It’s a near certainty that I won’t be able to make this concert on Saturday night, but if you’ll be in New York City and you are interested in unusual and worthwhile repertoire, it’s possible I could live vicariously through you. It’s agonizing to me to have to miss not only the Symphony No. 5 by American composer (and one-time Juilliard president) Peter Mennin, but also the lovely, late-Romantic Violin Concerto by Mieczyslaw Karlowicz. (Rachel Lee Priday will be the soloist.)
The program will open with Giacomo Puccini’s “Capriccio sinfonico.” That’s the student piece he cannibalized for “La bohème.” If you know your Puccini, you will recognize it.
The Mennin is not performed often enough and the Karlowicz is rarely-heard on these shores. You could attend concerts for decades, as I have, and never encounter either one in performance. It is, however, characteristic programming for the New York Repertory Orchestra, whose music director is David Leibowitz.
The programs are always intriguingly and intelligently put together. Sadly, I always seem to have a conflict. (I was bummed to miss their LAST concert, which included the Symphony No. 4 by Ruth Gipps.) TICKETS ARE FREE, with a suggested $15 donation.
So if you’re interested in enjoying some attractive, well-crafted music that for some inexplicable reason has never really gained a toehold in the standard repertoire, hie thee to the Church of St. Mary the Virgin, 145 West 46th St., between 6th & 7th Avenues, this Saturday at 8:00 p.m. – and taunt me with how fabulous it was to hear this concert live!
More information at the link
https://www.nyro.org/index.html
Rehearsing Mennin
https://www.facebook.com/watch/?v=3285024335012633
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PHOTO: An eerie Octo-Mennin, courtesy of Gordon Parks
Category: Daily Dispatch
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Misty for Mennin
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Gorgeous Georgians
Today is the birthday of Mikhail Ippolitov-Ivanov (1859-1935), and I’ve got Georgia on my mind.
A pupil of Nikolai Rimsky-Korsakov, Ippolitov-Ivanov made his name as a musical spokesperson for the Caucasus. He spent his formative creative years in Georgia, as director of the music academy and conductor of the orchestra in Tblisi. Though he would return to Russia to become a professor at – and eventually director of – the Moscow Conservatory, as a well as a prominent conductor of the Russian Choral Society and at Bolshoi Theatre, clearly the music of Georgia had become deeply ingrained. He returned to Georgia in 1924 to reorganize the Tblisi Conservatory. His compositional output includes works on Georgian, Armenian, and Turkish themes.
Of course, his best-known piece is the “Procession of the Sardar,” from his “Caucasian Sketches.” It climaxes the Suite No. 1, which can be heard here:
https://www.youtube.com/watch?v=KiF8JPARwCc
A composer born in Georgian of whose works I am particularly fond is Zakaria Paliashvili (1871-1933). Regarded as the Father of Georgian Music, Paliashvili studied composition at the Moscow Conservatory under Sergei Taneyev (a pupil of Tchaikovsky). He then returned home to collect folk songs, co-found the Georgian Philharmonic Society, and head the Tblisi Conservatory.
I discovered Paliashvili’s music online about 20 years ago, when I stumbled across a Georgian website that was selling CD-Rs of his operas. The posted excerpts from “Abeselom and Eteri” were especially gorgeous. Apparently, Deutsche Grammophon issued a recording on LP, back in the 1970s. Alas, it’s now long out of print.
For a long time, I hedged about sharing my credit card number with an unknown merchant in Georgia, but finally a few years ago, with no Paliashvili evidently forthcoming, I figured what the hell. I ordered all the available operas and managed to get one of them on the air, back when I was filling in for Sandy Steiglitz on her Sunday Morning Opera show on Princeton’s WPRB 103.3 FM.
I also managed to get my hands on a copy of Paliashvili’s “Liturgy of St. John Chrysostom,” on the Olympia label, and played that on my syndicated radio show “The Lost Chord” a number of years ago.
A quick search on YouTube reveals a nice sampling of Paliashvili’s music, including this highlight from “Abeselom and Eteri”
https://www.youtube.com/watch?v=m2xMzNxDcPQ
By Georgia, here’s the whole thing!
https://www.youtube.com/watch?v=52FZLd7WARs
A staged performance from 2016
https://www.youtube.com/watch?v=Nu_rm0FRUV0
And a film version from 1966! No English subtitles, but there’s a synopsis in the comments.
https://www.youtube.com/watch?v=6oQMgensnVE
His opera “Daisi”
https://www.youtube.com/watch?v=MmQg9Km7cz8
“Elegy” for piano
https://www.youtube.com/watch?v=kZUHKlTIkoE
“Liturgy of St. John Chrysostom”
https://www.youtube.com/watch?v=9Y9dqrlZVCQ
Ah, internet, I knew you were good for something.
