Flowers of the Field

This Naxos release (Nov. 2014) appeared very near the centennial of the beginning of World War I, or “The Great War” as it is known in Britain, from where the composers of this compelling recordings hailed. All of the composers – Ralph Vaughan Williams, George Butterworth, Ivor Gurney and Gerald Finzi – had their lives impacted by the conflict. Vaughan Williams served as a medic; Butterworth fought at the Front, and died in1916; Ivor Gurney was injured by gas attacks, and 19 years later died in an asylum. Gerald Finzi was a teenager who fled Zeppelin attacks, became a pupil of Gerald Farrar. Farrar went to France and was killed on his way to the front, just days after leaving England.

After the war, Finzi composed a requiem in tribute to Farrar which quotes Butterworth’s “A Shropshire Lad”. Butterworth’s music predates the war, but seems to predict the coming storm. Ivor Gurney’s “The Trumpet”, based on a poem written in 1916 by Edward Thomas. And Vaughan Williams’ An Oxford Elegy, finished in 1949, is a tribute to those who fought in the Second World War, but also memorializes his friend, George Butterworth, from three decades before.

There is an elegiac quality to the music, naturally, and these composers, who were all touched by the war in different ways, respond in their own voices. There are moments of wistfulness, the loss of innocence, and even anger. But you’ll also find in this music a sense of hope. The stories told here are not unique to events of a century ago, but resonate with the experiences of our own time.

Flowers of the Field
Buy Now

Together: Yolanda Kondonassis and Jason Vieaux

He recently won the Grammy for “Play” as Best Instrumental Solo, and was also in Portland in the fall for a solo recital with Portland Classic Guitar. She has a Grammy-nominated CD titled “Air”, and next season, will perform Alberto Ginastera’s Harp Concerto with the Oregon Symphony. Now, harpist Yolanda Kondonassis and guitarist Jason Vieaux have released a gorgeous and adventurous first CD that pairs these two extraordinary American musical talents. “Together” is the apt title of this first collaboration by these two performers, who both teach at the Cleveland Institute of Music, and in this CD have crafted a diverse but at the same time, cohesive grouping of works for their instruments, many of which are by living composers (Maximo Diego Puhol, Gary Schocker and Keith Fitch), but also by such greats as the Catalan composer Xavier Montsavatge and American Alan Hovhaness.

I had an enjoyable time recently with Mr. Vieaux and Ms. Kondonassis, learning how these two just recently started playing together, and how their collaborations culminated in this new CD that has music that fully explores the possibilities of harp and guitar, both as a duo and individually. You’ll hear a selection from each of the pieces on their new disc, and hear about their approach to this repertoire, which they say presents some special challenges as well as rewards.

Kondonassis & Vieaux: Together
Buy Now

Avi Avital, Vivaldi and Venice

Last summer, we introduced you to Avi Avital with “Between Worlds”, Mr. Avital’s second CD for Deutsche Grammophon, where the Israeli-born mandolinist sought to bridge classical and folk genres, and effortlessly navigated between those “worlds”. Now making Berlin his home, Avi is embarking on a tour with Venice Baroque Orchestra, playing works by that city’s most famous son, Antonio Vivaldi, including what is arguably the most famous concerto written for Avi’s instrument. This recording is the result of his collaboration with this remarkably versatile and ambitious orchestra, and Mr. Avital matches them note for note in intensity and creative expression. He told me in my audio blog that he asked himself “how can I offer the listeners an opportunity to hear it for the first time… again?”

Along the way, Avi reunites with one of the current leading harpsichordists, the Iranian-born Mahan Esfahani (in Vivaldi’s C major trio), and Metropolitan Opera star, Juan Diego Florez, bridging the music of the concert hall with that heard in the canals of Venice. Listen closely, toward the end of my conversation with Avi, to how I painted a picture in sound for you with the traditional Venetian song performed by Mr. Florez.

Avi Avital was a pleasure to speak with: he’s an enthusiastic advocate for an instrument that continues to bridge worlds and break down walls between many genres of music. I think you’ll enjoy the time spent listening to our chat.

Vivaldi / Avi Avital
Buy Now

Broadway & Lafayette: Simone Dinnerstein in New York and Paris

Pianist Simone Dinnerstein first gained notice with her recording of Bach’s Goldberg Variations, a recording which she funded herself, and which launched her international career. Not long after, Ms. Dinnerstein recorded other works of Bach, the contemporary composer Philip Lasser, Schubert and Beethoven. On her newest CD, she’s created a musical bridge between France and the United States, exploring a relationship that shares ideas across the Atlantic, from Broadway and Lafayette streets in New York, to the avenues of Paris. Philip Lasser is back, too, himself part French, and has written for Ms. Dinnerstein a piano concerto based on a Bach chorale. Ravel and Gershwin met (Simone explains more in my audio blog), both in Paris and New York, and the influence of each on the other is particularly noticeable. Dinnerstein brings out the “Ravelian” qualities in the Gershwin, and vice versa. Lasser’s “The Circle and the Child” is a well-constructed three-movement work with many appealing moments built on Bach’s Ihr Gestirn, ihr hohlen Lüfte (Your star, her high air and thou bright firmament), and completes the circle of old and new music, and the Old and the New worlds.

Simone Dinnerstein: Broadway & Lafayette (Ravel, Lasser & Gershwin)
Buy Now

Taking the “Middle” road: Cypress Quartet plays Beethoven

When I think of Beethoven’s 15 string quartets, which are works that represent the whole of the composer’s adult life, I liken them to taking a long trek up a mountain. If Opus 18 is the trailhead and the first few miles, the “middle period” quartets of Opp. 59, 74 and 95 are when the trail starts a steeper incline, and the “late period” works lead us to the summit. As a group that formed nearly 20 years ago, the San Francisco-based Cypress String Quartet decided to go straight for the higher altitude, and recorded the final quartets first. With their new 3-CD set, cellist Jennifer Kloetzel explains why in my audio blog about their newest CD of Beethoven’s “Razumovsky” works, and violinist Tom Stone delves into the meanings of this music for their group throughout their career.

