Ecstatic Living Room

Thinking back to the most recent summer Olympics, which were held in Beijing, China, my memories of the elaborate opening ceremonies are almost as strong as my memories of Michael Phelps winning his many gold medals.  A friend of mine was so impressed with what he saw on opening night of the Olympics that when I gave him a DVD of the opening ceremonies he considered it an exceptionally cool gift.

At a certain point, the size and scale of an event can become so vast that those qualities take on a life of their own, and it is no different with classical music, where some great works have  become defined, at least in part, by their sheer size and, to a certain degree, their spectacle.

So for those who plan to watch the entire Olympics, some of it, or none of it, we offer a list of super-sized classical music and opera to enjoy long after the games are over.  Each of the works share with the Olympic Games a nobility of spirit and grandness of conception.  The performers who take on these works need to be on top of their game – like champion athletes – if they hope to meet the challenges that the composers have laid for them.  For the listener, the challenges of taking all this music in will vary, but the rewards are many and far-lasting.

Gustav Mahler – Symphony No. 8 (download on iTunes or buy on Amazon): All of this Austrian composer’s nine symphonies are larger than most by other composers, and most convey a sense of epic journey, especially in terms of their emotional and dynamic range. But none is bigger in scope than his Eighth Symphony, which is nicknamed “Symphony of A Thousand” because of the number of people required to perform it. The score calls for a truly huge orchestra, organ, multiple choirs and soloists (and, believe it or not, a mandolin). The vast first movement is an ocean-sized chorus of voices invoking the “Creator Spiritus” — the creative force, the spirit of life, the energy of the cosmos. However you translate it, the listener is meant to be swept away in a torrent of massed sound. Mahler, in fact, said these were no longer human voices, but “the planets revolving around the sun.” Milchael Tilson Thomas won a few Grammies recently for his new recording of Mahler’s Eighth Symphony with the San Francisco Symphony. Naxos’s budget-priced version has gotten stellar reviews as well.

Giuseppe Verdi – Aida (download on iTunes): One of the grandest of all grand operas, most staged productions of this work heavily underline the spectacular elements of the story with lavish sets extolling its exotic setting (ancient Egypt) and huge casts of extras portraying the warring parties. The famous “Triumphal Scene” is something of a show within a show. Here, hundreds of performers — chorus members, dancers, and occasionally (to the dismay of animal rights activists) even horses, lions and an elephant or two! — occupy the stage as the Egyptian victors parade their Ethiopian captives in front of the ecstatic people of Egypt.

Ludwig van Beethoven – Missa Solemnis (buy on Amazon): Running close to 90 minutes, this work is famous for being difficult — and not just for the audience to sit through and comprehend! Chorus members are required to sing long stretches of extremely challenging music, often to the accompaniment of a large orchestra playing at full throttle, and the demands it makes on the performers are akin to training for a marathon. Many amateur choirs cannot hope to master the material, and even the greatest professional choirs continue to find the music daunting. Written at roughly the same time as his Ninth Symphony, the Missa Solemnis stands like Mount Everest amongst choral works, an awe-inspiring, sometimes terrifying, symbol of the power of faith and hope and human possibility.

Richard Wagner – “The Ring Cycle” (buy 2 CD “Ring Excerpts” or
the budget-priced single CD of “Ring Without Words” on Amazon): Clocking in at approximately 16 hours of music, the four myth-inspired operas of Wagner’s “Ring Cycle” come together to make pretty much the largest work of musical art ever created. Countless books have been written to describe what Wagner’s “Ring” is all about, but the truth is, it’s about everything that human beings experience and think about in life: nature (and how man interferes with it), love, loyalty, greed, redemption — the list goes on and on. Though written between 1848 and 1874, today’s listeners will be amazed at how many of our current problems and issues are touched upon. In this digital age, you can buy the whole “Ring” at a budget-price, but a great way to start is to just hear excerpts, which include one of the most famous and viscerally exciting things ever composed: the “Ride of the Valkyries.”

