It seems an appropriate evening for a romantic love song. Lyrics by Sammy Cahn, music by Jule Styne, vocals and trumpet by Chet Baker. Baker’s singing is quite unlike most jazz singers, and many jazz fans don’t like it very much, but I think his intimate, tender, and somewhat melancholic vocal performance together with his spare yet lyrical trumpet playing combine make this a classic.
Archive for the Music Category
Time After Time – Chet Baker
Posted in Jazz with tags Chet Baker, St Valentine's Day, Time After Time on February 14, 2026 by telescoperBologne, Mozart and Mendelssohn at the National Concert Hall
Posted in Music with tags Chevalier de Saint-George, Ellinor D'Melon, Felix Mendelssohn, Joseph Bologne, L'amant Anonyme, Mendelssohn Symphony No. 3, Mozart Violin Concerto No. 3, National Concert Hall, National Symphony Orchestra Ireland, Peter Whelan, Wolfgang Amadeus Mozart on January 24, 2026 by telescoper
Last night I went to another concert by National Symphony Orchestra Ireland at the National Concert Hall in Dublin. This performance was conducted by NSOI’s new “Artistic Partner” Peter Whelan, shown on the programme cover above. The NCH was by no means full, which was a shame, but the concert was warmly appreciated by those of us there in the audience and no doubt by those listening on the radio.
The first item on the agenda was a new one to me, the overture to the Opera L’Amant Anonyme by Joseph Bologne who went by the title Chevalier de Saint-George. He was born in Guadeloupe; his father was a plantation owner and his mother a slave; Saint-George was the name of his father’s plantation. He became an accompished musician, composer and soldier and a member of the Louis XVI’s personal bodyguard. The music we heard is clearly of the same world as Mozart (of whom Bologne was a contemporary) and very enjoyable to listen to. I wonder if we’ll ever get the chance to hear the whole Opera?
After that – and a long pause before she came on stage, that made me worry that something was amiss – we heard Ellinor D’Melon playing the Violin Concerto No. 3 in G Major by Wolfgang Amadeus Mozart, written when Mozart was only 19. This is a lovely piece and was played very nicely by Ellinor D’Melon. Apparently Albert Einstein – himself a keen amateur violinist – said that the second movement Adagio “seems to have fallen straight from Heaven”. It is indeed beautiful to listen to, and does have a sense of unity about it that makes you think it must have been conceived and composed in one go. The play Amadeus seems to have been responsible for perpetuating the idea that Mozart often composed in his head, then wrote the results out without corrections or revisions. That is largely untrue, but it is true that he could construct complex sections in his mind’s ear before setting them down on paper. If he did ever compose a piece entirely from start to finish, then the 2nd movement of this Concerto would be it.
(I can’t resist adding an anecdote suggested by this. A while ago I had to arrange a special sitting of a class test for a student who, for good reasons, couldn’t take the assessment with the rest of the class. I wrote a different paper and invigilated the student myself; there were just the two of us in the room for the test, which was to last 50 minutes. Not anticipating any difficulties I sat at a table in the corner and got on with other stuff. About 15 minutes in, I was concerned that the student hadn’t written anything at all; he seemed just to be reading and re-reading the paper. The questions were not meant to be all that difficult, so it surprised me that the student appeared to be struggling. I didn’t interrupt though. Then, about 5 minutes later the student sat up, grabbed a pen and started to write. Not more that 10 minutes after that he announced he had finished and handed me his script. It contained a perfect answer to everything that had been asked, no corrections or crossings out, and it took up less than one page of A4. I was impressed.)
After the wine break we heard the Symphony No. 3 in A minor (“Scottish”) by Felix Mendelssohn. Inspired by a visit to Scotland in 1829 – the first movement was actually composed that year in Edinburgh – it wasn’t completed until over a decade later and should probably be No. 5, but who’s counting? I’ve never really found it very Scottish, actually, but that doesn’t matter either.
It’s a piece consisting of four movements, with little or no break between them. The first movement starts with a slow theme, like a hymn, but then becomes much more reminiscent of the Hebrides Overture Mendelssohn composed in 1830. The landscape of the other three movements is very varied, sometimes cheery, sometimes lush, sometimes tempestuous. The final movement Allegro Vivacissimo has a marking guerriro (“warlike”), which in parts it is, but it also has calmer and more reflective passages before the rumbustious finale. I suppose many people consider Mendelssohn a bit Middle-of-the-Road, but I always find his music very pleasurable and this was no exception.
I always enjoy watching the musicians in these concerts, and could see last night that they were all enjoying themselves hugely. I’d like to single out the sole member of the percussion section, Tom Pritchard on timpani. He had to work hard for nearly all of this performance, as the timpani are kept very busy this work, and did an excellent job.
The Girl from Greenland – Chet Baker
Posted in Jazz with tags Chet Baker, Dick Twardzik, The Girl from Greenland on January 20, 2026 by telescoperOne reason this track caught my eye is probably obvious given current events, but another is that the tune was written by another superbly individual yet largely forgotten pianist from the 1950s, Dick Twardzik. Sadly Twardzik died of a drug overdose just a few days after this was recorded, in October 1955 at the age of just 24. Chet Baker – who had his own share of problems with narcotics – became very popular for his very attractive singing voice as well as his “cool” trumpet tone, but this one is purely instrumental. The other members of the quartet are Peter Littman (drums) and Jimmy Bond (bass).
Boulanger, Shostakovich and Rimsky-Korsakov at the National Concert Hall
Posted in Biographical, Music with tags Anna Sułkowska-Migoń, Barry Douglas, Concerto for Piano Trumpet and String Orchestra, D'un Soir Triste, Darren Moore, Dmitri Shostakovich, Elaine Clark, Lili Boulanger, National Concert Hall, National Symphony Orchestra Ireland, Nikolai Rimsky-Korsakov, Scheherazade, Sheherazarde on January 17, 2026 by telescoper
It was a great pleasure last night to be able to attend my first concert of 2026 at the National Concert Hall. It was a rainy evening in Dublin, but the auditorium was nevertheless packed. The only issue was that so many people were there, mostly with overcoats checked into the cloakroom, that it took a long time to get out at the end!
National Symphony Orchestra Ireland was conducted for the evening by guest conductor Anna Sułkowska-Migoń who directed a fine and varied programme of music.
The first piece (D’un Soir Triste; Of a Sand Evening) was by Lili Boulanger. I’ve heard a few pieces by her and found them all excellent, as was this one which is very atmospheric and packs a lot into the 12 minutes or so it takes to perform. The only reason Lili Boulanger is so much less famous than her older syster Nadia is that Lili suffered from ill health nearly all her life, eventually dying from tuberculosis just a few months after this piece was composed at the age of 24. Inevitably the number of compositions by her is very small, but as I said earlier everything I’ve heard by her is very good indeed. Her premature tragic death was a great loss.
After that piece there was considerable reorganization on the stage. The brass, woodwinds and percussion all left and space was made for the Steinway (between the conductor and the audience). Then we were joined by pianist Barry Douglas and trumpeter Darren Moore. The latter brough two trumpets with him, actually, of which more shortly.
The piece we were about to hear was listed in the programme as Concerto for Piano, Trumpet and String Orchestra (which is a more accurate description than the usual name Piano Concerto No. 1) by Dmitri Shostakovich. It’s quite hard to classify really, perhaps you could call it a Triple Concerto, but that doesn’t matter much. Music is much more important than how it is classified.
Although I admire the music of Shostakovich greatly, and look out for performances whenever I can, I had never heard this piece before. I was delighted by it. Written in 1933 when Shostakovich was only 27, it is instantly recognisable in style although I bit lighter and quirkier than one normally expects from that composer. Shostakovich had a wry sense of humour, but he often concealed his jokes to avoid getting into trouble. Not so in this piece, which is overtly playful and mischievous, rather than crypic
The trumpet plays a modest – indeed muted – part early on but, over the four movements, gradually becomes more prominent and at the end it delivers a series of exuberant fanfare-like figures as the key switches from C minor to close in C major. At this point I should given special mention to Darren Moore, Principal Trumpet of the NSOI, who played beautifully. He swtiched trumpets just before the end, where the trumpet is required to be louder and more assertive. I’m going to hazard a guess that he switched to a C trumpet for the closing stages, perhaps from a standard B♭ trumpet used earlier. I’ve heard it said that a C trumpet produces a brighter and cleaner sound, and it certainly did sound different from the other trumpet. If I am right it means that the piece concluded with none of the instruments on stage being transposing instruments.
Now a couple of questions for my readers. I have known some jazz trumpeters over the years and they all played B♭ trumpets. On this basis I always assumed that trumpets in classical orchestras would be B♭ instruments. Now I’m not sure this is true. Do trumpet players in classical orchestras usually use B♭ instruments, or does practice vary? A follow-up question is whether orchestral parts for trumpets and other transposing instruments are scored differently, or are the musicians required to do any transposition themselves? (If I had to bet I’d wager that professionally-trained classical musicians can transpose on sight.) Answers and comments through the comments box please.
Anyway, the hugely enjoyable performance was greeted with cheers and generous applause not only for the excellent soloists Barry Douglas and Darren Moore but for the whole Orchestra.
