Economist-Wisdom of Recognizing Limitations

In medical-pharmacology, new drugs are put through a series of test both within the laboratories as well as in the field to ensure their safety and efficacy are known before they are released for general use. Even with such rigors, it is by no means a 100% guarantee. We continue to have issues surfacing way after their their release for general use. Some of these were a result of  ethically questionable treatment of information during trials to conceal information like in the case of Vioxx but many are due to our honest lack of knowledge as the human body is a very complex and we are no where near a complete understanding of although we have made great strides in recent past.

I used to discuss with my mentor Uncle John that recognizing how little we do not know about the unknown is one of the mark of maturity. Being a very curious and inquisitive teenager, I was hungry to understand all I could like reading the encyclopedia and dictionary from cover to cover. It dawned upon me one day how little I knew and it was a very humbling sensation.

Although mankind has made great stride in discovering the unknown especially in recent past, I doubt any worthy scholar would dare say that he has full understanding of everything in his field of speciality. In fact, it is sometimes such people that raise red flag to beware of the unknown.

Against the backdrop of the recent global economic meltdown, governments and central banks reacted differently and even for those that reacted similarly, the outcome varies. Unlike medical-pharmacology
discipline, economics is a relatively younger science or perhaps art where laboratory for controlled experiments for testing hypothesis is badly lacking due to the subject/object that simply cannot be contained in a laboratory for controlled studies. Most studies are a result of what I call a rear view mirror historical analysis and synthesis. Even with such studies, the limitations are vast due to its subjective nature.

Given such challenging vagaries that economists are subjected to, should they just throw caution to the wind and toss a dice instead. I think not. Rather I would venture to postulate that we need people with certain psyche where the unknown/blind corners are their best partners in crime and yet be able to apply what they deemed as appropriate in a very moderate manner.

I believe that economics has been plagued by extremism, dogmas and larger than life characters in addition to fashion and fades. It is so severe that economists are proud to trumpet their "religion" without any need for apologies. Milton Friedman, a proponent of free market and minimal government. Lord John Maynard Keynes on the other hand championed the limitations of free market and the need to for fiscal intervention. Leading the monetarist camp, we have Anna Schwartz where supply and demand of money becomes the central theme. Inflation buster like Alan Greenspan with a strong faith in the free market in pricing risks and the firm belief that central banks should titrate interest rate to control inflation. The list goes on ad infinitum.

Under such a situation, perhaps we should champion situational economics for those who that are prepared to park their egos at home, recognize that what they know constitute most probably the tip of the ice berg. Like all good sailors navigating through ice berg infested water, it is the unseen and unknown that will most probably decide their fate.

Parting thought from Ronald Rumsfleld about the middle east war "[T]here are known knowns; there are things we know we know.We also know there are known unknowns; that is to say we know there are some things we do not know.But there are also unknown unknowns – the ones we don't know we don't know."

Cheers,,,, Pete aka http://lkypeter.blogspot.com

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Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for correctness, so please use with caution. Happy Reading. Copyrights of all contents in this blog belongs to Peter Lye unless stated otherwise.

Plato 'Republic' on Democracy, Freedom, Equality, Anarchy and Corruption-Singapore Perspective

The ancient philosopher Plato wrote in the 'Republic' to criticize why direct unchecked democracy might not be the best form of government. Firstly, freedom by itself is a laudable value to pursue but the danger of excessive freedom of doing as one likes can lead to lost of freedom for others. One of my friend paraphrase it as 'democracy without law leads to anarchy' and it was this sentence that sets me thinking. Secondly, he espoused that equality is also a value worth pursuing but related to the belief that everyone has equal rights and capacity to rule. This could bring to politics all kinds of power-seeking individuals, motivated by personal gain rather than public good. This he say can make democracy highly corruptible that can lead to demagogues, potential dictators, and can thus lead to tyranny. All these are almost literal quotations taken from the 'Republic' by Plato.

Tracy Quek who is senior correspondent based in Washington for The Straits Times wrote an interesting article on 1st August 2010 edition of The Sunday Times which is the sister publication of The Straits Times on 'US "undermedia" undermines media' as a reflection on the fiasco in Obama's cabinet leading to the dismissal of Ms Shirley Sherrod a mid level aide and subsequent reinstatement of her job and apology from the president himself when the entire transcript was examined. Since the government in Singapore has openly admitted that unfettered press freedom of the genre of American press freedom is not suitable for the brand of democracy practiced here with an asian culture overtones, I can only guess that the raison d'tre for her article is to showcase how american brand of press freedom can lead to chaos. If this is Singapore's motive, it has strike while the iron is hot.

Firstly, all these so called evolvement of press freedom and democracy being one of the yardstick of human progress can readily be challenged as thinkers of ancient time like Plato has grasped the implications of such political arena long time ago. I believe that the main differential between ancient and current time lies mainly in the extent and the cultural overtones that has made the canvas of democracy and press freedom a modern art form. This is where we need to separate the ideas and the various adaptation of the ideas in our society and profit much from it in the process of doing so by learning from the thinking these old sages have thought through so that we can be spared the agony of repeating the walk along the same old yellow brick road. It seems that this is an almost an impossibility as each succeeding generation is likely not to heed these learnings and want to experiment in the belief that time and tide has changed and time to toss out the old ideas and start afresh. This is where I would like the government to have a re-think on the de-emphasis they have put accidentally on liberal arts education in favor of more technological and scientific based higher education. I believe that our nation as a whole is no longer living from hand to mouth and can afford time, space, money and a larger sand box on liberal arts. There is room for us to venture out of our more monolithic and almost homogenous pursuit of tangible materials in our society.

