Feb 18

Bach (Johann Sebastian) Cello Suites, by Pablo Casals ????, Pierre Fournier ?????, Yo Ma-Ma ?????, Lynn Harrell ?????, Boris Pergamenshikow ????, Jap Ter Linden ????, Mstislav Rostropovich ???.

The Bach Cello suites were brought to light by Pablo Casals, who essentially defined the modern interpretation of these suites. Prior to Casals, the cello suites were viewed as nothing but petty exercises for students. Then, why would anybody imagine that. Even the student pieces of Bach are charming. When we think of student pieces, we imagine Schaum piano graded pieces, or the Czerny finger exercises (more like torture) for the budding pianist, and certainly NOT melodic. So, even if Bach did write these originally as student exercises (which I doubt), they have enough charm to be worthy of repeated listenings and performances. The interpretations tended to vary. First, Casals was given a star off, since the recording was poor, with multiple record scratch marks coming through. The sound was phonographic, but also a bit distant. Fournier, Ma-Ma, and Harrell all had superb recordings that reflected the joy that these pieces seem to exude. Pergamenshikow gave a surprisingly excellent recording, very light and joyous, dancelike, and with a very crisp, clean recording. He is a cellist to keep ones eye on. Ter Linden also was a superb interpreter, a little slower and somber in presentation, and the recordings were made a touch softer. Unfortunately, I had to give Rostropovich only three stars. The recording was okay, but the performance made these pieces sound like funeral dirges. Bach labeled them all with dance names, like Allemande, Courante, Bouree, Sarabond, Minuet, and Gigue, all of which were lively dances and whom most people would have been familiar in Bach’s time. Rostropovich is a most capable performer, and other recorded works definitely tend to shine. I’m not sure what he was thinking in these performances.  I will soon be reviewing a book on the cello suites, recommended by Dr. Leitz. These are must listen to pieces that are worth one obtaining a bit of familiarity with.

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Feb 15

Rigoletto – with Placido Domingo, Ileana Cotrubus, Cornell McNeil, James Levine conducting Metropolitan Opera ?????

Rigoletto – with Luciano Pavarotti, Edita Gruberova, Ingard Wixell, Riccardo Chailly conducting the Wiener Philharmoniker ?????

This is my favorite Verdi opera, so it is hard for me to be easy in criticism of a production of this opera, yet, both of these productions receive 5 stars, though they are much different operas. The first was filmed in 1977 with Domingo, Cotrubus, and Levine in the early years of their career. Domingo is magnificent. Cornell McNeil wins the day though, as a first-class Rigoletto, with excellent acting, and a superb voice, blending perfectly with Cotrubus.  The second film was recorded in 1983, though is presented as a film, that is, it is filmed in Mantua, the actual site of the opera, with the opera singers lip-synching. Some Amazon reviewers can’t get past that, yet, I think that is what 19th century opera composers would have had if the technology had existed back then. This technique does produce a clearer sound track, since the sound is recorded in a studio, and the audience applause is eliminated. After having seen the Domingo version first, Betsy and I both thought that Domingo would be a tough act to follow, yet, Pavarotti actually was in many ways the better actor and the better voice. La Donna Mobile was meant for the voice of Pavarotti. Wixell was a very convincing Rigoletto, and Gruberova had the voice of an angel, absolutely in control, and clear. Either opera would be quite appealing to the novice to operas, though the Pavarotti version could persuade some to take up opera-watching as a life’s secondary passion.

Regarding the opera itself, this is one of Verdi’s middle operas, which include some of his greatest operas, such as la Traviata and il Travatore. His early operas are to me a touch tedious, and his late operas, including Othello and Falstaff, while masterpieces, are not the lovable gems of his middle-years.  If you are deeply interested in the life of Verdi and his music, I recommend the Greenberg series on Verdi by the Teaching Company .This opera is similar to many Italian operas, especially the newer Puccini works, manifesting verismo, or realism, rather than the German tradition in opera of depending on myth and the miraculous. This opera has a tragic ending for several reasons, in that the innocent or deformed people suffer the curse, and the rich, wealthy and wise person escapes the curse though manifesting the most flagrant violations of moral behavior. Unlike German opera, nobody is ever saved in Italian opera. Tannhäuser experiences redemption in the last few moments of the opera and dies together with his lover in her arms. Rigoletto is not so lucky, and dies of tragic heartbreak in a boat with his slain daughter.  Such are the Italians, always mushy, gushy and brutal to the end. I only regret that nobody has done a filmed version of Tannhäuser. In summary, either of these operas is a must-see, and should be in every music aficionado’s collection.

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Feb 12

Tannhäuser, by Richard Wagner, performed by Levine, Metropolitan Opera ?????

This is a traditionally staged and performed opera. I’m not sure if it’s the Dresden or the Paris version of the opera. Sometimes, the staging leaves something to be desired, such as the re-use of the scene from the second part of the first act for the third act. The Venusberg scene was not terribly convincing in the first act. Having been in Thüringia and the Wartburg, the scenes were not terribly reminiscent of the places Wagner was attempting to represent. Even still, few dvd performances nowadays are available with traditional staging, and most are offered as minimally staged, which, I think, does Tannhäuser an injustice.  The entire production is very well staged, the video operation well done, and audio comes through always well with excellent voice to orchestra balance. Thus, in spite of its problems, this is probably the best dvd Tannhäuser available today.

