Kulikova’s Final Omni Video in Los Angeles

Some readers may have expected to see the usual Bleeding Edge article today. However, this is a relatively quiet week, meaning that the more adventurous events will not be kicking in until the weekend. On the other hand, this coming Wednesday will see the release of the last of the six videos produced by the Omni Foundation for the Performing Art in association with The Romero Sessions presenting solo performances by guitarist Irina Kulikova. Under those circumstances, I decided that specifics about that performance deserved priority!

Irina Kulikova playing “Ballad for Beautiful Elena” in Santa Monica in 2016 (screen shot from the YouTube video of her performance)

Her final selection will be “Ballad for Beautiful Elena,” composed by Russian guitarist Viktor Kozlov. As might be guessed, Kozlov dedicated this short (about three and one-half minutes) composition to his wife; and it was published in 1994. For those interested in a “sneak preview” there is already a YouTube video of Kulikova playing this composition in 2016. On that occasion she played a guitar made by Ignacio Fleta in 1967 at the Guitar Salon International showroom in Santa Monica. However, because this new video was filmed at The Guitar Shop in Los Angeles, she is playing the Guitarras Romero Espãna Model made by Pepe Romero Jr.

As usual, this video will be released on Wednesday, July 10, at 10 a.m. The YouTube Web page has already been created. The video was again captured by Gary and Jenny San Angel. Since this particular guitar is at Romero’s store, it is worth noting that it is available for purchase; and a Web page has been created for those interested.

AnnaLotte Smith at Old First Concerts

The holiday weekend did not turn out to be a good one for the Old First Concerts series at Old First Presbyterian Church. Those that read my account of the vocal recital by Jill Morgan Brenner on Friday evening know that it left much to be desired. Sadly, things did not fare much better yesterday afternoon.

AnnaLotte Smith at the piano keyboard in Old First Presbyterian Church (screen shot from the YouTube video of yesterday’s performance)

The program was a solo recital by pianist AnnaLotte Smith entitled Songs My Mother Taught Me. The justification for that title in the program book could not have been more muddled; and, if Smith could not express herself clearly and concisely through text, then her approach to keyboard performance did not fare much better. Indeed, she decided to make a replacement for the first work on her program; and her microphone skills were so inept that, after having replayed the video several times, I still have not the foggiest idea of what that first selection was (or even who composed it).

Fortunately, the afternoon had a high point. This was “Reflets dans l’eau,” the first of the three compositions in the first of the two “books” in Claude Debussy’s Images collection of six solo piano pieces. Smith was at her best in making sure that all of the notes were in the right place, resulting in a convincing sense of flow from one phrase to the next. Debussy’s solo compositions are rarely short of challenging, and Smith definitely knew how to rise to the challenge.

Sadly, this was the only prince in a swamp full of frogs. The earliest work on the program was the collection of three intermezzo compositions in Johannes Brahms’ Opus 117. Each of these is a polished gem of structure and expressiveness, but all of that polish was obscured by uneven dynamics and muddled phrasing. The same could be said of her approach to the final work on the program, the fourth piece in Sergei Rachmaninoff’s Opus 16 collection, Moments musicaux. On the contemporary side, her approach to Reena Esmail’s “Rang De Basant” fell far short on Nicholas Phillips account at last year’s San Francisco International Piano Festival.

The other recent composition was Monica Chew’s “Ice Calf.” This is one of those “environmentally sensitive” works, whose “message” could probably have been communicated better through electronic mail. The “calf” came across more like a bucking bronco. Unfortunately, I had missed the opportunity to listen to Chew play this piece when she contributed to a Centuries of Sound program at The Century Club of California in September of 2022. So I cannot account for how much my impressions were due to the music and how much were due to the performance.

On the other hand, I can say, with certainty, that Smith’s journey through “centuries of music” left much to be desired. That included her attempt at levity in her encore. This was a four-hand (the other two hands never identified) take on the second in Franz Liszt’s Hungarian Rhapsodies collection. This was clearly intended as comedy, but Spike Jones was much better at that sort of thing.

