Letter V Classical Radio March 31

In the program’s second hour, we’ll explore a woefully neglected corner of the repertory: music of the 19th-century American romantics.

7-9 p.m. EDT
2300-0100 UTC/GMT
WDCE, University of Richmond
90.1 FM
http://wdce.org

Antonio Salieri: “Angiolina” Overture
London Mozart Players/Mathias Bamert
(Chandos)

Mozart: Clarinet Concerto in A major, K. 622
Anthony McGill, clarinet
Chamber Orchestra of Philadelphia/Dirk Brosse

(Chamber Orchestra of Philadelphia)

Schubert: Fantasy in C major, D. 934
Isabelle Faust, violin
Alexander Melnikov, piano

(Harmonia Mundi)

Amy Beach: “Summer Dreams,” Op. 47
Genova & Dimitrov Piano Duo
(cpo)

Arthur W. Foote: Piano Trio in C minor, Op. 5
Trio Déjà Vu
(Spektral)

John Knowles Paine: “Poseidon and Amphitrite, an Ocean Fantasy,” Op. 44
Ulster Orchestra/JoAnn Falletta
(Naxos)

For Easter, Berlin’s ‘St. Matthew Passion’

The Berlin Philharmonic’s Digital Concert Hall has posted a free video of its 2013 production of J.S. Bach’s “St. Matthew Passion,” in the staging by Peter Sellars. The cast includes tenor Mark Padmore (the Evangelist) and baritone Christian Gerhaher (Christ), with soprano Camilla Tilling, mezzo-soprano Magdalena Kožená, tenor Topi Lehtipuu, baritone Eric Owens and choirs, conducted by Simon Rattle:

http://www.digitalconcerthall.com/en/concert/16913

Maurizio Pollini (1942-2024)

Maurizio Pollini, the eminent Italian pianist whose performances were celebrated for their combination of technique and intellect, has died at 82.

The Milan-born son of an artistic family, Pollini gave his first public recital at the age of 11. In 1960, at 18, he won first prize in the sixth International Chopin Competition in Warsaw; the jury’s chairman, Arthur Rubinstein, remarked, “That boy can play the piano better than any of us.”

After making several Chopin recordings, Pollini withdrew from performing to spend five years studying with Arturo Benedetti Michaelangeli. From the mid-1960s onward, he was an esteemed figure on major concert stages and a prolific recording artist, known for his mastery of standard classical and romantic repertory as well as that of modernist composers.

While lauded for his technique and stylistic range, Pollini struck some critics and listeners as a coldly analytical interpreter. Among his many recordings, those devoted to Stravinsky, Prokofiev, Debussy, Bartók and composers of the Second Viennese School were often rated more highly than discs of 19th-century music – Chopin always excepted.

Late in life, he recorded with his pianist son, Daniele Pollini.

An obituary by Tim Page for The Washington Post:

http://www.washingtonpost.com/obituaries/2024/03/23/maurizio-pollini-classical-pianist-dead/

Letter V Classical Radio March 24

7-9 p.m. EDT
2300-0100 UTC/GMT
WDCE, University of Richmond
90.1 FM
http://wdce.org

Britten: “Simple Symphony”
Camerata Nordica/Terje Tønnesen
(BIS)

Stravinsky: “Le baiser de la fée” (“The Fairy’s Kiss”) Divertimento
(Samuel Dushkin & Igor Stravinsky arrangement)
Judith Ingolfsson, violin
Vladimir Stoupel, piano

(Audite)

Fauré: Barcarolle No. 1 in A minor, Op. 26
Paul Crossley, piano
(Regis)

Tchaikovsky: “Variations on a Rococo Theme”
Pieter Wispelwey, cello
Deutsche Kammerphilharmonie Bremen/Daniel Sepec

(Channel Classics)

Janáček: Idyll for string orchestra
Norwegian Chamber Orchestra/Iona Brown
(Chandos)

Schumann: Piano Concerto in A minor
Ivan Moravec, piano
Czech Philharmonic/Václav Neumann

(Supraphon)

Good old days on the radio

Angela Townsend, writing for The Smart Set, is a millennial who loves the music of her mother’s generation. In her youth, she doted on a radio station spinning the oldies (“favored by parents and Earth Science teachers . . . sappy static to my high school friends”) and its exuberantly goofy early morning DJ.

In college, she became a regular caller, “Angie from Vassar.” And then an intern: “I approached my anthropology professor with a proposal: a study in the power of local radio. Why did people call into dizzy jockeys with questions and answers? Why were disembodied voices an incarnation of comfort?” The prof “was all for it. ‘Call ’em. Set it up. You can make this work.’ ”

A mini-memoir that will make you smile – I’m all for that:

Me and Bobby Miller

(via http://artsjournal.com)

Virginia ranks high in ‘arts vibrancy’

Virginia is ranked 10th among the 50 US states in a newly released survey of “arts vibrancy” by SMU Data Arts, an arm of the National Center for Arts Research at Southern Methodist University in Dallas.

The survey ranks states by the number of arts entities, their levels of spending, and on public support of the arts. Virginia ranks sixth in “arts dollars” (i.e., money spent on the arts), 22nd in the number of arts presenters, and fifth in public support.

The top nine states, in order, are New York, New Jersey, Massachusetts, Minnesota, Maryland, California, Colorado, Illinois and Oregon.

The survey also ranks the states by rural populations and poverty rates, metrics that commonly indicate limited access to the arts. Among highly ranked states, Virginia has the second-largest rural population: 24.4 percent, exceeded only by Minnesota’s 28.1 percent. Virginia ranks low on residents living in poverty: 8.6 percent of its population. (The most arts-vibrant state, New York, has a 12.4 percent poverty rate.)

Virginia also is one of few highly ranked states lacking major urban arts centers or arts-centric seasonal destinations. The Washington, DC, metro area, which includes much of Northern Virginia, came in third in SMU Data Arts’ 2023 survey of arts-vibrant communities; but most of the Washington area’s major arts groups are based in the District of Columbia, and most of its large venues are in the district. (Maryland’s high ranking also may stem from its having counties in metro DC.)

Top-line findings in the SMU Data Arts survey:

http://culturaldata.org/state-of-the-arts-2023/overview/

Contributing to Virginia’s high ranking is its substantial number of mid-sized cities, college towns and smaller communities with active arts scenes.

In classical music, for example, Richmond, the seven Hampton Roads cities, Roanoke, Charlottesville, Williamsburg, Fairfax, Alexandria, McLean, Lynchburg, Petersburg, Waynesboro and Danville are home to symphony orchestras. Most of those communities and others – Blacksburg, Staunton, Fredericksburg, Winchester, Harrisonburg, Lexington, Hot Springs, Wintergreen – also stage chamber-music and choral series, music festivals and performances by college faculty and students.

Their reach extends well into Virginia’s exurban and rural areas, and many presenters offer free or low-cost events that make them accessible for low-income residents.

Byron Janis (1928-2024)

Byron Janis, one of the leading US pianists in the 1950s and ’60s, has died at 95.

The Pittsburgh-born Janis moved to New York to study with Josef and Rosina Lhevinne and later was a pupil of Vladimir Horowitz. He made his concert debut in 1944, playing Rachmaninoff’s Piano Concerto No. 2 in C minor, and was famed at the peak of his career for playing virtuoso works from the Russian school, as well as Chopin. A number of his recordings have remained in circulation.

In the 1970s, Janis began to suffer from psoriatic arthritis in the hands and wrists, but he continued to perform. He quit the stage several times, but still gave occasional concerts into the late 1990s. He taught for many years at the Manhattan School of Music, and composed songs, theater and film music.

An obituary by Allan Kozinn for The New York Times:

Letter V Classical Radio March 17

7-9 p.m. EDT
2300-0100 UTC/GMT
WDCE, University of Richmond
90.1 FM
http://wdce.org

Beethoven: “Leonore” Overture No. 3
Deutsche Kammerphilharmonie Bremen/Paavo Järvi
(RCA)

Saint-Saëns: Piano Concerto No. 4 in C minor
Stephen Hough, piano
City of Birmingham Symphony Orchestra/Sakari Oramo

(Hyperion)

Elgar: “Polonia”
Royal Scottish National Orchestra/Andrew Davis
(Chandos)

Vaughan Williams: “Job: a Masque for Dancing”
Royal Liverpool Philharmonic/Andrew Manze
(Onyx)

Pēteris Vasks: “Castillo Interior”
Awadagin Pratt, piano
(New Amsterdam)

Salonen, San Francisco parting ways

Esa-Pekka Salonen, who was appointed music director of the San Francisco Symphony in 2018, has announced his departure from the post at the end of the 2024-25 season. In a statement, Salonen said, “I do not share the same goals for the future of the institution as the Board of Governors does.”

The Finnish conductor and composer, whose tenure at the Los Angeles Philharmonic (1992-2009) was marked by innovative programming and commissions for dozens of new works, had similarly ambitious plans in San Francisco.

The orchestra’s board and management, however, decided to cut back the concert schedule, reduce the number of commissions for new music, and “to make unspecified shifts in programming to drive revenues,” The New York Times’ Javier C. Hernández reports.

The retrenchment is due to “significant financial pressures on the organization that have become impossible to ignore,” Matthew Spivey, the San Francisco Symphony’s chief executive, told Hernández:

Letter V Classical Radio March 10

7-9 p.m. EDT
2300-0100 UTC/GMT
WDCE, University of Richmond
90.1 FM
http://wdce.org

Respighi: “Trittico botticelliano”
Saint Paul Chamber Orchestra/Hugh Wolff
(Apex)

Mel Bonis: “Femmes de légende”
Orchestre national de Metz/David Reiland
(La Dolce Volta)

Janáček: “The Cunning Little Vixen” Suite
(Václav Talich arrangement)
Czech Philharmonic/Charles Mackerras
(Supraphon)

Sibelius: “The Wood Nymph”
Gothenburg Symphony Orchestra/Santtu-Matias Rouvali
(Alpha)

Nielsen: Symphony No. 3 (“Sinfonia espansiva”)
Nancy Wait Kromm, soprano
Kevin McMillan, baritone
San Francisco Symphony/Herbert Blomstedt

(Decca)