Joni Mitchell

Joni Mitchell

Mandatory Credit: Photo by TS/Keystone USA/REX (655495c)
Joni Mitchell, Toronto, Canada – 18 Apr 1968
Joni Mitchell

Joni Mitchell’s songs, frequently confessional, sometimes obscure, always literate and musically adventurous, form one of the most striking bodies of work in the popular music of the last three decades.

She was born Roberta Joan Anderson on November 7, 1943, in Fort Macleod, Alberta, Canada. Her mother taught school and her father was a grocer. While she was still very young, the family moved to North Battleford, Saskatchewan. At the age of seven years old, she convinced her parents to let her take piano lessons, but after a year and a half, the lessons came to an end. At the time, her most important creative outlet was art, not music. When she was nine years old, her family moved again, this time to Saskatoon, Saskatchewan. These were the years of terrible polio epidemics, and Joan was one of that disease’s victims. She was one of the lucky ones, though–after a stay in the hospital, she succeeded in getting back the use of her legs.

When she was twelve, she was strongly influenced by an English teacher, Mr. Kratzman, who encouraged her to develop her writing talent. And then, in her teens, she became interested in folk music. She learned to play the ukulele and began performing at parties. After graduating from high school, she became a student at the Alberta College of Art in Calgary, hoping to become a painter. While there, however, she began singing in a local folk music club, and in 1964, at the end of her first year of college, she decided to leave school and move to Toronto in order to pursue a career as a folksinger. Around this time, in addition to performing the popular folksongs of the day, she also began writing songs of her own.

In February of 1965, she gave birth to a daughter by a college ex-boyfriend. A few weeks after the birth, she married a Toronto folksinger, Chuck Mitchell. Shortly afterward, it became necessary for her to give her daughter up for adoption. Then, in the summer of 1965, the Mitchells moved to Detroit, where they performed as Joan and Chuck Mitchell. After a year and a half, the marriage broke up, and in. 1967, now known as Joni Mitchell, she moved to New York City. Initially, she considered returning to her artistic roots to pursue a career in design and clothing. However, she found herself rapidly gaining success as a folk singer. She became friendly with Elliot Roberts, who became her manager. With his help, she began to build a following not just in New York but all over the East Coast both as a singer and, even more, as a songwriter. Soon a number of well-known folksingers began recording her songs, including Tom Rush, Buffy Saint-Marie, and Dave Von Ronk.

Performing in Coconut Grove, Florida, Mitchell met David Crosby and towards the end of 1967, she left New York to move in with Crosby in California. Crosby persuaded Reprise Records to record her, and he produced her first album, entitled Joni Mitchell, which was released in March of 1968.

In December of 1968, Judy Collins scored a huge international bit single with a song written by Mitchell, “Both Sides Now.” As a result of this, when Joni Mitchell’s second album Clouds, which included her own version of “Both Sides Now”, was released in April 1969, it received a lot of attention. Another popular track from this album was “Chelsea Morning” (the song is said to have inspired the naming of President Bill Clinton’s daughter Chelsea). The album won her a Grammy as Best Folk Performance.

David Crosby had introduced Mitchell to Graham Nash, and soon after the introduction, Mitchell moved in with Nash in Los Angeles. She began touring as an opening act for Crosby, Stills, & Nash, who soon had a major hit with Mitchell’s composition “Woodstock”.

In 1970, she came out with her third album Ladies of the Canyon. This was a breakthrough album for her, with such songs as “For Free”, “Big Yellow Taxi”, “The Circle Game”, and her own version of “Woodstock”. It was her first gold album. Then in 1971, came Blue, an intensely introspective album that became a great success both with the critics and with the public. This album marked the beginning of a shift to a more rock-based style in Mitchell’s music. Around this time, she moved to British Columbia, staying with her friend David Geffen whenever she was in Los Angeles. In October 1972, For the Roses was released, once again with great critical and popular success. One of the songs from this album, “You Turn Me On., I’m A Radio” became a hit single. This was followed in 1974 by Court and Spark, in which her style evolved into a more popular but still sophisticated direction. “Help Me” from this album became a top ten single. Shortly afterward, she moved back to LA (while still keeping her British Columbia home), sharing a house with John Guerin, her drummer on Court and Spark.

By this time, Joni Mitchell was well-established as one of the most original voices in popular music. She broke up with John Guerin in 1976 and stayed for a while a Neil Young’s house. She scored another major popular and critical success with that year’s album Hejira.

