In Memoriam: Julian Bream

MY TWO MOST MEMORABLE concert-going experiences both were recitals by guitarist/lutenist Julian Bream. It’s difficult to describe what made them so special. The music, of course – he had impeccable taste in programming – but there also seemed to be a spell that fell over the audience as he held us in thrall to his elegant way with the pieces he chose. Bream died today at the age of 87 at his home in England. He had been retired since 2002 – he once said that he gave up performing when faced with the prospect of lugging along merchandise to sell – but performed privately until 2011. His influence on the guitar and lute, in terms both of appreciation and repertory, is inestimable, and there’s plenty of info on the internet to pursue. I’m paying tribute to his memory today by offering my review of the performance I saw at the Troy Music Hall in 1992.

                                                                                                

TROY CHROMATICS DID IT AGAIN: they scooped the rest of the area’s presenters to give us one of the most gifted and sublime artists on the concert scene. Julian Bream hasn’t performed in the Capital District in a decade, and his return was every bit as sparkling as that earlier gig.

Julian Bream

One of the distinctions Bream brings to his concerts is a deeply-felt and (dare I say it) intellectual approach to programming. He has commissioned a number of major works for his instrument. He presents off-beat, underheard pieces. In doing so, he has enlarged the guitar’s repertory and continued the work Segovia started in ensuring its place as a vital part of the classical music world.

All of which was exemplified by last week’s concert.

A fairly chronological pair of sets spanned some four hundred years, beginning with 17th-century pieces by Frescobaldi and de Visée. Although the program booklet provided good notes on the piece, Bream broke the silly tradition of performer mumness and commented, work by work, on most of his program. It’s a nice practice when a performer can pull it off, and sure helps diminish classical music’s high snob quotient.

Making Up for a Lost SPAC Summer

From the Musical Vault Dept.: One of the most engaging artists to have emerged from the long-running Martha Argerich-hosted summer fesitvals is Gabriela Montero. She made her Saratoga Performing Arts Center debut in 2011 with a pair of concerts that – well, you can read my contemporaneous thoughts below, following an interview piece that sought to sell the events to what remains, in New York’s Capital Region, at least, a largely impassive audience.

                                                                                    

IMPROVISATION IS A BACKBONE OF THE ARTS. Making it up as you go along is a stalwart of theater and jazz, and it had a huge place in classical music a couple of hundred years ago, when improvising performers worked their magic in well-known forms, Beethoven and Mozart among them.

Gabriela Montero

Although there are contemporary artists who have brought back the technique of making up cadenzas (pianist Robert Levin chief among them), Gabriela Montero has made improvisation an essential part of her concert appearances.

The Venezuela-born pianist will make two appearances at the Saratoga Performing Arts Center during the coming week. First is a recital (8 PM Tues., Aug 9) as part of the Chamber Music Festival, then she returns two nights later to play Rachmaninoff’s Concerto No. 2 with the Philadelphia Orchestra under the direction of Giancarlo Guerrero.

Speaking from her home near Boston, the pianist explained that her Tuesday appearance, like her other recitals, will be in two parts. “The first half tends to be traditional repertory, while the second half is completely improvised.” And, as with theatrical improv, her creations are truly spontaneous. “I ask a member of the audience to sing theme I can use, which they then can follow in the improvisation. It’s a wonderful way to create a sense of access. Usually, I’m transforming themes that are well-loved, so it becomes very interactive and unpredictable. And very collaborative.”

Devilish Reaping

From the Vault Dept.: Advances aren’t nearly as interesting as reviews, but this piece looks at a theater piece with dance that presented a fascinating meditation on the Shaker heritage, which is part of the Albany area’s history. I saw the performance that the piece below tried to persuade you to attend, and I recall a small house with an embarrassingly inattentive audience – but there’s no review in my files. We shall content ourselves with this.

                                                                             

SHAKER LEADER ANN LEE, who emigrated from England in 1774 with eight followers, was known to her flock as “Mother Ann,” an ironic designation when you consider that she never cared for sexual activity and had children only as the result of a forced marriage – four stillbirths and four kids who lived to be no older than six.

