Lindsey Ollard

Via Flickr:
Sydney’s biggest New Year’s Eve party: Jamiroquai, Culture Club and Pet Shop Boys, as well as Australia’s very own Guy Sebastian, Pseudo Echo and Lyndsey Ollard

Sydney Resolution Concert Series is thrilled to announce Sydney’s biggest New Year’s Eve party, which will be staged at Sydney’s Glebe Island overlooking the iconic Sydney Harbour on Saturday December 31st 2011. The inaugural Sydney Resolution Concert Series will feature international superstars including Jamiroquai, Culture Club and Pet Shop Boys, as well as Australia’s very own Guy Sebastian, Pseudo Echo and Lyndsey Ollard.

Sydney Resolution Concert Series is sure to be an unforgettable night of music and festivities, showcasing some of the biggest acts in the world against a backdrop that only Sydney can provide.

With unobstructed, stunning views of the city and the fireworks display, there is no better place to be on New Year’s Eve than Glebe Island. See 2011 out with a bang with some of the world’s biggest classic and contemporary artists, playing all the songs you know and love.

Sydney’s Glebe Island will turn into a ‘mini city’ for this very special event, with a custom-built venue providing the very best in entertainment and bars, an incredible on-site ‘village’ showcasing Sydney’s best local and international food, and a unique array of retail and market stalls.

Sydney Resolution Concert Series will be the hottest ticket in town for New Year’s Eve!
Please be advised that Sydney Resolution Concert Series is a licensed event – all patrons must be over 18 years of age.

Glebe Island is situated on the beautiful Sydney Harbour. All patrons will arrive and depart by ferry or bus service from terminals and wharfs provided by Sydney Resolution Concert Series.

Please note there is no parking at the event. Gates open at 2pm, entertainment commences at 4:00pm and all performances will conclude by 1:45am.

Gates close at 3.00am

Tickets go on sale at 9am on 28th November through Ticketmaster.

Websites

Sydney Resolution Concert Series - New Years Eve
www.sydneyresolution.com/

Eva Rinaldi Photography
www.evarinaldi.com

Music News Australia
www.musicnewsaustralia.com

Boy George

Via Flickr:
Sydney’s biggest New Year’s Eve party: Jamiroquai, Culture Club and Pet Shop Boys, as well as Australia’s very own Guy Sebastian, Pseudo Echo and Lyndsey Ollard

Sydney Resolution Concert Series is thrilled to announce Sydney’s biggest New Year’s Eve party, which will be staged at Sydney’s Glebe Island overlooking the iconic Sydney Harbour on Saturday December 31st 2011. The inaugural Sydney Resolution Concert Series will feature international superstars including Jamiroquai, Culture Club and Pet Shop Boys, as well as Australia’s very own Guy Sebastian, Pseudo Echo and Lyndsey Ollard.

Sydney Resolution Concert Series is sure to be an unforgettable night of music and festivities, showcasing some of the biggest acts in the world against a backdrop that only Sydney can provide.

With unobstructed, stunning views of the city and the fireworks display, there is no better place to be on New Year’s Eve than Glebe Island. See 2011 out with a bang with some of the world’s biggest classic and contemporary artists, playing all the songs you know and love.

Sydney’s Glebe Island will turn into a ‘mini city’ for this very special event, with a custom-built venue providing the very best in entertainment and bars, an incredible on-site ‘village’ showcasing Sydney’s best local and international food, and a unique array of retail and market stalls.

Sydney Resolution Concert Series will be the hottest ticket in town for New Year’s Eve!
Please be advised that Sydney Resolution Concert Series is a licensed event – all patrons must be over 18 years of age.

Glebe Island is situated on the beautiful Sydney Harbour. All patrons will arrive and depart by ferry or bus service from terminals and wharfs provided by Sydney Resolution Concert Series.

Please note there is no parking at the event. Gates open at 2pm, entertainment commences at 4:00pm and all performances will conclude by 1:45am.

Gates close at 3.00am

Tickets go on sale at 9am on 28th November through Ticketmaster.

Websites

Sydney Resolution Concert Series - New Years Eve
www.sydneyresolution.com/

Eva Rinaldi Photography
www.evarinaldi.com

Music News Australia
www.musicnewsaustralia.com

Boy George

Via Flickr:
Sydney’s biggest New Year’s Eve party: Jamiroquai, Culture Club and Pet Shop Boys, as well as Australia’s very own Guy Sebastian, Pseudo Echo and Lyndsey Ollard

Sydney Resolution Concert Series is thrilled to announce Sydney’s biggest New Year’s Eve party, which will be staged at Sydney’s Glebe Island overlooking the iconic Sydney Harbour on Saturday December 31st 2011. The inaugural Sydney Resolution Concert Series will feature international superstars including Jamiroquai, Culture Club and Pet Shop Boys, as well as Australia’s very own Guy Sebastian, Pseudo Echo and Lyndsey Ollard.

Sydney Resolution Concert Series is sure to be an unforgettable night of music and festivities, showcasing some of the biggest acts in the world against a backdrop that only Sydney can provide.

With unobstructed, stunning views of the city and the fireworks display, there is no better place to be on New Year’s Eve than Glebe Island. See 2011 out with a bang with some of the world’s biggest classic and contemporary artists, playing all the songs you know and love.

Sydney’s Glebe Island will turn into a ‘mini city’ for this very special event, with a custom-built venue providing the very best in entertainment and bars, an incredible on-site ‘village’ showcasing Sydney’s best local and international food, and a unique array of retail and market stalls.

Sydney Resolution Concert Series will be the hottest ticket in town for New Year’s Eve!
Please be advised that Sydney Resolution Concert Series is a licensed event – all patrons must be over 18 years of age.

Glebe Island is situated on the beautiful Sydney Harbour. All patrons will arrive and depart by ferry or bus service from terminals and wharfs provided by Sydney Resolution Concert Series.

