As Philip Glass’s Einstein on the Beach is currently undergoing a revival at the Brooklyn Academy of Music in New York, I’m reminded of when I saw it there in 1984, the second series of performances after its initial run in 1976. This 4 1/2 hour “opera” is a combination of music, dance and visuals, and was truly unforgettable. Over the years, I’ve collected the different recordings of the work.
But until now, no recording was released of the 1984 performances. Philip Glass’s Orange Mountain Music has done that now, in two versions. The first, a CD and DVD set, contains a 77-minute CD of “highlights” of the work, along with a DVD of a documentary, The Changing Image of Opera, made during the 1984 production, but rarely seen. The second is a 217-minute “complete” recording, available only by download on the iTunes Store (at least for now), and is the most complete recording to date.
The 1984 recording has several advantages over the others. First, it’s a live recording, showing much better how the work actually sounded. Second, there is no attempt to make the sound lush and rich, as on the Nonesuch recording, which, again, brings it closer to its performance.
I’m certainly looking forward to both audio and video releases of the current revival of Einstein on the Beach. Finally, we will be able to see and hear the entire work. I just hope that it’s not too “smooth,” that the years between the first productions and the present haven’t led to too much perfection. One of the charms of minimalism in the 1970s and early 1980s is its spontaneity. This was music that went against the grain at the time, but which has now become more or less mainstream. I hope the radical nature of the original work comes through in the new performances.
Update: I received the “highlights” disc and watched the documentary today. If you care at all about Einstein on the Beach, you simply must see the documentary, with interviews with Glass and Wilson, and extensive footage of the 1984 production.
With the arrival of iTunes 11, classical music fans – and anyone with a large music library – have lamented the removal of certain features and views that help organize large amounts of music. I touched on some of these in my extensive review of iTunes 11 for Macworld, and in my discussion of iTunes 11 on the Macworld podcast. But I would like to summarize here the problems that iTunes 11 has brought specifically to classical music listeners.
First, there is no Composers view. In the iTunes window, you can view your music by Songs, Albums, Artists Genres and Playlists, but Composers has been forgotten.
Next, the Column Browser has been removed. This was a very practical way of viewing your library by drilling down from, say, Genre to Composer to Album. Previously, the Column Browser was available either on the top of a window or on the left side, allowing for two different ways of viewing music. It’s still available, but only in one view: Songs. The Songs view is sterile and hard to use, because there is no artwork displayed, and because there is no visible separation between albums.
Album List view was also removed. This allowed users to display a list of their music with album art, and the artwork delimited each album, making it easy to spot an album at a glance. Also, this list view would display whichever columns a user wanted to see, and users could sort by any column, such as Date Added, Composer, Artist, Album, etc. The new Albums view only shows track names, ratings and times, and sort options are limited.
In the iTunes Store, there is no longer a Composer column when you view an album. So if you see a recording with several works of the same name, but by different composers, there’s no way of knowing which is which, if you want to buy one or several tracks of work by a specific composer.
And in the iTunes Store, the Power Search feature was removed. You could use this to search for items by multiple criteria, including composer. If you were looking for an album with a work by a specific composer, played by a specific artist, this was a practical way to find it.
iTunes is clearly targeted at those listeners who consume songs, not those who collect classical music, or who have large libraries. But what chagrins me is that it would have been simple to keep the above features; they don’t specifically clash with the overall interface. Their removal makes iTunes much harder to use with classical music, and with large libraries. I can only hope that Apple makes some changes so those users who need these features can feel comfortable with the program.
I often get e-mail from readers asking about what audio equipment I use. While I’m not an audiophile, I do listen to music on decent equipment, in my office (I have a DAC and amp, with bookshelf speakers, connected to my Mac), in my living room, and when I use headphones.
While I like listening to music with headphones, I do realize that it is, in some ways, artificial to listen with them. Instruments that are off to one side sound much further away from the center of the soundscape than when you listen to a stereo. I like the effect of having the music “in my head,” but for some types of music, and some recordings, this isn’t ideal. This is the case with some symphony recordings, and some recordings of string quartets, where the instruments are separated too much. Generally, rock and jazz sound fine with headphones, but with any kind of music, good headphones are unforgiving. It’s much easier to hear any weaknesses in a recording when listening with headphones. Nevertheless, I do use headphones often. Here are the five headphones I use.
Listening on the go
When I’m out walking, I want light, comfortable headphones, but I don’t want to scrimp too much on sound quality. I don’t like earbuds, and I especially dislike in-ear headphones. For years I used Sennheiser’s PX 100, a light, foldable headphone, but one with excellent sound. Last year, these headphones died, and I bought a newer model, the Sennheiser PX 100-IIi. This is essentially the same as the PX 100, but it has an inline volume control and mic. This means that if I’m walking, and listening to music on my iPhone, I can take a call without removing the headphones. For other uses, the volume control and play/pause button make it a bit easier to listen to music. The sound quality of this headphone is surprisingly good, though don’t expect a lot of bass from this headphone. (Though these have been supplanted for mobile listening by the Philips Bluetooth headphones I discuss below. I now mainly use these to talk on my phone when I’m home.)
Blocking out noise
There are times when I want to listen outdoors and not hear the sounds around me. This was a particular problem last year, when there was construction next to the house I was living in. Having moved since then, there is, at times, a bit of street noise around my new home. So sometimes I like to sit outside and listen to music, and I want to hear just the music. Following a recommendation from my Macworld colleague Dan Frakes, I bought Audio Technica’s ATH-ANC7B, a noise-canceling headphone. While this suffers from the problems inherent in this type of headphone – the sound is good but not great, and wearing them makes your ears warm – they do offer good enough sound that I am not disappointed. I could have spent twice as much and gotten Bose noise-canceling headphones, but I didn’t want to, as I don’t use them enough to make it worthwhile. I find the Audio Technicas to be quite good, and certainly good enough for my use.
