuation of folk narrative traditions and the establishment of new directions in national musical culture. The era of national schools encompassed all genres of music, from orchestral to stage, but it was the song that remained the most popular Romantic means of artistic expression. Romanticism in Poland was closely related to the aspirations of rebuilding an independent state. While much of Romantic songwriting in many European cultures focused on sentimental subjects, Polish poems and songs dealt with the most serious existential and social issues. This profound approach remained a permanent feature of many Polish songwriters well into the 20th century.
   This phenomenon also influenced popular songs with artistic ambitions. For this reason, what corresponded to the French chanson or the Russian romance was defined in Polish culture during the latter half of the 20th century as "sung poetry" (poezja śpiewana). As a result, the Polish equivalent of the chanson genre spans three distinct categories: songs performed by bards, sometimes referred to as piosenka autorska (singer-songwriter song); songs composed to existing poetic works, known as poezja śpiewana (sung poetry) or piosenka poetycka (poetic song); and piosenka aktorska (actor's song), performed as a short dramatic act. In the 1960s, sung poetry became a full-fledged field of artistic expression which, thanks to its symbolic and metaphorical content, could bypass the restrictions of political censorship. This also applied to other genres where a poetic text allowed a certain freedom of expression; similar mechanisms operated in many autocracies. Polish culture produced many extraordinary performers of this genre, including Czesław Niemen and Marek Grechuta, alongside the movement's most revered and iconic figure, Ewa Demarczyk.

Ewa Demarczyk sings Zygmunt Konieczny's songs (1967)

   Ewa Demarczyk was both an actress and a singer, a performer of an artistically demanding repertoire based on selections of the finest Polish and European poetry. Her name became famous through a series of songs written by Zygmunt Konieczny to the words of 20th-century Polish poets. Her performances of these songs won awards at Poland's most significant festivals, paving the way for her debut album—an emblematic and radiant artistic statement. Released in 1967, Ewa Demarczyk śpiewa piosenki Zygmunta Koniecznego (Ewa Demarczyk Sings Zygmunt Konieczny's Songs) brought her instant success. The album's black-and-white, posterized cover photo initiated a series of records that unified popular music with deeper existential, moral, and historiosophic themes. As Juliusz Kydryński stated in the liner notes, her position as a truly great artist “is confirmed by her inability to make compromises, to do things the easy way. She is demanding of herself and the public as well.” The critic then added: “She always takes the risk: reaches for the top. She is audacious and at the same time extremely hard-working. Perhaps this is why she always wins.”
   Her debut LP was a significant and complex recital of songs based on poems by Miron Białoszewski, Bolesław Leśmian, Julian Tuwim, Krzysztof Kamil Baczyński, Maria Pawlikowska-Jasnorzewska, and others. The accompaniments were recorded by Zygmunt Konieczny's instrumental ensemble and the Polish Radio Symphony Orchestra, conducted by Stefan Rachoń.
   Her brave, dramatic interpretations turn these songs into modernist mini-theatrical performances rather than typical popular music. The distinct sound of her voice and her unique interpretative style turned these recordings into a benchmark for many subsequent albums, extending well beyond her immediate genre. Within Polish musical culture, the release became a momentous event; it has been reissued at least 11 times, bridging the generation gap and defining the context for the poetic song movement. While four stars would be objective from a purely technical standpoint, from the perspective of Polish culture, the album undoubtedly deserves a full five stars. Ultimately, I propose a rating of four and a half stars, acknowledging that even such a score cannot fully capture the monumental importance of this album at that specific historical moment and place on the European map.

Maurice Ravel plays and conducts his own works

★★★✰

   Maurice Ravel's Bolero occupies an unquestionable place in the history of music as the most famous and indeed one of the most outstanding works of the early twentieth century. Despite the apparent simplicity of form and content, this work has everything that characterizes the final break with 19th-century music and sets new directions in symphonic music. The Bolero effect, as well as the music for Daphnis and Chloe, were the result of the composer's talent and sonic sensitivity. His achievements in the field of orchestration, however, changed the approach to instrumentation and harmonics, and as a result had an impact on later symphonic music, and indirectly also on the shaping of modern jazz harmonics. Ravel's Bolero is in the repertoire of every symphony orchestra, not to mention hundreds of more or less simplified or complicated popular, rock and jazz arrangements, to mention the excellent recording by Jacques Loussier, a pianist known for his jazz remakes of Bach's music, but also many other composers. Therefore, it is particularly important to know Ravel's interpretation of this work.