In 1977, the legendary jazz bassist and composer Charles Mingus, who was already seriously ill with the disease that would kill him less than two years later, got in touch with Joni Mitchell and initiated the collaboration that led to her 1979 album Mingus, and also to an increased presence of jazz in her music.

In 1982, Joni Mitchell married bass player Larry Klein. Beginning with 1982’s Wild Things Must Run, Klein was an important presence in Mitchell’s work, both as a player and as a co-producer. Although they separated amicably in 1993, they continued to work closely together, and Klein assisted her in the production of 1995’s album Turbulent Indigo, which won Mitchell a Grammy for Best Pop Album.

The true mark of a great songwriter, Mitchell’s words and music are so versatile and lyrical that her compositions have been recorded by artists from every genre, including Bob Dylan, Percy Faith, Amy Grant, Chet Atkins, Frank Sinatra, Dion, Andy Williams, Glen Campbell, Tori Aos, The Byrds, Crosby Stills and Nash, James Taylor, Michael Feinstein, Neil Diamond, Willie Nelson, and Bing Crosby. Over the years, she has shown great skill as a recording artist in choosing the musicians she would work with on each project. These have included, at different times, Stephen Stills, James Taylor, guitarist Larry Carlton, fusion bassist Jaco Pastorius, and fusion saxophonist Wayne Shorter.

Joni Mitchell has received numerous Grammy awards and nominations. She was the recipient of Billboard’s prestigious Century Award for “distinguished creative achievement” in 1995 and in 1997 she was inducted into both the Songwriters Hall of Fame and the Rock and Roll Hall of Fame.

 

Taken from  https://www.songhall.org/profile/Joni_Mitchell

The 2023 Book & Music Fall Sale

The Book & Music Fall sale is back!

Stop by 602B 51st Street E October 27-29 and November 3-5 for all the best deals on books, records, CDs, DVDs, and more!

The sale is open from 10 am – 5 pm each day and new stock is put out every day. Find out more on the Book & Music Sale page.

 

Sergei Rachmaninoff, composer

Legendary Russian-American composer and pianist Sergei Rachmaninoff left Russia after the Communist revolution of 1917. He was born on April 2, 1873, on a big estate near Novgorod, Russia. From the age of four, Rachmaninoff studied music with his mother; he continued his studies at the St. Petersburg Conservatory and the Moscow Conservatory under the guidance of professors Arensky, Taneyev, and Tchaikovsky.

Rachmaninoff’s concert performances were legendary, and he was recognized as a great pianist with unmatched power, emotion and technical excellence. He could reach a twelfth, or an octave and a half, or, for example, from middle C to high G, thanks to his huge hands. Rachmaninoff frequently used musical references from folk ballads, jazz, oriental music, and more into his own pieces. He wrote music with unusually wide chords and intensely romantic melody lines.

Rhapsody on a theme of Paganini

In 1934, Sergey Rachmaninoff performed the solo part for the world premiere of his Rhapsody on a Theme of Paganini, Op. 43, in Baltimore, Maryland. With its virtuosity, emotional range, and creative twists on Niccol Paganini’s classic theme, this enduring composition continues to be a favourite of the piano concerto repertoire.

The “Rhapsody on a Theme of Paganini” is written for piano solo and orchestral accompaniment. However, Rachmaninoff personalizes this piece with creative twists by using a pre-existing theme from Paganini’s Violin Caprice No. 24 as the foundation of this composition. This provides thematic material for a hauntingly beautiful melody, that serves as the musical backbone of the entire work.

 The piece is based on the hauntingly beautiful 24th Caprice from Niccolò Paganini’s Caprices for Solo Violin, which provides the thematic material for the variations that follow. Rachmaninoff’s Rhapsody is a stunning display of technical brilliance, emotional depth, and musical ingenuity, making it one of the most beloved works in the piano repertoire.

 

 

Rachmaninoff’s skill in transforming a musical idea into a variety of moods and emotions, from fun and whimsical to somber and dramatic, is demonstrated by his clever use of the Paganini theme throughout the variations.

 

 

Dvorak’s Symphony no. 7

Rachmaninoff writes cryptically on the first page of the manuscript, “This main theme occurred to me upon the arrival at the station of the ceremonial train from Pest in 1884.” Czechs were travelling from Hungary to Prague for a performance at the National Theatre, which was followed by a pro-Czech political demonstration.

