The Best Years of Our Lives (1946)

Now being on vacation,I finally have time to go through the books and music I collected on my journeys. There is also time to check some movies that I noted down as being potentially interesting,although I actually forgot why I wrote down those particular names. The very first title on my list was "The Best Years of Our Lives" and I had no idea what it's all about (Alfie) ,approached it with simple curiosity knowing only that i might like it because its black & white.

It turned magnificent,one of those absolutely unforgettable movies,with excellent acting and simply everything about this movie was perfect.

The story follows three soldiers coming home after a long absence on the front and how they adjust to civilian life again. One turns alcoholic,another who was a hero in the war has to return to humiliating,low-paid job. Third lost both of his hands in the war and his family looks at him with unease now - we even see his girlfriend giving him a hug while he stands there helpless with his artificial claws. Somehow these three life stories get connected as we follow what happens to each of them.

I bawled and laughed without any restraint trough almost three hours of this movie. It was very good that i didn't know anything about the movie before so I was really watching it with open eyes & heart,somehow everything about the story touched me deeply (maybe because I was soldier, maybe because I am also forever away and returning to civilian life after long absences) - I could deeply feel for these guys,starting at the very beginning when Dana Andrews lugs heavy luggage trough airports to his uneasy return home where love is not what it used to be. I loved the movie so much that i am absolutely sure I will watch it again and was not surprised to read later that it was one of the best loved movies ever,right after "Gone with the Wind". Handless Harold Russell won not one,but TWO "Oscars" for this movie (the only time ever that actor gets two awards for the same role),another actor awarded was excellent Frederic March who really hams it up in his drunken scenes. Unfortunately Dana Andrews didn't get anything but maybe because his role (good,all-american guy next door) was somewhat lesser interesting that the other two. He was simply a good guy adjusting while other two had more meat in their roles.

I read later about the movie and curiously enough it is credited as masterpiece of producer Samuel Goldwyn,though its directed by excellent William Wyler who also directed several famous classics like "Ben Hur", "The Letter", "Funny Girl" and "Roman holiday" - hardly a newcomer who can be ignored! And as unexpected bonus in the movie we have composer of "Stardust",famous Hoagy Carmichael playing piano!

"The Art of Prima Donna" by Joan Sutherland (1960)

Joan Sutherland was in her full prime when this recording was made (she was 34) and the command of her magnificent voice was nothing short of spectacular.

Just a year earlier she made great splash in London's Covent Garden Theatre and was finally at the point when her life will forever change, her considerable talent will catapult her to the ranks of the biggest international classical stars.

This legendary album - to my knowledge it has never been out of print since the date of its release - serves like a showcase for all Sutherland's talents and she sings famous classical pieces in homage to the "Prima Donna's" associated with them. She sails through the most difficult passages without blinking an eye and makes everything so easy that it must be embarrassing for other singers of her time who couldn't dream of such coloraturas,power and authority. I actually knew and was familiar with most of the pieces here (notably "Let the bright Seraphim" from "Samson") but was really shocked how much Sutherland surpasses any other voice I knew, this lady really floats above the clouds and her voice rings like a bell from above. Honestly, Tetrazzini herself would applaud for this, I am absolutely sure about it. Sure, there is a little drawback - Sutherland has astonishing voice but because focus is on ear-splitting coloratura and technical wizardry, her diction is less than perfect and often I am not sure what the language she sings in. Another thing - liner notes are meandering and though they explain "Prima Donna's" from the past who are presented here via choice of the repertoire ( several of them never recorded their voices) it is not clear who is associated with what and it would be so much easier if they simply printed names next to the songs.

Schubert: "Winterreise" by Mark Padmore (2009)

Oh God,Mark Padmore singing "Winterreise" ... what to do now?

One of my favorite classical singers recording a piece I always find difficult and gloomy - but critics had praised him to the skies so much that I got intrigued and searched for this with greatest interest. After all, even my Bible ("Gramophone") heralded this recording like second coming, no doubt pleased that their own british singer tackled german Lieder and survived without embarrassment.

So I went for it,bought it and was pleasantly surprised because Padmore has such nice voice that I could listen him singing anything,including my old Nemesis "Winterreise". Maybe its because I am already familiar with the piece (how much I tortured myself with Dietrich Fischer-Dieskau, I really suffered with that one) or because I personally find tenor voice in combination with piano irresistible, who knows? I actually dived into classical music through counter-tenors (Michael Chance was my first discovery) so probably I have this affinity for high male voice. Padmore's german is surprisingly good and he acts just the way it was supposed to be - "Winterreise" is a terribly depressing story with main character walking through the snow heartbroken, big drama, I could really slap him to his senses - and I have to mention very good piano playing by justly celebrated Paul Lewis whom I noticed through Beethoven recordings years ago,they are actually a duet more than anything else.

Than again,no matter how I look at this from left,right and bellow,its still "Winterreise" and therefore not something I put up to listen first thing in the morning. I get depressed just by thinking about it. And strange as it is, that old Dietrich Fischer-Dieskau actually sound somehow more real to me,I can't put my finger on it why is it so but maybe because I heard it first. However, Padmore and Lewis followed this with "Die Schöne Müllerin" and this time around critics were not so nice,in fact they got some strange reviews that really annoyed me (lots of nitpicking) saying that Padmore's voice aged - like its been a fifty years and not two between these recordings - and in the meantime I found wonderful singer by the name of James Gilchrist who also recorded "Die Schöne Müllerin" at the same time, his singing i enjoy so much that he will be my choice for that one.

As Steals the Morn: Handel Arias & Scenes for Tenor (2007)

Another "Gramophone" recommendation - they selected the title song (actually a duet with soprano Lucy Crowe) for their best-of-the-month choice and it really,really blew me away,it was such a explosion of vocal beauty and harmony that I snatched CD the first moment when I saw it on a shelves without thinking twice.

Of course,it turned out to be a bit of cheat because it is really the only duet on the whole album and nothing else matches this brilliance - ha! - but never mind, I said to myself that maybe with time I will grew up to like the rest. The rest is selection of dramatic arias and scenes from various Händel's oratorios and operas,showing of Padmore's unusual voice in the best light. I remember critics saying something about him not being strong at deeper tones and giving him sort-of backhand compliments but music is so pretty and musicians so good (The English Concert under baton of Andrew Manze) that I can easily recommend this is the best possible introduction to this singer.