   Bolero was Ravel’s last ballet music. It was commissioned by famous dancer Ida Rubinstein who premiered this ballet November 22, 1928 in Paris Opéra in choreography by Bronislava Nijinska. The conductor of the first performance was Walter Straram. After the premiere Ravel was informed about an unknown woman, who was heard screaming Au fou, Au fou! (Madman! Madman!), Ravel replied: That lady… she understood. The idea of this work was unusual. First, whom Ravel revealed it was his friend and music critic Gustave Samazeuilh.  Composer said he promised ballet music for Ida Rubinstein. Playing melody with one finger Ravel asked: Don’t you think that has an insistent quality?And then he said about the idea of a new work: I’m going to try to repeat it a number of times without any development, gradually increasing the orchestra as best I can. He composed this work in a considerably short four months period July through October 1928.
 

Maurice Ravel – Bolero (1930)

   First working title of the new work was Fandango, but when composer realized that fandango's characteristic acceleration would be contradictory to his idea, he changed the title to Bolero. As consequently this was made, the work is a magnificent orchestral crescendo increasing tension only through orchestration. Bolero shortly became the most famous of his works. Ravel was not convinced about the value and musical potential of this “experiment”. In an interview for The Daily Telegraph he stated: I am particularly desirous there should be no misunderstanding about this work. It constitutes an experiment in a very special and limited direction and should not be suspected of aiming at achieving other or more than it actually does. Nevertheless, Bolero is his most frequently performed composition.
   Almost immediately Bolero appeared in the symphonic repertoire. Less than a year after the ballet premiere, November 14, 1929 Bolero was played as a concert performance by the New York Philharmonic Symphony Orchestra conducted by Arturo Toscanini. Two months later, on January 11, 1939 Orchester des Concerts Lamoureux conducted by composer gave Bolero the European concert premiere in Paris. And two days after this premiere Piero Coppola recorded a World premiere recording of Bolero with Grand Orchestre Symphonique du Gramophone. This recording was made onstage at the Salle Pleyel in Paris. Later, but still in January 1930 Ravel recorded his Bolero for Polydor conducting the same Orchester des Concerts Lamoureux. Three months later, on April 30, Serge Koussevitzky recorded Bolero with the Boston Symphony Orchestra. With these renditions, the position of Bolero as concert work was firmly established.

Maurice Ravel — Bolero (rec.1930)

   Ravel’s recording shows some significant features we have to consider trying to catch the composer's idea. First of all he is executing the whole performance almost in metronomic steady tempo. General change of dynamics works as a wide growing crescendo built by volume of sound and articulation but the main factor of change is timbre of instruments, which is also connected with articulation and sound expression. There were some doubts if Ravel was the only conductor and interpreter of his work. It is true Ravel called for some help from conductor Albert Wolff, but this was only technical assistance as rehearsal conductor. In spite of some writers looking for sensation, Ravel was a competent conductor, and pianist. Pressed by Turnabout album of Ravels historic performances includes orchestral recording of Bolero conducted by Ravel and three piano works played by composer: La Vallee Des Cloches, Chansons Madecasses with singer Madeleine Grey and Pavane Pour pour une infante defunte. Despite some technical imperfections, this recording can be confidently recommended to anyone, and for those interested in Ravel's work, it is a must-have.

