Scarlatti: a due

Skip Sempé and Oliver Fortin record Duende - Music by Domenico Scarlatti

On their new “Paradizo” label, Sempé and colleagues are publishing some new recordings, including this first with the music by famous Scarlatti. Most recently, I have been very happy with the richness of Pierre Hantaï’s three Scarlatti releases on Mirare.

This CD is more or less a compilation of “Scarlatti favorites.” Which, if you consider, that the man wrote hundreds of sonatas, why we might want “repeats”? Well, not every one was a hit, and who wouldn’t like a new interpretation of old favorites?

The selections of sonatas is a good one. Some really nice sounding instrument(s) is(are) used, but not quite the percussive, fruity-sounding ones used by Hantaï. (Fruity, here, being a positive term.)

So, what made me buy this, considering that Scarlatti isn’t my favorite composer? When you see multiple harpsichords being used, and the combination of Sempé with Fortin, you don’t wait, you buy the CD. There could hardly be a more sumptuous, more rich, more extravagant sound than multiple harpsichords together. Think of Bach’s great 4-keyboard concerto. Then I think of the Sempé/Fortin release of music by Bach/Vivaldi from several years ago. The few tracks where these guys appear together are (once again) magical.

I only wish the whole CD was dualing/dueling harpsichords, and not just a few select tracks. Here’s hoping for more good things from Paradizo.

Apple TV

Tonight, after contemplating a lot of hard work I’ve endured over the past couple of weeks, in addition to my current poor state of health, I decided I deserved “something” that I had been considering purchasing for about a year: Apple TV.

Some have passed this device off as “a flop.” Earlier, I got the Eye TV 250 to record TV shows from cable. What I did want was a TiVO-like solution without their subscription fee. While the Eye TV did its job, it didn’t put the shows on my TV (but did on my iPhone). I knew that maybe the Apple TV was going to be the solution.

Apple obviously sells this device, along with its iPod, and it’s no secret that once you buy the device, they hope you begin buying the TV shows, music (and now, movies). I already am paying over $100/month to Comcast, so I have little interest in paying Apple to watch TV.

But there is homemade content, podcasts, YouTube, Flickr, and music to contend with. And that’s where I see some value. So, with the introduction of Apple’s “Take 2″ version of Apple TV, I picked one up. The rest of this post details my experience.

The Box

There are three things in the box: the remote, the Apple TV, and sealed directions. I never opened them up.

The cords

My HDTV does not have HDMI; so I purchased an HDMI > DVI cable from the store. I also used some spare RCA plugs I had to connect the Apple TV to my Samsung television. The box also contained a power cord, and that got connected, too.

I am not sure if there is an “on/off” switch. Immediately, I began using the device, looking at settings, and playing back movie trailers off the Internet, after I connected the Apple TV to my computer and before that, to my home wireless network. The thing just “worked.”

Soon after, I began to install the update.

Take 2

The update took what seemed like 4-7 “restarts,” and while I knew it was doing “something,” some verbal feedback would have been helpful. Instead, a slowly-moving progress bar was the main type of feedback.

Next, once it finally booted, I made some settings changes: I moved from 720p to 1080i resolution. This worked on the TV, and there was a slight upgrade around the Apple TV graphics when it was observed “up close.” Next, I watched some HD movie trailers.

After owning this TV for some 2 years, I have never experienced such bright, crisp, and clear viewing as I did with these HD movie trailers. I felt TV was finally “being used” for what I got it for. Even the HD digital cable channels aren’t his good. I was impressed.

Next, I went to my Mac. This, with its iTunes software, is still a “hub” of the system. Back at the Apple TV, I could access a lot of my video podcasts, my entire iTunes collection, etc., etc. Basically, Apple TV was an extension of my computer for media. I liked this idea. I watched a number of podcasts, from things I have made at work, to TED talks, to how-to videos on graphic design topics.

The “MacBreak” podcast looked awesome.

As I type this downstairs, the computer upstairs is transferring a lot of content I selected (namely, the podcasts) to the Apple TV’s hard drive. My EyeTV software is transferring (compressing) my TV shows into AppleTV H.264-ready videos (thanks to the USB-based Turbo264). So, tomorrow, I can begin watching my recorded TV programs–get this–on TV!

I also looked at Flickr photos on the TV. Amazing brightness and clarity. It’s actually more fun watching vacation videos this way–on TV–than on the computer.

So, yes, I bought the Apple TV, despite some folks saying it was a flop. I might soon rent a movie via the new iTunes software. But having access to all my media in the comfort of bed, including the ability to watch YouTube, or listen to music while I read, will be great. So far, I’m a happy camper.

Update: After living with this for a few days, I have to say I am very disappointed with the arrangement. The EyeTV (using their newest 3.0 version of software, coupled with the Turbo264 accelerator) has been very disappointing. I am tired to writing complaints for support tickets to the company.