As my best friend and business partner, Albert Imperato, lectured passionately and convincingly on how to love Rachmaninov’s Sympony No. 2 (“don’t think about it, just do it!” he said equating the work to sunsets and chocolate cake, “do you question them?” he added), I remained unconvinced.   We had just listened to a great performance of the symphony by the New York Philharmonic. I listened engaged, never bored by the music, the sound world is just too rich and curious, but it is oh so sweet and just kind of rolls off me.

Check out this YouTube clip of André Previn and the NHK Symphony Orchestra performing the first part of the third movement of the second symphony.  I don’t feel bad that I don’t get it, because I know that if I am not getting my ecstatic experience from Rachy, I can get it elsewhere.

For me Rachmaninov (to paraphrase Bugs Bunny) made the wrong turn at Albuquerque after Tchaikovsky.   Tchaikovsky had gone far enough in the direction of sweet indulgence.   For me, we did not need to go further.  So I have found myself taking the other turn with Schoenberg and Shostakovich.

Curiously, I am able to find a parallel with my personal experience with rock music history.  Just as I felt rather sickened by the early 80s rock of groups like Foreigner and Toto (the Rachmaninovs of rock, if you will) I found my way in their diametric punkish counterparts, Black Flag, the Butthole Surfers and Dead Kennedys.  Bands who felt and expressed angst darkly both with radical sound and the occasional touch of humor.  This is how I found Shostakovich and my way into the angst-expressive side of the classical music tradition.

I realize that I am swimming against the tide here.  Rachmaninov is music for the people, as is proven over and over again by the borrowing of his melodies by pop and soundtrack composers and was demonstrated again that night at the New York Philharmonic when the audience jumped to their feet with ecstatic applause.  My ecstasy happens to lie in the grit.  The clouds that threaten the sunset.  The bitterness in that chocolate cake.

This is strictly a matter of taste as Rachmaninov was not expressing an easy life through his music.  Quite the contrary, he was expressing what he felt was the antidote to hardship.  Yet many of us seek a more homeopathic (“like cures like”) approach to our antidotes.  And the chief procurer of alternative music at the time was Arnold Schoenberg.

Around the time Rachmaninov wrote his second symphony (1906-7), Schoenberg wrote his Chamber Symphony No. 1, which is a work that takes the left turn at Albuquerque.  It emerges strongly from the world of romantic music, lush and large minded, but rhythmically and tonally it begins to stray and quest, to murmur and complain that we need change to face the challenges of a new era.

This brief segment of Schoenberg’s Chamber Symphony No. 1 played with ferocity by Simon Rattle and the Berlin Philharmonic might just get you on your feet and wanting more:

Schoenberg’s Chamber Symphony No. 1 turns the sound world of Mahler in upon itself almost jazzily playing off of Mahlerian seriousness.  Yet it is not without its great climatic moments.   The work has five movements, but is meant to be played without pause and near the end of fourth movement Schoenberg creates a beautifully balanced apotheosis, which tracing its way back through the humor and lightness of the works beginning opens the way to a triumphant finale.

Rachmaninov’s Symphony No. 2 is characterized by its sweeping and saccharine (to me) melodies and is thus a very different work than Schoenberg’s funky Chamber Symphony.    But Schoenberg can ‘do lush’ as good as anyone and better than many, although his hues tend much more to dark red and indigo than light blue and pink.  One of the greatest examples of lush Schoenberg is his famous tone poem Verklaerte Nacht (Transfigured Night), which happens to sit very high on my personal list of ecstatic masterpieces.

Verklaerte Nacht is an earlier work written when Schoenberg was even more under the influence of the Romantics, particularly Wagner.   At the time he composed it, Schoenberg was caught in a romantic spell with Mathilde von Zemlinsky, whom he would later marry.   Verklaerte Nacht conveys all the uncertainty and swelling thrill of new love.   Yet even as it ends happily there are the strains of suffering that cloud and color that happiness.