Cheers,,,, Pete aka http://lkypeter.blogspot.com

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Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for correctness, so please use with caution. Happy Reading. Copy Rights of all contents in this blog belongs to Peter Lye unless stated otherwise.

Bach Concertos for 2 Violins in D minor BWV 1043-Perfect 10

After listening mostly to Piano pieces, I have switched to Violin pieces. An article on Gramophone Vol 88 on a mock court to decide which interpretation of Elgar Violin Concerto by soloist Albert Sammons accompanied by New Queens Hall Orchestra under the baton of Sir Henry J Wood for the prosecution and soloist Lord Yehudi Menuhin accompanied by London Symphony Orchestra directed by the composer Sir Edward Elgar himself for the defense. I was at first elated to discover that I actually have the Yehudi Menuhin's version in my collection. I was about to pop the champagne to find that I also have another version of the piece but it was to be by soloist Nigel Kennedy accompanied by City of Birmingham Symphony Orchestra under Sir Simon Rattle (recorded before Nigel Kennedy turned to the dark side and became a crossover) and not Albert Sammons. I had a good listen to both pieces and according to the article, Yehudi Menuhin was far too slow but Nigel Kennedy's version was even slower and had a more inconsistent tempi and I take it that Sir Edward Elgar must have approved of Yehudi Menuhin as he was the conductor and he had intended this piece to be emotively played with much headroom for the soloist  to vary the tempi.

After scanning through some of violin pieces, I stopped at Bach Concerto to 2 Violins as I was surprised to find that I have 10 full versions of it and many of them by big name artiste and I was surprised myself how on earth did I accumulate this much. Could be my failing memory as a sign of growing old when making purchases or this piece must have caught my fancy sometime in the past as about half were not purchases in recent years. I recalled that while I was younger, I had some intention to use the second movement of this piece for my organ competition but did not. First, let me pen down the versions and thereafter made some comments about the piece as there is something in common with Elgar Violin Concerto as the variation in timing between the various artistes were also wide ranging.

1. Andrew Manze/Rachel Podger,Academy of Ancient Music-Andrew Manze

2. Elizabeth Wallfisch/Catherine Mackintosh,The King's Consort-Robert King

3. Julia Fischer/Alexander Stitkovetsky,Academy of St. Martins in the Fields-Andrey Rubstov

4. Hilary Hahn/Jeffrey Kahane,Los Angeles Chamber Orchestra

5. Isaac Stern/Itzhak Perlman,New York Philharmonic Orchestra-Zubin Mehta

6. Baiba Skride/Daishim Kashimoto,Royal Chamber Orchestra-Shunsaku Tsutumi

7. Arthur Grumiaux/Arpad Gerecz,Les Solistes Romands

8. Anne-Sophie Mutter/Salvatore Accardo,English Chamber Orchestra

9. Itzhak Perlman/Pinchas Zukerman,English Chamber Orchestra

10. Yehudi Menuhin/Leon Goossens,Bath Festival Orchestra-Christian Ferras

This piece of work is popular even in current times like in Woody Allen's film 'Hanah and her sisters' and 'Children of a lesser God' and many more. This could have been the reason for being a choice recording by many artiste but most probably not in the recorded to death category.

The first movement is where you will hear the most differential in interpretation by the various artiste. Bach has marked it as vivace which means lively and fast or above 140 bpm according to Harvard Music Dictionary but the metronome was not yet in existence during Bach's time and 140 bpm did not exist in the dictionary then. However, you will find that the more contemporary artiste tend to take it as 140 bpm as the minimum and in Rachel Podger and Julia Fischer interpretation, it was more like catching the A train. Personally, I still like the versions by Arthur Grumiaux, Isaac Stern and Yehudi Menumin albeit the slower tempi, it sort of brings out the sweet aroma of the melody in an unhurried manner. Perhaps Bach meant lively more than fast when he uses the term vivace for the first movement.

I have always been fascinated by Bach music as it was in his era commonly known as the Baroque era that music started to start some form and structure and yet he his music is seems so simple but deeply matured. For example, parts of his Well Tempered Clavier is so simple that it is graded a beginner's piece and yet so deeply matured that it is played and recorded by many grand masters. With being religious, it is sometimes like the Bible that is simple enough for the simpleton and yet has enough mystery and depth to confound scholars through the ages. I think that when Bach personally remarked playing music is as simple as playing the right notes at the right time, he might not meant it as a joke really as some of his music can be so simple to be enjoyed and played by many and yet so deeply profound for the grand masters that want to have a full understanding of it.

Cheers,,,,Pete aka http://lkypeter.blogspot.com

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Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for correctness, so please use with caution. Happy Reading. Copy Rights of all contents in this blog belongs to Peter Lye unless stated otherwise.

Singapore Women's Charter – Time for a Re-Think

Sandra Leong wrote on 'Making defaulters pay' in November 1^st 2010 edition of The Straits Times which is somewhat connected to the Singapore Women's Charter ( which is commonly known in legal circles as Chapter 353 ). Although the title seems to champion the female half of the population in general but it also included a remark on “wider ranging submissions ..... and the possible renaming of the Women's Charter to the gender neutral Family Charter. To see such opinion in print is to me that Singapore as a nation has grown more matured being a relatively young nation that is about 45 years old.

This was song to my ears as I have been swimming blindly around on this topic which I have been meaning to write on. It has gone on countless iterations made and un-made after wise counsels from a good cross section of my circle of more opinionated friends consisting of male/female as well as married/singles/divorced. After reading Sandra's article, I was infected with a rush of inspiration on a totally new angle to approach my article. By the way, all these writings are on a pro-bono basis that have no sponsor and I do it as a matter of hobby-craft. It is in that sense quite clear of conflict of interest normally except that I am a married male which could be a potential conflict of interest in this rare case.

