Piano

Concerts, Contemporary Classical, Music Events, Piano

Keys to the Future – Day 2

In the second concert of the Keys to the Future series, Tatjana Rankovich, organizer Joseph Rubenstein, and Lora Tchekoratova performed in a program rich in compelling melodic and textural content.

Music for Piano (1997) Franghiz Ali-Zadeh (b. 1947)

Tatjana Rankovich began the program on a piano with a beaded necklace inside. Middle Eastern vocal melodies caused this necklace to resonate in a pleasant (if ultimately obsessive) almost insectoidal buzzing. Occasional outbursts in the lower ranges contrasted with these exquisite Eastern melodies ultimately climaxing in a storm of bass scales. Ms. Rankovich notably performed with precision and a finely atuned sense of the vocal quality of the melodies in Music for Piano.

Éphémères (4 selections) (2003) Philippe Hersant (b. 1948)

Philippe Hersant is practically unkown in the U.S. and apparently (thanks to not being a Boulezian) not quite as well known as he should be in France. Ms. Rankovich performed 4 pieces from his 24 piece cycle, Éphémères inspired by haiku by Basho. Of particular interest was the tempestuous ‘Ouragan’. Scalar motives in the bass exploded into often brilliant gales of color and rhythmic excitement. Rankovich evocatively drove the hurricane like a savage god. ‘Vallee du sud’ called forth memories of the bell-like sonorities of Debussy but with a personal and extended melodic touch that did not feel to be foreign to the style. Hersant is definitely a composer that should be much more widely known outside of France.

Brin (1990) Luciano Berio (1925-2003)

Brin is a wonderful miniature and utilized Berio’s signature rapid scalar figurations to interrupt a static and jewel-like sound world. Rankovich performed Brin with marvelous microscopic abandon.

Fifth Romance (1984) Joseph Fennimore (b. 1940)

Fennimore’s Fifth Romance attempted to combine jazz, show tune pianisms and Scriabinesque harmonies to mixed effect. The romance was never confusing and often surprising, but I was left feeling that parts of this feast of romantic moods were undigested. Nonetheless it was a remarkably executed composition and its exposed origins evinced an immense technical imagination. Tatjana Rankovich performed with intelligent pizzazz this stylistically exposed composition.

Nocturne No. 5 (1996) (Tchekoratova) Lowell Liebermann (b. 1961)

Bulgarian pianist, Lora Tchekoratova continued the program with Nocturne No. 5, a piece obviously influenced by Chopin and Scriabin although updated to varying degrees harmonically and melodically. It was voiced with marvelous delicacy and precision by Tchekoratova. Some of the harmonic shifts were not always convincing, but the clarity of the upper lines propelled the piece to good effect.

Mambo No. 1 (2006) Phil Kline (b. 1953)

Phil Kline’s piece was an exciting post-minimalist/totalist extravaganza of sections, each one exploding into the next. Often, as the section climaxed, complex rhythmic indulgences seemed to interfere with the emotional crescendi underway. I was left feeling that the piece was a bit self-indulgent although interesting in its compellingly brilliant material.

Rain Tree Sketch II (1992) Toru Takemitsu (1930-1996)

Takemitsu’s brilliant extensions of the pianistic language of Debussy and Messiaen is under-recognized. Rain Tree Sketch was performed to scintillating and fluidic effect by Tchekoratova. Chords interrupted by dark octaves formed the primary textural motivations behind this wonderful compositiion.

Für Alina (1976) Arvo Pärt (b. 1935)

Concert organizer Joseph Rubenstein next performed Arvo Pärt’s uniquely fractured plainsongs to marvellously spiritual effect. In a lesser composer’s hands such repetition of texture and register would fall flat. It is only with Pärt’s singular mindset and commitment that the meditation unfolds so convincingly.

Exit Music for a Film (1998) Radiohead/Christopher O’Riley

The second of O’Riley’s Radiohead ‘transciptions’ could more accurately be qualified as a ‘paraphrase’. It was intensely compelling and performed with accurate and decadent flair by Joseph Rubenstein. A real testament to the group’s compositional talents is how, through these arrangements, the philosophical intensities are maintained.