In this YouTube clip from a Live From Lincoln Center telecast, Arnaud Sussmann, Erin Keefe, David Kim, Teng Li, David Finckel, and Priscilla Lee give us a nice sampling of the piece:

In the early 1920s, Dmitri Shostakovich began to compose some of the most exciting, radically charged symphonies of the 20^th century.   His symphonies will find many places in the Ecstatic Livingroom, but I will just sight his first symphony here as an antidote to Rachmaninov’s Symphony No. 2.

Shostakovich’s works are very lyrical, but he deploys force and atonal wallops like no other composer.    It is perfect transitional music from hard rock to symphonic music, if you are so inclined.    Shostakovich’s first symphony is a great introduction to his symphonic output.  At around 30 minutes, it’s a relatively brief listen and offers many of the trademark Shostakovich elements.    It begins innocently and easily enough with a few hummable tunes, but by the second movement those tunes have begun to morph into huge, explosive expressions of awe and fear.  It is a journey through beautiful lyrical moments and unspeakable fear, which ends in a thrilling climax. Shostakovich was only 19 when he completed this symphony and it is relatively easy going, compared to what was to come.   Even so, I cannot imagine what the first audience to have heard his Symphony No. 1, must have felt.

Here is a clip of Valery Gergiev, one of the world’s greatest interpreters of this repertoire, leading the London Symphony Orchestra in the finale:

This is music that gets me jumping up and down and often when I hear it live in concert halls, I look around and wonder how everyone can just sit there so apparently calm and not feel the need to get up and move!   This was of course, one of the reasons we created the Ecstatic Living room.  So we could just let go and do what we want to the music that we love.

This post was inspired by my personal inability to find the ecstatic experience in Rachmaninov’s Symphony No. 2, but it’s not meant to be a full-on put down of Rachmaninov.  He wrote some great ecstatic works, including his final piece, the Symphonic Dances, which is absolutely rocking.    But we’ll leave that for another time…..

And in case you’re interested, here are a few recommended recordings of these pieces:

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It’s rare that I don’t begin the morning with some music by Austrian composer Joseph Haydn, usually a piano trio, string quartet or symphony, which I enjoy while reading the newspaper and drinking my morning coffee.  With so many works to choose from (he wrote roughly 45, 68 and 104 of each genre respectively!), you can listen for a long time without ever overplaying any one work.  If I had to pick one composer whose music conjures up the pleasure of comfort food, it would be Haydn’s:  it’s hearty, nourishing  and always inviting.

In 2009, the world celebrated the bicentennial of Haydn’s death (he was born in 1732 and died in 1809), but I don’t think he received the kind of shout out that he deserved.  Chatting with artists and writers I work with, I have yet to find one person who doesn’t like “Papa” Haydn’s music, even if it has never been as well-known as Mozart’s (Mozart, it should be pointed out, revered the elder composer and his music and dedicated a set of string quartets to him).  A writer friend of mine compared Mozart to a smoothly paved road noting that, by comparison, Haydn’s music was more like a scenic country road – bumps and all.

Haydn spent much of his creative life on the country estate of his patrons, the wealthy Hungarian Esterházy family, and in that relative isolation he said that he was “forced to become original.” Lucky for us! Haydn nonetheless achieved fame across the continent, especially in London where his two extended visits met with an enormous outpouring of public affection.  It’s no exaggeration to say that in in his two trips there he was greeted and treated like a rock star.

I’ve been a bit of a Haydn junkie since first discovering his music 25 years ago.  The reasons are pretty simple: the world can be a fairly rotten place, but Haydn’s music is exactly the opposite – it’s charming, earthy, (mostly) joyous, imaginative, clever and inexhaustibly fresh. Heck, it’s even fun.

If I had to pick one genre of Haydn works for my desert island I’d go with the symphonies. Our panel of experts below tell you a bit about their favorites (responses are in alphabetical order, to avoid bruised egos!), and some recommended recordings follow that.

Marin Alsop, conductor (music director, Baltimore Symphony): Choosing a
favorite Haydn Symphony is a bit like choosing your favorite child. I love Symphony No. 49, La Passione. It breaks ALL the rules and foreshadows the Romantic revolution around the next bend! Extremely emotive and moving!

