Dayton Opera’s La boheme

La-Boheme-Set-Photo-Photo-Credit-Duane-Tinkey-Des-Moines-Metro-Opera-website-version-1024x514Seeing the Dayton Opera La boheme today reminded me of how Puccini at age 37 succeeded in crafting a nearly perfect work of lyric drama after his first three flawed efforts: Le Villi, Edgar, and Manon Lescaut.

By age 37 Verdi had penned 16 of his three dozen operas. Mozart died at age 35 and by the time of his death he had given the world no less than five operatic masterpieces. But Puccini was painfully slow at composing, and inspiration came to him sporadically, but when it did… Well judge for yourself as you sit through yet one more La boheme. I, for one, could see that unabashedly sentimental musical yarn many times over.

That brings me to director Gary Briggle’s La boheme, which I saw and admired today. The veteran director had good help from Thomas Bankston, the Artistic Director of the Dayton Opera, who provided Briggle, first of all, with a handsome co-production designed by Robert Little, which delivered 100% on authenticity and practicality.

The cast was good, with the four bohemians young and sonorous, a pretty Mimi, a pert Musetta, and the marvelous Thomas Hammons in the double buffo assignment of Benoit/Alcindoro.

All seven principals responded to Briggle’s minute attention to details, which reminded me of Puccini’s fastidious love of le piccole cose (the little things). Mimi, for example, arrived in the bohemian’s attic and, after the initial ritual of flirtation involving the lost key and the candles – which both Rodolfo and Mimi slyly put out – she sat down to tell Rodolfo about herself.

In Giacosa and Illica’s Italian she says that people call her Mimi but her name is Lucia, that her story is brief, and that she embroiders at home and at work. At that point the Dayton Mimi, the lovely Kasia Borowiec, proffered her new acquaintance a little kerchief most likely embroidered by her. Great directorial touch that one! And, that little prop, hardly made a big deal of, returns in the subsequent acts to remind us of the bond of love it represents.

Briggle got his young cast members to react as well as act, to stay alive 100% of the time especially when not singing, and to use the silences between notes to carry meaningfulness.

Matthew Vickers was hands down the best singing actor in the cast, portraying a largely uncomplicated poet and singing with a bright lyric voice and clarion high notes. His Mimi, Kasia Borowiec sang with a full-bodied soprano voice, partnering her Rodolfo to perfection.

Of the other three bohemians, baritone Kenneth Stavert was a rock solid Marcello, bass Vincent Grana, an earnest, well sung Colline, and De’Ron McDaniel a lively Schaunard.  Zulimar Lopez-Hernandez was a pretty Musetta.

Patrick Reynolds conducted an orchestra largely peopled by musicians from the Dayton Philharmonic, keeping things under control and bringing stray singers back into the fold whenever they strayed. The Dayton Opera Chorus sang and acted well, once more helping to maintain the reputation of the Dayton Opera as a worthy professional enterprise in the always-busy Southern Ohio music scene.

Rafael de Acha    http://www.RafaelMusicNotes.com

Photo: Duane Tinkey/Des Moines Metro Opera

Strehler’s Abduction from the Seraglio

qcco_-_mozartThe recent Cmajor/Rai Com/Teatro alla Scala release of Mozart’s Die Entführung aus dem Serail as a double DVD is a welcome addition to any opera collector’s library. The reasons are many, among them that this is a faithful reenactment of the note-perfect 1965 staging by the master director Giorgio Strehler, created then for the Salzburg Festival. Secondly, the conductor: Zubin Mehta brought back on board to lead the superb La Scala orchestra and a cast of rising young Mozart.

The visual aspects of the production are exquisite as well, starting with the impeccably designed and period-perfect costumes of Sybille Ulsamer. The chiaroscuro lighting of Marco Filibeck does wonders for the settings of Carla Ceravolo, and the revival of Strehler’s original production is faithfully brought back to life by stage director Mattia Testi.

Mauro Peter sings elegantly as Belmonte and behaves on stage as if to the manner born. Bass Tobias Kehrer is a competent singer with more weight in the middle voice than in the bottom range so essential to the role of Osmin. The Pedrillo is sung by Maximilian Schmitt with more voice than what is usually brought by singers of this role. And he is a good comic.