Please note there is no parking at the event. Gates open at 2pm, entertainment commences at 4:00pm and all performances will conclude by 1:45am.

Gates close at 3.00am

Tickets go on sale at 9am on 28th November through Ticketmaster.

Websites

Sydney Resolution Concert Series - New Years Eve
www.sydneyresolution.com/

Eva Rinaldi Photography
www.evarinaldi.com

Music News Australia
www.musicnewsaustralia.com

Pet Shop Boys

Via Flickr:
Sydney’s biggest New Year’s Eve party: Jamiroquai, Culture Club and Pet Shop Boys, as well as Australia’s very own Guy Sebastian, Pseudo Echo and Lyndsey Ollard

Sydney Resolution Concert Series is thrilled to announce Sydney’s biggest New Year’s Eve party, which will be staged at Sydney’s Glebe Island overlooking the iconic Sydney Harbour on Saturday December 31st 2011. The inaugural Sydney Resolution Concert Series will feature international superstars including Jamiroquai, Culture Club and Pet Shop Boys, as well as Australia’s very own Guy Sebastian, Pseudo Echo and Lyndsey Ollard.

Sydney Resolution Concert Series is sure to be an unforgettable night of music and festivities, showcasing some of the biggest acts in the world against a backdrop that only Sydney can provide.

With unobstructed, stunning views of the city and the fireworks display, there is no better place to be on New Year’s Eve than Glebe Island. See 2011 out with a bang with some of the world’s biggest classic and contemporary artists, playing all the songs you know and love.

Sydney’s Glebe Island will turn into a ‘mini city’ for this very special event, with a custom-built venue providing the very best in entertainment and bars, an incredible on-site ‘village’ showcasing Sydney’s best local and international food, and a unique array of retail and market stalls.

Sydney Resolution Concert Series will be the hottest ticket in town for New Year’s Eve!
Please be advised that Sydney Resolution Concert Series is a licensed event – all patrons must be over 18 years of age.

Glebe Island is situated on the beautiful Sydney Harbour. All patrons will arrive and depart by ferry or bus service from terminals and wharfs provided by Sydney Resolution Concert Series.

Please note there is no parking at the event. Gates open at 2pm, entertainment commences at 4:00pm and all performances will conclude by 1:45am.

Gates close at 3.00am

Tickets go on sale at 9am on 28th November through Ticketmaster.

Websites

Sydney Resolution Concert Series - New Years Eve
www.sydneyresolution.com/

Eva Rinaldi Photography
www.evarinaldi.com

Music News Australia
www.musicnewsaustralia.com

Jamiroquai

Via Flickr:
Sydney’s biggest New Year’s Eve party: Jamiroquai, Culture Club and Pet Shop Boys, as well as Australia’s very own Guy Sebastian, Pseudo Echo and Lyndsey Ollard

Sydney Resolution Concert Series is thrilled to announce Sydney’s biggest New Year’s Eve party, which will be staged at Sydney’s Glebe Island overlooking the iconic Sydney Harbour on Saturday December 31st 2011. The inaugural Sydney Resolution Concert Series will feature international superstars including Jamiroquai, Culture Club and Pet Shop Boys, as well as Australia’s very own Guy Sebastian, Pseudo Echo and Lyndsey Ollard.

Sydney Resolution Concert Series is sure to be an unforgettable night of music and festivities, showcasing some of the biggest acts in the world against a backdrop that only Sydney can provide.

With unobstructed, stunning views of the city and the fireworks display, there is no better place to be on New Year’s Eve than Glebe Island. See 2011 out with a bang with some of the world’s biggest classic and contemporary artists, playing all the songs you know and love.

Sydney’s Glebe Island will turn into a ‘mini city’ for this very special event, with a custom-built venue providing the very best in entertainment and bars, an incredible on-site ‘village’ showcasing Sydney’s best local and international food, and a unique array of retail and market stalls.

Sydney Resolution Concert Series will be the hottest ticket in town for New Year’s Eve!
Please be advised that Sydney Resolution Concert Series is a licensed event – all patrons must be over 18 years of age.

Glebe Island is situated on the beautiful Sydney Harbour. All patrons will arrive and depart by ferry or bus service from terminals and wharfs provided by Sydney Resolution Concert Series.

Please note there is no parking at the event. Gates open at 2pm, entertainment commences at 4:00pm and all performances will conclude by 1:45am.

Gates close at 3.00am

Tickets go on sale at 9am on 28th November through Ticketmaster.

Websites

Sydney Resolution Concert Series - New Years Eve
www.sydneyresolution.com/

Eva Rinaldi Photography
www.evarinaldi.com

Music News Australia
www.musicnewsaustralia.com

Guy Sebastian

Via Flickr:
Sydney’s biggest New Year’s Eve party: Jamiroquai, Culture Club and Pet Shop Boys, as well as Australia’s very own Guy Sebastian, Pseudo Echo and Lyndsey Ollard

Sydney Resolution Concert Series is thrilled to announce Sydney’s biggest New Year’s Eve party, which will be staged at Sydney’s Glebe Island overlooking the iconic Sydney Harbour on Saturday December 31st 2011. The inaugural Sydney Resolution Concert Series will feature international superstars including Jamiroquai, Culture Club and Pet Shop Boys, as well as Australia’s very own Guy Sebastian, Pseudo Echo and Lyndsey Ollard.

Sydney Resolution Concert Series is sure to be an unforgettable night of music and festivities, showcasing some of the biggest acts in the world against a backdrop that only Sydney can provide.

With unobstructed, stunning views of the city and the fireworks display, there is no better place to be on New Year’s Eve than Glebe Island. See 2011 out with a bang with some of the world’s biggest classic and contemporary artists, playing all the songs you know and love.

Sydney’s Glebe Island will turn into a ‘mini city’ for this very special event, with a custom-built venue providing the very best in entertainment and bars, an incredible on-site ‘village’ showcasing Sydney’s best local and international food, and a unique array of retail and market stalls.

