Musical Gifts From Radio 2 Hosts To You


In the halls and byways of CBC radio buildings across the land, the lead up to Christmas is often, well, frenzied. Not because of any excess of nog and shortbread, although sometimes these “mood enhancers” do come into play. But mostly because producers and hosts are doing more work than usual, so that they can take a little holiday, so that they can come back and do more work than usual to catch up from the little holiday. I’m sure you know the scenario from your own life. But this is why I was really pleased that a number of R2 hosts found time in the mad rush to choose some music that they would like to give to you — had they your address and very large bank accounts. So, from some of your Radio 2 hosts (in alphabetical order) to you, here are their musical gifts: Tom Allen, host of Music & Company: “I really liked Fabio Biondi’s new recording of Vivaldi concertos for Viola d’Amore. It’s passionate playing and driving energy, with lyricism and grace. That, and played on the Viola of Love… who wouldn’t want passionate music played on the Viola of Love? And in pop, me and millions of others and the Grammy Nominations Committee, we all liked Feist’s The Reminder. It’s smart and leaves more questions than answers.” Catherine Belyea, host of Here’s To You: “I’ve chosen just one of thousands of possible CDs featuring amazing vocalists: Mezzo-soprano Lorraine Hunt Lieberson with Roger Vignoles, piano, Songs by Mahler, Handel & Peter Lieberson. I’m joining the chorus on this one, which pays tribute to the late Lorraine Hunt Lieberson, a consummate artist who’s radiant voice spun a web of enchantmant around all who heard her in concerts, recitals or opera. Her 1998 recital at Wigmore Hall in London has been released this year through a partnership with BBC Radio 3 on the new Wigmore Hall LIVE series. The sense of occasion and audience involvement add greatly to the power of this CD, but its the radiant power of Hunt Lieberson’s voice that will haunt you.” Laurie Brown, weekday host of The Signal: “I’d like to give Ma Fleur by The Cinematic Orchestra. The whole album is superb – with different vocalists adding their talents – but for my money it’s the songs with Patrick Watson on vocals that really shine. An inspiring collaboration…..and an album that makes you stop what you’re doing – lie down in the living room and listen hard…” Pat Carrabr , weekend host of The Signal: ” There are two I’d like to give, the first one is Montreal’s National Parcs, they put out a great first CD this year. Timbervision’s full of energy from the great beats they create to go along with their infectious singing. How did they do it? Well, they went out into the bush and used whatever they could find – piles of pine cones, kindling, stumps, loon calls… you name it. Its a nice reminder of summer on a cold winter day. For the best effect, try Tropical Winter. It combines samples of Inuit Throat singing and Steel Pan Drumming. I’m also enjoying Nevertheless by Christine Fellows. She has a way of making these everyday little stories special. How can you not love an album with a track called The Goddess of Macrame. My current favorite is The Spinster’s Almanac. I’d love to meet the grand old lady in that song. She reads Yeats to her chickens!” Eric Friesen, host of Studio Sparks: “Top of my musical gift list this year is Simone Dinnerstein’s new recording of Bach’s Goldberg Variations on TELARC. I know, I know – heresy in the Gould year to suggest that another Goldbergs should be the top of anyone’s list. Yet, because of the Gould year, this recording hasn’t penetrated our consciousness here as much as it has in the US (Dinnerstein is from Brooklyn, NY) or in the UK. This is very different from Gould, but really compelling. And I love the story: a 30-something pianist who dropped out of Julliard and never won any competitions, and whose career really isn’t going anywhere, records the Goldbergs with her own money (and $$ borrowed from friends). Then an angel from Israel, who’d heard about her, paid for a recital at Weill Recital Hall, Carnegie Hall, to which he invited all the New York critics and agents and people in the business, and Simone played the Goldbergs for this crowd and it became a New York sensation. Shortly after that, TELARC signed her up and released her privately produced recording. To huge response. William F. Buckley, no less, called this recording ‘the single most striking musical experience of my life.’ It’s a very personal reading of the Goldbergs, very warm, almost maternal. Simone was pregnant at the time of recording this (with her son Adrian who is now 5), and that may have had something to do with it. And I love this quote she gave to GRAMMOPHONE: ‘Having a child has certainly made me firmer in my musical ideas….as a matter of fact, how different is breastfeeding from being a pianist? At the keyboard, you’re thinking about what you’re putting into it, and what someone else is going to get out of it.’ It’s certainly worth adding to your Gould and Angela Hewitt and Murray Perahia recordings of the Goldbergs.” Jurgen Goth, host of DiscDrive: Jurgen was very busy with his own Hit List, so no annotations, but here are two pieces of music he’d like to give: Feist’s Sealion from her CD The Reminder, and Six Days On The Road from the band Nightlosers’ CD, Rhythm & Bulz. Katie Malloch, weekday host of Tonic: “I think I’d choose the title track from the CD You Are There by singer Roberta Gambarini and pianist Hank Jones. She’s a jazz vocalist with a beautiful voice and very sensitive and mature delivery, especially given that she’s still young, and grew up in Italy, learning English from her parents’ record collection! Pianist Hank Jones is now in his late 80′s; the ‘professor emeritus’ of jazz piano, and he’s lost nothing of his talent: tasty, intuitive, a great accompanist. You Are There is a Dave Frishberg song. Dave usually writes cute, acerbic tunes about contemporary life, especially from a cranky and aging viewpoint. But this song is all about missing someone, and about feeling their presence even when they’re not really there. It demands simplicity and class, and Roberta and Hank have both!!” Rick Phillips, host of Sound Advice: “I’d like to suggest Reges Terrae (Rulers of the World) – Music of the Time of Charles V, with Nordic Voices on the Chandos label. The sound and performance standard of this 6-member choir are stunning, breathtaking. They re all grads of the Norwegian Academy of Music, and it’s gorgeous Renaissance music beautifully performed and recorded. (Also, a quick plug — Nordic Voices are coming to Canada, on Sunday afternoon, Feb. 3 at Walter Hall at U. of T. in toronto.) Best of the season!” Bill Richardson, host of Saturday Afternoon At The Opera, and Sunday Afternoon In Concert: “I’ve been listening to a few Indie rock bands, mostly pretty easy-going acoustic stuff. The Shins I like, their CD from early on in the year, Wincing the Night Away, and Stars, In Our Bedroom after the War. I’m quite bullish on this year’s Goljov CD from DG, Oceana, especially the Dawn Upshaw and Kronos Quartet contributions, and have also loved Marc Andre Hamelin’s recording of Haydn piano sonatas: such crisp, warm playing. Tango Notturno, with Isabel Bayrakdarian and an ace ensemble led by her husband Serouj Kradjian is thrilling, from CBC records, as is Surprise!, Measha Brueggergosman’s new release on DG. Rufus Wainwright’s Carnegie Hall Judy Garland tribute is a fascinating, slightly creepy homage. But above all, I’ve been smitten by River: The Joni Letters, Herbie Hancock’s tribute to Joni Mitchell – a demonstration of what can occur when one genius in his sixties loves and respects another genius in her sixties and does that thing that geniuses can do.” Tim Tamashiro, weekend host of Tonic: “This wonderful recording, From Sea To Sky from toronto‘s Laila Biali is an ‘aural bowl of chocolate.’ It’s delicious to listen to. Rich, thoughtful and the perfect compliment for any home or automobile. Pay particular attention to Tears of Hercules, which is a song written by Marc Jordan. The arrangement, Laila’s voice, the horns…everything about it is superb.That’s my schpeil. Now go buy the album!” Jowi Taylor, weekday host of Nightstream: “In a year of new Feist, new Stars, new Rufus Wainwright, new Weakerthans, new Wyclef, new Wilco and new New Pornographers – all of whom delivered beyond expectations – it’s hard to pick any one as a standout. But I’m going to go with the brilliant 5 Roses album by Stratford, Ontario native Graham Van Pelt – aka Miracle Fortress. What he shares with those other artists is an unabashed attraction to pure pop melodies. Where he really stands out is in a kind of exuberant sense of play in a field of sonic textures that ranges from vintage Beach Boys to Taking Tiger Mountain-era Eno to B. Fleischmann-like chamber electronics. When I put this in my playlist, I feel all glow-y and joyful. It’s not earnest or urgent – just a little bit innocent and full of major/minor curiosity. I’m only sad when it’s over.”