Dutch soprano Lenneke Ruiten has both the vocal heft and the agility demanded by all her arias and the essential dignity and noble bearing demanded by the role of Constanze. French soprano Sabine Devielhe is a splendid spitfire Blonde, good to look at and listen to. Cornelius Obonya acts with dignity as Pasha Selim.

Maestro Mehta conducts with Mozartian clarity and accompanies the singers never once overbearing them. Most significantly, Strehler’s production provides a lesson in operatic stage direction which this writer wishes that all stage directors hell-bent on improving and updating the great work of the 18th and 19th century would assimilate.

Rafael de Acha          http://www.RafaelMusicNotes.com

FOUR SUPERB SINGING COMICS

un-mari-a-la-porte-florence-2019Jacques Offenbach wrote and produced close to one hundred little comic operettas for his tiny three-hundred-seat Théâtre des Bouffes-Parisiens in the two decades during part of which France and Austria on and off waged war on each other.

The French public satiated with the grand operas of Meyerbeer and Gounod and the tragic news that filled the front pages of the Paris newspapers could find a refreshing change of pace in a couple of hours of light-hearted entertainment that unfailingly featured young and good-looking signing actors costumed and clad in the finest silks and velvets, singing the music of Offenbach, Lecocq, Délibes, Bizet, and Chabrier in one-act lyric comedies in which spoken dialogue, dancing, and antics kept everyone happy.

A Dynamic DVD in a bright-new production from the Maggio Musicale Fiorentino, is helmed by maestro Valerio Galli brilliantly conducting the festival’s equally superb orchestra.

The team of stage directors Luigi Di Gangi and Ugo Giacomazzi keep the action going at warp speed and never running out of inventive ideas.

The whole thing is an insanely comic romp featuring a quartet of gifted comedians endowed with major vocal chops. Soprano Francesca Benitez is a bundle of Latin charm, equipped as well with a terrific upper range, sexy looks, and comic timing.

Mezzo-soprano Marina Ogii is fully committed to the inspired silliness of the production, singing beautifully and looking like a pretty bird in an over-the-top ruffled costume – one of four created by the immensely gifted Agnese Rabatti.

The set, by the way, is a celebration of bourgeois bad-taste tastefully created by the designer Federica Parolini.

The men are both good singing clowns. As Florestan (!) tenor Matteo Mezzaro turns out a vocally and physically athletic performance. Last to join the action as the stupid cuckolded husband-at-the-door is baritone Patrizio La Placa, yet another first rate singing actor in a cast of equals.

I have two requests, one of which I usually append to my reviews of operas on CD and DVD: please include a libretto!

The other request..? More Offenbach, please, if possible with this cast!

Rafael de Acha     http://www.RafaelMusicNotes.com

HAMLET LITE

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If one settles down to watch Ambroise Thomas’ lite version of the familiar story about the brooding melancholy Dane expecting a faithful adherence to the Shakespeare original the viewer is in for a major disappointment. I was.

Expect instead a light-weright take on the original, dressed in this erratic production in come as you are contemporary garb, a show plagued with many fussy directorial touches that bring no fresh insights into the telling of the story.

Some of the “big moments”, like the first appearance of the ghost of Hamlet’s father come off more chilly than chilling. The entrance of the tuxedo-clad members of the superb choral ensemble Les élements down the aisles of the theatre looks silly and robs the scene of its inherent power. And like that, many more moments… Hanky-panky in Ophélie’s bedroom between the Prince and the presumably virginal young woman interrupted by brother Laertes…

Are you serious?

The characters in the original, as sketchily sketched by Barbier and Carré fare from fair to middling, much of the their dramatic effectiveness squarely depending on the acting chops of the members of this largely French cast, at the top of which stands baritone Stéphane Degout, an intense singing actor and a valuable artist with the sort of voice they name Baryton Martin in his country and which we plainly call lyric baritone, meaning a male singer with a ringing, easy top voice that allows the artist to handle the high tessitura of the role with elegant ease.

On the debit side, this viewer found that the costuming given Degout does neither him, nor Claudius, nor the Ghost, nor Gertrude any favors. Video is implacable in the way it reveals budgetary shortcuts in fabrics and tailoring.

But I digress.

Coloratura soprano Sabine Devielhe is one of the finest interpreters of the role of Ophélie I have ever encountered. Pretty as a picture, formidable top notes, technically flawless, stunning Mad Scene. Is the MET listening?

Others in the cast vary. I found Sylvie Brunet- Grupposo a vocally effective Gertrude, but Laurent Alvaro as Claudius and Jerome Vernier as the Ghost both sonorously undernourished. Tenor Julien Behr cuts a handsome figure and sounds good as Laertes. Through no fault of theirs but Thomas’ doing the Marcellus, Horatio, and Polonius are relegated to second-tier walk-ons.

The Orchestre des Champs-Élysées, led by Louis Langrée plays beautifully and idiomatically. Now, Naxos, if we could just get that libretto included…

Rafael de Acha http://www.RafaelMusicNotesa.com

Clean up, dress nice and play!

Before you get angry and start to sharpen the daggers you reserve for snarky music reviewers… take a deep breath and have a look. Pictures can paint a thousand words, and here you have a cross-section of orchestral  conductors and players of all ages and ethnicities, European, South American, American… When they go to work, most of these musicians take the time and trouble to clean up good.

A symphony concert is not an informal, come-as-you-are event. These days many conductors well into or well-past their middle-age and heavy in girth try to look hip and cool as they step up to the podium in loose-fitting black shirts worn outside their either baggy or way-too-slim for their age pants.

Most of them don’t have the build for that kind of outfit and, beyond that, they are up there on that stage for the duration of a two hour gig, with their backs to us, while we, the audience, have no alternative but to look at them waving their arms and wrinkling the badly-ironed shirt they came in wearing, as it rides way too high above their butts.

Come on guys, with your high-five or six-figure salaries (and up) you could certainly spring for a nice custom-made tux or, even better, tails! And if you perspire a lot, then bring an extra shirt to change into at intermission. That and ask the management to crank up the air conditioning.

In many cases the orchestra’s male personnel looks no better, dressed in various shades of black, no jackets, no ties, rubber-soled, unpolished shoes. The ladies 99% of the time look great, by the way. The truth is that most male musicians are visually-oriented beings for whom how one looks is nowhere as important as how one sounds.

But, for most of us out there who shelled out a few hard-earned dollars for tickets and/or parking to come to see as well as hear your concert, it would be good to have something nice to look at during your hour-long Mahler symphony.


Here are some nice outfits you can pick up on sale on Amazon.com… You’ll look good and even sound better.

 

Rafael de Acha     http://www.RafaelMusicNotes.com

CINCINNATI MUSIC: BEST OF 2019

The year 2019 in Cincinnati was filled with music, and this listener always tried to get to not only the well-publicized “majors” but to the mid-sized musical organizations that cannot easily afford to get the word out about their work. Here is my list of 2019 favorites, a bit early, I know but I might be absent for the best part of the coming weeks.

IMMACULATA ENSEMBLE.jpgCHAMBER MUSIC: The Immaculata Church in Mt. Adams opened its 2018-2019 Chamber Music Series with string players Christina Nam, Holly Nelson, Kanako Shimasaki, Yu-Ting Huang, Hojoon Choi, and Jonathan Lee assembled into what we hope will be a permanent group. In a city rich in musical offerings it is difficult for an ensemble of young players to establish an identity and make a mark. All the more remarkable that this musically ad-hoc group should begin its young journey so auspiciously.

CCO FESTIVAL: During the dog days of August, the fully blossomed Cincinnati Chamber Orchestra once more brought to Cincinnati’s music lovers a plentiful supply of world class soloists, up and coming young artists, and the playing of a cohesive, disciplined, and fluent ensemble made up of some of the best musicians in these parts, led by the never predictable, ever reliable Eckart Preu in off-the-beaten-path programming throughout a multi-concert Summemusik mini-festival.

63D81DD1-69BE-4A47-A78E-C85912340730OPERA: A variety of characters are subjected to the sorrowful vagaries of the American legal system and wrongfully convicted. David Cote’s potent libretto and Scott Davenport Richards’ emotionally charged score tell their stories of incarceration, exoneration, and redemption in Blind Injustice, a memorable world premiere brilliantly staged by Robin Guarino and fiercely conducted, sung, and played with the chameleonic  John Morris Russell at the helm, a riveting experience that Cincinnati will remember for a long time.

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STUDENT ORCHESTRAL: It is quite remarkable that on the same September day, two orchestras would open their seasons in a mid-sized, mid-western city. One is a terrific student group, the Philharmonia Orchestra at the University of Cincinnati College-Conservatory of Music (CCM), led by the superb conductor, Mark Gibson. In a marvelously played concert of music by Brahms and Dvořák, the CCM group alternated delicacy with bold assertiveness. This kind of triumph by brilliant young musicians is a frequent occurrence in music-wealthy Cincinnati, and we count our blessings. Then there is in the same school several other orchestral ensembles, among them the CCM Concert Orchestra, which on a cold November evening gave a towering performance worthy of the best of professional groups, of Dimitri Shostakovich’s Symphony No. 5 led by yet another first class conductor, the Malaysian-born Aik Khai Pung. Lucky students, lucky Cincinnati!

Kirill Gerstein Photo: Marco Borggreve              

SOLO PERFORMANCE WITH AN ORCHESTRA: Notoriously treacherous for pianists, Rachmaninoff’s Third Piano Concerto demands agility, enormous strength, inexhaustible energy, protean musicality, and a sense of the poetic. It requires, in short an artist like the 39-year old Russian-born Kirill Gerstein. Karina Canellakis made an impeccable partner for Gerstein and led the CSO with vibrancy and acute sensitivity.

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ORCHESTRAL: Christopher Rouse completed his Sixth Symphony, barely three months before his untimely death from cancer at the age of seventy. The work’s now somber, now agitated, now elegiac tone says with rare profoundness what mere words cannot begin to convey, as moments of reflective stasis contrast with blunt agitation, evoking life’s vicissitudes. The Cincinnati players gave a powerful, soulful performance, with Louis Langrée at the helm heroically holding together Rouse’s momentous creation. Whether the composer intended it or not, the music spoke of a great life well lived nearing its end

Rafael de Acha.    http://www.RafaeldeAcha.com

At home with my top CD and DVD choices

cThroughout 2019 I reviewed dozens of CD’s and DVD’s sent to me by a number of recording companies. This is my TOP TEN list.

EARLY MUSIC

The Baltimore Consort Listening to the Baltimore Consort’s Sono Luminus CD The Food of Love made this acquaintance with a treasure trove of Elizabethan music sheer joy. Performed by Mary Anne Ballard, Mark Cudek, Larry Lipkis, Ronn McFarlane and Mindy Rosenfeld, on treble and bass viols, citterns, recorders, crumhorns, fifes, and bagpipes, with the silvery-voiced soprano Danielle Svonavec brilliantly bringing to life the music of several contemporaries of Shakespeare the album reminded us of what good music accompanied the works of the Bard.

WORLD MUSIC

th Daniel Tarrab’s music is quintessentially Buenos Aires tango music. The Argentine master writes and plays his own music, mesmerizing with his jazzy riffs, his classical cadenzas, and his improvisatory flights of fancy that seamlessly bounce off each other. Tarrab reveals his soul in every bar of every tango of every track of Otra Mirada, available from both Silva Screen Records and Times Square Records.

CROSSOVER

th Stewart Goodyear’s brilliantly inventive Callaloo is a musical fantasy in which snippets of Trinidad’s Calypso vie for attention with a heady mix of Jamaican Mento, afro-Cuban Guaguancó, Son, Conga and Guaracha, and inter-island Soca. The superbly hip Chineke Orchestra is beautifully conducted by Wayne Marshall, with a solo bow going to the terrific percussion section for its temperature-raising Latin drumming-on-steroids. The ORCHID CLASSICS CD includes the original band version of Gershwin’s Rhapsody in Blue given an energetic reading by Goodyear and friends.

SONG

Tamara-cover-square Pentatone‘s CD of American songs with soprano Melody Moore and pianist Bradley Moore makes one hard put to find enough adequate words of praise for both artists. Assembling an album of over thirty songs by five American composers could be a daunting task, not because there are not enough songs to go around- which there are – but because numbing sameness could set in the hands of lesser artists. But throughout seven groupings of songs by Barber, Heggie, Floyd, Copland, and Gordon Getty, Moore and Moore find an inexhaustible variety of vocal and pianistic colors to sustain the interest and engage the emotions of the listener, leaving us wishing for more Moore.

CHORAL

thU2TROO95 There is open mindedness in the choice of compositions for the Ansonica CD CORO DEL MUNDO. There is also a purposeful commitment to an artistic philosophy that embraces the ideals of peace and brotherhood through music. Two Cuban choral groups: Schola Cantorum Coralina and Vocal Luna, lend their voices to an intriguingly varied collection of works by international composers in this CD, with both ensembles deftly handling the many improvisatory passages, with the all-women Vocal Luna creating dazzling instrumental sounds with its voices and with Schola Cantorum shining in various hip-swaying settings of Cuban poetry.

ORCHESTRAL/INSTRUMENTAL

1568325347_cover Norwegian harpist Sidsel Walstad is technically and musically a force of nature, holding her own against the massive orchestration of Alberto Ginastera’s Harp Concerto and his Variaciones Concertantes. Protean in her ability to spin a long legato line with an instrument notoriously hard to master, Walstad jointly with the Norwegian Radio Orchestra, led by Miguel Harth-Bedoya delivers a memorable performance in this LAWO release.

CHAMBER MUSIC

tfedxt-four-preview-m3_550x550 The absolutely charming métier release FOUR with the superb London Myriad, a wind ensemble featuring Julie Groves on flute, oboist Fiona Joyce Myall, the clarinetist Nadia Wilson, and Ashley Myall on bassoon, introduced this listener to the chamber music of Eugène Bozza, Frank Bridge, Jean Françaix, Richard Rodney-Bennett, Jacques Ibert, and Claude Arrieu. The four in FOUR are formidable musicians, impeccable technicians, young of age but mature as players of music that is now lyrical, now outrageously humorous, and blessedly unpretentious.

OPERA DVD

Ricciardo_DVD_COV_3000 During his rather short career Rossini wrote over three dozen-plus operas, many of which have fallen into unjust neglect, among them RICCIARDO E ZORAIDE. Now in a new release of this Rossini rarity by Cmajor, the double DVD features a terrific cast led by Peruvian tenor Juan Diego Florez and South African soprano Pretty Yende in the title roles. The 2018 live Pesaro Festival recording measures up to the highest of standards, boasting a superb line up of Rossini specialists. Florez and Yende are simply perfect. Tenor Sergey Romanovsky (Agorante) and mezzo-soprano Victoria Yarovaya (Zomira) are both spectacular. Kudos also go to the fast-rising Basque leggiero tenor Xabier Anduaga in the role of Ernesto, and the impressive bass-baritone Nicola Ulivieri as Ircano.

OPERA CD

637479225-alexander-tsymbalyuk-25ng This BIS recording of the rough-hewn, big-boned 1869 original version of Mussorgsky’s Boris Godunov stars the young Ukrainian Alexander Tsymbalyuk in the title role. He is sensationally good, commanding yet restrained, and in control of the crowd in the Coronation scene, stunning in the Kremlin scene, vulnerable and ultimately heartbreaking in his Death scene. Finnish bass Mika Kares is Pimen, singing patricianly and lyrically at all times. Alexey Tikhomirov is no mere buffo bass but a sonorously menacing Varlaam. The Shuisky, Maxim Paster and the Grigory, Sergei Skorokhodov are both first-tier tenors luxuriously cast in supporting roles. Kent Nagano commands his forces magisterially, eliciting sheer musical magic from the Gothenburg Symphony Orchestra, the Gothenburg Opera Chorus, and the Brunnsbo Music Classes Children’s Chorus.

Rafael de Acha   http://www.RafaelMusicNotes.com

The deeper the blue…

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The SOMM compact disc The deeper the blue… takes both its title and its aesthetic from a Kandinsky essay in which the painter speaks of the mystical properties of color in nature and in music.

In the playing of the superb violinist Janet Sung and her collaborators: the accomplished pianist Simon Callaghan, and the rank and file of the note-perfect Britten Sinfonia with the wonderful Dutch conductor Jac van Steen at the helm, we hear a strong commitment to honor the spirit of the multifaceted selections in this intriguing CD.

There’s the 1925 neoclassical and elegant Concerto for Violin and String Orchestra of Ralph Vaughn Williams, a work for solo piano by Henri Dutilleux: the enchanting set of six pieces given the omnibus title Au gré des ondes, here brilliantly orchestrated by Kenneth Hesketh and originally conceived with no further pretentions than to provide connecting music for a group of episodes for 1946 French radio broadcasts.

A compelling 2015 composition by British composer Kenneth Hesketh provides a welcome dose of atonal brawn in this largely tonal assemblage of 20th and 21st century works.

The album also includes two tour de force works: Ravel’s Tzigane, a ten-minute musical obstacle course for only the bravest of violinists, which Janet Sung dispatches without breaking a sweat.

At the end of the CD, Ms. Sung returns in the company of the multi-talented pianist Simon Callaghan to give a fun-filled, jazzy, classy, bluesy an ultimately technically dazzling performance of a notoriously challenging Ravel work: the Sonata for Violin and Piano.

The SOMMCD275 is flawlessly engineered by Ben Conellan, properly produced by Siva Oke, given insightful line notes by Michael Quinn and available as a new release from SOMM.

Rafael de Acha      http://www.RafaelMusicNotes.com

Join us in helping C-CM students and the arts

Dear Friends, To continue our fundraising efforts scholarships for UC’s College-Conservatory of Music, our Everything But the House sales continue. Each sale states that the proceeds will benefit the C-CM scholarship fund through Music for All Seasons. We’ll be donating 100% of what we receive, so please take a look.

Today, there are 3 large sets of books live for auction, but in the coming days there will be many more books in different categories–etc, along with works of art, two 19th Century Swedish articles about the Swedish Nightingale, Jenny Lind in acid free mats, a three-page letter written famous opera singer Ernestine Schumann-Heink, a pair of hand painted Empire period Old Paris vases, a 1930’s Snow White Kewpie Doll, a Waterford crystal champagne bucket, two beautiful old clocks, a hand loomed blanket, a great old world globe from the 1920’s on a beautiful stand, antique dishes, a beautiful antique set of matching tea and coffee pots by Powell and Bishop, a collection of great old copper cookware, a pair of Chinese cloisonne mirror vases, large signed hand painted Japanese plate. . . . at present there are some FIFTY lots of items being processed by Everything But the House , and there will be more to come.

Pieces will “Go Live” as they refer to the sales, and will be added in the coming days and weeks. Please take a look. You can connect directly to our sales by pasting in https://www.ebth.com/categories?seller_id=584737

If you see something you love, please bid, and join us in helping talented C-CM students and the arts, by helping train the next generation of great musicians.

JONAS KAUFFMAN LITE

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The Austrians call it Schlager Musik a term for which there is no good translation other than “hit” music. I call it light classical music and leave it at that.

Jonas Kaufmann is running out of repertory after having completed the entire Wagner Heldentenor canon and then moved on to Puccini, Verdi, Mahler, et al. His is basically a hefty instrument with a clarion top, a baritone timbre in the middle voice, and, heaven knows, plenty of power, so that to tackle the rep featured in the SONY CD WIEN the German tenor has had to pull way back on the stentorian and lay on thickly the saccharine sound and schmaltzy delivery that back in the day made maidens swoon to the sound of that quintessential operetta tenor, the great Richard Tauber.

But that is like asking an ATV to drive in the cobblestoned alleyways of Alte Wien. From me Herr Kaufmann gets an E for effort if not for effortlessness: his handling of the ditties of Stolz, Sieczynsky, May, Johann Strauss, Lehar, Kalman, Zeller, Weinberger, Leopoldi, Benatzky, Kreuder, and Kreisler –all toll nineteen in this album – is vocally faultless at the mezzo-forte to forte levels. But when he goes for a mezza-voce top note that then turns into a breathy croon and good vocalism vanishes. And there are lots of top notes in this album: either the multi-decibel kind or the Dean Martin/Perry Como kind.

Elsewhere Kauffman phrases elegantly, but no matter how noble his intentions the outcome is not what some of us weaned on the recorded sounds of Peter Anders, Joseph Schmidt, Rudolf Schock, Fritz Wunderlich and, yes, Richard Tauber have come to expect from an interpreter of this charming and unabashedly sentimental music. This is a Siegfried in white tie and tails and decidedly not a good fit.

The accompaniment by the Vienna Philharmonic, no less, is deluxe, the conductor, Adam Fischer a moonlighting heavyweight, the brief participation of Rachel-Willis-Sorenson quite pretty, the accompanying booklet complete, the engineering professional, the singing good, but… lighten up Jonas.

*** E for EFFORT

Rafael de Acha   http://www.rafaelmusicnotes.com