Sydney Resolution Concert Series will be the hottest ticket in town for New Year’s Eve!
Please be advised that Sydney Resolution Concert Series is a licensed event – all patrons must be over 18 years of age.

Glebe Island is situated on the beautiful Sydney Harbour. All patrons will arrive and depart by ferry or bus service from terminals and wharfs provided by Sydney Resolution Concert Series.

Please note there is no parking at the event. Gates open at 2pm, entertainment commences at 4:00pm and all performances will conclude by 1:45am.

Gates close at 3.00am

Tickets go on sale at 9am on 28th November through Ticketmaster.

Websites

Sydney Resolution Concert Series - New Years Eve
www.sydneyresolution.com/

Eva Rinaldi Photography
www.evarinaldi.com

Music News Australia
www.musicnewsaustralia.com

Pseudo Echo

Via Flickr:
Sydney’s biggest New Year’s Eve party: Jamiroquai, Culture Club and Pet Shop Boys, as well as Australia’s very own Guy Sebastian, Pseudo Echo and Lyndsey Ollard

Sydney Resolution Concert Series is thrilled to announce Sydney’s biggest New Year’s Eve party, which will be staged at Sydney’s Glebe Island overlooking the iconic Sydney Harbour on Saturday December 31st 2011. The inaugural Sydney Resolution Concert Series will feature international superstars including Jamiroquai, Culture Club and Pet Shop Boys, as well as Australia’s very own Guy Sebastian, Pseudo Echo and Lyndsey Ollard.

Sydney Resolution Concert Series is sure to be an unforgettable night of music and festivities, showcasing some of the biggest acts in the world against a backdrop that only Sydney can provide.

With unobstructed, stunning views of the city and the fireworks display, there is no better place to be on New Year’s Eve than Glebe Island. See 2011 out with a bang with some of the world’s biggest classic and contemporary artists, playing all the songs you know and love.

Sydney’s Glebe Island will turn into a ‘mini city’ for this very special event, with a custom-built venue providing the very best in entertainment and bars, an incredible on-site ‘village’ showcasing Sydney’s best local and international food, and a unique array of retail and market stalls.

Sydney Resolution Concert Series will be the hottest ticket in town for New Year’s Eve!
Please be advised that Sydney Resolution Concert Series is a licensed event – all patrons must be over 18 years of age.

Glebe Island is situated on the beautiful Sydney Harbour. All patrons will arrive and depart by ferry or bus service from terminals and wharfs provided by Sydney Resolution Concert Series.

Please note there is no parking at the event. Gates open at 2pm, entertainment commences at 4:00pm and all performances will conclude by 1:45am.

Gates close at 3.00am

Tickets go on sale at 9am on 28th November through Ticketmaster.

Websites

Sydney Resolution Concert Series - New Years Eve
www.sydneyresolution.com/

Eva Rinaldi Photography
www.evarinaldi.com

Music News Australia
www.musicnewsaustralia.com

Lindsey Ollard

Via Flickr:
Sydney’s biggest New Year’s Eve party: Jamiroquai, Culture Club and Pet Shop Boys, as well as Australia’s very own Guy Sebastian, Pseudo Echo and Lyndsey Ollard

Sydney Resolution Concert Series is thrilled to announce Sydney’s biggest New Year’s Eve party, which will be staged at Sydney’s Glebe Island overlooking the iconic Sydney Harbour on Saturday December 31st 2011. The inaugural Sydney Resolution Concert Series will feature international superstars including Jamiroquai, Culture Club and Pet Shop Boys, as well as Australia’s very own Guy Sebastian, Pseudo Echo and Lyndsey Ollard.

Sydney Resolution Concert Series is sure to be an unforgettable night of music and festivities, showcasing some of the biggest acts in the world against a backdrop that only Sydney can provide.

With unobstructed, stunning views of the city and the fireworks display, there is no better place to be on New Year’s Eve than Glebe Island. See 2011 out with a bang with some of the world’s biggest classic and contemporary artists, playing all the songs you know and love.

Sydney’s Glebe Island will turn into a ‘mini city’ for this very special event, with a custom-built venue providing the very best in entertainment and bars, an incredible on-site ‘village’ showcasing Sydney’s best local and international food, and a unique array of retail and market stalls.

Sydney Resolution Concert Series will be the hottest ticket in town for New Year’s Eve!
Please be advised that Sydney Resolution Concert Series is a licensed event – all patrons must be over 18 years of age.

Glebe Island is situated on the beautiful Sydney Harbour. All patrons will arrive and depart by ferry or bus service from terminals and wharfs provided by Sydney Resolution Concert Series.

Please note there is no parking at the event. Gates open at 2pm, entertainment commences at 4:00pm and all performances will conclude by 1:45am.

Gates close at 3.00am

Tickets go on sale at 9am on 28th November through Ticketmaster.

Websites

Sydney Resolution Concert Series - New Years Eve
www.sydneyresolution.com/

Eva Rinaldi Photography
www.evarinaldi.com

Music News Australia
www.musicnewsaustralia.com

Singer, actress Kaye Stevens dead on Wednesday

Kaye Stevens, who acted upon with the Rat Pack and was a common visitor on Johnny Carson's "The Tonight Show," has died at a central Florida hospital. She was 79.

Close friend Gerry Schweitzer established that Stevens died Wednesday at the Villages Hospital north of Orlando subsequent a fight with breast cancer and blood clots.

Stevens, a longtime South Florida resident, presented with Rat Pack associates counting Frank Sinatra, Dean Martin, Sammy Davis Jr. and Joey Bishop. She also sang alone at locations like Caesar's Palace in Las Vegas and the Plaza Hotel's Persian Room in New York City.

Throughout the Vietnam War period, Stevens acted upon for American soldiers in the war region with Bob Hope's USO trip.