Schumann: Frauenliebe und -leben (2002)

If I had my misgivings about depressing "Winterreise" (is it because of Dietrich Fischer-Dieskau? Schubert?) I had no problems with Lieder by Robert Schumann.

Or perhaps I can take it better when sung by gentle woman's voice than barking baritone,who knows? In any case as in my explorations of classical music I follow ears and my own impressions more than any critics and suggestions, I was glad to encounter lovely voice of Bernarda Fink because if it's not for her I would have started to seriously doubt the whole damn Lieder repertoire. In her hands the whole thing sounds more accepting and hers is such easily enjoyable art that I never regretted purchasing this CD.

"Frauenliebe Und Leben" (A Woman's Life and Love) is a 17-songs cycle that follows dreams and loves of a woman through poetry and music. I find it surprising that in today's time some find these preoccupations with husband and family old-fashioned,since it has to be understand that this work represents 19.century view of woman and poetry here merely reflects ideas of the time.Yes,the woman in these songs lives and breathes for her husband and children but honestly,in some deeper levels I am certain women all over the world still put their families on pedestal no matter what current fashion might say.

Back to the recording: other might go deeper in musical analysis and describe in far more words what Bernarda Fink does here and there,stops knowingly and pause accordingly to lyrics where it gets the best effect. I can only describe what effect her art has on me - the music genre I usually have problem with (namely german Lieder song) has me melting here and I enjoy listening the whole CD without wishing to escape or change the music as before. Sure,Fink is a singing actress and in command of her art completely but no matter how dramatic she gets occasionally,I find her voice very soothing and relaxing to listen. And gentle piano playing by Roger Vignoles is like a river brook behind her. The first time ever I actually enjoyed Lieder.

Lotte Lehmann Lieder Recordings (1941)

It was Schubert's "Winterreise" that somehow became my first real introduction to the phenomenon of german Lieder song. Maybe I heard Lieder before that,but this time I was actually aware of it and followed the lyrics with understanding. Not that it was love at first sight - I suffered quite a bit through famous 1955. recording by Dietrich Fischer-Dieskau wondering what's wrong with me since I wasn't exactly blown away with it and found it all terribly depressing,monotonous and gloomy. At this stage I am embarrassed to say that particular beauty of german Lieder still eludes me and I an cope with only a few songs before I like to switch to something more varied - or perhaps it is Schubert,who knows? I learned to cope with previously mentioned recording by Dietrich Fischer-Dieskau and even (surprise) bought new,highly praised recording "Winterreise" of Mark Padmore whom I knew and liked before.

So this is the third recording of "Winterreise" in my collection and at this moment I just realized it is quite persistent little devil,since I actually never really liked the piece in the first place.

One or two songs are enough for me,all that doom and suicidal gloom are too much to take at length of full 24 songs. Yes,I am barbarian. But curiosity got the best of me and I had to hear how does it sound outside of usual male territory - seems that every guy worth his salt sang and recorded "Winterreise" but ladies stayed away curiously enough. All of them,except great and brave Lotte Lehmann who was 53 years old when this recordings were made. Talking about singers who were a bit too old for certain music,critics usually put it nicely as "past their prime" but there is nothing old about Lehmann who simply sound like dignified older lady who know these pieces inside out. She possessed her own unique and instantly recognizable sound and I know her from recordings she made in 1927. when she was 39,always recognizable self.

So how does Lehmann sounds on "Winterreise"? Yeah,she wobbles a bit here and there but we can take it as expression of emotions,acting if you want. After all,the character in poems is suffering while walking through the snow and his tears get frozen,boots sinking in the snow,crows shitting on him and its all disaster anyway. But the sheer surprise of hearing this in woman's voice is nice in itself and I actually prefer this to guys singing. Her "Frühlingstraum" is very,very pretty but than again,its my favorite song from the whole cycle.

This "Naxos" collection has all the Lieder Lehmann recorded in 1941 so "Winterreise" is coupled with some other work by Robert Schumann and guess what,I actually like Schumann much more. Clearly I have love/hate relationship with Lieder but occasionally in the right hands and in the right frame of mind I actually enjoy it.

Opera:"Dido and Aeneas" (1952)

My first introduction to this opera came through Jessye Norman 1986.recording so naturally everything else that came down my way sounded wrong,such is the force of the first impressions. It took me forever to actually stop and listen any other interpretation and this one,recorded in 1952. although very pretty in its own subdued and simple way I grudgingly accept only as quaint and dated post WW2 version of famous piece. We should probably never know for sure how was this supposed to sound, since to our times came only as adaptation made in eighteenth century.

This particular recording was made after actor/manager Bernard Miles created theatre in London in a style of old Elizabethan playhouses and "Dido and Aeneas" was so popular that artists re-created their performances in the studio - famous Wagnerian soprano Kirsten Flagstad toned it down a bit for the part of Dido and as producer Walter Legge was a big deal (he was founder of Philharmonia) his wife Elisabeth Schwarzkopf got not one but three roles here - this is not to take anything from one of the best known sopranos of the time,but I couldn't help but to notice a certain "Godfather" connections being pulled in the background. I am absolutely sure that there must be hundred of other sopranos equally talented and available at the time - even more suspicious is the fact that Schwarzkopf herself never even appeared in "Mermaid theatre" live production but was present in the studio for making of this recording.Really?

The First book of Songs by Dowland

Famous 1976. recording with lute played by Anthony Rooley and The Consort Of Musicke playing and singing with him. Young Emma Kirkby can also be heard somewhere in there and if you like this,there is a whole album of lute songs where she is also backed by Rooley.

Our perception of how classical music should be performed is constant changing - at different times, artists follow various instructions and we can never be absolutely sure which is the interpretation closest to reality. Some of celebrated older recordings sound very dated and quaint now. In this 1976 recordings Consort Of Musicke tried all the possibilities known at the time to recreate suitable treatment of this material. As liner notes point,these were among pioneering performances of twentieth century revival of Dowland to reflect the original scale and pacing of his music. If you like melancholic beauty of Dowland's music,this is one healthy portion served with love and inspiration.