Leif Ove Andsnes, pianist: I love the “Clock” Symphony, No. 101. The first movement is one of the deepest and at the same time most joyful pieces he ever wrote. The serenity of the opening, then when it turns to major in the Allegro section – such an exploratory atmosphere! The themes and rhythms are exhilarating.

Here is a YouTube video of Sir Roger Norrington conducting the first movement of Haydn’s “Clock” Symphony.

Jonathan Biss, pianist: If I’m forced to name a favorite Haydn Symphony, it’ll have to be No. 102. In terms of invention, it is probably no more remarkable than any of the great symphonies, and while its humor runs the gamut from the urbane to the slapstick, others are more uproarious. What makes 102 unique is the stunning, almost ostentatious use of orchestral color. From the florid cello obbligato in the slow movement, to the timpani rumbles that decorate runs in the finale, I can think of no other work where he exploited the possibilities of the orchestra in such a unique fashion.

Leon Botstein, conductor (music director American Symphony and Jerusalem Symphony): There’s no such thing as a bad Haydn Symphony, but I’m especially fond of the late ones – Nos. 98, 99, 100, 102. These have all the complexity, drama and imagination that are the hallmarks of mature Haydn.

Jeremy Geffen, artistic administrator (Carnegie Hall): Symphony No. 99 in E-flat major. I heard this symphony first while a viola student at USC. At that time, as now, the piece seemed bursting with distilled joy – a Falstaffian humanity. Every time I hear the work I feel as if it is the first day of spring, and think of the wonder of that first encounter.

Alan Gilbert, conductor (music-director designate, New York Philharmonic): How about 48, 45, 90, 99 and 103 for starters? These are just a few that would make my list as I don’t particularly feel like choosing one over the other! Among his other incredible qualities, Haydn’s ability to write a last movement like nobody’s business puts him in a category all his own.

Paavo Järvi, conductor (music director, Cincinnati Symphony Orchestra): When I think about Haydn I think of my Dad. We played four-hands symphonies since I was ten, paying from the score! I love Haydn and Johann Strauss and both of them make me think of my father. Of all of the Haydn Symphonies that I love – and I love them all – I’ll choose No. 82, “The Bear,” which I recently conducted. I can’t help to think how wrong people are to think of Haydn as slightly gray and not exciting and a bit pedestrian. I can’t understand that reputation! His music is insanely entertaining. His music is like the orchestra bursting out laughing, but, at the same time, it’s perfection! Mozart and Beethoven called him Pape for a reason: you don’t call just anyone Papa!

Alex Ross, New Yorker critic: I’m partial to Haydn’s “Sturm und Drang symphonies, and especially the “Trauersymphonie.” The main theme of the first movement – rising fifth, rising fourth, falling semitone – is a rather scary entity, somehow putting me in mind of a gallows. Haydn spins out a customarily elegant argument from the idea, but it retains its threatening edge.

David Patrick Stearns, Philadelphia Inquirer critic: Symphony No. 100, “Military.” I love all of them because they so cleverly continue their thematic development in all regions of any given movement, and that’s definitely the case here. Also, Haydn was a creature of his own empire, so marches and such were a part of his landscape. And in second movement of this symphony, it’s so clever the way he turns a military march into high art – but without any undue grandeur or pretention. I believe the form is theme and variations. My favorite recording is Eugen Jochum with the London Phil on DG. But I hope that Roger Norrington will take it on soon, because I think he’s maybe the best Haydn conductor alive.

Howard Kissel, New York Daily News blogger and actor: Symphony No. 88: It has a gravity that reminds you he was Beethoven’s teacher, but a levity that reminds you he is Haydn.

Some box set recommendations:

If you have to own them all (and I wouldn’t discourage anyone from doing so), conductor Adam Fischer’s complete set does not disappoint, and is available in a lovely budget-priced boxed set from Brilliant Classics.

Haydn’s so-called “Sturm und Drang” (meaning “storm and stress” and related to a pre-Romantic literary movement emphasizing creativity inspired more by more personal, subjective feelings than reason) symphonies are very colorful, diverse and sometimes even a bit strange. Trevor Pinnock’s budget-priced set with the English Concert is always lively and vividly recorded.