Production photo by Rob Strong

Her community, based in New England and, locally, not far from Albany, took its name from the vigorous shaking that members performed in the throes of spiritual ecstasy, which was as close as they (officially, at least) came to getting laid. This tension between carnal asceticism and the sexual imperative is at the heart of “Angel Reapers,” a theater piece with dance written by Pulitzer Prize-winning playwright Alfred Uhry and renowned choreographer (and Piloblus founder and MacArthur Foundation award-winner) Martha Clarke. It plays a single performance at Proctors Theatre at 8 PM tomorrow (Friday).

“Alfred approached me about the project in 2005,” says Clarke, speaking by telephone from her home in Connecticut. “He said he’d become obsessed by the Shakers. I looked at him as if he were somewhat cracked. But I have so much admiration for his work that I agreed to do it.” The piece had its first workshop at Lincoln Center not long afterward, “but it was in a very different form, more of a traditional play then. Now there’s much more dance, and I think of it as a tone poem on the Shakers.”

Olde Bryan’s Bill of Fare

From the Food Vault Dept.: The Olde Bryan Inn in Saratoga Springs has a venerable history, which includes two review visits that I paid during the course of my Metroland tenure. Here they are, beginning with my first visit, early on in my restaurant-reviewing career, in 1986, and a follow-up eight years later.

                                                                                       

LEGEND HAS IT THAT AMERICAN INDIANS, several centuries ago, discovered the healing properties of the strong waters at High Rock Spring, now the site of Saratoga’s Olde Bryan Inn. It was here that Sir William Johnson was carried in 1771 after being stricken, and his remarkable recovery brought notoriety to the place.

The strong waters are of a different variety today as the Olde Bryan continues to flourish as a tavern in a building more than 200 years old. You may, in fact, sample the strong waters inside or out: summertime finds a small outdoor bar area in full swing.

And the restaurant features a menu that should satisfy the gustatory needs of any situation, before or after concert or track.

Our party congregated at an outdoor table while waiting for a table within. The restaurant takes no reservations, so there may be a wait when it’s busy. But it is a large-capacity house, laid out and lighted for an atmosphere of intimacy.

The main dining room’s pre-revolutionary look is accented by stone walls, rough-hewn beams, and a shallow fireplace at one end. On the walls hang antique cookingware along with period paintings; red-globed fixtures shroud the lights.

Fontaine Fables Foibles

From the Musical Vault Dept.: Monday’s post recalled a warm Saturday night when I enjoyed a program at Robert Conant’s Greenfield Center (NY) studio of music for lute and theorbo. I was back the following day to review another concert there: this one.

                                                                                       

REMEMBER THAT SCENE in the movie “The Third Man” when Joseph Cotten is watching a play in Vienna, in German, unable to understand a word and looking surprised when the rest of the audience laughs?

Jean de la Fontaine

It could have been like that at the Festival of Baroque Music concert in Greenfield Center Sunday afternoon, when the French Art Theatre presented selections from the fables of Jean de la Fontaine, performed in costume and in French, a language fairly mysterious to me. But it wasn’t.

These three actors were terrific and, with a little help from English-language synopses provided in the program, the meanings were nicely transparent.

It’s an unusual kind of presentation to find on a program of Baroque music but this eclecticism characterizes the work of Robert Conant’s enduring festival.

James Lewis has a dignified but expressive James Mason kind of face that looked just right beneath his long, curly wig. As he began the tale of “The Wolf and the Lamb,” Ellen de la Torre seated herself by an imaginary stream and became, with wide eyes and a moue, the woolly animal, while dark-bearded Julio de la Torre assumed the guise of the predator, in a delightful fable that illustrates that might does, in fact, make right. A chomp on the neck proved it for us.

Baking before the Baroque

From the Music Vault Dept.: It was good and hot at the end of July 1986, and the temperature in a small studio out in the woods on a hot day can seem oppressive. But good music-making took the edge off, as recalled in my review of a long-ago event.

                                                                                         

HOT, HUMID FRIDAY NIGHT wasn’t a good evening for lutes and theorbos (a lute is a gourd-shaped guitar, used through the baroque era. A theorbo is a long lute with many extra strings – sort of a cross between 12-string guitar and electric bass).

"The Attributes of Music" by Anne Vallayer-Coster

At Robert Conant’s Festival of Baroque Music concert at his studio in Greenfield Center, it seemed as if there was as much tuning as there was playing and singing. There wasn’t, of course, and to sit through the tuning was a small price to pay for the splendid music making.