Fireworks Music & Water Music (1989)

It is funny to look back at reality behind this majestic music and to know that the highly anticipated occasion of "Fireworks Music" actually ended up in tragicomical disaster - in all probability fireworks and music never coincided, fireworks itself were disappointingly bland and colorless, wooden pavilion next to musicians caught the fire and burned down to the ground, designers almost killing each other in pointing the blame.

Water music was played in less dramatic occasion - for King's leisure on day of sailing between rivers Themes and Chelsea,huge barges full of nobility and commons who were listening music specially created for this day, His Majesty King George I liking the music so much he ordered it to be played three times in going and returning.

Enormous forces of huge orchestra (twenty-four oboe players plus horns,bassoons,trumpets,drums and many more instruments including drums and double drums) were recreated in the studio for the very first time here, all of musicians playing on period instruments and bringing home the sounds closest to the ones King George heard in his time. It is truly spectacular music created for grand occasions and the pleasure of hearing all this on period instruments is immense - it would be simply blasphemous to tinkle

Michael Haydn sacred music (2005)

Ah,the sorrows of younger siblings,always in the shadow.

Famous Joseph Haydn had a younger brother who followed him out of choir school (he was supposed to be even better singer than already-celebrated Joseph) and later in Salzburg where he spent the rest of his life as Kapelmeister - he personally knew Mozart who was familiar and highly complimentary about his sacred music and two guys actually shared close friendship.

Two of the most important sacred works by Michael Haydn are presented here - Requiem dates from the time of death of not only his patron, archbishop Siegmund but also death of Haydn's first-born child,daughter Aloysia - outpouring of grief can clearly be heard in this work. The Mass was composed for occasion of composer's friend who was taking vows in the convent - both works are representative of Michael Haydn's art and it is truly worth checking him out because he was composer of considerable talent who lived close to other giants of classical music and somehow has fallen into obscurity through centuries.

The King's Consort under Robert King performs this music with respect and artists are obviously inspired, for me personally this was important because this was the first time I noticed wonderful Carolyn Sampson who soars above the clouds and she was reason for buying the whole album.

Bowen/Forsyth: Viola Concertos (2005)

OK,again something beautiful recommended by "Gramophone" in their the-best-of-the-month section but also curiously enough,the viola player here (talented Lawrence Power) played with pianist Mikhail Pletnev whose Tchaikovsky recording I love so much. Almost cinematic beauty of piece "Gramophone" selected stayed for me for years until I finally decided,yes I want to hear the whole album and was thrilled to finally get my hands on it.

The album have not one but two quite magical viola pieces by two different composers (York Bowen and Cecil Forsyth) and BBC Scottish Symphony Orchestra plays like a dream,conducted by Martyn Brabbins - according to "Hyperion" liner notes,both works were very important in transforming viola into a solo instrument and surprisingly enough,Bowen was only twenty-four when his Concerto in C minor was composed! There is something very appealing in yearning tone of Viola and Bowen himself liked it better than violin - in combination with a full-blown symphonic orchestra it is truly very romantic and beautiful music. Alas, with time it is exactly this romantic part that came to be looked down upon as old fashioned and after composer's death his work slowly went into decline,unperformed and almost forgotten. It is through the recordings like this that Bowen and his music start to get noticed again and hopefully it will inspire recording companies to produce more of albums of his work.

An introduction to the complete recordings of Liszt piano music by Leslie Howard

Two CD distillation of genuinely frightening project of recording Franz Liszt complete piano music .

Leslie Howard played ten Listz-only concerts in London's Wigmore Hall in 1986 and was afterwards approached by "Hyperion" to make recording for them - it resulted in unprecedented task of recording every single piano piece Liszt ever composed and it went into Guiness Book of Records, ending with 99 CDs and pianist collecting highest honors from all over the world,including medals for this work in Hungary and France.

To go through 99 CDs would probably take a lifetime,so "Hyperion" offers easier option with this double CD where selected pieces represent Leslie Howard's work and all different aspects of Franz Liszt as a composer - poetry that inspired him, patriotism that was at the heart of his work, wizardry of his playing, his preoccupation with religion, romanticism of his music and introspection of his later years - its all here,played beautifully on Steinway piano and curious for a beginner like me this is a perfect introduction to Liszt.

The Essesntial Hyperion (1993)

Though the years I had a certain soft spot for a particular artists whose recordings I would collect. Than I noticed that even recording labels have strong appeal - and one of the most desirable became british "Hyperion" named after a Titan in greek mythology. (No wonder,as I grew up with greek mythology)

"Hyperion" started as independent company in 1980 and quickly established its name by some of highly unusual and brilliant recordings of which probably the most impressive was 1984 album of music by Abbess Hildegard of Bingen titled "A Feather On The Breath Of God" and that was really ground-breaking hit that put "Hyperion" on the world map. I loved that album forever,not really knowing at that time anything about little recording company that focused its attention to less-known and neglected pieces far from usual crowd pleasing repertoire. People from "Hyperion" always made a point of looking deep in the corners to find something interesting,not to mention a stunning list or artists who recorded for them,it seems that it became a question of prestige to work with "Hyperion". Thanks to "Gramophone" who was championing and showering them with awards left and right, I eventually became enthralled with "Hyperion" enough to start collecting their albums whenever I could - in these days when CD shops are disappearing it became a bit difficult but everytime I visit UK,I make a point of buying several "Hyperion" releases,they always made me happy - in fact,i now came to the point when "Hyperion" label is a recommendation in itself.

This generous CD is a perfect introduction to "Hyperion" catalogue and I could easily recommend it to anybody without reservations.

From Purcell to Erik Satie, from sacred music by 16. century giants to Franz Liszt, from joyful "Phil the fluter's Ball" to Boccherini this is just a pure pleasure. I often find myself enjoying these various selection because of the eccentric choice assembled - since music jumps from one century to another, it avoids repetitive atmosphere and it simply floats around nicely.

"Iberia" by Marc-André Hamelin (2004)

A dream match between canadian piano genius Marc-André Hamelin and one of the best-loved classical pieces of spanish heritage,famous "Iberia".

Press have praised and celebrated this recording to the skies and I waited and waited until I could get my hands on this CD. Than I had to wait some more because it was so damn expensive,twice the price of regular new albums on the market. In the meantime I enjoyed "Triana",the piece selected as the-best-of-the-month in "Gramophone" magazine and actually memorized that part,liking it really very much.

