Category: Daily Dispatch

  • Academy Awards Weekend: Film Music on KWAX

    Academy Awards Weekend: Film Music on KWAX

    We’re entering Academy Awards weekend, and the winner is… YOU!

    Why? Because I’ve recorded THREE BRAND NEW SHOWS for KWAX for your delectation.

    Regardless of how you feel about the current state of the industry or the awards ceremony itself, you have to concede, there’s quite a rich history of impressive music written for film. And the Academy Awards is always the perfect excuse to go excavating.

    I’ll be leaning heavily into the nostalgia, beginning today on PICTURE PERFECT. We’ll hear selections from what has been dubbed the greatest film music concert in history. Elmer Bernstein, Johnny Green, Bernard Herrmann, Henry Mancini, Alfred Newman, Alex North, David Raksin, Miklós Rózsa, Dimitri Tiomkin, Franz Waxman, and more turned out for the occasion – all of them to conduct their own music.

    They were joined by Mahalia Jackson, Andy Williams, and Jack Benny. What could only be described as a Hollywood Bowl superconcert was broadcast live over the CBS television network on September 25, 1963.

    Highlights were issued on what became a highly collectible LP. The content was expanded for a CD reissue on the Columbia Legacy label in 1995. However, based on my reading and the fact that I’m finding other selections in my personal library that were recorded at the venue on the same date, there’s still much that remains to be compiled. Put out whatever you’re holding back on a double-disc, please, Sony!

    On today’s show, we’ll hear ten musical selections. I hasten to add, not everyone mentioned will be represented; nor were they even included on the commercial recordings. Tune in to KWAX at 8:00 pm EST/5:00 pm PST. (See the streaming information below).

    Then be sure to join me tomorrow morning when I’ll present a potpourri of classic film themes on SWEETNESS AND LIGHT. Tune in sharp at 11:00 EST/8:00 PST to enjoy 90 seconds of introductory fanfares from the great studios of Hollywood’s Golden Age.

    Finally, also tomorrow, on THE LOST CHORD, it’s another in an occasional series of programs devoted to concert works by composers better known for their work in film. Among the featured works will be “Pas de Deux,” a concerto for violin, cello and orchestra, by James Horner (“Star Trek II: The Wrath of Khan,” “Braveheart,” “Titanic”), and the Concerto for Flute and String Orchestra by Jerome Moross (“The Big Countrty,” “The Cardinal,” “The Valley of Gwangi”). That show will stream Saturday at 7:00 pm EST/4:00 pm PST.

    That should give you plenty of time to load up on the popcorn and buffalo wings for Sunday night’s ceremony. Listen to all three of these NEWLY-RECORDED RADIO SHOWS, wherever you are, at the link!

    PICTURE PERFECT, the movie music show – Friday on KWAX at 5:00 PM PACIFIC TIME (8:00 PM EST)

    SWEETNESS AND LIGHT, the light music program – Saturday on KWAX at 8:00 AM PACIFIC TIME (11:00 AM EST)

    THE LOST CHORD, unusual and neglected rep – Saturday on KWAX at 4:00 PM PACIFIC TIME (7:00 PM EST)

    https://kwax.uoregon.edu/


    More about “the greatest film music concert in history”

    http://www.filmmusicsociety.org/news_events/features/2013/092313.html

  • John Wilbye 450th & Sweet Honey-Sucking Bees https://www.youtube.com/watch?v=8ZlK1bnOqqc&t

    John Wilbye 450th & Sweet Honey-Sucking Bees https://www.youtube.com/watch?v=8ZlK1bnOqqc&t

    English madrigalist John Wilbye was baptized on this date 450 years ago. Anticipate spring with “Sweet Honey-Sucking Bees.”

