Sunday, April 23, 2017

Project 366 - The World of Transcriptions

To mark the fifth anniversary of ITYWLTMT, we are undertaking a long-term project that will introduce - and re-introduce - musical selections in the context of a larger thematic arc I am calling "A Journey of Musical Discovery". Read more here.

They are called arrangements, orchestrations, or even reductions but they are all different paths to achieving a common goal, that is to “re-purpose” a piece of music originally created in one setting, and offering it in a different setting.

There are many examples of transcriptions, and they generally follow distinct formulas. Here are some of these formulas:

The piano transcription (which can be extended to a different instrument like a guitar, or an organ) takes a piece of music – more often than not, a piece of orchestral music or a large-scale stage work – an transposes it for a solo pianist (or sometimes piano four hands) in a bid to allow it to be played at home. I like to think of these as being the direct ancestor of broadcasts and recordings, as a means to allow works to be played and heard outside of their original setting. Nor unlike going to your local record store, one can imagine purchasing the sheet music for the piano reduction of a symphony, or even opera arias. The piano transcription, when penned by a great performer like Liszt, or Thalberg or even Vladimir Horowitz can be thought of as a vehicle for showcasing virtuosity in recitals.

An instrumental substitution allows for a piece of music originally intended for a specific voice, pitch or instrument to be substituted by another; this often occurs at the suggestion of the composer! Think of replacing a viola by a clarinet (Brahms trio, op. 114), or Mahler’s Song of the Earth where he suggests as a note "if necessary, the alto part may be sung by a baritone". Joaquin Rodrigo’s Concierto de Aranjuez was originally scored for guitar and orchestra, yet he produced a version for harp and orchestra.

Johann Sebastian Bach is notorious for “reassigning” soloist parts to different instruments: his concerto for keyboard BWV 1058 is a transcription of his violin concerto BWV 1041, his concerto for two violins BWV 1042 reappears as his concerto for two keyboards BWV 1062, and so on.

Sometimes, necessity forces instrument reassignment – ancient instruments like the viola da gamba or the dulcian being replaced by cello and bassoon, respectively; the forte piano can be substituting a harpsichord, and either can be replaced by a “modern” acoustic piano.

Another formula is the setting substitution – adaption a string quartet or sextet for string orchestra, or adapting a symphonic piece for wind band.

Finally, there are orchestrations – often times, taking a piece for solo piano or organ and rendering it for full orchestra – the most famous example of this being the many different orchestrations of Mussorgsky’s Pictures at an Exhibition, or even the many different settings of Les Sylphides , a ballet setting several of Chopin’s piano works for orchestra.

The following set of listener guides explores many of these formulas – piano transcriptions, instruument substitutions and, finally, some unforgettable orchestrations.

Listener Guide #90 - "Magyar rapszódiák". Hermann Scherchen and the Vienna State Opera Orchestra perform Liszt's orchestration of 6 of his 19 Hungarian Rhapsodies. (ITYWLTMT Podcast #176 - 5 Dec 2014)

Listener Guide #91 - "Three transcribed concertos". Concertos by Marcello, Mozart and Rodrigo are re-purposed for different solo instruments. (ITYWLTMT Podcast #33 - December 2, 2011)

Listener Guide #92 - "Opera Transcriptions". Earl Wild and Jorge Bolet  perform piano transcriptions of arias and syntheses of operas by Liszt, Thalberg and other virtuoso pianists of the Late Romantic period.  (ITYWLTMT Podcast #167 - 3 Oct 2014)

Listener Guide #93 - "Play Bach". Bach has been known to have "tinkered" with his music, but never in a jazz vein, as perfirmed by Jacques Loussier’s original Play Bach trio.  (ITYWLTMT Podcast #214 - 29 Jan 2016)

Listener Guide #94 - "Kartínki s výstavki". Leonard Slatkin proposes a unique orchestral look at Mussorgsky's Pictures at an Exhibition, in this compendium of individual sections from known (and less-known) orchestrations of the work. [This is preceded by an 18-minute documentary] (Tuesday Blog - 16 Oct 2012)


Listener Guide #95 - "An Unlikely Pairing". The Mighty Moog is front and centre in this look at classical works adapted for the Synthesizer. This Guide includes two versions of Ravel's Bolero - in its original orchestra version, and on the Moog Synthesizer (Vinyl's Revenge #27 - Apr 18 2017)

Listener Guide #96 - "The Bach Partitas Played on the Viola". Scott Slapin performs the three s lo violin partitas and the partita for solo flute on the viola. (Once Upon the Internet #39 - Jun-16 2015)

Tuesday, April 18, 2017

An Unlikely Pairing

This is my post from this week's Tuesday Blog.

This week’s Tuesday Blog melds two of our ongoing series: Vinyl’s Revenge and Cover 2 Cover in an exploration of music adapted to the Synthesizer and what I consider to be shamelessly exploiting a phenomenon of the day.

Released in 1979, the movie 10 starring Dudley Moore, Julie Andrews and (introducing) Bo Derek told the tale of a Hollywood lyricist going through a mid-life crisis who becomes infatuated with a sexy, newly married woman. The film brought renewed fame to the Boléro by Maurice Ravel. Use of the piece during the love scene between Derek and Moore's characters, with Jenny describing it as "the most descriptive sex music ever written", resulted in massive sales of the work.

(Because Ravel's music was still under copyright at the time, sales generated his estate an estimated $1 million in royalties and briefly made him the best-selling classical composer—over 40 years after his death.)

Not wanting to miss out on the opportunity to sell some records, Columbia re-issued its fantastic version of Boléro by Leonard Bernstein and the Orchestre National de France. As a companion filler piece, it also re-issued a less traveled version of the piece, performed on the Moog Synthesizer. This disc, acquired during my years in the Columbia Record and Tape Club covers the “Vinyl’s Revenge” portion of today’s post.

