June 2004






Think "classical music" boring? It's not!

Check out the Berkeley Early Music on the Fringe June 9-13, 2004


Then, also check out The San Francisco Early Music Society.


And as I've already written, I recently heard Joanna Blendulf and JungHae Kim's CD of Johann Sebalt Triemer's 'Cello Sonatas. I believe this private production to be a major effort the equal of Harmonia Mundi. I will soon write a full review, but for the moment offer a paraphrase from Dick Clark's American Bandstand. When the kids really liked a 45 they blurted out, often self consciously, "Great tunes and I can dance to it. Give it a ten!" For a more studied reaction, as well as some history, down-load and read the SFEMS October 2003 Newsletter PDF. Should you want to order a copy of their Triemer CD now, go to Ms. Kim's website, ici.

Ms. Kim will perform the J. S. Bach Concerto for Two Harpsichords and Strings in c, BWV 1060 with Gilbert Martinez at 2:30 PM on Thursday, June 10 in the Chapel of the First Congregational Church, Berkeley. The First Congregational Church is located on Dana and Durant. Ms. Blendulf will play in the Vivaldi string concerti on the same program that afternoon.




Symphonic music isn't boring either, now read

Symphonic Music on CD and the Anti-System--Batteries not Included

In 1991 Sony issued CD SK 44939. This historic release contains Charles Ives' Symphony No. 4, five hymns quoted by Ives in the symphony, and Ives' Symphony No. 1. Michael Tilson Thomas conducts the Chicago Symphony and Chorus in these works-Steven Epstein is the producer and Bud Graham the recording engineer. The pieces were recorded in the Medinah Temple, Chicago on April 15 and 17, 1989. Listening to this digital production is a revelation. What strikes the listener immediately is the apparent ease with which Tilson Thomas reveals the massive and complex Ives' Fourth Symphony. Of the symphony Paul Echols, Ives Society Vice-President, writes: "Ives's Fourth Symphony has ranked as the ne plus ultra of the American symphonies. Its reputation stems partly from the formidable performance problems it poses. Although not overly long, . . . the work requires extraordinary forces-an augmented orchestra, an elaborate percussion battery, a mixed chorus-and this array of performers must negotiate a host of daunting rhythmic and textual complexities unprecedented in any symphonic composition up to Ives's time. . . . The first publication of the work was prepared by a team of editors for Leopold Stokowski's 1965 premiere performance. Despite the enormous amount of work done on the score, it was soon recognized that a more thoroughly researched critical edition was needed. In 1976 the Ives Society commissioned William Brooks to begin the work on such an edition, which in 1989 reached its final stages of completion." It is from this critical edition that Tilson Thomas conducts this Sony production. Michael Tilson Thomas also conducted the edition's premiere performance in 1988, in Miami, with the New World Symphony. Perhaps it is Tilson Thomas' early acquaintance with this score that explains his apparent ease of performance, or, perhaps by 1998 this revolutionary work of 1916 simply had become understandable. Echols further observes that the symphony's "compositional techniques themselves represent . . . Ives's most far-reaching and arresting musical ideas, developed over two decades of experimentation. Densely layered textures are formed by superimposing two, three, and even four separate ensembles, centered on different tonalities and proceeding in different meters and tempi, constantly shifting in and out of synchronization. This polytonal, polyrhythmic fabric is (made) from fantastically intricate webs of contrapuntal lines, moving in different rhythmic patterns and often at different dynamic levels-now prominently in the foreground, then receding to a middle or barely audible backround. The individual melodic lines are frequently derived from the familiar Ivesian mix of old hymn tunes and popular and patriotic songs (over thirty have been identified to date in the work). . . . The borrowed material is sometimes directly quoted . . . But just as often the tunes are skewed . . . or fragmented (as they) skitter, in a dream-like fashion, back and forth . . . now distinct, now fading into (silence)."