According to a newsletter from friend Rhonda Glenn, Stevens was born Catherine Louise Stephens in Pittsburgh. Her family eventually moved to Cleveland, where a teenage Stevens got her start as a drummer and singer. She later married now deceased bandleader and trumpet player Tommy Amato, and the couple performed throughout the eastern U.S.

During a gig in New Jersey, Stevens was discovered by Ed McMahon, Carson's longtime sidekick, which led to new bookings. Her big break came when she was playing a lounge at The Riviera Hotel in Las Vegas. Debbie Reynolds became ill and was unable to perform in the main room. Stevens filled in and was an instant hit.

Besides singing, Stevens also acted in film and television. She appeared in six movies, earning a Golden Globe nomination in 1964 for "The New Interns." She was a regular celebrity player on game shows and appeared as a regular on "Days of Our Lives" from 1974-79.

During the past two decades, Stevens started her own ministry and began performing only Christian and patriotic music. She staged benefits to help build St. Vincent Catholic Church in her longtime home of Margate, Fla., where city officials named a park in her honor.

Tchaikovsky: Symphony No. 5 (CD review)



Also, Der Voyevoda. Frank Shipway, Royal Philharmonic Orchestra. Royal Philharmonic Masterworks RPM 29220.



As usual with Tchaikovsky, he felt dissatisfied with his Fifth Symphony when he finished it. He considered it a failure; but, well, he wasn't too keen on The Nutcracker or the 1812, either. What did he know.



Russian composer Peter Tchaikovsky (1840-1893) wrote his Symphony No. 5 in E minor, Op. 64, in 1888, and he conducted its première the same year. He used a theme that reappears in various guises in all four movements of the work, describing it at first as "a complete resignation before fate, which is the same as the inscrutable predestination of fate." But it's not all that dark and things pick up. Before long, we hear the character of the main theme become more positive as it progresses through the symphony, as though Tchaikovsky were voicing his increased optimism with regard to fate, the symphony becoming ever more affirmative and upbeat as it goes along.



On the present recording, Maestro Frank Shipway conducts the Royal Philharmonic Orchestra. Candidly, when I first received the disc I was only vaguely familiar with the name Shipway, and even then I was probably thinking of Thomas Schippers. Nevertheless, Shipway is a prominent British conductor of international repute, mainly through his work with the Italian National Symphony Orchestra of the RAI. He studied conducting with Sir John Barbirolli and to a lesser degree with Herbert von Karajan and Lorin Maazel. In addition, he has judged conducting competitions and given master classes in music. Apparently, too, his recording of the Mahler Fifth with the RPO has garnered much critical acclaim. Fair enough. He certainly acquits himself well on this Tchaikovsky recording.



Shipway starts Tchaikovsky's Fifth very slowly, in hushed terms, building in intensity from humble beginnings. It's an indiction of how the conductor will proceed throughout the symphony: very carefully, very methodically, his rhythms and tempos a tad regimented yet carrying a decent Romantic spark, too, and eventually lighting up the room with their strength and authority. A few minutes in and the movement is as animated as Tchaikovsky directs: "Allegro con anima." Then the recurring main theme opens up beautifully.



The symphony continues in this manner, with the conductor shaping the music thoughtfully, and the orchestra responding with passion and precision. The Andante cantabile, for instance, sounds exceptionally relaxed yet still provides ample emotion.



The third movement waltz moves dancingly along, if without quite the life and lilt we hear from Jansons (Chandos), Muti (EMI), or Haitink (Philips). Still, it has plenty of vitality and offers a charming interlude before the music's fiery conclusion.



Tchaikovsky pulled out all the stops in his finale, the main theme now sounding quite triumphant and Shipway making the most of it by executing some really forceful crescendos of tremendous power.  Initially, Tchaikovsky's audiences didn't know what to make of this movement, many of them finding it too reckless and explosive. Today, we accept it as simply exciting and exhilarating. Shipway helps us out.



As a coupling, the disc gives us Tchaikovsky's little tone poem Der Voyevoda, which he wrote in 1890 and based on a poem by Adam Mickiewicz. As usual, Tchaikovsky didn't like it, dismissing it as "rubbish." Nonetheless, it makes a suitable companion to the Fifth Symphony because like the Fifth it is not rubbish but quite varied, impassioned, and ultimately fascinating, if a little bombastic. Again, Shipway gives it careful attention.



Royal Philharmonic Masterworks, Sheridan Square Entertainment, and Allegro Corporation, the makers and distributors of the disc, provide no information on the recording, no date or location. The producers do tell us, however, that it is a part of their "Audiophile Collection," a "20 bit digital recording, edited and mastered via 32 bit digital sound processing, recorded in high definition and playable on all CD players." Since to my knowledge there is no absolute, objective meaning of the phrase "high definition" in regard to music recording, I suppose they mean it sounds pretty good. And it does.



The recording displays good orchestral depth, fairly good sonic delineation and detailing, and a very wide dynamic range and impact. The sound stage is big, big, big, with a good separation of instruments without appearing either excessively close or too multi-miked. The strings are smooth and the bass is solid, with a touch of soft, overall warmth and a bit of upper bass resonance thrown in. While it may not be what everyone thinks of "audiophile" sound, it's surely a pleasing aural experience.



JJP

Justin Bieber's Grandparents all right later than Car Collide

Ontario police established Wednesday that pop star Justin Bieber's grandparents were in a car crash but say they are both fine.

Constable Kees Wijnands said Bruce and Diane Dale drove into a ditch Tuesday afternoon after hitting a patch of slushy snow on a road near Stratford, Ontario, Bieber's hometown.

Wijnands said the car rolled over and struck a small tree before landing back on its wheels.

He said Bruce Dale was treated in the hospital and that both are fine.

Bieber's mother, Pattie Mallette, broke the news on Twitter on Tuesday afternoon, setting off an outpouring of support online.