The Boléro performance was originally released as part of a 1972 “experimental” album produced and realized by a pair of staff Columbia Classical Music producers (associated in the 1970's and 80’s with the successful New York Philharmonic recordings with Zubin Mehta among others) titled “Everything You Always Wanted To Hear On The Moog (But Were Afraid To Ask For)”, a not-too-subtle reference to a contemporary sex-help best-seller (and Woody Allen feature film) with a similarly concocted title. This album tried (with limited success) to ride the coat tails of other “electronic” albums, such as Switched on Bach and Oxygène.

The tracks of the album all had “Spanish roots” – works by Chabrier, Ravel, Bizet and Cuban composer Ernesto Lecuona.

Happy Listening!

Emmanuel CHABRIER (1841-1894)
España, rhapsody for orchestra (1883)

Ernesto LECUONA (1896-1963)
“Malaguena”, from Andalucía, suite for piano (ca. 1927)

Georges BIZET (1838-1875)
Selections from Act I of Carmen (1873-74)

(Prelude To Act I; Habanera; Les Toréadors)

Maurice RAVEL (1875-1937)
Boléro, MR 81 (*)

Andrew Kazdin, Thomas Z. Shepard at the Moog Synthesizer
Columbia Masterworks ‎– M 30383
See –
(*) This track is also Side B of MX 35860, see below

Maurice RAVEL
Boléro, MR 81

Orchestre National de France
Leonard Bernstein, conducting

CBS Masterworks ‎– MX 35860
See -

Saturday, April 15, 2017

Wagner's Tristan und Isolde

This is my post from this week's Once or Twice a Fortnight.

In June 2016, Hugo Shirley wrote a very interesting article for Gramophone titled “The opera that changed music”. The article opens with quotes from Alma Mahler, Clara Schumann and Edward Elgar as they each react to Wagner's Tristan und Isolde; a quote from one of Grieg’s pen pals is especially “graphic”:

[T]he most enormous depravity I have ever seen or heard, but in its own crazy way it is so overwhelming that one is deadened by it as by a drug. […] Even more immoral…than the plot is this seasick music that destroys all sense of structure in its quest for tonal colour. In the end, one just becomes a glob of slime on an ocean shore, something ejaculated by that masturbating pig in an opiate frenzy!
The Gramophone article is a great read, especially for those of us who have mixed emotions about sitting through a Wagner opera from curtain rise to curtain fall – let alone try and sink their teeth into the material and make sense if it all. This is a commitment, to be sure!
Shirley writes that the past 150 years are littered with writers trying to express the fascination, revulsion (or both!) that Tristan inspires. Even today, Tristan remains a work that can inspire fierce devotion or baffled resistance: it eludes clear definition and explanation and encourages intemperate hyperbole at every turn. Maybe Michael Tanner’s thought-provoking description is one of the best: ‘Along with Bach’s St Matthew Passion,’ he writes, ‘it is one of the two greatest religious works of our culture.’

The Internet is littered with resources and authoritative (as well as authoritative-sounding) articles regarding Tristan, and I would hate to add more… To me, Tristan is in many ways a “regular day in the office” for Wagner: the creative convergence of Wagner’s devotion to the philosophy of Arthur Schopenhauer, the soap-opera that is his own love life and musical exploration that takes him away from established musical convention.

The re-discovery of mediaeval Germanic poetry, including Gottfried von Strassburg's version of Tristan, the Nibelungenlied and Wolfram von Eschenbach's Parzival, left a large impact on the German Romantic movements during the mid-19th century. Again, we note here subject matter that Wagner has mined to form the core of his epic operas.

Tristan took five years to compose with the bulk of the work between 1857 and 1859. Sections of the opera and libretto were composed in Switzerland and Italy, as Wagner’s 20-year marriage was disintegrating in large part because of his relationship with German poet and author Mathilde Wesendonck , the wife of a wealthy silk trader. (Wagner set five songs to her words, called the Wesendonck Lieder, in the same time period).

Staging an opera isn’t easy – and it is even less so when it comes to a Wagner opera! The completed work remained unstaged for several years and it’s only after King Ludwig II of Bavaria became Wagner’s sponsor that enough resources were secured to mount the premiere of Tristan und Isolde. Hans von Bülow was chosen to conduct the production at the Nationaltheater in Munich. This of course is happening at the time Wagner was having an affair with his wife Cosima which resulted in a daughter – Isolde – born about two months before the premiere on 10 June 1865.
The next production of Tristan was in Weimar in 1874. Wagner himself supervised another production of Tristan in Berlin in March 1876, but the opera was only performed at the Bayreuth Festival after his death; Cosima (now his widow) oversaw this widely acclaimed production in 1886.

Today’s 1953 performance is also from the Festspielhaus in Bayreuth. In a review by Webster Forrest for, he writes:

This recording of Tristan is especially valuable, as it is the only available recording featuring the Isolde of the great Astrid Varnay. The performance is led by one of the German repertoire's most competent if not most passionate conductors: Eugen Jochum […] and this Tristan emits more heat and commitment than many […] From the outset the key words for this performance are concentration, accuracy, and commitment. Jochum handles the orchestra with a beautiful skill that reminds one of the more sensitive and beautiful performances […] The pace is exciting - and measured. The conducting throughout keeps the drama moving very convincingly, though there is not very much in the way of sudden excitement where it might be wanted.
Varnay's Isolde is rather intelligent and proud, and where it counts, passionate. […] Varnay's was a voice of huge volume and a rather hot and heavy timbre; some found that she sat on words, using a peculiar pronunciation of consonants to pry her way into a note. This can be true in some of her recorded performances, but here […] she displays great vocal facility as well as incredible musicality. Her involvement in the entire night scene, ending with the great love duet in Act II is exceptionally rewarding both musically and dramatically. Her Liebestod must be regarded as one of the finest ever recorded.
[…] The much-loved and under-recorded Ramón Vinay sings Tristan, and he is a fine choice for the role. Vinay's tenor is one of fine baritonal strength and a robust and penetrating top. His approach to the role is full-blooded and martial without being at all strident. […] He certainly makes a great deal of the text in many ways and in most instances convinces us of his character. His dying words are a touching yet well-controlled expression of deranged love.
[…] The last forty minutes of the opera - from somewhere around Tristan's 'Ach Isolde ... wie schön bist du' there is a distortion in the sound at the upper dynamic levels. (This alone may perhaps account for the recording's rarity.) It's a crackling, as though the recording levels were a little too high, but it is a noise on top of the recorded music, and apart from it there is no distortion of the actual sound captured (no loss of detail, e.g., or no muffling - just this extra noise on top, like a scratch on a record.)

