Monday, December 5, 2016
From its 2011 beginnings in London’s bustling concert scene, the classical music series ASPECT embraced presentations that integrate classical music programs in a specific cultural framework. With its syllabus of accompanying talks surrounding its traditional classical music programs, examining everything from composers’ lives and the historic relevance of their works, to connections between musical expression, art and poetry, the not-for-profit foundation became widely frequented, especially within London’s large community of actively engaged amateur musicians. ( Photo credit: Andy Filimon – Irina Knaster surrounded by collaborating artists ) A brainchild of Russian-American culture devotee and former pianist Irina Knaster, the series has now – parallel to Irina’s move to New York – found a new musical home at Columbia University’s Italian Academy. The series’ New York debut on October 5th featured a sold out one-off concert, exploring little known links between Mozart and Bach, whose works were performed by stellar artists. Violinist Dmitry Sitkovetsky, cellist Sergey Antonov, violist Dov Scheindlin and pianist extraordinaire Ignat Solzhenitsyn collaborated in various combinations with remarks interjected by Yale’s renowned professor, musicologist Paul Berry to the evening’s thematic: “Bach and Mozart, a lasting influence.” Clearly caught up in his calling, his elucidations might have fared better with a little less lecturing from the page, but his remarks were informative and thoughtful; if perhaps a little too academic for most of the audience members’ tastes. Any disappointment, though, was more than made up for by the stellar musicians who performed with great excellence and passion. Also delightful was the socially openhanded reception in the venue’s substantial foyer following the concert; many of the attending audience members knew some of the musicians, the organizers, or each other, and the crowd’s chemistry and enjoyment clearly evidenced the value of one of ASEPCT’s attractions: a cohesive, active community of musical people and fans of the artists. The attendance of Dmitry Sitkovetsky’s famed mother Bella Davidovich, renowned as one of Russia’s iconic pianists and teachers, was a special bonus, and it did not take long for her to become surrounded by a flock of former students and admirers. An important facet of the series’ inspiration though lies in its alliance with musicians who are not necessarily favored by mainstream audiences. Says Knaster: “Many of the greatest musicians are not interested in or just not invested enough to create a huge PR following around them, but they are the true ‘bread and butter’ musicians, dedicated to music for the sake of music. They devote every minute of their time and effort to their work, learning new repertoire, teaching and well, playing with musicians they enjoy working with already, not necessarily looking out for opportunities that will further their own careers. For me, those are the real kind of artists who deserve support and these are the kind of artists that should be featured in the series.” Knaster’s criterion for choosing performers for her series is neither following in-demand “young and sexy” performers, nor is she exclusively looking for artists who are hugely renowned. She says, “even though artists that have an interesting following are geared to bring along some attractive collaborations, every concert is different. Sometimes programming is conceived around a specific artist; sometimes artists bring a whole concept or a specific presentation along.” Thematic choices of the series have been open ended themes, like “Composers on Composers,” Musical Capitals,” “Great Muses,” or” Words on Music,” with performers touching on a specific angle. ( Photo credit: Andy Filimon, violinist Dmitry Sitkovetsky and Paul Berry) Sometimes it’s either the charismatic speaker who can have an enlightening impact, or the artist who connects particularly well with the audience. Thanks to the great support of the foundation’s sponsorship, Knaster has presented twenty-seven London concerts, pamphlets of each she collects in a big folder that she affectionately refers to as her ‘bible,’ flipping through the pages reminiscing, and a little bit in awe. She has received some positive press, including an article in The Strad, which she feels impacts her audiences less than it does her artists. “It’s a lot of trial and error that makes the series grow, and apparently the more parts there are to an event, the more there is that can go wrong,” she says. It is a risk, however, that the petite yet vigorous young woman, who admits to being somewhat of a perfectionist, is willing to take. “When it all comes together, it’s exhilarating,” she explains, “one of my favorite ones was actually the last concert in London; it just worked perfectly.” She refers to a concert that centered on the love triangle of Shostakovich, Rostropovich and Britten, presented by BBC’s Lain Burnside, a concert she feels had exactly the right balance of instruction, music and personal input, and also benefitted from being presented in the amazing venue, she found after trying other locations for the series concerts: Notting Hill’s recently renovated 20th Century Theatre, which fit the ideal audience of 200 that Knaster had in mind. That last London evening was also enhanced by the presence of a former classmate of Rostropovich, equipped with old photos of him with Britten. “It was just special in every aspect, but projects are likely to take on a life of their own,” says Knaster. 