Plans for Annual San Francisco Performances Gala

Jake Heggie and Nicholas Phan, who will present the concert for this year’s San Francisco Performances Gala (from the Web page for their recital)

Having made it past the Fourth of July one more time, it is probably not too soon to start making plans for the coming concert season. Last year, the Left Coast Chamber Ensemble was “first out of the gate,” with an announcement appearing on this site on July 1! This year, as of this writing, the earliest event will be the 45th Season Gala of San Francisco Performances (SFP). As usual, there will be a concert, which will be preceded by a cocktail reception and followed by a full dinner. This year’s concert will present a vocal recital by tenor Nicholas Phan, accompanied at the piano by Jake Heggie. Program specifics have not yet been finalized.

As in the past, all gala festivities will take place in the War Memorial Veterans Building, located at 401 Van Ness Avenue on the southwest corner of McAllister Street. The date will be Friday, October 4. The cocktail reception will take place in the Green Room at 6 p.m. The concert will begin at 7 p.m. in Herbst Theatre.  As of this writing, SFP has created a Web page for those wishing to attend only the recital. All tickets are being sold for $50. Tickets may also be purchased by calling 415-392-2545. The price for gala tickets begins at $500. Those interested in further information about attending are invited to call 415-677-0326.

Princess Amalia and the Two Bachs

Those that have followed my work for some time know that I do my best not to miss opportunities to write about Carl Philipp Emanuel Bach. Indeed, one of my favorite quotations is about him, in which Wolfgang Amadeus Mozart declared “Bach is the father, and we are his children.” During my tenure with Examiner.com, I wrote about the 26 CDs that Ana-Marija Markovina recorded for hänssler to account for his complete works for piano solo; and on this site I concluded my articles about his complete piano concertos recorded by Michael Rische in October of 2022.

This Friday will see the latest release of music by “the father.” Those familiar with his biography know that his career amount to “a tale of two cities.” The first of these was Berlin, where he served Crown Prince Frederick of Prussia (who would late be known as Frederick the Great); and the second was the Free and Hanseatic City of Hamburg, where, as a “civilian,” he was appointed Kapellmeister (music director). The title of the new album is Liebe Amalia…, which refers to Anna Amalia, Abbess of Quedlinburg, sister of Frederick the Great. She was Frederick’s sister but supported Bach after his departure from Berlin.

Antoine Pesne’s 1744 Portrait de la princesse Anna Amalia de Prusse on the cover of the album being discussed

As can be seen above, Amalia’s portrait graces the cover of this album. While most of the selections on Liebe Amalia… are by Bach, two of them are by Amalia. One of these is a three-movement flute sonata in F major. The other is a song entitled “An das Klavier” (to the keyboard), which is receiving is world premiere recording on this album. To other composers also have selection on this album. One is a polonaise by Bach’s brother, Wilhelm Friedemann, and the other is a trio sonata by Johann Philipp Kirnberger. Taken as a whole, the album accounts for music that Emanuel would have arranged for performance in Hamburg.

The performer whose name earns the largest font on the album cover is flutist Jean Brégnac. He appears on most, but not all, of the tracks. The other major performer is Yoann Moulin, who alternates between harpsichord and clavichord. Due to a printing error in the booklet, one will only be able to ascertain which instrument he is playing by listening! There is also a fortepiano played by Daria Fadeeva, a second flute performed by Nicolas Bouils, cello continuo provided by Jennifer Hardy, and violin for the trio sonata played by Marie Rouquié.

Those who, like myself, cannot get enough of performances of Emanuel’s music will probably share my enthusiasm for this new release!

Landrus’ “Synthesized” Ellington and Strayhorn

Cover of the album being discussed

This coming Friday Palmetto/Blueland will release an album featuring Brian Landrus entitled Brian Landrus Plays Ellington & Strayhorn. As is almost always the case, Amazon.com has already created a Web page for processing pre-orders. This is a fourteen-track album with four compositions by Duke Ellington and  four by Billy Strayhorn. The remaining six tracks were jointly composed.

Landrus is joined by three other musicians on the album. These are guitarist Dave Stryker, Jay Anderson on bass, and drummer Billy Hart. The astute reader will notice that I have not invoked the noun “quartet,” because it is not, strictly speaking, accurate. Landrus himself plays all sizes of saxophones, clarinets, and flutes, often bringing them together in different combinations that reflect the moods behind the individual tracks. In other words the album is the product of synthesis, rather than performance.