  • Ravel Gershwin and Jazz Influences

    Ravel Gershwin and Jazz Influences

    On days when I’ve got a lot of work to do, I’ll often post something short or simply cut and paste, with a few tweaks, from the Classic Ross Amico archive. If it happens to be the birthday of a major composer – in this case, Maurice Ravel, born on this date in 1875 – I try to take a fresh perspective, if I can, since I tend to write about the subject every year. I thought this year, I might write about Ravel’s experiences in the United States with George Gershwin and, by extension, jazz. But of course the subject is an involved one. And really, I don’t know how I could handle it any better than it has been by the writer at the link. Enjoy the musical examples below, and happy birthday, Maurice Ravel!

    https://cso.org/experience/article/7984/fascinatin-rhythm-when-ravel-met-gershwin


    Ravel, Piano Concerto in G, 1929-31 (Leonard Bernstein in concert)

    Gershwin, Concerto in F, 1925

    Ravel, “Blues” from Violin Sonata No. 2, 1923-27 (completed before his trip to the States)

    Gershwin, “An American Paris,” 1928 (Bernstein in concert)

    https://www.youtube.com/watch?v=9HI62_udgEI


    PHOTO: Ravel (seated), in New York the day after his 53rd birthday, in 1928, with (left to right) conductor Oskar Fried, mezzo-soprano Éva Gauthier, composer-conductor Manoah Leide-Tedesco, and George Gershwin

  • Dame Kiri Te Kanawa at 80 A Life in Song

    Dame Kiri Te Kanawa at 80 A Life in Song

    The great New Zealand lyric soprano Dame Kiri Te Kanawa is 80 today.

    Her talent and charisma carried her from humble origins to the world stage.

    Her father was a Māori butcher and her mother the daughter of Irish immigrants. Inconveniently, her father happened to be married to someone else – the daughter of the community minister! Under the circumstance, her mother insisted on giving her up for adoption. Te Kanawa was raised by an indigenous couple and took their surname. Her birthname, from her mother, was Rawstron.

    In her teens and early 20s, she started out as a pop singer and an entertainer at clubs. First prize in an opera competition, Mobil Song Quest, in 1965, brought her a grant to study in London. A contemporaneous recording of the “Nuns’ Chorus” from Johann Strauss II’s operetta “Casanova” became New Zealand’s first gold record. Almost as an afterthought, she won the Melbourne Sun Aria Contest in 1966.

    That same year, she was accepted without audition into the London Opera Centre. It was remarked that while she lacked technique, she already possessed the ability to captivate an audience. Needless to say, she picked up and polished the technique.

    In 1973, she received an OBE for her services to music. She was elevated to a Dame, for her services to opera, in 1982. By then, she was recognized all over the world for having sung Handel’s “Let the Bright Seraphim” at the wedding of Prince Charles and Lady Diana in 1981.

    It seems almost anticlimactic that her recording of “The Marriage of Figaro,” with Sir Georg Solti conducting, would receive a Grammy Award in 1984. In all, Te Kanawa would be nominated six times. She also appeared on what has become known as the operatic “West Side Story,” singing Maria opposite José Carreras’ Tony, under composer Leonard Bernstein’s direction. That recording was recognized with a Grammy for Best Cast Show Album in 1985.

    There followed decades of memorable performances, as Te Kanawa appeared on the stages of most of the world’s major opera houses. In 2009, she announced her retirement from opera, effective the next year. She gave her final recital in 2016.

    By then, she had already started giving back, fostering young musicians in New Zealand through the Kiri Te Kanawa Foundation, which she established in 2004. She also gave masterclasses and sat as a judge in several singing competitions.

    In 2013, she made a guest appearance on “Downton Abbey” as the historical Australian soprano Nellie Melba. In 2021, she moved back to her homeland permanently after having lived in the UK for 55 years. She returned briefly in 2022 as part of the New Zealand delegation at the state funeral of Queen Elizabeth II.

    Happy birthday, Dame Kiri, and many happy returns.


    An early appearance in the 1966 New Zealand film “Don’t Let It Get You”

    Singing Handel at the wedding of Charles and Diana

    Decades before singing “O mio babbino caro” on “Downton Abbey,” Te Kanawa received wide exposure through an earlier recording of the aria used in the film “A Room with a View” (1985). Interestingly, both productions employed Maggie Smith as a prim sourpuss.

