Pioneering Renaissance choir Stile Antico return to New York this coming Saturday, April 21 for an 8 PM concert put on by the Miller Theatre folks at the Church of St. Mary the Virgin, 145 W 46th St. As of this writing, tix are still available via the Miller Theatre box office (Broadway and 116th St., and online). In case you might wonder how a choir singing five-hundred-year-old motets could possibly be pioneering, you haven’t heard Stile Antico. The self-directed twelve-voice group (they perform without a conductor, in the style of a string quartet) has made a career out of resurrecting obscure and underrated choral works from the 17th century and before then; their concerts are exhilarating. With their blend of male and female voices, they have a gyroscopic sonic balance, an absolutely necessity considering the dizzying and occasionally herculean demands of the music they sing. On their latest album Tune Thy Musicke to Thy Hart: Tudor & Jacobean Music for Private Devotion (out now on Harmonia Mundi), they’re joined on several tracks by noted early music viol ensemble Fretwork.
Thematically, it’s a bit of a change from the towering (and sometimes harrowing) compositions they’ve mined during the early part of their career (although their Advent and Christmas-themed album Puer Natus Est foreshadowed this turn in a somewhat sunnier direction). The works here tend to be shorter and often less ornate – which can mean quieter, and on a couple of occasions, a showcase for individual group voices as the harmonies literally make their rounds. In the case where the choir isn’t going full steam, the sonics are sometimes fleshed out by gentle yet stately string arrangements, along with a small handful of instrumental preludes. The beauty of the performance transcends any specific religious association (although it’s nice to be able to understand the words without having to dig out that old Latin dictionary). A lineup of well-rembered composers is represented – Thomas Tallis, John Dowland and William Byrd, among others – but as usual, the gems here are the rarest ones. The modernity and outright, awestruck dissonances in John Amner’s A Stranger Here are literally centuries ahead of their time; Robert Ramsey’s How Are the Mighty Fallen works a potently quiet, apprehensive counterpoint that threatens to break out into fullscale angst but never does. And Giovanni Croce’s From Profound Centre of My Heart would make a great pop anthem. Throughout the album, the low/high contrasts are characteristically vivid when they’re not so seamless that it seems like one single polyphonic voice is creating these otherworldly sonics, aided by the rich natural reverb of the church where they were recorded. Historically, much of this repertoire has been neglected in favor of better-known works from the church music canon; this is a richly enjoyable and valuable endeavor from two rightfully acclaimed ensembles.
Classical music fans in New York looking something more interesting than the same old standards have numerous options. Among the best of these is the New York Scandia Symphony, who dedicate themselves to reviving interest in lesser-known Nordic composers as well as premiering new works by emerging composers from the upper reaches of that hemisphere. Last night at Victor Borge Hall in Murray Hill, the highlight of the night, performed by a twelve-piece chamber version of the orchestra, was the American permiere of contemporary Danish composer Anders Koppel’s Symphonie Concertante. A triptych, it’s a characteristically enigmatic and absolutely fascinating work, something to get lost in if not for the endless tempo and stylistic shifts. Conductor Dorrit Matson, a Dane herself, led the ensemble seamlessly through a wary, pulsing first movement that evoked Astor Piazzolla’s later work before engaging Steven Hartman’s clarinet and Andrew Schwartz’s bassoon in a long round of animatedly crescendoing rhythmic hijinks over the swells of the strings and eventually a labyrinth of polyrhythms. And yet, the jousting stopped abruptly during the early part of the second, Largo movement and turned to apprehension, reaching near-horror proportions via the chilling, Bernard Herrmann-esque string motif around which the final Allegro appassionato movement was centered. A celebrity in his native land ever since his days in popular rock band Savage Rose, Koppel deserves to be much better known here.
Another highlight of the program was Symphony violist Frank Foerster’s Suite of Scandinavian Folk Tunes for string ensemble. Foerster is a very eclectic player and has a great wit – another suite of his, Summer in Fort Tryon Park, is a quintessentially New York tableau, packed with irresistible on-location references. This piece is more serious, a rugged hardanger fiddle-style sea motif linking a series of portraits of several of the Nordic nations: by this account, the Norwegians and Swedes are a serious bunch given to vivid dramatics, while the Finns and Icelandics are party animals. Opening the concert, Matson and the group took Swedish baroque composer Johan Helmich Roman’s Haydn-esque Violin Concerto and tackled its rather rugged, stern underpinnings with a muscular sway beneath violinist Mayuki Fukuhara’s spun-silk swirls; a bit later, Hartman was featured in a velvety version of the Adagio from the Clarinet Concerto, Op. 11 of Bernhardt Henrik Crusell, a Swedish contemporary of Mozart. They closed with enjoyably jaunty yet precise takes on the Prelude and Rigaudon from Grieg’s Holberg Suite. Concerts like this only add intrigue to the question: what have else we not yet heard from this particular part of the world that deserves to be known equally well over here - and when is this orchestra going to play it?