The idea is: record shows on computer, send to Apple TV. This works, but not very often!

Upon exporting the MPEG-2 encoded programming to the AppleTV-compatible H.264 Quicktime files, the exports will get “stuck.” Two whole days, and my computer could only churn-out 3 half-hour programs?? Gimme a break! I have had to restart the computer, cancel exports, etc., and it’s just so frustrating.

What’s more, the EyeTV software doesn’t “tell you” when it’s exported a copy of the show. No check-mark or anything. Just like you had never done a thing. It does move the files to iTunes, etc., but gimme a break. Let me know if you successfully exported the show/movie.

So, AppleTV’s effectiveness for my needs is less if this EyeTV partner-in-crime can’t keep up.

Update (March 2, 2008): I have had better success with an EyeTV software update with my AppleTV. It now doesn’t crash/hang when exporting recordings for MPEG-4. I need to figure out how/when to automatically dump the MPEG-2 versions to save space. The compressed versions in iTunes are fine enough for my watching needs.

I rented my first HD movie today with AppleTV. It hung 4 times. Getting it to start was rough; I am not sure what was up there; it hadn’t fully downloaded, but it wasn’t “up” yet to the part where it hadn’t progressed with the download. It also hung further along; but once some momentum had been acquired, the rest of the experience was okay. The HD quality looked good. You wondering what we watched? Hehe. Balls of Fury. Not a great movie, but not awful, either. I’m a big Walken fan, and old Max Zorin was great.

Full Potential

In reading about the Microsoft-Yahoo! merger proceedings, I stepped across this line describing Microsoft.

Founded in 1975, Microsoft (Nasdaq “MSFT”) is the worldwide leader in software, services and solutions that help people and businesses realize their full potential. (emphasis mine)

I know this is 98% marketing hype, but does that belong in a statement like this? And if it weren’t hype, then what it suggests is quite bogus.

It suggests, at least at one level, that without their software, services, and solutions that you might not ever reach your full potential. That with Linux, or a Mac, or someone else’s word processor, you’re simply not going to be all you can be, because, well, they’ve designed their software in such a way to pull out your best.

I like this explanation, as it clearly gives a reason for why they make such bloated software, that many times has begged the question “who designed this this way?” from me. While annoying at the time, it was simply their great ploy at figuring out how to get my “wheels spinning” so to say, inspiring me with my creative thoughts, number keeping, and lofty presentation ideas. Thanks!

Come again?

Today at work, someone approached me and asked me a question I could not respond to, out of both fear and my lack of desire to further insult her.

Wow, your socks actually match your shirt… I have a hard enough time getting the two socks to match, let alone trying to match them with something I am wearing.

Others in the vicinity simply quietly looked at one another, I think everyone with a curled corner of their lip.

Tic Tac

I saw this at lunch today. Says a lot about user interfaces.

Baroque Notes

Yes, I’m at it again, putting notes of things I did in graduate school up on the Web.

This time around, it’s a collection of notes I made to study for my final exam in MUSC 433: Baroque Music (1998, Case Western Reserve University, Dr. John Seuss).

These notes are the distilled essence of what I thought might be on the exam, from lecture notes and readings. It’s condensed, for sure, but if you’re online and trying to find what the so-called “essence” of Baroque music is, the answer is likely in this packet.

Download my notes in PDF format.

Note: I left-in the reverse-side of pages I was reusing, or recycling. I thought they were humorous.

Janine playing Handel

This video depicts what looks like to be a “perfect night” of entertainment. Balmy breezes, open-air performance of great music, and passionate and able performers. Bravo!

i found this on YouTube after reading more about her release of Bach that I purchased last year.

Alfabeto: Music by Foscarini et al.

Ensemble Kapsberger performs music of Foscarini and others. I first reviewed this CD on April 4, 2002

I’ve always been a fan of reading about commentary on the issue of authenticity in music. It’s frequently a hot topic among performers of early music, including that of the Baroque composers I so much enjoy. While in Tower Records today, I came across a very attractive CD on the Astree label entitled Alfabeto, by Ensemble Kapsberger, led by the musician Rolf Lislevand. I feel this CD would appeal to all sorts of people. But if you like excitement in your music, harmony, and the sound of plucked strings, please do yourself a favor: Buy this CD! I’m not even done listening to the whole thing, and I feel compelled to write things about it. This is 17th century guitar music played rather progressively with voice, percussion, and flamboyance. All on authentic instruments, to boot. Track 11 features Biberfan’s favorite variations, La Folia, in a rather sassy interpretation with organ, percussion, and solo guitar, seemingly from different composers in a type of medley. Zesty playing. Capable. Exciting. Excellent close recording. I wouldn’t be surprised if this CD doesn’t win some major awards. Composers represented are Foscarini, Pellegrini, Granata, and Corbetta.