Richard WAGNER (1813-1883)
Tristan und Isolde, WWV 90
music drama in three acts
German libretto by the composer, based largely on the romance by Gottfried von Strassburg.

Tristan - Ramón Vinay
Isolde - Astrid Varnay
Brangäne - Ira Malaniuk
Kurwenal - Gustav Neidlinger
Marke - Ludwig Weber
Melot - Hasso Eschert
Ein Hirt - Gerhard Stolze
Ein Seemann - Gene Tobin
Ein Steuermann - Theo Adam
Chor und Orchester der Bayreuther Festspiele
Conductor: Eugen Jochum

Festspielhaus Bayreuth
July 30, 1953 (Live recording)


Synopsis -
Libretto -

Internet Archive URLs

Act 1 -
Act 2 -
Act 3 -

Friday, April 14, 2017


No. 245 of the ongoing ITYWLTMT series of audio montages is this week's Friday Blog and Podcast. Mobile followers can listen to the montage on our Pod-O-Matic Channel, and desktop users can simply use the embedded player found on this page.


For this year’s Good Friday montage, I selected some early music for which it is difficult to attribute the authorship.

Anonymous works are works of art or literature, that have an anonymous, undisclosed, or unknown creator or author. In the case of very old works, the author's name may simply be lost over the course of history and time. In such cases the author is often referred to as Anonymus, the Latin form of "anonymous". In other cases, the creator's name is intentionally kept secret. The author's reasons may vary from fear of persecution to protection of his or her reputation. For the most part, works attributed to Anonymus pre-date the Baroque era, and can be thought of as being passed down following “oral” tradition.

This is the case for the collection of titles that make up today’s montage. As I have provided many - shall I say - austere montages in past years appropriate for the Lenten season, I avoided gloomy works in this collection, though a few are spiritual or religious in nature.

Not all titles are “Anonymous” – in my defense, when I started assembling this playlist, all the titles were of unknown authorship. Over time, I managed to unmask the composer but – with your indulgence – kept them in the montage, as they are of similar tradition to the others.

I think you will love this music too.

Tuesday, April 4, 2017

Helmut Walcha - Organ Masters Before Bach

This is my post from this week's Tuesday Blog.

To complete our Lenten look at Organ music, I am sharing this Cover 2 Cover YouTube copy of an Achiv-DGG-Eloquence re-issue of a compilation disc by the late great harpsichordist and organist, Helmut Walcha (1907-1991).

One of the great interpreters of J. S. Bach, Mr. Walcha recorded the composer's complete organ works twice, as well as the complete "Well-Tempered Clavier" and, with Henryk Szering, the six sonatas for violin and harpsichord. Although blind, he had an active international career as a performer, recording artist and teacher.

Walcha did not record very much music by composers other than Bach. This disc, his last recording before his retirement at the age of 70, is an overview of the music that stands as a foundation for Bach’s great organ music. No one can deny the importance of Buxtehude in Bach’s career - Bach walked a long distance to meet his elder, and stayed with him for three months, absorbing much of his technique. Three works on this disc are by Buxtehude; other composers represented on this disc, which covers the period from the 16th to the 18th centuries, include such well known names as Johann Pachelbel and Georg Böhm, as well as lesser known composers such as Nicolaus BruhnsSamuel Scheidt and Vincent Lübeck. The wide variety of music presented gives the listener a very good idea of what Bach heard and studied - music which had a great influence on his own compositions.

The YouTube poster, Polyphonie X shares some observations about Walcha’s playing:

Walcha's style being as super humanly lucid and tactful as one would expect from his Bach recordings, though often with an improvisatory character which nothing in those recordings foreshadows. Pachelbel's F minor Chaconne, a rather turgid work under lesser artists' hands, here has a very agreeable forward momentum yet never sounds the slightest bit breathless; it benefits also, as do all other items, from a wonderful instrument (the 18th-century Schnitger organ in Cappel, Germany). The sound quality is - dare one say - perfect: with pleasing resonance, yet no detail gets blurred.
Happy Listening!

Dietrich BUXTEHUDE (1637-1707) 
Prelude And Fugue In D Minor, Buxwv 140
Johann PACHELBEL (1653-1706) 
Chorale Prelude: O lamm Gottes unschuldig, T. 60
Vincent LUBECK (1654-1740) 
Prelude And Fugue In E Major
Samuel SCHEIDT (1587-1654) 
Chorale Variation: Jesus Christus,Unser Heiland
Nicolaus BRUHNS (1665-1697) 
Prelude And Fugue In E Minor
Dietrich BUXTEHUDE (1637-1707) 
Chaconne In C Minor, Buxwv 159
Jan Pieterzoon SWEELINCK (1562-1621) 
Fantasia Chromatica in Dorian, SwWV 258
Franz TUNDER ( 1614-1667) 
Chorale Prelude: Komm, Heiliger Geist, Herr Gott
Georg BÖHM (1661-1733) 
Prelude And Fugue In C Major
Johann PACHELBEL (1653-1706) 
Chaconne In F Minor T. 206
Dietrich BUXTEHUDE (1637-1707) 
Passacaglia In D Minor, Buxwv 161