Silbermann Organ of Dresden Cathedral

★★★★✰

   Dresden is a city of radiating artistic culture, literature and music. Among many cultural achievements, the city on the Elbe could boast of an extraordinary organ tradition. It is worth remembering that Dresden, as the capital of Saxony, was one of the most important musical centers of its time. Heinrich Schütz spent his entire creative life in Dresden - from 1615 to 1672, educating many generations of composers who had a significant impact on the development of the musical culture of the 17th century. One who created strong base for musical culture of this city was organ builder Gottfried Silbermann, who was eminent organ masters of the late Baroque. He built in Dresden four instruments: the Sophienkirche, Hofkapelle des Residenzschlosses, Frauenkirche and unexampled organ in Katholische Hofkirche, which was the last instrument designed by the master. 
   The construction of Silberman’s last instrument was completed in 1755, two years after his death by his students and associates Zacharias Hildebrandt and his son Johann Gottfried Hildebrandt. Originally, Silbermann planned 66 registers, eventually the instrument had 47 registers on 3 manuals and pedal and 3000 pipes. In 1944, the organ was hidden in the monastery of St. Marienstern, thanks to which the pipework, the action and the console survived the British bombing of Dresden on February 13, 1945. The organ case was destroyed, carved wood prospectus and big parts of wind supply were lost. In 1963-1971, this monument of organ building has been restored by Jehmlich Company.

Herbert Tachezi an der Silbermannorgel vol.1 (1986)

   Exceptional instrument requires great artist who is able not only to present the instrument's unique features, but also can create  interpretations of the best works of the era and build a recital adequate to the quality of unique instrument. The Dresden Cathedral Silbermanorgan was recorded many times. One of most significant session took place a year before the 300th anniversary of Johann Sebastian Bach's birth. The Viennese organist Herbert Tachezi (1930-2016), who has  recorded a set of works by the great composer on the organ of the Dresden Cathedral. The session was co-produced by two labels from the western and eastern parts of the then divided Germany - Teldec and Eterna. As a result, two albums in Direct Metal Mastering technology were published: in 1985 two LPs were released under the label Teldec (BRD) and a year later under the label Eterna (GDR). Both labels also released CDs - Teldec in 1985 and Eterna in 1989.

   The program included a selection of Bach's most famous organ compositions, from the Toccata and Fugue in D Minor BWV 565 to the Passacaglia in C Minor BWV 582. Between these two pillars of the repertoire of each organist, Tachezi placed the Prelude and Fugue in E-flat Major BWV 552 and Prelude (Fantasy) and Fugue in G Minor BWV 542. This choice may seem too obvious - it contains the most appreciated, most spectacular works in organ literature, but after listening to the album, it turns out to be extremely accurate from an artistic point of view. By linking these works, Tachezi was able to demonstrate the depth and space of the sound of the instrument and the resonance interior in which it was built, while creating a philosophically and aesthetically coherent program. The majestic Prelude in E-flat Major, which, according to Schweitzer, is an image of divine power, and the corresponding triple Fugue, which is a representation of the Holy Trinity, are the only prelude and fugue for organ published by Bach during his lifetime. They form the frame for the third issue of Clavier-Übung - a collection with a clear religious and semantic plan, which is recognized by all significant musicologists writing on Bach's organ literature. As a result, this program allowed Herbert Tachezi to build a narrative presenting a close relationship between the top-class organ building achievement and the metaphysical content of Bach's work. It is hard to imagine a better tribute to the music of the great Leipzig cantor.

Teo Macero — Impressions of Charles Mingus

★★★✰

   Albums issued on vinyl records can tell the complex story of music, performances and artists, trends and ideas, composers, instrumentalists, vocalists and lots of people being a part of the recording industry. Professional position of creative producer in the era of vinyl records was significantly higher than any time before and after. Those were the times of records as subjects of value, pieces of art and complete product. In the digital era, the ease of recording, simplicity of studio processing, cheap manufacturing of discs and possibility to download music in any format were the factors that rapidly changed the world of the musical industry. The compromise between quality of cutting the matrix and the length of the music recorded on one side of the record with worsening quality of sound with every overtime minute was the real technical problem and a symbolic frame for artistic freedom in all types of recording. The other side of the problem was audience demand and expectations. The role of any producer was to seek a balance between these factors and artists’ creative freedom.