It is this challengingly rich score that is brought to life on CD by digital technology, the Sony production staff, the Chicago musicians, and Michael Tilson Thomas. Digital technology seems well suited to this massive work for it simplifies complicated music. And, although it is digital recording that encodes, its associated production techniques-refined close miking and sophisticated mixing-illuminate recorded-music with extraordinarly fine detail. Together these technologies render the complicated and cacophonous Ives Fourth with a new clarity. Ironically, though digital sound captures wide dynamic range and extreme frequency response, the sound itself is quite delicate, even fragile. In playback, digital sound does not stand up well to the rigors of the listening room, in which it sounds cooly cold. Digital sound is heard most accurately, and pleasantly, through delicate mid-ear earphones. Indeed, subjecting digital software to listening room playback is expecting something of it that it cannot satisfyingly deliver. Pushing all the air around in a listening room seems to exhaust the CD, leaving its music pale and same sounding. In lending itself to earphone playback, CD listening becomes a satisfying cyber experience-happening as it does completely in one's head. It is experienced as is a phone call, for the phone-voice and the earphone-music do not interact with the whole body-as, for instance, a recorded jazz bass in the listening room does. This listening room experience-a leftover from live Edwardian parlor entertainment-is replaced by a more detailed, cerebral experience. One that perfectly fits an analytical and sometimes embarrassingly self-aware digital production. The digital sound that we hear in this way may have had its origin in live performing but we have now moved into a different world, a world more analytically revealing and at the same time one more removed from the fullness of life. We hear more but we sense less-and this is so with the Tilson Thomas Ives Fourth CD. And sadly, the Stokowski analogue production of this work, in spite of its robust aliveness, is at times unlistenable-for the symphony's musical complexity is greater than the LPs' ability to reproduce it.

Ottorino Respighi's Roman Festivals, though not a particularly complicated piece, is certainly a colorful, dynamic work and one that pushed LP technology to its limits. In fact, many of its LP releases can be played satisfactorily only through a perfectly tuned reproducer with a brand-new stylus. Yet a CD easily captures this dynamic and colorful music poem and, in fact, can provide a satisfying cyber experience when played back on a Sony Discman through Sony mid-ear earphones. And, although these in-ear earphones do not capture the illusion of a concert performance, neither does this digital production. But, the ability of digital technology to encode wide ranging dynamics and extreme frequencies in detail is perfectly fitted to this music. In 1994 Telarc released CD-80356 which contains, in addition to Roman Festivals, two of Respighi's other music poems, Brazilian Impressions and Church Windows. For this production Jesus López-Cobos conducts the Cincinnati Symphony with Michael Bishop as producer and Robert Woods as recording engineer-the works were recorded in Music Hall, Cincinnati on May 2-3 1993. A typically American production of clear texture and crisp playing, it is also one to which López-Cobos brings passion and sensitivity. Altogether this is a satisfying CD and a fine example of digital hyper-realism.

Hyper-realism-the recorded illusion most commonly rendered through digital technology-is a music experience characterized by an emphasis on detail and is, at its best, an effective way of revealing musical texture and structure. Sadly, concert-realism-the relaxed recorded illusion of a concert hall performance, and a product of the analogue era-is not often encoded in digital production.

A satisfying exception is Latin American Ballets (Dorian DOR-90211 [c1995]). This CD of exciting, often passionate dance music contains Carlos Chavez' Suite de Caballos de vapor (c1926-32), Alberto Ginastera's Estancia (c1941) and Heitor Villa-Lobos'Uirapurú (c1917). The Simón Bolívar Symphony Orchestra of Venezuela is conducted by the late Eduardo Mata-David H. Walters is the producer and is, with Brian C. Peters, also one of the recording engineers. The recording was made in July 1994 in the Aula Magna of the Universidad Central de Venezuela, Caracas. This production is a worthy digital descendant of the Mercury Living Presence LP catalogue. It is similar in its music-rich, colorful, and symphonic; its musicians-skillful and often inspired; its performance-energetically confident; its perspective-detailed yet concert-like; and its sound-bold and powerful. This is a fine CD and an important release of the '90s.