Than the strangest thing happened: I found "Naxos" (and they are always well bellow any reasonable price,almost embarrassing) recording of "Iberia" by scandinavian guitar trio "Trio Campanella" and what they did with "Iberia" was so pretty and delightful that I learned to enjoy the piece as played on guitars. Now when I finally have Marc-André Hamelin,to my biggest surprise I find that although undoubtedly he is genius and all is fine,I already keep "Iberia" in my heart as played on guitar. I really love Hamelin and what he does but now it would have to take me some time to get my head around piano version. I am not taking anything from him,after all he is probably my favorite piano musician but somehow I came to this particular piece in roundabout way so for me - Iberia sound spanish when played on guitars.

"Iberia" by Trio Campanella (2003)

I read such a glowing reviews on new piano recording of "Iberia" by that canadian genius Marc-André Hamelin that I was dying to get my hands on that album. But than,it always turned out to be very expensive,so I could just look at it from a distance."Gramophone" praised it to the stars and I adored that one piece they selected for their usual best-of-the-month selection but what to do when this damn album was either impossible to find or ridiculously overpriced?

Than I found - surprise! - another version,played on the guitar by (another surprise) scandinavian guitar trio and they turned out to be sensational! My God what a wonderful music and it sounds just perfect when played on guitars. it really brings out all the "spanishness" of the piece and I had no prejudices about spanish piece played by musicians from the north - after all,my most cherished "Four seasons" by Vivaldi actually comes from "Drottningholm Baroque Ensemble" and they are also from Sweden,when these guys play the music is simply sparkling. And than i found interesting thing,this scandinavian guitar trio had already worked with legendary spanish pianist Alicia de Larrocha who herself was the best-known performer or "Iberia"!

This celebrated twelve-piece piano suite really sounds stunning in guitar version,I love it so much that when Hamelin eventually came my way I didn't care so much for him. Sorry buddy.

Jeffrey Khaner (2005)

Another "Gramophone" recommendation and something I really liked long before finally I decided why not going for the whole album - "Gramophone" had selected a piece from this album as the-best-of-the-month issue in 2005, that little "Vivace" by Johannes Brahms always making me happy through the years of my traveling and eventually I said to myself why not simply looking out for the whole CD?

It turned out to be even better than I expected. The album actually brings many completely different moods,all from the works of Brahms, Robert and Clara Schumann.

What is the most interesting is that these works were not originally supposed to be for flute at all,for example Clara Schumann's pieces were composed for clarinet,but Khaner sings with his instrument like a dream and it works perfectly. It helps that we have wonderful piano of Charles Abramovic also included and it is surprise to notice after some listening that the whole album actually lies on the shoulders of only two musicians - they sound like a complete orchestra!

Philip Martin plays Gottschalk Vol.1 (1991)

Delightful and quite uplifting salon music by today almost completely forgotten US composer born in New Orleans - Louis Moreau Gottschalk was a big star in his day and he left trail of broken hearts behind him as he toured the States and South America. In fact,his fame as celebrated pianist was such equaled his notorious ways with ladies - he loved women and they loved him back - Gottschalk himself complained that young girls who flocked at his concerts distract him and made him hit the wrong notes. He lived during American Civil War and was very,very successful concert performer but alas,sex actually killed him - scandal of seducing a lady from Oakland Female Seminary led to quickly leaving States and touring South America instead,where he got malaria and died at the age of forty. And than he was forgotten.

Before 1970s hardly any of his music could be heard anywhere,such is the nature of the fame that new generations never hear about stars of yesterday. Particularly in the world of classical music its easy to stuck with works of sanctified few but rare are those curious to explore dusty corners,luckily the pianist Philip Martin (backed by always brave label "Hyperion") decided to record the whole serial of collected piano works by Gottschalk and "Gramophone" complimented these recordings,selecting a pretty piece from CD Vol.8 for their the-best-of-the-month issue in 2005. where I noticed how much I enjoy this music. So I bought vol.1 liking it very,very much.

Liner notes are almost apologizing in their statement that Gottschalk was no more than a crowd pleaser and not really a great composer,but I hear in his music very clear and distinctive original sound that comes as a mixture of European discipline and New Orleans dance rhythms. He might learn piano from works of great European composers but from his balcony in New Orleans he could also hear slave dances on Place Congo and this combination of various influences makes his music actually a exotic original long before ragtime and than Jazz came in fashion. Listen carefully and you hear everything from waltz to mazurka and spanish sounds. And here is of course a real hit of its time,"Le Bananier" known as "Chanson Nègre" which is quite unforgettable in its simplicity and charm,true gem.

Dennis Brain plays Mozart Horn concertos (1954)

In 2007 "EMI Classics" released a very interesting little booklet with a CD titled "Great recordings of the century" where they presented bits and pieces from their legendary catalogue: it was a clever marketing strategy where through 21 cherry-picked numbers they introduced just some of the names of the past and this is how I noticed Dennis Brain. Obviously,now I went a long way from the first days when my main interest in classical music were singers with expressive voices. Slowly I started to notice players behind the singers and often I would actually find instruments to be more exciting than "stars". Eventually I grew up to really like instruments-only music and Brain recording of Mozart's Horn Concertos was a love at first sight. I loved absolutely everything about this album,including its cover. And to find that Brain himself was such a likable character who died young,well,it has nothing to do with the music really but it made me loving this album even more. Sure,musicians always adored this album but I am not a musician and it is a testament to Mozart and Brain that this music finds its way to hearts of everybody. I am very happy that EMI now has a CD box set with Dennis Brain and seriously considering to bring home that one as well,I simply love this music.

Mikhail Pletnev plays Tchaikovsky (2005)

One of the many wonders about classical music is the fact that it continues to flourish in spite of much more aggressive promotion from the pop side - sure,classical music is also advertised but nothing compared to space that media uses for pop stars. Being lover of classical music is almost like being a member of some cult - you keep focused on what you like and ignore the rest. Unfortunately sometimes its simply impossible to keep the track of what's new on the market,because there is such embarrassment of riches out there that often one does not know where to start. With my nomadic life and constant traveling, most of the time I feel like being out of space because there are constantly new albums released and I have no clue about them.