Beethoven: The Middle String Quartets/Cypress String Quartet (Avie Classics)
Buy Now

An American violinist, a British icon, and a timeless genius

Ms. Pine records for the first time with the Academy of St. Martin in the Fields and Sir Neville Marriner. I found these to be among the best new performances of Mozart’s violin concertos to come our way in a while. Also, the first complete set in several years by anyone. I am particularly impressed with the expressiveness – not a surprise after her well-researched interpretation of the Bruch Scottish Fantasy, which followed her study in Scotland – and also the clarity of line. Ms. Pine has recorded her own cadenzas, something of which Mozart, known for improvising on the spot, would no doubt have approved. Sir Neville’s comment about Rachel Barton Pine: “She is one of the most honest of violin players I have ever heard. And it’s a great attraction in this…there is no utter embellishment, everything is there for a purpose and musically speaking it makes such good sense with her.” In the Sinfonia Concertante, Ms. Pine also introduces violist Matthew Lipman, recipient of her REP Award, which provides services and funding for classical music education, research, performances, and artists, to benefit listeners and learners alike.

Rachel Barton Pine: The Complete Mozart Violin Concertos (Avie Classics)
Buy Now

A Lotta Scarlatti

Domenico Scarlatti was one of three major Baroque composers all born in 1685 (Handel and Bach being the others). Scarlatti and Handel became friends after an amicable competition was held in Rome when both were 23. Later, Scarlatti left Rome for Lisbon to educate the princess in keyboard performance. Apart from a brief return to Italy, Scarlatti remained at the Lisbon court (the princess eventually became queen), and wrote over 500 sonatas for her and the court’s enjoyment. He lived there until his death in 1757.

John Pitman has always enjoyed Scarlatti’s sonatas, as well as the “friendly dispute” between colleagues as to whom is the best interpreter. He was intrigued by the recent appearance of no fewer than three new CDs of these works by some very fine pianists: The Russian Igor Kamenz and the American, Orion Weiss (both recently performed in Portland), and the German Joseph Moog. Each approaches Scarlatti’s music with subtle differences, yet all are fine performances.

Orient and Occident

The renowned Jordi Savall and his ensemble, Hesperion XXI come to Portland in February. Mr. Savall is not only a highly esteemed researcher of European music, but also sheds light on the musical heritage of the middle east, partly in an effort to raise awareness of regions experiencing conflict. Music director John Pitman shares his thoughts, along with musical selections, from Mr. Savall’s 2014 release “Orient et Occident II: Homage à la Syrie”, which illustrates the cultural exchanges that took place between Syria and the West.

Orient and Occident II: Homage to Syria.
Hesperion XXI / Jordi Savall, director
Buy Now

Pitman Review: The Marriage of Figaro

Russia is not the first place many people think of as a source for Mozart operas. While not unheard of, Mozart is more associated with western Europe. This may be changing, thanks to a dynamic and driven conductor named Teodor Currentzis, founder of an orchestra and chorus named Musicaeterna. Currentzis has embarked on a remarkable series of the three masterpieces created by Mozart and his librettist, Lorenzo da Ponte. My review illustrates what this tireless conductor and exuberant orchestra and soloists have accomplished.

New Scenery, New Sounds

It’s the first day of July, and the ninth day of our residence in Suite 200 of the Hampton Opera Center. If you’ve visited the All Classical Portland Facebook page recently, then you’ve no doubt seen some of the photos and video that I’ve posted as we packed up equipment, documents and 25,000 Cds, and moved into this beautiful new space. Or, maybe you haven’t? Well, here’s an illustration…

The old FM booth, where your hosts made radio for over 20 years at Benson high school:

Now, to Master Control, facing the Willamette River and with a view of the new Tillicum Crossing bridge:

radio host with view of bridge — Taken June 23 at 6am, just moments after Brandi Parisi signed on for the first time

Some of you know that I’ve worked at “89.9 FM” for a long time. I use that term, because the station, while consistently classical for 30 years, originated as an outgrowth of the KBPS high school radio program at Benson. That’s where the station broadcasted from, until June 23 of this year. The station ceased to be licensed to Portland Public Schools in December 2012, after nearly a decade of fundraising to pay off the license. Free and clear, we still inhabited our studios on NE 15th, on the school’s campus, and rapidly feeling less and less a part of the scenery there. It was time for a new home.

When I started at KBPS, my “office space” consisted of a file drawer and a mail slot. When we moved out of the gym wing (early history, here) , and into the newly-built facility in 1992, I graduated to having a two-door cabinet and some table space. Wow! Well, in 1997, I did get a desk, in a room shared with three of my colleagues:

man standing in front of empty shelves — John Pitman, having cleared his desk and packed up tens of thousands of CDs, gets ready to move to “Suite B”

Now, thanks to the generous contributions of many dedicated listeners, some of whom I will probably never meet, but am eternally grateful to; and also to the vision of our managers and hard work of engineers, this is the loom where I now weave the sounds we hear each day:

desk with monitors — Suite B: Music director John Pitman’s new office, complete with sound mixing console for recording

The second floor of the Hampton Opera Center is the new home for your hosts, staff and volunteers of All Classical Portland. It’s the place where “we love this music” more than ever.

Thank you, for helping to make it a reality.

Give today: 888-899-5722