This time of year the concerts in churches all over town pick up steam: it’s a holdover from the days when Advent was a way of keeping the peasants out of trouble until the final Saturnalia-style blowout at the end of the year. Sometimes the result is festive overkill. Last night at St. Thomas Church, Joseph Ripka of Calvary Church in historic Stonington, Connecticut played a concert that was just the opposite, a welcome antidote to all that pomp. Airing out the church’s smaller, more Northern European-toned gallery organ, his program featured works by baroque and pre-baroque composers especially suited to that instrument.
He began with a carefully paced, somewhat wary take of Sweelinck’s Chromatic Fantasy, which actually owes its brooding quality to an artful sequence of minor chords rather than to much of any sort of chromatics. Sweelinck’s contemporary, German composer Johann Steffens’ Veni Redemptor Gentium maintained the soberly Teutonic ambience, which brightened considerably with Abraham van der Kerckhoven’s memorable, strikingly more modern-toned Fantasie in D Minor. Buxtehude’s Mit fried und freud ich fahr dahm (BuxWV 76) is a typical period piece, a simple theme and variations that kept the stately expanse of counterpoint going: it only remotely echoes the composer’s intense, chromatically-fueled, paradigm-shifting passacaglias and fugues. Ripka finally pulled out all the stops for a rousing, majestic take of Bach’s Fugue on Meine Seele erhebt den Herren. What a delightful and counterintuitive way to close out the year at this long-running, perennially high-quality series of recitals, which resumes this coming January 15.
Acclaimed German early music group joins forces with Canadian cellist for a romp through an impressively diverse selection of Vivaldi works for cello and string ensemble: the operative question here is, why cover the same ground that so many other artists have over the centuries? Maybe because it’s so much fun. This vividly enjoyable assemblage of cello concertos by Vivaldi and his contemporary Antonio Caldera, played by Jean-Guihen Queyras with the Akademie fur alte Musik Berlin, conducted by Georg Kallweit, is recently out on Harmonia Mundi. Some of these pieces are parts of other suites: there’s a selection from L’Estro Armonico, and even a vignette from the Four Seasons. The production is lush and rich, considerably more so than typically is the case with recordings of music from Vivaldi’s era. Queyras plays with the clear, direct, somewhat more trebly cantabile tone common to 300-year-old instruments over arrangements still striking in their buoyancy. That this music resonates as much as it does to modern ears – bracing, unexpected chord changes and dynamic shifts within familiar period architecture – testifies to how far ahead of its time it was. The album is best enjoyed as a whole: it really sets a mood (uploading the whole thing as a playlist will help facilitate this). But there are many individual treats here that leap out at the listener.
The theme from the second movement of the Sinfonia in C has been used (and ripped off) for film music for decades, while the blustery Concerto in G Minor gives Queyras a chance to dig for gravitas through the rapidfire staccato passages. After opening with Raphael Alpermann’s wary, dark harpsichord and strings, the second movement of the Concerto in F lets Queyras revel in its chocolatey beauty. The Concerto for Cello and Bassoon in E Minor has the stark counterpoint between the cello and Christian Beuse’s bassoon making a mighty contrast with practically frantic strings. And the Concerto No. 11 in D Minor (from L’Estro Armonico) plays up its subtle yet striking echo effects. The Caldera pieces include the richly brooding Sinfonia No.12 in A minor, a Christ on the Cross tableau; a dressed-up country waltz, and the wary, sometimes rapt, fugal Sinfonia No.6 in G minor. Though most of the 30 individual tracks here clock in at less than three minutes, the effect is seamless. It’s a triumph for everyone concerned, including the listener.
Classical guitarist Jon Mendle’s new album L’Infidele is one of the most singularly enjoyable and interesting releases to come over the transom here this year. Playing solo on 11-string archguitar – a relatively recent invention devised to enable guitarists to play Renaissance lute repertoire – Mendle resurrects two obscure eighteenth-century compositions and gives a third a welcome reinterpretation. He plays with stately precision and fluidity – while the occasional torrents of notes can be hypnotic, the incisive melodies here are strong and memorable, transcending the centuries between composition and performance here. In particular, the first two pieces have a striking plaintiveness, and Mendle embraces it vividly.