This is where "Gramophone" comes in the picture.

This wonderful magazine covers monthly what is new in classical music,criticizes and recommends new albums,often selecting the-best-of-the-month recordings and thanks to "Gramophone" I had discovered many recordings I would definitely not know otherwise. They selected "Méditation" from this album as recommended piece and boy did I like it,I thought it was the one of the prettiest piano pieces ever,so naturally it ended up in my shopping basket the moment I saw it. The liner notes were of the great interest,since they point at the strange fact that composer himself never thought much about his piano oeuvre : "I'm producing them for money" Tchaikovsky wrote,comparing them to "musical pancakes" but thankfully pianist Mikhail Pletnev takes these piano pieces with utmost care and love,defending them against composers own doubts. Yes,it is cute and perhaps sentimental music that belongs to some intimate salon but it has a undeniable beauty and artist's approach is of such virtuoso that it uplifts everything. Just listen the finale of "Polacca De Concert",Pletnev is simply dazzling!

On the other hand,I really enjoyed quieter,more reflective pieces like "Dialogue" or before mentioned "Méditation" so perhaps I actually like "salon music" whatever that might be.

"Four last songs" by Lisa Della Casa (1953)

The first recording of Richard Strauss's famous "Vier letzte lieder" (not counting concert premiere in 1950s where Flagstad sang it) this is a note-perfect interpretation of a classic piece, surprisingly recorded not in usually accepted order but in a way they were originally completed,therefore it starts with "On going to sleep".

The very first time I fell in love with this music,it was the recording by Elisabeth Schwarzkopf and my own croatian Lovro von Matačić done in the very same year as Della Casa - 1953 - so naturally,listening and loving that one made me prejudiced towards all the other versions. After all these years i still keep my ears open and out of curiosity I like to check what other artist can do with the same material (often I wonder what Schwarzkopf though herself about Jessye Norman 1982 recording? Was she pleased? Upset? Envious? If anybody knows let me know) and thought often its very much the same thing,occasionally its simply the sound of different voice that makes a huge difference. Nothing would ever replace majestic Schwarzkopf for me but I must admit that Della Casa is actually very,very close to the top of what I have heard so far - everything about her singing,poise and sensitivity is inspired,it also helps that she is backed by no less than Wiener Philharmoniker under the baton of celebrated Karl Böhm so prepare yourself to be swept away by the sheer beauty of the music.

The rest of CD is filled with selections from "Arabella", "Ariadne auf Naxos" and "Capriccio" where Della Casa shines perhaps even more - this is impressive beyond words and here finally I stopped to think about Schwarzkopf and simply enjoyed music. Her duets with Hilde Guelden and Paul Schoeffler are such attack on the senses that I couldn't keep still and had to walk a little - it is very interesting that music can make such effect on the listener,absolutely intoxicating!

"Awake sweet love" - the magic of Dowland music

Another jewel in "Hyperion" crown,this lovely album finds songs and lute music by John Dowland and his contemporaries - apparently I can never have too much of Dowland music and although is melancholy,I never find it overbearing,could listen it for hours. I know it is a pity I never feel the same thrill for german Lieder (where one or two songs are enough for me) and no doubt language has a strong point in all of this,because I am much more familiar with english than german (all those german lessons gone with the wind!) but it must be music as well - tender romance of Dowland songs have magic of their own,flowing gently and soulfully while german Lieder too often sound too much alike for my taste.

Apples and oranges,I know.

Back to this album: it is a collection of music from the reign of Queen Elizabeth - David Miller plays lute and truly it is a instrument from Heaven,his solo pieces are so gentle,sensitive and refined that I could listen him forever. Miller is an excellent match for countertenor James Bowman who not only sings but acts different moods through many of familiar pieces - on occasions he is backed by the viols of The King's Consort (Wendy Gillespie, Richard Boothby, William Hunt, Mark Caudle) thought simplicity of lute behind his refined voice sounds just perfect to me."Can she excuse my wrongs?", "Say,love,if ever thou didst find" and "Awake sweet love" are just some of the many pleasures here,of course famous solo pieces like my old favorite "The Frog Galliard" are also included,it is simply a perfect album in its genre.

Again,I marvel and wonder at the fact that this sad and melancholy music actually makes me happy.

Matthias Goerne + pianist (2005)

Live recording of a concert in London's Wigmore Hall with german baritone Matthias Goerne and piano played by Alfred Brendel.

Another recommendation of excellent "Gramophone" magazine - they were impressed enough to include "Die Taubenpost" in their best-of-the-month selection and his cheerful,little ditty was so pretty that I bought the whole album expecting more of the same - to my surprise,it turned out that this particular song has nothing to do with the rest of the album! Two song-cycles presented here (Beethoven and Schubert) are actually much more gloomy and depressing ," Die Taubenpost" was actually Schubert's last song for voice and piano and does not belong to any cycle,it is often performed only as encore.

I still have to turn my head around the whole phenomenon of Lieder songs,since I always find this kind of material very pretty in a small doses but exhausting when faced with gargantuan ask of listening too much of it. It is a combination of music and poetry therefore very,very artful and demands close attention of listener - just like reading the poetry,one has to be in a particular mood for it.No doubt Goerne is fascinating performer and his heroic baritone booms all over the place but I must admit I was more drawn to his accompanist who plays so pretty that piano becomes almost another voice in the room,reflecting every twist and turn of the poetry.

The Essential Purcell

Everything with released by "Hyperion" always gets my full attention as this wonderful company always have the highest standards of performance, selection of super-talented artists and the choice of recorded material is literary mind-blowing,it truly changed my life because they seem to avoid commercial direction and obvious paths in favor of lesser known but equally beautiful pieces.In short,if you see "Hyperion" label printed on Cd,go for it.

There is nothing lesser-known about Henri Purcell who,after all is a giant of the whole barque era. His oeuvre is so rich that it would probably take me years to get my head around many different styles he worked in but this CD is a good start for a somebody like me who simply needs some guidance where to start: "Hyperion" has released three series of complete Purcell works and here they presented choice from twenty-five various recordings.

