Category: Daily Dispatch

  • Movie Music with Women’s Names

    Movie Music with Women’s Names

    This week on “Picture Perfect,” we’ll have music from movies with women’s names for titles.

    “Rachel, Rachel” (1968) stars Joanne Woodward as a repressed, small-town schoolteacher, who learns to take control of her own life. The film marked the directorial debut of Woodward’s husband, Paul Newman. “Rachel, Rachel” was nominated for four Academy Awards, including those for Best Actress and Best Picture. Newman picked up a Golden Globe and a New York Critics Circle Award for his direction. The lovely Americana score was composed by Jerome Moross.

    “Emma” (1996) was adapted from the Jane Austen novel. Gwyneth Paltrow plays the high spirited-though-somewhat-clueless matchmaker, who fails to recognize her own feelings or those of the men around her. Also among the cast are Alan Cumming, Toni Collette, Ewan McGregor and Jeremy Northam. Screenwriter and director Douglas McGrath fell in love with the book while an undergraduate at Princeton University. Rachel Portman wrote the Academy Award-winning score.

    Otto Preminger’s film noir, “Laura” (1944), features quite the cast, including Gene Tierney, Dana Andrews, Clifton Webb, Judith Anderson and Vincent Price. The equally impressive theme, which is heard in endless permutations throughout the film, was by Philadelphia-born David Raksin. Outfitted with lyrics by Johnny Mercer, it became the second most-recorded song during the composer’s lifetime, after only Hoagie Carmichael’s “Stardust.”

    Finally, “Diane” (1956) takes us back to 16th century France, with a plot concerning Diane de Poitiers (played by Lana Turner), a member of the court of Francis I, who becomes the mistress of the king’s son, Henri d’Orleon (played by a very young Roger Moore). Their illicit love unfolds against the backdrop of Medici intrigue and lust for power. Miklós Rózsa, M-G-M’s go-to-composer for its historical spectacles, wrote the music.

    I hope you’ll join me for “What’s in a Name?,” tonight at 6 ET, with a repeat tomorrow morning at 6; or that you’ll listen to it later as a webcast at http://www.wwfm.org.

    PHOTO: Dana Andrews likes his women stiff, like his bourbon

  • Brahms and Tchaikovsky: Best Frenemies Forever

    Brahms and Tchaikovsky: Best Frenemies Forever

    Brahms and Tchaikovsky were totally B.F.F. – Best Frenemies Forever.

    The latter famously confided to his diary, “I have played over the music of that scoundrel Brahms. What a giftless bastard!”

    And that’s only the short version.

    The two shared the same birthday, May 7 (Brahms born in 1833 and Tchaikovsky in 1840). Unfortunately, that was about all they had in common – Brahms, the great classicist among Romantics, and Tchaikovsky, always heart-on-the-sleeve.

    Or so they thought, until the two met on New Year’s Day, in 1888. Surprise! They actually delighted in one another’s company. There was much drinking and backslapping and drinking and hanging on one another’s shoulders and drinking and happy tears and drinking. (Of course, all this took place in spite of Brahms falling asleep during a rehearsal of Tchaikovsky’s Fifth Symphony.) In fact, they liked one another so well, they decided to do it again.

    However, the two never could reconcile themselves to one another’s music. After a lovely evening with Brahms, during which both men drank and smoked prodigiously, while Adolph Brodsky (the violinist who had introduced Tchaikovsky’s Violin Concerto) rehearsed with some friends a Brahms piano trio, Mrs. Brodsky asked Tchaikovsky what he had thought of the piece.

    “Don’t be angry with me, my dear friend,” he said, “but I did not like it.”

    Happy birthday, boys!


    PHOTOS: Peter Ilych Tchaikovsky (left) and Johannes Brahms, agreeing to disagree

  • George Perle: Celebrating a Centennial of Sound

    George Perle: Celebrating a Centennial of Sound

    You might say he was a Perle among American composers.

    Today marks the 100th anniversary of the birth of George Perle. Perle was born on this date in 1915 in Bayonne, NJ, though he grew up on farms in Wisconsin and Indiana.

    Fascinated with music from the time he was a child (he was literally transfixed when he heard his aunt play a Chopin etude), his choice of career was pretty much a given. Perle attended DePaul University and took private lessons with Ernst Krenek. Among his own students was retired Princeton University professor Paul Lansky.

    Perle fell under the spell of twelve-tone masters Arnold Schoenberg, Anton Webern and Alban Berg. In 1968, he cofounded the Alban Berg Society with Igor Stravinsky and Hans F. Redlich. Arguably his greatest musicological achievements were his discoveries that Berg’s “Lulu” was not in fact a sketch, but rather three quarters finished, and that Berg’s “Lyric Suite” contains a secret program related to a clandestine love affair.

    His own music is influenced by the twelve-tone idiom, though it is weighted to his own purposes, with certain notes of the chromatic scale given precedence to create a kind of synthetic tonality. Perle’s Fourth Wind Quintet was awarded the Pulitzer Prize for music in 1986.

    Maybe his music is not for everyone, but if you’re receptive, I think you’ll find it never wears out its welcome.

    Happy birthday, George Perle!

    Six New Etudes (1984): https://www.youtube.com/watch?v=SxDqR_23Puo

    Adagio for Orchestra (1992): https://www.youtube.com/watch?v=w-_PuCrsT9Q

    Perle in conversation with David Dubal! https://www.youtube.com/watch?v=1JGa7Jd5uEY

    Of course, you can listen to Dubal’s “The Piano Matters” Wednesday evenings at 10 and Sundays at noon at http://www.wwfm.org.

    PHOTO: Give Perle a whirl

  • Margaret Garwood Composer Death Inquirer Report

    Margaret Garwood Composer Death Inquirer Report

    The Philadelphia Inquirer reports that composer Margaret Garwood has died at 88 (though it misspells the name of her former husband, Romeo Cascarino).

    http://www.philly.com/philly/news/20150506_Composer_Margaret_Garwood_dies_at_88.html

    I hate to say it, but if she had been a man and writing 30, 40 or 50 years earlier, she would have been much better known. I attended the 2010 premiere of her opera, “The Scarlet Letter,” and there was much cattiness and eyeball-rolling, especially among composers of a more modernist bent, but the work would have been in the strike zone, if it had been composed in 1950 and her name had been Carlisle Floyd, Robert Ward or Gian Carlo Menotti.

    Here are a couple of excerpts I found posted on YouTube:


  • Orson Welles 100 The Third Man Restored

    Orson Welles 100 The Third Man Restored

    Holy cow (and no pun intended) – today is Orson Welles’ 100th birthday!

    Listen to this acceptance speech and realize just how far we as a civilization have fallen. Can you imagine any filmmaker or actor of today possessing this kind of oratorical skill? Does anyone even know who Samuel Johnson is?

    I also just learned that Rialto Pictures is releasing a 4k restoration of Carol Reed’s “The Third Man,” in which Orson totally steals the show. It will open on June 26 at New York’s Film Forum, before fanning out to several other major U.S. markets, including Philadelphia.

    http://variety.com/2015/film/news/orson-welles-restored-the-third-man-set-for-u-s-release-1201488365/

    Obviously, this is not the restored version (it looks like a screen shot off of somebody’s television set), but a great clip nonetheless:

    I salute you, Orson! You fell hard, but you accomplished much.

    PHOTO: Sometimes a cigar is just a – oh forget about it.

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