The immediate issues of the 1880s had long-standing causes; for centuries, the Czech territories had been governed by the Austrian Hapsburg monarchy, and the Czech people were frequently treated as inferiors within the empire.

Over a low rumbling from the basses, timpani, and horns, the cellos and violas introduce the theme. A brief pastoral horn solo follows. A beautiful theme for flute and clarinets follows, and as it is passed to the violins, it becomes more intense. The opening theme makes a strong comeback at the movement’s climax. Following a dramatic coda, the movement comes to an end with one more appearance of the opening theme.

A calm, hymn-like chorale serves as the opening to the quiet second movement.  A lyrical horn melody appears before taking an abruptly dramatic turn. The primary theme returns in the cellos after a series of powerful, contemplative developments, setting up the violins to lead an emotional passage. The hymn-like chorale from the beginning returns on the oboe over pianissimo, tremolo strings as the movement comes to a close.

The violins begin the third movement with a Czech furiant as the cellos and bassoons simultaneously play a Viennese waltz underneath it. This uneasy dance of two themes sets the tone for the whole work. This could be interpreted as a metaphor for Dvořák’s pursuit of great Czech music employing traditional Austro-German forms.

A furiant is a rapid and fiery Bohemian dance in alternating 2/4 and 3/4 time, with frequently shifting accents; or, in “art music”, in 3/4 time “with strong accents forming pairs of beats”

The finale opens with an ominous melody full of chromatic inflections that give it a Slavic character. This main melody develops into a number of increasingly frenzied march-like themes until a contrasting, lyrical melody appears.The music hurtles toward a rafter-shaking plagal cadence, the chords traditionally used for the word “Amen,” and ends with a resplendent D major chord, offering a glimmer of hope at the end of this intense musical journey.

Antonín Dvořák, composer

Antonín Leopold Dvořák was born in Nelahozeves, near Prague, where he spent the majority of his life. In the late 1850s, he studied music at Prague’s Organ School and played viola in the Bohemian Provisional Theatre Orchestra through the 1860s.

Dvořák served as the National Conservatory’s director in New York City from 1892 until 1895. Wealthy socialite Jeannette Thurber, who created the Conservatory, desired a renowned composer as director in order to elevate her organization. She wrote to Dvořák, asking him to accept the position, and he agreed, provided she was willing to meet his conditions: talented Native American and African-American students who could not pay tuition must be admitted for free. 

Dvořák became acquaintances with Harry Burleigh, who went on to become a significant African-American composer when he was the Conservatory’s director. Burleigh spent countless hours singing classic American spirituals to Dvořák while the composer educated Burleigh about composition. Burleigh went on to compose settings of these Spirituals which compare favorably with European classical composition.

Dvořák was a colourful character. In addition to music, he had two other particular interests: pigeon breeding and locomotive engines. He finally made his way back to Prague, where he served as the conservatoire’s director from 1901 until his passing in 1904. He was buried in Prague’s Vyšehrad cemetery.

Lucille Chung, piano

Born in Montréal, Canadian pianist Lucille Chung has been acclaimed for her “stylish and refined performances” by Gramophone magazine, “combining vigor and suppleness with natural eloquence and elegance” (Le Soir).

She made her debut at the age of ten with the Montréal Symphony Orchestra and Charles Dutoit subsequently invited her to be a featured soloist during the MSO Asian Tour in 1989. Since then, she has performed an extensive concerto repertoire spanning from Bach to Adams with over 70  leading orchestras such as the Philadelphia Orchestra, Moscow Virtuosi, BBC National Orchestra of Wales, Flemish Radio Orchestra, Orquesta Sinfónica de Tenerífe, Orquesta Sinfónica de Bilbao, Staatskapelle Weimar, Philharmonie de Lorraine, Orchestra Sinfonica Siciliana, Belgrade Philharmonic, Seoul Philharmonic, KBS Orchestra, St. Louis Symphony, New Jersey Symphony, Dallas Symphony, UNAM Philharmonic (Mexico), Orquesta Filarmónica de Buenos Aires, MAV Symphony (Budapest), Lithuanian National Symphony, Israel Chamber Orchestra as well as all the major Canadian orchestras, including Montreal, Toronto, Vancouver, National Arts Centre (Ottawa), Calgary, Winnipeg and Métropolitain, among others. She has appeared with conductors such as Krzysztof Penderecki, Vladimir Spivakov, Vasily Petrenko, Yannick Nézet-Séguin, Stéphane Denève, Peter Oundjian, Gerd Albrecht and Charles Dutoit.

