Category: Daily Dispatch

  • Ryelandt’s Symphony No 4 Easter Vigil Special

    Ryelandt’s Symphony No 4 Easter Vigil Special

    This week on “The Lost Chord,” we anticipate Easter with a symphony by devout Belgian composer Joseph Ryelandt.

    Born in Bruges in 1870, Ryelandt was raised to value culture, tradition, and faith. He was unhindered by financial concerns for the first half of his very long life. World War I, however, badly affected his finances. The father of eight children himself, he took up teaching out of necessity at the age of 54. He did so with some hesitation, but was relieved to find it truly rewarding. He was appointed director of the Bruges Conservatory in 1924.

    While his academic and creative work evidently brought him enormous satisfaction, life at home was saddened by the gradual decline of his wife’s health. She died in 1939. Ryelandt composed very little during the Second World War. A few chamber works followed, and then he abandoned composition altogether. He devoted his retirement to literature – writing poetry and reading the world’s classics. He died, following a brief illness, in 1965, at the age of 95.

    Of all of his works, he considered his five oratorios the most important, though he composed much else, including six symphonies (the first of which he destroyed). None of the symphonies were performed until 1960. It was then that the Symphony No. 4 received its belated premiere, on a concert in celebration of the composer’s 90th birthday.

    Ryelandt’s inspiring Fourth Symphony was composed in 1912-1913, on the very eve of World War I. Like nearly everything he wrote, the work is an outgrowth of his personal faith. About twenty minutes in, a choir of tenors appears, to sing a passage from Thomas à Kempis’ “The Imitation of Christ.” The triumphant chorus that concludes the piece is from the Credo, as heard in the traditional Catholic Mass.

    Then, following the symphony, and in the time remaining, we’ll hear another Credo setting, by Franco-Flemish composer Josquin des Prez.

    I hope it will suit the mood for your Easter Vigil. I invite you to join me for “Creative Spirits” 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 EDT/5:00 PM PDT

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

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

    Stream them, wherever you are, at the link!

    https://kwax.uoregon.edu/

  • Easter with Peter Rabbit Sweetness and Light on KWAX

    Easter with Peter Rabbit Sweetness and Light on KWAX

    This week on “Sweetness and Light,” with Easter hopping up on us, we’ll do our best keep it fluffy, with selections for Peter Rabbit and friends from “Tales of Beatrix Potter.” This 1971 ballet film features dances choreographed by Frederick Ashton and performed by members of the Royal Ballet.

    The director, Reginald Mills, worked as an editor on Powell-Pressburger classics such as “The Red Shoes” – for which he was nominated for an Academy Award – and “The Tales of Hoffman,” also incorporating dance. John Lanchbery arranged the music from Victorian era carrot sticks by Michael Balfe and Sir Arthur Sullivan.

    Then, in the warm glow of a sugar-high, we’ll luxuriate in the mingled sense of well-being and accomplishment that comes from having polished off all the chocolate, with the “Cottontail Rag” by Joseph Lamb.

    No need to adjust your rabbit ears. We’ll be keeping all our jelly beans in one basket on “Sweetness and Light,” an hour of leporine light music for Easter, this Saturday morning at 11:00 EDT/8:00 PDT, exclusively on KWAX, the radio station of the University of Oregon!

    Stream it wherever you are at the link:

    https://kwax.uoregon.edu/

  • Stokowski Wagner Parsifal Good Friday Spell

    Stokowski Wagner Parsifal Good Friday Spell

    On Leopold Stokowski’s birthday, a transcendent performance of the “Good Friday Spell” from Wagner’s “Parsifal”

  • Biblical Epics on Film Radio Show KWAX

    Biblical Epics on Film Radio Show KWAX

    This week on “Picture Perfect” it’s the second installment in a mini-festival of very big films, as we present another hour of Biblical epics, though this time with a twist. Rather than go directly to the Gospels, these are all films adapted from bestselling historical novels.

    Lloyd C. Douglas’ “The Robe” was given the Hollywood treatment in 1953. Richard Burton plays Marcellus, the Roman tribune who oversees the crucifixion and wins Christ’s robe in a game of dice. Victor Mature (last week’s Samson) is his well-oiled slave, Demetrius, and Jean Simmons, his childhood sweetheart, now betrothed to Caligula (a scene-stealing Jay Robinson).