You’re smack In the middle of the woods out there, off Wilton Road, in a specially designed studio that seats no more than a hundred. So there is intimacy and a close association with Nature, two important characteristics of the music of three centuries ago. With the bonus of no royalty hanging around (early-music composers found their best support in the palaces) to steal all the attention.

The Ensemble Chanterelle made its fourth appearance with the festival in a program of songs and instrumental music from 17th-century Italy, France. and England. The trio comprises soprano Sally Sanford, Catherine Liddell on theorbo, and Kevin Mason alternating on theorbo and lute.

Twelve

Guest Blogger Dept.: One of the best-selling novels a century was Booth Tarkington’s Penrod, a collection of stories in the popular genre of Peck’s Bad Boy that was partly inspired by the behavior of his own nephews – and which inspired two sequel books (and one orphaned short story). Here’s a chapter celebrating a boy’s twelfth birthday, very much of its time and yet timeless in many ways.

                                                                                      

THIS BUSY GLOBE which spawns us is as incapable of flattery and as intent upon its own affair, whatever that is, as a gyroscope; it keeps steadily whirling along its lawful track, and, thus far seeming to hold a right of way, spins doggedly on, with no perceptible diminution of speed to mark the most gigantic human events—it did not pause to pant and recuperate even when what seemed to Penrod its principal purpose was accomplished, and an enormous shadow, vanishing westward over its surface, marked the dawn of his twelfth birthday.

To be twelve is an attainment worth the struggle. A boy, just twelve, is like a Frenchman just elected to the Academy.

Distinction and honour wait upon him. Younger boys show deference to a person of twelve: his experience is guaranteed, his judgment, therefore, mellow; consequently, his influence is profound. Eleven is not quite satisfactory: it is only an approach. Eleven has the disadvantage of six, of nineteen, of forty-four, and of sixty-nine. But, like twelve, seven is an honourable age, and the ambition to attain it is laudable. People look forward to being seven. Similarly, twenty is worthy, and so, arbitrarily, is twenty-one; forty-five has great solidity; seventy is most commendable and each year thereafter an increasing honour. Thirteen is embarrassed by the beginnings of a new colthood; the child becomes a youth. But twelve is the very top of boyhood.

Winter Jazz Journey

THERE’S A SCHUBERT SONG known as Ständchen (D. 957 No. 4) that Liszt transcribed for solo piano; a simpler transcription became a very popular parlor-piano piece back when the music-category lines were far more blurred. So it’s no surprise that it was also picked up by pop-music groups: It became “Shivaree” in a 1920 recording by the Six Brown Brothers, a saxophone sextet, and (as “Serenade”) in 1939 by the John Kirby Sextet. Which is only to note that Schubert is among the many classical composers whose music has made its way into jazz.

Madre Vaca’s “Winterreise” may be the most audacious such journey yet. This Florida-based jazz ensemble has recorded ten of Schubert’s 24 heartbreaking songs in arrangements by drummer Benjamin Shorstein that prove that, with a little bold inventiveness, these songs can flourish in any setting. And the selections certainly hit the melodic and mournful highlights of the cycle.

Here’s the lineup, recorded at the end of May 2019 at Shorstein’s Jacksonville home: Juan Rollan, saxophone; Steve Strawley, trumpet; Lance Reed, trombone; Jonah Pierre, piano; Jarrett Carter, guitar; Mike Perez, bass; Milan Algood, percussion; and Shorstein on drums.

The cycle here begins and ends as Schubert’s does, so we start off with “Good Night,” depicting a lonely man’s weary trek through the snow as he abandons a vigil of his beloved’s house. Pianist Pierre takes the first solo, establishing that this is jazzland, not Vienna. Trumpeter Strawley then gives a little bit of New Orleans before saxist Rollan smooths things a little. Behind them, Carter adds the vintage sound of banjo strumming. It’s a collective sound created specifically for this song, which is also the opening one of the Schubert cycle.

Badge of Honor

RON CHERNOW'S MIGHTY BIOGRAPHY of Alexander Hamilton stares at me, unread, from a nearby bookshelf. I’m also unfamiliar with the massively popular Broadway musical. What I know of our colonial statesman was gleaned in history classes, and suggested that Aaron Burr was a far more interesting character.