Turkey Talk
I could have sworn just last week Dave was becoming too attached to a turkey he raised, but I didn’t hear how it all turned out. Hopefully not with his pet bird in this week’s oven, but maybe that’s hypocritical of me, as an eater of fowl. Regardless of Dave’s relationship with this bird though, he can’t get the stove to work to cook it, so he scarpers off to a hotel, hoping that their kitchen will do the deed. If this is sheer nonsense to you but you’d like to make it make sense, tune into the Vinyl Cafe this morning, where all will be explained. Also, host Stuart McLean will play all kinds of Christmas music for you, whether or not you’ve been naughty or nice.

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SATO Reminder
Saturday Afternoon At The Opera begins an hour earlier this week, preempting Sound Advice, but Rick will make an appearance on the opera show. Today’s performance is from The Met, it’s Prokofiev’s War And Peace, with Russian conductor Valery Gergiev conducting. And for more info, please go to War And Peace And Opera.

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The Concerto According To Manny (And Rachmaninov)
Back in the 19th century, Russian nationalism and romanticism led to some very memorable music, particularly when nurtured by the Russian piano tradition cultivated in the conservatories of St. Petersburg and Moscow. You know, stuff like immortal concertos by Rachmaninov and Tchaikovsky. Today Inside The Music moves on to Part 7 of The Concerto According to Manny, and Manny (a.k.a. Emanuel Ax) explores Rachmaninov Concerto No. 2 in C Minor, Opus 18. Now let me set the scene, the scene, a kind of Cole’s Notes version cribbed from the Concerto According To Manny site. (Hey, I’m not too proud.) Here goes: Rachmaninov s career had ground to a halt. In 1897, the premiere of his First Symphony was marked by hatred from critics, plus the conductor was drunk. Understandably, Rachmaninov was bummed out. So much so he took to drink, and by the end of 1899, boozing meant his hands shook very badly — not what you want when you sit down to play the piano. Roll around 1900, a new century, and Rachmaninov, possibly making a new year’s resolution, I can’t say, went to Dr.Nikolai Dahl, a Moscow specialist in “neuropsychotherapy,” which translates to hypnosis. Whilst under the spell, the suggestion that he compose a new piano concerto was made, and voila, this concerto was born.

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