Category: Daily Dispatch

  • Mengelberg, Wagenaar, and Cyrano de Bergerac

    Mengelberg, Wagenaar, and Cyrano de Bergerac

    The conductor Willem Mengelberg was highly regarded for his performances of Mahler and Strauss with the Concertgebouw Orchestra, of which he was music director for 50 years. It’s hardly surprising, then, that this Straussian overture after “Cyrano de Bergerac,” by the Dutch composer Johan Wagenaar, would be right up his alley.

    Happy birthday, Willem Mengelberg (1871-1951).

    More on Wagenaar by clicking on “show more” on the website.

    “The truth which I speak strikes more sparks from men’s hearts than your spurs do from the cobblestones.” – Cyrano de Bergerac

  • Maugham’s Hollywood Soundtracks Picture Perfect

    Maugham’s Hollywood Soundtracks Picture Perfect

    W. Somerset Maugham is said to have been the highest paid writer of the 1930s.

    This week on “Picture Perfect,” we’ll have music from four Maugham adaptations, including the 1946 version of “Of Human Bondage” (with music by Erich Wolfgang Korngold), the 1946 version of “The Razor’s Edge” (with music by Alfred Newman), and two versions of “The Painted Veil – one from 2006 (with music by Alexandre Desplat) and one from 1957 (released as “The Seventh Sin,” with music by Miklós Rózsa).

    As a former medical student who experienced World War I, first as an ambulance driver and then in the British Secret Intelligence Service, Maugham endured adventures all over Europe and Asia, which he then turned to the service of his fiction.

    In 1938, he remarked, “Fact and fiction are so intermingled in my work that now, looking back on it, I can hardly distinguish one from the other.”

    Maugham also worked in Hollywood for a time, writing scripts and making a pretty penny from film adaptations of his books.

    I hope you’ll join me for music from movies inspired by Maugham this week, on “Picture Perfect.” The show airs tonight at 6 ET, with a repeat Saturday morning at 6. You can also listen to it later as a webcast, at http://www.wwfm.org.

    PHOTO: Tyrone Power sees the light in “The Razor’s Edge”

  • Versailles in Trenton Art Imitates Life

    Versailles in Trenton Art Imitates Life

    How does one tie the court of Versailles to downtown Trenton? Observe the master at work in today’s Trenton Times.

    http://www.nj.com/times-entertainment/index.ssf/2015/03/classical_trenton_childrens_ch.html

  • Pierre Boulez at 90: From Iconoclast to Icon

    Pierre Boulez at 90: From Iconoclast to Icon

    Pierre Boulez, the angry young man who once suggested that in order to liberate music, the first thing we need to do is blow up all the opera houses, turns 90.

    Though his dogmatic approach had the effect of impeding the careers of many composers who didn’t adhere to his particularly rigid philosophy, his importance is undeniable. And some assessments seem to indicate that Boulez was not so dogmatic, in some respects, after all.

    Boulez appreciation in The Guardian:
    http://www.theguardian.com/music/2015/mar/20/george-benjamin-in-praise-of-pierre-boulez-at-90

    Deutsche Welle:
    http://www.dw.de/pierre-boulez-the-new-music-evangelist/a-18263555

    The Telegraph:
    http://www.telegraph.co.uk/culture/music/classicalmusic/11493943/The-modernist-maverick-Pierre-Boulez-at-90.html

    The L.A. Times:
    http://www.latimes.com/entertainment/arts/

    Here’s probably Boulez’s most famous work, “Le Marteau sans maître” (“The Hammer without a Master”), after surrealist poetry of René Char:
    https://www.youtube.com/watch?v=MS82nF85_gA

    Perhaps more easily disgestible in this live performance (with translations posted):

    Boulez, metamorphosed from contentious revolutionary to Grand Old Man of the Podium, conducting Mahler – characteristically devoid of histrionics:
    https://www.youtube.com/watch?v=aqFwWah5ioE

    Happy birthday, Pierre Boulez.

    PHOTO: Even despots can have their lighter moments

  • Béla Bartók Hungarian Master Composer

    Béla Bartók Hungarian Master Composer

    Today is the birthday of Béla Bartók (1881-1945), considered, alongside Franz Liszt, to be the greatest composer Hungary ever produced. In fact, he was one of the most important composers of the 20th century.

    Bartók had a gift for absorbing the music of the villages and the countryside of Central and Eastern Europe and filtering it through his own distinctive sensibility. His was a musical nationalism very much of his time and far removed from the 19th century model as exemplified by composers like Mikhail Glinka and Bedřich Smetana.

    He was one of the first to take a scientific approach to the collection and classification of folk music. His absorption of indigenous techniques led to the breakdown of diatonic harmony, which had dominated western art music for centuries, and opened up a world of possibility for those who followed. He also loved eerie dissonances, which he often employed as a backdrop to nature sounds and desolate melodies.

    Bartók wrote music of varying degrees of difficulty, from a listener perspective, ranging from the opulence of his early Richard Strauss-influenced orchestral works, to the primitive savagery of his percussive piano writing, to the edgy dissonance of his six landmark string quartets, to the sweeping synthesis of Western art music and European folk music in mature masterworks like his “Concerto for Orchestra.”

    Happy birthday, Béla Bartók.

    Bartók speaks (in Bela Lugosi-accented English):

    Bartók performs one of his most popular (and accessible) works:
    https://www.youtube.com/watch?v=cW4AHmTzyMo

    PHOTO: The composer among Turkish tribesmen in Anatolia

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