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PHOTO: Honorary Georgian Mikhail Ippolitov-Ivanov -

Bach Better Late Than Never
You may have heard the big news by now, that a couple of organ works by Johann Sebastian Bach have been rediscovered. New works by Bach! Well, kind of. They were actually uncovered all the way back in 1992, while researcher Peter Wollny was cataloguing Bach manuscripts at the Royal Library of Belgium in Brussels. But the mills of the gods grind slowly, and IT TOOK 30 YEARS, I guess, to confirm their authenticity.
Be that as it may, the “new” Chaconne in D minor, BWV 1178, and Chaconne in G minor, BWX 1179, were performed for the first time in probably 320 years yesterday. A stream of the double debut, at St. Thomas Church in Leipzig – where Bach served as cantor for 27 years (less time than it took for the organ pieces to be authenticated) and where his remains are interred beneath a bronze marker – with Baroque authority Ton Koopman at the organ, has been archived on YouTube.
There’s some annoying A.I. Bach at the start and plenty of German speechifying, but if you want to cut to the chase, the Chaconne in D minor can be heard twice, at 15:28/59:40, and the Chaconne in G minor at 22:45/1:07:02 at the link below.
The undated, unsigned manuscripts are believed to be in the hand of Salomon Günther John, one of Bach’s pupils. The chaconnes are thought to have been composed early in Bach’s career, when he was working as an organ teacher in Arnstadt in Thuringia.
Unsurprisingly, Koopman finds the music to be “of very high quality.”
Here’s the link:
https://www.youtube.com/watch?v=4hXzUGYIL9M -

At 95, Amram Collects No Moss
Philadelphia’s musical polyglot is 95 today.
David Amram, born in Philadelphia on this date in 1930, has always been equally at home in classical music, jazz, folk, and world music. The composer of over 100 orchestral and chamber works, music for Broadway and film (including the scores for “Splendor in the Grass” and “The Manchurian Candidate”), and two operas, he’s also the author of three books: “Vibrations: The Adventures and Musical Times of David Amram” (1968), “Offbeat: Collaborating with Kerouac” (2002), and “Upbeat: Nine Lives of a Musical Cat” (2007).
Amram, who now makes his home in Putnam Valley, NY, was raised on a farm in Bucks County, PA. There, he was introduced to classical, jazz, and cantorial music by his father and uncle. He took piano lessons and experimented with instruments of the brass family, finally centering on the French horn. Following a year at Oberlin, he lit out for George Washington University, where he studied history. While there, he performed as a freelance hornist with the National Symphony. He also studied privately with two musicians in the orchestra.
Amram became a pioneer of the “jazz French horn,” as well as the New York Philharmonic’s first composer-in-residence (designated such in 1966). He’s worked with artists ranging from Dizzy Gillespie to Bob Dylan to Leonard Bernstein, from Jack Kerouac to Arthur Miller, from Christopher Plummer to Johnny Depp. He’s a musician without borders, always open to new experiences.
At 95, Amram is still cookin’. Think I’m exaggerating? Check out his calendar at his website.
https://www.davidamram.com/calendar.php?year=2025
He just performed in Tarrytown last week, and he’s got a couple of birthday concerts imminent, in Schenectady and NYC (at Dizzy’s Club at Columbus Circle, presented by Jazz at Lincoln Center).
A new recording of his chamber music was just issued on Naxos on November 14. This follows an album on Guthrie Legacy Recordings dedicated to Woody Guthrie and Phil Ochs, released in August.
Clearly he ascribes to the maxim that to rest is to rust. He’s also keeping busy with a new orchestral piece, his fourth book, and a transcription for symphonic winds of “This Land: Symphonic Variations on a Song by Woody Guthrie” for a scheduled premiere at Ohio State College in June.
Amram is high on life, he exudes love, and he makes the world a better place. The guy deserves all his success.
Sending another happy birthday via “ESP thought-o-gram” to David Amram. May there be many more.
