LPs batch 1: the early trials

As I’m not sure I’m using absolutely optimal settings for digitisation, I’m starting with some LPs that we’re not so deeply attached to. First off the mark was some double harpsichord concertos by Couperin and Rameau (apologies to their memories).

This batch contained one of my earliest LP purchases (I think I was still at primary school when I got it); Giulini and the Philharmonia performing La Mer; sadly the Three Nocturnes on the other side sticks – I probably didn’t look after my discs too well in those days.

At the other end of the scale are Franck/Debussy/Ravel violin sonatas recorded by Shlomo Mintz and Yefim Bronfman in 1985, which must be one of the most recent recordings in the whole collection.

We have two recordings of Liszt’s B minor Sonata; the one by Bernard d’Ascoli (which also includes La leggierezza and Franck’s Prelude, Chorale and Fugue), was first up to the platter. The waveform of the opening to this sonata is very distinctive! Another piano disc is of Szymanowski and Janáček played by Jan Latham-Koenig, of interest to me because he is a conductor I’ve sung for with Chorus Angelorum.

Earlier repertoire was represented in this batch by a rather short disc of Bach’s Reformation cantatas BWV79 and 80, conducted by Leonhardt and Harnoncourt respectively.

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the process starts

I have at long last begun the process of digitally recording our LPs on to CDs. It’s going to be a long haul; I estimate there are a good 200 LPs to be done.

I’ll begin with a few general observations on our LP collection. About three-quarters of the LPs originally belonged to my husband (who had a head start on me, and like many performers I’ve never been a great collector of recorded music). For obvious reasons none of the recordings are later than the mid-1980’s. As we were both building up a basic collection of standard repertoire the musical taste of the collection is not very adventurous and 20th-century works in particular are under-represented. Recordings of earlier music are not necessarily historically informed! It would be interesting (though I don’t think I have the time) to work out how many of these recordings are still in the catalogue. There are a lot of Melodiya and Supraphon discs which I suspect are unavailable now. There is very little opera, but a few boxed sets of other works and composers.

I’ll be posting updates here after each batch. I’m noting various pieces of information about each recording as I go: as well as details of work and performers, the label and number, date and place of recording (where given).

A technical note: I’m using an ART USB Phono Plus V2 preamp and (at least for recording;we’re getting some advice on editing) PolderbitS software.

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Philip Langridge

I was sorry to hear yesterday that he had died. I had the privilege of sharing a concert platform with him once, in Britten’s St. Nicholas at the Barbican with the Tallis Chamber Choir and (I think) the ECO. I certainly heard him sing on other occasions, most recently at the ROH last year.

I have a CD of children’s songs, Minimusic, performed by him with more intelligent and musically interesting accompaniments than is usual. I realise I haven’t recommended it here before, so I’m doing so now.

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the words of the anthem are …

I recently went to hear the Farrant Singers from Salisbury sing evensong at Wells Cathedral. The choir contained a friend of mine (as well as another singer who is ubiquitous in choirs around here!).

It was a good service, with Howells in B minor (which seems to be turning up all over the place these days) and a setting of verses from Psalm 51 by Brahms. The verses set were read out in English at the beginning of the prayers which followed.

Other Cathedrals aren’t always so careful about anthems which aren’t in English. I was singing a few years ago at a major Cathedral in the eastern counties, and the anthem was introduced in the following words: ‘The anthem is Rheinberger’s Abendlied‘. That was it: no translation of the words, or even of Abendlied! Not everyone knows German.

There is a widespread tendency (not confined to clergy or musicians) to detach the words of the anthem from the rest of the liturgy, so it doesn’t matter if the congregation has no idea what they are. Some people complained that Princess Diana’s funeral contained no reference to the resurrection, despite the fact that the first words heard were ‘I am the resurrection and the life’. Did the fact that they’d been set to music by Purcell mean that they somehow didn’t count?

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a colossal nightingale

This was Heine’s description of Berlioz and I can’t improve on it, so I’m borrowing it for the title of this post.