A democratic society like Singapore that has equality as a cornerstone of our core value should never have a partisan act called Women's Charter without a suitable Men's Charter also in place. Perhaps there is cause for it to be deemed unconstitutional and struck off. To even think that it survived the passage of the legislative due process then to become law can be quite un-thinkable. Pardon my strong language and it is not to be taken literally but as a figure of speech as I am cognizant of the social climate of Singapore around 1961 when the act was passed into law warranted it.

These words sound very derogative and perhaps not respecting of the leaders then who were responsible for the legislative due process then but no dis-respect is intended. Or perhaps quite un-Singapore in a more colloquial sense but allow me to put things back in the balance. I am not an outright bigot that equality only exists in nirvana and all effort in achieving it on mother earth is useless. Or to borrow a favorite phraseology of my friend that “resistant is futile”. On the reverse, it is my firm believe that society as a whole should pursue equality in access fearlessly and not cave in on the reasoning that it is not attainable. Or perhaps delegate it to the 'invisible hands' of Adam Smith to get the job done not that free and sound economic basis is not tenable but we have to use the right tools for the right job.

There is always room for a partisan act like the Women's Charter and it can be something of permanence like the children or young people's act in many countries to protect children and young people which would never achieve equalization on its own as we live in a predominantly adult dominated world for lack of a more elegant and appropriate term.

On the other hand, there is room for partisan act as a type of affirmative action with a discernible time horizon for equilibrium equality or self maintaining equality to mushroom. On the same note, I am a skeptic of such partisan acts in the name of achieving equality over time through a serious of measures. Look around the countries that have such practices like the first nation act etc. to help the under class. These acts normally end up as permanent crutches that leaves the under class permanently dis-advantaged as they grow accustomed to these privileges that is enough to sustain them to a level of contentment and not further progress. You could say that the therapeutic treatment to get them well has somehow become an opium that they cannot do without. This normally excavate into generational spiral of being disadvantaged. In the longer term, it might also lead to the general populace to question the need to support their habit and can lead so societal upheaval if not handed properly. There is no easy answer to these issues but we need to tackle them very pragmatically and normally a broad brush legislative or policy have difficulties in being as effective due to the limited flexibility that can normally be built into legislatures and policies. There is a role that NGOs, humanitarian and charity could play a more effectively. Normally, there is an inverse relationship between the effective tax burden and populace participation in charity. Simply put, if the government tax more, they should do more socially. The comparison between Europe and USA in the 1980s is a case in point.

Along this line of reasoning, isn't it high time that the Women' Charter be re-looked at fundamentally or perhaps be renamed into a more gender-neutral name like what Sandra has listed in her article. Women, in their quest for equality cannot on the the same breadth argue that they need a stronger crutch because they are weaker now than before. I am very sure that the various measures of equality will speak to the contrary. I would support the continuation of the Women's Charter as man and woman are equal but are made differently and therefore have slightly different roles in society. This is not a clarion call for 'Me Tarzan, You Jane' sort of maxim but man and woman are functionally different on some planes that will not change in the foreseeable future like only woman can take on the gestation role in pro-creation.

On the point of marriage being a sort of special class of social contract with some vital differences like:

1. Potential off springs from such union become an integral part of this contract not by choice as the contract pre-dates them in most circumstances.
2. It is a template contract made by the law of the land. In Singapore, it is either the Syriah or civil court.

I would not open the can of worms on the validity of pre-nuptial agreements under Singapore law.

I use to joke with my friends in the legal fraternity that in nirvana, lawyers only need to perform priestly duties to bless that new contracts that they have a hand in making. However, more often than not, when things go south on the contract, settlement and litigation lawyers are there also to perform their priestly duties but more akin to last rites metamorpjically speaking.

Lawyers always draw out the pomp and circumstances leading to the breakdown from their client perspective as ethically as possible. The opposing lawyers would try to out do each other to occupy the higher moral ground for an advantage just like soldiers would do so physically to occupy a higher vantage position on the battle field. Such posturing is important as it is one of key factors in who is whiter than white and who is darker than Darth Vader in StarWars speak. In reality, it is not the opposite end of the axis but the different tone of grey that makes the case.

Under the current Women's Charter, this attainment of moral high ground seems like a due process that has little or no girth as grounds for divorce can be as flippant as incompatibility for god knows what is the real reason. I am glad that HDB and the courts have decided to open their eyes and reduce the number of divorces on grounds of non-consummation because the legal marriage was to be legible to apply for a HDB housing that takes time to realize and couples could have fallen out of love without going through a customary marriage rite. I believe that the law is very clear that a marriage registered under the law is binding whether or not it is followed by a customary marriage rite.

Divorce laws can be widely divided into jurisdiction that are 'No Fault' or otherwise. It is difficult to debate on the merits of each type but the execution is important as it affects the outcome. More often than not, when a divorce is in motion, the possibility of saving the marriage is next to nil and what matters most are the terms of separation.

The compounding factor that makes divorce in Singapore especially for man in general more painful is that the settlement is ruled by the Women's Charter and has little or no regard to the circumstances leading to the divorce especially if the party in default is the woman. This would make it look like double jeopardy of sort as the innocent party not only suffers an emotional and social set back but also financially to continue supporting the ex-wife and losing custody of their children

I believe that the groundswell in the number of non-conformance by husbands in discharging their court sanctioned maintenance to their ex-wife could be an indication to either the judiciary in their interpretation of the law and/or the legislative responsible for making the laws that 'justice' in how the common man sees it is not serve by the current framework and either of both would have to be tweak.