One of the most successful of the original Mercury Living Presence productions is a record of Percy Grainger's music called Country Gardens (MG 50219/SR 90219[1959]). In addition to the title piece, the record contains Children's March, Colonial Song, Handel in the Strand, The Immovable Do, Irish Tune from County Derry, Mock Morris, Molly on the Shore, My Robin is to the Greenwood Gone, Shepherd's Hey, and Spoon River. All these are short, light and tuneful pieces, but Percy Grainger composed more adventurous works and some of these, along with some of the traditional favorites, appear on the 1997 EMI release Percy Grainger: In a Nutshell (7243 5 56412-2 9). Of the composer and his compositions Lyndon Jenkins writes; "Grainger was one of the most extraordinary figures of the century. A man ahead of his time in his thinking as much as his approach to music. He was . . . a man of genius mixed in with a touch of madness. . . " (It is said he always traveled with a cased-set of custom-made whips). Grainger's In a Nutshell CD contains Country Gardens , In a Nutshell (c1916), Lincolnshire Posy (c1939), Train Music (c1901), The Warriors (c1916), an arrangement of Debussy's Le estampes: Pagodes (c1928), and an arrangement Ravel's Miroirs: La vallée des cloches (c1944). The City of Birmingham Symphony is conducted by Simon Rattle and the producer is David R. Murray. All but one of the recordings were made in Symphony Hall, Birmingham on January 6, 1996 and August 15, 1996-the exception, the Ravel arrangement, was recorded in Butterworth Hall, University of Warwick in 1990. The stimulating Warriors; an Imaginary Ballet is a work written for symphony orchestra with an augmented percussion section and three pianos. Grainger wrote of his piece that "it is an orgy of war-like dances, processions and merry making, broken, or accompanied, by amorous interludes." His description seems apt. Less orgiastic but still exciting is In a Nutshell; an arrangement for large orchestra of four previously composed pieces-my favorite is "Gum-suckers" March. But the most startling piece on the CD is Grainger's treatment of Debussy's Le estampes: Pagodes. To hear this piano piece arranged for what is essentially a percussion ensemble is at first upsetting, then funny and finally charming. And if you love steam trains you will loveTrain Music. This CD can be successfully played back on the old fashion listening room reproducer or the discman and mid-ear earphones.

Of course, the discman and in-ear earphones are of efficient, simple circuitry and design, run on excellent and consistent DC battery electricity, always give the perfect recorded perspective, are not effected by ambient listening room distortion, allow you to listen while moving about, and are suited by temperament to digital reproduction. And, because this small and light reproducer is portable and easy-to-use, you will probably listen to music more often.
Make no mistake, the playback experience of the discman and in-ear earphones is a dramatic break from the listening room experience-in fact, it is more like the virtual reality of the computer world. And, though the home theater experience seems to be a result of just adding a television set to a stereo system, it too is a dramatic break from the listening room, for its roots are in the sensations of the movie theater most of which are not important to music listening. Indeed, in the movies, music is usually just backround.

The Sony Discman and Sony in-ear earphones together cost well under US$100.00. Batteries not included.



Seems the Berkeley Fringe aren't the only ones having fun playing music.Check out "Home is Where the Music is" by Jackie Burrell of the West County Times. Then read her "Magazine Names Top Local Talents."




A community meeting, mostly about west Berkeley prostitution, was held last night in the screening room of Tippett Studios. (One can only wonder what those empty story-boards held during the day.) Over forty people were present including our Council woman, Ms Breland and staff, Calvin Fong of the Mayor's Office, Office Warren of BPD, and Lieutenant Al Yuen of BPD's fourteen-person, mobile Special Enforcement Unit. Ms Breland opened the meeting with introductory remarks and then turned it over to Officer Warren--one really smart and saavy policewoman. Warren introduced Lieutenant Yuen and then spoke of her own current overtime efforts including escorting prosititues to the Oakland border. Warren also strongly encouraged citizens to keep on, or to install, lighting on their properties. Lt. Yuen talked generally of the current employment of his unit in west Berkeley and encouraged citizens to use his number-981-5815-to report drug and vice problems in progress. Also mentioned for the reporting of drug and vice problems, was Berkeley PD's THECOPS number. More specifically, Yuen reported twenty recent arrests including high profile stops. Seems BPD is taking care of business. But, many community members reported that they continued to observe and call in incidents. (One wonders what Potter Creek citizens could learn about Community and organization from west Berkeley's Black folks.) And, it was good to see some folks from east of San Pablo Avenue. Sadly, no further meeting was scheduled.



Tomaso's is my all-time favorite Italian pizza restaurant, mostly because it's oak-fired-oven pizza is like the kind I have in Italy. A few weeks ago, I went there with my friends Velma, and Sylvia. Now run by Augustino and Carmen, it's a family owned place I've gone to since the '60s. Tomaso's is long and narrow with booths along either wall and a long table between, and is really comfortable. Velma, Sylvia and I got there early on a week night--Tomaso's is always crowded--and sat in one of their booths. We looked forward to an evening of talk and food. But before our pizza we had another of my favorites, a plate of assorted vegetables--lightly blanched broccoli, green beans, asparagus and roasted red and yellow bell peppers marinated in lemon, garlic and olive oil--a delicious and gorgeous dish. Just as we finished, our pizza arrived. It was a large, with roasted garlic and fresh clams on one half and Italian sausage and mushrooms on the other, beautifully presented with clams in their shells placed around the outer border. I had a house Chablis filled almost to the top of the glass for only $4.50. Talking between bites and sips we had a fun evening. Finally, full and caught up on "current-events," we left. By then there was a line out the door and up the steps--people waiting and talking, often as not with a glass of wine in hand. Kimar

Oh,. . . our pizza was $18.00 and Tomaso's is in San Francisco, down Kearny from Broadway.



