Swan Song

Since starting my internship with All Classical Portland, I have been given every opportunity to learn new things about classical music, radio, and nonprofit organizations. In addition to learning new skills at ACP, my love of writing has never been overlooked here, and I have been able to write a handful of blogs for All Classical Portland’s website thus combining two things I am passionate about: writing and music. As my time with ACP comes to an end, it’s time for one last blog for the station, my “Swan Song”, if you will, which is exactly what my final blog post is about: the origin of the term Swan Song, as well as several famous swan song performances throughout history.

A swan song is a metaphor used to refer to a final gesture before retirement. The term originated in ancient Greek culture, and its first reference is found in Aeschylus’ Agamemnon, which was written in 458 BC. The remark was made when Cassandra dies, “after singing her last death-laden lament like a swan.” Since then, it has been used frequently throughout literature from the works of Aesop to those of Tennyson.

It was rumored that swans live a silent existence until the time of their death, when, with their last breath, they would sing a beautiful song. Plato credited Socrates for remarking on the beautiful, finale song of the swan as being sung, “merrily.” It’s a romantic notion, however, if you’ve ever met a swan, seen one in a park, witnessed a flock making its migratory trek, or been attacked by a protective mother swan while windsurfing, you may be well aware that the birds are anything but quiet. In fact, of all the adjectives used to describe their song, “beautiful” is probably one of the least likely to be employed.

Joe Davies feels the wrath of Tyson the swan on the Grand Union Canal in Bugbrooke, Northamptonshire

(Image credited: Daily Mail)

A perfect example of a swan song in metaphorical context is Franz Schubert’s Schwanengesang; literally translated into “Swan Song”, Schwanengesang is a collection of fourteen pieces based on the poetry of the German poet, Heinrich Heine. Schubert worked on the music just before he died, and it was published posthumously.  The music itself expresses emotions full of joy, remorse, yearning, loss, and love, thus marking the end of the remarkable career of Franz Schubert.

One of the biggest operatic divas of the late 19th century was Australian soprano, Nellie Melba. Dame Nellie Melba demonstrated her own take on a swan song performance towards the end of her career when she announced her departure from grand opera in Australia in 1924. Her farewell tour lasted a healthy four-year period until 1928, when she moved to Europe and toured off and on again for the remainder of her life. Her lengthy farewell tour reflected her eccentric career, and inspired the Australian turn-of-phrase, “more farewells than Dame Nellie Melba.”

On January 8, 2016, David Bowie released his final album, Blackstar. Two days later, the celebrated rock star lost his battle with cancer and sent fans reeling. Immediately, the world recognized Blackstar for what it is: a farewell album. The album articulates Bowie’s sincere gratitude towards his fans and reflects on his avant-garde career. Blackstar is both an unequivocal Rock & Roll swan song and a sincere parting gift.

This past April, the New York Times published an article titled, “The Diva Departs: Renée Fleming’s Farewell to Opera.” This exaggerated title implied that Ms. Fleming was planning to retire from her extensive career, when, in truth, she was merely retiring from one of her many operatic roles, that of the Marschallin in Richard Strauss’s Der Rosenkavalier. Ms. Fleming made sure to correct the misunderstanding, and has assured numerous sources that she is not retiring from opera, merely exploring additional avenues. Reneé Fleming’s Swan Song performance of Der Rosenkavalier in May did not signify her retirement; instead, it marked a shift in her career focus.

 

 

This article is not marking my retirement from writing by any means; however, it does mark my departure from All Classical Portland. This station has provided me with memories that I will always cherish, and experience that I will call on throughout future endeavors.

 

 

Sources:

https://www.gramophone.co.uk/feature/masterclass-schuberts-schwanengesang

http://adb.anu.edu.au/biography/melba-dame-nellie-7551

http://www.yourclassical.org/story/2017/04/06/renee-fleming-not-retiring

http://www.todayifoundout.com/index.php/2016/02/final-performance-called-swansong/

http://www.online-literature.com/tennyson/4062/

http://www.whats-your-sign.com/celtic-zodiac-sign-swan.html

http://www.dailymail.co.uk/news/article-2121505/Meet-Tyson-terrifying-swan-attacks-boaters-dare-venture-stretch-canal.html