The long and exhausting list of artists here is star-studded: Barbara Bonney, James Bowman, Gillian Fisher, Charles Daniels, Rogers Covey-Crump, Susan Gritton, Mark Padmore... there is something for everybody but I must point at the direction of my beloved Michael Chance who must have been one of my all-time favorite singers in any genre (after all,he is the guy responsible for my "classical bug") and here he shines in a heavenly duet with James Bowman,truly magnificent showpiece for two counter-tenors titled "Sound the trumpet" dating from 1694 royal celebration.

It is such a rich compilation that with repeated listening I am sure to find always different favorites.

"The Very Best of Lucia Popp"

I often wonder how is it that someone with working-class background and without any previous exposure to classical music in childhood I grew up to be almost connoisseur (in my own,clumsy way)?

After all,my parents would change TV channel when classical music came on,radio played only pop songs and even my mother complained that she never understood where is the beauty of piano music that she disliked so much (to her it sounded like banging on kitchen pots). And here am I,enjoying classical music concerts,reading literature about it and collecting some celebrated recordings - it helps that today we have the whole industry about music literature,but it also helps to have some direction ("Gramophone" magazine helped me a lot,they always have interesting articles and recommendations).

I read somewhere that current czech mezzo soprano Magdalena Kožená (whom I liked) sounds like late Lucia Popp and not really knowing Popp,I have mentioned this to the guy in my favorite CD shop (Amsterdam's wonderful "Concerto") and he smirked dismissively - in his opinion Popp was a real thing and to illustrate this,he immediately filled the shop with luscious sound of Lucia Popp singing Dvořák's famous "Song to the moon" (from "Rusalka"). I actually got water-eyed from a sheer beauty of this voice and bought the CD immediately. Oh joy,when I found out the rest of the Cd is filled with one beauty after the other - Popp was equally brilliant in many completely different pieces like gentle "Solveig's song" ("Peer Gynt"), "In Trutina" ("Carmina Burana"), "Vier letzte lieder" by Richard Strauss or cheerful selection by Mozart. Apparently this lady was eccentric virtuoso and eclectic talent - throw anything at her and she would respond with natural grace,be it dramatic ballad or "Die Forelle" or Queen of the Night. At the very end of second CD we have what must be the highlight of this collection, 1986 recording of "Klänge der Heimat" from "Die Fledermaus" which completely blew me away with coloratura that would make even Tetrazzini proud.

Simply a wonderful,wonderful artist.

"So many stars" by Kathleen Battle (1995)

Recorded and released a year after Kathleen Battle's infamous fall from grace (she was a star of New York's Metropolitan Opera and general manager fired her for "unprofessional behavior" - in other words,her prima donna ways brought mutiny of cast involved in production of upcoming opera) this unusual album of folk songs,lullabies and spirituals finds Battle stretching her wings outside of classical music in a brave crossover direction.

If the choice of material looks surprising at first,check the backing musicians - Grover Washington Jr,James Carter,Cyrus Chestnut,Christian McBride and Ira Coleman are just few of jazz cats involved in playing here. Battle herself sounds wonderful as always,hers is one of the greatest recorded voices of the century and for this album she only slightly tones down operatic approach but still soars like a angel - come to think of it,this is natural continuation of guitar-and-voice work she already recorded with Christopher Parkening. Songs range from spirituals,love songs and folk pieces to surprisingly effective cover of famous Antonin Dvořák's "Symphony from the New World" and musicians are excellent,their tasteful,unobtrusive backing preventing this classy recording from being commercial easy-listening project - if nothing,one could detect traces of potential new age direction,so peaceful and relaxing these sounds are.

Checking the liner notes,I was surprised to find Battle herself worked very closely on the production of this album: notorious for being "difficult" and "uncooperative" this woman actually arranged all the songs here collaborating with all musicians and adapted lyrics from Dvořák's symphony herself. It made me stop and think: when obviously talented and strong-willed lady keeps hands-on approach on her projects,insisting on high quality of performances,it is viewed as a cardinal sin and she is criticized for that. I am 100% sure had she been a man,this same qualities would be applauded

Title song "So many stars" by Sergio Mendes and Alan & Marylin Bergman was previously recorded in 1984 by Cleo Laine and John Williams on their second guitar-and-voice album ("Let the Music take you") and if you like Battle's version I recommend to search for Laine's album. It's such a beautiful song that defies description: artful and poetic,peaceful and reflective,spiritual without being religious,truly haunting little piece that might stop you dead in the tracks with its universal message.

"Not just Dowland" by Carolyn Sampson (2010)

Live recording of voice-and-lute concert performed in London's Wigmore Hall in December 2008.

I was vaguely familiar with soprano Carolyn Sampson because influential and serious "Gramophone" magazine complimented earlier recording she made with The King's Consort under baton of Robert King - it was quite a spectacular recording of sacred music composed by Michael Haydn (Joseph's younger brother) and to illustrate their point,"Gramophone" selected a piece from "Requiem" where Sampson had a solo spot as their favorite-of-the-month. Even to my untrained ears,she sounded like a bolt of lightning when her voice soared somewhere above the clouds,so when I saw this CD where she performed music by Dowland and his contemporaries,it was a quick decision.

Cleverly titled "Not just Dowland" only gently touches on "semper Dowland" and circles around in search of other composers,but its still the expected refined melancholy so much in fashion of England at the time of Virgin Queen. Liner notes inform us that this was pose for the aristocratic circles,no doubt ordinary people had completely different view of what it means entertainment - however,no matter how melancholy this material might be,my heart was overjoyed to hear Sampson singing "Fortune my foe" that I already knew and loved as instrumental piece. Other composers included are Robert Johnson, Claudio Monteverdi (yes,famous "father of the opera" for he lived at the same time as Dowland,interestingly enough) and few others,mostly italian authors of whom I know only Giulio Caccini who composed "Amarilli mia bella" and that beautiful song was actually quite a hit centuries ago.

Great Nigel North's protege Matthew Wadsworth plays lute and another instrument called theorbo here - it is long-necked,italian instrument with completely different,robust sound and boy,is he good - Wadsworth has almost half of repertoire for himself and to be honest,he is such a sensitive player that I surprised myself thinking I wouldn't mind listening CD of himself only. It's actually same old story for me because I always get attracted by singers and end up liking instrumentalists even better. This is not to taking anything away from Sampson who is delightful,but must admit that in this kind of material she has to sound a bit subdued,where with other composers like Mozart or Michael Haydn her natural spark and lively energy comes out more prominently.

