Category: Daily Dispatch

  • George Walker Pulitzer Winner and Trailblazer

    George Walker Pulitzer Winner and Trailblazer

    George Walker was the first African-American recipient of the Pulitzer Prize for Music – as recently as 1996 – for his work, “Lilacs for Voice and Orchestra.” He was the first black pianist to present a solo recital at New York’s Town Hall (in 1945). He was the first black performer to appear as soloist with the Philadelphia Orchestra (performing Rachmaninoff’s Piano Concerto No. 3). He was the first black musician to graduate from the Curtis Institute of Music (where he studied with Rudolf Serkin and Rosario Scalero).

    Walker died on August 23, 2018, at the age of 96. This Sunday night on “The Lost Chord,” we’ll honor this trailblazing artist with a program of four of his original works, including his Piano Sonata No. 2 (with the composer himself at the keyboard), the award-winning “Lilacs” (after poetry of Walt Whitman), “Address for Orchestra,” and “Lyric for Strings,” his most famous music, in its original version for string quartet.

    Born in Washington, D.C., Walker was a longtime resident of Montclair, NJ. His father emigrated from Kingston, Jamaica, to study at Temple University School of Medicine; Walker’s mother supervised his first piano lessons. He was admitted to the Oberlin School of Music at the age of 14. He was then admitted to the Curtis Institute in Philadelphia, and later attended the Eastman School. For two years, he studied in Paris with the famed pedagogue Nadia Boulanger.

    Walker’s own academic career included posts with Dillard University in New Orleans, the Dalcroze School of Music, the New School for Social Research, Smith College, the University of Colorado Boulder, Rutgers University (where he served as chairman of the music department), the Peabody Institute of John Hopkins University, and the University of Delaware.

    He was the father of two sons, violinist and composer Gregory T.S. Walker and playwright Ian Walker. His sister, the pianist, Frances Walker-Slocum, died on June 9 at the age of 94.

    The New Jersey Symphony Orchestra, which has played a number of the composer’s pieces over the years, has announced that it will be adding “Lyric for Strings” to its opening concerts, October 5th through October 7th, to be performed in Newark and New Brunswick. Also on the program will be the U.S. premiere of Kate Whitley’s “Speak Out” and Beethoven’s Symphony No. 9. Find out more at njsymphony.org.

    Then join me for “Perambulations with Walker,” this Sunday night at 10:00 EDT, on WWFM – The Classical Network and wwfm.org.

  • Walter Huston September Song Knickerbocker Holiday

    Walter Huston September Song Knickerbocker Holiday

    September 1. Walter Huston sings “September Song,” in the Kurt Weill-Maxwell Anderson musical, “Knickerbocker Holiday,” in 1938.

  • Why I Dislike Dead Poets Society (Like Ebert!)

    Why I Dislike Dead Poets Society (Like Ebert!)

    Roger Ebert and I must be the only two people on the planet who didn’t like “Dead Poets Society” (1989). I mean I LIKED it, but in a sheepish sort of way. The film looks fabulous – all the lingering shots of geese and mists hovering over a perpetual autumn landscape of a fantasy campus, replete with stone buildings and leaded glass and classrooms with honest-to-goodness wooden desks, play to my innermost private-school yearnings.

    But for all its cinematographic rewards, there’s something very cheap about it. The filmmakers can’t figure out how to represent visually the film’s alleged celebration of poetry as a transformative force, so instead they come up with vapid short-hand “solutions” like having the students steal away in the night for surreptitious meetings in a grotto, where they read by flashlight. None of them display any comprehension of WHAT they read, but they do indulge in other transgressions, like the smoking of cigarettes and… conga dancing? Really? This is not sucking the marrow out of life; this is just sucking. Walt Whitman, whom the screenplay repeatedly invokes, would never stop vomiting.

    The film is totally paint-by-numbers. And I really resent the transparent button-pushing, as this “enlightened” band of rebel angels sticks it to the stuffed shirts. I don’t mind having my buttons pushed, but at least work at it a little bit! Otherwise I’ll just watch “Goodbye, Mr. Chips” (1939) or “Mr. Holland’s Opus” (1995), which at least earn their tears. Even “Animal House” has the decency to be what it is.

    At any rate, I am resigned to the inevitable hail of brickbats as I engage in my annual screed against “Dead Poets Society” this week, on “Picture Perfect.” There aren’t very many films that set me off – my outspokenness about “The Lord of the Rings,” “Robin Hood: Prince of Thieves,” and any number of superhero movies have all generated mail – and perhaps I should just shut up and play the music, but you know how it is. Some days you don’t have enough caffeine, or it’s 100 degrees outside, and you just get grumpy.

    Plenty of people are grumpy, I’m sure, as they head back to school. I hope you’ll join me for music from movies with academic settings, including selections by Maurice Jarre (“Dead Poets Society”), Danny Elfman (“Back to School”), Richard Addinsell (“Goodbye, Mr. Chips” and “Tom Brown’s School Days”), and Michael Kamen (“Mr. Holland’s Opus”).

    I’ll be in my grotto, ranting by flashlight, this Friday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org.


    Misery loves company: Roger Ebert eviscerates “Dead Poets Society.”

    https://www.rogerebert.com/reviews/dead-poets-society-1989

  • Hello Dali Surreal Summer Heat

    Hello Dali Surreal Summer Heat

    Hello, Dali!

    It’s a surreal world wherein 90 degrees is celebrated as “cooler.” Can’t wait to start complaining about the snow again…

  • Marlboro Music B-Flat Bliss Mozart Beethoven

    Marlboro Music B-Flat Bliss Mozart Beethoven

    With heat index values of 105, there is nothing to be done but be flat – or B flat, as the case may be.

    On this week’s “Music from Marlboro,” I’ll make few demands on a sweltering listenership by offering works by Mozart and Beethoven, both in the key of B flat.

    Beethoven’s Piano Trio, Op. 97, known as the “Archduke,” was one of 14 works the composer wrote for his friend and patron Archduke Rudolf of Austria. Rudolf, an amateur pianist, was the youngest child of Holy Roman Emperor Leopold II.

    Beethoven himself appeared at the keyboard at the work’s premiere in 1814. His encroaching deafness so diminished his former prowess as a performer that he retired from concertizing after a repeat performance a few weeks later. The violinist and composer Louis Spohr summed up the discomfort and pity felt by those in attendance, “I am deeply saddened by so hard a fate.”

    The music remains unbowed. Today, the “Archduke” Trio is as noble and inspiring as ever.

    We’ll hear it performed at the 2006 Marlboro Music Festival by pianist Mitsuko Uchida – Marlboro’s sole artistic director since 2013 (next year she’ll be joined by Jonathan Biss) – violinist Soovin Kim, and cellist David Soyer of the legendary Guarneri Quartet.

    The hour will open with a delightful work by Mozart – his Sonata in B-flat for Bassoon and Cello, K. 292. The 1975 performance will feature bassoonist Alexander Heller and a 19 year-old cellist named Yo-Yo Ma.

    The performances are unfailingly at pitch, even when we’re all flat. Join me for music in B flat on this week’s “Music from Marlboro,” this Wednesday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org.

    Marlboro School of Music and Festival: Official Page

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