The first composition is German baroque lutenist Adam Falckenhagen’s Sonata IV, Op. 1, dating from 1740. The opening largo section is wary and deliberate, enhanced by Mendle’s careful pacing – he doesn’t rubato it, which might not seem like the compliment that it is, but that’s a plus, considering how many players have decided to warp the era’s steady tempos to make them “postmodern” or something like that. Here, the additional low bass notes of the archguitar give the arrangement a piano-like tone. Mendle attacks the second, fugal movement with both smoothness and bite and spins off the rolling ripples of the finale with a deliberateness that stops a step ahead of carefree – this is a dark work.
Carl Philipp Emmanuel Bach’s Prussian Sonata V begins on a similar tone, steady yet with a pensive undercurrent. The second, andante movement is essentially a diptych: a wary waltz, and a second one even slower, and yet Mendle finds room for additional dynamics. The fluid, final Allegro Assai movement lets Bach the son go to his dad’s playbook for a blend of catchiness and mathematical logic. The final work here is L’Infidele, a six-part sonata by another German lutenist, Sylvius Leopold Weiss, impressive even to current-day ears for its eclecticism. It’s easy to imagine the opening movement as a processional for organ. The second expands the theme as a waltz; the third, Sarabande movement begins slow and hypnotic, then loosens up and loses a little of its gravitas, but not much. Mendle gets to cut loose more on the final three movements: a minor-key waltz that could pass as a Bach miniature; a Musette whose courtly gentility has a hint of the woods, and the best part, the final Paysanne where Mendle gets to take it out as more of a full-fledged dance. The album is out as both hard copy and download from In a Circle Records. Mendle’s next performance is June 4 at 8 PM as a soloist with the Bay Area Rainbow Symphony performing Villa-Lobos’ Concerto for Guitar and Small Orchestra, at the San Francisco Conservatory of Music, 50 Oak St. in San Francisco
Jayme Stone’s new Room of Wonders is his dance album. Taking a page out of Bach’s French Dance Suite (which he plays here as an energetic, practically punk duo with bowed bass), the virtuoso banjo player and an inspired cast of characters romp through some imaginative new arrangements of traditional dances from around the world. Stone wanted to get jazz-quality players and put them together, but not as soloists, to see what kind of sparks would fly. The main group here consists of Casey Driessen of Abigail Washburn’s quartet on violin, Grant Gordy from Dave Grisman’s band on acoustic guitar and Greg Garrison on bass.
They open with the surprisingly pensive Krasavaska Ruchenitsr, a tricky Bulgarian tune in 7/8 time. Ever wonder what a banjo sounds like playing a horn line? You can find out here. Driessen follows Stone and counterintuitively takes it down rather than hitting a crescendo. Next they tackle a couple of Irish dances, the first darkly bristling, the next one more cheery. Vinicius, a shout-out to Vincius Cantuaria, mines the same kind of suspenseful restraint, with a tasty, buoyant trumpet solo from Kevin Turcotte, drummer Nick Fraser holding down a samba beat when the song isn’t going off into the clouds for an extended, atmospheric break.
Moresca Nuziale, an original wedding theme, keeps the wary, apprehensive vibe going – it’s the last thing most people would want at a wedding, which might make sense since the couple whose wedding the song debuted at broke up six months later. They follow that with Andrea Berget, a stately, wistful Norwegian tune that’s ostensibly a polka, then the Bach, then Stone’s captivating, Tunisian-inspired title track, lit up with some understatedly dramatic cymbal work from Fraser and a jazzy guitar solo. The rest of the album includes a spirited take on Bill Monroe’s Ways of the World, another Bulgarian tune with Driessen contributing cello-like tones on low octave fiddle, and the upbeat Troll King Dom Polska, featuring Vasen’s Olov Johansson on the autoharp-like nyckelharpa. Eclectic? Yeah, you could call it that. Stone will be at le Poisson Rouge on 3/16 at 7 PM opening for the reliably awesome, frequently haunting Las Rubias del Norte.
