Category: Daily Dispatch

  • Black Friday Escape to the Wild Picture Perfect

    Black Friday Escape to the Wild Picture Perfect

    This week on “Picture Perfect,” for Black Friday, we flee “civilization” for the relative safety of the wilderness.

    We’ll hear music from “Born Free” by John Barry, “Hatari!” by Henry Mancini, National Geographic’s “Grizzly!” by Jerome Moross, and “The Jungle Book,” by Miklós Rózsa.

    I hope you’ll join me for “The Call of the Wild,” this Friday evening at 6 ET (leftover turkey and cranberry sauce sandwiches optional), or for the repeat Saturday morning at 6; or that you’ll listen to it later as a webcast, at http://www.wwfm.org.

    As something of a bonus, since it’s Thanksgiving, here’s a second helping of Rózsa, assembled from his score to “Plymouth Adventure”:

    The main title is based on the Ainsworth Psalter, written by English Separatist clergyman Henry Ainsworth. It was published in Holland in 1612 and brought to America by the Pilgrims in 1620.

    Happy Thanksgiving to all!

    PHOTO: I’d rather face Shere Khan than mall traffic

  • Thomson’s Louisiana Story Pulitzer & Ormandy

    Thomson’s Louisiana Story Pulitzer & Ormandy

    Yesterday, I posted about Virgil Thomson. On this date in 1948, the Philadelphia Orchestra gave the first performance of Thomson’s “Louisiana Story Suite.” As I mentioned, “Louisiana Story” was the first – and so far only – film score to be awarded the Pulitzer Prize for Music.

    Robert Flaherty’s semi-documentary, commissioned by the Standard Oil Company, whitewashes the impact of oil drilling in the bayous, which barely impacts a Cajun boy’s adventures with his pet raccoon. Much more irksome is a pesky alligator, for which Thomson composed a fugue.

    I’d also like to take this opportunity to give a belated nod to Eugene Ormandy, whose birthday I missed on Nov. 18. Ormandy, of course, was music director and conductor of the Philadelphia Orchestra for 44 years.

    Praise be! Somebody posted Ormandy’s recording of “Louisiana Story” on YouTube. I’m not sure that it’s ever appeared on CD. At any rate, it is currently unavailable.

    Here’s the complete film, if you’re interested. The print, posted by a Russian(!), is much better than an alternative, murkier print, also posted, if you can forgive the foreign subtitles.

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

    Happy Thanksgiving, everyone. Be careful driving!

  • Virgil Thomson: Americana and French Flair

    Virgil Thomson: Americana and French Flair

    I am sure there are those who are resistant to the art of Virgil Thomson – Thomson the composer, I mean. His brand of Americana-tinged simplicity could easily be reduced to “faux naïve.”

    Personally, I find the blend of French and American elements fascinating. Thomson, like Aaron Copland and so many others, studied in Paris with the legendary pedagogue Nadia Boulanger. The next time you listen to “Appalachian Spring,” or anything by Copland, note the French influence – the uncluttered textures, the neoclassical winds. It’s inescapable. If anything, these qualities are even more evident in Thomson’s music, and he adhered to a French sensibility for the rest of his life.

    Thomson was equally renowned (and feared) as critic for the New York Herald-Tribune. As a critic, he certainly was not afraid to speak his mind. He was also more vocal than most in his conviction that the alleged rarefied aesthetics of music, at least in his case, were secondary to the needs of the bank account. Fortunately for Thomson, the two were not necessarily incompatible.

    His most famous work, perhaps – other than the film scores he wrote for the documentaries “The Plow That Broke the Plains,” “The River,” and “Louisiana Story” (the only film score to date to be awarded a Pulitzer Prize) – is the “Symphony on a Hymn Tune.”

    The symphony, composed during his years in Paris, was inspired by Thomson’s memories of his Kansas City boyhood. The “Sunday best” of the church hymns occasionally gets tangled up in a few modernistic burrs – the exchanges between the violin, cello, trombone and piccolo at the end of the first movement, for instance – but in 1928, it was a landmark in establishing a distinctly American idiom.

    This is perfect Thanksgiving music.

    Happy birthday, Virgil Thomson!

    PHOTO: Loved him in “The Addams Family”

  • Atlanta Symphony’s Thanksgiving: American Music

    Atlanta Symphony’s Thanksgiving: American Music

    Thanksgiving is always a good excuse to play American music, and this year, in light of all the organization has been through recently, I thought I’d devote an hour to recordings of the Atlanta Symphony Orchestra.

    The musicians and management recently reached an agreement, with the help of outside federal mediators, after ten months of contract negotiations that culminated in a two-month player lockout. The two sides arrived at a four-year deal, and the orchestra is back to work. As the major symphonic organization in the Southeastern United States, this is indeed a cause for thanksgiving.

    This Sunday night on “The Lost Chord,” we’ll hear two works co-commissioned by the symphony from representatives of the so-called “Atlanta School,” composers frequently championed and recorded by the orchestra and its music director, Robert Spano.