On Monday, June 7 at the South Berkeley Senior Center, 2939 Ellis St., 7:00-8:30 PM there will be a City meeting conducted by the City Manager to explain the latest budget proposals for Berkeley's current fiscal crisis. It will provide the community with information and a chance for input during this difficult budget year.

This is a good opportunity for everyone to bring their questions and concerns.

Hope you can attend--Margaret Breland, Councilwoman.




From last years Berkeley Baroque Festival? Hardly, . . . that's a modern piano.


But check out this year's at, Berkeley Early Music on the Fringe June 9-13, 2004





This page received over 200 visitors yesterday, including twelve from US military servers, and the visitors made over 1,000 hits. Maybe it was the babes? Maybe Early Music on the Fringe June 9-13, 2004? Other "Scrambled Eggs . . . "pages also had many visits. More than I can patiently count.




Next to the register, at A Dollar Warehouse, you can buy an eighteen-pack of purse-size Tempo. They are "multitask" sheets--a cross between Kleenex and paper towels. They cost $1.00. The A Dollar Warehouse is at 10730 San Pablo Avenue, El Cerrito. Their phone number is 510-559-9088. Kimar


Everyone's got a mascot, ours is Levon




It's rumored that the Nexus Gallery might be replaced by a pound-a Berkeley Humane Society facility. So, Potter Creek's going to the dogs?

Apparently no one in Potter Creek is interested enough in the Berkeley PD's Neighborhood Watch program to start it and take charge. Hmmmm, . . . does that mean our Police Department takes our crime more seriously than we do?






In the '50s and '60s there was a group called "The Ray Charles Singers." They recorded very mid-American material for American Decca--not unlike Lawrence Welk's. In Berkeley, in the '60s, we carried their records at Campus Records on Telegraph Avenue. They didn't sell at all in Berkeley, but we stocked them out of deference to our Decca rep--a former liquor-salesman immaculately dressed in Italian silk-suits. Also, Albert the owner, would sometimes try out some "straight-kid," from maybe Hayward, in an attempt to broaden sales. It was such an employee who took a well-dressed, elderly Black-woman to the Ray Charles Singers section. "No" she protested "I want OUR Ray Charles." Actually, we all thought of him as our Ray Charles. Well, maybe not that kid.

Ray Charles taught me the meaning of soul.



I spent yesterday afternoon at Berkeley's Early Music on the Fringe. My senses were assaulted by scores, recorders, recorderists, old cellos, new gambas, books, scores, musicians, musicians, and musicians. But I have two lasting memories--JungHae Kim and Gilbert Martinez playing the harpsichords with a lovely pizzicato accompaniment in Largo of the Bach c Concerto and Joanna Blendulf playing on Peter Hütmannsberger 's indescribably beautiful gambas in his stall after the performance. (But please tell me why the string players in the Bach were elevated on risers while the solo harpsichordists were buried below most of the audience of the first row.) Still, this was a wonderful afternoon.

And, . . . there was that moment when John Phillips came up to the beautiful instrument he made for JungHae, ran his finger lightly between strings on the sounding board and showed her the dust on his finger. "But it still sounds good" she offered quietly.




Some music web sites that come to mind after my Thursday's visit to the Berkeley Early Music on the Fringe

John Phillips harpsichord maker

Peter Hütmannsberger gamba maker

Junghae Kim, harpsichordist

Joanna Blendulf

Early Music America

Viola da Gamba Society of America

The San Francisco Early Music Society




"Poaching of Recyclables Stings Berkeley" writes Martin Snapp in the West County Times and also reports "Berkeley Advances on Public Financing."




"Bay Street Looks to Draw Crowd" by James Temple and Guy Ashley's story about the development of our San Pablo Avenue, "Rising Hope for Hodgepodge" are in the West County Times. Also in the Times is "Unions Take on White-Collar Offshoring" by the AP's T.A. Badger--a story about unionizing the Middle-Class.