Here’s one of the important obscure albums of 2010 that we didn’t want to let slip away here before the year was out. In a word, it’s cantabile: these songs sing. To those who follow this space, or who spend time in the shadowy deminonde of New York classical organ music, Gail Archer is no stranger: a valued presence not only as an amazingly eclectic performer but also as an educator. Her bimonthly Tuesday Prism Concerts at Central Synagogue make a useful opportunity for up-and-coming global organ talent to connect with a New York audience in a premier venue, and vice versa. As a recording artist, Archer first lent her talents to the pre-baroque – her debut album championed Sweelinck, a composer who tends to be written off, or taken for granted, much of the time. And then she surprised everyone by switching to Messiaen for her cd A Mystic in the Making, an immersion and a performance so intense that she had to distance herself from it. She followed that with the deliciously titled An American Idyll, a genuinely extraordinary collection of works by American composers – Vincent Persichetti, David Noon, Leo Sowerby, Joan Tower and others – who worked the Northeast corridor from Washington D.C. to Boston, just as Archer has for the last several years. A series of concerts celebrating the works of Mendelssohn – the transcendent genius of the 1840s – inspired this latest album, a collection of Bach variations on chorales from the Lutheran hymnal. In organ circles, these pieces are known as “The Great Eighteen.”
What makes one performance of these pieces better than another? They’re pretty self-explanatory: conventional wisdom dictates that if you stay in tempo, follow what dynamics Bach offers (only a hint, as it turns out) and get the notes right, you’ve succeeded. Not quite so: the whole point of these pieces is to distance them from any kind of mechanical processional, get-’em-out-of-the-church-so-we-can-move-on kind of feel. Take the fourteenth of these (BWV 664), for example: reduced to its essentials, the early part is a country dance. In church. Tame by 21st century standards, maybe, but radical when it was written. Likewise, the eerie pacing of the eighth chorale here (BWV 658), the anxious wait for redemption and its massive payoff in both the tenth (BWV 650) and fifteenth (BWV 665) track here, or Archer’s defiantly wary, determined pacing on the thirteenth chorale (BWV 663), saving it for all time from anyone who might wish to relegate it to NPR Bach rather than the majesty it’s elevated to here. Meyer Media released this one last February; it’ll be a treat, and no doubt a surprise, to see what she comes up with next.
Like the mythical character, indie classical trio Janus looks in two directions, forward and backward. Backward, with a genuinely lovely, often baroque-tinged sense of melody; forward, with a compellingly hypnotic edge occasionally embellished by light electronic touches. This is an album of circular music, motifs that repeat again and again as they slowly and subtly shift shape, textures sometimes floating mysteriously through the mix, occasionally leaping in for a sudden change of atmosphere. Many of the melodies are loops, some obviously played live, others possibly running over and over again through an electronic effect. Either way, it’s not easy to follow flutist Amanda Baker, violist/banjoist Beth Meyers and harpist Nuiko Wadden as they negotiate the twists and turns of several relatively brief compositions by an all-New York cast of emerging composers. A series of minimalist miniatures by Jason Treuting of So Percussion - some pensive, some Asian-tinged - begin, end and punctuate the album, concluding on a tersely gamelanesque note.
Keymaster, by Caleb Burhans (of Janus’ stunningly intense labelmates Newspeak) is a wistful cinematic theme that shifts to stark midway through, then lets Baker add balmy contrast against the viola’s brooding staccato. Drawings for Mayoko by Angelica Negron adds disembodied vocalese, quietly crunching percussion and a drone that separates a warmly shapeshifting, circular lullaby methodically making its way around the instruments. Cameron Britt’s Gossamer Albatross weaves a clever call-and-response element into its absolutely hypnotic theme, a series of brief movements that begin fluttery and grow to include a jazz flavor courtesy of some sultry low flute work by Baker. There’s also the similarly trancelike Beward Of, by Anna Clyne, with its gently warped series of backward masked accents and scurrying flurry of a crescendo, and Ryan Brown’s Under the Rug, which builds matter-of-factly from sparse harp and banjo to a series of crystalline crescendos with the viola. Gently psychedelic, warmly atmospheric and captivating, it’s a great ipod album. It’s out now on New Amsterdam Records.
Stile Antico, one of the world’s most popular and exciting choirs, made their New York concert debut less than a year ago at Corpus Christi Church uptown. They’ve topped the Billboard classical charts; toured with Sting; and have been nominated for Grammies twice for their innovative and spirited performances of both rare and iconic sixteenth and seventeenth-century compositions. They return to New York on Saturday, October 16 at 8 PM at the Church of St. Mary the Virgin on 46th St. Andrew Griffiths, tenor in the group, took some time out of his schedule to give us some insight into what promises to be a particularly intriguing concert:
Lucid Culture’s Correspondent: First an obvious question - what is the program you’ll be singing on October 16?