Two things are quickly apparent about Jack Casey’s new novel Hamilton’s Choice: It’s challenging to draw a compelling portrait of a textbook hero when that hero is up against so fascinatingly dissolute a character as Burr – and Burr comes off sounding an awful lot like Donald Trump.

I don’t know how long Jack Casey spent working on this book, and I’m suspecting that the Burr-Trump connection wasn’t deliberately intended. We’re simply dealing with two narcissistic sociopaths. As to the first point, Casey succeeds admirably in giving us a flesh-and-blood Hamilton by using the tools available to the novelist. It’s very evident that the book was scrupulously researched; in addition, we’re given scenes and dialogue invented around those kernels of history.

That’s what brings the novel to life. We’re inside the heads of these dynamic characters. Burr, of course, is shooting sparks all the time as we follow his inner rage into the tragic climax of the story. Hamilton’s wife, Elizabeth (née Schuyler), comes to life through the dialogue and inner monologues. And it’s especially helpful for Hamilton himself, who can come off as too much of a goody-good without the credible speculation of his thoughts and ambitions.

Working from Home

MY HOUSE, which was roomy as can be back in February, has dwindled to something the size of a city apartment. It’s an old farmhouse with four bedrooms upstairs, a couple of large rooms downstairs that function as living room or dining room depending on the time of year and where we place the tables, a decent-sized kitchen, an office, a storage room, and a bathroom and a half. There’s an attic that accommodates storage of tax papers, trunks, outgrown toys, and those suits I swear I’ll fit into again. And a basement where the washer and dryer share space with a workbench and tools, furnace and water heater, and root cellar space.

My days here have been spent largely alone. I work in the office, and my daily commute consists of trips to and from the kitchen to relieve the tedium of pretending to work. This is a schedule where getting the mail becomes a high point of the day.

Since early March, however, my wife has been working from home, a process that the nature of her work easily accommodates. Since mid-March, my adult daughter has been here, too. She fled Manhattan, wisely reasoning that she was safer in our rural upstate village than on the Upper West Side. So we’re all here, all day, every day, trying to develop routines in which we won’t get in each other’s way and won’t get on each other’s nerves. The latter is the more difficult.

On the Road Again

THE HEART AND SOUL of David Bromberg’s latest recorded offering, “Big Road,” is an eleven-minute version of “Diamond Lil.” The song, a Bromberg original, first appeared on his second album, “Demon in Disguise,” in 1972. It’s a mainstay of his live performances. But the version that appears here is slower, more deliberate. The refrain, a chant of “A man should never gamble / More than he can stand to lose” carries an unusually high degree of poignancy as the bandmembers join Bromberg in harmony. And then they stretch out into solos that aren’t all that solo, with pairings and back-and-forths deepening the song’s melancholy nature.

Watch the YouTube video – which is also on the DVD that’s part of the retail package. Watch the interactions among the six players during the give-and-take that characterizes this number. Pianist Dan Walker takes the first solo, a spare, wistful survey of the mood that Bromberg’s first vocal chorus set. His second chorus has deft intrusions of Mark Cosgrove’s guitar, and Walker switches to organ as Cosgrove and Bromberg trade guitar licks, embarking on a conversation that builds in quiet intensity, and it’s Walker who underscores the third verse. But violinist Nate Grower is getting antsy, and there’s a surprising pairing of him with electric bassist Suavek Zaniesienko that manages to be wistful even as it builds on what came before. Behind it all, driving it all, is drummer Josh Kanusky, who keeps things languorous even while pursuing the bluesy drive of the song. And then we’re near the end. A final verse and chorus, and the song slips away.

Nothing Is Something

“I ACTUALLY READ WOODY ALLEN’S MEMOIR” is the headline for Caitlin Flanagan’s review of Woody Allen’s new memoir in “The Atlantic.” She bravely attempts an objective look at the book, but she has a Point of View, and eventually crumples beneath it. Her article has worthier substance than many of the other reviews of the book I’ve read, but she remains in thrall to the #metoo-inspired disgust with the venerable writer and filmmaker.

Apropos of Nothing, as you know, had a rocky start. Its original publisher, Hachette, bowed to pressure from Ronan Farrow to drop the book, and ultimately dropped a print run into the shredder. Arcade picked up the title. Despite the many indignant, pearl-clutching reviews in major publications, it turns out to be a delightful memoir, in the main. The trouble is that there’s a large detour as Allen recounts the circumstances that have led him to suffer a baseless accusation and the ensuing unwarranted condemnation.