20th Century Theatre, Notting Hill, London, England. Clearly the orchestration of every detail becomes much more important in an overall experience that focuses on music, but does not end there. “In the concert hall, people come to listen to the music, often holding their coat on their lap and then are getting up and leave without talking about their experience much, nor connecting with others. Here, you check your coat at the wardrobe, and you hopefully come away with an all-around meaningful encounter.” Bringing the audience and the artists together, it seems the reception does fulfill an important objective, perhaps by balancing the emotional impact of the music, perhaps by affirming that audience members have become individual members of this newly-created social environment, or perhaps just by allowing that audiences continue to nourish and nosh. While Knaster counts on the help of some of her former London collaborators, especially that of her former Art Professor, Patrick Bade, as well as longtime friend and BBC producer Misha Donat, getting started in New York brings a whole slew of new players onto her team. Knaster’s versatile experiences are certainly a plus in her new endeavor. In addition to her education as a pianist, Knaster absolved a master’s program in art history and studied law, working as a corporate lawyer for an American company in Russia for many years during Russia’s phase of opening to the Western World. For personal advice, she has turned to New York’s legendary Edna Landau, co-founder of IMG and former personal manager of piano prodigy Evgeny Kissin. Edna, whose experience and endless knowledge of everything musical in the city, currently disperses career advice to conservatory students and musical talent throughout the country and knows just about every musician. It looks like even if all the kinks haven’t been ironed out before Aspect’s next concert, it won’t take another twenty-seven concerts to land Knaster’s programing in the public eye as a local institution. New Yorkers may not be able to rely on a community of amateurs as huge and engaged as that which London has to offer, but the New York music scene is quick to pick up on refined programming and solid performers, and not one to dismiss socially accommodating presentations. With political worlds separating society increasingly, perhaps New York needs an active music community more than ever. ASPECT’s next concert, titled “Romantic Vienna,” will take place on January 26th and will present works by the Austrian capital’s musical pillars that frame either end of the Romantic Movement: Schubert and Brahms. It will feature Arnaud Sussmann, violin, Paul Neubauer, viola, Rafael Figueroa, cello and Vsevolod Dvorkin, piano, emceed with an illustrated talk by BBC broadcaster Stephen Johnson. You can read more about this event and about the ASPECT Foundation at www.aspectfoundation.net.
This post leads down a path with the kind of salacious side turnings usually found on more click bait oriented music blogs. But there is a serious purpose to retelling the story of Olivier Greif, whose tragically short career and truncated talent have many disquieting parallels with another underrated composer of the late 20th century, Claude Vivier. Olivier Greif was born in Paris in 1950, his father was a Polish Jew who survived Auschwitz. Greif's musical talent was identified when he was three and he entered the Paris Conservatoire aged ten to study piano and composition. He went on to study composition with Luciano Berio in New York where he moved in the same circles as Salvador Dali, Mick Jagger, Andy Warhol and Leonard Bernstein. All the accompanying photos, with the exception of my header montage, come via the Olivier Greif website and include images of Greif with Dali - whose lost opera prompted another path - and Bernstein; see photos below. In 1970 Olivier Greif was appointed Luciano Berio’s assistant at the Santa Fe Opera and started exploring the music of West Coast composers including Terry Riley and La Monte Young. Despite his eclectic musical tastes Greif rejected serialism and electronics and instead developed a unique style influenced by Britten and Shostakovich, and as a pianist made a now deleted commercial recording of Britten's piano music. Greif's compositions can be divided into two periods. 