Andrew Griffiths of Stile Antico: It’s called In Paradisum, a program of Renaissance music. All the music is either the last piece that the composers wrote, or a piece that bows out with big questions.
LCC: That’s intense.
AG: Surprisingly, it’s very contrasting. Actually we were all very worried that it was going to be very gloomy. But there’s a lot of upbeat music as well as the intense stuff.
LCC: Your new album, Puer Natus Est (A Child Is Born) is medieval Christmas music. Most of us typically equate Christmas music with a festive, celebratory feel. Is there a festive characteristic to this, or another defining characteristic?
AG: I don’t think that it’s your average seasonal holiday album…Christmas was an important time then as now, as the season approached they certainly pulled out all the stops. This actually has as much to do with Advent as Christmas: you have the waiting for Christmas, the anticipation, and then Christmas itself. There won’t be any music on the disc that will be recognizable as Christmas music to people who don’t know anything from this time period…
LCC: At the October 16 concert, are there specific highlights that the audience should be listening for? Any pieces or passages that are personal favorites of yours?
AG: Personally, and for a lot of us, Media Vita by John Sheppard is actually a huge one. It’s one of the longest pieces from the whole period of Tudor music in England. Sheppard is a composer we’ve done a lot, and something that I feel suits us really, really well. This has amazingly sustained passages in six parts; it’s a bit like running a marathon to perform it.
LCC: I think a lot of people over here don’t realize that choral music in the UK is undergoing a sort of renaissance, with an American Idol/Eurovision style tv show and competing choirs. Is it fair to say that you’re rock stars in the UK?
AG: Not really! I think we’re not terribly well known outside the circle of people who know this music. We feel we’ve done more in the US actually than we’ve done at home. We had a NPR feature at very good moment – we started getting emails from truck drivers in the south telling us that they were listening to this on the interstate. It takes a little bit longer to establish yourself in the UK. We now feel that we’re finding our place at this point.
LCC: Are you aware of the Seraphic Fire phenomenon over here in the US?
AG: Actually not…
LCC: They’re a Florida choir who achieved the unexpected by knocking Lady Gag off the top of the itunes charts: they were actually number one in the nation for awhile. They did it with a wonderful recording of the Monteverdi Vespers of 1610…
AG: How extraordinary! That’s brilliant…I think when people get the chance to listen to this music, it can be a real revelation. A lot of people have never heard of Monteverdi. To think that there are that many people who will listen to two hours of it is really wonderful…
LCC: Is there a single mission behind Stile Antico, by comparison, say, to the Tallis Scholars? Something that makes you stand out from the other well-known early music choirs out there?
AG: I guess in that we don’t have a conductor…that our collaborative way of making music is unique, I think at least in a group of our size. We explore things much like a string quartet would. We have a lot of rehearsals, so when we get into concert we really know the material inside out. If you haven’t got someone to remind you what a certain gesture means, you really have to know what it’s going to be, or else…
LCC: Since you don’t have a conductor, do you have a signal system of sorts between members, for cues? Or is that necessary?
AG: Only at very specific moments – at the very beginning or ends of things. The analogy of the string quartet, with the first violin having everyone come in at the same time, works here. Remember, we’ve been together for ten years and we still have eight of the original twelve members. It’s very, very important to us that the turnover in the group is as little as possible: we have to know how the others work!
LCC: Given the sheer complexity of what you sing, there are bound to be a few glitches here and there. How do you handle mistakes? Do you go to the trouble of recording yourselves and listening back afterward?
AG: We do listen to things afterward. But remember, if someone misses a key, chances are at least two other people are singing, which minimizes it. More disruptive than hitting the wrong note is a rhythmic mistake: potentially much more of a problem. We’ve actually never had a disaster like that. Most of us have sung since age eight or ten so we’re very used to this.
LCC: What is your preparation for shows? You’ll be on your feet singing for the better part of two hours, most of it without a break, and you have to hit the notes. Do you have a pre-concert ritual?
AG: We rehearse in the afternoon like everyone else…we do gather before we go on, about five minutes before the show and go over what we want to think about…and we try to keep pretty quiet after that to let ourselves concentrate!