This is probably when I should caution purists on the brink of tearing their hair out. To those of that ilk, I can only cite the most famous sentence from Muriel Spark’s The Prime of Miss Jean Brodie: “For those that like that sort of thing, that is the sort of thing they like.” While my personal preferences tend to run strongly in favor of the spontaneity of performance, I tend not to dismiss the results of synthesis out of hand. Usually, this is just a matter of “repairing glitches.” However, Landrus has gone far beyond worrying about glitches; and I would not be surprised to learn that, somewhere in the course of his development, he became acquainted with many of the “synthetic” practices of musique concrète. However, in his case synthesis is not a matter of inventing new sonorities. HIs only goal is to cultivate a choir of wind instruments, and his recording skills allow him to account for all the voices in that choir.

From a personal point of view, I think what matters most is that Landrus has “responded” to the “call” of Ellington. That “call” concerns the rich blends of winds and brass that one looks forward to hearing on just about any Ellington track. The good news is that Landrus has not tried to mimic the many blends that can be found in the plethora of Ellington recordings. Landrus decidedly has blends of his own. I may not warm up to all of them, but he deserves to be acknowledged for his own unique take on the Ellington-Strayhorn songbook.

SFPL to Host Free LCCE Concert

The LCCE musicians that will perform at SFPL: Allegra Chapman (piano), Stacey Pelinka (flute), Leighton Fong (cello), and Anna Presler (violin) (photographs by Miles Caliboso and Bonnie Rae Mills, from the SFPL event page for the concert being discussed)

At the end of this month, the San Francisco Public Library (SFPL) will host a performance by members of the Left Coast Chamber Ensemble (LCCE) as part of their Workshops & Education program. The Main branch of the Library, which is located in the Civic Center, a short walk from City Hall, will present a concert entitled Deep Ecology and Deep Listening. Each of the four selections on the program will involve the exploration of innovative sonorities, conceived to reflect different aspects of the natural world.

The program will begin with “Tree/Peace,” which Pauline Oliveros composed for violin, cello, and piano, making it one of her most conventional approaches to instrumentation. This will be followed by the solo piano composition “Ice Calf” by Monica Chew, who is currently based in Oakland. While Oliveros was one of the most adventurous composers of the last century, “Ice Calf” was given its first performance on June 26, 2021. The program will then lapse back into the twentieth century with a solo violin performance of “Nocturne,’ composed by Kaija Saariaho in 1994. The final work on the program will be “Ainava ar putniem” (landscape with birds), written for solo flute by Latvian composer Pēteris Vasks (who happens to be my senior by only about three months).

SFPL has created a Web page for this event. It will begin at 6 p.m. on Wednesday, July 31. The entire program will be performed without intermission and is expected to last for 45 minutes. SFPL does not charge for admission to any of its facilities or events (of course).

Jill Morgan Brenner at Old First Concerts

Oskar Kokoschka’s 1912 “Portrait of Alma Mahler” (public domain, made available under the Creative Commons CC0 1.0 Universal Public Domain Dedication, from a Wikipedia Web page)

Last night at Old First Presbyterian Church, soprano Jill Morgan Brenner performed in the first of the three Old First Concerts events planned for this month. She was accompanied at the piano by Alexander Katsman in a program entitled An Evening of German Lied. The first half began with Franz Schubert’s D. 118 “Gretchen am Spinnrade,” one of his earliest compositions (as can be seen from the catalog number). This was followed by Richard Wagner’s collection of five songs commonly known as Wesendonck Lieder. (The texts were poems by Mathilde Wesendonck.) The second half of the program began with three of the five songs by Alma Mahler that were published in 1924 but were composed much earlier, before her first encounter with Gustav Mahler. This was coupled with Four Last Songs, composed by Richard Strauss at the age of 84 but not published until after his death.

These were all impressive undertakings, bearing the promise of a highly engaging evening. Sadly, that promise was not fulfilled. Brenner clearly felt strongly about all of her selections, but her delivery was consistently uneven through the entire program. It almost seemed as if she was still struggling to get all the notes in place, leaving little room for the expressiveness behind any of the musical phrases. The overall plan to survey the many aspects of German texts set to music was a good one. However, Brenner’s approaches to interpretation were too uneven to encourage the listener to explore those aspects. German art song deserves better.