Five Preludes (2003) Bruce Stark (b. 1956)

Bruce Stark’s music was performed to wonderful effect again in tonight’s program. His 5 short pieces further explored how jazz stylings and American folk music influences can be used without merely evoking the achievements of the ’50’s. The explosive 5th prelude was fascinating in how it simultaneously and without feelings of pastiche evoked both Bartok and Gershwin.

Tonight is the third and final night of the series featuring a mini-survey of recent Latin-American piano music, an angelic invocation by Stark, and one of Joseph Rubenstein’s own compositions. It looks to be a doozy!

by Jeff Harrington
Concerts, Contemporary Classical, Festivals, Piano

Keys to the Future – Day 1 – Delicacies and Profundities

The opening concert for the Keys to the Future featured organizer Joseph Rubenstein, BOAC regular keyboardist Lisa Moore and Blair McMillen in a program practically devoid of common modernist influence.

8 short works (1980s) Howard Skempton (b. 1947)

Howard Skempton, a miniaturist of some reknown in Europe, but little recognized here, was featured in 8 short works selected and arranged by Rubenstein. While evoking a mastery of emotional poignancy, each of the pieces demonstrated a poverty of texture that was vaguely puritanical. The performance by Rubenstein was masterful. Notable among the eight pieces was The Keel Row, which began the concert. It was precious, still, and fragmented into a tiny gem of delight. The ‘Toccata in Memory of Morton Feldman’ was wonderfully conceived as a meditation with a returning Feldmanesque bass note.

Solitude (1978) Leo Ornstein (1892-2002)

Lisa Moore performed a neo-romantic masterpiece which we should be hearing more often. An odd synthesis of Russian romanticism, notably Scriabin’s later sonatas and etudes and Debussy. It was performed exquisitely with immaculate pedal and detailing.

Le jeu des contraires (1989) Henri Dutilleux (b. 1916)

Ms. Moore’s performance of ‘Le jeu des contraires’ by the living French composer Dutilleux was a delight. It was a sprawling, unpredictable combination of atonal scales, parallelisms and bell-like moments. It was miraculously controlled with a gusto often missing from peformances of recent French piano music.

Ode to “Ode to Joy” (1997) Bruce Stark (b. 1956)

Bruce Starks’ ‘Ode to “Ode to Joy”‘ was absolutely the audience favorite of the concert. An odd mixture of variation form and hilarious commentary on the tune combining unexpected mashups of jazz-rock stylings with serious and ecstatic cascades of sound. Lisa Moore thrilled with her precision and phenomenal dramatic buildup to an incredible climax. The humor at times, didn’t quite resonate with the emotional baggage of the tune, however. Chalk it up to it being performed on such a critical election day, perhaps.

Let Down (1997) Radiohead/Christopher O’Riley

After the intermission, Rubenstein returned to the keys to perform Christopher O’Riley’s transcriptions of Radiohead, notably ‘Let Down’ from the OK Computer album. The idea of transcribing such delicate rock for solo piano is fascinating, although frought with the dangers of the impossiblity of recreating the textural varieties and the inharmonicities inherent in the instrumentation and most importantly, Thom Yorkes’ voice. The frailties of the simple guitar part were recreated poignantly, but it was notable how very bald the melody became in the climax of the song without the cymbals and multiple guitars. The performance by Joseph Rubenstein was illuminating, full of detail and wonderful pedal effects.

24 Variations on a Bach Chorale (2002) Fred Hersch (b. 1955)

Blair McMillen closed the concert with jazz pianist Fred Hersh’s colossal 24 Variations on a Bach Chorale. A poly-stylistic and ambitious tour de force, it traced 200 years of textural and harmonic stylings while notably skipping the 20th century, except for jazz. The composition was technically and spiritually impressive yet ultimately a disappointment for failing to create a dramatic arch, suggested by the evocations of the music of Beethoven and Schumann. My favorite moments were the chromatic jazz stylings which maintained the propulsive quality felt throughout the piece. McMillen struggled at times to maintain the requisite energy, sweat pouring off his face, nevertheless he managed to bring the piece to a welcome and energetic climax.

Tonight’s concert promises to be equally enthralling with another Radiohead transcription and the music of Franghiz Ali-Zadeh, Takemitsu, Pärt et al.

by Jeff Harrington
Classical Music, Concerts, Contemporary Classical, Festivals, Music Events, Piano

Keys to the Future Festival Coming Up Next Week

Season two of Keys to the Future, a festival of contemporary music for solo piano, takes place next week, November 7-9 (Tuesday, Wednesday and Thursday) at Greenwich House’s Renee Weiler Concert Hall.  The six participating pianists are Lisa Moore, Blair McMillen, Tatjana Rankovich, Lora Tchekoratova, Polly Ferman, and myself. 