After the wine break we had a much more familiar work, the orchestral suite Scheherazade by Nikolai Rimsky-Korsakov. Pieces from this suite – especially the first section, The Sea and Sindbad’s Ship – often find their way into collections of popular classics and it is probably Rimsky Korsakov’s greatest hit. It’s inspired by the One Thousand and One Nights although there are only four movements, not 1001! The composer certainly included something for all sections of the orchestra, but there was especially beautiful playing by Elaine Clark (leader). I enjoyed this performance too, mainly as a bit of colourful escapism as did the audience, who have it another standing ovation.
Then it was into the queue to collect my coat and thence on foot to Pearse station for the train back to Maynooth. The rain had stopped by then.
De-Dah – Elmo Hope Trio
Posted in Jazz with tags De-Dah, Elmo Hope, Elmo Hope Trio, Jazz, Paul Chambers, Philly Joe Jones on January 14, 2026 by telescoperI’m in the middle of marking examinations so I will only do a brief post, while I take a short break, to follow up on the one about Hampton Hawes I did a couple of days ago. When I wrote that one it struck me that there are rather a lot of great musicians, especially pianists like Hampton Hawes, who were never appreciated as much as they should have been. Another that springs to mind is Elmo Hope, for whom Thelonious Monk seems to have been a great influence and who therefore provides an interesting contrast with Hampton Hawes who was perhaps more influenced by Bud Powell. Elmo Hope died young, largely because of a bad heroin habit, which also affected his career through his erratic behaviour and the criminal record he acquired for narcotics offences. He was a really fine musician and composer, though, with a very original voice and idiosyncratic sense of time. This track was recorded in 1953 with Paul Chambers on bass and Philly Joe Jones on drums, both of whom were to find fame with Miles Davis a few years later.
Den Bortkomne Sauen
Posted in Music with tags Annbjørg Lien, Fargo, Felefeber, Hardanger fiddle, Iver Kleive on January 4, 2026 by telescoperThe weather has been much colder for the past few days, which is probably why this piece of music popped into my head and I thought I’d share it here. It’s a Norwegian folk song called Den Bortkomne Sauen (“The Lost Sheep”) and it’s played by Annbjørg Lien on Hardanger fiddle and Iver Kleive on pipe organ. In case you weren’t away the Hardanger fiddle is similar to a normal violin, which has four strings, but underneath them there are four or five others to produce sympathetic vibrations when the main strings are bowed. This makes for a very unique sound, and adds to the haunting atmosphere evoked by this piece.
The theme music for one of my all-time favourite movies, Fargo, released 30 years ago in 1996, was based on this tune which was originally written by the person who wrote all the best tunes, Trad…
P.S. I like this track so much I bought the whole album, Felefeber, which is wonderful!
O Tannenbaum – Vince Guaraldi Trio
Posted in Jazz, Television with tags A Charlie Brown Christmas, Charles M. Schulz, O Tannenbaum, peanuts on December 22, 2025 by telescoperA jazz version of an old song from an album called A Charlie Brown Christmas may not seem a very promising concept but I like it, so there. The original lyrics of O Tannenbaum don’t refer to Christmas at all, incidentally, but it has become a Christmas standard. This version is by the Vince Guaraldi Trio and it was recorded 60 years ago in 1965. Vince Guaraldi was a fine jazz pianist who had an interesting solo career as well as playing with bands led by Woody Herman and Carl Tjader, among others. He is best remembered, however, for composing the music that went with TV adaptations of the Peanuts cartoons written and illustrated by Charles M. Schulz of which this is a nice example.
Schumann: Arabeske in C major (Op. 18) – Boris Giltburg
Posted in Music with tags Arabesque in C Major, Boris Giltburg, Robert Schumann on December 17, 2025 by telescoperA couple of weeks ago I blogged about a concert at the National Concert Hall that included a performance of a Mozart Piano Concerto by Boris Giltburg. The pianist did an encore piece – the Arabeske in C major by Robert Schumann – which I’ve been meaning to post because it was very nice. I managed to find this recording performed by Boris Giltburg himself, not at the NCH but in Georgia:
Blue Christmas Again
Posted in Jazz with tags Blue Christmas, Bob Dorough, Gil Evans, Miles Davis on December 12, 2025 by telescoperI’ve had a very busy penultimate week of term and am out of energy so instead of attempting a new post I thought I’d repost this “festive” classic. I posted this one during the “festive” season” in 2013 and haven’t posted it since. Until now. The band is led by none other than Miles Davis; the other members are Frank Rehak (trombone), Wayne Shorter (tenor sax), Paul Chambers (bass), Jimmy Cobb (drums), and Willie Bobo (bongos); the arrangement is unmistakably by Gil Evans. The vocalist is the legendary Bob Dorough who also wrote the lyrics.
“Bah Humbug” never sounded so cool!
P.S. I’m not particularly blue myself, just tired…
In the Dark 