Category: Daily Dispatch

  • Roy’s Sci-Fi Corner Postponed Rescheduled!

    Roy’s Sci-Fi Corner Postponed Rescheduled!

    I am very sorry to report that tonight’s scheduled anniversary celebration of Roy’s Tie-Dye Sci-Fi Corner – which today marks three years of perfecting the balance between nostalgia and banter in relation to science fiction and fantasy in classic television and film – has had to be postponed, as Roy is under the weather.

    However, we’re optimistic that he’ll have talked Dr. McCoy through the process of surgically reconnecting his cerebrum before the Easter weekend. We hope you’ll be able to join us for our discussion of the “Star Trek” original series episode “Spock’s Brain,” to be livestreamed on Facebook, YouTube, etc., THIS THURSDAY EVENING AT 7:00 EDT.

    In the meantime, we apologize for the inconvenience. You can console yourself by ordering an official t-shirt at the “Roy’s Tie-Dye Sci-Fi Corner” Facebook page, several of which are modeled here by Roy’s cat, the always slinky and stylish Squeaker.

    https://www.facebook.com/roystiedyescificorner

  • Mario Castelnuovo-Tedesco: A Musical Journey

    Mario Castelnuovo-Tedesco: A Musical Journey

    Things had already been heating up for Mario Castelnuovo-Tedesco for some time. His music was banned from radio and performances of his works were cancelled, well before the passage of Italian racial laws in 1938. Castelnuovo-Tedesco was a Jew living in Mussolini’s Italy. He finally emigrated in 1939, when Arturo Toscanini, who loathed fascism, sponsored the composer’s passage to the United States.

    Castelnuovo-Tedesco’s music was embraced by Jascha Heifetz and Andrés Segovia, among others. His Violin Concerto No. 2, “The Prophets,” was given its first performance at Carnegie Hall, with Heifetz the soloist and Toscanini on the podium, in 1933. Its three movements are named for the Biblical figures Isaiah, Jeremiah, and Elijah.

    I always make it a point to listen to this piece every year around Passover (which this year begins on Wednesday at sunset), but Castelnuovo-Tedesco is a composer whose music is unfailingly enjoyable in all seasons.

    Furthermore, anyone who loves film music owes an incalculable debt to him. He wrote music for some 200 movies (including “And Then There Were None,” with Barry Fitzgerald, and “The Loves of Carmen,” with Rita Hayworth), and as a teacher, his students included André Previn, Nelson Riddle, Herman Stein, Henry Mancini, Jerry Goldsmith, and John Williams.

    So thank you, and happy birthday, Mario C-T!


    Violin Concerto No. 2 “The Prophets”

    Segovia masterclass on the Guitar Concerto No. 1

    Radio interview with Segovia and the composer

    Toscanini conducts an adventurous program, including Castelnuovo-Tedesco’s “Overture to a Fairy Tale” (which, if I’m not mistaken, is the same as his “Midsummer Night’s Dream Overture”)

  • Spock’s Brain Roy’s Tie-Dye Sci-Fi Corner Anniversary

    Spock’s Brain Roy’s Tie-Dye Sci-Fi Corner Anniversary

    How to celebrate three years of Roy’s Tie-Dye Sci-Fi Corner? It’s a no-brainer.

    We’ll discuss the third season opener of “Star Trek,” the original series: Captain Kirk and crew scramble to recover their unflappable first officer’s noodle in “Spock’s Brain” (1968).

    Widely reviled as one of the worst “Star Trek” episodes ever made, the subject is guaranteed to spark a lively conversation, with plenty of digressions and not a few laughs.

    Get ready for another year of mindless chatter, as Roy and I put our heads together for “Spock’s Brain.” Your gray matter is required in the comments section, when we livestream on Facebook, YouTube, etc., at a special time, THIS MONDAY EVENING AT 7:00 EDT!

    https://www.facebook.com/roystiedyescificorner

  • John Foulds Rediscovered Composer

    John Foulds Rediscovered Composer

    Though steeped in the comparatively conservative milieu of the English musical renaissance at the turn of last century, John Foulds possessed a physical, intellectual, spiritual, and creative wanderlust.