Finally, I have a set of full-sized headphones for “serious” listening. I used to have a Sennheiser HD-580, an excellent headphone at an affordable price, but after about 15 years, they started sounding a bit dull. So I asked around, and my friend Doug Adams, of Doug’s AppleScripts for iTunes, recommended Beyerdynamic’s DT 990. I bought them from Amazon so I could return them if I didn’t like them – I don’t have a local store that sells headphones of this type – but I quickly realized that this was the kind of sound I like. The bass isn’t overdone, the treble is clear, and the definition is subtle and balanced. These are open headphones, so you don’t want to use these if you’re listening to music with other people around you. The foam rings are soft and plush, and the headband is comfortable. I can wear these for hours and not get tired, which isn’t always the case with full-sized headphones. Oh, and I got the 32 ohm version, so I can use them with my iPods, as well as with my stereo.
Following comments to this article – both posted below and by e-mail – I decided to try out Sony’s MDR-V6 monitor headphones. These are available at around $75, and were recommended by both casual listeners and people I know who work in the music industry. These are interesting headphones. They are closed, and offer a bit of passive noise reduction. They are light and comfortable, and the earpieces fold up, making them easily portable. And they have a coiled cord, which can get less tangled than a long, straight cord. As far as listening, I’ve only had them for a short time, and they are very bright, very clear headphones. The bass response is limited, but this could be because they aren’t broken in yet. But the resolution and spaciousness of the sound is excellent. While I prefer the warmth of the Beyerdynamics, especially for classical music, these Sonys sound great with music that has energy. This is an excellent sub-$100 headphone.
I’d been looking for a Bluetooth headset for a while, and tried a Sennheiser, MM 400 model. I was very disappointed. The sound was terrible, and they were very uncomfortable, so I returned it. Then I came across this Philips SHB9100/28 Bluetooth Stereo Headset, and I think I’ve found the right one. It’s light, and very comfortable, with large ear pads that cover my ears entirely. This means that they provide some passive noise reduction, so if you’re in the street, listening to music, you won’t hear the cars as much. They’re obviously not noise-canceling headphones, but they do a good job of reducing chatter. The sound is excellent. The bass is sufficient for a small headphone, and the stereo separation is excellent, with clear midrange and treble. They also come with a cable, so you can use them as wired headphones if the charge runs out. The charge with a USB cable, and are rated to last about 8 hours (though I’ve always charged them before they run out).
There are many brands of headphones I would like to try, notably Grado and Stax. As I said above, I don’t have any stores where I live where I can hear these headphones, so I’ll have to wait until I visit a larger city and find a good audio store. (These brands are not widely sold.)
If you’re curious about the different types of headphones, see this TechHive infographic that explains the differences.
If you have any favorite headphones, feel free to mention them in the comments.
Update: I’ve reposted this article because with the release of iTunes 11, the Gapless Album tag is no longer available in the program. However, many people don’t understand this, and think that the removal of this tag means that iTunes no longer plays music without gaps. This is incorrect. Read on and understand what this tag was for.
Following a comment from a Twitter friend, asking how to find which of a number of albums require gapless playback, I pointed him to an old article on this website. (I won’t link to it, as it was written in 2006, and addressed the problem of gapless playback on the iPod.) I realized that many people don’t understand what that Gapless Album tag is, so here’s a brief explanation.
If you select a number of tracks in iTunes, then choose Get Info, and click on the Options tab, you see this:
And if you choose a single track, you see this:
That tag at the bottom of the first screenshot, Gapless Album, or at the bottom of the second, Part of a Gapless Album (thanks for being consistent, Apple), has one, and only one usage. This tag only matters if you have Crossfade Song turned on in iTunes (Preferences > Playback), and it only affects playback from iTunes. All gapless albums are automatically detected and played as such on iPods and other iOS devices. You may even see iTunes “Determining Gapless Playback Information” when you add new files to your iTunes library; this is simply to find whether the music ends at the end of the file or not. (Not actually at the end, in fact; there’s a brief bit of silence no matter what, but it’s a set length, so if the silence is that length, iTunes knows to ignore it.)
So, unless you use Crossfade Songs, you never need to worry about this tag.
Christopher Hitchens never shied away from telling the truth – at least the truth as he saw it – and when he was diagnosed with stage 4 cancer in June, 2010, he started “living dyingly,” writing about his experiences with the illness. The stoicism with which he wrote, and the lucidity in the face of immanent death (“there is no stage 5”), go very well with the way Hitchens faced the rest of his life. Having only recently completed a memoir, Hitch 22, and on his book tour when he had symptoms which led to his diagnosis, Hitchens realized that he needed to tell the story of this cancer as he had just told the story of his life.
If you’re familiar with Hitchens’ writings, you’ll certainly recognize the trenchant approach here to becoming a resident of “tumortown.” In this brief book, composed of essays he wrote for Vanity Fair, Hitchens explains what it feels like to be dying, yet doesn’t feel sorry for himself or for his lifestyle that may have contributed to his cancer. (His father died of the same cancer as well, so part may be genetic.)
You’ll read this book in an hour or two, but you’ll also want to come back to it from time to time. While the chapters are composed – these are articles, not journal entries – there is a spontaneity throughout them, as his condition worsens, and as hope seems to recede.
Hitchens again shows with his words that cut like scalpels that he was one of the finest voices of his generation, and we’re not likely to see another like him for a very long time.