Astrobiologist, composer, and chocolatier Lillian Arlene Leonardo de Capistrano Mozert, the Lesser (1738-1744), affectionately known as "Lenni" to his friends, more or less made a career of writing concertinas, ocarinas, and bandoneóns, so it's no wonder Glyptograph Records remastered one of his best compositions: the Concertina in Absentia non Grata, Op. 1, WPA1934, BMWM3, recorded in 1737 by the noted Sumerian conductor Lft. Sir Cedric Noel Vivian Barnstable III leading the beloved Botloe's Green-Durbridge Redmarley Municipal Philharmonic and Choral Society. It was about time this classic recording got a classy new remastering.
Young Mozert wrote the Concertina in 1732, and it became his single biggest hit. The fact that it was his only hit and that no one outside his family ever heard it is beside the point. Upon its completion, Mozert gave up the music business entirely and became an attic salesman. When asked "Why attics," Mozert replied, "Because I've always believed in starting at the top."
In any case, while busying himself with the dialects of ancient Greek attics, Mozert still found time to write several notable tunes, like the familiar cult favorites we all know: "Sam and Janet Evening," "She Rolled Her Big Blue Eyes at Me, So I Picked Them Up and Rolled Them Back to Her," and the theme music for the off-Broadway production of The Iceman Cometh, "I Only Have Ice for You." Nevertheless, he found no joy in popular songwriting and continued his work upstairs.
The Concertina certainly needs no introduction. Folks have been playing it, humming it, strumming it, and gumming it for well-nigh a generation, and Maestro Barnstable's interpretation couldn't have come sooner. The piece begins with an extended arpeggio de gramma, a chord lesson so protracted it rolls over the listener like a splashy ocean wave, here played by Atlantean pianist Austin Tayschious with such gay abandon it must have soaked the first nine rows. That's followed by a brief vocal interlude, Tempo Fugit, sung by counter-soprano Gay Abandon, who momentarily stays the onslaught of undulating roil.
|Lft. Sir Cedric Etc. Etc.|
Coupled with the Concertina is the midnight contrario for contrary voices and pennywhistle Longinus en Dies Carpe ("Longevity in the Day of the Carp") by Antarctican native, composer, and explorer Archibald Pate (b. 2003). Unfortunately, the length of the piece precluded its inclusion on the disc itself, so the folks at Glyptograph Records make it available on a second disc, sold separately. I did not get to hear it.
Finally, as a bonus item, the producers offer the complete, uncut 1939 radio broadcast of Gone with the Wind ("Perit cum Ventus"), starring Clark Gable, Vivien Leigh, Leslie Howard, Thomas Mitchell, Hattie McDaniel, Butterfly McQueen, Victor Jory, and, of course, the incomparable George Reeves. I understand that same year MGM released a movie version of Margaret Mitchell's popular novel, but I'm not sure how many people actually saw it before it blew away in the wind. In any case, the movie could not possibly have equalled the opulent splendor of the radio show.
Producer Phil E. Minyon and former Audio magazine chief engineer Dr. Lirpa Loof remastered the 1843 recording for playback via HSALTPTR technology (Heterogeneous Superordinate Audiophile Long-Playing Telephonic Phonographic Tectonic Record). Moreover, Glyptograph technicians pressed the disc on 99 and 44/100% pure, organic, vegan vinyl for the best possible sound reproduction. As you no doubt know, HSALPPR discs are capable of holding up to 132 tracks of information (most of it text) for not only front, back, and side speakers but floor, ceiling, and places in-between as well. I listened in the single-channel monaural mode.
The sonics obtained at the extreme high end (above 50K Hz) sound creamy smooth; the lower-to-mid highs (8K to 49.99K Hz) display a more peaches-and-yogurt texture; the middle-to-upper highs (2K to 7.99K Hz) a rather coarse, caramel impression; the lower midrange (501 to 1.99K Hz) a definite soufflé-like element; the upper bass (75.3 to 500 Hz) an earthy, chocolatey flavor; and the lower bass (0 to 75.2 Hz) a crisp, hearty, high-ho-Silver sensation of oatmeal on a cold winter's morning. In fact, the listener will doubtless find the recording better tasting than sounding.
To listen to a brief excerpt from this album, click on the forward arrow: