Category: Daily Dispatch

  • Columbus Day Music From Dvorak to Weill

    Without wishing to throw my austere explorer’s hat into the ring on the whole Columbus Day controversy, this is an interesting article in the Washington Post about the origins of the now-reviled holiday and its significance to Italian-American history. Don’t like it? Thank American “nativist” backlash against Italian immigrants and violence against Italian-Americans – and a Hail Mary pass (my dad’s people may have been Italian, but my mother was Irish) by President Benjamin Harrison to stem anti-immigration sentiment. Hey, if things had played out differently, Americans could just as easily have been arguing about Giovanni da Verrazzano.

    The greatest irony is the article’s concluding observation. There is nothing at all incendiary in the fairly objective tone of the piece (which the Post has published as an “opinion”), but the comments are full of passionate vitriol.

    What’s all this got to do with music? Whether due to personal interest or in pursuit of a paycheck, there are plenty of composers who wrote works inspired by, or commissioned to celebrate, Columbus: Leonardo Balada, Antonin Dvořák, Manuel de Falla, Alberto Franchetti, Philip Glass, Victor Herbert, Arthur Honegger, Darius Milhaud, Richard Wagner, Sir William Walton, and Kurt Weill are just a few that spring to mind.

    No political message intended; I simply find the article – and some of the music – interesting.

    Well, at least, to my knowledge, nobody raises hell anymore about Amerigo Vespucci (for whom “America” is named) – except perhaps Kurt Weill and Ira Gershwin.

  • Varney the Vampyre Rediscovered

    Varney the Vampyre Rediscovered

    Earlier in the month, I posted about “Varney the Vampyre,” perhaps the most notorious of the Victorian penny dreadfuls, and how I was seriously thinking about tackling the 1166-page tome that is the collected serial for the month of October. (Those weekly installments do add up!)

    I also mentioned how impossible it was for decades to track down a copy of the novel, especially before the internet, and then after, once it was possible, how ridiculously expensive even the reprints had become. I had access to only a few chapters in ghost story anthologies and volumes of 19th century popular British fiction in my own library.

    Then I found a cheaply-printed paperback (issued by Wordsworth Editions, based in the U.K.), perhaps 15 years ago, at the Strand Book Store in New York, and was thrilled to purchase it. However, the text is so closely printed, and in such a small font, that you’d have to have the eyes of an eagle to read it. Nevertheless I took up the challenge, hoping that my aquiline nose counts for something.

    In the meantime, I searched on eBay and came across some library discards of the two-volume Dover reprint from 2015 (previously issued in 1972). I placed my order, and they arrived quickly and in remarkably satisfactory shape, as if no one had even read them! Of course, they’ve been laminated and there are the usual library markings, but I can deal with that.

    This edition is on good paper and has all the illustrations, though, admittedly, the reproduction is not always of the finest quality, with parts of the individual letters murky or even missing. Also, the layout is in two columns on each page, in the manner of those Sherlock Holmes Strand reprints. Even so, having now switched over from the Wordsworth Editions, I have to say, it is surprisingly readable, even in bed, late at night, under drooping eyelids. Add in the fact that both volumes combined cost me less than $20, and I am as happy as a vampire in a blood bank.

    Over the decades, whenever I mention “Varney” to anyone, they nearly always respond with a disbelieving laugh, as if they’re not sure they’ve heard me correctly. “VARNEY THE VAMPYRE???” So it was a comfort to me, when I brought it up over coffee last week, that my former newspaper editor, now retired, knew just what I was talking about. Then again, he also knew what I was talking about when I brought up “Killdozer.”

    In terms of actual content, as I mentioned before, the lurid incident and overheated exclamations can pile up awfully fast. Also the sentimentality. But really, taking any page at random, it’s not much worse than your average Victorian novel. That’s not to say, cumulatively, “Varney” is going to add up to “Great Expectations” or “Vanity Fair!”

    Collectively, “Varney” is credited with being the first complete vampire novel in the English language, predating “Dracula” by 50 years. Having read the first number of chapters, all I have to say is, Bram Stoker has some splainin’ to do! All the conventions are in place, the author (speculated to be James Malcolm Rymer) apparently having done much of the legwork in exhuming the disparate elements from European folklore and assimilating them into what would become the groundwork for the genre. Furthermore, based on what I’ve read so far, it appears he even established the prototype for at least the Lucy segment of Stoker’s (admittedly superior) novel.

    If you missed my previous “Varney” post, on October 2, here’s the link.

    Looking forward to plenty of dark and stormy nights with this unabridged “Varney the Vampyre!”

  • Italian Composers Autumn Melancholy & Seasonal Joy

    Italian Composers Autumn Melancholy & Seasonal Joy

    “La generazione dell’ottanta” is a label used to describe that group of Italian composers born around 1880. By and large, they are remembered for their contributions to orchestral and instrumental music, as opposed to opera, though their contributions to the latter form were not inconsiderable. The group included Franco Alfano, Alfredo Casella, Gian Francesco Malipiero, Ildebrando Pizzetti, and the best known of the bunch, Ottorino Respighi.

    This week on “The Lost Chord,” we’ll enjoy seasonal works by three of them.

    Respighi wrote his “Poema autunnale,” for violin and orchestra, in 1926. He prefaced his score with the following descriptive program:

    “A sweet melancholy pervades the poet’s feelings, but a joyful vintner’s song and the rhythm of a Dionysiac dance disturb his reverie. Fauns and Bacchantes disperse at the appearance of Pan, who walks alone through the fields under a gentle rain of golden leaves.”

    The work is meditative, lovely and uplifting in the manner of Vaughan Williams’ “The Lark Ascending.”