PBO to Audition Four Music Director Candidates

The Philharmonia Baroque Orchestra & Chorale (PBO) will use its 2024/25 season to search for its next Music Director. Four candidates have been invited to lead, respectively, four of the five concerts planned for the new season. The remaining concert will be led by Avi Avital, who will also perform as mandolinist. As in the past, all San Francisco performances will take place at 7:30 p.m. in Herbst Theatre, located at 401 Van Ness Avenue on the southwest corner of McAllister Street. Subscriptions are now on sale, and a Web page has been created, which provides separate hyperlinks for the available options. Subscription prices range from $84 to $469. The San Francisco dates are as follows:

Thursday, October 17, Dreams and Passions: The candidate will be Grete Pedersen. PBO Principal Clarinet Thomas Carroll will be the soloist in Wolfgang Amadeus Mozart’s K. 622 clarinet concerto in A major. The “dreams” of the title will be presented through Felix Mendelssohn’s overture for A Midsummer Night’s Dream. These selections will be framed by “extremes” on either side of the time-line. The “early side” will involve music by Hildegard of Bingen, and the present day will be represented by Caroline Shaw’s “Entr’acte.”

Thursday, November 7, Vivaldi, Venice, and The Four Seasons: This is the program that will be led by Avital. The program will mark the 400th anniversary of the publication of The Four Seasons. Vocal selections will be performed by soprano Estelí Gomez.

Thursday, December 12, A Bach Christmas: The candidate will be Ruben Valenzuela, who is founder and Artistic Director of the Bach Collegium San Diego. Due to the early date, the selections by Johann Sebastian Bach will be two cantatas for Advent. The other two works on the program will be by Christoph Graupner. The vocalist will be soprano Sherezade Panthaki.

Portrait of George Frideric Handel attributed to Balthasar Denner (public domain, from a Wikimedia Commons Web page)

Friday, March 7, Handel’s Alceste: The candidate will be Peter Whelan, who is Artistic Director of the Irish Baroque Orchestra and Artistic Partner of the Irish National Opera; and the program will be devoted entirely to George Frideric Handel’s HWV 45 music for the masque Alceste.

Friday, April 10, Tout de Suite: The final candidate will be Avi Stein, Associate Organist and Chorus Master for Trinity Wall Street and Artistic Director of the Helicon Foundation. As the title suggests, the program will survey dance music from the Baroque period. As might be expected, both Bach and Handel will be represented, along with Jean-Philippe Rameau and Jean-Féry Rebel.

Louis Armstrong in 1968: A Disappointment

Cover of the album begin discussed (courtesy of Crossover Media)

One week from today will see the release of an “Amazon Exclusive Edition;” or so it says on the Web page created for Louis In London, the album premiere of a performance by trumpeter and vocalist Louis Armstrong recorded live at the BBC on July 2, 1968. Armstrong played with his All Stars quintet of Tyree Glenn on trombone, clarinetist Joe Muranyi, Marty Napoleon on piano, bassist Buddy Catlett, and Danny Barcelona on drums. The album consists of thirteen tracks, beginning with “When It’s Sleepy Time Down South,” which Armstrong recorded in 1931, and advancing forward to selections from Broadway musicals Hello, Dolly! and Mame.

“For the record,” as they say, I have accumulated a generous collection of Armstrong albums, going all the way back to his days with King Oliver. The diversity of his repertoire was, to say the least, impressive; and he was as much of a showman as he was a musician. However, Armstrong’s health began to fail as he approached the age of 70; and his visit to London seems to have preceded the need for a break, during which he recuperated for about a year. This may explain why none of the tracks on Louis in London draw listener attention as compellingly as any of his earlier albums.

Why, then, was this album released? My guess is that the answer is the same one given by any mountain-climber: “Because it was there!” Be that as it may, I fear that the recording session does no justice to the rich scope of the Armstrong legacy. Louis in London is a prime example of how, where recorded performances are concerned, thoroughness is not always a virtue.

Outsound Presents: August, 2024

Because the annual Outsound New Music Summit will be taking place at the Finnish Hall in Berkeley at the end of this month, yesterday’s LSG (Luggage Store Gallery) New Music Series event was the only San Francisco performance until next month. Fortunately, August will see a return to the usual plan of three performances in our city. As usual, two of them will be LSG (Luggage Store Gallery) New Music Series events on Wednesday evenings; and between them will be the monthly SIMM (Static Illusion Methodical Madness) Series program on a Sunday evening. As regular readers probably know by now, LSG is located at 1007 Market Street, just off the corner of Sixth Street and across from the corner of Golden Gate Avenue and Taylor Street. Admission is on a sliding scale between $10 and $20. The SIMM Series concerts take place at the Musicians Union, located in SoMa at 116 9th Street. Admission is again on a sliding scale, this time between $10 and $25. Program specifics are as follows:

Wednesday, August 7, 8 p.m.: Once again, the first LSG concert will be a two-set evening. The first set will be devoted to the interplay of voice and electronics, performed by Sarah Grace Graves, Eli Berman, and Eda Er. This will be followed by a solo set by trumpeter Ari Micich, which will be performing in front of projections.