A few years ago I learnt some of Les nuits d’été, including Le spectre de la rose. The more Berlioz I encounter the more I realise how this song seems to sum up his art; there are so many turns of phrase, harmonic changes and textures that are characteristic. With this in mind I took part in the South West Festival Chorus’ performance of the Grande Messe des Morts in the Colston Hall last weekend, with the Birmingham Philharmonic conducted by Jason Thornton and with Jeffrey Lloyd-Roberts (whom I last heard in ENO’s Lulu) as tenor soloist.

This work has the reputation among Requiem settings as The Really Noisy One. This isn’t unfair – there are moments as loud as anything you’re likely to hear in a concert hall – but it only tells part of the story. Much of the scoring is delicate, to the point of leaving the vocal parts highly exposed. And it glosses over just how radical the piece is. (For example: a movement where the choir simply alternates between two notes, in unison, until the very end; another where the vocal parts end on a discord; a Dies Irae that starts quietly and tentatively).

There’s an slight awkwardness to the overall structure, with nothing really balancing the Dies Irae, and a problem when it comes to the alto section (who have little to sing), which was solved this time by reassigning some tenor and second soprano lines to the altos. But it makes a change to have a work which showcases the tenors and basses, rather than giving the sopranos the lion’s share of the best passages.

Nothing has really quite prepared me for singing the Lacrymosa in rehearsal with the orchestra. What had seemed like a straight repeat of the first section turned out to sound very different as the four off-stage brass groups started pinging out notes from all directions. Then comes a gentle melody which is a first cousin of the song mentioned above – Gustav Mahler couldn’t have taught this man anything about doing profound things with apparently trite tunes – and suddenly the whole thing turns on a sixpence as everyone is in unison and the off-stage brass start up again. There’s one last twist as one of the great Neapolitan chords in the literature introduces the final triumphant peroration.

I don’t think I oversang as I was still able to talk the following day. But I’d been unwell and it would be good to sing the work in full vocal health. Or just to hear it again! Not least because recordings are only going to be a shadow of the sound of a live performance.

I should say a little bit about Colston Hall, which has had a revamp since I last sang there in another Requiem. Actually the revamp is just a new (though very extensive) foyer area; the backstage area is as much an unsignposted rabbit-warren as ever, and you can still find the orignal entrance and box office, looking now rather forlorn.

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classical music on YouTube

From time to time it’s recommended that I get to learn a particular piece by watching a video of it in performance on YouTube. I’ve tried this but it doesn’t really work for me, for various reasons. One is that I tend to get distracted by the visuals and pay less attention to what I hear than if it were sound only. The sound also tends to be of poor quality.

But the real problem I have is that inevitably I see the comments, and these are all too often inane denials of the beauty and value of the piece of music in the video. It’s saddening to read such dismissive comments on a particularly fine composition, given without any reasoning. And this happened most recently to me with Berlioz! I haven’t dared try looking to see what the commenters have to say about some of my favourite bits of the 20th-century repertoire …

In my experience online reviewers of books (on Amazon, say, or the Visual Bookshelf application in Facebook) at least say what it is they dislike about the work in question and have apparently engaged the brain before typing. Why is YouTube different? I suppose it is because the book reviewer has at least put in the effort to read the book, or a significant part of it. The YouTube reviewer has just looked at a few minutes of video.

Looking at YouTube again, there seems to be a way of displaying only very positive comments which is perhaps what I need, the drawback being that I lose comments which are less than very positive, but intelligently so.

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Facebook events

I have recently set up my next performance as a Facebook event. It’s the Grande Messe des Morts by Berlioz in Colston Hall, Bristol, on Saturday February 13th at 7.30 p.m., performed by the South West Festival Chorus and Birmingham Philharmonic Orchestra, conducted by Jason Thornton with Jeffrey Lloyd-Roberts as tenor soloist and Gavin Carr as chorus master.

http://www.facebook.com/#!/event.php?eid=319863580358&ref=mf
http://www.colstonhall.org/whatson/Event1260

I can invite my Facebook friends to this event, and they can in turn invite others; it’s completely open. But the facility to browse events is essentially useless. The most focussed you can get is to browse all musical concerts, and of course there are a multitude of those. It used to be possible (say) to see ‘What’s on in Bristol’ on a given night and be shown a list of public Facebook events in that place that night but you can’t do this now (I suspect it went when networks were dropped). I once created minor trouble by setting up an event which had admission by pre-booked ticket to an invited audience, in order to find out who else was going to it. Tickets weren’t checked on the door, and several people came along having found out via Facebook about the distinguished performers and got in free. I’m not terribly sorry about this, as there was space enough for everyone.