Many critics accuse the book of being tone-deaf, if not completely out of step with the present, which leaves me wondering what they expected. If you’ve read any of Allen’s excellent short pieces that used to pepper The New Yorker and other worthy publications – and have been collected into book form – you have a sense of his tone of voice and his sense of humor. He’s what I suppose should be termed an old-school comedian, meaning that he was influenced by the likes of S.J. Perelman, James Thurber, and Robert Benchley, who were the best of the early-20th century school of humorists.

There’s no contemporary equivalent. What passes for humor these days is a comedy of cruelty, because the writers have only television as a reference, and television writing, once we left behind the days of Sid Caesar, deteriorated into too-familiar sitcom tropes, churned out, factory-style, to satisfy the relentless demands of advertiser-driven scheduling. There are significant exceptions, of course, but in the main we find predictable meanness.

The Community Masque as a Substitute for War

Guest Blogger Dept.: And who better than Robert Benchley to help us through this traumatic summer? Drawings by Gluyas Williams.

                                                                                              

WITH WAR AND LICKER REMOVED from the list of “What's Going on This Week,” how will mankind spend the long summer evenings? Some advocate another war. Others recommend a piece of yeast in a glass of grape-juice. The effect is said to be equally devastating.

Robert Benchley

But there is a new school, led by Percy Mackaye, which brings forward a scheme for occupying the spare time of the world which has, at least, the savor of novelty. It presents the community masque as a substitute for war. Whenever a neighborhood, or county, feels the old craving for blood-letting and gas-bombing coming on, a town meeting is to be called and plans drawn up for the presentation of a masque entitled “Democracy” or “From Chrysalis to Butterfly.” In this simple way, one and all will be kept out in the open air and will get to know each other better, thus relieving their bellicose cravings right there on the village green among themselves, without dragging a foreign nation into the mess at all. The slogan is “Fight Your Neighbors First. Why Go Abroad for War?”

The community masque idea is all right in itself. There certainly can be no harm in dressing up to represent the Three Platoon System, or the Spirit of Machinery, and reciting free verse to the effect that:

“I am the Three Platoon System. Firemen I represent,
And the clash and clang of the Hook and Ladder Company.”

Sax in the City

WHEN DAVE BRUBECK disbanded his very successful quartet in 1967, saxophone star Paul Desmond had spent sixteen years with the ensemble, achieving million-seller status with the album that featured his composition “Take Five” and acquiring a reputation as a witty, thoughtful player who seemed to know every song and solo ever recorded.

Brubeck was heading in a different direction; Desmond decided to take it easy for a while. “Desmond vacationed briefly in the Caribbean,” writes Doug Ramsey. “Back in New York, he took retirement with reasonable seriousness. Eventually, though, he succumbed to the blandishments of the Cantarino family, whose celebrated Half Note club had recently moved ... to 54th Street in New York’s midtown.” Part of the lure was the fact that Desmond lived a block away. This gig also featured guitarist Jim Hall, an old friend, with whom Desmond made a series of celebrated recordings in the early 1960s for RCA.

They were issued by Mosaic Records in 1987, in long since sold-out LP and CD sets, and have seen light of day on other labels since. They’re worth having both for the music itself, putting together a pair of cool players who interact like twins, and as a baseline from which to appreciate Mosaic’s latest contribution to the Desmond canon: The Complete 1975 Toronto Recordings.

Summer Serenade

From the Musical Vault Dept.: During the peak of my concert-review years, I enjoyed many visits to the various spaces in habited by L’Ensemble, a group run by soprano Ida Faiella and vioinist Barry Finclair, with a fairly regular group of other instrumentalists rounding out each program. The one reviewed below also feaured double-bassist Jon Deak, whose B.B. Wolf was issued on a recording (“Symphonic Tales”) last year on the Naxos label.

                                                                                       

AMONG THE BEAUTIFUL HILLS OF CAMBRIDGE, in the midst of farm country, an old red barn is the summer home of L'Ensemble, a group that divides its time between here and Manhattan.