On the first night (Tuesday, 11/7), the brilliant pianist Blair McMillen will perform Fred Hersch’s gigantic piece called 24 Variations on a Bach Chorale. Here are some notes by the composer: 

The original chorale melody is by Hans Leo Hassler (1562-1612), but was borrowed several times by J.S. Bach, mostly famously as “O Haupt voll Blut und Wunder” in his St. Matthew’s Passion. But I first became familiar with this melody as a teenager in a secular English version known as “Because All Men Are Brothers” with lyrics by Tom Glazer; it was recorded by both The Weavers and Peter, Paul and Mary. After the events of September 11th, 2001, the powerful, timeless melody and those words inspired these variations.”  (Fred Hersch)

On the second evening (Wednesday, 11/8), I will perform Christopher O’Riley’s arrangement of Radiohead’s song Exit Music, which was written specifically for the closing credits of Baz Luhrmann’s 1996 film Romeo and Juliet. The song appears on Radiohead’s highly acclaimed third album, OK Computer (1997). In 2003, Christopher O’Riley released True Love Waits (Sony) the first of two CDs of songs by Radiohead arranged for solo piano. Radiohead’s dense, multi-layered music leans heavily on electronic processing for its moody sonic atmospherics; O’Riley evokes those complex textures with abundant but judicious use of the sustain and soft pedals, a deft use of dissonance and a rhythmically anxious left hand. 

On the third evening (Thursday, 11/9), virtuoso Tatjana Rankovich will play Pierre Jalbert’s Toccata. Here are some notes by the composer:

Having grown up as a pianist and being familiar with the toccatas of Schumann, Prokofiev, Rorem, and the like, I had always wanted to write a short, virtuosic work for the piano. I completed Toccata in the spring of 2001, while living in Rome at the American Academy on a Rome Prize fellowship for the year. Set in rondo-like form, the central feature of the piece is a rapid repeated-note figure, which appears in different guises throughout the work. (Pierre Jalbert)

It’s going to be great fun. I hope you come to one or more of the evenings. For further details, go here.

by Joseph Rubenstein
Composers, Concerts, Contemporary Classical, Piano

A Happy (belated) Birthday to Morton Feldman

Morton FeldmanMorton Feldman
An 80th Birthday Celebration
Merkin Concert Hall
Saturday, October 28, 2006

I am perpetually late with birthday greetings. This past Saturday, as my wife and I entered the city for the Morton Feldman concert, I called my grandmother to wish her a happy birthday two days late. I felt a little better about myself when my wife pointed out that Morton Feldman’s 80th birthday celebration was being held a full nine and a half months after his 80th birthday.

I am just glad that the concert came together, though. The number of people who attended is a testament to Feldman’s influence over the years. La Monte Young and Marian Zazeela were unmistakably present – you can’t miss Young in his sleeveless biker jacket. Another composer known for longer than normal tones, Phill Niblock, was also in attendance. And Bunita Marcus, of course, who helped pull the whole thing together.

We arrived very close to show time. The doors were closed behind us, and we were told there would be no leaving the room except during intermission, due to the fact that the performance was being recorded. We took our seats, the lights dimmed, and Aki Takahashi walked on stage to loud applause.

Takahashi bowed, then sat at the piano. The applause quickly fell to silence, and Takahashi sat silent for a moment in preparation. The first piece was “Piano”, written in 1977. I am relatively familiar with the piece from recordings, but a couple of differences in the live performance struck me right away. First, it was apparent that I listen to Feldman’s music way too loud. I guess I knew this on some level, but during the performance it took a while for me to become accustomed to the low dynamics. While “Piano” has more dynamic range than many other Feldman pieces, the extreme quiet of the soft sections made the other noises around me – the coughing and even the breathing of the rest of the audience – much more pronounced. But that is part of the point, isn’t it?

The second thing that struck me in live performance was my anticipation of upcoming notes. In a recording of Feldman’s music, I never really make an attempt to anticipate the notes coming up. This is really great in the longer pieces, because of how Feldman plays with memory – my memory anticipates one thing based on something I heard ten minutes ago, but something else comes up to my surprise, even after I think I know the piece completely. In the live performance, though, I couldn’t help but watch Takahashi’s hands and anticipate the next notes to be played.

