Category: Daily Dispatch

  • Movie Dads Father’s Day Music Special

    Movie Dads Father’s Day Music Special

    This week on “Picture Perfect,” we anticipate Father’s Day with an hour of music celebrating movie dads.

    Vito Corleone may not exactly have been a model father, though he did adhere to a particular code of ethics. Besides, what father doesn’t love “The Godfather” (1972)? “The Godfather” was recognized with 11 Academy Award nominations – of which it won three, including Best Picture. However, the awards were not without controversy.

    Of course, Brando sent Sacheen Littlefeather to the ceremony to refuse his Oscar based on his objection to the portrayal of Native Americans in television and film. Then there was the matter of the score, by Nino Rota. Rota was nominated, but the nomination was withdrawn when it was discovered that he had used one of the themes in a 1958 film called “Fortunella,” which starred Giulietta Masina and Alberto Sordi. In the end, the Academy turned around and gave Rota the award anyway, two years later, for “The Godfather Part II.”

    “Field of Dreams” (1989) is one of those rare films that has the ability to reduce manly men – even those without father issues – to a pool of tears. Phil Alden Robinson’s superior adaptation of W.P. Kinsella’s novel, “Shoeless Joe,” is a male wish-fulfillment fantasy, in which a man finds redemption, and a new understanding of his father, in the enchanted cornfields of America’s heartland. And it’s all brought about courtesy of America’s pastime, baseball. The evocative score is by James Horner, who rides on the shoulders of Aaron Copland. The composer seems particularly smitten with Copland’s “Our Town.”

    William Powell plays Clarence Day, the irascible paterfamilias of an upper class family of redheads, in the comedy “Life with Father” (1947), for which Max Steiner wrote the music.

    And Gregory Peck plays one of his most memorable roles as defense attorney – and model father – Atticus Finch, in “To Kill a Mockingbird” (1962), based on Harper Lee’s beautiful “coming of age” novel. The book was awarded the Pulitzer Prize in 1961. Peck won the Academy Award for Best Actor a year later. The score is one of the best-loved of Elmer Bernstein.

    Even if your father was a complete creep, there’s plenty to love about this music. I hope you’ll join me for selections for Father’s Day on “Picture Perfect,” music for the movies, this evening 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.

  • Classical Music Radio Show Princeton Today

    Classical Music Radio Show Princeton Today

    Okay, admittedly Stravinsky chucking a koala is click-bait, but I need your love.

    Stravinsky conducts Stravinsky. Michelangeli plays Grieg. Symphonic sketches by Paul Gilson, criminally neglected even on his sesquicentenary. Mon dieu, what a show!

    We’ll have music by Einar Englund, Charles Gounod, Manuel Rosenthal, Alfredo Catalani, and Lennon & McCarthy as transfigured by Leo Brouwer.

    Joining me in the 9:00 hour will be Melissa Bohl of Princeton University Summer Chamber Concerts. PUSCC will present the first of four free events at Richardson Auditorium, tonight at 7:30, when the Aeolus Quartet performs music by Haydn, Bartók and Dvořák. Doors open at 7. Get there early or expect to cool your jets at Thomas Sweet Ice Cream. For more information, look online at http://www.princetonsummerchamberconcerts.org/.

    All this and more, when you tune in this morning, from 6 to 11 ET, on WPRB 103.3 FM, or listen online at wprb.com.

    Like this post, like this page – or the koala gets it!

  • Happy Birthday Stravinsky & June Composers on WPRB

    Happy Birthday Stravinsky & June Composers on WPRB

    Happy Birthday, Igor Stravinsky!

    https://www.youtube.com/watch?v=HNDbsj5zlV8

    I hope you’ll join me tomorrow morning on WPRB, as we enjoy some of Stravinsky’s music, alongside that of the week’s other birthday celebrants, Edvard Grieg (born 6/15), Paul Gilson (6/15), Einar Englund (6/17), Charles Gounod (6/18), Manuel Rosenthal (6/18), Paul McCartney (6/18, by way of Leo Brouwer), Alfredo Catalani (6/19) and maybe even Jacques Offenbach (6/20). If I could find the time to plan more thoroughly, I would know for sure! The emphasis will be on lesser-played works and/or notable performances.

    In addition, I’ll be joined on microphone by Melissa Bohl of Princeton University Summer Chamber Concerts. PUSCC will present four free events at Richardson Auditorium, beginning tomorrow night at 7:30. The Aeolus Quartet will perform music by Haydn, Bartók and Dvořák. The doors will open at 7, but you’ll want to get there extra early in order to ensure that you’ll get a seat, since everybody loves “free.” More information on the series may be found at http://www.princetonsummerchamberconcerts.org/.

    As always, every aspect of the broadcast is extremely subject to change, dependent on my clouded brain, as I gaze, bleary-eyed, into my cabinet of wonders.

    Tune in tomorrow from 6 to 11 a.m. to WPRB 103.3 FM, or listen online at wprb.com, and keep it classy with Classic Ross Amico.


    Stravinsky rehearsing “Pulcinella”:

    PHOTO: No applause, please, just throw money

  • Bloomsday With a Side of “Ulysses” Skepticism

    Bloomsday With a Side of “Ulysses” Skepticism

    June 16 is Bloomsday, the date on which the events in James Joyce’s novel “Ulysses” are supposed to have taken place in 1904. The day is marked by celebrations world-wide, as Joyceans get together to reenact, eat, play music, drink and of course read.