Teo Macero — Impressions of Charles Mingus (1983)

   One of legendary producers was Teo Macero (1925-2008), professional musician himself, who sacrificed to support the careers and artistic development of many musicians of jazz and other genres. As composer and saxophonist he was one of these jazzmen who built professional positions in a narrow circle of insiders only. For the wide public he was producer of dozens of jazz albums, but among musicians he was recognized as a competent and creative artist, composer, arranger and saxophonist. Thank to his professional competences he was able to help artists to realize such cornerstone albums as Monk’s Dream and Underground by Thelonious Monk, Mingus Ah Um and Let My Children Hear Music by Charles Mingus, Time Out by Dave Brubeck, but above all groundbreaking fusion albums In a Silent Way and Beaches Brew by Miles Davis. He was producer of most Davis albums published by Columbia Records and his role was so prominent, Davis’ biographer Paul Tingen in book Beyond Miles stated, his role was similar to what George Martin was to The Beatles. Macero was also real friend for many musicians. Miles Davis dedicated him composition Teo (1961). The same did Thelonious Monk with his composition Teo (1964) and Maynard Ferguson with composition Teonova (1973).

Teo Macero — Impressions of Charles Mingus (1983)

   

   Born in Glens Falls, NY, Macero studied composition in Julliard School of Music. Active musician in the field of jazz, he was successful playing his own formations as well as a sideman recording with many others.  Beyond jazz he was producer of over one hundred classical music records. In post-war avantgarde movement he acted as performer and as a composer. He became famous as Columbia record producer taking part in most significant recording sessions. First of them was Kind of Blue (1959) recording session where he was not credited but already coworking with main producer Irving Townsend. From Sketches of Spain (1960) Teo Macero was constantly Miles Davis producer. As producer of groundbreaking works for many artists Teo Macero acted as an art curator – he was prolific as creative. Phenomenon of his work consisted in skillfully convincing artists of the value of artistic priorities. He was trusted for his professional musician competence and for artistic intuition, both in dynamic musical equilibrium. His own music, as is often the case, was overshadowed by production achievements. And this is why the album Impressions of Charles Mingus is as much significant. Listening to this gives the artist a chance for justice.

Columbia–Princeton Electronic Music Center

★★★★★

   Technology is what changes the world. New sources and technical methods of sound modeling have always formed the basis of the development of new styles and even a new aesthetic paradigm. The history of electronic music in USA began in 1951, when the Columbia Music Department purchased the first Ampex 400 tape recorder. Two composers: Vladimir Ussachevsky and Otto Luening began experimenting with recorded voices and instruments. During the First Congress of Experimental Music in 1953, they made contact with composers in Europe who created the first experiments in radio studios: Pierre Schaeffer and Pierre Henry in Paris, and Karlheinz Stockhausen and Herbert Eimert in Cologne. These meetings resulted in many new ideas for the development of electronic music studios in universities of USA and Canada. In 1957 first American studio was installed in Macmillan Hall. The same year group of composers were able to work with RCA Mark II synthesizer installed in the studio, a flagship of Columbia–Princeton Electronic Music Center. And the first presentation of electronic music from Columbia–Princeton Electronic Music Center took place at the Composers Forum concert at the Macmillan Theater at Columbia University on May 9, 1961, and was repeated the next day. Material from this concert was published by Columbia in 1964.
   Six pieces by six composers presenting the most advanced achievements in the field of experimental and studio music. Few of them were composers of different cultures. The first in the program was Bülent Arel (1919-1990), a composer and pioneer of electronic music from Turkey. Born in Istanbul, a graduate of the Ankara Conservatory, he was invited in 1959 by the Rockefeller Foundation to the Columbia-Princeton Electronic Music Center, later became a professor at Yale University (from 1961 to 1970) and a professor at the State University of New York at Stony Brook, where he worked from 1971 to retired in 1989. He was an active composer of contemporary symphonic and chamber music, his music for tape includes the two main pieces of Stereo Electronic Music No. 1 (1961) and Stereo Electronic Music No. 2 (1962). The first of these two tracks was presented during the concert mentioned above and released as an introduction to the first LP presenting the achievements of the Columbia-Princeton Electronic Music Center.