Cheers,,,, Pete aka http://lkypeter.blogspot.com

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Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for correctness, so please use with caution. Happy Reading. Copy Rights of all contents in this blog belongs to Peter Lye unless stated otherwise.

"Northern Chopin"-Grieg Piano Concerto in A minor Opus 16

The Nordic countries in Europe normally stands out from people in continental Europe just by being themselves perhaps due to the relatively harsher weather they are subjected to as well as the intimacy they have with nature. Edvard Grieg, a Norwegian composer is noted for two things in my view. Firstly, a large portion of his compositions are either for Piano or based on the Piano that some scholars nick named him the 'Chopin of the North' perhaps like Chopin, he is also a pianist that writes lots of piano based music. Secondly, his unique harmonic skills in infusing Nordic Folk songs into his compisitions in an elegant manner to qualify as main stream classical music. Classical music is used loosely here to refer to music that pass or surpass the theoretical sandbox of musical laws rather than the classical era that pre-dates the romantic era.

My reason for choosing to write on this piece is in line with my aim of creating or keeping interest in classical music alive in Singapore. It saddens me to see shops reducing their classical music sections or doing away with it altogether. Some of you might think it is strange as Grieg is not a household name along the lines of Bach, Beethoven, Brahms or the triple Bs. However, many of us would have heard excerpts of this piece as it is widely used as background music in numerous shows with acknowledgements of it so miniscule that we will surely miss it one way or another. Most do not even bother as copyrights to this piece has expired as Grieg has died for more than 70 years now. Arvid Vollsnes is of the opinion that there are more recordings of this piano concerto than any piano concertos written during the Romantic era. I beg to differ as Google it and you will find that it is most probably either Tchaikovsky or Rachmaninov Piano Concertos that occupies this spot and definitely not Grieg. Perhaps it is true in the Nordic part of the world.

Like Beethoven fifth symphony, Grieg Piano Concerto have a very distinct introduction. In the case of Beethoven, some scholars termed it as death knocking on the door. We cannot be totally sure about this as Beethoven himself did not explain the passage. For Grieg, the introduction is what I would term as surprising reality staring at your face. I got this notion from noticing film directors penchant for using this introduction to inject an element of surprise, fear, reality and almost exclusively in a negative sense. Like most minor keyed pieces, it is like starting a painting on a dark canvas metaphorically speaking. The examples are far too many to quote and do keep a look out for it.

In addition to the signature introduction, the first movement also have a too definite ending. It is not uncommon for hear a premature applause or two from the audience at this juncture mistaking it for an end to the paino concerto as the first movement is over 10 minutes. I would like to think that it is mostly a positive premature applause as opposed to a sarcastic applause that they have heard enough rubbish from the performers.

The second movement has a quieter entrance compared to the first movement and also a daring departure from the minor key to a contrasting major key. Most of the opinion that the second movement is thematically an island by itself but try putting on your thematic development facility and stretched your imagination a little further and you can most probably hear the thematic linkages between the 2 movements. This is a very unconventional posture and I am ready for volleys of canon from main stream opinion leaders.

The third and final movement takes a surprising detour to a Rondo like form away from the ABA form in the first two movements but it is done very cleverly by the composer to back link it to the theme of the first movement and leading it to a well resolved finale.

I though that there were only two versions of the Piano Concerto; the original (1868) and the final (1907). To my surprise, there are a total of seven principal versions. Most modern rendition is based on the Final (1907) version. You can still find recordings of the original (1868) version. For the other five versions sandwiched in between, I have not been able to lay my finger on them. Perhaps it is out there somewhere.

With an Opus number of 6, I would think that this Piano Concerto must have been done earlier in Grieg composing career but Opus 6 was assigned to the original version when Grieg was in his twenties with a wife and an infant in tow. The final version was autographed six weeks before Grieg death. This piece of music must have occupied a special sentimentality for Grieg to make life long revisions perhaps as a quest for musical nirvana or it is his favorite composition.

After rummaging through my collection and borrowed or stole some from my friends, I finally assembled the following recordings of this Piano Concerto.

Original Version (1868)

1. Derwinder/Hirokami/Norrkopping Symphony Orchestra

Final Version (1907)

1.Knardahl/Ingebretsen/Royal Philharmonic Orchestra

2.Richter/Matacic/Monte Carlo National Opera Orchestra

3.O'hara/Judd/Royal Philharmonic Orchestra

4.Ogawa/Rudd/Bergen Philharmonic Orchestra (Bergen premiered this piece)

5.Perahia/Davis/Symphonieorchester des Bayerischen Rundfunks

The differential between the Original and Final version lies mainly in the orchestration and only small changes were made in the solo piano part. I could not lay my hands on any of the sandwiched versions to make a comparison.

Of the six renditions listed above, it is not surprising that the one by Richter stands out from the rest. Not only is the dynamic range between ppp and fff being more pronounced, the emotive force is also the strongest without compromising too much on technical correctness. This should not be surprising as Richter has publicly aired his view that he plays what he likes and does not care about the audience. I take it not as a prima donna with a bad attitude but perhaps Richter has discovered that by playing for himself, it will enable him to deliver the best music to his audience. Not many might agree as Richter has quite a character like last minute no show even on very special performances for the diplomatic corp.

Other giants in the list are Perahia who made his name in his Mozart and Beethoven interpretations and Knardahl who is noted for her interpretation of Nordic works. From my listening sessions, the renditions of these two giants sounded a bit main stream with little differential. Perhaps for more popular pieces like this Grieg Piano Concerto, the differential between the great and the greatest is so small that differentiating them calls for skills beyond my reach.

