Some time ago I read a fascinating book entitles Beethoven's Hair which recounted how a doctor had bid for and bought at auction a lock of Beethoven's hair. His purpose, other than to own such a wonderful relic, was to have tests conducted to see whether hints could be gleaned as to the cause of Beethoven's death. Such tests revealed that Beethoven had very elevated levels of lead in his body at the time of his demise and that was probably the main contributing factor to his death. New findings and tests pooh-pooh this theory as reported in this New York Times article. Don't click on the link if you do not want to read about having hot wax poured into your ears.

One of Operaman's favourite combinations

It is no secret that I am a great admirer of Maestro Ken Selden and of his work with the Portland State University Orchestra. Equally, I have frequently mentioned here what a fan I am of baritone Richard Zeller. Put them together performing Ernest Bloch's masterwork Sacred Service, and you have a concert I wouldn't miss for the world. So, yesterday afternoon found me in the auditorium of St Mary's Academy having one of those musical experiences that comes along only too rarely.
I was a boy chorister from the age of 8 and over the years probably sang one version or another of the Christian Mass a thousand times. Tallis? Yep (me and 39 other parts). Mozart? You kidding? Bach B Minor? Bin there. Haydn? Lots of 'em. Byrd, Victoria, Palestrina? Certainly. sometimes these were sung as a part of a formal liturgy in a church or cathedral, sometimes in a concert hall. Many of them were very beautiful. But, I will be honest; particularly as a young boy, the time comes when you sing on auto-pilot and it's just another gig. And very often one concentrates on the performance and one's contribution at the expense of actually thinking about what one is singing. Magnificat anima mea Dominum? Um, okay, I guess it does if you say so. Bloch's Sacred Service is a setting of a complete Jewish synagogue service (who knew such settings even existed? But more of that in a minute.) and it never lets you overloook that this is a piece dedicated to the God of Israel and it demands and receives your attention right from the get-go. Now let there be no mistake; the music is very powerful but it does no harm that Richard Zeller sang the role of Cantor. One might normally expect this to be a tenor part but Bloch knew what he was doing. When the Cantor sings Seu sheorim, roscheichem! (Lift up your heads, oh ye gates) one feels a sense of "Um, he means now, gates. I suggest you get on with it!" Throughout the piece Zeller lent the work the necessary heft, gravitas and power so that everyone else could respond to it. The choir and orchestra had been drilled to the point that they 'got it' and produced a performance that was technically satisfying and very moving. But this was Zeller's show and, as usual, he left the audience relishing his musical mastery and the beauty of his instrument.
So, how many musical settings are there of the Jewish liturgy that are suitable for concert performance? I have no idea. And if there are others, why don't we hear them? And why don't we hear Bloch's setting more often? That question I can answer: it is because it isn't performed often enough. Yes, I know that sounds dumb, but what I mean is that if the work had wider exposure I think it could easily find its place in the usual choral canon. The word needs to be spread. Yesterday's performance did nothing but good for the reputation of Bloch, his Sacred Service and all who were a part of performing it. Thank you all so much.
I am planning to meet with Ernie Bloch II sometime this week to talk about his grandfather and will report back to you.

Score one for Peter Gelb!

I have a daughter who is 18 years old. I was speaking to her the other day on the telephone. She is in England visiting her grandmother and having a rare old time. In the course of our chat she was telling me that she had been to a movie theater in Marin County, where she lives, to see a Met HD transmission of Carmen with Elina Garanca. She declared the experience 'awesome' and MS Garanca 'hot', words which I take to be of the highest praise. She said she had such a good time she plans to go back for further shows. Now, Gracie has never shown any interest in opera before. She is a talented dancer and that is where her musical inclinations lie. So, you may imagine how delighted I am that she has fallen under the spell of something I enjoy so much. I hope it will give us further topics of conversation (which can be in short supply with a teenage girl and her father, you understand.) That's her in the picture above, taken when we had breakfast at La Provence, my favourite breakfast place, on SE Division and 50th.

Why can I get no one to believe..

That Glen Campbell (Galveston, Witchita Lineman etc) was a Beach Boy for two years?
Just sayin'.

Have a happy and productive week and I'll see you next Monday.