Never say never again.

"Life Past the Classroom and After the Orchestra"
The New York Times, January 27, 2008

A brief, newsy preview of the Brooklyn Philharmonic's 70th-birthday tribute to composer John Corigliano (photograph by Stephanie Kuykendal for The New York Times), a native son of Flatbush born on February 16, 1938. The festival starts this afternoon at 2pm at the Brooklyn Museum, with a chamber-music concert featuring Corigliano's Violin Sonata and Snapshot: Circa 1909. The main event is an orchestral concert this Saturday night at BAM, which includes a theatrically staged version of his Pied Piper Fantasy.

Complete details are available on the Brooklyn Philharmonic website, where you can watch a  brief conversation between Corigliano and B.Phil music director Michael Christie in streaming video, and download a PDF of the complete schedule.

There's a lot more I'd like to have been able to say about Corigliano's music, not to mention his own view of his work, his thoughts on the current state of the concert-music world, his pride in his students (and not just those featured in Saturday night's post-concert hang at BAMcafe) and the reason he isn't especially interested in writing another opera. (He's learned not to say "never," though.) But space wasn't available; maybe that's an essay for another time.

One thing's certain, as La Cieca pointed out: Corigliano looks amazing. He could easily pass for 20 years younger. Being happy and fit clearly agrees with him, and his energy and enthusiasm were inspiring to behold. Here's to many more birthdays.

Also worth mentioning, although it didn't fit into the context of this piece, is another tribute scheduled for Sunday, February 3 at the Tenri Cultural Center. The American Modern Ensemble, in a concert called "1938," is playing pieces by a half-dozen newly minted or soon-to-be septuagenarians: Corigliano, John Harbison, Charles Wuorinen, Joan Tower, William Bolcom and Paul Chihara. The group will offer performances at 2 and 8pm; at least half the composers are confirmed to be attending.

Playlist:

Marillion - Friends and Family (Racket downloads)

Luciano Berio - Sinfonia; Ekphrasis - London Voices, Gothenburg Symphony Orchestra/Peter Eötvös (Deutsche Grammophon); Coro - Cologne Radio Chorus and Orchestra/Luciano Berio (Deutsche Grammophon); Formazioni; Folk Songs; Sinfonia - Jard Van Nes, Electric Phoenix, Royal Concertgebouw Orchestra/Riccardo Chailly (London); Sequenzas (complete) - various artists (Mode)

Slow Music Project - Aladdin Theater, Portland, OR, May 5, 2006 (DGMlive.com download)

Wayne Shorter - Native Dancer (CBS Jazz Masterworks)

Béla Bartók - Bluebeard's Castle - Eva Marton, Samuel Ramey, Hungarian State Orchestra/Ádám Fischer (CBS Masterworks)

Averse Sefira - Advent Parallax (Candlelight, due out Feb. 12)

Mark Hollis - Mark Hollis (Polydor)

Comments

[Lisa Hirsch]

I'm looking forward to reading that piece!

An aside on your playlist: I have six or seven recordings of Bluebeard's Castle and that's the one I like the least.

[Steve]

Thanks, Lisa. I own two other versions and there's a specific reason I bought this one, but I agree. So, which is your favorite?

[Lisa Hirsch]

The two I like best (and think essential) are Ferencsik/Palankay, Szekely and Kertesz/Ludwig, Berry. I also like Sawallisch/DFD, Varady and Boulez/Troyanos, Nimsgern.

Can you say your specific reason?

[Steve]

The Kertész is my favorite, although I have a soft spot for the Sawallisch, which was the first one I heard. I'll have to check out the Ferencsik -- I notice there are two recordings by him in print, so thanks for indicating the soloists.

I bought the Fischer because I'm working my way through all of the recommended recordings in one of the guide books.

[Lisa Hirsch]

I think Szekely is Bluebeard on both of the Ferecsik recordings. I also knew the Sawallisch first!

There are excerpts from a late 40s/early 50s live recording with Nilsson (!), in German. Her C is not all that impressive at the opening of the fifth door!

[Chris McIntyre]

Hi Steve,

Lots of Berio in the listening! Someone on my list to get more music to put on my list, if you know what i mean...

Just wanted to suggest the relatively recent release of his trombone concerto SOLO with Christian Lindberg (of course) on BIS. Really stellar writing, and one of his last pieces. Also, the Turnage and Xenakis concertos are killer (yep, Ianni wrote one and exactly 2 people on the planet can play it). Check it out!

[Bruce Hodges]

Just to weigh in on the "Bluebeard" recordings (since it's my favorite opera), I have not heard several of those above (including the Fischer), but would second Lisa's rec of the Boulez/Troyanos/Nimsgern. When Troyanos opens the fifth door, she holds that climactic note much longer than anyone else--thrilling singing and very effective. I like the Sawallisch with Varady and Fischer-Dieskau, too.

But for all-around excellence, my first choice at the moment is Haitink's with the Berlin Philharmonic, with Anne Sofie von Otter and John Tomlinson. Von Otter is really vulnerable, and Tomlinson is as menacing as you could want.

This version also has the spoken introduction, in Hungarian, which helps to establish the creepy opening mood, and the orchestra's color palette as the doors are opened is superb.