    Kiri on “This Is Your Life”

    As the Countess in “The Marriage of Figaro”

    As the Marschallin in “Der Rosenkavalier”

    As Desdemona

    40 years of performances from the BBC archives

  • Sarah Caldwell Opera Pioneer at 100

    Sarah Caldwell Opera Pioneer at 100

    While soprano Dame Kiri Te Kanawa rightly takes center stage today, as the musical world showers her with rose petals for her 80th birthday, spare a piece of cake for Sarah Caldwell.

    Today marks the 100th anniversary of Caldwell’s birth. With her own hands, she molded the Opera Company of Boston, for 32 years an organization distinguished by its bold programming, insightful productions, and esteemed singers (including Beverly Sills, Joan Sutherland, Shirley Verrett, Marilyn Horne, Jon Vickers, and James McCracken).

    Caldwell tackled works that struck fear in the hearts of major companies, operas such as Prokofiev’s “War and Peace,” Schoenberg’s “Moses und Aaron,” Roger Sessions’ “Montezuma,” Peter Maxwell Davies’ “Taverner,” and Rodion Shchedrin’s “Dead Souls.” She spearheaded the first complete American staging of Berlioz’s “Les Troyens.” She was also the first in the U.S. to employ Mussorgsky’s original orchestrations for “Boris Godunov.”

    She had her detractors, to be sure. For many of her productions in Boston, she served not only as conductor, but as stage director. Some felt this diluted her powers, but there is no questioning her magnificent ambition. On a shoestring budget, she drove her team as hard as she pushed herself, which was very hard indeed. Often it led to its share of backstage drama and cost overruns.

    Caldwell became the first woman to conduct at the Metropolitan Opera (in “La traviata” in 1976, with Sills). The same year, a production of “The Barber of Seville” (again with Sills) was televised over PBS. In 1978, she returned to the Met to conduct “L’elisir d’amore,” with José Carreras and Judith Blegen.

    A non-operatic highlight, surely, was when she joined the New York Philharmonic for a program of women composers – in 1974! – as only the second woman ever to conduct the orchestra (Nadia Boulanger was the first, in 1939 and 1962), presenting works by Ruth Crawford Seeger, Lili Boulanger, and Thea Musgrave. Time Magazine dubbed her “Music’s Wonder Woman.”

    She also conducted the Pittsburgh Symphony Orchestra, the Saint Paul Chamber Orchestra, and the Boston Symphony Orchestra.

    Caldwell founded the organization that became the Opera Company of Boston (originally known as the Opera Group) in 1958, with $5000.

    She didn’t have the best head for money and she could be politically naïve. In Boston, a cultural exchange with the Soviet Union tanked at the box office. Later, she entered into an agreement with the Marcos regime to bring opera to the Philippines. To her credit, she pulled out of the deal, but it brought her some bad publicity.

    In 1993, at 68, she became principal guest conductor of the Sverdlovsk Philharmonic Orchestra of Ekaterinburg, Russia.

    Clearly, Caldwell was a force of nature.

    She died in 2006 at the age of 82.


    Caldwell conducts “The Barber of Seville” at the Met (with Sills, Alan Titus, Donald Gramm, Henry Price, and Samuel Ramey)

    Hindemith, again with Sills, in Boston – oh my goodness, unless I’m very much mistaken, Aaron Copland provides the spoken addendum, at around 12:20!

    “Otello” with Vickers and Verrett

    “Norma” excerpts with Sills and John Alexander

    A Musical Adventure in Siberia

    Shostakovich Cello Concerto

    Interviewed by Bruce Duffie

    https://www.bruceduffie.com/caldwell.html

Tag Cloud

Aaron Copland (93) Beethoven (95) Composer (114) Film Music (124) Film Score (143) Film Scores (255) Halloween (94) John Williams (188) KWAX (229) Leonard Bernstein (101) Marlboro Music Festival (125) Movie Music (139) Opera (202) Philadelphia Orchestra (89) Picture Perfect (174) Princeton Symphony Orchestra (106) Radio (87) Ralph Vaughan Williams (85) 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