Jon Deak

It’s like a Peter DeVries set-up: You could imagine the locals, chores done, deciding to go on over to the barn ‘n hear some Shostakovich. But DeVries would be startled: this group has avid local support, and draws an audience from the Capital District as well as wetsern Massachusetts and Vermont. From the inventiveness of a program played last weekend – and the skill with which it was played – this support is well justified.

The centerpiece was a newly-written work by Jon Deak, principal double bass with the New York Philharmonic, titled ‘”Owl in Love’” and based on a Haitian children’s tale. As the composer himself explained, the story is a cross between “Beauty and the Beast” and “The Ugly Duckling;” the owl of the title falls in love with a girl named Rose Marie (Haitians, like the inhabitants of Bloom County, have no trouble mixing humans and beasts in their stories), but the owl must first come to terms with his perceived ugliness.

The piece is scored for soprano, double bass, flute, and string quartet, but the instrumentalists are called upon for much more than merely playing. Not only must the instruments imitate the animal world -- the players must do so, too. The soprano, while giving the narration in English, uses a variety of languages all invented by Deak to represent the principal characters. It sounds much more complicated than it looks and sounds, and this was the result both of the talent of the performers and the wit of the piece.

Berlioz Discovered

I CAME LATE to the Berlioz controversy by coming early to his music. Specifically, to his “Symphonie fantastique,” introduced in a high-school music class but giving off more sparks and surprises than classroom study could cover. How could this wild-eyed tribute to unrequited, blighted love not appeal to a love-starved teen? “Harold in Italy” followed – a found LP of Primrose and Koussevitzky, with side-two fillers of magical moments from “The Damnation of Faust.” So by the time I learned that Berlioz was often derided and his music critically abjured, I could only conclude that these effete music critics were out of their minds.

David Cairns is nicer about those people. He doesn’t tire of reminding us of those wrong-headed views, but he and we are in the pleasant position of seeing the fatuity of such pronouncements. He offers no scorn. In his new essay collection Discovering Berlioz, Cairns quotes a 1949 music-history book: “Musicians suffer ... from the slapdash nature of [Berlioz’s] writing, the clumsiness of his style and his incoherent and chaotic methods of composition.” As Cairns puts it, “The old received idea of Berlioz as subverter of artistic law and order continues to arouse feelings of insecurity.” It’s not Berlioz’s fault; nor should it be. There’s a stuffy parlor in the Academy, the denizens of which panic at the approach of revolutionary ideas.

Cairns has championed the Berlioz revolution through a definitive edition (in Cairns’s translation) of the composer’s Memoirs, and a definitive two-volume biography that manages to be both academically thorough and a compelling, can’t-put-it-down account of Berlioz’s tumultuous life. (Berlioz was not allowed to marry his fiancée until he’d won the Prix de Rome, a prize that forced him to spend three years in Italy, during which time she threw him over. (The sequence in which Berlioz, in drag, sneaks out of that country in order to shoot the woman, her mother, and himself is full of hilarious mishap and could have played on the stage of the Opéra-Comique.)

Indian Summer

From the Food Vault Dept.: When I moved to Schenectady in 1980, a restaurant near Mohawk Mall (now Mohawk Commons) was the only Indian eatery in the area. But the Maharajah had a staff schism, and, in 1982, a group of them opened the Sitar, a couple of miles east on Central Avenue. That restaurant was very successful for a long, long time, but finally packed it in during the summer of 2016. Here’s my 30-year-old review of the place, followed by my account of a 1986 visit.

                                                                                   

ALTHOUGH WE LAST CHECKED IN WITH SITAR in print four years ago, Susan and I usually get out to this Indian restaurant a couple of times a year. But it still had been a while. There's a new addition in back, an airy, glass-topped room that gave us all of last Saturday's daylight and none of the rain that spattered intermittently.

But the menu hasn’t changed. It doesn’t vary much, which is part of the restaurant’s success. Thanks to the careful guidance of owner Adi Irani, a delicious and accessible selection of items remains the mainstay. Nothing is too spicy, but it all reflects the very different seasoning style of the various types of Indian cookery.

And the star of the show still is the large Tandoori oven, a clay oven in a room fronted with a picture window for patron display. There a specially-trained chef wields breads and skewers of meat for the high-heat cooking that renders an item especially juicy.

With such high expectations, then, you can understand if we’re especially critical. We didn’t come away from the dinner disappointed: just concerned.

