• Brahms and Tchaikovsky Birthday

    Brahms and Tchaikovsky Birthday

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    Now, now, boys! Play nice.

    Today is the shared birthday of Brahms and Tchaikovsky, two of the great musical geniuses of their time. Brahms was born in 1833, and Tchaikovsky was born in 1840.

    Of course, Brahms has the advantage of the Austro-German propaganda machine, placing him at the center of the musical universe (although it didn’t help him with George Bernard Shaw, who described him as “a sentimental voluptuary”); Tchaikovsky has taken it on the chin not only for being born outside the German tradition, but also from his own countrymen for being too “cosmopolitan.”

    Yet audiences go crazy for his ballets, concertos and symphonies. Give him some credit for achieving such polish in a country that, until around the time of his birth, had very little serious musical tradition of its own. With his gift for melody and pathos, and his talent as an orchestrator, he would have flourished no matter where he lived.

    Brahms too was a natural. Sometimes his symphonies can seem a little over-breaded, and on occasion he can come across as something of a stuffed owl. But even so, he is Minerva’s owl, wise, learned and all-knowing. His piano works and chamber music are some of the best there are.

    Interestingly, the two composers actually met twice, and they got along smashingly. In a letter to his publisher, Tchaikovsky was effusive about Brahms’ cheerfulness and lack of pretension.

    “I’ve been on the booze with Brahms,” he wrote. “He is tremendously nice – not at all proud as I’d expected but remarkably straightforward and entirely without arrogance. He has a very cheerful disposition, and I must say that the hours I spent in his company have left me with nothing but pleasant memories.”

    That was in 1888, after a rehearsal of Brahms’ Piano Trio No. 3 in Leipzig.

    The following year, the two met again in Hamburg, where Brahms slept through a rehearsal of Tchaikovsky’s Symphony No. 5. If Tchaikovsky was insulted, he bore it lightly and was convivial all through the meal they shared after. Although Brahms was harsh in his assessment of the last movement of the symphony and Tchaikovsky confessed an overall aversion to Brahms’ style, the two seem to have parted great friends. Tchaikovsky even invited Brahms to visit him in Russia, something which never came to pass.

    How much alcohol played into the two men’s warm feelings we can only guess. It was not just anyone who could be Brahms’ drinking buddy.

    Who was the better composer? Who cares. In an open heart, there is room for both. Happy Birthday, Brahms and Tchaikovsky!


  • Yom Ha’atzmaut Celebrate Israeli Independence Day

    Yom Ha’atzmaut Celebrate Israeli Independence Day

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    May 6 is Yom Ha’atzmaut, Israeli Independence Day. Just try to get Ernest Gold’s music out of your head.


  • Tyrone Power A Centennial Celebration

    Tyrone Power A Centennial Celebration

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    Today would have been the 100th birthday of Tyrone Power. Power, one of the biggest box office draws of his day (in 1939, he was second only to Mickey Rooney), is remembered primarily for his swashbucklers and costume dramas, though he appeared in just about every genre.

    He was a hero in real life, as well, serving as a Marine pilot in World War II, during which he flew in cargo and flew out the wounded during the Battles of Iwo Jima and Okinanawa.

    He was descended from a long line of distinguished actors, dating back to his great-grandfather (also named Tyrone Power), who was born in 1795. He was also related to Laurence Olivier and theatrical director Tyrone Guthrie.

    In the 1950s, increasingly dissatisfied with the roles he was being offered, Power started to devote more time to the stage. Not wanting to completely alienate one of their most profitable stars, 20th Century Fox began to offer him more latitude in choosing his projects.

    Sadly, Power died of a massive heart attack while shooting a duel with George Sanders in King Vidor’s “Solomon and Sheba” in 1958. He was 44 years old.

    It was pretty standard during the Golden Age of Hollywood for actors to appear as just about any ethnicity. Though he himself was of Irish, English and French Huguenot ancestry, Power was cast as Hispanic or Latino on several occasions, most notably as the matador in “Blood and Sand” and of course as Don Diego Vega and his alter ego in “The Mark of Zorro.”

    I don’t intend this as a backhanded salute to Cinco de Mayo – I am sure there must be justifiable ambivalence over the Spanish conquest of Latin America among a certain segment of the population – but here’s Power in all his glory, from “Captain from Castile” (1947).

