Category: Daily Dispatch

  • Thanksgiving Movie Music on KWAX

    Thanksgiving Movie Music on KWAX

    “Do any human beings ever realize life while they live it? Every, every minute?”

    This poignant observation, from Thornton Wilder’s “Our Town,” stands as a timely reminder that there are things we should all be thankful for, while they – and we – are here to appreciate them.

    This week on “Picture Perfect,” we’ll set the table for Thanksgiving.

    None other than Aaron Copland wrote the music for the big screen adaptation of Wilder’s Pulitzer Prize winning play (first performed in Princeton in 1938). The composer was at the height of his “populist” period. “El Salon Mexico” and “Billy the Kid” had already been written, and “Fanfare for the Common Man,” “Lincoln Portrait,” “Rodeo” and “Appalachian Spring” would follow within just a few years. Clearly, there was no better choice to capture the essence of small town America.

    The concert version of “Our Town” has been in circulation for decades, but it was only in 2011 that a complete recording of the score was made available, briefly, as a digital download.

    Gary Cooper and Dorothy McGuire star in “Friendly Persuasion” (1956), based on the novel by Jessamyn West. The film’s portrayal of family and the resolution of moral conflict, as pacifist Quakers deal with issues both big and small – from the American Civil War, to the introduction of a “sinful” musical instrument into the household – make “Friendly Persuasion,” in my opinion, a good choice for this time of year.

    The film was up for six Oscars, with Dimitri Tiomkin’s score nominated twice. The title song went on to become the popular hit “Thee I Love.” Only Dimitri Tiomkin would use balalaikas to depict Quaker life!

    “Witness” (1985) may seem like an unusual choice for Thanksgiving, with its themes of police corruption and violence, but when honest cop Harrison Ford goes on the lam, he experiences the “plain” lifestyle of a close-knit Amish community. The highlight of Maurice Jarre’s score is a sequence called “Building the Barn,” in which the community comes together to raise a barn for a newly married couple.

    Finally, we’ll hear selections from “Plymouth Adventure” (1952), with its depictions of William Bradford, John Alden, Miles Standish, and Priscilla Mullins. Spencer Tracy stars as the cynical captain of The Mayflower, Gene Tierney is his forbidden love interest, Van Johnson appears as Alden, and Lloyd Bridges is the first mate.

    The music is by Miklós Rózsa, who already, at this stage of his career, was MGM’s go-to composer for historical drama. Seven years later, Rózsa would take home his third Academy Award for his classic score to “Ben-Hur.”

    It’s never too early to give thanks. There’s not a turkey among them, this week on “Picture Perfect,” music for the movies, now in syndication on KWAX, the radio station of the University of Oregon!


    Remember, KWAX is on the West Coast, so there’s a three-hour difference for the Trenton-Princeton area. Here are the respective air-times of my recorded shows (with East Coast conversions in parentheses):

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

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

    Stream them here!

    https://kwax.uoregon.edu/


    Martha Scott and William Holden make their mark in “Our Town” (1940)

  • Wittgenstein Hindemith A Hidden Concerto

    Wittgenstein Hindemith A Hidden Concerto

    Concert pianist Paul Wittgenstein lost his right arm during World War I. Rather than abandon his career, he began commissioning keyboard works for the left hand from some of the day’s leading composers – including Maurice Ravel, whose Concerto for the Left Hand became the most successful of its kind in the repertoire.

    In 1922, Wittgenstein approached Paul Hindemith, at 27, a rising star of German modernism – indeed of the radical avant-garde – to produce his “Klaviermusik mit Orchester.”

    Wittgenstein’s reaction to the piece is unknown, although we can easily surmise. He wasn’t even satisfied with the Ravel, gravitating instead toward the more Romantic – I hesitate to say heart-on-the-sleeve – temperaments of Franz Schmidt and Erich Wolfgang Korngold. Wittgenstein never played the Hindemith in public. Furthermore, since he had secured exclusive performance rights, he wouldn’t allow anyone else to play it, either.

    Following the pianist’s death in 1961, Wittgenstein’s widow relocated to a farmhouse in Pennsylvania, where for decades she kept all of her husband’s belongings in a single room. When the estate was finally catalogued in 2002, a copy of the Hindemith concerto was discovered among Wittgenstein’s effects, along with other scores, correspondence, and items of interest, including locks of both Beethoven’s and Brahms’ hair.

    It was Leon Fleisher who gave the belated premiere of the concerto, some 80 years after it was written, with the Berlin Philharmonic, conducted by Sir Simon Rattle. Somebody posted the audio on YouTube.

    The U.S. premiere also featured Fleisher, with the San Francisco Symphony, conducted by Herbert Blomstedt. What do you know, that’s been posted too.

    I was present at the U.S. East Coast premiere, with Fleisher and the Curtis Symphony Orchestra, conducted by Christoph Eschenbach. If you listen carefully to the recording, made at Philadelphia’s Verizon Hall, at the Kimmel Center for the Performing Arts, on April 27, 2008, and issued on the Ondine label, you might even be able to hear me applaud. It’s posted here as a YouTube playlist, over multiple videos.

