• Richard Strauss 150th Birthday & “Funiculì”

    Richard Strauss 150th Birthday & “Funiculì”

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    Today is the 150th birthday of Richard Strauss.

    I read an amusing anecdote the other day, purely by coincidence, when I looked up the Neapolitan song “Funiculì, Funiculà.” The song is about a funicular cable car that used to service passengers to Mount Vesuvius before it was predictably destroyed in an eruption in 1944. The music was composed in 1880 by Luigi Denza to lyrics by the journalist Peppino Turco. The song became a huge international success and sold over a million copies.

    Richard Strauss, like many, believed the piece to be an authentic Italian folk song, so he cheerfully appropriated it in 1886 for use in his large-scale symphonic fantasy “Aus Italien” (“From Italy”). Denza’s lawyers were not so cheerful. Strauss found himself at the receiving end of a lawsuit, which resulted in the composer having to pay a royalty fee every time the work was performed.

    This would be irksome to any composer, but Strauss has always been the butt of sardonic remarks about his love of money. Stravinsky used to spell his name using dollar signs in place of the esses. And this only a few weeks after I posted about his never getting paid for “Josephslegende!”

    However, I also came across this long and absorbing reminiscence of Strauss by one of his publishers, who claimed the composer had no business sense at all.

    http://www.musicweb-international.com/Roth/Strauss.htm

    Is it any wonder that he married someone (the soprano Pauline de Anha) who could keep his life together? Pauline, the daughter of a general, was herself frequently portrayed as a martinet. But she kept Strauss on the straight and narrow, and they loved one another devotedly.

    Despite her vigilance, however, the Strauss fortune was twice obliterated by two world wars.

    Be that as it may, 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.

    At any rate, a happy 150th birthday, Richard Strauss!


  • Carl Nielsen: An Underrated Genius?

    Carl Nielsen: An Underrated Genius?

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    Yesterday, I inadvertently committed a crime against Danish music by ignoring the birthday anniversary of Carl Nielsen. Far from being a simple Sibelius knock-off, Nielsen forged his own, immediately-recognizable style – which can’t always be said with as much conviction about a lot of other fin de siècle Scandinavian music. Not that I don’t love the stuff.

    Leonard Bernstein believed Nielsen’s rightful place was as Sibelius’ equal.

    “I think many people are in for pleasant surprises as they get to know Nielsen,” he said at a centennial celebration of the composer’s birth, “his rough charm, his swing, his drive, his rhythmic surprises, his strange power of harmonic and tonal relationships – and especially his constant unpredictability – all these are irresistible. I feel confident that Nielsen’s time has come.”

    That was in 1965. Yet, fifty years on, with many more recordings and performances to choose from, Nielsen continues stubbornly to be an acquired taste.

    What’s not to like? There’s struggle in the music and harmonic ambiguity – key relationships don’t always play out the way you expect they should (they don’t always in life, either, so why should they in music?) – there is conflict and violence, anxiety, but also great beauty and even humor. At its core and at the end of the journey, there is, for me, an optimism in much of Nielsen’s output, a love for life, a belief that there is indeed, as the subtitle of his Fourth Symphony professes, something inextinguishable in all of us, that I find inspiring.

    A tip of the blond brush cut to Carl Nielsen. Happy belated birthday!


  • Carnegie Hall Film Review Classical Music Heaven

    Carnegie Hall Film Review Classical Music Heaven

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    Has anyone seen the film “Carnegie Hall?” Sure, it sports a corny plot about a young pianist who turns the classical music world on its ear by becoming a jazz artist. Of course, the debut of his “avant garde” concerto (with Harry James as soloist) seems positively quaint from today’s perspective, as I’m sure it would have been even in 1947.

    The main draw is the procession of real-life classical music superstars, including Jascha Heifetz, Gregor Piatigorsky, Arthur Rubinstein, Lily Pons, Rise Stevens, Jan Peerce, Ezio Pinza, Bruno Walter and Fritz Reiner, among others, all of whom get to perform.

    The film was directed by Edgar G. Ulmer, who emerged from the German Expressionist movement (he claimed to have worked on “Metropolis” and “M”) to direct atmospheric Hollywood films like “The Black Cat” and “Detour.”

    That experience obviously prepared him for this showcase of Leopold Stokowski, who in the film’s best sequence conducts a movement from Tchaikovsky’s Symphony No. 5. The camera angles are striking, the lighting dramatic, and Stoky’s hair just keeps getting bigger and bigger.

    While we’re at it, here’s another one of my favorite Stoky clips posted on YouTube. He’s conducting Debussy’s “Prelude to the Afternoon of a Faun” at the age of 90. The clip is in two parts:

    https://www.youtube.com/watch?v=F5A4CkUAazI (Part 1)
    https://www.youtube.com/watch?v=F1P85n9uPzE (Part 2)


  • Robert Schumann’s June Birthday & Romantic Music

    Robert Schumann’s June Birthday & Romantic Music

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    There is no shortage of interesting June birthdays, musically speaking.

    A case in point is that of arch-Romantic Robert Schumann, whose life story sports many colorful incidents – his ardent courtship of the under-aged Clara Wieck, which led to a spectacular court case against her father, who ultimately lost the suit (the matter was settled one day before the relationship would have been deemed legal); his mentorship of that young lion of German music, Johannes Brahms, who harbored a semi-disguised affection for Clara; and his bouts with mental instability, which led to his hurling himself into the Rhine and subsequent placement in an asylum.

    Is it any surprise that such an overheated personality would write such emotionally turbulent music? Whether tender (the “Kinderszenen,” his reminiscences of childhood) or troubled (the “Nachtstücke,” a premonition of his brother’s death), Schumann was the ne plus ultra of Romantics.

    Happy Birthday, Robert Schumann!

    Kinderszenen (Scenes from Childhood), Op. 15, performed by Clara Haskil:

    Nachtstücke, Op. 23, performed by Emil Gilels:


  • Richard Strauss 150th Anniversary

    Richard Strauss 150th Anniversary

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    Richard Strauss, celebrated for his opulent tone poems and decadent operas, described himself as a “first-class second-rate” composer.

    This Sunday night on “The Lost Chord,” we mark the 150th anniversary of Strauss’ birth (June 11, 1864), with two of his lesser-heard works, the “Festive Prelude” for large orchestra with organ, written in 1913 for the opening of the Vienna Konzerthaus, and the symphonic fragment from the ballet “Josephslegende” (“The Legend of Joseph”), which I discussed in a Facebook entry on May 14, the work’s centenary.

    We’ll also hear the composer’s breakout success, “Don Juan,” in a recording from 1929, with Strauss himself conducting, and a contemporaneous song, “Wie sollten wir geheim sie halten,” Op. 19, No. 4, an ardent expression of clandestine love.

    That’s “First Among Seconds,” 150 years of Richard Strauss. This Sunday night at 10 ET, with a repeat Thursday at 11; or you can listen to it later as a webcast at http://www.wwfm.org.


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