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Trailer for “David Amram: The First 80 Years”
https://www.youtube.com/watch?v=q5v6MeanQ28
Amram Horn Concerto
https://www.youtube.com/watch?v=V8J0w1uMfXo
Amram with Dizzy Gillespie
https://www.youtube.com/watch?v=j69jBSwi-f4
Amram’s music for “The Manchurian Candidate”
https://www.youtube.com/watch?v=AWrtyCzWE_w&t
Wonderful snapshot of the man and artist, who more and more seems a prophet of our age
https://www.youtube.com/watch?v=Gk0M6n_nBYo
Amram jamming at the Philadelphia Folk Festival in 2011
https://www.youtube.com/watch?v=yHdo_-GnUgI
Amram in February (age 94)
https://www.youtube.com/watch?v=_mQ7FBwbAkw
“Pull My Daisy”
https://www.youtube.com/watch?v=1lCBNfnVGtc -

The Philadelphia Orchestra and Mark Twain’s Daughter: One Degree of Separation
Happy birthday, The Philadelphia Orchestra! Looking pretty good for 125.
The Fabulous Philadelphians gave their first public concert under Fritz Scheel on this date in 1900. The event took place at the orchestra’s former home of the Academy of Music, located on the southwest corner of Broad and Locust Streets. On the program were works by Carl Goldmark (“In Spring” Overture), Beethoven (Symphony No. 5), Tchaikovsky (Piano Concerto No. 1), Weber-Berlioz (“Invitation to the Dance”), and Wagner (“Entry of the Gods into Valhalla”).
The soloist on that occasion was Ossip Gabrilowitsch. Gabrilowitsch’s teachers at the Saint Petersburg Conservatory included Anton Rubinstein and Nikolai Medtner. He then studied for two years in Vienna under the legendary pedagogue Theodor Leschitizky. Not only was Gabrilowitsch a prominent pianist, he was also offered the music directorship of the Boston Symphony Orchestra, which he politely declined. Later, he became founding director of the Detroit Symphony in 1918. He was also Mark Twain’s son-in-law. In my possession is a biography I picked up for $3 at a public library sale, “My Husband, Gabrilowitsch,” that I noticed had been inscribed by Twain’s daughter, Clara Clemens!
Fritz Scheel was succeeded as music director of the Philadelphia Orchestra by Carl Pohlig in 1908. Leopold Stokowski (pictured) followed in 1912; Stoky would lead the group for the next 24 years. Then came Eugene Ormandy, who held the podium until 1980 – 44 years. Ormandy passed the baton to Riccardo Muti, who directed from 1980 to 1992. Muti was followed Wolfgang Sawallisch, who remained with the orchestra for the next decade. Sawallisch was succeeded by Christoph Eschenbach in 2003. Eschenbach was followed by Charles Dutoit, appointed “Chief Conductor” in 2008. And, bringing us up to the present, Yannick Nézet-Séguin arrived, with vitality to burn, in 2012. What a history!
Since I lived in Philadelphia for over three decades, this was my resident orchestra. I saw many of the greats there, with some particularly unforgettable nights at the Academy of Music, especially when I was in my 20s. Also in the summers, at the Mann Center in Fairmount Park, when the orchestra played three or four different programs a week. A lot of those artists aren’t around anymore. I have some cherished memories of the orchestra at its current home at the Kimmel Center for the Performing Arts, too, but perhaps inevitably I view those earlier concerts through rose-tinted glasses, halcyon experiences preserved in the amber of my youth. It’s astonishing to realize that I have been attending concerts with this ensemble over a span of 41 years! It’s been an indispensable part of my life.
Thank you, and a happy 125th, Philadelphia Orchestra!
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A great read about Clara Clemens and Ossip Gabrilowitsch in the Star-Gazette of Elmira, NY
https://www.stargazette.com/story/news/local/2024/03/08/mark-twain-daughter-clara-clemens-studied-music-performed-in-elmira/72775353007/
The Twain plaque was stolen from a joint monument dedicated to the author and Gabrilowitsch at Elmira’s Woodlawn Cemetery, but returned, in 2015
https://www.syracuse.com/state/2015/09/mark_twain_stolen_plaque_returned_to_tomb.html
An account of Gabrilowitsch, guest conducting the Philadelphia Orchestra, addressing the audience on the subject of applause. (He was in favor of it; apparently Stokowski was not.)
https://www.nytimes.com/1930/02/01/archives/gabrilowitsch-urges-audience-to-applaud-takes-issue-with-stokowskis.html
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PHOTO: Stokowski and the Philadelphia Orchestra at the Academy of Music in 1916, ready to go for the American premiere of Gustav Mahler’s “Symphony of a Thousand”
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