Columbia–Princeton Electronic Music Center (1964)

   One of artists known for his serious contribution to the development of the ideas and techniques of concrete and electronic music was an Egyptian ethnomusicologist and composer Halim El-Dabh (1921-2017). In his works he combined electronic sounds and processed human voice. El-Dabh’s work Leiyla and the Poet shows modern version of old Arabic tale about Layla and Majnun. The story of Qays ibn al-Mulawwah, 7th century Bedouin poet obsessed with beloved Layla became the context for the narrative form in this early period of concrete music. He achieved interesting effects using processed vocal sounds in the manner rooted in traditional folk music. He became the pioneer of such forms already in beginning of 1940s. He was student of Cairo University, when in 1944 he created The Expression of Zaar, using wire recorder. Composition Layla and Poet was recorded 15 years later in Columbia-Princeton Studio on AMPEX tape recorders. Halim El-Dabh has strong influence on the ideas of developing experimental music and experimenting composers of popular music. His idea of looping became technical base for many progressive artists, and its influences included popular music. Some references can be found in the early work of the West Coast Pop Art Experimental Band (Leila), Mothers of Invention and Frank Zappa.
   Two composers playing leading role in the studio, presented two compositions combining electronics with traditional musical media. In the work by Vladimir Ussachevsky (1911-1990) called /Creation—Prologue based on text of Babylonian creation myth Enuma Elish, electronic sound was used as accompaniment to performance of The Little Chorus Of Macalester College mastered by Ian Morton. In Gargoyles by Otto Luening (1900-1996) sound of RCA synthesizer recorded and tape manipulated is interfering with solo violin played by Max Pollikoff. Two works published on this record were created solely as a result of pure artificial sound. Argentinian-American composer Mario Davidovsky (1934-2019) presented Electronic Study No. 1 based on sine wave, square wave and white noise tape manipulations. He came to USA in 1960 to study music and remained as citizen. One of his teachers was composer and mathematician Milton Babbitt (1916-2011) who’s Composition for Synthesizer opens B-side of the album. Babbitt was also performer of this work on RCA Synthesizer. These pure electronic works show how fruitful was new idea of sound creation in connection with 20th century new principles of musical form. Six works, five of them composed with tape manipulations, four composers born outside US, three works of pure electronics, two works connecting electronics with traditional media, one example of musique concrete – this math is something really making sense. Five stars for sixty years of noble presence in musical world.

John Adams — Must the Devil Have All the Good Tunes?

★★★★★

   John Adams, one of the best composers of today’s America, started his creative career in the end of the decade of sixties. Time of avantgarde ideas and great achievements of post-war music was about to an end. From the beginning of his composing he took esthetic positions of post-minimalistic style dealing with Darmstadt school ideas. As 31 years old composer in 1978 he wrote Shaker Loops for string septet in modular version, where conductor decided when musicians should move from one module to another. Five years later orchestrated this work and number of repetitions has been specified in the score. 

   His early works like Shaker Loops, Grand Pianola Music (1982) and many fragments of his first opera Nixon in China (1987) became a great success and pave his road to the fame of master of contemporary minimalism although most of his works cannot be recognized as minimal music. In the middle of second decade of his creative work he was already far from minimal ideas and in symphonic score Harmonielehre from 1985 he moved back to the expressionist means and loose tonality. Nevertheless in 1990’s he was listed in one row with masters of 1960’s generation Terry Rilley, Steve Reich and Philip Glass. Some elements of this style he was working also in next decades, i.e. using steady pulse as characteristic feature of his style, but the last decade of 20th century and two decades of new Millenium was the time of his greatest creative achievements.