Helmut Walcha
INST: Arp-Schnitger Organ, St. Peter-und-Paul-Kirche of Cappel, Germany

Deutsche Grammophon 469 764-2 (originally released in 1978)

Saturday, April 1, 2017

Quarterly Programming for April-June 2017


Highlights for this quarter include a couple of Lenten selections, the start of a series on Mozart’s late piano concertos, a pair of “Robert Johnsons” and our 250th montage (which, as we do when we hit a multiple of 50, is an extended play podcast). Here we go:

Friday Blog and Podcast:

  • A pair of one-work montages: Busoni’s Piano Concerto (NEW PODCAST) and the Turangalîla Symphony (NEW PODCAST)
  • Early and classical-era music favourites by Anonymous (NEWPODCAST), Haydn (NEW PODCAST) concert arias (NEW PODCAST)
  • A look at the legacy of Igor Markevitch (NEW PODCAST)
  • Our 250th montage, dedicated to “Unfinished” symphonies (NEW PODCAST)
  • In time for Canada’s 150th birthday, a tribute to Oscar Peterson (NEW PODCAST)

Tuesday Blog (TalkClassical):

  • Cover 2 Cover: Organ Masters Before Bach (PTB), Lute Music by Renaissance composer Robert Johnson (PTB)
  • Vinyl’s Revenge: Two competing versions of Ravel’s Bolero (PTB), Delta Blues standards performed by Robert Johnson (PTB) and Karl Engel plays two Mozart piano concertos (PTB)
  • Once Upon the Internet: Hermann Scherchen conducts three of Haydn’s London Symphonies (PTB)
  • Our Bonus 5th Tuesday montage for the quarter: an assortment of classical works (NEW PODCAST)


L’Heure Espagnole (Ravel, OTF), Tristan und Isolde  (Wagner, OTF) and Fra Diavolo (Auber – sung in Italian, OTF).

I will update this page if programming changes in the coming weeks, and also look for unannounced “repatriated” posts from our PTB and OTF series.

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Friday, March 31, 2017

George Frideric Handel (1685-1759)

No. 244 of the ongoing ITYWLTMT series of audio montages is this week's Friday Blog and Podcast. Mobile followers can listen to the montage on our Pod-O-Matic Channel, and desktop users can simply use the embedded player found on this page.

A third Friday in March is the opportunity for me to program a third montage this month, building upon this past Tuesday’s post of music by George Frederic Handel.

Due cori (literally : "two choirs"), means in fact that two distinct ensembles of wind instruments are deployed, each composed of a bassoon, two oboes (and, for the concerto HWV 333, two horns), along with a contingent of strings and the basso continuo.

Handel wrote three such concerti, to be performed as interludes during certain oratorios in English, following the example of his organ concertos. Their composition dates back approximately to the years 1747-48. The concerto I chose to open the montage, HWV 333, is made up of 6 movements, four of which recycle music from other works (you will recognize a few, I’m sure!).

Handel's keyboard suite no. 5 in E major, HWV 430, was one of the first works for harpsichord published by Handel and is made up of four movements. The final movement (Air and variations) is better known for its nickname, ”The Harmonious Blacksmith”. There have been a number of explanations proffered as to why this movement gained that nickname, and by whom We know the nickname was not given by Handel and was not recorded until early in the 19th century, when the movement became popular on its own. Alicia de Larrocha performs the entire suite on a modern piano in our montage.

The Music for the Royal Fireworks (HWV 351) was composed in 1749 under contract of George II of Great Britain for the fireworks in London's Green Park on 27 April 1749. The fireworks display was not as successful as the music itself: the weather was rainy and in the middle of the show the right pavilion caught fire.

At the King’s behest, the original performance was scored for a large wind band consisting of 24 oboes, 12 bassoons and a contrabassoon, nine natural trumpets, nine natural horns, three pairs of kettledrums, and side drums "ad libitum”. Handel later re-scored the suite for full orchestra and for a performance a month later. Handel noted in the score: the violins to play the oboe parts, the cellos, and double basses the bassoon part, and the violas either a lower wind or bass part. The instruments from the original band instrumentation play all the movements in the revised orchestral edition except the gentle Bourrée and the first Menuet, which are played by only the oboes, bassoons, and strings alone.

Psalm 110 (also known under the Latin name Dixit Dominus), refers in the general sense to a King ruling over the enemies of the Israelites and is regarded by Jews and Christians as referring to the Messiah. Though they translate this Psalm similarly, Christians and Jews interpret its meaning very differently—Jews as referring to a righteous king favored by God to rule over Israel on earth and smite her enemies in battle, and Christians as referring to Jesus literally sitting at God's right hand in heaven as a divine being of equal stature to God.

Handel set this psalm to music in 1707 while Handel was living in Italy. The work was written in the prominent “Italian” style and is scored for five vocal soloists (SSATB), five-part chorus, strings and continuo. It is most likely that the work was first performed on 16 July 1707 in the Church of Santa Maria in Montesanto, under the patronage of the Colonna family.

Because this Psalm is prominent in the Office of Vespers, it has particular significance in music. In addition to Handel, other composers gave set this text to music: Marc-Antoine Charpentier (in 1689), Claudio Monteverdi (1610 and 1640), Wolfgang Amadeus Mozart (1779 and 1780), Giovanni Battista Pergolesi (1732), Alessandro Scarlatti (1700), Antonio Vivaldi (twice in 1715); Richard Rodgers composed a partial setting of the psalm for the opening sequence of The Sound of Music, using verses 1, 5, and 7.

I think you will love this music too.

Tuesday, March 28, 2017

Shellac's Revenge

This is my post from this week's Tuesday Blog.

It is our custom during Lent to program organ music, and this year I have two posts (this one, and another next week) where we will explore baroque and renaissance organ repertoire, performed (unashamedly, might I add) with “big organ” bombast.