1961 to 1981 was the period when he developed his own voice as a composer. Then came a ten year creative hiatus which ended in 1991 with a series of darker and more intense pieces by the experiences of his father and other members of his family in the death camps. In later years his music became more experimental and in 1981 his chamber opera Nô was premiered in the Centre Pompidou in Paris, a performance given in collaboration with IRCAM and Olivier Messiaen, who mentored Greif, with Pierre Boulez in the audience. After two serious illnesses Olivier Greif was found dead seated at his piano in his apartment in Paris on Friday, May 13, 2000. The autopsy could not identify the cause of death but established that he had been dead for several days when found. He is buried in the Montparnasse Cemetery. Today Olivier Greif is a forgotten figure, although, fortunately, he remains represented in the CD catalogue. At which point the reader can be forgiven for expecting a plea for Greif's music to be more widely programmed or a heads up for a new recording of his music or a book, coupled with a plug for an upcoming concert. But conventional narratives do not interest me, so instead we turn to the little known story of the composer's ten year creative hiatus. In 1976 Olivier Greif begins a spiritual quest with his guru Sri Chinmoy who is seen in the photo above; two years later Greif took the new first name Haridas, which means “God’s servant”. Sri Chinmoy was an Indian spiritual teacher, poet, artist and athlete who moved to the U.S. in 1964. He was the founder of the Sri Chinmoy Centre organisation. a composer of sacred music, mainly songs in Bengali and English, and a prolific writer on music. Sri Chimnoy advocated "self-transcendence" by expanding one's consciousness to conquer the mind's perceived limitations. Among his followers were Mikhail Gorbachev, Roberta Flack, Olympic gold-medalist Carl Lewis, John McLaughlin and Carlos Santana. McLaughlin's Mahavishnu Orchestra takes its name from the spiritual moniker given to him by Sri Chinmoy. In the photo below a picture of Chinmoy can be seen on Greif's piano. In April 1970, Sri Chinmoy was invited by UN Secretary-General U Thant to give twice-weekly meditations at the United Nations and in 1994 he received, jointly with Martin Luther King’s wife Coretta Scott King, the ‘Mahatma Gandhi Universal Harmony Award’ from the American based Indian cultural institute. But inevitably Sri Chinmoy's activities generated controversy. In a Rolling Stone interview Carlos Santana said his guru was "vindictive" when they split, and elsewhere there are allegations of homophobia. In 2009 Jayanti Tamm published her best selling book of life as a Chinmoy disciple Cartwheels in a Sari: A Memoir of Growing Up Cult in which she documents his "masterful tactics of manipulation", and there have also been allegations of sexual misconduct. Sri Chinmoy died in 2007, the Independent's obituary described him as "spiritual leader and peace activist" and Philip Glass and Ravi Shankar were among those who paid tribute to him. During the 1980s Olivier Greif, or rather Haridas Greif, became the face of Sri Shinmoy in France. He curated conferences on meditation and opened a book store on the Boulevard Saint-Germain devoted to his guru. In 1979 he premiered his settings of Three poems of Sri Chinmoy for voice and piano and he also appeared on an LP of Chinmoy's music with the New Light Ensemble. The photo above shows Olivier Greif with Sri Chinmoy circa 1995, but during the final years of his life Greif moved away from his spiritual master and reverted to his given first name. Probably his best known work, his Sonate de Requiem (1979-1983) dates from the years of his involvement with Sri Chinmoy. In his own note Greif describes the single movement work as a dedication on death seen from three viewpoints: death as a departure, death as a journey away from the earthly regions through successive planes of consciousness, and death as contemplation as the soul meets with the Source. Just as empathy with Cardinal Newman is not required to appreciate Elgar's Dream of Gerontius, so empathy with Sri Chinmoy is not required to appreciate Olivier Greif's Sonate de Requiem. The composer's dalliance with celebrities and an Indian mystic is just a fascinating sideshow to the main event - his music. There is a catalogue of Greif's three hundred and thirty one compositions online. They include an incomplete Symphony No. 1 for solo voice, male chorus and orchestra 'Hiroshima' dating from 1994 which which sets testimonies of survivors of Hiroshima in English and the Bhagavad Gita in Sanskrit, and a Little Black Mass (1980) which combines the sacred liturgy with popular American songs. For those interested in further exploration the Olivier Greif website has a discography. A number of the listed releases are now deleted, but recommended are the Sonate de Requiem and Trio on Harmonia Mundi and the Battle of Agincourt for two cellos coupled with his Second String Quartet, which sets Shakespeare sonnets for baritone, on Zig Zag Territoires. Revised version of post originally published in March 2012. No review samples involved in this post. Image credits official Olivier Greif website except header montage. Any copyrighted material on these pages is included as "fair use", for the purpose of study, review or critical analysis only, and will be removed at the request of copyright owner(s). Report broken links, missing images and errors to - overgrownpath at hotmail dot co dot uk Also on Facebook and Twitter.