Simone Dinnerstein takes Mozart to Havana

American pianist Simone Dinnerstein, who first received critical acclaim for her recording of Bach’s Goldberg Variations, has made collaboration a major part of her career since that first, solo recording. She has created recordings that bridge the worlds of classical music, jazz and folk. Her longtime collaborator and arranger, composer Philip Lasser, has been with her practically since the beginning, and is involved in Ms. Dinnerstein’s new Mozart CD, by arranging the cadenzas first created by the Romantic Italian composer, Ferrucio Busoni. The real focus here is not so much on what was recorded, but where: Dinnerstein traveled to Cuba to record these Mozart concertos, with a young orchestra that has existed for only a few years. The results are revelatory.

Dinnerstein shares this revelation in the conversation I had with her, where she describes her first impressions upon arriving in Havana; recording at night in a church, in order to have quiet, only to be disrupted by the activities of neighbors and also flies; and of this orchestra, made up of some extraordinarily gifted conservatory students, who were unflagging (despite the heat of the church’s space) in their enthusiasm for playing Mozart. It comes across clearly in their collaboration with Dinnerstein.

Mozart in HavanaDinnerstein, Havana Lyceum Orchestra
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Emerson Quartet bridges the centuries (Music of Britten and Purcell)

The members of the Emerson String Quartet are keeping plenty busy, both onstage and in the studio. They’re touring, too: the four members of the Grammy® – winning chamber ensemble were in Portland recently (presented by Chamber Music NW), and will return in July. It’s all part of a well-deserved celebration of the group’s 40th anniversary. While their current cellist, British Paul Watkins, has been with them for several years (after David Finckel departed), the other three have been playing together since their days together at the Juilliard School. Their newest CD, Music of Britten and Purcell (on Decca) illustrates that the quartet is still forging new trails in music. In my recorded conversation found on this page, first violinist Eugene Drucker and violist Lawrence Dutton bridge the years between these two great English masters.

Henry Purcell (1659-1695) is regarded as England’s greatest composer – up to the 20th century. The greatest British composer to follow Purcell is Benjamin Britten, and what ties the two of them together was Britten’s admiration for his English predecessor. Britten re-orchestrated Purcell’s Chacony in g minor (“Chacony” was the English form of the word, Chaconne); he later composed the finale to his Quartet No. 2 on the structure of Purcell’s stately dance. Emerson Quartet explore these connections, but also go back to the source, by playing Purcell’s “Fantazias” (the spelling chosen for this recording), and the effect is wonderfully “pure” (to borrow Dutton’s word for these almost ethereal works), both in the performance and placement on either side of Britten’s quartets. If Emerson Quartet continues along this path, then I wish them a long and fruitful journey, and will look forward to what they discover along the way.

Chaconnes & Fantasias: Music of Britten & Purcell – Emerson String Quartet
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Jennifer Higdon’s Majestic music

On the heels of their triple-Grammy® – winning CD of Michael Daugherty’s music (Tales of Hemingway), the Nashville Symphony Orchestra continues its commitment to American music with this showcase of Jennifer Higdon works.  All Things Majestic (Naxos) includes the eponymous composition, which was written for the Grand Teton Music Festival.  It certainly captures the splendor of those granite peaks in Higdon’s imaginative use of instrumentation.  Two concertos, both written within the last decade, share the spotlight:  Viola Concerto (featuring the versatile Roberto Díaz), and Oboe Concerto, played by Nashville Symphony principal, James Button.  Between the concertos and “Majestic”, Higdon utilizes the abilities of every instrument, and this orchestra is clearly up to the challenge.

Leading this orchestra based in the very musical city of Nashville (orchestra members easily adapt to bluegrass, country and other styles there), is Giancarlo Guerrero.  His name should be familiar to audiences in Eugene and the Willamette Valley, having been music director from 2002-09 of the Eugene Symphony.  During my conversation with Guerrero, his energy, enthusiasm and sheer love of American music came through:  both in advocacy for contemporaries such as the Pulitzer Prize-winning Higdon, and in reverence for this country’s past masters Copland, Gershwin, and the tone-painter, Ferde Grofé.  Guerrero and his team are proving that new works take a while to be accepted, but that they will be, in due time.