Before getting started with this week’s post, I want to “plug” a blog that I have encountered last year, The Shellackophile, which presents “Recordings of classical music from the 78-rpm era (mostly)”. Today’s musical shares and some of the commentary come from this fine effort by a like-minded music collector and enthusiast.

George Dorrington Cunningham (1878 - 1948) was an important English organist and teacher, who counted among his students the two other eminent British organists on deck this week, E. Power Biggs and George Thalben-Ball. There is no doubt that there is a long tradition of organ music in Britain, and it probably dates back to one of the great organ composers of the Baroque era, Georg Fredertic Handel, who elected to become a British subject in 1726.

The Handel organ concertos, composed in London between 1735 and 1751, were written as interludes for performances of his oratorios. They were the first works of their kind for organ with chamber orchestra accompaniment and served as a model for later composers.

The Shellackophile writes:

[Cunningham’s] recordings of two Handel concerti, with George Weldon and the City of Birmingham Orchestra, were made late in his life, and exhibit a considerably beefier style of Handel playing than we are accustomed to today, with a big organ sound and a full symphonic-sized string orchestra accompaniment:

[George Thalben-Ball] turns in a performance of Handel's Organ Concerto in B-Flat, Op. 7, No. 3, as arranged and orchestrated by Sir Henry J. Wood. Thalben-Ball's playing is flamboyant, to say the least, and the Wood orchestration, for full symphony orchestra with brass and percussion, is certainly anachronistic but it's great fun! Handel's original ordering of the movements is also altered, and this performance interpolates not only the Minuet from "Berenice" but also a big cadenza by Thalben-Ball that takes up most of the last side.

[E. Power Biggs’] career at Columbia spanned some thirty years, but before this, he had been at Victor from 1939 to 1946, where most of his work was done on the 1937 Aeolian-Skinner organ built to Baroque specifications and located in Harvard's Germanic Museum. His recordings included collaborations with Arthur Fiedler and his Sinfonietta composed of Boston Symphony players.
The digital transfers are quite good, though we have to remember that the recording (and playback) technology would have been taken to its limits by such a tsunami of sound!

Happy Listening!

George Frideric HANDEL (1685 –1759)

Organ Concerto No. 2 in B-Flat, Op. 4, No. 2 [HWV 290]
Organ Concerto No. 4 in F, Op. 4, No. 4 [HWV 292]
G. D. Cunningham (William Hill & Sons organ, Birmingham Town Hall)
City of Birmingham Orchestra
George Weldon, conducting
[Recorded June 4, 1945; English Columbia DX 1358 – 1360]

Concerto No. 13 in F Major ("The Cuckoo and the Nightingale") [HWV 295]
E. Power Biggs (Aeolian-Skinner organ, Germanic Museum, Harvard University)
Arthur Fiedler's Sinfonietta
[Recorded March 17, 1940; RCA Victor set M-733]

Organ Concerto No. 9 in B-Flat, Op. 7, No. 3 [HWV 308]
(arr. Henry J. Wood)

Thomas Augustine ARNE (1710 –1778)
First movement (Allegro moderato) from Organ Concerto No. 6 in B-Flat (ca. 1751)
(Arr. George Thalben-Ball)
George Thalben-Ball (unspecified organ [Handel], St-Mark's Chursch, London [Arne])
Philharmonia Orchestra
Walter Susskind, conducting
[Recorded June 4, Sept. 23, and Oct. 11, 1948; HMV C 3814 – 3816]

Friday, March 24, 2017

In Memoriam - Sir Neville Marriner (1924 – 2016)

No. 243 of the ongoing ITYWLTMT series of audio montages is this week's Friday Blog and Podcast. Mobile followers can listen to the montage on our Pod-O-Matic Channel, and desktop users can simply use the embedded player found on this page.


In Novemberlast year , we posted a Tuesday Blog in remembrance of Sir Neville Marriner, who died in his sleep this past October at age 92. As our Friday Blog and Podcast was already committed to a number of posts in support of our ongoing projects, I haven’t had a chance to program an homage montage for Sir Neville until this week.

According to the Academy’s homage page for Sir Neville, Sir Neville studied at the Royal College of Music and the Paris Conservatoire. He began his career as a violinist, playing first in a string quartet and trio, then in the London Symphony Orchestra. It was during this period that he founded the Academy of Saint-Martin-in-the-Fields, with the aim of forming a top-class chamber ensemble from London’s finest players. Beginning as a group of friends who gathered to rehearse in Sir Neville’s front room, the Academy gave its first performance in its namesake church in 1959. The Academy now enjoys one of the largest discographies of any chamber orchestra worldwide, and its partnership with Sir Neville Marriner is the most recorded of any orchestra and conductor.

As a player, Sir Neville had observed some of the greatest conductors at close quarters. He worked as an extra under Toscanini and Furtwängler, with Joseph Krips, George Szell, Stokowski and mentor Pierre Monteux. Sir Neville began his conducting career in 1969, after his studies in America with Maestro Monteux. There he founded the Los Angeles Chamber Orchestra, at the same time as developing and extending the size and repertoire of the Academy. In 1979 he became Music Director and Principal Conductor of both the Minnesota Orchestra and the Südwest Deutsche Radio Orchestra in Stuttgart, positions he held until the late 1980s. Subsequently he has continued to work with orchestras round the globe in Vienna, Berlin, Paris, Milan, Athens, New York, Boston, San Francisco and Tokyo.

As aptly pointed out in his obituary, the ad material for the 1984 film Amadeus read: “Only two people were qualified to conduct the score.” Below those words were two pictures: one of Mozart in powdered wig, the other of Marriner in white dickie bow. “One was unavailable,” added the blurb.
It is therefore fitting that I programmed Mozart this week, in the form of his bassoon concerto (taken from a disc that featured three of Mozart’s wind concerti). Well recognized as baroque and classical era specialists, I also programmed Haydn’s “Fire” symphony with Marriner and his ASMF.