My old friend and music lover, Jerry Landis, offers of the Berkeley Early Music on the Fringe "There were a group of students and two of their teachers from the University of North Texas. Turns out this campus in Denton has a Collegium Musicum with a large collection of authentic instruments, a crack faculty, and sixty students devoted to performing early music with great enthusiasm and musicianship. About a dozen of them came to Berkeley - three dazzling violinists, gamba, theorbo, harpsichord, baroque organ, three brilliant sopranos, two tenors and a bass. They served up some magical Monteverdi along with a handful of other Italian masters. The University of North Texas is a national treasure."

Last week the Chronicle's Charles Burress reported "Cal's Cost to City Estimated $11 Million per Year."





18 tablespoons (2 sticks plus - -
2 tablespoons) unsalted butter,
plus more for pan

12 ounces best-quality bittersweet
chocolate, coarsely chopped

1/2 cup all-purpose flour

1 teaspoon baking powder
3large eggs

1 1/4 cups light-brown sugar, packed

13/4 cups pecan halves, coarsely chopped


(1) Preheat oven to 325°. Butter an 111/2-by-7-by-2-inch baking pan. Line bottom with parchment paper; set aside.

(2) In the top of a double boiler or in a heat- proof bowl set over a pan of simmering water, melt the butter and chocolate. Re move from heat, and let stand until cool.
Into a medium bowl, sift together the flour and baking powder; set aside.

(3) In the bowl of an electric mixer fitted with the whisk attachment, beat the eggs
until thick and creamy, about 5 minutes. Gradually beat in the sugar. Continue beat ing until mixture is thick and mousselike and the whisk leaves a clear trail when lifted, about 3 minutes.

(4) Using a large rubber spatula, gradually fold in the chocolate mixture, alternating with the flour mixture. Fold in nuts.

(5) Pour batter into prepared pan, and bake until top is cracked and the center is just
firm to the touch, 40 to 45 minutes. (The brownies should not have a cakelike consistency.) Remove from oven; let cool.

(6) Cut into squares in pan before turning out onto a board; remove parchment paper, and reinvert. Store brownies in an airtight container at room temperature up to 3 days.

From Martha Stewart Kimar


The Potter Creek songbirds are enjoying the Samuel Barber Violin Concerto this morning.






I believe Sunday is Ms. Sally's Thirty-Ninth Birthday.



"The global economy finally caught up with Cliff Cotterill. On a recent Friday, the software engineer drove his pickup truck to Agilent Technologies Inc. in Santa Clara. He made his way through the warren of partitions to his cubicle. Then he turned in his laptop computer and employee badge and said goodbye to 25 years of his life" writes Warren Vieth in his "Tech Workers Feel Outsource Ax." This Los Angeles Times reporter's story appears in the West County Times.

Want to read a newspaper report so well done that you'll also enjoy it as a short story. Then read Meredith May's "Bay Area Derby Racers Head Downhill to Ohio" in the San Francisco Chronicle.





And again as I've already written, I recently heard Joanna Blendulf and JungHae Kim's CD of Johann Sebalt Triemer's 'Cello Sonatas. I believe this private production to be a major effort the equal of Harmonia Mundi. I will soon write a full review, but for the moment offer a paraphrase from Dick Clark's American Bandstand. When the kids really liked a 45 they blurted out, often self consciously, "Great tunes and I can dance to it. Give it a ten!" For a more studied reaction, as well as some history, down-load and read the SFEMS October 2003 Newsletter PDF. Should you want to order a copy of their Triemer CD now, go to Ms. Kim's website, ici.

I listened to this CD yesterday afternoon to relax after my work week and came to understand that one of the reasons it is so completeeeely musical is that it was not only performed by, but was also produced and recorded by, musicians. Arrrgh!

Our songbirds have discovered Ms Blendulf and Ms Kim's CD. My, what refined taste.


Willie Nelson paid tribute to Ray Charles at the funeral yesterday.





Sportman's Guide.com is selling a two-pack of new Czech dress-shirts in light olive-green, in size large, for $2.97. They are a polyester-cotton blend--pretty heavy on the cotton I'd say, they're nice and soft.






I was talking with Mr. Steve Sunday morning on the corner of Pardee and 10th at about 10:00 AM--this area is largely residential. In the half-hour we were talking, a shapely woman in tight jeans walked around the adjacent block and a car cruised passed. (I left as Flash paid his respects on the way to church.) A little later, as I drove down San Pablo Avenue, I was given the come-hither look by a young woman at the bus stop. Ah, . . . Sunday morning in Potter Creek.