    Foulds moved to India in 1935. There, he collected native folk tunes. He became director of European music for All-India Radio in Delhi, created an orchestra from scratch, and labored tirelessly to fulfill his vision of a synthesis between Eastern and Western music. He also composed works for traditional Indian instruments. His efforts on behalf of the radio were so successful that he was asked to open a satellite branch in Calcutta. Unfortunately, he contracted cholera and died within a week of his arrival, at the age of 58.

    Because of the remote location and the fact that a number of the pieces of his maturity have been lost, or the manuscripts extensively compromised, Foulds’ slight reputation has rested for the most part on his “light music” (especially “Keltic Lament”). But Foulds was definitely ahead of his time, as the gradual rediscovery of his works has revealed, with the composer’s fascination with quarter-tones and, occasionally, a tendency toward an almost proto-minimalism.

    So diverse were Foulds’ output and enthusiasms that it is difficult, if not impossible, to encapsulate the scope of his achievements within a single hour. Nevertheless, this Sunday night on “The Lost Chord,” we will endeavor to do our best, by sharing his light concert overture “April – England,” “Three Mantras” from the abandoned Sanskrit opera, “Avatara,” and selections from “A World Requiem.”

    It’s a Foulds paradise! Join me for “April Foulds,” this Sunday night at 10:00 EDT, on WWFM – The Classical Network and wwfm.org.


    PHOTO: Foulds (right), sitting in on an Indian jam session

  • Samuel Barber: A Composer’s Humorous Side

    Samuel Barber: A Composer’s Humorous Side

    I’ve been reading Howard Pollack’s absorbing biography, “Samuel Barber: His Life and Legacy,” in advance of its release on Tuesday by University of Illinois Press.

    Barber is one of our great American composers. You’ll probably recognize his “Adagio for Strings,” at the very least, from its use in so many movies (“Platoon,” “The Elephant Man,” “Lorenzo’s Oil,” “Amélie”) and on occasions of national mourning (such as the deaths of presidents and the terrorist attacks of 9-11).

    I must say, Pollack is doing a fabulous job of shedding light on the composer’s multifaceted character. Barber’s manner could be reserved – some would say aloof – and his patrician demeanor and assumed mid-Atlantic accent, rooted in an upper-middle-class upbringing in West Chester, Pennsylvania, and his close identification with his New England forebears, may now seem like affectations from a bygone world.

    But he also had a sense of humor, offering the occasional sardonic, or even barbed observation. Once in while, he even teetered over into the downright zany. From the passage below, you’ll see he was a very capable practical joker. I thought it only appropriate to share it with you for this April Fool’s Day.


    Barber had moreover what his cousin Katharine Homer Fryer called, in reference to the Beatty side of the family, a “Beatty sense of humor,” meaning, explained Barbara Heyman, “a love of the ridiculous.” As an example, one might cite Barber’s remark to [Nathan] Broder, apropos for his fondness for soups, “I would like to be buried with a sprinkling of croutons over my coffin.” Barber showed a proclivity for childish stunts and mischievous pranks, whether in his student years interrupting a tedious concert by noisily spilling coins on a dare from [Gian Carlo] Menotti, or in later years pretending to topple down a flight of stairs spewing manuscript pages to the amusement of his sister and her children. Planning a visit home while at the American Academy in Rome in the mid-1930s, he hatched a particularly elaborate ruse, telling his parents that he was sending them a portrait of himself and arranging for Menotti, then in New York, to bring a life-size frame to West Chester. “So I brought this empty frame to West Chester,” recalled Menotti, “and I said [to Barber’s parents], ‘Now you all get out of the room because I want to unveil it.’ So then Sam sneaked into the house and he sat inside the frame and then I unveiled the thing and there was Sam who said ‘Hello.’ Poor Mrs. Barber almost fainted!”


    “Samuel Barber: His Life & Legacy” is scheduled for release on April 4. I haven’t finished it yet, but if you think it’s the kind of thing that might interest you, it’s a great read. I’ll have a more complete report by the end of the book. In the meantime, you’ll find more about it here:

    https://www.press.uillinois.edu/books/?id=c044908

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