Composers lost and found


Audiences need permission to like unfamiliar music. So the typo in that headline is particularly appropriate.

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That which colors the mind

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This recording by Owsley Stanley of sarod master Ali Akbar Khan featured in a recent post here . My further reading came across the following unpublished epitaph to Owsley Stanley - popularly known as 'Bear' - by his daughter Rhoney Gissin Stanley . It provides a refreshing contrast to today's social media influenzas : Bear was a man who walked his talk, who challenged the cult of personality and wanted the attention of others to focus on his work with sound, his art, and his philosophy, not on him.
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The Berlin Philharmonic's darkest hour

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Wilhelm Furtwängler was born on 25th January 1886. He was Music Director of the Berlin Philharmonic from 1923 to his death in 1954, and held this position for the twelve years that Hitler was in power. In January 1945 he was conducting in Vienna, and fled from there to Switzerland where he remained until the Battle of Berlin ended in the defeat of the Nazis. The musicians of his orchestra remained in Berlin during its darkest hour. Here is their story: On 28th March 1945 the Russian forces commanded by Marshal Georgy Zhukov were just twenty miles to the east of Berlin. A month previously Albert Speer had been replaced as Nazi armaments minister after trying to persuade Hitler that defeat was inevitable. Speer now turned his energies to preventing the musicians of his adored Berlin Philharmonic from perishing in the inevitable final battle. Reich Commisioner Dr Joseph Goebells, who was in charge of the defence of Berlin, had ordered the entire orchestra to be drafted into the Vol
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Berlin Philharmonic's first woman conductor

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In 2005 the appointment of a woman music director by a major American orchestra caused a storm of controversy . So, it is surprising to find that it was back in 1930 that the Berlin Philharmonic Orchestra was first conducted by a woman, and even more surprising to find she was an American. But the story doesn't have a happy ending. Despite receiving critical acclaim, Antonia Brico found doors closed to her when she returned to the US, and was forced to form her own orchestras to continue her conducting career. She is seen above conducting in New York in 1945. (Image credit Dr. Ralph Weizsäcker ). Antonia Brico was born Wilhelmina Wolthus in Rotterdam in the Netherlands in 1902, and emigrated to California with her foster parents in 1908. She attended high school in Oakland where she gained experience as a pianist and conductor. She went on to study liberal arts at the University of California, Berkeley , and also worked at the San Francisco Opera as an assistant to the director,
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Watch Michel Petrucciani video online

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Back in January 2005 I wrote about legendary jazz pianist Michel Petrucciani (right), and that article remains high in my 'popular pages' listing after fifteen months. Since writing that piece Overgrown Path reader Andrew Nathan and I have been tracking down Petrucciani video footage, and just this week Andrew came up with an absolute gem that is available free on Google video. In my original article I wrote that Michel Petrucciani was a 'pianistic genius' , and it is no coincidence that he is buried in the Pierre Lachaise cemetery in Paris alongside Chopin. This 38 minute video with excellent sound (and a bonus guest appearance from the gorgeous Charlotte Rampling ) is not just essential viewing for jazz fans, it should be watched by all students of the piano - whatever their discipline. Just click here to view this important document. (The video is not hosted by On An Overgrown Path , this is a link to an external site). And to set the video into context here is m
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The truth about those French orchestras

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My article reporting Claudio Abbado’s negative views on French orchestras certainly generated a lot of attention, including a response from Parisian Antoine Leboyer which corrected the myth that Abbado hadn’t actually conducted a French orchestra. Too much attention is given to British and American orchestras here On An Overgrown Path and elsewhere, and I was delighted when Antoine offered to give an inside view on the musical health of the French capital. So here is a guest blog from Paris with the truth about those French orchestras that Claudio Abbado and Daniel Harding love to hate: Let us put things in perspective with a few words on French orchestras. Abbado may not have had the best of experiences, and he may still not find it perfect today but things are improving. Paris has many orchestras (I do not know those outside Paris well, and cannot comment on them; I do have regards for the Lyon Orchestra which played some great concerts when David Robertson was their music direct
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Classical critics need to talk sound sense