In past posts, we have featured Marriner in repertoire other than Corelli, Vivaldi, Haydn and Mozart: we heard him conducts selections from Leonard Bernstein’s ballet Fancy Free in our Blues montage from 2015. In Tuesday Blogs I shared a pair of vinyl records – one of Prokofiev with the London Symphony (my YouTube video of the Love for Three Oranges suite  has the most views on my channel) and the above-mentioned post of Stravinsky with the Los Angeles Chamber Orchestra. To close out the montage, I chose Marriner in a third Russian composer, Tchaikovsky, part of his complete set of his four orchestral suites.

I think you will love this music too..

Sunday, March 19, 2017

Project 366 - The Trifecta

To mark the fifth anniversary of ITYWLTMT, we are undertaking a long-term project that will introduce - and re-introduce - musical selections in the context of a larger thematic arc I am calling "A Journey of Musical Discovery". Read more here.

Over the years, we’ve put together thematic posts having to do with musical numerology, and this month’s chapter of Project 366 explores this idea with an emphasis on the number three.

Three of a Kind

It shouldn’t be surprising that the number three has a special significance in art and art forms. The term triptych comes from the Greek adjective τρίπτυχον (triptukhon) which translates to "three-fold". You Mad magazine fans think of the “fold-in” back page, but that’s not quite what a triptych is.
A triptych is a work of art (usually a panel painting) that is divided into three sections, or three carved panels that are hinged together and can be folded shut or displayed open. The middle panel is typically the largest and it is flanked by two smaller related works, although there are triptychs of equal-sized panels.

Wait a minute… A single work with three parts; there are many musical compositions that follow that pattern. Concertos and early symphonies are often laid out in three movements. Tick in the box!
It turns out that the “musical triptych form” finds its way not only in pieces in three sections – like Debussy’s La mer or Falla’s Nights in the Gardens of Spain – but also in three works that we can think of as a “trilogy” as they have a very close kinship.

A good example of this would be Antonín Dvořák’s "Nature, Life and Love" trilogy of overtures: In Nature's Realm, Op. 91 ("Nature"), Carnival, Op. 92, (“Life”), and Othello, Op. 93 ("Love").

A better known group would be Ottorino Respighi’s “Roman Trilogy” of three separately conceived orchestral pieces penned between 1916-1928: the Fountains of Rome, the Pines of Rome and Roman Festivals. Same goes for a trio of early Haydn symphonies – the first three symphonies to be composed Prince Nikolaus Esterházy known as the "Morning," "Noon" and "Evening" trilogy.

Il Trittico

One musical triptych stands out, and it is part of our listener guides this month, and it is a very special three-act opera, or should we say a collection of three one-act operas by Giacomo Puccini: Il tabarro, Suor Angelica, and Gianni Schicchi. The work, Il trittico, received its world premiere at the Metropolitan Opera in New-York City on 14 December 1918.

Puccini intended that the three should be performed as a set, "I very much dislike Trittico being given in bits", he once wrote. Today, it is quite common to see only one or two of the trittico operas performed in an evening, and sometimes one of them may be paired with another one-act opera by a different composer.

The trittico operas don’t have a true “common thread” – they are set in three different time periods, two are tragic and one is a comedy (Puccini’s only comedy, by the way). Though originally conceived as works inspired by Dante’s Divine Comedy, only Schicchi has remained true to the original intent. Other than being prototypical verismo operas, the only common ground between the trio is the presence of death – murder in tabarro, suicide in Angelica and a concealed death (and ensuing trickery) in Schicchi.

Your Listener Guides

Listener Guide #82 “Three Mendelssohn Trios”. Mendelssohn Brother and Sister combine for a trio of... trios.  (ITYWLTMT Podcast #180 - 9 Jan 2015)

Listener Guide #83 “Beethoven In Berlin”. Two Beethoven works that suggest the number three, the Triple concerto and the Eroica symphony (ITYWLTMT Podcast #238 - 27 Jan, 2017) 

Listener Guide #84 “Debussy Trilogies”. Carlo Maria Giulini conducts La mer and Nocturnes, two of Debussy’s best-known triptychs (Vinyl’s Revenge - 14 Mar 2017)

Listener Guide #85 “Respighi’s Roman Trilogy”. Charles Dutoit leads the Montreal Symphony in this early-digital recording of Respighi’s three evocative tone poems  (Vinyl’s Revenge #23 - 13 Dec 2016)

Listener Guide #86 “Die Tageszeiten”. Roy Goodman and the Hanover Band perform Haytdn’s Times of the Day trilogy of symphonies (ITYWLTMT #236 - 09 Dec, 2016

Listener Guide #87 - 89 “Puccini: Il Trittico”. Created at the Met in 1918, Il Trittico (The triptych) is a collection of three one-act operas. These performances, introduced by Sean Bianco, were overseen by the Swedish conductor of Italian birth, Lamberto Gardelli conducting the Orchestra and Chorus of the Maggio Musicale Fiorentino. (Once or Twice a Fortnight - 9 February 2017)

L/G #87 “Il Tabarro”. [Synopsis and Libretto
L/G #88 “Suor Angelica”. [Synopsis and Libretto

L/G #89 “Gianni Schicchi”.  [Synopsis and Libretto

Friday, March 17, 2017

The Seasons (Haydn)

This is my post from this week's Once or Twice a Fortnight.

It’s been an interminable winter it seems – after a few weeks of dry weather, we were swamped with 20 cm of snow this past week… Thank Goodness, spring is around the corner, and I thought I’d try and spread some happy thoughts by sharing this vintage performance of Haydn’s oratorio The Seasons.

Haydn was led to write The Seasons by the great success of his previous oratorio The Creation, which had become very popular and was in the course of being performed all over Europe. The libretto for The Seasons was prepared for Haydn, just as with The Creation, by Baron Gottfried van Swieten, an Austrian nobleman who had also exercised an important influence on the career of Mozart (among other things commissioning Mozart's reorchestration of Handel's Messiah). Van Swieten's libretto was based on extracts from the long English poem "The Seasons" by James Thomson (1700–1748), which had been published in 1730.