    Jennifer Higdon, now one of the most successful of American composers, a Pulitzer Prize winner who teaches at the Curtis Institute of Music, studied conducting with Spano at Bowling Green. She wrote a concerto grosso of sorts for the New Music sextet eighth blackbird (which identifies itself, modestly, in the lower case). The group performs with the symphony in “On a Wire.” The composer asks the listener to imagine six blackbirds, sitting on a wire.

    Birds also play a role in Michael Gandolfi’s “Q.E.D.: Engaging Richard Feynman,” inspired by the Nobel Prize-winning physicist.

    Gandolfi’s piece doesn’t focus on scientific inquiry. Rather it takes as its starting point two anecdotes shared by Feynman in interviews with the BBC, which the composer discovered on YouTube.

    The first concerns a challenge put by an artist friend of Feynman suggesting that as a scientist he cannot truly appreciate the beauty of a flower. Feynman counters that scientific knowledge, a greater understanding of the flower, only adds to its beauty, rather than detracts.

    The second grows out of an anecdote concerning Feynman’s boyhood ignorance of the name of a certain kind of bird, a brown-throated thrush, and his realization that a name tells nothing about the bird, but rather something about the people who named the bird. He concludes, “Now, let’s look at the bird.”

    The piece, scored for chorus and orchestra, is organized into two sections made up of settings of texts by various poets illustrating their respective themes, including those of Gertrude Stein, Emily Dickinson, Walt Whitman, Ralph Waldo Emerson, Siegfried Sassoon, and the Irish Republican Joseph Campbell (not to be confused with the mythologist).

    Both works appear on an album issued on the orchestra’s ASO Media label.

    I hope you’ll join me for “Georgia Peaches,” American music performed by the Atlanta Symphony Orchestra, this Sunday night at 10 ET, with a repeat Wednesday evening at 6 – or that you’ll listen to it later as a webcast at http://www.wwfm.org.

  • St. Cecilia’s Day A Musical Celebration

    St. Cecilia’s Day A Musical Celebration

    November 22. I can’t very well ignore St. Cecilia, the patron saint of music, on her special day!

    “A Song for St. Cecilia’s Day” (1687), by John Dryden

    FROM harmony, from heavenly harmony,
    This universal frame began:
    When nature underneath a heap
    Of jarring atoms lay,
    And could not heave her head,
    The tuneful voice was heard from high,
    ‘Arise, ye more than dead!’
    Then cold, and hot, and moist, and dry,
    In order to their stations leap,
    And Music’s power obey.
    From harmony, from heavenly harmony,
    This universal frame began:
    From harmony to harmony
    Through all the compass of the notes it ran,
    The diapason closing full in Man.

    What passion cannot Music raise and quell?
    When Jubal struck the chorded shell,
    His listening brethren stood around,
    And, wondering, on their faces fell
    To worship that celestial sound:
    Less than a God they thought there could not dwell
    Within the hollow of that shell,
    That spoke so sweetly, and so well.
    What passion cannot Music raise and quell?

    The trumpet's loud clangour   
      Excites us to arms,  
    With shrill notes of anger,  
      And mortal alarms.  
    

    The double double double beat
    Of the thundering drum
    Cries Hark! the foes come;
    Charge, charge, ’tis too late to retreat!

    The soft complaining flute,  
    In dying notes, discovers  
    The woes of hopeless lovers,   
    

    Whose dirge is whisper’d by the warbling lute.

    Sharp violins proclaim  
    

    Their jealous pangs and desperation,
    Fury, frantic indignation,
    Depth of pains, and height of passion,
    For the fair, disdainful dame.

    But O, what art can teach,  
    What human voice can reach,  
      The sacred organ's praise?  
    Notes inspiring holy love,   
    

    Notes that wing their heavenly ways
    To mend the choirs above.

    Orpheus could lead the savage race;
    And trees unrooted left their place,
    Sequacious of the lyre;
    But bright Cecilia rais’d the wonder higher:
    When to her organ vocal breath was given,
    An angel heard, and straight appear’d
    Mistaking Earth for Heaven.

    GRAND CHORUS.

    As from the power of sacred lays
    The spheres began to move,
    And sung the great Creator’s praise
    To all the Blest above;
    So when the last and dreadful hour
    This crumbling pageant shall devour,
    The trumpet shall be heard on high,
    The dead shall live, the living die,
    And Music shall untune the sky!

    Handel’s setting of Dryden’s text, as the “Ode for Saint Cecilia’s Day”:

    https://www.youtube.com/watch?v=PwN7_R25P6g

    If you’re more romantically inclined, here’s Charles Gounod’s “Messe solennelle de Sainte Cécile” (a.k.a. the “Saint Cecilia Mass”):

    https://www.youtube.com/watch?v=nBERXjW4stE

    And finally, Benjamin Britten’s “Hymn to St. Cecilia,” on a text by Auden (today is also Britten’s birthday):

    https://www.youtube.com/watch?v=MGyB7_2RnS4

    PHOTO: Jammin’ with the patron saint

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