I overcame this with the second and last piece of the evening, “For Bunita Marcus,” by closing my eyes. I only thought to do this after I saw Bunita Marcus doing the same thing. I highly recommend this when listening to Feldman compositions live.

According to the program note by Marcus, one of the intentions of including these two particular pieces was to showcase the range of Feldman’s composition for piano. Where “Piano” deals with extremes – in register (or pitch) and in dynamics (or volume) – “For Bunita Marcus” stays in the middle and high registers, and relatively soft. The notes follow each other slowly, and hang in the air. Feldman’s interest in the decay of the sound itself is very apparent in this piece, whereas in “Piano”, there were more sudden stops, quick turns, a feeling of angularity. In “For Bunita Marcus”, the sounds floated about, slowly interacting. I could see why composers such as Young and Niblock, so intensely devoted to long tones and the interactions of sounds themselves, would be moved by this piece.

“For Bunita Marcus” ended to thunderous applause and a standing ovation. It seemed a little odd to have such a delicate, quiet piece end with such loud noise. I wonder what La Monte Young thought of this – at his performances, applause is strictly forbidden. I used to think this was an eccentric quirk, but now I think I get it.

After the applause died down, Bunita Marcus announced the reception on the upper floor. Unfortunately, I was not able to go to the reception after the show. If anyone was able to go, please comment below – I would love to hear what happened.

Both “Piano” and “For Bunita Marcus” were flawlessly performed, as one would expect from Takahashi, who has been playing Feldman’s music for over a quarter century. While I enjoyed the extremes of “Piano”, I loved the performance of “For Bunita Marcus”. In La Monte Young’s words–overheard as he addressed Bunita Marcus after the show, “That was a beautiful piece you inspired.”

by Nathan Bibb
Composers, Concerts, Contemporary Classical, Piano, Uncategorized

Keys to the Future–Notes from the Artistic Director

Keys to the Future is an annual festival of contemporary music for solo piano here in New York City.  This year’s event will take place November 7-9 (Tuesday, Wednesday and Thursday) at Greenwich House’s Renee Weiler Concert Hall. If you’re interested in checking out pertinent information, the website is http://www.keystothefuture.org/ or you can contact me directly at joe@keystothefuture.org.

The six pianists participating this year are: Lisa Moore, Blair McMillen, Tatjana Rankovich, Lora Tchekoratova, Polly Ferman, and myself. I thought I’d talk briefly here about the Festival and then focus on one piece from each of the three programs.

My goal as Artistic Director of Keys is to get listeners up to speed on what’s been happening in recent years with solo piano music. This season, the Festival has opened up a bit to include a handful of pieces from the 1970s and 80s. Keys to the Future has embraced the stylistic diversity of the contemporary scene, and you will hear pieces on the same evening of a type that are rarely if ever performed on the same program (for example, a short work by Berio followed by an arrangement of a Radiohead tune on 11/8).

Here’s a look at three of the pieces:

On the first night (Tuesday, 11/7), the brilliant pianist Lisa Moore will perform Henri Dutilleux’s Le Jeu des Contraires (Prelude No. 3) (1989). Here are some notes on the work by Etienne Moreau:

“The piano has been—and continues to be, at age 90—a source of inspiration to Dutilleux, his piano works providing a significant key to the evolution of his aesthetic beliefs. The possibilities in terms of sound offered by its harmonic richness and the diversity of its timbres attract Dutilleux to the instrument.

In Le Jeu the composer has concentrated all his harmonic, rhythmic and acoustic ability, displaying a remarkable mastery of ‘mirror’ writing. This piece seems to represent the very culmination of the musical and sound world of Henri Dutilleux, exemplifying the merging of intelligence and instinct inherent in all his compositions.”

On the second evening (Wednesday, 11/8), I will perform Arvo Pärt’s “Für Alina.”

Pärt composed “Für Alina” in 1976, and this little piece announced – quietly, thoughtfully – the arrival of his “tintinnabuli style.” The music is reminiscent of ringing bells, hence the name. Tintinnabuli works are rhythmically simple, and do not change tempo. It was written originally as a gift for an Estonian girl on her own in London.