Like The Creation, The Seasons was intended as a bilingual work; since Haydn was very popular in England, he wished the work to be performable in English as well as German. Van Swieten therefore made a translation of his libretto back into English, fitting it to the rhythm of the music. Van Swieten's command of English was not perfect, and the English text he created has not always proven satisfying to listeners. As was the case with our earlier Haydn oratorio post, the version I am posting is in German.

There is some evidence that Haydn himself was not happy with van Swieten's libretto, or at least one particular aspect of tone-painting it required, namely the portrayal of the croaking of frogs, which is found during the serene movement that concludes Part II, "Summer". Haydn was once quoted: to have said “This whole passage, with its imitation of the frogs, was not my idea: I was forced to write this Frenchified trash. This wretched idea disappears rather soon when the whole orchestra is playing […]”

As was the case for The Creation, The Seasons had a dual premiere, first for the aristocracy whose members had financed the work (Schwarzenberg palace, Vienna, 24 April 1801), then for the public (Redoutensaal, Vienna, 19 May).The oratorio was considered a clear success, but not a success comparable to that of The Creation. In the years that followed, Haydn continued to lead oratorio performances for charitable causes, but it was usually The Creation that he led, not The Seasons.

The vintage recording below, hosted on the LiberMisica site, is the earliest of two versions recorded by the RIAS/Barlin Radio Symphony Orchestra under Ferenc Fricsay. Presumably, this is a version that was broadcast unlike the second version for DGG which was captured in studio.

Happy listening!

Joseph HAYDN (1732-1809)
Die Jahreszeiten ('The Seasons'), Hob. XXI:3
Oratorio in Four Parts, German libretto by Gottfried van Swieten
Elfriede Trötschel, Soprano
Walther Ludwig,Tenor
Josef Greindl, Bass
Berlin Chor Der St. Hedwigs-Kathedrale
RIAS Kammerchor
Ferenc Fricsay, Conducting

Performance URL -

Internet Archive links

Nos 1-9 Der Fruhling (Spring)
Nos 10-20 Der Sommer (Summer)

Nos 21-31 Der Herbst (Autumn)
No, 32 - Einleitung und Recitative: Seht, wie der strenge Winter flieht (From “Spring”)
Nos 33-44 Der Winter (Winter)

Tuesday, March 14, 2017

Debussy - Philharmonia, Giulini ‎– La Mer / Trois Nocturnes

This is my post from this week's Tuesday Blog.

This week’s Vinyl’s Revenge shares music from an old “bargain bin” disk I’ve enjoyed immensely over the years. I’m sure I’ve discussed in past shares my purchase of a handful of discs from I Grande Concerti a series by Longanesi Periodici. Founded by Leo Longanesi in 1946 the publishing house was taken over in 1977 by Italian Messagg erie.

These records, mostly reissues or studio or broadcast recordings, were in the bargain section of this old record store because the liner notes were in Italian – I’m certainly not fluent, but the lack of English notes didn’t take away anything from my listening pleasure…

Walter Legge, the Philharmonia's founder, and Karajan, then its principal conductor, had heard Carlo Maria Giulini in Milan around 1955, and engaged him to record Vivaldi's Four Seasons and Bizet's Jeux d'Enfants. In 1959 Giulini recorded two Mozart operas, Figaro and Don Giovanni, with the orchestra, the former being preceded by more than 100 hours of rehearsal.

CMG’s Philharmonia recordings for EMI are legendary: as well as the Mozart operas, he recorded the Verdi Requiem and Four Sacred Pieces as well as orchestral recordings including Dvorak's New World Symphony and Tchaikovsky 's Pathetique SymphonyMussorgsky's Pictures at an ExhibitionBrahms's complete symphonies and, as presented here, the much admired 1962 Debussy's La mer and Nocturnes, an album that has become highly collectable for its sensitive interpretation and atmospheric sound; according to Discogs there are 15 different reissues of this disc, not counting the CD couplings of this pair of Debussy triptychs with other Debussy and French works recorded by CMG for the EMI label.

The works themselves don’t require much introduction, other than to say they are examples of Debussy’s impressionist style and incisive orchestration – from the waves of the Sea crushing the coastline to the ethereal humming chorus of mermaids closing his three nocturnes for orchestra.

Happy listening

Claude DEBUSSY (1862-1918)
La mer, esquisses symphoniques pour orchestra, L 109
Nocturnes, tryptique symphonique pour choeur de femmes et orchestra, L 91

Philharmonia Chorus (L. 91)
Philharmonia Orchestra
Carlo Maria Giulini, conducting

Label: Longanesi Periodici ‎– GCL 06
Series: I Grandi Concerti
(EMI Re-issue, Recording first issued in 1962)

Internet Archive URL -

Friday, March 10, 2017

Ye Olde Keyboards

No. 242 of the ongoing ITYWLTMT series of audio montages can be found in our archives at


This week’s podcast features works performed using “old keyboards” – that is to say, keyboard instruments that pre-date the acoustic “grand piano”. A brief history of these instruments (and their active principles) is in order.

The earliest known keyboard instrument was the Ancient Greek hydraulis, a type of pipe organ, invented in the third century BC. From its invention until the fourteenth century, the organ remained the only keyboard instrument. Often, the organ did not feature a keyboard at all, but rather buttons or large levers operated by a whole hand.

The clavichord and its more prevalent cousin the harpsichord appeared during the 14th century. They are plucked string instruments; the player depresses a key that rocks over a pivot in the middle of its length. The other end of the key lifts a jack (a long strip of wood) that holds a small plectrum (a wedge-shaped piece of quill), which plucks the string. As such, the player doesn’t control the “loudness” of the sound, nor its duration.