Jennifer HigdonAll Things Majestic
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A Sibelius Saga in Minnesota

In the 19th century, millions of people from European countries emigrated to the United States. A large number of Finns settled in the upper Midwest, especially in Minnesota and the Great Lakes regions. Here they fished, farmed and established communities which thrive today. So, it was no surprise that many Finnish-descended Minnesotans should turn out on a cold winter night in 2014 (perhaps to feel an affinity for their ancestors), to hear a tragic saga told in rich, bold music by Sibelius, written during the period of the Finnish peoples’ struggles for independence from Russia. Kullervo (1890) is a symphony, but not part of his numbered set. It’s scored for a large orchestra and male chorus, plus mezzo-soprano and baritone (who depict Kullervo and his long-lost sister). Sibelius paints a vivid picture in sound of the icy landscape, the hero (or perhaps “anti-hero” as maestro Osmo Vänska calls him), and of the eponymous hero’s trials and ultimate tragedy.

Paired with this epic poem, both in that concert and in this new, 2-CD set, is a commissioned work called Migrations, by Olli Kortegangas (b. 1955). The composer was specifically directed by the Minnesota Orchestra’s music director, Osmo Vänska, to write the work using the forces required for Sibelius’ (minus baritone), Migrations is based on poetry by Duluth-born Sheila Packa. It is a timely work, causing the listener to consider how, down through this country’s two centuries, people from many countries have sought peace away from the turbulence of their native lands.

A rousing, and fitting conclusion to the recording is the choral version of Finlandia (1899). Sibelius wrote it originally for orchestra alone, but was asked later to create a choral version based on words by a Finnish poet made in 1940. The emotion of the performance comes through in the recording, capped by enthusiastic applause from those Finnish Minnesotans. All in all, a recording that bridges people across continents, and time.

Kortekangas: Migrations
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The Audio-Visual Art of Céleste Boursier-Mougenot

In my last blog I shared information about a few different abstract forms of music-making, from albums made of tree rings to Swedish cattle herding calls. Much in the same way that people from different parts of the world create meals unique to the ingredients found in their region, musicians from around the world are able to draw on their local environments for artistic inspiration. In keeping with the theme of unique creations, I want to introduce you to the work of French artist Céleste Boursier-Mougenot.

I first learned of Boursier-Mougenot when I saw a YouTube video of an art installation that consisted of white china bowls floating in a pool of slowly moving water and clanking into one another softly as they drifted in the current. The sound produced by the bowls is reminiscent of heavy wind-chimes, but with a greater resonance due to the nature of their housing. Boursier-Mougenot explains that the piece is called “Clinamen” – a Latin word that refers to the random nature of swirling atoms. The piece is mesmerizing, to say the least, and offers a therapeutic combination of visual and audible art:

In addition to his aquatic art installation, Boursier-Mougenot has created numerous other sound-oriented art installations, some of which utilize foam, vacuum cleaners, or seventy very talented finches.

Boursier-Mougenot’s installation, “From Here to Ear,” is a piece that allows viewers to walk pathways through a room that houses seventy zebra finches and a number of electric guitars and bass guitars that are positioned around the exhibit on stands. As the birds behave naturally in their surroundings, they land on the strings of the guitars (which are connected to numerous amplifiers) and a unique song is produced. The birds are well cared for and have food, water, and nests available to them in the exhibit. Boursier-Mougenot describes “From Here to Ear” as “a piece that’s impossible for humans to play,” a statement that is verified by the heavy reverb of guitars intermingling with the bird’s chatter:

In addition to being audibly stimulating, Boursier-Mougenot’s installations are also visually captivating. The housing for his sound-rich creations adds an additional theatrical element to the display, whether it’s a cave-like setting for “Clinamen”; an open and airy aviary for “From Here to Ear; or in the case of “Harmonichaos”, a luminous sequence of vacuum cleaners outfitted with harmonicas staged a dark room that makes me think of a mashup between E.T. and the Overture from “Phantom of the Opera”. I mean that, of course, with the greatest reverence for the works of Céleste Boursier-Mougenot, Steven Spielberg, and Andrew Lloyd Webber.

 

Céleste Boursier-Mougenot’s work provides stunning examples of how music and visual art overlap one another. It’s also a reminder of the resourcefulness and versatility of artists and musicians.

