a new organ at Llandaff

I got away for a weekend singing in Llandaff Cathedral with the Erleigh Cantors: a new venue for them, though one I’d sung in a couple of times before. This time there was a very new organ – we must have been one of the first visiting choirs to sing with it – which made a nice sound though it is still short of a few stops at the moment. My only quibble about its appearance was the heavy black metal grilles on the western parts of the case – unlike the console and the pipes nearest the high altar, there is no need for a safety barrier there and they only obscure the woodwork.

Most of the music was well known to me. We had a lightish Saturday evensong: Wise’s Canticles in F and for introit Weelkes’ Alleluia – I heard a voice which I find one of the hardest pieces in the Oxford Tudor Anthem book, although the difficulty is really with the high tessiatura. The anthem was O Lord look down from heaven by Battishill; for those who know this piece, we sang ‘The yearning of thy heart’!

On Sunday morning I revisited an old Priory Voices favourite, Rheinberger’s Mass for double choir in E flat. This time it included the Kyrie, which I hadn’t sung before. The anthem was O Saviour of the world by Ouseley, which makes three composers whom I know mainly through their chants rather than their anthems. (We had a generous amount of psalmody and sang one of Battishill’s chants. If anyone has a copy of the beautiful single chant by Wise – in D minor? – I would like to have it!)

At Evensong we moved on to later music – Leighton responses as on Saturday, Hadley’s My beloved spake, Howells’ St. John’s College canticles, which I’ve only sung once before (we did the ‘alternative’ ending to the Nunc as now seems to be standard), and a new piece for me, Philip Moore’s It is a thing most wonderful, which some of us found very affecting. I look forward to singing more of his music.

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LPs batch 22: Op. 0

This batch was mostly the Æolian Quartet playing Haydn, including his very earliest quartets and the entertainingly numbered Op. 0. After that came Dvořák’s Slavonic Dances (together with another version of his Scherzo Capriccioso) played by the Bavarian Radio SO under Kubelik, but here there was a problem as the disc sticks (Dvořák seems to be a problem composer in this respect).

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LPs batch 21: Sibelius and Haydn

By this stage I felt like doing some blocks rather than odd single discs. I finished off the Sibelius symphonies, which are mostly conducted by Karajan or Ashkenazy but we have Kamu doing no. 2. Then it was onto a boxed set which was in high demand: the Æolian Quartet’s recordings of late quartets by Haydn. These were part of a cycle of the complete quartets but are no longer in the catalogue, for no very obvious reason.

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LPs batch 20: displaying umlauts

Our Sibelius LPs are a nice tidy batch comprising six discs containing the symphonies and a few other well-known pieces. This batch included the ones conducted by Karajan. I’m now beginning to finish certain categories and the last of Mozart’s chamber music was a boxed set of his piano trios played by the Beaux Arts Trio. Our other Berlioz disc was Harold in Italy with Colin Davis, the LSO and Nobuko Imai. I have quite a lot of Lieder to do and included Die Schöne Müllerin and Schumann’s Liederkreis Op. 39 with Ian and Jennifer Partridge. This threw up an unusual problem. I hadn’t realised that the Schumann included two songs entitled In der Fremde until one overwrote the other on my computer and I found I was a track short. I wonder how much confusion this has caused over the years.

While entering song titles and other foreign names, I’ve usually done umlauts adscript as ae oe ue and left out accents. This time I tried leaving an umlaut in the title of a song when it became a file title to see what would happen. It passed out of Polderbits on to my file system, reappeared in RealPlayer, was burnt on to the CD and re-emerged triumphantly grinning from ear to ear on the display on our home CD player. It turns out that umlauts and circumflex/grave/acute accents can be handled this way, although the car CD player display doesn’t like them. The Æ ligature and cedillas can be burnt to CD but don’t display (so the Aeolian Quartet will have to remain typeset thus) – and, curiously, full stops don’t come out either. Anything that isn’t in the ASCII 256 character set, such as Hungarian double accents, falls at the first hurdle and can’t be included in a file name.