    “The Robe” holds the distinction of being the first film released in CinemaScope. Allegedly, it is also the only Biblical epic ever to yield a sequel (“Demetrius and the Gladiators”). The score, by Alfred Newman, has always been popular.

    Thomas B. Costain’s “The Silver Chalice” was brought to the big screen in 1954. The film introduced Paul Newman in the lead, as a lowborn artisan commissioned to fashion a decorative casing for the cup from which Christ drank at the Last Supper (i.e. the Holy Grail).

    The film is interesting in that it features quasi-abstract sets by stage designer Rolfe Gerard and a stunning score by Franz Waxman, which incorporates the “Dresden Amen,” also used in Wagner’s “Parsifal.” However, Newman was mortified by his performance and famously took out an ad in Variety, essentially to apologize.

    “Barabbas” is worlds away from the usual Hollywood epic. Based on the Nobel Prize-winning novel of Pär Lagerkvist, the film is a ruminative slog through the guilt-ridden psyche of the title character, played by Anthony Quinn. Barabbas is the thief who is pardoned to make way for the crucifixion of Christ. He spends the rest of his life searching for meaning in a meaningless world.

    In a quixotic attempt at verisimilitude, director Richard Fleischer shot the crucifixion scene during an actual solar eclipse. Mario Nascimbene (who composed the music for last week’s “Solomon and Sheba”) wrote the score.

    Finally, we’ll wrap things up with music from one of the all-time Oscar champs, “Ben-Hur,” from 1959. Based on the 1880 novel of General Lew Wallace, “Ben-Hur” was honored with 11 Academy Awards, including those for Best Picture, Best Director (William Wyler) and Best Actor (Charlton Heston).

    The highlight of the film, of course, is the amazing chariot race, but there is a grandeur to the whole which makes it difficult to look away. Miklós Rózsa wrote the magnificent score, arguably the best of any film of its kind. (Parenthetically, today is the composer’s birthday!)

    The “Ben-Hur” Oscar record has been tied twice – in 1998, by “Titanic,” and in 2004, by “The Lord of the Rings: The Return of the King” – but this is before computer generated imagery, folks. They just don’t make ‘em like this anymore.

    The New Testament is all-new, by way of adaptations from historical novels, 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 EDT/5:00 PM PDT

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

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

    Stream them, wherever you are, at the link!

    https://kwax.uoregon.edu/

  • Balliett’s “St. Mark Passion” Film Premieres

    Balliett’s “St. Mark Passion” Film Premieres

    To coincide with Good Friday, documentarian H. Paul Moon unveils his new film of Douglas Balliett’s “St. Mark Passion.” The film dropped at 8:00 this morning (3 p.m. Jerusalem time) and is now archived for viewing on demand.

    If you don’t have time to listen it today, do try to catch it over the weekend. The idiom is attractive, the work is substantial and, although I only learned of it as the premiere showing was already in progress (I joined it about 45 minutes in), it strikes me as music that will bear repeated listening.

    The performance was captured at New York’s Holy Trinity Lutheran Church and features the Theotokos Ensemble, with the composer himself directing and playing viol.

    If you’re a regular attendee of concerts of the Princeton Symphony Orchestra, Balliett’s name and visage may strike you as familiar – his twin brother, Brad, with whom Doug frequently collaborates (as the Brothers Balliett), is the PSO’s principal bassoonist. Brad is also on the faculty of the Peabody Conservatory and the Juilliard School, so it’s possible you might recognize him from those places too!

    Doug teaches at Juilliard as well, as a professor of Baroque bass and violine. He writes cantatas for weekly church services and leads the Theotokos Ensemble every Sunday at St. Mary’s Church on the Lower East Side of Manhattan. As a performer, he has played with many notable ensembles. Prior to its premiere, his “St. Mark Passion” was given a reading by one of them, William Christie’s Les Arts Florissants. Not bad!

    He’s also a poet, and for three years, he hosted a radio show dedicated to living composers with his brother on WQXR.

    Here’s Paul’s film of the oratorio. Try it; you’ll like it.

    https://zenviolence.com/balliett

    Learn more about Doug Balliett at his website.

    https://www.dougballiett.nyc/

    Elaborating on the Brothers Balliett and the ten-point “manifesto” that governs their creative process:

    https://www.dougballiett.nyc/brothers-balliett

    Doug’s remarks about the Passion:

    https://www.dougballiett.nyc/st-mark-passion

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