LCC: Your sound is seamless, really together as one – there seems to me to be a lot of chemistry in the group. Are there friendships within Stile Antico that extend beyond the concert hall and rehearsal room? Not that I’m trying to dig up dirt or anything…
AG: We are very good friends actually. There are three sisters in the group, and two of us are married. So that helps when we sit down and just talk about what our goals are, and what we are achieving. But the premise from the beginning was that we were keen to keep it a social thing as much as a musical thing and that’s still true today.
LCC: Rock star question: let’s compare Stile Antico to a rock band for a minute, shall we? Is there a dominant personality? A mystic? A class clown?
AG: Various clowns at various times. We all take the lead on different things, and that spills over into how it organizes us. One of us does the travel, another does the website, we try to play to our different strengths. I don’t think there’s a ringleader…
LCC: Does it ever astound you that you’ve achieved popularity with music that, much of it at least, went centuries without being performed?
AG: I think it’s very exciting. We all really feel strongly that we’re not presenting these in pieces, out of context. We’re sort of taking them out of the museum…people think that it’s such a big thing to play and sing, but these are works that were sung and enjoyed by everyday people hundreds of years ago. We rarely speak of dynamics, per se: we speak about the character of the music…we try to find something in it that resonates with us to resonate with other people as well. We find again and again that people are engaging emotionally with our music. You don’t necessarily have to know the rules and understand it in a scholarly way to appreciate it.
LCC: Your album Media Vita, which came out earlier this year, is not only exquisitely sung, it’s also sonically exquisite. I’m curious as to where you recorded it…
AG: We were so lucky to find a special church in North London: All Hallows, Gospel Oak. It’s not a particularly well-known church. If you’re a recording musician, a lot of people know about it, otherwise not. What actually happened with the church is that they ran out of money as it was being built. The columns are in stone, with a wooden roof. It’s acoustically fantastic.
Stile Antico sing a program including pieces from the 15th to the 17th century by William Byrd, Guillaume Dufay, Nicolas Gombert, Josquin des Prez, Alonso Lobo, Heinrich Schutz, and Orlande de Lassus as well as John Sheppard’s massive, haunting Media Vita at the Church of St. Mary the Virgin, 338 W 46th St., on Saturday, October 16 at 8 PM. Tickets are available at the Miller Theatre box office, 116th St. and Broadway, open noon-6 PM Monday-Friday, via phone at 212-854-7799 and online.
For those outside of NYC, the rest of the tour schedule is below:
OCT. 7 – DURHAM, NC – Duke Chapel
OCT. 8 – WASHINGTON, DC – NPR – Tiny Desk Concert (national broadcast)
OCT. 9 – PITTSBURGH, PA – Calvary Episcopal Church/Renaissance & Baroque Society
OCT. 11 – CINCINNATI, OH – St. Peter in Chains Cathedral
OCT. 13 – DURHAM, NH – Johnson Theater/University of New Hampshire
OCT. 15 – CAMBRIDGE, MA -St. Paul Church/Boston Early Music Festival
Every day our 1000 best albums of all time countdown continues all the way to #1. Tuesday’s album is #854:
Vivaldi – The Four Seasons – Trevor Pinnock/The English Concert
For two years now we’ve been engaged in one daily countdown or another on this page: it started out simply as a way to keep a steady supply of fresh content flowing, whether or not we had anything else ready to go or not. When we reached the end of our alltime 666 Best Songs and began this one, we started out not with a single album but an “obvious suspects page” listing all the great, iconic albums we could think of that everybody knows, that didn’t really need any explanation. In our haste to get the page up, we forgot this one. The best recording of Antonio Vivaldi’s iconic suite that we’ve actually heard is an unfortunately unlabeled cassette copy recorded off a vinyl album. But this one, from 1976, is pretty close. Pinnock conducts from the harpsichord with goodnatured inspiration, and the group play period instruments, so it’s a little quieter than a lot of the other recordings out there. The good omens of Spring lead auspiciously into a very visceral, heartfelt Summer; the wariness of Fall is understated, as is the angst of Winter, to the point that fans of darker music may prefer other, more boisterous recordings. But this is awfully close to what Venetian audiences got to witness circa 1725. Even if classical music is not your style, you have to admit that this is catchy and evocative stuff. And it’s a century ahead of its time. What else can we say: many of you probably own this already. If not, there are a gazillion recordings kicking around the internet, follow your instincts and see what you find. Here’s a random torrent.
- avant garde music
- blues music
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- folk music
- funk music
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- Lists – Best of 2008 etc.
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- NYC Live Music Calendar
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