"My parents got into a car accident today. They flipped into a ditch & totaled the car but thank God they are alive! My dad has broken ribs. Please pray 4 him 4 quick healing! Count your blessings & forgive your parents always. U never knows what tomorrow holds!!!" she tweeted.

Dvorak: Symphony No. 9 "From the New World" (CD review)

Also, Martinu: Symphony No. 2.  Paavo Jarvi, Cincinnati Symphony Orchestra. Telarc CD-80616.



The idea behind this coupling was for Maestro Paavo Jarvi to bring together works by two celebrated Czech composers, Antonin Dvorak (1841-1904) from the nineteenth century and Bohuslav Martinu (1890-1959) from the twentieth. Jarvi intended for us to see how the two pieces, while separated by time, found connections of national heritage. Fair enough. The only minor reservation I would have is that except for the representative works coming from Czech composers who wrote them in America, they are really not all that much alike except in their overall positive, melodic character.



Of greater concern, I can't say I found Jarvi's interpretation of the "New World" particularly compelling. Maybe I've listened to too many recordings of the piece over the years for a middle-of-the-pack contender like Jarvi's to affect me much. His reading is certainly not bad by any means, and for the listener who doesn't have the work (is there such a listener?), Telarc recorded this one pretty well, so it's probably as good as most. It has a high energy quotient, an imaginative attack, and an appropriate zest. Moreover, Jaarvi's Cincinnati Symphony plays as lustrously, as glowingly, and as precisely as any ensemble you could find.



Nevertheless, it's really the companion piece, Martinu's Second Symphony, that stands out here. Martinu rejected what he deemed the discordant components of modern music and preferred a more relaxed, old-fashioned style, though one often marked by modern jazz influences as well as idiomatic folk elements. The composer wrote that his "Second Symphony is calm and lyric. It seems to me that we have no need of a professional and technical expression of torture; rather do we need orderly thought, expressed calmly." Thus do we get a brief, twenty-three-minute symphony in the conventional four movements that includes any number of dance rhythms and jazz inflections. Jarvi seems to be having fun with the music, and he easily communicates in it the calm and order as well as the sheer exhilaration the work requires.



Telarc's sound is, as is sometimes the case, a tad on the warm, thick side, with a wonderfully dynamic bass line and reasonably good stereo imaging. The highs ring out clearly and realistically in the "New World," especially. While I'm not sure the disc is worth full price for essentially the Martinu alone, I am glad I got to hear both pieces on the disc side by side.



JJP

A French Soiree (CD review)

Trio Settecento:  Rachel Barton Pine, violin; John Mark Rozendaal, viola da gamba; David Schrader, harpsichord. Cedille CDR 900000 129.



I always enjoy any new recording from the Chicago-based Cedille label. Their artists invariably perform the music well, and their engineers record the music superbly, especially those discs made by their chief audio expert, Bill Maylone. This latest entry from Trio Settecento (Rachel Barton Pine, violin; John Mark Rozendaal, viola da gamba; David Schrader, harpsichord), called A French Soiree, is no exception.



My Random House Dictionary defines a "soiree" as "an evening party or social gathering, esp. one held for a particular purpose; e.g., a musical soiree." A French Soiree follows Trio Settecento's previous successes with Cedille, An Italian Sojourn and A German Bouquet (http://classicalcandor.blogspot.com/2009/10/german-bouquet-cd-review.html) in providing more light Baroque music from across the globe. In coming releases as the Trio proceed through more European and perhaps world music, they may begin having trouble coming up with clever album titles, but it's a risk I'm willing to endure. Their playing is first-rate, and their discs sound superb.



As the title suggests, what we get here is a collection of short, light French works by seventeenth and early eighteenth-century composers like Lully, Couperin, Marais, Rebel, Rameau, and Leclair. Performed on period instruments in the most-elegant possible manner, the music close to irresistible.



The program begins with a series of divertissements, a suite of little chamber pieces featuring the music of three French composers: Jean-Baptiste Lully (1632-1687), Francois Couperin (1668-1733), and Marin Marais (1656-1728). The suite is just over twenty-nine minutes long and contains eleven tracks, all of them elegant and refined, both the music and the playing. Of course, the music is also fairly rich and flowery, so the Trio's use of instruments suited to the period helps in bringing out the vibrant, resonant tone of the pieces.



Next, we get Couperin's Troisieme Concert, six brief dance movements. The Trio handle them imaginatively, presenting them in lively yet courtly fashion.



Following the Couperin is the Sonate Huitieme en Re mineur by Jean-Fery Rebel (1666-1747), probably the least known composer on the program. However, it is his piece that stands out as the most unique of the bunch for its combination of ruggedness, grace, and lilting melodies.



The program ends with the Quatrieme Concert by Jean-Philippe Rameau (1783-1764) and the Sonata en Sol majeur by Jean-Marie Leclair (1697-1764). Like the other works on the disc, the music impresses one with its civility and urbaneness, the performances with their culture and polish.



If I have any reservation at all, it's that I don't find the music of the French Baroque composers as varied or as tuneful as that of their Italian and German counterparts. Thus, I probably didn't appreciate this album as much as I liked the Trio Settecento's previous releases. No fault of theirs.



Cedille recorded the program in Nichols Concert Hall at the Music Institute of Chicago, Evanston, Illinois, in August of 2010. They obtained typically audiophile results, although the sonics seem a bit closer than usual. Not many record companies are producing this kind of high-fidelity response anymore, Cedille, certainly, and Reference Recordings, but precious few others.



Anyway, here we get truthful presentations of all three instruments, with extraordinary definition and detail, the instruments themselves meshing nicely and providing a satisfyingly unified sound. Be sure to experiment for a moment to get the volume just right, though, for optimum realism. Too soft and it will appear a bit dull; too loud and it will appear a tad bright. At its prime output, however, it should sound as lifelike as you'll likely hear anywhere outside a concert stage.