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Many more people listen to classical music on streaming services than attend live concerts. Streaming is forcing important changes on recorded classical music, and these changes are little understood, or, in some notable cases, not understood at all. As an example, on the music industry-endorsed Slipped Disc  classical influencer Norman Lebrecht gives an enthusiastic welcome to Apple Classical , saying:  'In a Shostakovich tenth symphony from Berlin, the internal definition seemed to me clearer than the orchestra’s own-label recording and, weirdly, than my aural memory of hearing it in the hall. If this is to be the future quality of sound, bring it on'.  In his  linked article for  The Critic headlined Apple of My Ear Lebrecht explains that he auditioned Apple Classical using the Dolby Atmos/Apple Spatial Audio format. So we need to dig down into the use of PR-speak such as "the sound on Apple is as good as it gets, actually better" by a prominent music critic
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Free Mozart MP3 downloads from Danish Radio

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After the outcry over the Beethoven Symphony files the BBC saw sense and didn't offer any free audio downloads in their Bach Christmas. But now Danish Radio are at it. As part of their Mozart celebrations Danish Broadcasting Corporation are offering free downloads of nine of Mozart’s symphonies played by the Danish National Radio Symphony Orchestra. The first downloads are available on January 27 with Symphony No. 15 in G-flat. This is followed by symphonies Nos. 41, 36, 40, 23, 15, 34, 39, 17 and 35. If you must, here is the link for the downloads . But be warned it is in Danish, and AltaVista's Babel Fish translator doesn't handle Danish! Presumably after the outcry in Denmark there will be no Mendelssohn downloads from Danish Radio for the 160th anniversary of his death in 2007. Then it is over to you New Zealand Radio ... With thanks to fellow blogger Jon Lund for this story Report broken links, missing images and other errors to - overgrownpath at hotmail dot co d
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Sibelius remastered or reimagined?

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Classical music has a schizophrenic relationship with sound quality. On the one hand there is an obsessive preocuppation with hideously expensive 'acoustically perfect' concert halls . On the other hand recorded classical music has been chased down the rabbit hole of lo-fi by MP3s, streaming, ear buds, and mobile listening, and rarely - if ever - is sound quality mentioned in reviews of CDs . So it is not surprising but still disappointing that a major initiative by one of the largest classical labels to open the debate about recorded sound quality has passed unremarked, while classical's great and good continue their demands for yet another 'acoustically perfect' concert hall.  Warner Classic's rerelease of Sir John Barbirolli's legendary Sibelius recordings are labelled as 'remastered'. But what is remastering? Mastering and remastering are two very different processes. When a recorded is mastered to CD very little is done to the sound
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Nada Brahma - Sound is God

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It may be my age, but those moments when a piece of music really hits me in the solar plexus seem to get rarer and rarer. But during my recent extended travels in India I was metaphorically punched time and time again when listening to ECM's Codona recordings on headphones. Recent posts have touched on the potential of virtual concert halls and the fact that no one mixes for speakers these days , and the Manfred Eicher produced Codona sessions from between 1978 and 1982 really demonstrate the impact of the up close and personal sound of headphones . The line up for Codona was African-American trumpeter Don Cherry, Brazilian percussionist Nana Vasconcelos, and Colin Walcott on sitar, tabla, hammered dulcimer, sanza, timpani, and voice. The band took its name from a circus trapeze act of the early 20th century called the Flying Codonas , and the three albums packaged by ECM for CD as The Codona Trilogy capture the peerless musicians-beyond-frontiers performing their creative hig
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Glenn Gould - the ultimate download

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My personal overgrown path is leading back to the radio studio, and that has set me thinking recently about how to create programmes that are distinctive, inclusive and personal. Over in Holland the creator of Big Brother , Endemol , has its own formula for distinctive broadcasting, and this week launches De Grote Donorshow ( The Big Donor Show ) which gives three dialysis patients the chance to win a dying woman's kidney - or not. Back in 1969 Glenn Gould took a different approach to producing great broadcasting when he created his 'contrapuntal radio documentary' The Latecomers . The main subject was the new Canadian province of Newfoundland , but there was a second subject of solitude, isolation and non-conformity seen from a cultural perspective. The Latecomers , with its basso continuo of the ocean, is both a land-mark in twentieth-century broadcasting and a seriously neglected aspect of Gould's work. Now, thanks to reader Walt Santner, you can hear the whole
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