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)
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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)
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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)
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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
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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.

American Anthem

Adagio for Strings is one of the best-known works by Samuel Barber. It’s arguably one of the most famous pieces of American classical music ever. It’s less-well known as its original use: the slow movement to his string quartet. A recent CD by the Ying Quartet makes the Barber quartet the launch point for a fascinating exploration of American composers and the development of the string quartet in this country. They made a fascinating discovery along the way: an unpublished, practically forgotten, original finale! In my first “Music Director Musings” piece, you’re going to get to hear the world premiere recording of this finale, which is completely different from the one which Barber ultimately wrote and published. Shortly after listening to the Ying’s CD, two other groups released discs of American works for quartet – Cypress Quartet and Brodsky, Quartet – so I share some of their explorations as well.

To see the recordings that John features click on the links below:

Ying Quartet’s “American Anthem” CD on Sono Luminus

Cypress Quartet’s “The American Album” on Avie

Brodsky Quartet’s “New World Quartets” on Chandos

Get To Know The Hosts: Christa Wessel

As All Classical Portland’s mid-morning host, Christa Wessel has brightened up the workdays of many listeners with her distinctively bubbly voice. When she’s not on air, she can usually be found interviewing local artists for Northwest Previews, or busy with production for On Deck with Young Musicians.

Christa talks about how she got into radio, her favorite pieces, and what she’s discovered about today’s young musicians:

Hometown: Indianapolis, IN
First Job: A fast-food chicken joint in Indy. (The first job I was proud of was as Box Office Manager for a small Chicago-based ensemble, Music of the Baroque.)
Years in Radio: I started volunteering at a free-format community station in Durham, NC around 1994. I took my first job as a professional classical radio host in 1998 at WCPE in Raleigh, NC.
Years at All Classical: I came aboard at All Classical Portland in the summer of 2007.

How did you become a radio announcer?
It as a total fluke! I studied classical music in college with the hope of becoming a professional French horn player, but when that dream fell apart I was left with a music degree and nothing to apply it to. I started working in Arts Administration (principally in IT and Box Office) and to pass the time in those office jobs I started listening to free-form “college” radio. I began volunteering as a DJ at a community station in Durham, NC, and LOVED it. After a few very happy years there, exploring all kinds of genres, I noticed a job posting on the bulletin board: the classical station one town over looking for an announcer. Something clicked in my brain: “I love radio and I love classical music. I wonder if they’ll hire me?” They did. Answering that job notice was one of the best decisions of my life.

Do you remember your first time on air? What was it like?
The first time I was on the air as a volunteer at the community station, it was absolutely no big deal. That station had a broadcast radius of about 10 square blocks and my first air-shift was from 2a-5a. I figured no one was listening! But the first time on the air as a professional, classical radio host? That was TERRIFYING. I remember putting my headphones on as I watched the timer on the CD player count down to zero, and my heart began to race. The only thing I remember is that the composer I was announcing was Richard Wagner. Everything else is a blur.

Do you do anything special to keep your voice in shape for radio?
Not really, though I have learned that keeping a humidifier running in the house really helps. And when I start to feel that tickle in the back of my throat indicating an oncoming cold, I immediately pop one of my favorite cough drops, made by a company in Beaverton: Golden Lotus Lung & Throat Drops. They’re amazing!

You’ve done interviews with many people in the classical community over the years. Anyone you’d still like to interview?
I would love to interview Jordi Savall, the Spanish viol player. He’s a major figure in the world of early music, and I’m utterly captivated by his drive to continually unearth Medieval and Renaissance music. Also, from his photos, it appears he has very kind eyes.

For many years there’s been concern about the aging of classical music audiences. Do you think that classical music can connect with younger people?
Absolutely! It’s just a shame that it’s becoming more difficult for young people to discover classical music in their schools. The thing that really helped propel me into a life of music was participating in school music programs – making music with my peers. It’s an incredibly rich, bonding experience that I wish for all humans, young and old.

What have you discovered about young musicians since you started On Deck?
I’ve learned that kids love being a part of something bigger than themselves. That they deeply enjoy creating something with their peers. And I’ve learned that they’re not interested in thinking of music in firmly delineated genres – that for them, the term “classical music” has morphed into something that also includes fiddling, beat-box and electronics. I can’t wait to see where this generation takes us!

You also host Divaville on KMHD, which features jazz vocalists from the 1920s-1960s. Are there any similarities between classical and jazz formats?
Generally speaking, I think that classical and jazz work on similar parts of the brain. They are both complex musical forms, with dense chords and fast-moving progressions. Divaville, though, really highlights great old tunes, with simple lyrics and delightful turns of phrase. Those classic songs performed by those legendary voices – Ella, Frank, Louis – well, I never get tired of hearing the artistry of those musicians.