Happy listening.

Cheers,,,, Pete aka lkypeter

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Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for correctness, so please use with caution. Happy Reading. Copy Rights of all contents in this blog belongs to Peter Lye unless stated otherwise.

Paganini Violin Concerto No. 1 Opus 6

Italians are renowned for their flair in design and the Germans for fine engineering. Furniture wise, we normally have great looking Italian pieces that sometimes lacked functionality and durability. German furniture on their hand are normally well engineered and durable but might not be as appealing to the eyes compared to Italian pieces in general. So it would be great to have the Italian conceptualize the design and the Germans to engineer and build it. Why the comparison about furniture on a piece of musical work? I have on hand a great Italian masterpiece in Paganini Violin Concerto No. 1 Opus 6 but my favorite rendition thus far is by solo violinist Hilary Hahn who is of Germanic stock. Could be a marriage made in heaven if you consider the combination of Swedish Radio Symphony Orchestra conducted by Japanese conductor Eiji Oue in the same breathe. Swedish being associated mostly with safety like Volvo car ( although Volvo car now belongs to Ford ) and Japanese for their consistent quality of their produce.

Noticed that I have not keyed the title as there are some interesting angle as it can be in either D major or a combination of D major for the soloist and E flat for the orchestra as originally envisioned by Paganini. He originally wrote the orchestra score in E flat major and the soloist part in D major but have the soloist tune his violin half a semitone higher to match with the orchestra. Paganini did not state the reason for doing so but contemporary opinions being either he felt that E flat major being more appropriate tonality wise or because the soloist part is more easily executed in the key of D major. Almost all modern interpretations are done on D major for both the solo violinist and the orchestra.

With the violin being one of the instruments Paganini plays, it is therefore not a surprise that this piece was written with quite a fair emphasis on the solo violinist especially in the first and last movements. The total time for the piece is about 36 minutes with the middle movement occupying only about 5 plus minutes and the longest first movement of about 21 plus minutes. To attain a fuller enjoyment, I would recommend both listening and watching it as the solo violin portions contain a good dose of showmanship ( meaning in both gender ) like double stops in which the solo violinist have to bow on 2 strings simultaneously and portions of the piece that takes the soloists to almost the end of the upper register of the scale for violin and quick alternating notes between the first and last string of the violin.

I have always loved the lower middle registers of the violin where at the hands of a good violiniss and a good violon makes for a very unique tonality which I can only describe as very tunefully close to the human voice. Some like this portion to be played with vibrato but I beg to differ as I love the more ancient playing style with less or no vibrato. This is also one of my reason for preferring Hanh's rendition with less vibrato.

The piece promises lots of cadenza where the soloist is at their own devices with the orchestra silent. Having said that, this is certainly not a sonata disguised as a concerto but the more tuneful blending between the orchestra and the soloist is more prevalent in the brass and woodwind portions with a good dose of accentuation from the percussion group. The string section is mostly deployed in a more harmonic support manner in my opinion.

As this is my first writing on Paganini, it would be good to note that like most warm blooded Italian being more southernly geographically, his life is not short on excitement and uniqueness especially on the romantic front as he was ever quoted saying he is not handsome but when women hear him play, they would come crawling to his feet. Gambling was also one of his many favorite vices. Later in life, he even attempted to make money out of his gambling habit by opening a casino but it lead to financial ruin for him personally and he had to wind it up. The juiciest rumor is about his alleged pact with the devil to grant him special musical talent in exchange for something sinister. It does not help that when asked about it, he was quoted at replying how else could he be so good musically. I am of the opinion that this is most probably an egotistical and mischievous reply not to be taken seriously as he has quite a flamboyant and sanguine character. This alleged rumor could also be one of the reasons why his body was denied a timely decent Catholic burial until a few decades later.

Before penning off, some of the other more noted renditions of this work you might want to listen to besides my favorite by Hahn/Oue/Swedish Radio Symphony Orchestra are:

1.Accardo/Dutoit/London Philharmonic

2.Grumiaux/Bellugi/National Orchestra de la Opera Monte Carlo

3.Perlman/Foster/Royal Philharmonic

4.Rabin/Gossens/Philharmonia Orchestra

5.Menuhin/Monteux/Orchestra National de Paris

Happy reading, listening and watching hopefully in that order.

Cheers,,,,, Pete aka lkypeter

Safe Harbor. Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for correctness, so please use with caution. Happy Reading. Peter Lye

The Middle Child Sonata-Beethoven Sonata for Cello and Piano No. 3 Opus 69

Having laid off writing for a period, a dash of inspiration hits me after listening to this popular and tuneful Sonata. This Sonata occupies the mid-point of the five Sonatas Beethoven wrote for this genre. It is unique in more ways than one besides acting as a bridge between Beethoven's first 2 and last 2 Sonatas that are stylistically quite different. One possible reason being that Beethoven took about 10 years to complete these 5 Sonatas as oppose to about 3 years to complete his 9 violin sonatas.

I shall be a bit adventurous and indulgent to nick named this Sonata as a "Middle Child" Sonata. My reasoning (whether they hold water or not as I consider myself too novice and amateurish in classical music compared to the many esteemed scholars as this is hobby craft and strictly pro-bono in my case) is manifold other than numeracy if you could hold your horses on your comments and read on first.