Youthful Chopin, youthful pianist

The Canadian pianist, Jan Lisiecki (lee-SHYETS-kee) first garnered the attention of critics in 2010 (the bicentenary of Chopin’s birth) with a recording of the Polish composer’s piano concertos. The recording caught Deutsche Grammophon’s attention, and they signed the teen pianist right away. Mozart and Schumann works soon followed. Now Lisiecki (whose parents are Polish) returns to his roots, so to speak. “Works for Piano and Orchestra” is probably the only succinct way to describe the wonderful gems to be found on the recording: the Andante Spianato & Grande Polonaise; Rondo à la Krakowiak (based on a dance from Krakow); Variations on “La Cì darem la mano”; and the Fantasy on Polish Airs. These works were all written by Chopin when he was about 19 or 20 years old, and performed by him on a grand tour of Europe at that time. The 21-year-old Lisiecki tells me (in my recorded conversation posted on this page), that he’s still in awe of this genius who could not only play such music, but create such original and challenging pieces; works which are still seldom taken up by most pianists.

I’ve heard many interpretations of these youthful works by Chopin, and each has its own character and merits. However, Lisiecki, with Polish conductor Krzysztof Urbański and the NDR Elbphilharmonie, have produced performances that show an unprecedented cohesion between soloist and orchestra, and sensitivity to the material. Lisiecki said of these pieces “The only way to make it work is to create a sound that is unanimous, which is what we achieved together.” I’m already eagerly awaiting what Mr. Lisiecki will achieve with his next endeavor.

Chopin: Works for Piano & Orchestra / Urbanski, Lisiecki, NDR Elbphilharmonie
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Music Innovation

The human race, as a whole, has made huge strides in technological advancements when it comes to how we make music. Just looking at the evolution of the piano gives us an idea of how far we’ve come – beginning with harpsichords, which could not sustain tones, and evolving into marvelous grand pianos that have sustain pedals and use hammers to strike the strings.

Our eagerness to make music is nothing new; some of the earliest known musical instruments were wind instruments discovered in Germany. These ancient flutes were made from avian bones and mammoth tusks, and scientists estimate they are between 43,000-45,000 years old. People tend to search for music everywhere regardless of whether or not they play a traditional instrument, and in doing so we have invented – and stumbled across – some very creative ways to produce music in our surroundings.

Leonardo da Vinci’s knack for invention did not stop at flying machines and under water breathing apparatuses; One of his designs was for the Viola Organistaa piano-shaped instrument that combined bowed strings and a keyboard.  Although da Vinci himself was never able to build the instrument, Polish pianist Sławomir Zubrzycki built the Viola Organista depicted in da Vinci’s drawings. The Viola Organista plays a little like a piano, but produces the sound of a stringed instrument :

Of the many different forms of singing, one of the more uncommon styles was developed in Sweden, and is called kulning. During medieval times, Shepherdesses needed a way to share messages over long distances, and they developed a form of song that utilizes voice in a way that increases the sound produced from the normal volume of about 60 decibels to around 105 decibels. Not to be confused with yodeling – which hails from Switzerland – kulning utilizes different tones and pitches, and is audibly different from yodeling.  In addition to being a creative and effective way to share information across the Swedish landscape, it is also beautiful to listen to:

To most, birds perching on telephone wires is a familiar and often overlooked part of daily life, however, to the trained eye, scattered dots across lines can have a curious resemblance to notes on a staff. In 2009, Brazilian artist and musician Jarbas Agnelli saw a picture of birds on telephone wires while reading the paper, and made this very connection. He then decided to turn the birds into actual notes and “play” the music they made:

In keeping with the theme of music inspired by nature, I would like to share with you “Years” by Bartholomäus Traubeck. Traubeck designed and created a record player that plays sections of tree trunks like albums using a camera, programming, and piano tones to depict the rings and blemishes of different trees. The resulting music is haunting, with sustained tones and an eerie resonating sound. For a fascinating interview with Bartholomäus Traubeck, check out Data-Garden’s brilliant interview with Bartholomäus.
https://www.youtube.com/watch?v=lB6Sn_yC3AE

From flutes made of bone to albums made from trees, it is clear that after thousands of years we still have yet to tap all of the musical resources we have available to us.

citations:

Barness, Sarah. “Dream-Like Song Created From Birds Perched On Electric Wires Proves Nature Is Perfect (VIDEO).” The Huffington Post. TheHuffingtonPost.com, 28 Apr. 2014. Web. 03 Mar. 2017.