Very refined and graceful melancholic music.

"The Lion in Winter" (1968)

It is interesting that I have no problems whatsoever with old movies made in 1920s and 1930s but production of 1960s and 1970s I find hard to watch because it looks so dated and everything is damn slow.Everything made in gold days of cinema seems like a fantasy,while 1960s sets look simply awful and there is always a strange,experimental look about them,from directors pointing at the tree branch to a silly costumes and actors hamming it up.

Luckily,script is sometimes so good that I enjoy the movie in spite of everything. I saw "Lion in winter" long time ago and wanted to refresh my memory - yes,it has million completely unnecessary scenes with a tree branch and church bells ringing but I understand this is a movie version of theatre play so probably they thought it is important to bring the feeling of outside world to it - in 1960s version everything is dirty and chicken are running around while king and the queen are walking across the muddy courtyard. I doubt very much in the realism of these scenes because perhaps poor aristocrats had chicken running around,but the king of England definitely had better surroundings.

However,the script is brilliant and actors are killing each other verbally - I actually laughed out loud several times,thrilled with their sharp exchanges - Peter O'Toole and Katherine Hepburn are so stunning in their love/hate relationship that its hard to imagine anyone else in these roles,but other supporting actors are great as well - it is great to see actors who were legends of their generations next to the actors who would grow up to be giants later,like for example Anthony Hopkins and yes,future James Bond who was surprisingly strong as french king (full of spite,malicious and manipulative as anybody in the story). Even the meek king's mistress (Princess Alys) who was completely bland and grey at first,turns out to be merciless and dangerous towards the end.

I would actually love to see this movie re-made by today's standards (with appropriate glamour and no chicken running towards the king of England)- surely they would add some computer-animated battlefield scenes today,never mind - and even better,this would be thrill to see live in theatre.

Katherine Heburn won Oscar for her role in this movie,it was the only time in the history that two actresses shared the award for the main female role: Barbra Streisand also won Oscar for her movie debut and its impossible to even compare these two roles,because both Streisand and Hepburn were top in what they did.

Blast from the past - Disney books with gramophone records

Books and music were always huge part of my life and if you ask me which on is bigger love,I honestly couldn't answer since they came to me literally simultaneously in a shape of children's books with little gramophone records - my mother bough them for me when I was obviously a toddler and there were cutest little books with Disney stories,wonderfully illustrated and from the records the professional actor would read a page,than a ring of the bell would signal to turn the page. There was also a music included,music from Disney movies translated and sung by local musicians. Oh,how I loved these books - they kept me occupied constantly and my mother actually thought I learned how to read by myself because I would recite the whole pages (but than,I would imitate the bell before turning the page and therefore giving up the secret).

I am 100% sure this lead me eventually to really start to read,because I was already reading cartoons with Tom & Jerry,Popeye and others at the age of four. At seven,when other kids in the school still learned how to spell I was already engrossed in the books.

Some 37 years later,I have found these little books on the internet as downloads - I have no problems with internet downloads as long as its about something long out of print and unavailable otherwise (usually I prefer to have original albums with liner notes and pictures) - I don't see the point of buying music easily available in shops and actually always make a point of buying occasional CD as a support to now-dissapearing industry. Back to my little Disney-books: to find this again (even as download) was a big thrill,together with old scratchy sound of gramophone records. I have found almost all of them except "The Aristocats" that for some reason I still remember after all these years.

Very happy with my discovery!

"The Secret History of the World" by Mark Booth

This book intrigued and repelled me for a very long time.

Intrigued because it had obvious appeal of unknown,attractive subject but the covers were so gaudy,tasteless and sensationalistic that I had impression this would turn into some silly rambling about cosmic plots against everybody and everything on earth. Than after months of world traveling,this book popped out in my local bookstore and I decided this was the sign: if it follows me from South Africa to my own corner of Croatia,it is obviously looking for me.And boy,it turned out to be so interesting and thought-provoking that I gulped it in two days,promising to my self it should be re-read again more carefully.

First,author asks us to forget about scientistic approach to life and return to ancient,superstitious way of looking at the world around us,with angels,fairies,demons and nature closer to us.This was interesting enough and surely it takes some time to turn one's head around it but it works fine. Instead of going for some silly New age rambling,Black than continues to explore centuries of history and how human race searched for universal answers about meaning of life,where do we go,why are we here and afterlife. Along the way he explores myths,religions and cults,often showing amazing knowledge of the subject,throwing tantalizing informations about everything from Mandrake men to Pyramids to Solomon's temple and legends about Green man - it truly makes one's head spinning and there is nothing sensationalistic about the book.

Perhaps its author's gentle way of writing (he fits somewhere between Richard Dawkins and Graham Hancock, and this is my highest compliment) enchanted me and subject was surely fascinating,but I must admit the pleasure was also partly because at the very start I decided not to take this book literally as a gospel truth but as interesting entertainment and surely there were moments where I know this is all a bit stretch but it kept me reading nevertheless. There were also many other moments (like chapter about Cagliostro and Count de St Germain) where I literally forget to breath,so absorbed I was in the story. And the theory about life on earth (minerals-plants- animals-humans) sounds very interesting to me.

I am aware that there are probably many who had different expectations from this book and wouldn't like authors theories,but from my purely subjective point of view it turned far better than I expected and I enjoyed it very much. In fact,it must be one of the best books I have read recently!

"Trust your heart" by Judy Collins

In previous post I had mentioned how Mouskouri observed that during a performance audience sometimes transforms and becomes united,living and breathing being moved by the art,inspiring performers and sharing their mutual love. Browsing through my book collection that has way to many autobiographies and biographies (guilty pleasure) I stumbled upon another talented and gentle singer,Judy Collins who noticed the same thing and this is what she says:

" The moment when I step from the wings onto the stage is a sacred time,a spiritual journey in which I plunge into an air of lightness,made of myself and the audience. The audience wants everything and they deserve everything. They have supported me,bought my records,wrote letters to me saying that I have changed their lives. They have changed mine. One must not take a night of singing for granted,for the Gods might became jealous and take it away.When I walk out onto the stage,the audience is usually invisible beyond the footlights: in the shock of light they can see me,but I cannot see them. I depend upon hearing and feeling who they are and what they are willing to bring me tonight. I learned from my father on those nights when I watched him on stage in cities like Fargo or Butte and Carson City how to sense an audience without seeing them. Under the lights I am by myself and the audience is out there,but we are together,united."