AP reporter, Michelle Locke writes "Berkeley residents will have a chance to vote on whether they think prostitution should be a crime this November. . . . The ballot initiative would not make prostitution legal in Berkeley but it would support the decriminalization movement and would also order the police department to give enforcing anti-prostitution laws 'lowest priority.'"
The full story is at
SF Gate.com

Patrick Hoge of the San Francisco Chornicle reports in his not fully researched story "Berkeley Voters to Decide on Leniency for Prostitutes, Customers."

This was mentioned on the Ronn Owens Show on radio this morning.

Polly Legendre, a École Bilingue parent writes "I think a woman should have the right to do what she wants with her own body as long as it is of free will and does not involve minors. However, if Berkeley is the only
local city to decriminalize, then it will only increase the problem. [And since] all the girls, pimps and johns [don't have] dedicated real estate for this business venture, there is a big possibility that they [will] stay in the Potter Creek area."

And a Potter Creek parent writes "Lowering prostitution as a police issue is not the answer--it just makes Berkeley a magnet for criminal activity and creates a myriad of real problems for the neighborhood in which the service is provided. The thought of this activity in my neighborhood makes my blood boil!"

Last evening, about seven o'clock, there was a girl in real short, shorts and heels "waiting for a bus" on the corner of San Pablo and Heinz. And she was ug . . . !

Residents who do not live on San Pablo, or on the streets intersecting, or immediately parallel to San Pablo, should pay a visit. Sometimes it ain't a neighborly place!



Kimar doesn't just contribute tips and food stuff--although not credited her influence is considerable. On the other hand, I have some influence on her reports. (You know, behind every great woman there's a good man.) My neighbors of all kinds contribute a lot too, and just maybe I take them a little for granted. Well, not you, Lipofsky. Today he reminded me that in the'60s I finessed the Berkeley Art Center into mounting a show of my model airplanes. "Remarkably model-like sculpture" wrote Chronicle art critic, Alfred Frankenstein.


And there's Byron's quiet, steady presence; Jerry's unexpected wisdom; John's smart-ass cracks, etc, etc, etc.




In a letter to authorities a Potter Creek resident writes "Our neighborhood in Berkeley has been overrun with prostitutes, their customers and their pimps. They are trashing the place with used condoms, used tissues, broken whiskey bottles, syringes, etc. They sometimes use our porches and our yards for their activities. Occasionally, they defecate on the sidewalk or in the bushes. Lately, the pimps have been contesting this territory with each other. We have two private elementary schools in this neighborhood and the young children are being exposed to blow jobs occurring in cars parked by their schools."

Another Potter Creek resident continues "The fact is that prostitution on San Pablo Ave causes condoms everywhere, including in front of schools and family residences, harassment of non-working women, children being exposed to the act in the back of cars, related criminal activity such as drug dealing and massive increases in traffic off San Pablo Ave."

Let me say that after recent communtiiy meetings, Berkeley PD has aggressively addressed these problems. Something I believe that they would not be able to do if the decriminalization proposition passes.

Make no mistake, decriminalization is NOT legalization. Legalization would legitimize prostution, decriminalization would result in increased illegal activity--activity that the police would not be able to effectively stop. AND, prostitution cannot become legal in Berkeley for there is now a state law prohibiting it.




Planning Commisioner and reporter, Zelda Bronstein writes in the Dailey Planet, Businesses Say Ashby Changes Hurt Safety, Sales.

And, these signals do NOT now seem properly timed.




If you'd like to hear an MP3 of music played on one of neighbor, John Phillips' French harpsichords, check out the Triemer Cello and Harpsichord Sonatas performed by Ensemble Mirable of JungHae Kim and Joanna Blendulf. It will be available soon at Magnatune.com

During the weeks of June 30 to July 14 JungHae Kim will be performing, teaching and coaching at the Assisi Summer Festival in Italy. Ms. Kim will be playing works of Handel, Rebel, Vivaldi, Marini, Sweelinck, Byrd and others.

Joanna Blendulf will be playing at the Carmel Bach Festival, from July 17 thru August 7.



Next week, I will announce the Scrambled Eggs and Lox "Babe of the Year"-January to June 2004. The winner must not only be a Babe--the female equivalent of Hunk--but must be intelligent, sensitive and accomplished, and of course, a woman.

"Well ok then"



This site received 35% more visitors this May than last, and so far this June, 50% more visitors than last June.


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