JJP

Top 12 best Christmas pop songs

"Mistletoe," Justin Bieber
Bieber's modern-day missive about kissing under the mistletoe certainly harks back to carols of days gone by, but he updates the narrative using his own fly-boy language, referring to his girl as his "shawty." Awww! 

"All I Want for Christmas Is You," Mariah Carey
Perhaps the most ubiquitous pop song of the last 20 years, Carey's iconic single may have been remained by Bieber, but it will forever be associated with Carey, her skimpy Santa suit and her desire to be reunited with her boy. 

"Merry Christmas, Happy Holidays," *NSYNC
Spunky and funky, *NSYNC's 1998 track is all about getting together with your friends and family and wishing them "Merry Christmas, Happy Holidays" — a fitting sentiment for folks of all persuasions. 

"My Only Wish (This Year)," Britney Spears
Like Carey before her, Britney uses her sugary sweet, incredibly innocent ode to the holidays to pine away for the one thing she hopes Santa can get her: her one true love. 

"Last Christmas," Wham!
George Michael had one message for that ex-special someone: This year, to save him from tears, he'll give his heart to someone special. After it was released, the song immediately became a Christmas staple with radio and local malls playing it endlessly through the season. 

"Do They Know It's Christmas?" Band Aid
while many Christmas songs focus on chestnuts roasting on an open fire, 1984's A-list-filled charity single reminded the world that not everyone has chestnuts or an open fire. 
"Santa Claus Is Comin' to Town," Bruce Springsteen and the E Street Band
This song had already been recorded and re-recorded, but when Springsteen put his Jersey sass on the Christmas classic, it became the type of jovial, rocked-out tune cool enough to top the lists of his fans. 

"Christmas (Baby Please Come Home)," U2
Darlene Love may have recorded the track in 1963, but Bono and his boys put their own spin on the song when they released it in 1987. It's all about wanting your baby to come home to you on Christmas. And, really, who doesn't want that? 


 
"Baby, It's Cold Outside," Nick Lachey and Jessica Simpson
In a world where these two are still together, it would actually be a cute idea to have this real-life couple sing about wanting to stay warm with one another on a chilly winter night. 

"Don't Shoot Me Santa," The Killers
Every Christmas playlist needs a kooky take on the holidays, and the Las Vegas band's spin on pleading with Santa to cut them a break is a bit country, a bit rock and roll, and all fun. See also: Blink-182's "I Won't Be Home for Christmas." 

"I'll be Home for Christmas," Michael Bublé
Bublé's Christmas album has been sitting at the top of the charts for weeks, and this particularly stirring Christmas ballad is all about making sure you're with the people you love for the holidays. 

"Santa Baby," Madonna
Cooing and gushing about what she wants from her Santa Baby for Christmas is an incredibly decadent idea full of incredibly lavish gift ideas. Pretend like there's no recession, blast this one and imagine a world where cars and jewels are totally affordable Christmas gifts.

Handel: Messiah (UltraHD CD review)

Yvone Kenny, soprano; Paul Esswood, countertenor; Martyn Hill, tenor; Magnus Linden, bass; Anders Ohrwall, members of the Swedish Radio Symphony Orchestra and the Stockholm Bach Choir. First Impression Music LIM UHD 029 (2-disc set).



"For Relief of the Prisoners in the several Gaols, and for the Support of Mercer's Hospital in Stephen's Street, and of the Charitable Infirmary on the Inns Quay, on Monday the 12th of April, will be performed at the Musick hall in Fishamble Street, Mr. Handel's new Grand Oratorio, call'd the MESSIAH, in which the Gent Lemen of the Choirs of both Cathedrals will assist, with some Concertoes on the Organ, by Mr. Handel."



Of all the recordings of Mr. Handel's Messiah I've heard over the years, this FIM remastering of a 1982 Proprius disc is quite simply the best-performed and finest-sounding account of the lot. Indeed, it may be the finest-sounding choral-orchestral recording I've ever heard.



When George Frideric Handel (1685-1759) wrote his Messiah in 1741, he probably had no idea that by the twenty-first century it would have become as much a part of the Christmas tradition as Tchaikovsky's Nutcracker. But here it is, the Messiah performed by orchestras and choirs and even audiences all over the world, beloved by all. Not bad for a composition Handel wrote in just a little over three weeks. Remarkable.



Anyway, the first thing one notices about this FIM remastering is the remarkable depth of field involved. The listener can actually hear well into the small ensemble and hear them standing and sitting in front of one another. The space and air around the instruments enhance the dimensionality, making it one of those reach-out-and-touch-it experiences.



Then, because the opening movement is an orchestral Sinfonia, one notices the extreme clarity and naturalness of the sound. Every instrument stands in perfect relief, delineated in a wholly realistic, truthful manner, yet without any trace of brightness or edge. We know from the outset this recording is going to be a singular musical and aural treat.



Next, one notices the stereo spread, the soloists on risers to the left, the Stockholm Bach Choir spread out left to right, and the pared down Swedish Radio Symphony Orchestra in support. How wide is the production? When the organ enters, one would swear it was coming from a point well off stage to the far right of the right-hand speaker. It's uncanny.



Finally, in the second movement one notices the sound of the chorus and soloists. Every word is crystal clear, yet again without a trace of brightness or edge. This is, in fact, the most notable aspect of the recording because it's so unusual. In almost every other choral recording--because of the microphone placement or the type of microphones used or the intentional manipulation by the engineer--voices are brightened up, perhaps to make them more intelligible. That doesn't happen here. The voices are so lifelike, you would swear they belong to real people in a concert venue with you.



Still, no recording, no matter how good, would be worth much if it did not support a good performance, and a good performance is exactly what Maestro Anders Ohrwall and his forces produce for us. His interpretation is lively, invigorating, without in any way disturbing the solemnity or majesty of the music. Using a small number of members of the Swedish Radio Symphony Orchestra and a relatively small choir with superb soloists, Ohrwall combines period musical practices with confident, levelheaded judgments, his tempos, contrasts, rubato et al as stimulating yet well considered as one could want. It is as thoroughly involving a rendition as you'll hear anywhere.