    For a composer who disliked sonata form, Malipiero certainly wrote a lot of symphonies – 11 numbered symphonies, in all – though largely on his own terms. Two of these were inspired by the seasons.

    In the case of the Symphony No. 1, composed in 1933, the connection might be said to be analogous, as opposed to strictly programmatic. His initial plan had been to set passages from Anton Maria Lamberti’s poem, “La stagione.” Ultimately, he abandoned that design, but the idea of an annual cycle remained.

    The composer subtitled the work, “In Quattro tempi, come le quattro stagioni” (“In four movements, like the four seasons”). Indeed, the first has something of a vernal flavor, with the second, according to the composer, “strong and vehement like summer,” the third autumnal, and the fourth akin to “the winter carnival season and the gaiety of snow.”

    The program will open with music by Pizzetti that, while not strictly seasonal, is clearly of an autumnal cast. His “Preludio a un altro giorno” (“Prelude to Another Day”) is a fairly late piece, and rather a world-weary one, composed in 1952.

    Just before writing it, Pizzetti had received a painful letter from his former teacher, Giovanni Tebaldini, then 87 and praying for death after a series of strokes left him confined to a chair, terrified to stand for fear of falling. Not surprisingly, I thought it best to listen to this one first, so that we could relax and enjoy the leaves and snow.

    I hope you’ll join me for “Italian Seasoning,” 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 – ALL NEW! – 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/


    PHOTOS: Pizzetti reflecting on our mortality; Malipiero and Respighi enjoying la dolce vita

  • Vaughan Williams Birthday Radio Celebration

    Vaughan Williams Birthday Radio Celebration

    Ralph Vaughan Williams was born on this date in 1872. Since he happens to be one of my favorite composers, I couldn’t be more delighted that the anniversary happens to coincide with one my radio shows. I hope you’ll join me this morning on “Sweetness and Light” for what I guarantee will be a lovingly-curated Vaughan Williams miscellany.

    This will not be the usual collection of greatest hits (although we’ll enjoy one or two of those, as well). Among the rarer works will be the “Bucolic Suite” of 1900, when the composer was still feeling his way toward his mature style; also the “Stratford Suite,” made up of incidental music RVW provided for a number of the Shakespeare plays during the brief period he was music director at Stratford-on-Avon (1912-13). If you’re a Vaughan Williams fanatic, I’m sure you’ll recognize some of the melodies, derived from early music and folk song, many of which the composer employed in other, better-known works. The “Stratford Suite” appears on a new release, “Royal Throne of Kings,” chock-full of Vaughan Williams’ uncollected Shakespeare music, on the Albion Records label, the recording branch of the Ralph Vaughan Williams Society.

    Some of the music will be dreamy and luminous and some of it will be boisterous and earthy. You’re always safe with Uncle “Rafe.”

    Pour yourself a cuppa and join me for “Sweetness and Light,” 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/


    PHOTO: Vaughan Williams takes a slug from the mug

  • Philly Orch Blows Roof Off with Saint-Saëns, Martinu

    Philly Orch Blows Roof Off with Saint-Saëns, Martinu

    HOLY SH*T, WHAT A CONCERT!!! (I hope I didn’t steal that from Bernard Shaw.)

    I’m elated to report The Philadelphia Orchestra was in fine fettle on Friday afternoon, under the baton of guest conductor Roderick Cox.

    I venture to guess, the big draw for most was Camille Saint-Saëns’ “Organ” Symphony, but for me, what really ensured a fool and his money would soon be parted was the inclusion on the program of Bohuslav Martinu’s Rhapsody-Concerto for Viola and Orchestra, a work I had not heard in concert for 36 years. The last time, also in Philadelphia, was with Joseph de Pasquale, the soloist, and Riccardo Muti on the podium. Of course, now I own at least three recordings. Back then, De Pasquale was Philly’s principal violist. Today the work was played by the orchestra’s current principal, Choong-Jin Chang.

    If you don’t know anything about Martinu, and you’re at all squeamish about 20th century music, there is no better place to start. A few mildly anxious passages aside, the Rhapsody-Concerto is pure Dvořák in Iowa. Incidentally, this sleeping giant of Czech music will also be the focus of next summer’s Bard Music Festival. Fight me!

    I showed up with the expectation of the Saint-Saëns being mere icing on the cake. The “Organ” Symphony has always been a Philadelphia Orchestra specialty. The musicians could probably play it in their sleep. Today, they were a good deal more committed than that. Raphael Attila Vogl was at the console of the Fred J. Cooper Memorial Organ. The organ part of Saint-Saëns’ symphony is not a virtuosic one, but it sure does make an impression! There’s a reason certain pieces become warhorses. The last movement was one sustained goosebump – positively spinetingling! That Saint-Saëns really knew how to give an audience its money’s worth.

    The program opened with a suite from Béla Bartók’s feel-good ballet, “The Miraculous Mandarin.” The scenario is about a prostitute who lures unsuspecting men to her room so that three desperate characters can rough them up and steal their money. The most peculiar of her would-be clients is the titular mandarin, who the desperados attempt to murder, but he turns out to be more resilient than Rasputin.

    Unfortunately, I was stuck in traffic on I-95 South, so I can’t tell you anything about the performance. I blew into the Kimmel Center for the Performing Arts and took the elevator to the third tier with just enough time only to catch the last minute or two on a monitor. But having experienced the rest of the concert, I can say with confidence that, under the circumstances, it could well have been Bartók, and not Saint-Saëns, who wound up being the icing.

    The program will be repeated at the Kimmel on Sunday afternoon at 2:00. No concert tomorrow, presumably because of Yom Kippur.

    https://philorch.ensembleartsphilly.org/tickets-and-events/2024-25-season/saint-saenss-organ-symphony


    PHOTO: Love me some Martinu

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