Category: Daily Dispatch

  • Carnival Music Feast on The Classical Network

    Carnival Music Feast on The Classical Network

    Shrove Tuesday. Mardi Gras. Fastnacht Day.

    The last day to stuff down as many doughnuts as you can before the start of Lent.

    To mark the occasion, this afternoon on The Classical Network, we’ll glut ourselves with music related to Carnival.

    Among the featured highlights will be Heitor Villa-Lobos’ fantasy for piano and orchestra, “Momôprecóce” (“Carnival of the Brazilian Children”); Robert Schumann’s cryptogrammatic “Faschingsschwank aus Wien” (“Carnival Jest from Vienna”); and Igor Stravinsky’s Shrovetide ballet “Petrouchka,” in a recording conducted by Princeton Symphony Orchestra music director Rossen Milanov.

    We’ll also enjoy a touch of Mardi Gras, with some pieces on Creole themes; a set of variations on “Carnival of Venice;” musical depictions of stock characters of the commedia dell’arte; and “Manhã de Carnaval,” from the film “Black Orpheus.”

    First, on today’s Noontime Concert, it’s a Telemann blow-out. Tempesta di Mare – Philadelphia Baroque Orchestra will present “Fire and Invention,” part of its Telemann 360° project.

    Georg Philipp Telemann (1681-1767) left behind an enormous catalogue of monumental compositions in every style and genre (with 3000 works to his credit, the Guinness Book lists him as the most prolific composer of all time), yet so much of it remains unrecognized, or even unperformed.

    The sheer volume of his output has made it difficult for posterity to wrap its collective head around the full scope of his accomplishments. Tempesta is doing its best to change all that. Today’s concert will include a Concerto for Orchestra, a collection of Entr’actes, and a Violin Concerto, featuring Tempesta principal violinist Emlyn Ngai.

    Tell your friends to tune in for Telemann. Then stick around for plenty of fried, buttery goodness. Abandon yourself to the debauchery of Carnival, from 12 to 4 p.m. EST, on WWFM – The Classical Network and wwfm.org.

  • Kirk Douglas & Mardi Gras on WWFM

    It’s a whale of a tail!

    This weekend’s Kirk Douglas “Picture Perfect” and Mardi Gras “Lost Chord” are now posted as webcasts at wwfm.org.

    Let the good times roll!

    https://www.wwfm.org/post/picture-perfect-february-21-remembering-kirk-douglas

    https://www.wwfm.org/post/lost-chord-february-23-louisiana-purchases

  • Michel Legrand Birthday Broadcast on WWFM

    Michel Legrand Birthday Broadcast on WWFM

    It’s Michel Legrand’s birthday. I will wait for you, with music from “The Umbrellas of Cherbourg,” among others – including works by Arrigo Boito, Johann Baptist Cramer, Rudolf Ganz, Ingvar Lindholm, Wolfgang Amadeus Mozart, Giacomo Puccini, and more – from 4 to 7 p.m. EST. It never rains but it pours, on WWFM – The Classical Network and wwfm.org.

  • Strauss’ Lawsuit The “Funiculì, Funiculà” Story

    Strauss’ Lawsuit The “Funiculì, Funiculà” Story

    When he came to work it into the finale of his grand symphonic fantasy “Aus Italien” (“From Italy”) in 1886, the 22 year-old Richard Strauss assumed “Funiculì, Funiculà” was a traditional Neapolitan folk song.

    Imagine his chagrin when he learned that the song was actually composed in 1880, by one Luigi Denza, to lyrics by Peppino Turco.

    The subject is a funicular cable car that used to service passengers to Mount Vesuvius, before it was predictably destroyed in an eruption in 1944. The song became a huge international success and sold over a million copies.

    This meant that Strauss found himself embroiled in a lawsuit, which resulted in his having to pay a royalty fee every time “Aus Italien” was performed.

    This would be irksome to any composer, but Strauss especially has often been singled out for his love of money. Stravinsky used to spell his name using dollar signs in place of the esses.

    Fate seems to have been in on the joke. Strauss’ fortune was twice obliterated, by both world wars, and – also because of war – he was never paid for his opulent ballet “Josephs-Legende.”

    Strauss was not the only composer to step wrong in regard to “Funiculì, Funiculà.” Rimsky-Korsakov used it as the basis for his “Neapolitan Song,” and Arnold Schoenberg transcribed it for string quartet. Whether Denza ever tried to sue Rimsky-Korsakov is unknown. Schoenberg clearly credited the original composer. Maybe he was just too scary to sue.

    Join me this afternoon, when Luigi Denza (now in the public domain) will be among my birthday honorees, from 4 to 7 p.m. EST, on WWFM – The Classical Network and wwfm.org.

  • Montsalvatge Mystery A Composer An Artist A Bookplate

    Montsalvatge Mystery A Composer An Artist A Bookplate

    It’s one of those strange coincidences.

    I was online perusing vintage bookplates yesterday, and I just happened to stumble across this image. I found the design highly amusing, of course, but what really caught my attention is the name on the plate, which looks an awful lot like “J. Montsalvatje.” On Friday, out of the blue, I had just played the “Cinco canciones negras” by Catalan composer Xavier Montsalvatge (note the variant spelling). Montsalvatge also composed an opera, “El gato con botas,” on the subject of Puss in Boots.

    But that’s not all. I once found myself at a party in Philadelphia – this was a number of years ago – and at a point struck up a conversation with an artist by the name of… Javier Montsalvatje. I couldn’t believe it. Of course, I had to ask if he knew of the composer. If anything, he was more astonished than I. How the hell would anyone in Philadelphia know about Xavier Montsalvatge? It turns out he was his grandson or his nephew or his cousin. I can’t remember, I was drinking.

    Some quick research turns up the fact that Xavier Montsalvatge was credited in some of his film work as… you guessed it, Javier Montsalvatje.

    So what’s the deal with this bookplate? I emailed his descendant this morning.


    Montsalvatge, ““Cinco canciones negras”

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