    “Captain from Castile” was filmed on location in Mexico and incorporates a real volcano in mid-eruption. The stirring music is by Alfred Newman.

    Main title: https://www.youtube.com/watch?v=JqTNEssSe2M

    The famous Conquest march: https://www.youtube.com/watch?v=eXVWSAMq6aA

    Theatrical trailer (not in Technicolor?!): https://www.youtube.com/watch?v=VB62g7-H8Kc

    PHOTO: Power with Jean Peters


  • Mexican Music for Cinco de Mayo Weekend

    Mexican Music for Cinco de Mayo Weekend

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    This Sunday night on “The Lost Chord,” it’s all Mexican music on the eve of Cinco de Mayo. We’ll hear a fun solfeggio piece (“Sol-fa de Pedro”) by the baroque composer Manuel de Zumaya. Zumaya, born in Mexico around 1678, is believed to have written the first opera in the western hemisphere. He became chapel master of Mexico City Cathedral in 1715.

    Blas Galindo is best known in the United States for the evocative “Sones de Mariachi.” But he composed over 150 works, including seven ballets. One of these was “La Manda,” or “The Vow,” written in 1951. The scenario is a bit of downer, about an ailing wife on a pilgrimage who believes she is losing her husband to another woman, but the music is full of distinct nationalist character.

    Manuel Ponce is one of Mexico’s most famous composers. He’s probably best recognized for his guitar music, thanks to his association with Andrés Segovia. Less frequently heard is his Violin Concerto of 1942. We’ll have the soloist who gave the work its premiere, Henryk Szeryng, in a recording made some forty years later.

    Pour yourself a Corona, mix up some guacamole, and enjoy “Mayo My,” Mexican music for Cinco de Mayo, Sunday night at 10 ET, with a repeat Thursday night at 11, or listen to it later as a webcast at http://www.wwfm.org.


  • Tchaikovsky’s Devilish Opera

    Tchaikovsky’s Devilish Opera

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    Okay, so the Kentucky Derby is today. But I’m not here to write about that. I’m here to write about Tchaikovsky and the Devil.

    Opera aficionado Sandy Steiglitz will be broadcasting Tchaikovsky’s “Cherevichki” (“The Slippers”), tomorrow on WPRB’s “Sunday Morning Opera with Sandy.”

    Part fairy tale and part farce, Yakov Polansky’s libretto features such incidentals as the theft of the moon, amorous peasants secreting themselves in burlap sacks, and a ride through the air on the Devil’s back to collect the Tsarina’s slippers (hence, the title). All this takes place against the backdrop of a Ukrainian Christmas.

    “Cherevichki” (sometimes spelled “Tcherevichki”) is Tchaikovsky’s reworking of an earlier opera, “Vakula the Smith,” which the composer believed unjustly ignored. Even in its revised form, the work is arguably more obscure than Rimsky-Korsakov’s neglected gem, “Christmas Eve,” which was drawn from the same source material (a story from Nikolai Gogol’s collection, “Evenings on a Farm Near Dikanka,” of which you will hear more on June 23, Saint John’s Eve).

    Fun fact: there was a complicated rivalry between Tchaikovsky and Rimsky-Korsakov, each composer supportive of the other in public, while in private nagged by suspicion and envy. Though Tchaikovsky was sufficiently awed to swear his publisher to secrecy about his use of the then-new celesta in “The Nutcracker,” lest Rimsky steal his thunder, Rimsky had no qualms about following in Tchaikovsky’s footsteps when setting “Christmas Eve.” His version of the Gogol tale appeared ten years later, in 1895.

    The only thing crazier than airing a Christmas opera in May is writing a Christmas opera about the devil. Needless to say, I can resist neither.

    Check out “Cherevichki” on WPRB’s “Sunday Morning Opera with Sandy,” tomorrow at 6:45 a.m. ET. If you’re an early riser, tune in around 5:30. Sandy’s there spinning arias and duets at a time when the roosters are still wiping the sleep out of their eyes.

    You can hear the show locally (Princeton, NJ) at 103.3 FM, or anywhere online at wprb.com. While you’re listening, visit her Facebook page – Sunday Morning Opera with Sandy – and leave nice comments.

    PHOTO: Ivan Mozzhukhin in a silent film version of Gogol’s tale, “The Night Before Christmas” (1913)


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