Returning to my Berlioz concert, the event doesn’t show up on Facebook searches. This means I can’t tell members of the choir how to get hold of it and advertise it to Facebook friends – only those who are my FB friends, or who have been invited by them, are going to come across the page. This strikes me as a serious flaw.

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an apology to commenters

I was recently contacted by someone who’d tried and failed to post a comment on one of my blog articles. It turned out that his comment had, for no very obvious reason, been classified as spam. As I haven’t had any previous false positives for spam here before, I was no longer bothering to check the spam queue for them. To my knowledge no other messages have failed to get through, but I had noticed that I’d received few comments recently.

When you post a comment you should see the article you’re replying to, existing comments, and your comment, with a note that your comment will appear after moderation.* If you don’t get that (and, of course, you’re not a spammer) then it’s worth emailing me saying which article you were replying to and I’ll investigate.

I use the Akismet plugin to catch spam and, as I say, until now it’s been very good at doing so. I will look at the spam queue from time to time though, just in case. Unfortunately, I can’t tell on what grounds a particular message is designated as spam, or adjust the software myself in any way, except for removing the plugin which would flood me with spam. The software lives on WordPress’s server; this blog used to be kept on a server local to me but the volume of spam directed at it put a strain on it as it was not intended for high traffic.

* I admit most non-spam comments exactly as submitted. There have been a few genuine comments which I have not let through, or which I have withdrawn, if they have seemed to cross the line from fair comment into unsupported and unverifiable attacks on particular people or organisations. Merely disagreeing with me is a different matter. I once edited an otherwise unobjectionable comment to remove a personal telephone number.

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getting classical ringtones

My daughter now has a mobile phone and wants a piece of classical music to use as a ringtone. I’ve been looking at various sites but found the selection rather limited, unless you go for a converted MP3 file from a site like this. I don’t have much confidence that the result would make a good ringtone, or indeed that the phone could handle ringtones in true tone format (it came with minimal documentation). The best selection I’ve found so far is at Boosey and Hawkes, though it’s still not very extensive. (To give an example: the Strauss family are represented only by the Blue Danube and Radetsky March.) Have I missed something?

I can of course write one for her and turn it into a MIDI file, using the process described here.

Meanwhile, I’m very sorry that Contemporary Classical Internet Radio has apparently gone off air. I used to listen to it quite regularly when online (except when it was playing Xenakis).

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booking St. Paul’s and Westminster Abbey

I’ve been making enquiries about taking a visiting choir to sing services at St. Paul’s or Westminster Abbey. We used to be regular visitors, and indeed the Abbey and St. Paul’s would sometimes turn to us if they found they needed a visiting choir for forthcoming services. But we haven’t been for a few years now, so I’m restarting the process.

I don’t know how the choir applied originally to sing, but the process at both places is now more formal than elsewhere, with forms to fill in, and in the case of St. Paul’s an optional recommendation from someone well-known in the world of church music is requested. This is a little hard for us to supply; when we visit cathedrals, the director of music is inevitably usually away, and we are heard by the cathedral clergy but not by the music professionals.

I sense that there are now rather more choirs in this market than before. While not all of them can take over a remote cathedral for a week, a day or two in central London is easy to manage and desirable, so there is more competition. I will report back on the outcome of our applications.

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how to leave people out

Sometimes it might be necessary to scale down the size of a choir slightly for a particular performance, because of the music being performed or the venue. The thoughts in this post result from reflections on one occasion when a choir (now not in existence) did this. It wasn’t handled very well; five singers (from about 35) were left out of one concert, and along with it denied the chance to appear in a choir photo which was then used in publicity for some years afterwards. They weren’t given a reason or indeed even told that they weren’t singing (just not sent the music), and all of them left the choir within the next year or so.