Haydn’s most famous works, the so-called “Paris” Symphonies and “London” Symphonies are fabulously entertaining from first note to the last. Conductor Nikolaus Harnoncourt is masterful in the former; and Eugen Jochum is full of character with the latter.

Symphonies 73 – 75: I absolutely love “La Chasse” (The Chase – no. 73), especially the opening movement. Roy Goodman and the Hanover Band have a great one.

Sir Charles Mackerras and the Orchestra of St. Luke’s kick up some dirt with their rousing performances. Either 101 and 104, “London” or 100, “Military” and 104, “Drumroll” will do the trick.

For a terrific and handsomely-produced introduction to Haydn and his music, Harmonia Mundi’s “Haydn Celebration” (book + 2 CDs) features many photos and illustrations and a not-too-long biographical essay about Haydn’s life and works.

One of my favorite musical rituals involves the Winter Solstice, the first day of the winter season and the shortest day of the year in the Northern Hemisphere.  At the heart of this ritual is listening to Tchaikovsky’s First Symphony, which bears the nickname “Winter Dreams.”  I discovered the piece in college when I was studying overseas in Vienna, Austria.  In the midst of a night-time snowstorm I took my Walkman and left my dorm with Tchaikovsky’s First – in a performance featuring Herbert von Karajan conducting the Berlin Philharmonic on DG – and made my way around town, which at that point was completely new to me.  The mix of hearing the symphony for the first time and getting lost in the city gave me a thrilling sense of adventure that I continue to associate with this piece.

Over the years I’ve had many “Winter Solstice” parties, some entirely by myself, some with many friends, most with copious amounts of chilled vodka.  Probably the biggest of these parties occurred at the downtown loft of my pal and Ecstatic Living Room partner, Glenn Petry.  I bet there were 75 people  there, and after a few hours of drinking and eating I remember giving a brief spoken introduction to the piece and then letting it rip over Glenn’s stereo as everyone listened intently and went along with the ride.  When the piece roared to its conclusion the crowd gave a huge ovation as if we were listening to a live orchestra.  Glenn’s apartment had been transformed into an Ecstatic Living Room.

The first movement bears the heading “Dreams of the Winter Journey,” and it’s flickering strings and mysterious air conveys the feeling of a night-time sleighride through a vast, snow-covered expanse.  The second movement, “Land of Gloom, Land of Mists,” is an achingly beautiful and sweepingly romantic slow movement.  Its centerpiece is a gorgeous horn solo, which eventually leads the massed strings to a huge climax.  After a strange, ghostly scherzo, Tchaikovsky regroups for a what becomes a rousing and celebratory finale, which you can sample here:

Once winter has fully arrived, one of the other great symphonies that I can hardly wait to blast on my stereo is Vaughan Williams’ Sinfonia Antarctica, the British composer’s Seventh Symphony.  I’m listening to it tonight, an icy night (6 degrees Fahrenheit and dropping) in upstate New York.

Quite remarkably, Vaughan Williams was in his 80s when he tackled this truly awe-inspiring work. His experience writing the score to the film Scott of the Antarctic (1947) was so compelling that the composer decided to explore the subject further in a symphonic treatment of the story. Vaughan Williams captures not only the forbidding, unfathomable beauty of the frozen landscape but also the heroism of the intrepid yet tragically doomed explorer Robert Falcon Scott (1868-1912), who perished with members of his team just short of the South Pole (the Norwegian explorer Roald Amundsen was the first to reach this “Last Place on Earth” just days earlier). Vaughan Williams provides short snippets from various literary sources at the headings of each movement to underline the spiritual meaning behind Scott’s quest, none more telling than Scott’s last journal entry at the head of the final movement: “I do not regret this journey; we took risks, we knew we took them, things have come out against us; therefore we have no cause for complaint.”