Proprius recorded the music in Adolf Fredrik Church, Stockholm, Sweden, in February of 1982, and FIM (First Impression Music) remastered it in 2011 in their Ultra HD 32-bit mastering format. The results of both the original recording setup and the subsequent remastering are impressive in the extreme. As noted above, everything about the sound is better than anything you're ever liable to hear on a disc.



Now, the surprise: It's a live recording. That's right: made before a live audience. Why the surprise? Over the years, live recordings have almost never impressed me. They are usually too close-up or too distant, too forward or too soft, too noisy or too distracting. In the case of the Proprius/LIM set, none of the preceding applies. The audience remains exceptionally quiet during the performance, with only the very occasional slight cough or wheeze to remind one of their presence, and at the end there is no disruptive applause.



Finally, a word about the packaging: The folks at FIM use a hardbound approach, the two discs fitting into their own static-free sleeves, further housed in a pair of light-cardboard inner sleeves. Between the disc sleeves are twenty-eight pages of text providing extensive details about the music, the composer, the recording, and the remastering process. It's a deluxe package for a deluxe recording. Expect to pay for it.



JJP

Classical Music News of the Week, December 23, 2011

David Lang's "death speaks" for Bryce Dessner, Nico Muhly, Owen Pallett and Shara Worden to Be Performed Alongside His Pulitzer Prize-Winning "the little match girl passion"



From his close friendship with Michael Gordon and Julia Wolfe, to his contribution with the Kronos Quartet to the "Requiem for a Dream" score, to his relationships with choreographers Shen Wei and Benjamin Millepied, composer David Lang has always found ways to unlock his artistic potential through working with like-minded artists. Most recently, Lang has written "death speaks" for Bryce Dessner, Nico Muhly, Owen Pallett and Shara Worden. The piece is, in part, a companion for his Pulitzer Prize-winning composition "the little match girl passion." Both works will be performed at Stanford Lively Arts on January 25, 2012 and at Carnegie Hall on January 27, 2012.



Given nearly free reign to create something to be performed with "the little match girl passion" by commissioners Carnegie Hall and Stanford Lively Arts, Lang found inspiration in Schubert lieder, particularly in the texts for such songs as "Death and the Maiden." He writes, "What makes these Schubert texts so interesting is that Death is personified.  It isn't a state of being or a place or a metaphor, but a person, a character in a drama who can tell us in our own language what to expect in the World to Come." Just as the text for "the little match girl passion" is made up of Lang's paraphrases of texts from Bach's St Matthew Passion, the libretto for "death speaks" quotes every instance in Schubert of Death speaking directly to us, taken from 32 different songs.



While mostly seen outside of the classical sphere, all of the "death speaks" performers have a background in classical music. Shara Worden was trained as an opera singer; Owen Pallett is a violinist; Bryce has a degree in classical guitar; Nico Muhly graduated from Juilliard and is the youngest composer in history to be commissioned by the Metropolitan Opera. The idea to team up with this set of artists was a natural choice for Lang. As he relates, "Art songs have been moving out of classical music in the last many years - indie rock seems to be the place where Schubert's sensibilities now lie, a better match for direct story telling and intimate emotionality.  I started thinking that many of the most interesting musicians in that scene made the same journey themselves, beginning as classical musicians and drifting over to indie rock when they bumped up against the limits of where classical music was most comfortable. What would it be like to put together an ensemble of successful indie rockers and invite them back into classical music, the world from which they sprang? All of these musicians are composers, all of them can write all the music they need themselves, and it is a tremendous honor for me to ask them to spend some of their musicality on my music."



Stanford Lively Arts

January 25, 2012

8 p.m.

Ticket information: http://livelyarts.stanford.edu/event.php?code=HILL



Carnegie Hall

January 27, 2012

6 p.m.

Ticket information: http://www.carnegiehall.org/Event.aspx?id=1885



--Amanda Ameer, First Chair Promotion



Zuill Bailey to Perform Bach's Unaccompanied Cello Suites and Haydn's Cello Concerto with the National Philharmonic at Strathmore

Leading cellist Zuill Bailey will perform Bach's Unaccompanied Cello Suites on January 7, 2012 at 3:30 pm at the Music Center at Strathmore. Later that day at 8 p.m., Bailey will perform Haydn's beloved Cello Concerto with the National Philharmonic, conducted by Music Director and Conductor Piotr Gajewski, at Strathmore. The 8 p.m. program will also include Beethoven's Grosse Fuge, Op. 133 and Mozart's Symphony No. 41 in C Major ("Jupiter").



Zuill Bailey has performed with the symphony orchestras of Dallas, Ft. Worth, Louisville, Milwaukee, Minnesota, San Francisco, Toronto, Utah and has appeared at the Kennedy Center, Alice Tully Hall and Carnegie Hall. A member of the Perlman-Schmidt-Bailey Trio, he performs regularly with duo partner, pianist Awadagin Pratt, as well as with pianist Simone Dinnerstein. Telarc released their recording of the complete Beethoven Sonatas for Piano and Cello in August 2009. Bailey's debut release on the label, "Russian Masterpieces," has received widespread popular and critical acclaim. He performs on a 1693 Matteo Gofriller cello. Bailey is the Artistic Director of El Paso Pro Musica, Artistic Director Designate of the Sitka Summer Music Festival in Alaska and Professor of Cello at the University of Texas, El Paso. For more information, visit www.zuillbailey.com.