Clarion Call

YOUR VIEW OF THE EARTH may be immediately subverted by this book: most of it takes place in Australia, where the seasons are inverted and the land is often desert. But this turns out to be an excellent location from which to contemplate the renewal of the land.

Charles Massy went from being what’s considered a “traditional” farmer – applying chemicals while chasing after scarce water – to one who looked to the land itself for clues about its restoration. In his long, detailed, excellently written book, Massy takes us through various processes of regeneration. He lays the groundwork at the book’s beginning: “When a healthy agriculture puts more long-lasting carbon into the soil while minimising the loss of such carbon, this in turn has a major impact on the water cycle and its crucial role in thermoregulation (i.e., climate control) of our planet.”

And it’s not just the condition of the land that he considers. It’s also human health, which is being sapped, he explains, by four factors: the fat-rich modern diet, its nutritional scarcity, its cancerous assimilation of glyphosate, and the cumulative effect upon genetics. “What makes this quartet of factors so deadly is that we are genetically hard-wired to live off our natural environment ... while we can’t change this genetic wiring, we can change our landscapes, and thus the food and water that they supply.”

Australia’s landscape has been evolving for nearly four billion years, the last forty million (or so) of which was as an independent continent-country, and became home to its own unique biodiversity. All of which changed after 1788, when Britons arrived with their own brand of domesticated agriculture, completely unsuited to the antipodean landscape. “It was a clash between a modernising, dominating Mechanical mind and an adaptive, ancient Organic mind.” Destruction of the land and its native inhabitants went hand in hand.

What’s New Is Old Again

From the Musical Vault Dept.: While combing the files for Monday’s post, I came across this review, written a couple of weeks later. I have no surviving appointment books from 1985, so my autobiography will have to be assembled from reviews like these. At least you know where I was and what I heard!

                                                                                              

ASTON MAGNA, A MUSICAL GROUP that takes its name from the estate in Great Barrington, Mass. in which its first performances took place, makes a specialty of recreating the circumstances under which the composer might have heard his music.

Aston Magna, Great Barrington, Mass.

This involves the use of historical or historically-styled instruments and a keen study of ancient performance practices, and can be particularly appropriate to a composer like J.S. Bach, whose music has gone through two and a half centuries of various stylings. Sunday afternoon, the audience at Jacob’s Pillow in Becket, Mass., was treated to a varied and innovative all-Bach program which demonstrated the strengths and weaknesses of such historically-minded playing.

The five works on the program offered a commendable contrast. The opening piece, a concerto for oboe d’amore and strings, was reconstructed from Bach’s Harpsichord Concerto in A, BWV 1055. That’s a practice Bach himself was fond of: transcribing his works, especially concertos, for different solo instruments; the oboe d’amore set the historical mood. Soloist Stephen Hammer made the difficult part sound easy, and was backed by an ensemble of four string players and harpsichord.

Sweet Spring is Our Time

From the Musical Vault Dept.: Can it really be that the most compelling view of musical performances now is in the rear-view mirror? I’m feeling more poignantly charged than ever as I sift through my youthful opinions – not that that makes said juvenalia the more worthwhile. Let’s go back some 35 years . . .

                                                                                

WHILE MUCH OF THE AREA is just beginning the cultural summer shift, in Columbia County the Spencertown Academy Society already is well into a summer season which, like their seasons past, offers superior chamber music performances by superior artists, many of whom live in or around that beautiful area.

David Deveau

Saturday evening’s recital by pianist David Deveau certainly maintained those high standards. He chose a program which began with a sonata by Haydn (in F Major, H. XVI:23) which dutifully served its purpose: Deveau’s technique was demonstrated with an accessible piece of music.

The two most striking characteristics of his playing also came through in this sonata, those being a masterful ability to bring forth varying moods and shifts of color from the keyboard and, on the minus side, a tendency to rush the fast passages at the expense of a savory articulation of the notes. The second movement of the Haydn sonata was particularly notable in its very baroque, Bach-like flavor, and Deveau gave a lovely baroque voice to it.

In striking contrast to the Haydn were the Debussy selections that followed, three “Estampes,” two of which were written to ape foreign musical stylings. “Pagodes” is a Debussy tour of an Oriental scene, with an unmistakeable French flavor to the Eastern sonorities; “Soiree dans Grenade” sounded very Albeniz-like.