As a recitalist, she has performed in over 35 countries in prestigious venues such as the Wigmore Hall in London, New York’s Carnegie Hall and Lincoln Center, the Kennedy Center and Phillips Collection in Washington, D.C., Spivey Hall, the Concertgebouw in Amsterdam, Madrid’s Auditorio Nacional, the Great Hall of the Franz Liszt Academy in Budapest, the Palais des Beaux-Arts in Brussels, the Seoul Arts Center, and Sala São Paulo. Festival appearances include the Verbier Festival in Switzerland, Incontri in Terra di Siena in Italy, MDR Sommer Festival in Dresden, Lübecker Kammermusikfest, Salon-de-Provence Festival, Santander International Festival and Gijón International Piano Festival in Spain, Felicja Blumental Festival in Israel, Music@Menlo, Mainly Mozart, Great Lakes Chamber Music Festival, Montreal International Festival, Ottawa Chamber Festival, Bard Music Festival in NY, International Keyboard Institute and Festival in NYC, Chang Chun Festival in China, and the Bravissimo Festival in Guatemala.

In 1989, she was recognized on the international scene as the First Prize winner at the Stravinsky International Piano Competition. She won Second Prize at the 1992 Montreal International Music Competition, at which she also won a Special Prize for the best interpretation of the unpublished work. In 1993, she received the Outstanding Achievement Award from the Governor General of Canada and in 1994 won the Second Prize at the First International Franz Liszt Competition in Weimar. In 1999, she was awarded the prestigious Virginia Parker Prize by the Canada Council for the Arts.

Before turning twenty, she graduated from both the Curtis Institute of Music and the Juilliard School, where she studied with Seymour Lipkin. She decided to further her studies in London with Maria Curcio-Diamand, Schnabel’s protégée, at the “Mozarteum” in Salzburg with Karl-Heinz Kämmerling and received the Konzertexam Diplom from the Hochschule “Franz Liszt” in Weimar, where she worked with the late Lazar Berman. She was the first non-Italian recipient of the honorary title of “Master” upon graduating from the Accademia Pianistica “Incontri col Maestro” in Imola, Italy. She also worked with Joaquín Achúcarro at Southern Methodist University, where she held the Johnson-Prothro Artist-in-Residence endowed position. Ms. Chung is the recipient of the Honors Diploma at the Accademia Chigiana in Siena, Italy and was named Honorary Professor of the Jilin Arts College in China.

Lucille Chung has been hailed as “a considerable artist, admirable for her bold choice of music” by The Sunday Times for her recordings of the complete piano works by György Ligeti on the Dynamic label. The first volume was released in 2001 to great critical acclaim, receiving the maximum R10 from Classica-Répertoire in France, 5 Stars from the BBC Music Magazine, and 5 Stars in Fono Forum in Germany. The final volume, which also contains works for two pianos, was recorded with her husband, Alessio Bax and once again received the prestigious R10 from Classica-Répertoire. Her all-Scriabin CD won the “Best Instrumental Recording” prize at the 2003 Prelude Classical Awards in Holland as well as the coveted R10 from Classica-Répertoire in France.

She also recorded the two Mendelssohn Piano Concerti on the Richelieu/Radio-Canada label, which was nominated for the Prix Opus in Canada. In August 2005, Bax and Chung recorded Saint-Saëns’ Carnival of the Animals with the Fort Worth Symphony and Maestro Miguel Harth-Bedoya with narration by Michael York. In 2007 she released a solo album for the Fazioli Concert Hall Series. Lucille then embarked on an exclusive contract with Disques XXI/Universal: Camille Saint-Saëns Piano Transcriptions and Mozart & Me. 2013 marked the release of a piano duo disc with Alessio Bax, presenting Stravinsky’s original four-hand version of the ballet Petrouchka as well as music by Brahms and Piazzolla for Signum Records. In 2015, she released an all-Poulenc album for Signum Records, which was chosen as the “Recording of the Month” on MusicWeb and most recently in 2018, her 14th album titled Liszt Piano Works was released to great acclaim. Her upcoming album for Signum Records will feature works by Debussy and Ravel.