On the third evening (Thursday, 11/9), virtuoso Tatjana Rankovich will play Bruce Stark’s “Winged.” Here are some comments on the work by the composer:

“The notion of angels has been a source of musical inspiration to me for years. Often the mere thought of other-worldly, high-energy beings in unseen dimensions brings forth a rush of ideas, as though they were eager to share their cosmic music if only I would turn them a listening ear. Winged is in one movement containing essentially two parts. The first and largest part represents a visitation by angels from invisible worlds, depicted in materials ranging from swirling figures to gentle melodic passages to ecstatic outpourings. After their disappearance, the last part (introduced by a low drone in the bass) represents a reminiscence from the human perspective on having witnessed these wondrous creatures. Here I quote the famous Christmas song Angels We Have Heard On High in fragments, with a slight reference to its “Gloria” section as the work closes.”

I hope you come to one or more of the evenings. It should be fun. Please take a look on Sequenza21.com next Friday for my third and final post.

 

by Joseph Rubenstein
Composers, Concerts, Contemporary Classical, Music Events, Piano

Keys to the Future festival of contemporary piano music

Keys to the Future is a festival of contemporary music for solo piano that began here in New York in 2005. Season 2 takes place November 7-9 (Tues., Wed. and Thurs.) at Greenwich House’s Renee Weiler Concert Hall. (If you haven’t been there, this intimate hall is ideal for listening to piano music.) If you’re interested in checking out pertinent information, the website is http://www.keystothefuture.org/, or you can contact me directly at joe@keystothefuture.org. The six pianists involved are: Lisa Moore, Blair McMillen, Tatjana Rankovich, Lora Tchekoratova, Polly Ferman, and myself. I thought I’d talk briefly here about the Festival and then focus on one piece from each of the three programs.

My goal as Artistic Director of Keys is to get listeners up to speed on what’s been happening in recent years with solo piano music. In 2005, we were fairly rigid about the pieces on the programs being very recent, but this season, the Festival has opened up a bit to include a handful of pieces from the 1970s and 80s. My rationale was that pieces by a great but little-known British composer like Howard Skempton are so rarely performed that, despite the fact that some were composed 25 years ago, they will be as new to most listeners. The Festival has embraced the stylistic diversity of the contemporary scene, and you will hear pieces on the same evening of a type that are rarely if ever performed on the same program (for example, a short work by Berio followed by an arrangement of a Radiohead tune on 11/8).

Now to 3 of the pieces:

On the first night (Tuesday, 11/7), I will play 8 short works by the aforementioned Howard Skempton. These pieces combine minimalism and the English folk tradition, expressed in the form of extremely condensed miniatures, some of which last for less than a minute. Three of the pieces were composed in memoriam: for Cornelius Cardew (“Well well Cornelius”), John Cage (“Of Late”) and Morton Feldman (“Toccata”). I thought rather than start the Festival with a dazzling virtuosic showpiece, I’d begin the Festival with some peaceful, meditative sounds.

On the 2nd evening (Wednesday, 11/8), brilliant pianist Tatjana Rankovich will open the program with Franghiz Ali-Zadeh’s “Music for Piano” (1997). Ali-Zadeh is a native of the former Soviet republic of Azerbaijan whose eloquent music is poised between the Middle East and the modernist West. “Music for Piano” is notable for turning the middle register of the instrument into a stand-in for the “tar,” a long-necked lute played across the Middle East and Central Asia. To accomplish this, Tatjana will prepare the instrument with a beaded necklace over the central portion of the strings inside, as instructed in the score.

On the third evening (Thursday, 11/9), Polly Ferman, the world’s foremost specialist in the piano music of Latin America, will close the program with Osvaldo Golijov’s “Levante: Fantasy on a Chorus from the ‘St. Mark Passion’” (2004). This is Golijov’s first piano work. Based on the eleventh section of his 2001 Passion–a setting of the story of Judas offering to betray Jesus for silver coins–the piece is fired by Latin American dance rhythms. The composer has compared the section to a raucous Cuban meal in which a drunken priest relates the biblical narrative. Interestingly, in the process of transcription to piano, the music morphed from Cuban rhythms to tango.

I hope you come to one or more of the evenings. It should be fun. Please take a look on Sequenza21.com next Friday for my second post.