"Memoirs" by Nana Mouskouri

General perception of this talented Greek singer is as of someone who succeeded in spite of her dowdy looks,kind of European version of Barbra Streisand.

Just like Streisand,Mouskouri eventually managed to polish her act and to actually look very pretty in her own way,but unlike Streisand,Mouskouri was never forceful or assertive personality - where Streisand bulldozed her way through industry,her Greek counterpart always appeared meek and apologizing,softly spoken and polite,letting music speak for itself while she stayed in the background.

What is surprising about her autobiography is how much was Mouskouri always aware of her looks - she is firm in her claim that older sister had much more talent and looks (and charm) than she ever had - most of today's stars appear to always had narcissistic streak and believed in themselves,while Mouskouri had such a big,traumatic problems with her looks that she explains her enormous success as succession of lucky breaks and collaboration with talented people who believed in her. That is why the early part of the book is the most memorable and interesting because it is really intriguing how overweight,myopic and unattractive Greek girl from nowhere managed to enchant first the local,than European,than World audience - there are some harrowing memoirs of second world war in Greece,with people starving on the streets and general chaos surrounding her childhood,than slowly music came as salvation though it didn't went smoothly because first her singing in the bars of Athens resulted in banishing her from Conservatoire where she studied classical music and occasionally she would lose a gig because elegant ladies in the audiences complained about her looks. It took a series of talented composers, aggressive promoters,producers and agents to finally break her into big time and still Mouskouri always sang with her eyes closed, letting that pretty voice out to touch audience's hearts,almost apologizing for her intrusion.

I still remember the very first impression of hearing Mouskouri's voice on some collection of her early recordings - "Paper Moon" (Hartino to fegaraki) was so heartfelt and honest that I felt almost embarrassed for her. Sure,it was a pretty voice but what was the most unusual about it was its lack of mannerisms that so many other singers always use,this was someone who sang shyly from the heart,pleading to be loved.This is more or less the tone of the whole book. Mouskouri is never boasting about her amazing success or gossiping about colleagues,hers is not a typical show-biz autobiography because her life was not a typical star life. As a child she noticed that audience in her father's cinema often seemed changed after the movie and she cleverly connected this experience to what happens when audience on her concerts really liked the music,transforming them somehow into different people. Perhaps the most constant theme of her book is the power of the art (in this case,music) and how beautiful and strong this power is,overpowering everything else that happens behind the scene (failed marriage,problems with sulky children right after the homecoming concert). In today's world we are taught to be tough and pushy but Mouskouri example shows that things can be done differently,with elegance and natural grace.

"Im no angel" (1933) with Mae West

I was familiar with her photographs. I read books about her. And I knew her music from a CD I purchased many years ago. But I never actually saw a movie of this 1930s queen of double entendres,until now. Last night I decided to finally see "I'm no angel" from 1933. to check out what the fuss was all about.

I always loved old black & white movies,as I already explained on this site there is something magical about black and white world and usually it pulls me right in the story,because it is so unreal and dreamlike I get lost completely and forget about everyday life,it is a pure,unadulterated pleasure and escapism.

At the very start we are introduced to a traveling circus troupe and a man outside advertises various artists,teasing the curious stand-byers to check all the marvels circus has for them - he works very hard on them and builds quite excitement until finally presenting Tira,famous lion tamer and apparently eight wonder of the world - she will walk outside just a little bit,to tease them and show them what tonight's show has to offer. Carpet is rolled and out steps Mae West.

With eyebrows raised,I watched plump and average-looking blonde walking like somebody who is not accustomed to high heels,hands on her hips,smirky smile on her lips,she actually looked more like a drag queen than anything - that ridiculous,exaggerate femininity was definition of camp and there was (sorry Mae) absolutely nothing sexy or attractive about her. This first scene,this introduction is basically explanation of everything that follows - she camps it up to the sky,men in the audience are supposed to watch her like hungry animals and the whole world goes crazy when Mae walks around. Really?

The rest of the movie is actually not important at all - plot,if we can call it so (Mae wrote it herself) meanders quite a bit and its all about men who turn into jelly when Mae comes on the screen. Young,old,rich or poor,they all lose their self-composure and fall on her feet,while Mae smirks,looks in the sky and checks out their rings and wallets. The only traces of her humanity come when she is surrounded by black maids (she actually jokes around with them and seems relaxed) and at certain moments when she looks closely to young Carry Grant - its obvious she actually genuinely likes him and in a split of the second her eyes twinkle,that campy composure is forgotten because she is smitten and it is not act.

The morning after this ridiculous little movie (apparently quite a big hit 78 years ago,I know,its a long time) I am drinking my coffee and wondering was she serious or just laughing on her way to the bank? I am aware that West build her empire herself with self-writen scripts,double entendres and sharp wit,fighting with censorship and moralists. Her "fabulous" looks carefully assembled facade,more monument to camp than genuine feminine appeal. But to take seriously that every man in sight (including brave Carry Grant who was good sport about it) fell head over heels for her? Surely not. I am still divided between thinking that either West knew this was all just a joke and was sharply poking fun at games people play between each other or perhaps she was mad as hatter and taking herself seriously,seeing herself as sex bomb. It could easily have been any of these solutions - she was clever and provocative,definitely knowing mastery of playing the role but on the other hand,she also refused "Sunset boulevard" saying she is not so old as to play Norma Desmond and initially declined to be placed on cover of "Sgt.Pepper's Lonely Heart Club" saying she don't belong to Lonely Heart's Club. Clearly,vanity also played part here - she won't be seen as washed up actress even if its excellent role in a new movie or album cover for the most popular band in the world (she eventually accepted,after guys wrote her a letter). I still don't know what to make out of her,but at this moment I am prone to accept she somehow hypnotized herself and everybody around her into thinking she was fabulous,sexy and irresistible. And audience actually bought it.

If you look closely,you can recognize Hattie McDaniel (later famous as "Mammy" in "Gone with the wind") as one of Mae Weast's black maids who is doing her manicure,it was her second movie role and its quite a fun to spot her here.