John Adams —  Must the Devil Have All the Good Tunes? (2020)

   Concert compositions occupy a special place in John Adams’ oeuvres. Starting from Violin Concerto (1993) to Scheherazade 2 – symphony for violin and orchestra (2014) he presented an unusual melodic lightness and lyricism contrasted with dramatic tensions. In compositions for piano and orchestra these qualities were augmented with motoric intensity and expressive radiant harmonics interacting with variety of rhythmic patterns. In third piano concerto called Must the Devil Have All the Good Tunes? Was commissioned by Los Angelese Philharmonic and premiered March 7, 2019 in Walt Disney Concert Hall by Yuja Wang and Los Angeles Philharmonic Orchestra conducted by Gustavo Dudamel. In November 2019 artists recorded this work for Deutsche Grammophon and in April 17, 2020 album was released.
   New piano concerto uses the same steady pulse we know as a hallmark of composers style. This is the starting point for the process of developing and expanding patterns as figurative units for motoric and intensive piano action. This virtuoso concerto continues the line of great concertos by Bartok and Prokofiev. It consists of three movements: I Gritty, funky, but in Strict Tempo; Twitchy, Bot-like, II Much Slower; Gently, Relaxed III Piú Mosso: Obsession / Swing. Firm and energetic, perfect and virtuoso music suita the diabolic name which has its root in saying of Martin Luter.
   The program of this LP comprises concerto Must the Devil Have All the Good Tunes? and as an encore China Gates (1977) for piano solo, early composition based on principles developed in minimalistic period. Perfect performance of orchestra conducted by Gustavo Dudamel and brilliant virtuoso piano by Yuja Wang gave this visionary music good premiere. For composition and for performance complete five stars.

Tom Robinson Band — Power in the Darkness

★★★✰

   In the time of violent unrests, when constitutional rights are trampled by armed forces, politicians are staying against people, companies still are creating growth of public debt, and corporative mass-media false picture of reality, only arts and music can remind you what an honest world should look like. For some it will be a moment of rest, momentary relief in pain, but in many cases, it is powerful exposure of common concerns and dreams. To understand it, you don't need any special competences, this is publicly open message. Position of rock music comes from it is impact in actions against Jim Crow laws and imperialistic wars, like the one against Vietnam. Action was considerably strong and gave impulse for huge wave of counterculture movements. Position of rock music from 1960's was one of most significant effects of this process.
   In second half of 1970’s the era of disco was in full swing, big part of rock music looked like already historic genre. Pop rock as more entertaining and ideologically indifferent was in raising trend. Many artists were repeating earlier achievements in various subgenres, expanding them with some fashionable improvements, and gaining success. In late 1970’s most respectable subgenres of rock show some rebellious ideas, and most popular among them was punk rock. Its rhythmical, harmonic, and instrumental simplicity one could understand as weakness, but in fact these elements serve just as background for lyrics. Punk was more counterculture movement than just a genre and besides musical characteristics most significant feature of punk rock was its political commitment. 

 

Tom Robinson Band — Power in the Darkness (1978)

   Many bands in UK were playing syncretic rock with elements of new style recognized as punk and more traditional hard rock, glam rock, and various pop music styles. One of these bands was Tom Robinson Band, also known under abbreviation TRB. Band was established in 1976 by Tom Robinson, singer and songwriter, gay rights activist. He started his own band as singer giving performances on early London punk scene. He invited his friend Danny Kustow as guitarist, by add in music paper they have found drummer “Dolphin” Taylor, then by next audition they found keyboardist Mark Ambler. Tom Robinson decided to play bass guitar himself. Punk rock was politically engaged in general, but Tom Robinson band was more radical than others although their music was not so defiant as The Clash or Sex Pistols.

   TRB played much more complex and sometimes moderate version of punk rock gravitating towards new wave.  Based on rock rhythms it sounded modern and fashionable. Their started with hit song 2-4-6-8 Motorway – it was 1977 hit picking 5th position on UK Singles Chart – which together with B-side anthem I Shall Be Released it should be considered as a classic punk rock single. After this success in May 1978 EMI released Tom Robinson Band’s debut album Power in the Darkness. As punk rock album it is unusually rich as a variety of elements coming from every corner of rock and various pop music traditions. And it’s still interesting showing in original version some ideas that became fruitful in punk rock in 1990’s.