    A year or two ago, I semi-secretly worked my way through Joyce’s magnum opus. I say semi-secretly, because I always found “Ulysses” to be an extraordinarily pretentious book, and I’d rather walk around with it in a brown paper bag than come across as the kind of person who would flaunt that he is reading “Ulysses.”

    Joyce inspires in me, as I’m sure he does in many, an uncomfortable mix of admiration and annoyance. Do I think he was a genius, as many assert? No. Do I think he was an extraordinarily clever man, who worked very hard to achieve his vision? Yes – though I don’t claim to be an authority on the matter. There’s no questioning his talent.

    I always wondered, how could Joyce betray the exquisite prose he produced in “Dubliners,” with its achingly beautiful story, “The Dead,” for the inscrutable hieroglyphs of his later work? “Ulysses” is very impressive, no doubt, but the truth is, for me anyway, it is not very compelling. There is nothing in it to make you want to pick it up again, beyond the undeniable fascination in seeing someone change the course of literary history.

    So how do you get through it? I won’t get into why you should read “Ulysses” (and I’m not saying you should), but if it is on your bucket list (and how I hate the term), here are a few suggestions:

    (1) It’s helpful to have a reference guide on-hand, but don’t become too reliant on it. You’re never going to get everything out of it on a first read. If you try, you will lose the thread and you’ll die exhausted in the labyrinth. If you read the beginning, you may scoff at the notion – the book is difficult but not impenetrable – but trust me, you’ll be looking for a shoal to rest your weary legs by the time you get to “Proteus” (Chapter 3).

    (2) If you’re lucky enough to find a good “Ulysses” reading group, the battle will be half won. You’ll have peers to urge you on. Avoid if possible the kind of readers you think you might want to throttle. If you’re lucky enough to be in the Philadelphia area, consider taking a “Ulysses” course at the Rosenbach Museum (which houses the actual manuscript). If you can take the one with Carol Loeb Shloss, who is also on the faculty of the University of Pennsylvania, you will find it vastly rewarding. Even if in the end you don’t wind up loving the book, you are guaranteed to gain a new respect for it.

    (3) Whenever you hit a rough patch, try reading the book aloud. It really does help. Marilyn Monroe understood this instinctively. Joyce was Irish, and even though he did his damnedest to dismantle the language of Empire, he couldn’t help but love the sound of words.

    Of course, every Bloomsday the Rosenbach pulls out all the stops, with a full day of readings from the book by local celebrities and enthusiasts. This year, the museum is hosting a week’s worth of related events. Today is the last day, but you can find a full description here:

    https://www.rosenbach.org/learn/events/bloomsday-festival-2015

    Here’s how Bloomsday is being celebrated around around the world:

    http://www.theguardian.com/books/2015/jun/15/bloomsday-fans-around-the-world-celebrating-james-joyces-ulysses

    One final note: as music-lovers, you may be interested to know that Joyce’s work is overflowing with musical references. Even his structures, in some instances, are influenced by musical forms. There is no shortage of information to be found on the internet, but I’m linking in this site, since it mentions a number of works by composers inspired by Joyce:

    http://www.spotifyclassical.com/2011/08/music-from-works-of-james-joyce.html

    Hope your day is a Bloomin’ good one.


    PHOTO: Sing it, Sunny Jim

  • Paul Gilson: Celebrating Belgium’s Overlooked Composer

    Paul Gilson: Celebrating Belgium’s Overlooked Composer

    You know, I adore Grieg (who was born on this date in 1843). But I can’t ignore Paul Gilson on the 150th anniversary of his birth.

    Gilson was born in Brussels in 1865. He received his formal musical training there, at the Brussels Conservatory. However, prior to that, he was already composing works for orchestra and chorus. In 1889, he became a recipient of a Belgian Prix de Rome, which allowed him to travel to Bayreuth, Paris and Italy. You can hear the influence of Wagner in his music. He was also fond of the Russians.

    He later taught at the conservatory, and in Antwerp. He resigned his professorships when he was appointed inspector of music education, a post he held for over two decades. He began to diversify by the age of 40 (about four years before his appointment). He composed less and wrote more ABOUT music. Still, over the course of his career, he managed to amass some 500 scores.

    He is probably best known for his symphonic sketches known as “De Zee” (or, often, “La mer”). Gilson’s work predated Debussy’s masterpiece by a decade. Did Debussy know Gilson’s work? He had to. Follow the link, then click on the openings of the third and fourth movements.

    https://www.youtube.com/watch?v=TjyorpKlqcg&list=PLfvNU__5CDp2824kFI_xzJYkRl9kTRyG3

    There’s no question who created the stronger piece. Still, it’s an instructive reminder that masterworks are not created in a vacuum, and that even lesser composers often have more to contribute than may be at first perceived.

    Happy birthday, Paul Gilson!


    PHOTO: Okay at composing; terrible at tying ties

Tag Cloud

Aaron Copland (93) Beethoven (95) Composer (114) Film Music (139) Film Score (143) Film Scores (255) Halloween (94) John Williams (195) KWAX (229) Leonard Bernstein (103) Marlboro Music Festival (125) Movie Music (154) Mozart (89) Opera (210) Philadelphia Orchestra (89) Picture Perfect (174) Princeton Symphony Orchestra (108) Radio (88) Ross Amico (244) Roy's Tie-Dye Sci-Fi Corner (290) The Classical Network (101) The Lost Chord (268) Vaughan Williams (103) WPRB (396) WWFM (881)

DON’T MISS A BEAT

Receive a weekly digest every Sunday at noon by signing up here


RECENT POSTS