Vaughan Williams’ Sinfonia Antarctica is what I affectionately call an “IMAX in sound,” brilliantly scored to evoke the majesty, desolation and mystery of the Ice Continent. A wind machine helps whip up blizzard conditions, and a combination of harps, vibraphone, deep bells, and celesta (a piano-like instrument whose hammers hit metal plates instead of strings) – with a wordless women’s chorus and solo soprano – casts a decidedly otherworldly spell (something that likely influenced Danny Elfman in his various film scores, especially for the Tim Burton films, and Bernard Hermann in his music for Hitchcock films, especially the famous Dali-designed dream sequence in Spellbound).

The shattering climax of the piece is a truly thunderous entry by the organ in the third movement “Landscape,” which conjures up vast slabs of ice shearing from the cliffs and plunging into the frigid seas (you’ll hear it at around the three minute mark in this YouTube video clip). There’s nothing that I know in all of music that conveys the menacing power of winter more than this.

And in case you’re interested, here are a few recommended recordings of these pieces:

The dynamic young Russian conductor Vladimir Jurowski delivers a potent Tchaikovsky First in a new recording with the London Philharmonic.

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There are several great recordings of VW's "Antarctica" including this powerful one led by Dutch conductor Bernard Haitink.

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I also enjoy this Naxos recording by Kees Bakels and the Bournemouth Symphony Orchestra. And for $8.99, it's the most afordable way to get to Antartica.

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For as long as I can remember my family has been spending the Christmas/New Year’s holiday together on a Caribbean vacation.  For years I was the odd man out, believing somehow that Christmas wouldn’t be Christmas unless I was in a cold and snowy place, which meant that I never traveled with my family for their annual pilgrimage to places like Puerto Rico and the Dominican Republic.

But the past two years have been different, and thanks to the generosity of my family I’ve spent two consecutive Christmases in the Dominican Republic.   I could go on and on about how fun my family is to spend time with, and how incredibly funny and loving they all are.  They really understand that life is about having a good time and enjoying each other’s company.  That’s not a very difficult thing to do at a place like the Sanctuary resort in Cap Cana, where our daily regimen consisted of a lavish breakfast buffet, hours lying in the sun on a beachside lounge, lunch and afternoon drinks by the pool, a brief pre-dinner cocktail party, and then a big family meal either at one of the restaurants at the resort or at the nearby beach club or marina.  The Cap Cana area is one of the “up and coming” resort areas of the D.R., and the resort itself is breathtaking in every way.  The landscaping was impeccable and lavish, the buildings meant to capture high colonial Spanish style.  And of course, there’s the beach itself and that brilliant, shimmering blue of the Caribbean Sea.  The picture here can only hint at the overwhelming sensation of warmth that envelops you as you look out over the water to the horizon.

The view from the beach at the Sanctuary in the Dominican Republic

In the old days I would always travel with a bag of CDs or even cassettes (yes, I’m THAT old) because having the right music around when you’re on the road is crucial to setting the mood.  You really can’t fully comprehend the eloquence of Elgar until you hear the finale of his mighty First Symphony blazing in your ears as you stand at the center of a buzzing Trafalgar Square.  But oh, the iPod – how did we live without it?  After loading a few special Christmas selections beforehand, I was fully ready this time for a week on a tropical island.  Along with jazz classics like Getz/Gilberto, I had a handful of classical titles on my playlist, which I list here for those either lucky enough to be heading to a beach in the coming weeks, or cold enough to be looking for a little (and virtual) escape to a tropical paradise.

Debussy: La Mer and Prelude to the Afternoon of a Faun (Bernard Haitink with the Royal Concertgebouw Orchestra on Philips Classics)

La Mer is the most beautiful musical depiction of the sea ever written. The light reflecting on the water, the wind whipping up the surf, the awesome power of the ocean – all of this comes to life in this three-movement masterpiece.  And if there’s a more relaxing way to spend ten minutes than listening to the Prelude of a Faun under a gently swaying palm tree I would like to know what it is!

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And here is something to whet your appetite (this is from a performance of by Valery Gergiev and the London Symphony Orchestra).