Joe
Joseph Rubenstein
Artistic Director, Keys to the Future

by Joseph Rubenstein
Classical Music, Contemporary Classical, Opera, Piano, Rock Opera

What to Wear is Boffo in La La Land

Mark Swed, who is (perhaps wisely) ignoring our attempts to stir up trouble over his incoherent Jefferson Friedman review last week, is wild about the Michael Gordon/Richard Foreman opera What to Wear which is now playing a limited run at REDCAT at the Walt Disney Concert Hall in beautiful downtown L.A..  A couple of snippets:

“What to Wear” — with dazzling, hard-hitting music by Michael Gordon and words, staging, design and equally hard-hitting and dazzling zaniness by Richard Foreman — is being called a rock opera.

It’s not. If it were, rock opera could, after the premiere of this arresting new hour of music theater at REDCAT on Wednesday night, be acknowledged as having finally come of age. 

And:

What to Wear” is scheduled for nine more performances. Ten times that number would be more like it.

Good piece in the Times this morning about the Venezuelan-American pianist Gabriela Montero who is said to be almost singlehandedly reviving the lost art of improvisation–at least in a classical framework.  Montero, who has never studied or played jazz, can apparently take any song she knows suggested at random and immediately turn it into a Bach or Mozart or Antonio Carlos Jobim improvisation, including the other night at Joe’s Pub a blistering take on Gloria Gaynor’s disco anthem “I Will Survive.”

There are some samples on her web site but I can’t get the registration thing to work.  Looks like a job for our ace webmaster Super Jeff.

And yes, Andrea, I am showing off my newfound restraint and maturity.

by Jerry Bowles
Classical Music, Contemporary Classical, Piano

Last Night in L.A.: Gloria Cheng and friends

Gloria Cheng opened the season of serious music-listening in her position as opener of the Piano Spheres series of concerts.  The program was oriented the program to two-musicians works, and there was a gracious lead-in to the guest appearance to be given by Thomas Ades in December, with performances of two of his early works.

Cheng began the concert with Ades’s Opus 7, “Still Sorrowing” (1992-1993), written at age 21.  This is a more restrained work than many of his, with the prepared piano dampening the middle range of the piano, creating a hollowness to support its feeling of loss.  The middle work of the second half of the concert was Ades’s Opus 8, “Life Story” (1993) in its version for soprano and piano; Angela Blue was our excellent singer last night.  The work is a setting of the Tennessee Williams poem (1956) of two strangers having had their first one-night stand; I wondered how the poem escaped the attention of composers before Ades.  Ades gives the soprano (with one minor exception the words work fine for a woman singing about a man) a yawning, boozy, blues-y melody, up to the sting in the tail of the last line.  Amazon has a great CD, at bargain price, with Ades at the piano; the CD includes seven of his early works, and clips are available.

Completing the first half of the concert were two major works for piano duet.  Cheng was joined by Robert Winter — UCLA professor, Philharmonic lecturer, interactive CD developer — for Beethoven’s four-hand version of the “Grosse Fuge”.  The two made things easy by using two pianos, which avoided developing the choreography for whose arm would be where, but I didn’t find the performance especially persuasive. 

She was then joined by Neal Stulberg — currently director of orchestral studies at UCLA and a former recipient of the Seaver/NEA Conductors Award — for a performance of “Variations on a Theme by Beethoven” by Camille Saint-Saens.  We seemed to be in a salon in Paris while this was being performed. To replace a premiere which was withdrawn because the work wasn’t ready, Cheng substituted a work written for her, two movements, rather.  Two years ago, she gave the premiere of “Seven Memorials” (2004) by Stephen Andrew Taylor, now at the University of Illinois.  This is an excellent work; the NY Times music critic called it “sparklingly tactile” in reviewing Cheng’s performance of four of the movements at Tanglewood in August.  Last night Cheng played the fifth and sixth movements; excerpts of the music are available here, from Cheng’s performance of 2004.

For the rousing conclusion, Cheng was joined on the second piano by Grant Gershon, now in his sixth year as Music Director of the Los Angeles Master Chorale.  The two gave us a work written for them, which they premiered at Getty Center, “Hallelujah Junction” (1998) by John Adams.  I am an unabashed fan of this work.  It belongs in your music collections.

A good concert!  (And the attendance was about the largest I’ve ever seen there.)

by JerryZ