Lucille is fluent in French, English, Korean, Italian, German, and Russian. She and husband, pianist Alessio Bax make their home in New York City with their daughter, Mila, and are artistic co-directors of the Joaquín Achúcarro Foundation, which seeks to further the careers of young pianists.

https://lucillechung.com/

The Four Seasons Recomposed

Composer Max Richter is now part of Deutsche Grammophon’s acclaimed Recomposed series, in which contemporary artists are invited to re-work a traditional piece of music.

The idea of recomposing and re-processing musical works was common practice in Vivaldi’s time and the project presents an exciting opportunity to make favourite classics relevant to a wider audience. However, Richter’s approach differs fundamentally from the preceding releases: in contrast to previous participants, such as Matthew Herbert or Moritz von Oswald & Carl Craig, who reworked recordings from the extensive Deutsche Grammophon catalogue, Richter actually ‘recomposed’ Antonio Vivaldi’s The Four Seasons. He is the first in the series to employ an existing score, ‘inscribe’ his new composition into Vivaldi’s and record a ‘new’ version of a familiar work, thus creating a new hybrid work.

Like many composers Richter was always fascinated by Vivaldi’s 1725 composition because “The Four Seasons is an omnipresent piece of music and like no other part of our musical landscape’ But he was also aware of that for many, including himself, it had long ago ceased to be something of beauty and had instead become an ever-present piece of muzak “You hear it in the supermarket regularly, you’re confronted with it in adverts or hear it as muzak when on hold. Slowly you begin to blank it out” Richter yearned to reconnect with the piece and to re-start the conversation on Vivaldi’s work, and he sought to do so in an accessible style that mirrored Vivaldi’s intentions with the piece, rather than to place a twentieth century Modernist imprint on it. “I wanted to open up the score on a note-by-note level, and working with an existing recording was like digging a mineshaft through an incredibly rich seam, discovering diamonds and not being able to pull them out. That became frustrating. I wanted to get inside the score at the level of the notes and in essence re-write it, re-composing it in a literal way.” In order to do this Richter wrote an entirely new score and recorded it with Daniel Hope and The Konzerthaus Kammerorchester in Berlin.

Richter calculates that, in the process, he has discarded around three-quarters of Vivaldi’s original. He opens with what he describes as “a dubby cloud which I’ve called Spring 0. It functions as a sort of prelude, setting up an electronic, ambient space for the first Spring movement to step into. I’ve used electronics in several movements, subtle, almost inaudible things to do with the bass, but I wanted certain moments to connect to the whole electronic universe that is so much part of our musical language today.” Other resonances are no less unexpected: Richter describes part of the first movement of his Summer as “heavy music for the orchestra. It’s relentless pulsed music, which is a quality that contemporary dance music has; and perhaps I was also thinking about John Bonham’s drumming. Then, in the second movement of Autumn I asked the harpsichordist Raphael Alpermann to play in what is a rather old-fashioned way, very regularly, rather like a ticking clock. That was partly because I didn’t want the harpsichord part to be attention-seeking, but also because that style connects to various pop records from the 1970s where the harpsichord or Clavinet was featured, including various Beach Boys albums and the Beatles’ Abbey Road.”

Clearly, Richter has brought his own frame of reference to the project. As he says, “Vivaldi’s music is made of regular patterns, and that connects with post-minimalism, which is one strand in the music that I write. That felt like a natural link, but even so it was surprisingly difficult to navigate my way through it. At every point, I had to work out how much is Vivaldi and how much is me. It was difficult but also rewarding because the raw material is so fascinating.” Just as Richter’s Seasons plays tricks with the way we hear Vivaldi’s original, so it also asks questions of the soloist, Daniel Hope. “Violinists have Vivaldi’s The Four Seasons hardwired in their brain. Daniel is likely to play the original I don’t know how many times in a year, and for him to have my parallel text going on in another part of his brain is a challenge. I think he did a wonderful job. He brought to it a deep engagement with the original, but he was fully prepared to cut this new swathe through the text.”

Adapted from the booklet text for the Recomposed release, written by Nick Kimberley.

 

Museum of the Moon and Vicissitude

It’s not often that you get to experience art from above and below! Here’s all you need to know about the art installations you get to explore tonight.

 

Look up and see

The Museum of the Moon

by Luke Jerram

 

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Look down and see

Vicissitude

by Monique Martin and Alexandra Hedberg

 

Learn More