Of the 5 sonatas Beethoven wrote for this genre, only the 3rd has 4 movements instead of the usual cookie cutter 3 movements. A Scherzo was added as the second movement and this additional movement is no incidental movement as Beethoven has sprinkled it with a number of notables. Instead of a slower or more contemplative movement after the vociferous first movement, this movement is lively without being attention seeking. It nicely continues to develop the theme introduced in the first movement in a very Beethoven manner like he did for his 5th Symphony which was written around the same time. He also put in a gymnastic for the pianist by introducing a changing of hands in the tied note which should be a visual feat for the audience especially for the more visual pianist of our time like the legendary Lang Lang. One of Beethoven's pupil Czerny noted that this was most probably added to create a vibrato effect on the tied note. Of the recordings I have heard so far, only the Hardwood/Berner stated specifically in their liner notes that they are playing according to this notation. Many modern pianists would most probably skip this notation as it is not only more difficult to execute on modern day piano but makes little difference on modern day piano as I am made to understand. On listening to the Hardwood/Berner recording I could not hear the difference but I am only an amateur. If you were to listen till mid way into the second movement, there is a longish single note written to test the cellist's skill and patience as it is also tempered with a vibrato. Must be some tired fingers on the left hand for the cellist for what would seems like an eternity.

Thematic development in this piece is so obvious of Beethoven's work from this period of his life onwards starting perhaps with his 5th Symphony where his art is most finely honed in my opinion. The simple theme from the first movement is fashioned into numerous connected forms that will baffle many. This is most probably further proof that this Sonata is most probably conceived in his mind between his 5th and 6th symphonies other than the Opus numbering suggesting so.

Beethoven is also a master in switching between an aggressive to melancholic tuneful serenity all within the same movement. This is quite evident for the 3rd movement of this Sonata as it starts like a slow boat to China but moves gracefully between melancholy and aggressive but in a less pronounced manner than in his 5th and 9th symphonies. Beethoven might have been a jack the rabbit motor fan if he were to be alive now as his pieces sometimes behave typical of hard ABS braking followed by sudden and strong acceleration forces but leaving his passengers in a magic carpet like ride without being nauseous. All these seems a bit contradictory but have a good listen and you will sase out what I mean.

This Sonata has no clear delineation between soloist and accompanist and this could be deliberate either to elicit the best out of both the cellist and pianist or to set the stage for a struggle between them. Even if Beethoven were to have the intention of setting the stage for a fight between the cellist and pianist, the fight must have been done so with the liquidity and graceful movements of ballet dancers. I have not decided myself on this matter after hearing quite a few versions repeatedly. Would highlight 3 versions where this is more obvious as the pairing is like a pairing of equal musical giants.

1.Rostropovich/Richter (1961)

2.Maisky/Argerich (1997)

3.DuPre/Barenboim (1970)

Rostropovich was vocal enough to warrant losing his entry permit back to his Russia motherland after migrating to US. It was only with a change in Russian leadership that paved the way for his return back to Russia and I am glad that he managed to spend his final moments on earth back in his Russia motherland. He is also the musician that played spontaneously at the Berlin wall when it came crumbling down knowing that it would further complicate his possibility of returning to Russia. As for Richter, he has said it openly that he only play pieces that he likes and not for his audiences when asked why he did not want to complete the recording of all 5 Beethoven's piano concertos. He has also done things like having Stalin walk out half way through his performance as a mark of disapproval of him but he said he was lucky that he did not 'disappear' like many who cross the path of Stalin have a habit of doing so. Many of us did not notice that more people died during the communist revolution in Russia than number of Jews that were murdered during the Holocaust. On the contrary, he was one of the pianist that was performing during Stalin funereal. Richter himself remarked that this must have been a joke of sort as he did not get Stalin approval when he was alive but did so in his death. I have listened to this version of recording but did not sense any struggle for limelight and the two giants seems to gel so wonderfully together. What a surprise.

Maisky himself has also served about 18 months in prison or what they term as re-education camp for god knows what the reason is and thereafter was welcomed into the arms of Israel. He was also a student of Rostropovich. His equal in this case comes from Argentina. Argerich is very talented but has a fast and furious temperament and at about 30% of her concerts were no show for the most trivial of reasons. She blends her spirit with the music and is not straight jacketed by technicalities but have a healthy respect for it. This version makes for interesting listening as you can hear the challenge for lime light in all 4 movements between Maisky and Argerich but it was done so tastefully that it makes for very spirited listening. Perhaps, this was the interpretation Beethoveen intended.

DuPre and Barenboim is a husband and wife teaming but lets not guess who wears the pants at home. DuPre was a highly regarded cellist during her short and challenging life on earth of about 50 years due to multiple sclerosis. DuPre's fame and her health challenges could well be a formulae or excuse for unruly behavior but she is just the opposite as fellow performers, conductors, studio staff have good things to say about her gentle and joyful demeanor. Barenboim is a notable pianist and conductor himself and also a very intelligent and good at managing talented musician. In this recording, I believe that Barenboim had played more or less a supportive part but not without putting himself on the pedestal when the part calls for it without out living his welcome on the pedestal.

Before I pen off, it is widely held belief that the middle child in the family is normally the forgotten child and thus it is not uncommon for middle child to go after the lime light on every available opportunity in my opinion. This is my reason for naming it thus. Other versions worth listening to are:

1.DuPre/Stephen Bishop (1965)

2.Wispelwey/Lazic (2004)

3.Hardwood/Berner (2006)

Good weekend.

Cheers,,,,,, Pete

Safe Harbor. Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for correctness, so please use with caution. Happy Reading. Peter Lye

Brahms Sonata Opus 78-The Godson Sonata

There has been some confusion about this sonata as it seems to be bipolar namewise as it has two names. It was orginally a violin sonata keyed in G major but was later transcribed into a cello sonata keyed in D major. Hope that clears the air on the mystical naming for this sonata and this is why I left the key out in the title.