Sunday, August 18, 7:30 p.m.: The SIMM Series program will be a two-hour evening with Beep Beep Liam. This is the performing name of Liam Rea Donaldson. He writes his own lyrics and accompanies himself on guitar. His album BE/ep (an EP in case you did not guess) was released on a Bandcamp Web page in December of 2020.

Tarantula Princess' electronic gear (from her Faceboook Photos Web page)

Wednesday, August 21, 8 p.m.: Not much information is available about the second LSG concert. Tarantula Princess has her own Facebook site, which includes photographs of her performing “Holographic T.V. Static.” She apparently performs as AxUnderground, and her last appearance in San Francisco took place about a month ago at Edinburgh Castle.

Kulikova Plays Tárrega on her Fifth Omni Video

Reader may recall that, yesterday morning, the Omni Foundation for the Performing Arts released the fifth video to be produced in association with The Romero Sessions, presenting solo performances by guitarist Irina Kulikova. As expected, that release took place at 10 a.m. this morning and may now be viewed through a YouTube Web page. The video is slightly more than four and one-half minutes in duration, presenting what may well be the most familiar solo composition in the guitar literature, “Recuerdos de la Alhambra” (recollections of the Alhambra), by the late nineteenth-century Spanish composer Francisco Tárrega.

I suspect it would be fair to say that anyone of my generation came to know this music from a recording made by Andrés Segovia. Sadly, I never had the opportunity to experience a recital by Segovia. The good news is that MCA Classics released The Segovia Collection around the time that compact discs were replacing vinyls. The tracks from all of his recording sessions became readily available through a box of nine CDs. The title of the third CD in this collection was My Favorite Works; and (no surprise) “Recuerdos de la Alhambra” was one of the tracks. Sadly, the nine CDs in this collection no longer seem to be in stock.

The theme of Tárrega’s composition consists of the slow unfolding of a sequence of sustained notes, suggesting that the recollection is a poignant one. Since the sound of a plucked string of any instrument does not sustain for very long, Tárrega used tremolo, the rapid repetition of a single note, to realize the gradual unfolding of the theme. At the same time, there is an accompaniment of arpeggiated chords played on the lower strings. The Wikipedia page for this composition observes: “Many who have heard the piece but not seen it performed mistake it for a duet.” Captain Obvious could not have put it better!

Irina Kulikova towards the conclusion of her performance of “Recuerdos de la Alhambra” (screenshot from the Omni Foundation YouTube video)

That said, Kulikova plays this piece with what might be described as a “focused calm.” That sense of focus keeps her emotions in check. Nevertheless, one comes away with the sense that she is the “overseer” of what her fingers are doing; and, if her face yields any disposition at all, it seems to be one of satisfaction. I found this a refreshing departure from all of those instrumentals and vocalists who seem to make it a point that I see just how committed they are to their work. There is no questioning Kulikova’s commitment. However, I am glad she is more interested in my listening experience than in showing off that commitment!

Dave Scott Quartet to Begin July at Chez Hanny

Trumpeter Dave Scott leading a quintet (none of whose other members will be joining him this month) in a performance at Smalls Jazz Club in New York on June 15, 2023 (from the YouTube video of that gig)

Following up on a third concert at the end of last month, Chez Hanny performances will resume around the middle of the current month. The performers will be the members of the Dave Scott Quartet. Scott will lead on trumpet. He is no stranger to Chez Hanny, having led both a quartet and a quintet, respectively, on previous visits. The other members of the current quartet are, respectively, pianist Leonard Thomson, David Ambrosio on bass, and drummer Mark Ferber. Like Scott, all three of these musicians have made previous appearances at Chez Hanny.

As usual, the show will begin at Chez Hanny at 4 p.m. on Sunday, July 14. As always, the venue will be Hanny’s house at 1300 Silver Avenue, with the performance taking place in the downstairs rumpus room. Admission is now $25; and checks will be accepted, as well as cash. All of that money will go to the musicians. There will be two sets separated by a potluck break. As a result, all who plan to attend are encouraged to bring food and/or drink to share. Seating is first come, first served; and the doors will open at 3:30 p.m. Reservations are preferred and may be made by sending electronic mail to jazz@chezhanny.com.