Wright, S. “To Call the Cows Home: A Selection of Swedish Kulning – by Sheila Louise Wright.” Academia.edu. N.p., n.d. Web. 03 Mar. 2017.

Arvo Pärt Festival (Cappella Romana) review

This February in Portland, Oregon, Cappella Romana and Director Dr. Alexander Lingas, presented the first-ever festival in North America dedicated to the contemporary composer, Arvo Pärt. The Estonian composer’s music is arguably the most performed of any living composer. It was a slight departure for Cappella Romana best known for their performances of Byzantine, Russian and Greek Orthodox choral music.

The comprehensive festival in Portland gave audiences the chance to immerse themselves in many different aspects of Pärt’s music and his life. They featured a film, a lecture, and concerts of instrumental music as well as vocal works throughout the 8-day festival. I attended two of these concerts on the second weekend of this remarkable, and moving, celebration.

Saturday, February 11 at St. Mary’s: “Odes of Repentance”

There is something about Pärt’s music that is at once powerful, yet also fragile, representing both extrovert and introvert. His music not only reflects the words of ancient texts, but also brings complex expression to the human experience. This is music that is both timeless and timely. One is able to become lost in the music, feeling as though they’ve entered a portal to a thousand years ago, and yet remain completely in touch with the current state of the world. Sunday’s concert at Reed College had this effect on me personally, with both vocal and instrumental pieces performed, but it was in Saturday’s performance at St. Mary’s when I most intensely felt this phenomenon.

The music was not presented in the usual “concert format,” with applause expected between pieces, and an intermission, but in the form of a paraklesis, (a service of prayer intended for the living). The absence of applause allowed the audience to focus intently on the music, which resonated beautifully throughout the cathedral. Pärt’s music was worthy of a space like this, as the “space” between notes and phrases is paramount to the composer’s unique voice. Many of Pärt’s music is based on his compositional principle which he called tintinnabuli (‘Little bells’), some of which is dependent on silence, but also on a reduction of materials to an essential level. That doesn’t mean the music is simplistic at all; it seems to invite the listener in so as to become a participant of sorts, rather than a passive observer, by focusing on the sounds as well as the space.

Most pieces were in Church Slavonic (the conservative Slavic language used by the Orthodox Church in many countries), but some were in English, including The Woman with the Alabaster Box, which relates the story of Jesus’ anointing of oil by a woman whom the other apostles shun. The tempo of the work is slow, which in some recorded performances can come across somewhat muddled. By comparison, Cappella Romana’s diction was so clear, I didn’t need to follow along with the English text, as one often does, even during works written in English.

Saturday’s performance was structured primarily around several movements from the composer’s Kanon Pokajanen which Pärt wrote for the 750th anniversary celebration (in 1998) of Cologne Cathedral. At times, the music was dark and brooding, with dissonance creating significant tension; other times, the music would shift to a major key, and the voices would soar from a hush to full voice, filling the space of St. Mary’s and seeming to bounce off of the glittering stained-glass windows. Alto Kerry McCarthy, who has been featured as a soloist in previous concerts, opened the performance with a voice that rang out with stunning clarity.

While the music played, I considered its source, written in the late 20th century by a composer who is still with us; a composer who grew up in Communist Estonia where his beliefs were frowned upon. I found myself sitting in an American Catholic church as Pärt’s Estonian Orthodox music washed over me, and I realized that perhaps the differences that seem so significant among we humans, aren’t as great as we perceive.

Sunday, February 12 at Kaul Auditorium, Reed College: Festival Finale Concert

Sunday’s concert took place at the comparatively more secular Kaul Auditorium at Reed College, but that doesn’t mean that the spiritual essence of Arvo Pärt’s music wasn’t experienced. This time, Cappella Romana was accompanied by Third Angle New Music, primarily the string quartet element. The principal work of the concert was Pärt’s Te Deum, from 1985. But the concert opened with several recently-composed works, including Da pacem Domine, which was commissioned by early music director Jordi Savall for the victims of the Madrid bombings in 2004; and his Alleluia-Tropus of 2008. Alleluia-Tropus had its U.S. premiere at that concert, and I could sense that the audience was excited about being a part of musical history.