In 1440, Arnault de Zwolle described what is believed to be the first keyboard instrument which used tangent action - a small slip of wood similar in shape to a harpsichord jack (or similar to an unleathered hammer) which strikes the string to produce sound. Christoph Gottlieb Schroter claimed that he invented the new tangent piano by letting blank harpsichord jacks hit the strings, also incorporating dampers into the action.

The creation of the tangent piano, and the fortepiano, were the results of attempts to remedy the lack of dynamics in harpsichord sound. Both the tangent piano and fortepiano offered a variety of sound that was appealing to the changes in classical music, which featured more expressiveness and intensity than the harpsichord could offer.

Starting in Beethoven's time, the fortepiano began a period of steady evolution, overtaking the harpsichord in popularity by 1800. It then slowly evolved to the massive modern iron-framed giant of 88 keys we know as the modern grand piano. In its current form, the piano is a product of the late 19th century, and is far removed in both sound and appearance from the fortepianos known to Mozart, Haydn, and Beethoven. In fact, the modern piano is significantly different from even the 19th-century pianos used by Liszt, Chopin, and Brahms.

Keyboard instruments were further developed in the early twentieth century. Early electromechanical instruments, such as the Ondes Martenot, appeared early in the century, followed by the pioneering work in analogue electronics by Dr. Robert Moog.

All of the works programmed today are concerti for keyboard and orchestra, featuring one of the harpsichord, tangent piano or fortepiano. The first selection, one of Sir Thomas Arne’s six “keyboard concerti” is performed today by Trevor Pinnock on the harpsichord.
The tangent piano's popularity lasted for such a short time that very little music was written for it. It is possible that Carl Philipp Emanuel Bach's keyboard concerti were written for this instrument or for the fortepiano. Miklos Spanyi released recordings of them on the tangent piano, and one of these is featured in our podcast.

Among the great classical masters who wrote keyboard concerti in the Classical period, Antonio Salieri left us with two, one of which is performed here by Paul Badura-Skoda on the fortepiano.

The 20th century harpsichordist Wanda Landowska was responsible for the composition of several contemporary pieces of music for the instrument, notably Manuel de Falla's harpsichord concerto and his El retablo de Maese Pedro. It is at the premiere of the latter piece at the salon of Winnaretta Singer, that Francis Poulenc and Landowska met for the first time. Poulenc composed his Concert champêtre in 1928 at her request. The concerto concludes our podcast for this week.

I bethink thee shall loveth this musick too

Tuesday, February 28, 2017

Stravinsky: Petrouchka, Temirkanov/Leningrad PO

This is my post from this week's Tuesday Blog.

To celebrate Mardi GrasVinyl’s Revenge has lined up a complete performance of Igor Stravinsky’s ballet Pétrouchka (or often in English, Petrushka).

Shrove Tuesday is the day preceding Ash Wednesday (the first day of Lent), which is celebrated in some countries by consuming pancakes. In others, especially those where it is called Mardi Gras or some translation thereof, this is a carnival day, and also the last day of "fat eating" or "gorging" before the fasting period of Lent.

Pétrouchka tells the story of the loves and jealousies of three puppets. The three are brought to life by the Charlatan during the 1830 Shrovetide Fair (which we would equate to Shrove Tuesday or Mardi Gras) in Saint Petersburg, Russia.

Petrushka loves the Ballerina, but she rejects him. She prefers the Moor. Petrushka is angry and hurt, and challenges the Moor. The Moor kills him with his scimitar. Petrushka's ghost rises above the puppet theatre as night falls. He shakes his fist at the Charlatan, then collapses in a second death.

Petrushka brings music, dance, and design together in a unified whole. It is one of the most popular of the Ballets Russes productions. It is usually performed today using the original designs (by Alexandre Benois) and choreography (by Michel Fokine). As we have discussed in these pages before, not all ballet music manages to “stand alone” as a concert piece without choreography. However, for he most part, all of Stravinsky’s ballets manage to do just that, and are often programmed as complete works rather than as suites of highlights.

Two versions of the ballet are often performed – and have their own discographies: the original score dating 1911 and a revision in 1947. Compared to the 1911 version, the 1947 version requires one less flute; two fewer oboes, but a dedicated cor anglais player instead of one doubled by the fourth oboe; two fewer bassoons, but a dedicated contrabassoon; neither of the two cornets, but an additional trumpet; one less snare drum and no tenor drum, thus removing the offstage instruments; no glockenspiel; and one less harp.

Stravinsky was a known “tinkerer”, and so there are some subtle “tweaks” to the overall score in the 1947 version, which Stravinsky used in his seminal series of own recordings in the early 1960’s.

The performance I retained today, from my old vinyl collection, is a late-Soviet era recording from their flagship Melodiya label (reissued under the Quintessence label in the West) featuring the orchestra then-known as the Leningrad Philharmonic. Initially known as the "Imperial Music Choir" (and performing privately for the court of Alexander III of Russia), the Saint Petersburg Philharmonic Orchestra was formed in 1882 and is Russia's oldest symphony orchestra. The orchestra gained its most fame under the lengthy directorship of Yevgeny Mravinsky. The orchestra made few tours to the West - the first was to Finland in spring 1946 - but it recorded a number of studio and live recordings under Mravinsky. In 1991 the orchestra gained its current name after its home city returned to its original name of Saint Petersburg. Today it is an internationally recognized symphony orchestra under the directorship of Yuri Temirkanov (who took over for Mravinsky in 1988).


Igor STRAVINSKY (1882-1971)
Pétrouchka (Russian: Петрушка), Burlesque Scenes in Four Tableaux (1910-11, rev. 1947)

Leningrad Philharmonic Orchestra
Yuri Temirkanov, conducting

Label - Quintessence (Melodiya) STEREO (1975)
Catalog # PMC-7147

Internet Archive URL -
Thanks to seriosos seriosos 

If you care to compare, YouTube hosts this performance of the original 1911 version, performed by the Royal Philharmonic Orchestra under Oskar Danon: