Category: Daily Dispatch

  • Chopin School Chicago a Hidden Gem

    Chopin School Chicago a Hidden Gem

    Did you know there’s a Frederic Chopin Elementary School in Chicago? It’s a magnet school for the fine and performing arts, serving grades K-8. Its auditorium sports two WPA murals painted by Florian Durzynski in 1940, inspired by the lives of Chopin and Stephen Foster. The school has one of the city’s largest orchestras. More than 90 percent of the students live below the poverty line.

    Here’s one of Chopin’s etudes, or studies, performed by Yuncham Lim – the Etude Op. 10, No. 8, which bears the nickname “Sunshine.”

    Happy birthday, Chopin!

  • St. David’s Day Welsh Harp Music on The Lost Chord

    St. David’s Day Welsh Harp Music on The Lost Chord

    St. David’s Day (March 1st) has been a national day of celebration in Wales since the Middle Ages. This week on “The Lost Chord,” we’ll honor the country’s patron saint, with an hour of Welsh music – interestingly, all of it in some way connected to the harp.

    Structurally, Grace Williams’ “Penillion” (1955) draws on the ancient Welsh practice of improvising vocal counterpoint to a traditional melody played on the harp. However, in this instance, the role of the harp is assigned to the trumpet, so as not to be swallowed up by the rest of the orchestra.

    We’ll also hear a set of variations on “Megan’s Daughter,” by the 19th century harpist John Thomas. In 1861, Thomas was given the bardic title, “Chief Musician of Wales.” In 1872, he became official harpist to Queen Victoria.

    Then bass-baritone Bryn Terfel will be heard, in his first ever commercial recording, in a Welsh song employing a text by Caradog Pritchard, extolling the virtues of the Ogwen River. “The River’s Song” is sung to the accompaniment of a harp, in this setting by Elsbeth M. Jones. Terfel will be joined by his former schoolmate, the tenor John Eifion.

    We’ll conclude with a personal favorite, the Harp Concerto (1970) by William Mathias. According to the composer, the first movement is connected with the land and seascapes of South West Wales, where the music was composed. The slow movement is a landscape of the mind, reflective of the great elegies of early Welsh poetry. The third movement is a spritely jig, which brings the piece to a rhythmic and joyful conclusion.

    Dydd Gŵyl Dewi Hapus!

    There’s a giant leek in the fridge. Yes, you heard correctly, and no, it’s not broken.

    I hope you’ll join me in celebrating St. David’s Day. That’s “And God Created Great Wales,” on “The Lost Chord,” now in syndication on KWAX, the radio station of the University of Oregon!


    Clip and save the start times for all three of my recorded shows:

    PICTURE PERFECT, the movie music show – Friday at 8:00 PM EST/5:00 PM PST

    SWEETNESS AND LIGHT, the light music program – Saturday at 11:00 AM EST/8:00 AM PST

    THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EST/4:00 PM PST

    Stream them, wherever you are, at the link!

    https://kwax.uoregon.edu/

  • Golden Age Movie Music on KWAX

    Golden Age Movie Music on KWAX

    Musically, the Academy Awards lost me some time ago. I’m an orchestra guy and a product of the 20th century (if not the 19th). This morning on “Sweetness and Light,” we’ll hark back to a halcyon era when indelible movie themes were indispensable components of the overall cinematic experience.

    I don’t want to give it all away in my Facebook teaser – in fact, during the course of the show, I won’t even identify the pieces until after each one of them is played, so that you’ll have the added enjoyment of guessing along at home – but trust that you’ll likely recognize most of them, all Best Original Score winners or nominees from highly-decorated films.

    As a bonus, the show will open with a 90-second montage of introductory fanfares from the great studios of Hollywood’s Golden Age. So you’ll want to be there when the lights go down. Celluloid memories will be stirred by reel music, on “Sweetness and Light,” this Saturday morning at 11:00 EST/8:00 PST, exclusively on KWAX, the radio station of the University of Oregon!

    Stream it, wherever you are, at the link:

    https://kwax.uoregon.edu/


    PHOTO: Oscar-winner John Williams (right), with presenters Henry Mancini and Olivia Newton-John, in 1978

  • Hollywood Behind the Scenes Academy Awards Special

    Hollywood Behind the Scenes Academy Awards Special

    “All right, Mr. DeMille, I’m ready for my close-up.”

    This week on “Picture Perfect,” on Academy Awards weekend, we take a look behind the scenes at self-reflexive movies that offer glimpses beneath the industry’s glamorous veneer.

    We’ll hear music from Billy Wilder’s “Sunset Boulevard” (1950), a film that’s been called the greatest movie about Hollywood ever made. Gloria Swanson plays Norma Desmond, a faded silent movie actress who believes she’s still “big; it’s the pictures that got small,” and William Holden is an unsuccessful screenwriter-turned-gigolo. Real life director Erich von Stroheim appears in an interesting role as Desmond’s butler – who was once a director! There are also cameos by Cecile B. DeMille and Hedda Hopper, who play themselves. Franz Waxman wrote the Academy Award winning score.

    Vincent Minnelli’s “The Bad and the Beautiful” (1952) stars Kirk Douglas as a ruthless producer, who uses and abuses everyone around him – including Lana Turner, Walter Pigeon, Dick Powell, and Gloria Grahame. Yet everyone’s career seems to blossom from exposure to this S.O.B. The music is by Philadelphia-born David Raksin, who is best-remembered for his theme to the all-time noir classic “Laura.” His theme for “The Bad and the Beautiful” has also become a jazz standard.

    Peter O’Toole dominates “The Stunt Man” (1980) as a tyrannical director who blackmails a fugitive from the law into acting as a stunt man in his current film. The line between fantasy and reality begins to blur. Dominic Frontiere wrote the music. It’s probably not what anyone wants to be remembered for, but I always find it interesting that Frontiere served time for scalping tickets to the Super Bowl! Of course, he scalped a half-million dollars’ worth, and his wife owned the Los Angeles Rams.

    Finally, director Michel Hazanavicius succeeds brilliantly in his virtuosic homage to classic American cinema, “The Artist” (2011). To my knowledge, if we discount Mel Brooks’ “Silent Movie,” from 1976, “The Artist” was the first silent feature to be released since Charlie Chaplin’s “Modern Times,” which was already an anachronism in 1936. “The Artist” was the recipient of five Academy Awards – half of its ten nominations – including one for Best Picture.

    The story deals with “A Star is Born”-type dynamic, with a fading actor of the silent era gradually eclipsed by the success of a rising young actress. Yet Hazanavicius manages to turn it around to come up with an honest-to-goodness, feel-good movie, a real rarity in contemporary cinema.

    Ludovic Bource’s Oscar-winning score is evocative of time and place, breezy, yet when necessary poignant, with moments of spectacular action music which could have been written by Alfred Newman or Franz Waxman. For a classic movie lover, the first five minutes alone are priceless. And love that Uggie!

    Stars are born and celebrities fade this week, on “Picture Perfect,” music for the movies, now in syndication on KWAX, the radio station of the University of Oregon!


    Clip and save the start times for all three of my recorded shows:

    PICTURE PERFECT, the movie music show – Friday at 8:00 PM EST/5:00 PM PST

    SWEETNESS AND LIGHT, the light music program – ALL NEW! – Saturday at 11:00 AM EST/8:00 AM PST

    THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EST/4:00 PM PST

    Stream them, wherever you are, at the link!

    https://kwax.uoregon.edu/

  • Remembering Gene Hackman a Legend

    Remembering Gene Hackman a Legend

    Any opportunity to see Gene Hackman on the big screen was always a privilege, even when the characters he played were morally grey and the movies perhaps not his best. He made enough “hits” (more than most) that it’s easy to forgive the misses. No matter what the quality of the film, he was always good in it, and the turkeys were often turkeys only in relation to the eagles. My, how I miss his kind. It was a great era for the movies, especially when Gene was just hitting his stride.

    Sometimes it came at a cost to those around him. I’ve read multiple accounts of Hackman being difficult on the set, especially with untried directors. (There are behind-the-scenes horror stories about “Hoosiers” and “The Royal Tenenbaums.”) I must say, Hackman reminded me an awful lot of my father in “The Royal Tenenbaums.” Draw your own conclusions.

    Apparently, his wife was a classically trained pianist. He was one of the few white guys, outside of Sinatra and the Blues Brothers, that could pull off wearing a pork pie hat.

    R.I.P., Gene. I’ll be picking my feet in Poughkeepsie.

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