    Wittgenstein may not have thought much of Hindemith, but Glenn Gould clearly adored him. Here Gould elaborates on the nature of the fugue, illustrating his points with a selection from Hindemith’s Piano Sonata No. 3.

    Gould at the keyboard for Hindemith’s Trumpet Sonata

    And for his “Marienleben”

    Get all keyed-up for Paul Hindemith on his birthday!


    PHOTOS (from left): Hindemith in 1923; Wittgenstein; Gould; Fleisher with yours truly

  • Main Line Symphony’s Rare Gems

    Main Line Symphony’s Rare Gems

    I am looking forward to this ambitious program tomorrow night with the Main Line Symphony Orchestra. Vaughan Williams’ Symphony No. 5, of course, is a longtime favorite, and somehow the stars have aligned so that I’ll have heard it three times within two months! Quite a harvest, considering Vaughan Williams’ music is so rarely done – beyond the “Fantasia on a Theme by Thomas Tallis” and “The Lark Ascending” – by American orchestras. In this instance, however, there is an added incentive in the inclusion, to open the concert, of Ruth Gipps’ Symphony No. 2.

    Gipps, who lived from 1921 to 1999, was a Vaughan Williams pupil. At 26, she became the youngest English woman ever to receive a doctorate in music. Her mastery of both the oboe and piano suggested a promising future as soloist in virtuoso concert works. However, a shoulder injury, suffered in her early 30s, caused her to shift her focus primarily to composition. Along the way, she also founded two orchestras and directed a choral ensemble.

    Despite early success (her tone poem, “Knight in Armour,” was performed at the Last Night of the Proms in 1942), she encountered resistance in a field dominated by men. No doubt this contributed to her steely resolve. She was tenacious. Some found her off-putting.

    In all, she left five symphonies, a respectable number of concertos and concertante works, chamber and instrumental music, and choral pieces. Hopefully, this is a harbinger of more Gipps to come, as her works are being revived and recorded. In fact, I have two recordings of this particular symphony, but I never dreamed I would ever hear it in person!

    Also on the program will be Ernest Bloch’s “Schelomo,” with Yumi Kendall, assistant principal cello of the Philadelphia Orchestra, the soloist. Don Liuzzi, Philly’s longtime principal timpanist, is the Main Line Symphony Orchestra’s music director.

    The concert will be presented at Valley Forge Middle School in Wayne, PA, tomorrow night, Friday, at 8 p.m. The program will be repeated at Reform Congregation Keneseth Israel in Elkins Park, PA, Saturday at 1 p.m.

    For tickets and information, visit http://www.mlso.org.

  • Shatner’s Duality Kirk Splits in Classic Trek

    Shatner’s Duality Kirk Splits in Classic Trek

    On the next Roy’s Tie-Dye Sci-Fi Corner, in honor of William Shatner’s return to the Star Trek Original Series Set Tour in Ticonderoga, NY, this weekend, Roy made the command decision that we will discuss the original series episode “The Enemy Within” (1966). This is the one in which a transporter malfunction causes Captain Kirk to be split into two people, one “good,” but indecisive and ineffectual, and the other “evil,” impulsive and irrational. Obviously, it was Evil Roy who handed down this unilateral decision.

    I’m just kidding, of course. I love this stuff, and it is classic “Trek.” Like the character of divided Kirk, its qualities are many-faceted: at the same time ludicrous, thought-provoking, engaging, and fun.

    Shatner is at his histrionic best, underlit and heavy on the eyeliner when evil, and managing to overplay “underplay” when good. But where he really displays his chops is in keeping a straight face while acting alongside a dog in a hairy caterpillar/unicorn onesie.

    Famed horror and sci-fi scribe Richard Matheson (“The Incredible Shrinking Man,” “The Legend of Hell House,” “I am Legend”) mines the old doppelganger theme for this exploration of man’s duality. It also happens to be the first episode, thanks to Leonard Nimoy, in which Spock delivers his signature Vulcan nerve pinch.

    Join us as my will weakens in the presence of forceful Roy. Saurian brandy will be served in the comments section, as it’s revealed that Roy and I are two sides of the same coin, when we livestream on Facebook, YouTube, etc., THIS WEEK AT A SPECIAL TIME, THURSDAY EVENING AT 7:00 EST!

    https://www.facebook.com/roystiedyescificorner

  • Ennio Morricone Film Retrospective at MoMA

    Ennio Morricone will receive a massive retrospective at @[11279496579:69:MoMA The Museum of Modern Art], from Dec. 1 to Jan. 10. Featured will be 35 films in all genres, including of course a heaping helping of spaghetti westerns. It’s only a mere tip of the cheroot for a composer who wrote hundreds of film and television scores, perhaps more than anyone else. Of particular interest is the inclusion of a rarely-seen German television program featuring Morricone and Gruppo di Improvvisazione Nuova Consonanza (“The Group”), an experimental collective of composer-musicians that banded together in Rome in 1964 in a utopian spirit of nonhierarchical improvisation. You’ll find more information at the link. Make plans now to mosey on over to MoMA for a fistful of Morricone.

    https://www.moma.org/calendar/film/5658?fbclid=IwAR3wyPQnACepbjHVD-iHZKg56kT1qGX55p1f2nAK9QvZqScrniU4j2QWmOQ

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