A free lecture will be offered at 6:45 pm on Jan. 7 in the Concert Hall at the Music Center at Strathmore. To purchase tickets to the Philharmonic's concert on January 7, 2012 at 3:30 pm and at 8 pm, both at the Music Center at Strathmore, please visit nationalphilharmonic.org or call the Strathmore ticket office at (301) 581-5100. Tickets are $32-$79; kids 7-17 are FREE through the ALL KIDS, ALL FREE, ALL THE TIME program (sponsored by The Gazette).  ALL KIDS tickets must be purchased in person or by phone. Parking is free.



--Deborah Birnbaum, National Philharmonic



Music Institute of Chicago Launches Piano Concerto Competition for Young Artists

The Music Institute of Chicago has established a Young Artist Division of the Emilio del Rosario Piano Concerto Competition. Pre-college pianists, younger than 20, will compete for the opportunity to perform a complete concerto with Ars Viva Symphony Orchestra, a professional orchestra directed by Alan Heatherington, Sunday, March 11, 2012 at the North Shore Center for the Performing Arts in Skokie. Additional cash and scholarship prizes also will be available.



The Young Artist Division competition is open to pre-college pianists from Illinois, Indiana, Iowa, Michigan, and Wisconsin. A preliminary round will take place Sunday, February 12 at the Evanston East campus of the Music Institute of Chicago. Three finalists will compete Sunday, February 19 at Nichols Concert Hall in Evanston. Information regarding applications and repertoire requirements is available at EDRpianocompetition.org. The application deadline is January 14, 2012.



The new Young Artist Division is part of the larger Emilio del Rosario Piano Concerto Competition, which takes place in the spring of 2012 at Harper College. Competition Director and Music Institute faculty member Brenda Huang said, "The Young Artist Division is an important addition to our competition. Emilio del Rosario dedicated his life to the art of teaching and nurturing pianists to the highest of standards. We hope to continue his legacy of excellence by providing the next generation of pianists an opportunity to perform with a professional orchestra and help them realize their musical potential."



--Jill Chukerman, JAC Communications



Denis Matsuev U.S. Recital Appearances January 2012

World Acclaimed Pianist Visits Seattle, Los Angeles and New York City to Perform Repertoire of Schubert, Beethoven, Grieg, and Stravinsky.



In January, 2012, Denis Matsuev returns to the United States as part of a massive world-wide tour reaching Europe, Asia, Israel and beyond. The pianist received critical acclaim for his sold-out Carnegie Hall recital in February of 2010 – an evening about which the New York Times noted, "he superbly offered a primal performance….atmosphere was electric." In May 2011, Matsuev enjoyed another string of successful American solo appearances in Washington DC, San Francisco and Boston.



Matsuev begins the next leg of his U.S. recital tour on January 22ndat Benaroya Hall in Seattle.  From there he goes on to Los Angeles to appear at UCLA's Royce Hall on January 24thand finishes the tour at New York City's Carnegie Hall on January 27th. For these engagements, Matsuev's program will include works by Schubert, Beethoven, Grieg and Stravinsky (complete program below).



About Denis Matsuev:

Known for his breathtaking virtuosity and clear artistic identity, prize-winning Russian pianist Denis Matsuev is one of the most sought after pianists on the international concert stage. Since his triumphant victory at the International Tchaikovsky Competition in Moscow in 1998, Matsuev has appeared in hundreds of recitals at the most prestigious and legendary concert halls throughout the world including recent performances with the New York Philharmonic Orchestra, the Berliner Philharmoniker with Valery Gergiev, The London Symphony Orchestra with Semyon Bychkov and the Chicago Symphony Orchestra with Leonard Slatkin.  Mr. Matsuev has continually reengaged with such legendary orchestras as Chicago Symphony Orchestra, National Symphony Orchestra, National Philharmonic Orchestra of Russia, Mariinsky Theatre Orchestra, appearing with the most prominent conductors on the stage today including Lorin Maazel, Vladimir Spivakov, Yuri Temirkanov, and  Mariss Jansons.



The U.S. tour of Denis Matsuev is presented by Maestro Artist Management (MAM), a full-service production, touring and promotion company that focuses on presenting international artists in a variety of genres, from classical music and dance to theatre and world music, to audiences in the U.S. For more information about this tour and upcoming performances, visit www.maestroartist.com



Denis Matsuev January 2012 Recital Tour:

January 22   Seattle, WA Benaroya Hall

January 24   Los Angeles, CA  Royce Hall

January 27   New York, NY Carnegie Hall (Stern Auditorium)



Recital Program:

Schubert: Piano Sonata No. 14 in A Minor, Op. 143

Beethoven: Sonata in F Minor No. 23, op. 57 ('Appassionata')

Grieg: Piano Sonata in E Minor, Op. 7

Stravinsky: Three movements from the ballet Petrushka (arranged for piano)



--Rebecca Davis Public Relations

Mariah Carey released “When Christmas Comes” – A latest album

Mariah Carey has joined with John Legend who was the winner of Grammy Award to release the new album fro Christmas. Initially released as a path on the Merry Christmas II You album, Mariah has at the present re-concerned the celebratory song as a duo for the 2011 season. John plays a impressive piano throughout the whole path, and adheres in performance with Mariah throughout various sections. The significance of the song is obvious: give the gift of love - as repeated in the lyrics, "I can't wait to unwrap your love until Christmas comes."

The music album is filmed in Mariah Carey's Beverly Hills mansion, performance the many joys of Christmas Day with family. The clip shows children liking each other's company, eating Chrissy indulgences, laughing and having fun. Snippets of a Charlie Brown Christmas cartoon feature throughout the video as a reminder that this special season is celebrated everywhere. More scenes follow showing family and friends enjoying the festive spirit of the special day. Mariah has stated that she is a good cook, and loves preparing all the Christmas goodies herself just to make the day extra special.

Mariah has said that Christmas has to be celebrated in the snow - even though she lives in Beverly Hills. Last year she wanted to go to Aspen for Christmas but was unable to fly due to health reasons with the twins on the way. However she still went away to a closer snow area just for the day.