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LPs: batch 19 – trying to finish Shostakovich

I realised I’d been neglecting chamber music, so I moved on to an LP of Mozart’s piano quartets with the Beaux Arts trio, followed by a couple of string quartets performed by the Quartetto Italiano. Representing solo piano in this batch was Pascal Rogé playing Italie from Liszt’s Années de Pèlerinage. More Berlioz in the shape of Agnes Baltsa singing Les Nuits d’Été together with the only Wagner in the LP collection, the Wesendonk-Lieder. And more Elgar: the Scottish National Orchestra and Gibson in his Second Symphony. I’m still trying to get to the end of Shostakovich and in particular of the recordings conducted by Haitink, so this batch finished with the 15th symphony (with the LPO) and the 5th symphony (with the Concertgebouw).

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a shortened Festival

The Navarra quartet was in the end the only Bath Festival concert I got to. (For most of the rest of the Festival we were away from Bath.)

I considered going to hear Exaudi perform a programme that mixed Tudor and contemporary choral works. What put me off in the end was not the programme, but the order in which it was performed! The Tudor pieces and the others were jumbled together in groups of two or three. I’m happy to hear either the old or the new, but I find frequent switching between the two in a programme very demanding on me as a listener.

The Festival has been shortened this year. The main Festival in Bath lasted ten days, with a few concerts such as the Chew Magna one happening slightly earlier. Previously it’s been two weeks including a weekend at either end (sometimes finishing with a jazz or contemporary-themed weekend).

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the Navarra quartet in Chew Magna

The late Miles Kington once passed an observation made to him that many Somerset village names could be those of lawyers from American TV mini-series. I can’t however imagine a lawyer called Chew Magna, one of my favourites, where I attended a ‘Festival on Tour’ concert in the Bath Festival, given by the Navarra Quartet.

The venue was the parish church, quite satisfactory for the smallish audience though I did hear an extraneous high-pitched whistling sound during the first piece. I suspect this was a hearing aid whose wearer was blissfully unaware of the noise it was making, though I suppose it might have been part of the sound system, or something else in the church set in vibration by the music, or even something outside the building (the direction was hard to determine).

The programme featured three turbulent works: Haydn’s Op. 20 no. 3, Berg’s Op. 3 and Brahms’ Op. 51 no. 1. I sensed it took a little while for the performers to settle and for the ensemble to really gel. This may have been because of a change of personnel (explained at the beginning of the concert) or because they were bothered by the noise as well. The Brahms was the best received piece, though I felt it was musically the least interesting of the three.

The ‘Festival on Tour’ concerts, if this was typical, have a different and more intimate feel from the main Festival events, though without some of the fringe benefits such as interval refreshments. Tickets are also significantly cheaper, though to offset that there is the potential effort and expense of getting to the venue.

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LPs: batch 18 – a tasteless sleeve

This batch was largely orchestral music again. It started with an old LP of mine: James Galway ‘The Man with the Golden Flute’ playing assorted pieces which showcase the instrument. One track is a bit notorious: a Moto Perpetuo by Paganini which was allegedly spliced together from several takes with the flautist’s breaths in different places so that he appears not to breathe during it. I quote the sleeve note: ‘the idea of transcribing the work for solo flute would seem an impossibility. To our knowledge this work has never been played on the flute before.’ (!)

Then there were some symphonies: Brahms 1 with the Berlin Phil and Böhm, Mendelssohn’s Scottish (and ‘Calm Sea and Prosperous Voyage’) with the LPO and Haitink, and a personal favourite, Berlioz’ Symphonie Fantastique with the Hallé and James Loughran. This last boasts the most tasteless sleeve of any LP in our collection, worthy of an Athena poster circa 1970. I can’t decently describe it but it is reproduced here.

A must-have recording for any collection is the Du Pré/ Barbirolli account of Elgar’s Cello concerto; the Sea Pictures with Janet Baker on the other side could be left alone as we already have that on CD. Moving eastwards, there’s Tchaikovsky’s Violin concerto and Capriccio italien with Ferras and the Berlin Phil again, this time with Karajan. Finally a Supraphon of the Glagolitic Mass.