People often ask me why I like Wagner, especially in terms of his anti-semitism. Such anti-semitism doesn’t seem to cause Levine too much of a problem, as well as many other Jewish conductors, who are quite masterful at the works of Wagner. It is like many composers. I see nobody protesting Tchaikovsky because he was a child molester, or Britten, because he was fond of little boys. We overlook Shostakovich’s anti-capitalism, Beethoven’s anti-social behavior, and Schumann’s psychosis, and Bach’s penchant for perfection, frequent anger fits, and probable addiction to alcohol. He also had a criminal record. Most composers, in spite of their life, produced a transcendental music, and Wagner is no exception. Certainly the prudishness of many anti-Wagnerites competes with Wagner’s own arrogance. Nobody competes as well as the Brits with the ability to be racist. so, we appreciate Wagner’s music for what it is. Wagner does an excellent job of representing various human emotions and traits, though this portrayal of Christianity is that of a very medieval Roman Catholic sort, the Pope being the sole source for salvation from certain sins. This is probably how many, even Christians, view the faith, and that is sad. This opera is early Wagner, and, over time, we see improvement in both his musical expression as well as his thematic choices. The Tannhäuser music is quite addicting, most of it very catchy, and makes for a first Wagner opera to listen to if you are unfamiliar with his works.

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Feb 06

Showing the SpiritShowing the Spirit: A Theological Exposition of 1 Corinthians 12-14 by D.A. Carson ????

This book was read in response to some recent encounters with charismatics/Pentecostals. It is a fairly technical text, and thus not an easy read. DA Carson shows a perfect example of putting aside personal prejudices and preconceptions in dealing with a hot topic of the nature of charismatic gifts. He does a step-by-step analysis of the I Corinthian text, and then concludes his personal reflections from the text as to how he conceives and deals with those of the charismatic persuasion. The technical analysis of the text is a total delight, Carson doing what I wish every biblical commentator would do, which is to offer the text an exploration a multiple possible interpretations that currently exist, and then, using both the text, as well as other texts found elsewhere, as well as Greek/Hebrew textual analysis, to derive the best interpretation or possible interpretations of the given text. Oftentimes, Carson doesn’t conclude in a given camp of thought. He refuses to be a cessationist regarding miracles. He also refuses to accept that tongues have necessarily ceased. Yet, at the same time, as a non-charismatic, he refuses to allow tongues, prophecy or other “gifts” to be a defining feature of heightened spirituality, or normative expression of Christian faith. He also refuses to allow these gifts to serve as a divisive influence in a church, allowing that the gifts of tongues, prophecy and healing may not entirely have ceased from the Christian faith. He chooses to explore both the excesses as well as virtues of the Charismatic movement, ending his analysis with an appeal to non-Charismatics to at least look at what the Charismatics have going right with them. To this, I believe that Dr. JI Packer would also agree.

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Feb 06

Rise and Fall of the British Empire, by Prof. Patrick Allitt, Teaching Company Series ????

Patrick Allitt is a worthy lecturer of this series, having been born in Darby, England, and having grown up in England until college years brought him to the USA. He is able to offer personal vignettes from his family history regarding recent events in the last days of the Empire. The British Empire once held land in every part of the globe, from multiple holdings in Africa, all of India/Pakistan/Bangladesh, Egypt and the middle East, Ireland, Australia, Hong Kong, Australia, New Zealand, Canada, the United States, multiple Caribbean Islands, and multiple islands elsewhere in the world. Indeed, when The Empire was the largest, it was also the most unstable and weakest, which was immediately following the 1st world war, both the 1st and 2nd world wars being pyrrhic victories to England. Allitt spares no punches at elaborating the multiple abuses of the empire that the Brits exercised, including deception and brutality with the Irish, the multiple exercises of brute force in India and unjust reign in that country, the absolutely embarrassing and horrid inconsistencies with their treatment of the Chinese in the Opium wars, and the wretched and unjust treatment of the Boers in South Africa, provoking war not for the sake of justice or virtue, but solely for wealth. We would not elaborate the horrid treatment of the Zulu kings of Africa, and plays of force in achieving domination of the peoples of those countries. We would also not mention Britain’s aggressiveness at assuring that no other country in the world would exercise the right of ability to also conquer lands and develop colonies, taking greedily colonies from the Dutch and Germans, and assuring weakness with the French and Spanish in their overseas holdings. Allitt spends much time discussing the racism that prevailed in a fairly extreme form, sometimes as extreme as Hitler, in developing the concept of the superior race of the Anglo-saxon, which prevented them from interacting justly with the Indian, the Negroes of Africa, or the  Aborigines of Australia/Maori of New Zealand. Though Great Britain is often thought of being virtuous in bringing Western law and Christianity to all parts of the world, they most often brutally oppressed missionary activity, and rarely lived by the laws which they purported to be holding in high esteem. In summary, the British have exercised an extreme form of arrogance, racism, and domination of “might makes right” that is an embarrassment for the West. Much of this is seen in the recently reviewed series of “The Jewel in the Crown”.

In terms of Allitt’s teaching style, he is very easy to listen to, sometimes lapses into irrelevancies (such as his 35th lecture on British literature), and does repeat considerable amounts of his lecture series on Victorian Britain. Even still, this series is thought provoking, especially in consideration of American attempts to repeat the worst of Great Britain’s mistakes. Ron Paul is right in his foreign policy as a corrective to British mistakes, though most Americans seem to arrogantly accept that we must maintain a police presence throughout the world. Someday (probably soon), we will be seeing a lecture series on the rise and fall of the United States of America, if we don’t wake up to our pompous policies in the world at large.

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