We ear that Gennady Rozhdestvensky pulled out on Monday at the Philharmonie de Paris a few minutes before the concert as due to begin. Apparently, he had seen a ticket from which his name was omitted. The orchestra was fortunate that concertmaster Alexei Bruni was prepared to take over conducting the Scriabin concerto. Pletnev conducted the rest of the programme: Prokofiev’s classical symphony and Shostakovich 9th. No review has yet appeared in French media. Our information is from a Russian source.
Russian media report the death, aged 90, of Mark Taimanov, one of the foremost chess competitors of the Soviet era and a widely respected pianist whose personal friends included Shostakovich and Richter. Taimanov may be best remembered for losing 6-0 to Bobby Fischer in 1971, a drubbing that he immortalised in a best-selling book. He had previously beaten six world champions, including Botvinnik, Spassky and Karpov. Taimanov formed a piano duo with his first wife, Lyubov Bruk, touring and recorded widely. The pair were included in the Philips series Great Pianists of the 20th Century. As a boy, Taimanov played a violinist in the Soviet film, Beethoven Concerto.
In the new issue of Standpoint magazine, I examine the reasons for my Debussy aversion – and my concern that we are about to be flooded with his music over the next two years. Sample: Invitations have begun to land for the centenary year and my wastebin is bulging. Wild fauns will not drag me to Garsington Opera’s new Pelléas production in June, nor to the Vienna State Opera’s revival that same month. If I take the sea air at Eastbourne, I shall give a wide berth to the Grand Hotel, where Debussy wrote most of La Mer. On the Bois du Boulogne, his final home, I shall pay no respects. My dislike of Debussy — more pronounced than of any other important composer — is as much analytical as it is aesthetic. His denial of meaning is the antithesis of Frankl’s search for meaning, a complacency so far removed from my view of the world that I can do nothing but acknowledge it and move on. Pure music, which begins with Debussy, infects the modernist mainstream to the point where it becomes impermissible to express any message in music. You had only to hear Boulez denounce Shostakovich as “reactionary” to understand how effectively Debussy sanitised music of the possibility of meaning. Read the full essay here.
One of the best-known names in French music, Le Chant du Monde, has been sold to the multinational Music Sales Group. The disposal is part of the reorganisation of Harmonia Mundi after its sale last year to PIAS. Le Chante du Monde holds copyrights in works by Honegger, Milhaud (pictured), Shostakovich, Prokofiev and Khachaturian as well as many living French composers.
Dmitri Shostakovich (25 September 1906 - 9 August 1975) was a Soviet Russian composer and one of the most celebrated composers of the 20th century. Shostakovich achieved fame in the Soviet Union under the patronage of Leon Trotsky's chief of staff, but later had a complex and difficult relationship with the Stalinist bureaucracy. In 1936, the government, most probably under orders from Stalin, harshly criticized his opera Lady Macbeth of the Mtsensk District, causing him to withdraw the Fourth Symphony during its rehearsal stages. Shostakovich's music was officially denounced twice, in 1936 and 1948, and was periodically banned. After a period influenced by Sergei Prokofiev and Igor Stravinsky, Shostakovich developed a hybrid style, as exemplified by Lady Macbeth of the Mtsensk District (1934). This single work juxtaposed a wide variety of trends, including the neo-classical style (showing the influence of Stravinsky) and post-Romanticism (after Gustav Mahler). Shostakovich's orchestral works include 15 symphonies and six concerti. His symphonic work is typically complex and requires large scale orchestras. Music for chamber ensembles includes 15 string quartets, a piano quintet, two pieces for a string octet, and two piano trios. For the piano he composed two solo sonatas, an early set of preludes, and a later set of 24 preludes and fugues. Other works include two operas, and a substantial quantity of film music.
Great composers of classical music