Ravel:  Daphnis et Chloé (Myung-Whun Chung conducting on DG)

This “ballet for orchestra” is Ravel’s most lavish score, a love story between a Shephard (Daphnis) and a Shephardess (Chloé) set in the Greek Isles, complete with a  kidnapping by Pirates, an appeal to the God Pan, and a final ecstatic dance of celebration.  The stunning “Daybreak,” featuring chirping birds and glistening waterfalls, is one of the most glorious and rapturous moments in all of music.

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Rimsky-Korsakov: Sheherazade (Charles Mackerras conducting the London Symphony Orchestra on Telarc)

This five-movement symphonic suite is a musical magic carpet ride to Arabia and the world of the 1001 Nights.  It’s a dazzling score with beguiling Oriental flavorings, depicting episodes from the tales of adventure related by Sherharazade,as she uses her master story-telling skills to save her life from the the bitter Persian King whom she beguiles and ultimately marries.

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It started out almost as a joke when Albert and I were planning to unwind after a day of work with a martini and some music.    Albert suggested we listen to an advance recording of the new naïve classique release of conductor and in this case harpsichordist Christophe Rousset playing transcriptions of Rameau’s second opera, Les Indes Galantes.

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Here is one of the tracks from the album, titled “Air Pour Les Guerriers”:

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I sensed the bit of jest in Albert’s question, because perhaps the idea of us two guys listening to harpsichord music to unwind might seem a bit, well, fey.   Not that we have anything against fey, of course, but more because we had had a long history of unwinding with drinks to classical music.   In fact, the idea of the Ecstatic Living Room was launched, right where we were sitting, in Albert’s living room, many years ago where we would convene regularly to relax and explore music….though typically more muscular stuff.    We spent hundreds of hours listening to classical music, but in our 20s and 30s we seemed to gravitate to the music of Shostakovich, Beethoven, Mahler and new music that had, at least for me, supplanted much of the rock music I had been listening to.

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The charismatic French soprano Natalie Dessay is one of the most exciting opera singers on the stage today, equally celebrated for both her incandescent singing and her superb acting.  She originally sought a career as an actress, but discovered her talent for singing while taking acting classes.  She dropped the “h” in the original spelling of her name in tribute to the actress Natalie Wood.

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The French harpsichordist and conductor Christophe Rousset has long been one of the bright lights of the early music and period instruments scene. At twenty-two he won the prestigious First Prize, as well as the Public Prize, in the Seventh Bruges Harpsichord Competition (1983).He performed with Les Arts Florissants and then Il Seminario Musicale before embarking on a career as a music director, which led him to form his own ensemble, Les Talens Lyriques, in 1991. (more…)

Memorial Day has something of a split personality, especially on the kind of gorgeous day we had today in Upstate New York.  Despite the parades, the holiday itself has a somber character and purpose, paying tribute to those who have served and died while serving in the armed forces.  But with the picnics and barbecues, not to mention all the usual commercialization, it’s taken on new qualities if not a completely different identity.  It’s now pushed as the official beginning of the summer, not to mention the Hollywood blockbuster season, and my inbox today received no less than 20 special Memorial Day sale offers to buy everything from sneakers and workout gear to outdoor furniture and cars.

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Xuefei Yang is an internationally acclaimed classical guitarist, performing for audiences across the globe. Her talent was recognized early – at the age of 14 she made her Spanish debut in Madrid, with the composer Joaquin Rodrigo attending her concert. She is the first Chinese guitarist to become a professional musician on the international music scene. She performs in the world’s major concert halls, plays concertos with the world’s leading orchestras and has an exclusive recording contract with EMI Classics. Her first EMI CD, Romance De Amor achieved a gold disc, and her second, 40 Degrees North, was recognized in China as the best classical CD of 2009, and CD of the month in Gramophone.

Xuefei has appeared on numerous TV and radio programs, including a successful performance at the BBC Proms, and an interview for “Woman’s Hour” on BBC Radio 4. In 2009 Xuefei performed at the Brit Awards at the Royal Albert Hall in London. Xuefei was the subject of a documentary by CCTV in China.

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