Tom Robinson Band — Power in the Darkness (1978)

   From the starting moment TRB were sympathizing with Rock Against Racism movement, which was supported by Tom Robinson from the beginning. The cover graphics of the album was the same raised fist as they used as band’s logo. No wonder debut album of TRB was created as a contribution to Rock against Racism campaign. Information about campaign on album cover includes short manifesto: “We want rebel music, street music. Music that breaks down people’s fear of one another. Crisis music. Music that knows who the real enemy is”. UK edition had 10 songs; in most local editions 2-4-6-8 Motorway song was added. US edition was 2LP with many bonus tracks. In UK and European editions part of the album cover was the LP size stencil showing raised fist and ring with name of the band.

   Not only rebellious ones, but most of popular culture artists have generally pro-equality and against- attitude. Although exceptions happen and many artists are testing random kinds of rebellious ideas, good majority is oriented towards values typical for open society, including anti-totalitarianism and advocating full rights for minorities. This direction is common in attitudes of most significant artists. They are saying about what is close to their social and individual interest, sometimes even putting their relations into risk. But experience shows those who are trying to support their careers with hate speech usually do not deserve attention.

Folk Festival – Songs from the deep of social history

★★✰

   Song can be understand as a base of musical expression and position of music in communication system. As the form of musical experience, song was always fundamental part of any culture. While developing forms of music through the eras were expanding and complicating, in folk music this form rooted in communication mechanisms, language and symbolic gestures, was flourishing with creative ideas and current content but remaining purest and uncontaminated form. The tradition of telling various stories with poetic text was common for most cultures all over the world. With rhyme, rhythm and with melody even legends and fantastic tales sounded more realistic. Basing on formal foundations song became a vehicle for ideas of great importance. After industrial revolution society became more independent and, from this moment onward, popular song played the role of common practical set of ideas.
   The new world society was in quite different situation. New waves of immigrants were coming with fresh energy and some basic musical culture, but mainly without education or cultural competences. The economy of this form and the power of impact were primary reason for connecting song with social behaviors and beliefs in migrating society, patriotic feelings or protests injustice, war or inequity. So country music was as much adequate as it was for social layer without structural rating system.
   Since the beginning of popular culture era, songs were the tools for disseminating various ideas, step by step taking position of main form in spectrum of musical culture. This process can be observed almost in every area, it can last decades, or centuries. In American society after 2nd World War, with domination of English language, in place of different singing and telling traditions, appeared limited number of forms and worldwide recognizable authors of songs. As this massive cultural change came with domination of American politics and economy, so significant part of globalizing culture was common American English music and literature including folk and country music.

Various Artists – Folk Festival (1960?)

   Country ballads, folk rock, protest songs and popular folk songs were extremely popular and in every catalogue such music existed as a section of rich selection. Elektra Records was founded in 1950 with idea to publish folk songs and in next two decades it became major label specialized in all kinds of folk songs. In mid 1950’s their catalogue was already a rare collection of great singers, so they started to publish compilations of different style songs. In 1956 Elektra published Folk Sampler with 18 songs and in 1961 this compilation was reedited and titled Folk Festival. Next compilation of 15 songs was published under the same title and republished few times in licence edition. One of them was Vintage label operating in Germany (Vintage F50002). There were few other versions, but none of them contained any information about the year of publication.
   The album is one of dozens alike. Such compilations of popular folk songs were in sixties common way to earn some extra money from albums already sold. The program includes stars from the label's stable, from Judy Collins, Brownie McGhee, Rod McKuen and Theodore Bikel, through The Dillards, Lightnin’ Hopkins, Ed McCurdy and Oscar Brand to Odetta and Pete Seeger. Interesting choice of songs (and two instrumental pieces by Glen Campbell) – for newbies the opportunity to check, for those who like American folk music, a chance to have more comprehensive overview. For the lack of thrill, two and a half of stars only although every distinguished artist alone deserves more.

Joni Mitchell — Don Juan’s Reckless Daughter

★★★★✰

   One of songwriters and great folk-rock singers who reached great worldwide fame as performing artist is representative of great Canadian American tradition, bright stage personality and guitarist Joni Mitchell. She is famous as singer and well known as performer, but her creative effort in songwriting was on the first place from the very beginning. With strong roots in folk and folk rock, she was close to jazz scene as well. She started as songwriter and folk clubs singer in sixties, her debut album Song to a Seagull was produced by David Crosby and released in March 1968 by Reprise label. She was author of all songs, singer, played guitar and piano in all accompaniments and designed album cover. Bass guitarist Stephen Stills played only one song but became her constant coworker and playing much more on her next albums. Releasing every year new album in five years she became an icon of folk rock.
   Shortly after Mitchell’s first folk rock records reach commercial success, she started to widen stylistic attitude. Consequently, her name was increasingly falling into category of jazz vocalists. It’s interesting process she was keeping the same position towards popular ballad and narrative poetry of rock songs changing only some elements of her musical style. In early seventies it was still somehow risky idea to get against actual trends. Folk rock albums made her famous, so experiments with other styles could eventually cost her losing some of her fans. So, she was moving to folk and jazz crossover in a mild way, adding more and more interesting musicians, and staying herself the same artistic personality. She was recording and touring with super league of jazz musicians. As time goes by she had considerably more listeners on jazz and some other ambitious genres of rock and pop music, but she was still associated with folk rock.
   After the end of Vietnam war in seventies, with social change driven by economic crisis, many artists were searching for new solutions of art representation as a space for culture discourse. This perspective was perfect for continuing some trends popular in sixties. Renewed ideas were consumed as backward wave of folk music. Joni Mitchell as many others was still on top of popularity. It really didn’t matter how innovative she was and how far her new songs were behind borders of the style, she was still considered as folk singer. Like she was intending to confirm this stereotype, in many performances she was still a singer with a guitar, or even a bard with natural vocal technique and nice melodies. Sometimes it had to be a real challenge to reach it in such natural way, and many of her project were stylized to fulfill this idea. This tendency was present in live performances while not clearly visible in Mitchell’s studio recordings, where she was more ambitious on intellectual and artistic level.

Joni Mitchell — Don Juan’s Reckless Daughter (1977)

  
   One of her best works, published in December 1977 double LP album Don Juan’s Reckless Daughter was also the one scandalously underestimated. Recorded for Asylum label in London, New York and Hollywood with huge group of musicians and various arrangements. Definitely, most significant element besides of Joni Mitchell’s voice and guitars was sound of Jaco Pastorius’ fretless bass. As a sideman he gave this music electrifying power of jazz phrasing, finding perfect balance with leader’s voice. In late seventies his sound was iconic element of Weather Report sound. Musicians from this band were saxophonist Wayne Shorter, percussionists Manolo Badrena, and Alex Acuña. Others were also known for their contribution in fusion jazz guitarist Larry Carlton, percussionist Airto Moreira, movie music composer, pianist Michel Colombier, lead singer from funk band Rufus Chaka Khan and drummer John Guerin known from early Frank Zappa’s albums.
   Restricted use of jazz idioms on Don Juan’s Reckless Daughter was visionary. It sounded like jazz moved back to it’s popular music roots. Even in simple songs, for example in Jericho, where Jaco Pastorius bass and Joni Mitchell’s guitar with drums by John Guerin and bongos by Don Alias create thick and intensive instrumental layer. In this fabric soprano sax by Wayne Shorter is so discrete and colorful as it sounds like just extra sound dimension. This corresponds with unusual melody, full of unexpected changes, based on irregular, free verse poetry. It gives a mind-blowing effect. In opposite example Paprika Plains we receive expanded composition spanning whole side B of first LP. Similar group of musicians (except absence of congas and Joni Mitchell plays piano) and symphony orchestra orchestrated by Michael Gibbs gives this composition solid formal frame. Even final jazz solo by Wayne Shorter runs with the whole composition like a cadenza. The other side of musical experience are The Tenth World and Dreamland, both featuring essentially percussion band. For experimenting with styles, balancing ambitious musical creations with intense poetry this album deserves four stars. I am giving four and a half for personal input of Jaco Pastorius – this is one of his best accomplishments.