What is the last concert you attended that really blew you away?
Oh goodness, there is so much going on in this town that I feel like I have a new favorite every week! One of the most memorable, though, was Third Angle New Music Ensemble’s program “In the Dark.” They performed –in utter darkness at the OMSI planetarium—Georg Hass’ String Quartet No.3. That experience was, for me, as much about the experience of attending a concert blind as it was about the music itself.

What are some of your favorite composers or pieces?
Until recently I would have answered that my favorite composers are the Romantics (the ones who tended to write great French horn parts!) – Rachmaninov, Tchaikovsky, Mahler. (OK, well Mahler is still on that list.) But these days I can’t get enough Baroque music. The math and buoyancy of Bach and Vivaldi kick-start my brain in a really delightful way.

What is some of your favorite Non-Classical music?
I adore old jazz vocalists, of course. But I also am a HUGE Talking Heads fan. Don’t get me started.

What do you do when you aren’t at the station?
I see as many cultural events as possible, and I try to get out to explore the Pacific Northwest whenever I can. I love hiking and camping and just taking long, winding road trips to the far reaches of the state.

What excites you most about All Classical’s impending move to the Hampton Opera Building?
At our current location we have been lacking a performance space, and I can’t wait to invite music-makers into our new facilities to share their art with the world!

Get To Know The Hosts: Andrea Murray

If you stay up all night listening to All Classical Portland, you might be familiar with the voice of Andrea Murray, who hosts the coveted 12 to 5 am slot. During the day, Andrea can usually be found sitting at her desk wearing big headphones, busy with production for The Score and editing interviews with local artists for Northwest Previews. After midnight, she is a soothing companion for a late night spent listening to classical music.

Andrea Murray talks about how she first got into radio and tells us about some of her favorite artists and composers:

What was your first job?

McDonald’s.

How did you get into radio?

There may be two answers to this one. 1) My dad got me and my sister a portable reel-to-reel tape recorder when we were little. We used to spend a lot of time pretending we were on the radio, and creating skits that were pretty much plagiarized straight from the pages of Mad Magazine. 2) I volunteered at my first real radio station, playing new wave and punk rock records for my college campus.

Where did you grow up? What radio stations did you listen to as a kid?

I guess I spent most of my formative years in St. Louis. I don’t remember particular stations, but I remember that before the internet came along, I liked to listen to stations in other cities and countries on a shortwave radio. My parents introduced us to classic radio dramas and comedy, and we listened to recordings of a lot of those too.

Do you remember your first time on air?

I remembering feeling something like, “Oh, wow. Everything makes sense now.” For me, being on air feels more natural than real life, somehow. I’m not saying that’s a healthy thing, but there you have it.

Before coming to Portland, you worked at WETA in Washington DC, what did you do there?

I produced arts features, was a substitute classical announcer, and was host and producer of a weekly arts magazine program.

What is a typical workday for you now?

Preparing for my on-air shift; producing interviews with local artists for Northwest Previews; doing the final mix of this week’s The Score. At the moment, I’m working on a 3-part audio documentary that will be hosted by Edmund Stone about the evolution of symphonic film music. At lunchtime, I go home and let my dog, Louie, out for a quick walk.

What do you think differentiates the nighttime broadcasts from the daytime broadcasts?

I think the intimacy between audience and announcer is even more pronounced in the overnight hours. Yes, it’s daytime for our overseas listeners, and some local folks are working the third shift, while others are natural night owls. But many of my listeners are awake reluctantly – plagued by insomnia, or worry, or illness. I try to provide a sense of ease and continuity for them. I’m trying to be a good companion – polite, reassuring, pleasant – rather than a Radio Personality.

How did you get interested in Classical music? Do you play any instruments?

Music was a big part of my early life. I was extremely lucky to have parents who could afford to take us to the occasional concert, and give us music lessons. I took piano beginning in first grade, then later took flute and classical guitar. I consider myself to be a musical person, but not really a musician per se.

What are some of your favorite episodes of The Score?

My favorite so far has been the one about the music for the old b-grade horror films from England’s Hammer Studios. I’m a huge fan of classic monster films, so this was especially fun for me.

What is some of your favorite Classical music?

Ravel, Debussy, Satie, Poulenc, Arvo Part, Osvaldo Golijov, lots more.

What is some of your favorite Non-Classical music?

Nina Simone; Neko Case; Bjork; PJ Harvey; Sweet Honey in The Rock. I would give anything to be able to sing like Mavis Staples. My favorite local songwriter is Rachel Taylor Brown.

What do you do when you aren’t at the station?

Listen to music. Write poems. Volunteer at the Humane Society. I’m currently practicing ear training with an Android app I stumbled upon. And I nap like a champ.

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