Although this article is about Johannes Brahms compsition, you will find me kaing references to the Schumann family as the sonata was written as a dedication to then recent passing of Schumann's son Felix Schumann who is also Brahms' godson due to tuberculosis. I have taken the liberty of naming this sonata as "The Godson Sonata" and hope that both Johannes Brahms and Felix Schumann will not turn in their final resting places as it is well intentioned to promote this beautiful sonata and get more people to gain an interest in this beautiful sonata.

Felix Schumann is the off spring of the famous Robert Schumann and his wife Clara Schumann. The dedication of this sonata is evidenced by a letter from Johannes Brahms to Clara Schumann as Robert Schumann had already passed on and not because of his secret love for Clara Schumann as some music historian postulate it to be in my humble opinion. It has been a tumultous time for the Schumanns as they have seen 3 succeeding deaths within a short space of a few years. It started with Robert Schumann and followed by their son Felix Schumann and thereafter their daughter Julie. To add to this, their youngest son Ludwig Schumann was also struck with the same mental illness that beseiged his father and had to be put into a mental asylum like his dad.

Inspite of these sad events, Clara Schumann has stood by the Schumann family faithfully as she has done for her husband Robert Schumann when he was alive. I would love to have a wife like Clara Schumann's character of unwavering love and dexerity. Both Robert and Clara also shared a common interest in music and Clara Schumann has written some music although not as popular as her husband.

Although there has been whisperings in the history department of musicology that Brahms and Clara were an item towards the end of Robert Schumann sojurn on earth and thereafter but I beg to differ. I accept that there is enough evidence on hand to make a case that Brahms like Clara romantically but little or no evidence of Clara recipocating his advances. I find this to be quite intriguing as Brahms is noted for leaving little or no trace of his work in progress manuscripts which he deligently destroyed leaving us mostly only his final renditions and yet he left enough evidence to point to his romantic interest in Clara. This cannot be a Freudian slip on the part of Brahms but a purposeful declaration on the part of Brahms.

Between the original Violin Sonata No. 1 in G major Opus 78 and the transcription as Sonata for cello and piano in D major, I actually much prefered the later one as I personally find that the cello is better in transmitting such emotions. It has been a controversial topic as to who did the transcription. The famed cellist Janos Starker commented that no one but the composer himself could have the audacity to have made the modifications to one of Brahms work. Horst Scholz however maintained that the transcription was the work of a Leipzig conductor Paul Klengel who is the brother of cellist Julius Klengel whom Brahms admired greatly. There is consensus that the cello transcription was published in 1897; the year that Brahms passed away.

I have a total of 6 rendition in my humble collection and 3 are for violin and 3 for cello.

The cello renditions are as follows:

1.Brahms Sonatas Op.38 Op.78 Op120 Nr1 by Pieter Wispelwey & Dejan Lazic-Channel Classics SACD-CCS-SA24707

This is my favourite of them all as Wisepelwey played it in a very emotive manner and the Pianist Lazic just work so well as a team as they have done various recordings together on a number of occassion. There is very little competition for the limelight between the two. Not to be missed.

2.Brahms Cello Sonata-Pontinen & Thedeen by Torleif Thedeen & Roland Pontinen - BIS-SACD-1606

This recording is done at a more leisurely pace and also paint a weekend type of feeling unlike the Wisepelwey & Lazic which is played in a more seriou note.

3.ArtistsRepertoires-Janos Starker ; Shigeo Noriko-BMG Classics LC00316
I think Janos Starker needs no introduction and his signature thick tonality of the cello is very evident in this recording. In terms of tonality, this piece is a must have. Janos seems to overshadow the pianist Noriko but overall not too bad a combination.

Actually I should have done the Violin rendition first as this sonata was first conceived for the violin but I love the cello too much and have put the cart before the horse.

1.Brahms-Sonata-Horn Trio Vieuxtemp Ballade-Grumiaux-Arthur Grumiaux,Gyorgy Seebok, Francis Orval, Dinorah Varsi-Pentatone 5186 155
Grumiaux playing on this piece was fabously expressive and yet controlled and not a runaway. His nose for precision is evident in this recording like his other recording.

2.Brahms Violin Sonatas-Anne-Sophie Mutter & Alexis Weissenberg EMI CLASSICS 7243 5 74560 2 9
This recording done in 1983 when Anne Sophie was probably dealing with sickness and eventual death of her first husband whom she had all her biological children with. I can sense a certain thinge of anger in her playing perhaps reflective of her situation then. Sometimes an artist emotional state gets translated into their playing.

3. Johannes Brahms-Complete Chamber Music-Disc 11 of 12 Hyperion CDS 44341-Krysia Osostowicz & Susan Tomes
This recording was part of my effort to collect the complete Brahms music but I am still far away. Of the 6, I think this is most probably the only one not recorded in a studio but a hall or church as I can hear the reverb of the room. The playing is very exact and there is nothing I can fault on but at the sametime, I could not finger an appropriate word of praise for the artist as well.