An “Anniversary” Release from Smoke Sessions

I recently learned that this is the 25th anniversary of the Smoke Jazz Club, which seems to be significant enough to have its own Wikipedia page. It also has its own record label, Smoke Sessions Records, which was launched ten years ago in 2014. One of the club’s traditions was the celebration of an annual John Coltrane Festival at the end of every calendar year, running from the end of December to the beginning of January.

It was through that Festival that I first became aware of the record label. At the end of December in 2021, I wrote about Mabern Plays Coltrane. This album accounted for the final three nights of the festival on January 5, 6, and 7 of 2018. Pianist Harold Mabern (an octogenarian by that time) led a sextet with a front line consisting of Vincent Herring on alto saxophone, Eric Alexander on tenor saxophone, and Steve Davis on trombone. The other rhythm players were John Webber on bass and Joe Farnsworth on drums. Six of the seven tracks were Coltrane compositions, the other being the Coltrane “standard,” “My Favorite Things.”

Steve Turre on the cover of his Sanyas album (courtesy of DL Media)

Over the last couple of years, my encounters with Smoke Session have been a “sometime thing.” This is due, at least in part, to my effort to maintain a reasonable balance between the classical and jazz genres, with a preference for more cerebral approaches in the latter category. As a result, I returned to this label at the end of last month, when I learned about the release of Sanyas. On this album trombonist Steve Turre led a sextet. He was joined on the front line by trumpeter Nicholas Payton and Ron Blake on tenor saxophone. Rhythm was provided by pianist Isaiah J. Thompson, Buster Williams on bass, and drummer Lenny White.

The album is relatively brief by current standards, running just short of 50 minutes. Turre contributes only two originals, the title track (which is the first track on the album) and “Wishful Thinking.” Two of the tracks are standards from the early twentieth century: Jerome Kern’s “All the Things You Are” and Jack Strachey’s “These Foolish Things (Remind Me of You).” The remaining track is Lee Morgan’s “Mr. Kenyatta,” which he recorded on February 15, 1964 for his Search for the New Land Blue Note album, a major contribution to my own “jazz learning curve.”

Like Mabern Plays Coltrane, Sanyas was recorded over a three-day weekend at the Club at the beginning of August of 2023. Turre is the sort of leader that allows his colleagues to have their say, often coming up with a “response” to the “call” of one of those player’s solo takes. As a result, there is more than enough to draw the attentive listener into all five of the tracks on the album, whatever the overall brevity may be. Nevertheless, I have to confess that, as a result of listening to this album, I now find myself with an urge to go back to my Morgan collection!

Kulikova’s Fifth Omni Video in Los Angeles

Tomorrow morning the Omni Foundation for the Performing Arts will release its fifth video to be produced in association with The Romero Sessions presenting solo performances by guitarist Irina Kulikova. Those that read last week’s article know that the image at the beginning showed her full schedule, which means that they already know that this week’s offering will be one of the most familiar selections in the classical guitar repertoire. This is Francisco Tárrega’s “Recuerdos de las Alhambra.” Once again, the performance was filmed at Pepe Romero’s The Guitar Shop in Los Angeles, where Kulikova played one of his instruments (Guitar No. 274).

The Alhambra palace at dawn (photograph by Jebulon, made available under the Creative Commons CC0 1.0 Universal Public Domain Dedication, from a Wikimedia Commons Web page)

It occurs to me that, while anyone interested in the guitar repertoire knows this music, they may not know how it was inspired. The Alhambra is, of course, located in Spain It is located in Andalusia, which is one of three autonomous communities in the country. Its Wikipedia page describes it as “one of the most famous monuments of Islamic architecture and one of the best-preserved palaces of the historic Islamic world.” After the Christian Reconquista in 1492, it became the Royal Court of Ferdinand and Isabella, the monarchs known to anyone that knows the history behind Columbus Day!

This video will be released tomorrow morning, Wednesday, July 3, at 10 a.m. The YouTube Web page has already been created. The video was again captured by Gary and Jenny San Angel. Since this particular guitar is at Romero’s store, it is worth noting that it is available for purchase; and a Web page has been created for those interested.