Ideally, you want an approach that will:

a) result in a good performance
b) not cause singers to leave the choir or resent being left out. (Unless you would rather the omitted singers left – but in that case what are they doing in the choir at all?)

So how to do it?
Leave out the least capable singers. This is what you will be assumed to be doing, unless you indicate otherwise. It will achieve a), but you must be prepared to lose the omitted singers. And it must be done using this as the only criterion for omission, or it will look like favouritism.

Leave out the people who have joined the choir most recently. This will leave people who are most used to working as a group, but the omitted singers will be the ones whose loyalty to the choir is weakest, so you are more likely to lose them.

Leave out those who have missed most rehearsals for recent concerts. This may lose some good singers, and if the choir is strict about attendance, there may still be decisions to be made about who to leave out. But it is fair, and an incentive to attendance!

Leave out those who haven’t done extra service for the choir. E.g. those who haven’t been on the committee or sold lots of tickets. This may inadvertently penalise those who’ve joined recently (see above) or who have genuine reasons for not being able to do much beyond attending rehearsals, such as being a carer or having to travel a long distance; these may actually be among the most dedicated members of the choir. And it’s not necessarily good from the point of view of a).

Leave out those who will mind least. Oh dear! How do you know who these are? Unless you have people who have said to you that they don’t want to sing every concert, don’t try this. Apart from anything else, if it’s suspected that you omit the meek, it will encourage choir members to be bolshy.

Choose who to leave out by drawing lots. This is fairest, but needs a good choir where no singers are indispensible. Again, if you do this, tell the choir you are doing it and why. Risks a) but avoids b) completely.

Who is not available? No point in leaving anyone out if some are not free to do the concert anyway. But the singers themselves must confirm availability. Don’t assume they are not free because (say) you have heard from someone else that they are making a trip abroad during the rehearsal period.

Do you have to reduce numbers at all? Is it worth hurting some people to achieve precisely the right sound? Or to put it another way, will having a few more singers than the ideal number really wreck the concert?

Should everyone sing everything in the concert? If the concert contains more than one piece, why not use some singers in just one part or the other? This spreads the burden of omission more widely, instead of laying it on only a few, and everyone can be included in at least part of the performance. If some don’t like this, they can deselect themselves.

If there’s no alternative to leaving people out, minimise the amount they are left out from. Do not attach anything such as a choir photo or a party to the concert, from which the omitted singers will also be excluded. It might also help to do something else to retain the loyalty of the people who have been left out. Tell them apologetically that they won’t be singing in the concert – don’t leave it for them to work it out for themselves – and consider using them in some other way, such as doing an item with a smaller group in a future concert and including them in that group.

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the singing revival

There’s been a lot of media interest recently in a national revival in singing. How has this affected me? When you look at where this revival is taking place, it’s mostly in the unauditioned sector, and though this isn’t where I usually operate, it may have an impact on choirs such as the South West Festival Chorus or on ‘come and sing’ day events, which I do sometimes join. I’d like to think also that if more people are trying out their voices, that more basses and tenors might be discovered. They’re out there; I once heard a College director of music say that he could hear that some of the men who read lessons in his chapel would have excellent voices, if only they thought of trying singing.

Rather surprising in the light of this is that competition for singers in Bath has apparently got hotter in recent years, with some choirs having difficulty getting members to be sufficiently committed to them. One is planning to wind up in 2010.

Is it that there are more choirs competing for the same singers? (as for example happened in Bristol a few years ago, causing the demise of the Brandon Hill Singers.) The only newcomers on the scene are Chorus Angelorum and A Handful of Singers, both of which only perform occasionally (neither to my knowledge gave a concert this last autumn).

I suspect that the shortage of singers may be in the lower voices as sopranos are almost invariably the strongest section (I used to be in one choir in Bath where this was the case, and left realising that my own contribution didn’t count for very much).

I wonder also whether choirs are requiring more commitment, and perhaps people are just busier, and so individual singers who might once have sung in two are now confining themselves to one, thereby reducing the pool available. I’m not sure this is a bad thing, having seen the effects of a large overlap between choirs in the previous place I lived in (it effectively excluded too many competent singers from singing in a small choir at all).

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