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merging recordings

In my endeavours to put our LPs onto CD I am very much aware that while a typical LP lasts some 50-55 minutes, the CDs I’m using can hold 80 minutes of music. It should therefore be possible to fit 3 LP-sides on to one CD in many cases. How should I do it?

My principles have in general been:

  • match by composer where possible. There are relatively few composers in the collection so this isn’t too much of a constraint, though I have broken it particularly to accommodate some minor composers.
  • not to mix orchestral with solo/chamber music.
  • match some or all performers where possible. Because we both have certain favoured performers this has been practical quite a lot of the time. And of course it works for boxed sets.
  • to put on one disc works that one might want to hear in one go. Some works just don’t sit easily together.
  • conversely, not to break the integrity of certain kinds of discs, such as song recitals, by splitting them between CDs.

Some composers – I’m thinking of Tchaikovsky in particular here – irritatingly like to write pieces about 45 minutes long, so that you can’t put two on one disc. Our Shostakovich discs, on the other hand, contain works of a variety of lengths so that you can make a jigsaw puzzle out of fitting them onto CDs. Inevitably there are pieces that risk being orphaned, either because the rest of their LP has gone elsewhere, or because they are on a very short LP. My rule of thumb has been not to create a CD of less than 50 minutes if I can avoid it, but I really can’t think what I’m going to do with our short LP of Gershwin or the Glagolitic Mass.

There are of course pitfalls. Differences in recording level (though with the use of the equaliser I can usually eliminate these), sound quality and pitch (particularly noticeable on a CD of assorted Bach).

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LPs: batch 17 – carols and folk poetry

Half of this batch was the rest of the 9-CD Arrau/Chopin box. After the great wodge of Chopin I moved on to Stephen Bishop Kovacevich (as he then was) playing Beethoven’s third piano concerto with Colin Davis and the BBC Symphony Orchestra. For something completely different I followed this with ‘The English Carol’, an LP of the choir of Magdalen College Oxford under John Harper singing settings of Christmas carols both ancient and modern. Finally came a 2-record set of Shostakovich with Haitink and the Concertgebouw: the 13th Symphony and two song cycles (6 poems of Tsvetaeva, From Jewish Folk Poetry).

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LPs: batch 16 – Chopin on election night

This batch began with Shostakovich’s Tenth Symphony with Rattle and the Philharmonia. It was now election night and I interspersed checking on the progress of the election results with recording the single largest item in our LP collection: a nine-LP box of Claudio Arrau playing Chopin. I got through all the works for piano and orchestra, Ballades, Fantasy and most of the Nocturnes before calling it a night, leaving three discs still to be done.

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a missed anniversary concert

I was prevented by illness from joining the Erleigh Cantors for their 20th anniversary concert. So I can’t write about the concert itself but I had rehearsed the programme with the other singers and at home which allows me to put something down here.

The trickiest piece was A Vision of Aeroplanes by Vaughan Williams. Someone rehearsing the same piece for another concert around now said it was the hardest piece he’d ever sung. I now won’t find out how far my hard work with the piano and a recording would have got me and whether I’d have agreed!

The rest of the programme was more straightforward. I’d never sung Moeran’s Songs of Springtime but I notice that Good Wine is on my old Reading Phoenix Choir LP so it’s been performed in the area for a while! Another piece which was new to me was Rutter’s Te Deum – I don’t think it would have caused me many problems.

Britten’s Choral Dances from Gloriana were drilled into me very thoroughly when I learnt them with the New Cambridge Singers and I remembered them perfectly. The words vary in quality; sometimes rather touching pastiche and sometimes pretty banal (‘From Norwich city you are leaving’, ‘Woven, woven, woven, woven BAS-kets!’). The programme was completed with Holst’s Nunc Dimittis and some Tudor anthems.

I’ve heard I was missed but that the concert was a success, so I can’t have done too much damage by having to withdraw.

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