The Bleeding Edge: 7/1/2024

Given that this is a holiday week, with the Fourth of July extending the usual three-day weekend by adding Thursday to the mix, Bleeding Edge activity is basically holding its own. As was the case last week, there will be a perfect balance of two previously reported events with two new ones. The former category is accounted for as follows (with the obligatory hyperlinks):

1. The LSG (Luggage Store Gallery) New Music Series event entitled All the Names, whose “names” have already been reported, will be the only Outsound Presents offering this month in Wednesday.
2. Similarly, The Lab will complete its 2023–24 season with the three-set program on Friday that was announced at the very beginning of last month.

The two new events are as follows:

Thursday, July 4, 9 p.m., Madrone Art Bar: According to my records, this is my first account of a performance at this venue. It is located at 500 Divisadero Street, which is at the corner of Fell Street. It will host the UNITED BRASSWORKER’S FRONT, which was founded early in the beginning of this new century but has been in hibernation for many years. Founder Darren Johnston will lead this revival performance on trumpet, joined by the only other original member of the group, Henry Hung, who also plays trumpet. The other brass players will be trombonists Danny Lubin-Laden and Alan Williams, joined by Luke Kirley on tuba. Rhythm will be provided by Jordan Glenn on drums. Given the date of the performance, I would not be surprised if they drown out the sound of any fireworks.

Kanoko Nishi-Smith showing her unique approach to playing the koto (photograph from the BayImproviser Web page for this performance)

Friday, July 5,  7 p.m. and 9 p.m., Medicine for Nightmares: It looks like Other Dimensions in Sound, curated by reed player David Boyce, will again present a two-set evening. Boyce will give a duo performance with Kanoko Nishi-Smith, who was classically trained on piano but will probably bring her koto for this gig. Once again, the venue is located in the Mission at 3036 24th Street, between Treat Avenue and Harrison Street. As always, there is no charge for admission, presumably to encourage visitors to consider buying a book.

A Disappointing Afternoon with Pocket Opera

Otto Nicolai, composer of The Merry Wives of Windsor (1842 lithograph by Josef Kriehuber, public domain, from Wikimedia Commons)

Yesterday afternoon my wife and I returned to the Legion of Honor for the latest installment in the 2024 Pocket Opera Season, Otto Nicolai’s The Merry Wives of Windsor. Unless I am mistaken, I have had only one previous encounter with this opera. It was through a black-and-white television set in Israel during my first full-time job following the completion of my graduate studies. The production seemed to be from the United Kingdom, and it was sung in English (with subtitles in Hebrew).

I had known the overture to this opera since childhood. (It also served incessantly as theme music for one of the Boston radio programs.) I had no trouble recognizing the themes during the telecast, and the staging was straightforward and engaging. Mind you, from a contemporary point of view, it could not hold a candle to the raucous account of the play in a Shakespeare in the Park production that was telecast on PBS. The fact is that Nicolai’s music was too sweet for William Shakespeare’s sharp edges, and Donald Pippin’s English-language account of Salomon Hermann Mosenthal’s rather bland libretto never quite did the trick.

However, what matters most in any opera is the music; and yesterday’s account left more than much to be desired. In the first place, the reduced ensemble of the Pocket Philharmonic fell way short of what Nicolai had in mind. Furthermore, the transparency of the one-to-a-part playing just never hit the nail on the head. This was particularly evident in the First Violin Chair, where Yasushi Ogura consistently fell short of homing in on the right pitch. Robby Stafford tried to do his best to lead from the keyboard, but that just weakened his own piano-playing.

In that context it is a bit of a wonder that any of the vocalists maintained a secure grasp of pitch; but, for the most part, they prevailed over the shortcomings of the orchestra. Unfortunately, only a few of them delivered well-develop characters. Fortunately, one of them was Kenneth Kellogg as Sir John Falstaff. There was never a dull moment when he was on stage, and his vocal work was consistently engaging. The only other vocalist that was equally engaging was Rena Harms in the role of Alice Ford. The two of them managed to keep the narrative rolling along, even when it had to coast through the duller episodes.

Nicolai composed this opera in 1849. According to The New Grove Dictionary of Opera, its success never advanced beyond the German frontier (wherever that happened to be at the time). However, as he was approaching the age of 80, Giuseppe Verdi undertook his final partnership with Arrigo Boito; and the result was Falstaff. Finally, a composer gave Shakespeare the justice he deserved!