Unlike Saturday’s concert of unaccompanied choral works exclusively by Pärt, the Reed College concert incorporated two of his contemporaries: the Scottish Sir James MacMillan, with a work titled: Who are these angels?; as well as Slow Motion (1990) by Thanos Mikroutsikos for string quartet. Also featured on the program was British composer Sir John Tavener (who died in 2013), and like Arvo Pärt, belonged to the Orthodox church and expressed his beliefs in his many choral and instrumental works. Tavener’s 1996 Funeral Canticle, sung in English, is a large-scale work that Tavener composed in 1996 for his father’s interdenominational funeral. Between each section, bass John Michael Boyer, sang the words “Eternal Memory”, in Greek. This phrase, though repeated four times in the work, was delivered with the utmost precision by Boyer, whose voice, at once deep and resonant, and even gravelly where called for, again created that sense of connecting to an earlier time and place.

The conclusion to the festival was Arvo Pärt’s setting of Te Deum, the traditional and celebratory text that has been set by the likes of Handel, Berlioz and others throughout the centuries. This was my first time hearing Pärt’s setting, and I believe that it will remain in the repertoire for many years to come. Pärt utilized a uniquely 20th century effect most often associated with the American, John Cage: prepared piano. Metal screws were attached to four of the piano’s strings so that Susan DeWitt Smith could strike them at specific intervals. Electronics added an ethereal quality to the piece, as Erik Hundhoft brought up the recorded sound of the Aeolian harp (literally “played” by wind). These techniques created an atmospheric, almost out-of-doors effect: I pictured a young Arvo Pärt, standing on the Baltic shores of Estonia, looking north into a stormy horizon.

Cappella Romana’s celebration of this inspirational composer forms part of the choir’s 25th anniversary celebrations. In November, the choir participated in a performance at Stanford University, where electronics combined the reverberant acoustics of Istanbul’s Hagia Sophia with Cappella Romana’s live performance. At the end of March, they perform in Seattle and Portland a “Russian Chant Revival” program; and in April they will perform the works of Venetian masters employed at the Imperial court of St. Petersburg. Dr. Lingas and his choir continue to bridge the centuries, and cultures, with unique and compelling performances. One can only imagine what the 26th season will bring.

Benjamin Grosvenor’s “Homages”

The young British pianist, Benjamin Grosvenor, is an artist whose recordings have featured in All Classical Portland’s programming for the past few years. “Dances” was a disc that make a creative connection between such disparate styles and eras as Bach and Granados. “Homages”, Mr. Grosvenor’s newest, also extends a hand across the centuries, but some of that connection is also made within the pieces, especially with Busoni’s monumental transcription of Bach’s Chaconne in d minor (for unaccompanied violin). At times this is as much – if not more – the voice of the late-Romantic Italian pianist as it is of the Kapellmeister from Leipzig. It’s the perfect “overture” to the rest of the disc’s selections.

As he mentions in my accompanying interview (see link), Grosvenor avoids the slavishness of adhering to chronology, although moving from Bach to Mendelssohn feels perfectly natural, as it was Mendelssohn who brought Bach to the world after decades of neglect. Cesar Franck, the Belgian-born organist, pianist and composer, brings a heightened level of emotion in his Prélude, Choral et Fugue. That work came several decades after Chopin’s Barcarolle, which follows: Chopin dreamt of Venice, a city he never visited, but evokes with great clarity in his Opus 60 piano work. Liszt follows (he did visit Venice; late in life, he accompanied an aging and ill Richard Wagner, who eventually died there), with Venezia e Napoli (Venice and Naples). Liszt’s “Gondoliera” is the ideal follow-up to Chopin’s Barcarolle, and continues on with a mournful “Canzone”, and a lively and rhythmic Tarantella, continuing the homage to previous composers of writing works about a feverish dance meant to sweat out the venom of a tarantula bite.

“Homages” doesn’t end with Liszt’s frenetic arachnophobic dance, though. The disc continues online with digital downloads of Ravel’s Le Tombeau de Couperin, which he wrote in tribute not only to the French composer, but to friends of Ravel’s who had perished in the Great War. Given the scale of homages from one composer to another that can be found in music, Benjamin Grosvenor could have continued his tributes for a very long time.

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Homages – Grosvenor

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