Cheers,,,,, Pete aka lkypeter

Safe Harbor. Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for correctness, so please use with caution. Happy Reading. Peter Lye

Reprise-"Waves of worry over freight rate fall"

Straits Times senior correspondent Goh Eng Yeow had pretty good newsprint given that his above captioned article occupied half of the last page of the friday 2nd July 2010 edition of the paper. I gave the article more than a once over as I find the topic intriguing and the reporting could perhaps do with a slightly more balanced view than make the fall in the Baltic Dry Index as a plausible sign of slowing down of China's economy. Eng Yeow has done well in listing some factors that make the Baltic Dry Index a good leading indicator of China's economic growth like:

1. The Baltic Dry Index is not a tradeable index and therefore a more transparent indicator. I whole heartedly agree with remisier Alan Goh on this point but perhaps we should also consider that not being tradeable could also make it less reflective indicator due to a smaller market and lower denominator also and whether 41% drop was seasonally adjusted as well.

2. A similar pattern in late 2007 and mid 2008. The fact that both events happened together does not proof a co-related event. Perhaps it should also be mentioned that the service component of China's economy has most probably occupied a larger share of her GDP as it is quite a norm when a country progresses economically and economically surely China has progressed without a shadow of doubt. As the services share of the economy takes more centre-stage, the Index is also likely to be a weaker indicator as services are less co-related to the index.

3. While it is rightly stated that new export orders fell by more than 2% point after adjusting for seasonally lower February output, this might not be a very good causative argument firstly because US is still the largest trading partner as compared to EU. Secondly, China has slowly but surely been increasing her trade with former Soviet Union eastern bloc countries as well as Soviet Union as well especially in the area of energy related sector especially in natural gas which will reduce China dependance on oil for to meeting her energy needs.

4. Perhaps the recent action by China to allow RMB to have a wider band could have affected cost parity to come into play and therefore augmenting the argument that the Index has gone down in-spite of lower import cost for China to import now than previously.

On the whole, I would like to credit Eng Yeow for the good write-up as well as sounding the bulge horn call for a possible nightmarish event that is likely to happen and hope that he takes my comments positively.

Cheers,,,, Pete aka lkypeter

Safe Harbor. Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for correctness, so please use with caution. Happy Reading. Peter Lye

Last Words-Mozart Piano Concerto No 27 in B flat major K595

This writing started with a dear friend who wanted to loan a CD of pianist Emil Gilels having heard his rendition of Rachmaninov Predule No 23 Op 5 on uTube. I found that I only have a single CD of this pianist and in it was Emil Gilels playing Mozart Piano Concerto No 27 with Karl Bohm conducting the Vienna Symphonic Orchestra. It jogged my memory that this piece was one of my favorites as I have 6 variations of this piece in my collection just that time did not permit me to explore the circumstances behind this piece. With some time on hand, I decided to listen to all 6 versions and surprised me that this piece is normally performed with the pianist as the prima dona of sort with the pianist playing the role of the soloist and conductor in some of the circumstances. So there is no question on who rules the stage.

I am listening to all the 6 versions as I pen this and it surprises me that my collection consisted of many famous pianist.

1. Emil Gilels with Karl Bohm conducting Vienna Symphonic Orchestra (Time Magazine Supplement)

2. Mitsuko Uchida with Jeffrey Tate conducting English Chamber Orchestra-Philips 475 7306

3.Christoph Eschenbach playing and conducting London Philharmonic Orchestra-EMI 0946 3 81793 2 0

4.Daniel Barenboim playing and conducting English Chamber Orchestra-EMI 7243 5 86632 2 8

5.Rudolf Serkin with Claudo Abbado conducting English Symphony Orchestra-DG 445 516-2

6.Peter Schmalfuss and Stanislav Bogunia conducting Westbohmisches Staatorchester Marienbald

You can see from above that there is a mixture between separate and combined soloists/conductor and this makes for interesting listening session.

Child prodigy Mozart started piano lessons at 4 and was already performing publicly from between the ages 6-8 but died at a tender age of 35 after leaving a legacy of about 600 compositions. Some say that it is the life in your years that matters more than the years in your life. Of this he left us with a total of 27 piano concertos but the first 4 is generally regarded as amalgamation of other works by other composers. Another interesting point being that his piano concertos covers almost an entire spectrum of his life from his childhood to the year of his death in 1791.

It is believed that Mozart has always had a very bad commotion about his Requiem as it was his belief that its completion is likely to mark his final days on earth but it was actually this piano concerto to have this infamy not that this is piano concerto is his last compisition as there are more to follow. He is likely to have completed the piece around January 1791 and he premiered the concerto himself around March 1791 and died in December 1791. Although this concerto is keyed in the major scale and have a reasonable dosage of gayness, the second movement would reveal a veneer of melancholy especially in the slower portion of the second movement. The final movement also seems to end on a certain finality as if to signify his final concerto.

Although Mozart is known to be sloppy and fickle minded in his concertos normally leaving the cadenzas little much than an empty sheet. For this concerto, the cadenzas in both the first and last movements were very well documented and perhaps that he has a pre-motion that this might be his last piano concerto and wanted to have it documented properly for posterity.

Mozart also made contribution to the concerto genre by breaking the traditional mould of alternation between the soloist and orchestra with the orchestra having a very minor accompaniment part. Mozart not only added many more instruments like the famous clarinet concerto K622, he also broke away from the old mould and created interesting harmony for the soloist and the orchestra to blend rather than alternate. This influence is to be continued by later composers like Tchaikovsky and Rachmaninov and we have Mozart to thank for this development.

Finale Mozart and though you were to die rather inappropriately for your part in music development in the form of a re-cycled casket and a pauper's mass grave, we salute your contribution.

Cheers,,,,,Peter Lye aka lkypeter

Safe Harbor. Please note that information contained in these pages are of a personal nature and does not necessarily reflect that of any companies, organizations or individuals. In addition, some of these opinions are of a forward looking nature. Lastly the facts and opinions contained in these pages might not have been verified for correctness, so please use with caution. Happy Reading. Peter Lye