Since first reviewing this recording, I have played it many times, and have shared some of the tracks with others. “What is this music?” “What are the instruments?” The music is both rhytmically and harmonically rich. It is perhaps best related to Lislevand’s more recent album Nuove Musiche in style. This recording is a real favorite after four years of listening.

Update (2/9/2008): I found another interesting account of this album from the BBC. Since my first review in 2002, I still love this recording and consider it a top favorite in my music collection. Like the BBC review said, the absolute authenticity of the recording is in question. It doesn’t matter for me: the art on this disc is so profound. Having recently upgraded my stereo system, this CD, with all of its textures, plucking, etc., is a great piece of software to show-off what a better hifi system can achieve. When guests hear the music, it’s always engaging and “new” to them.

Schmelzer - Holloway

Several years ago, violinist John Holloway began recording for ECM New Series; he started here, with some of the works by Johann Schmelzer, a contemporary of Biber.

The first piece, however, deserves mention specifically. It’s by Antonio Bertali, not Schmelzer, and is an extended theme-and-variations affair over a repeating bass. This chiacona is realized at the same tempo throughout (unlike another reading by Manfred Kraemer), with a unique sound: harpsichord and organ together for bass. It’s quite a clean, refreshing sound. It’s one that Holloway would continue to explore in future releases.

The other pieces are perhaps less interesting, from a grand scale of design. They are more technically and motive varied, for sure, but they sound simpler. Holloway never is an extrovert, one shying away from sheer bravura, showy playing. He makes each note sound effortless, but sometimes, this clean, measured style can escape the musical potential.

It’s almost as if Holloway is purposely limiting his expressive capabilities for the sake of the music (or how it might have been played?).

You will find more drama in the reading by Andrew Manze. Yet, I like this one nonetheless. There is a directness to Holloway’s tone, and the beforementioned continuo group that is an appealing component to the sound. I gather these pieces are fun to play. My only wish, as mentioned, would be for a better interpretation of the dramatic potential these early baroque gems might convey.

Let’s Sleep

I am very tired. This story makes perfect sense.

I am amazed that we still don’t know precisely why we need sleep.

Bach and the Harmonia Mundi

Hylas: Yes, Philonous, I grant the existence of a sensible thing consists in beingperceivable, but not in being actually perceived.

Philonous: And what is perceivable but an idea? And can an idea exist without being actually perceived?

Bach’s compositional solutions were based in large part on rhetorical components. Such components were based in classical rhetorical theory, rhetoric being one of the other major artforms affected by humanist thought.

Read Bach and the Harmonia Mundi (PDF), a paper I wrote for MUSC 433 at CWRU in 1999.

Musical Expression

A key component to baroque music is expression. You might say it’s an important concept in all musical forms and historical periods, really, but I think what really set baroque music apart was a transformation and codification of affect into musical formulae and the imitation of the human spirit into instrumental sound.

I seemingly have a thing with this concept, looking back. Not one, not two, but three works under my pen on the topic of musical expression.

• Musical Expression in the Renaissance (PDF)
• Musical Expression at Both Ends of the Baroque (PDF)
• Music Expression and Bach’s Brandenburg Concertos (PDF)

These were all written between 1996-1999. The writing of all three papers reflect my intense interest in baroque music, and helped me personally develop my skills for scholarship and academic writing.

Classic Musica Antiqua Köln

When you collect “records” (i.e., music recordings, no matter the medium of the software), you grab recordings by the same ensemble (i.e., the Academy of Ancient Music, the Beatles, etc.). You begin to compare them, at some point, and perhaps identify one as a “signature” or “classic” example of that ensemble’s sound, not to mention their artistry, etc.

When thinking about Musica Antiqua Köln, I select their Telemann recording of Tafelmusik from the late 1980s. I remember buying this 4-disc set at the record store in Cleveland’s TowerCity Center in the mid 1990s, thinking it a luxurious purchase: around $50 for Telemann.

What I found, and still find, is a really clear recording (it sounds crystal clear, in fact, with percussive harpsichord, bright flutes, and the robust, juicy sound of Goebel’s violin) that overflows with energy, color, and technical perfection.

The recording represents everything one might want: a variety of music (the collection is a set of three “productions” or suites of pieces, including a solo sonata, a trio sonata, a concerto, and an overture), a variety of color (each example is scored for a different collection of instruments, ala Bach’s Brandenburg Concerti), and edgy, passionate readings. MAK may have never sounded better or have appeared in such a clear recording.

Their reading of Telemann more recently, on the flute quartets CD echoed some of the details from Tafelmusik, but it is the recording of Telemann’s banquet music that is clearly the signature.

Incidentally, I’ve been looking for a MAK replacement of late. Some MAK disciples are obvious candidates: Manfredo Kraemer, Anton Steck, Florian Deuter, Christian Rieger, etc., etc.