• Mediterranean Musical Escape on The Classical Network

    Mediterranean Musical Escape on The Classical Network

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    The holidays are over. Time for a vacation!

    This afternoon on The Classical Network, we’ll get away from it all with a musical escape to the Mediterranean.

    On today’s Noontime Concert, the Alba Consort will present “Renaissance Reborn,” early music from Mediterranean France, Spain, Italy, Turkey and Armenia, with contributions from the Sephardic tradition and works from Venice, from a vibrant era when East met West. Also featured will be variations on a Machaut viralei by contemporary composer Leonard Lehrman.

    The program was performed on the Midtown Concerts series, presented in part by Gotham Early Music Scene (or GEMS). These free lunchtime concerts take place on Thursdays at 1:15 p.m., at St. Bartholomew’s Church, 325 Park Avenue, in New York City.

    GEMS is a non-profit corporation that supports and promotes artists and organizations in New York City devoted to early music – music of the Middle Ages, Renaissance, Baroque, and early Classical periods. For more information about the St. Bart’s concerts and other GEMS’ events, look online at gemsny.org.

    Then, following today’s concert broadcast, we’ll linger in the region with music inspired by the Mediterranean and works by composers from adjacent lands.

    I hope you’ll join me for some musical souvenirs from a cruise around the Mediterranean, this afternoon from 12 to 4 p.m. EST, on WWFM – The Classical Network and wwfm.org.


  • Classical Birthdays Kim, Scriabin & More!

    Classical Birthdays Kim, Scriabin & More!

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    You won’t need a pick or a shovel when you join me this afternoon on The Classical Network. The streets are paved with gold! Prepare yourself for a mother lode of birthdays.

    Former Princeton resident Earl Kim was born on this date 100 years ago. Kim was born in California to Korean immigrant parents in 1920. He began piano studies at the age of 10. As his focus shifted to composition, he received instruction from Arnold Schoenberg, Ernest Bloch and Roger Sessions.

    Following service in WWII, Kim taught at Princeton University from 1952 to 1967. In 1967, he left for Harvard, where he remained until his retirement in 1990. Kim died of lung cancer in 1998.

    His music has frequently been described as romantic in disposition, but make no mistake, his Violin Concerto, written for Itzhak Perlman in 1979, sports a modernist veneer. If you’re unfamiliar with it, fear not – just go with it. I think you’ll find it rewarding.

    We’ll also celebrate the anniversaries of the births of Baroque oboist and composer Giuseppe Sammartini; pianist-composers Henri Herz, Franz Xaver Scharwenka and Alexander Scriabin; German Romantic master Max Bruch; Respighi teacher Giuseppe Martucci; one-hit wonder Vittorio Monti (of “Csárdás” fame); and conductor Maurice Abravanel. That’s a lot of cake!

    We’ll put a great big candle on it in the form of a recording made by the Bach Aria Group, founded by another Princeton resident, born 106 years ago today, William H. Scheide.

    There’s gold in them thar hills! Gallop on over to the Ponderosa, from 4 to 7 p.m. EST, for a Birthday Bonanza, on WWFM – The Classical Network and wwfm.org.


  • Neglected Norwegian Composers on The Lost Chord

    Neglected Norwegian Composers on The Lost Chord

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    A Norse is a Norse, of course, or course…

    This Sunday night on “The Lost Chord,” we’ll make hay with music by a couple of Norwegian composers.

    Halfdan Cleve (1879-1951) received unusually strict musical training. His father was an organist, who saddled his son with nothing but Bach until he was 16! The young Cleve then cantered to Germany, where he plowed through studies with the Scharwenka brothers, Philipp and Franz Xaver. The latter, a pupil of Franz Liszt, was regarded as one of the great thoroughbred keyboard virtuosos of his day.

    Cleve became widely recognized as a composer and pianist, but his own popularity flagged after World War I. He reacted against the rise of modernism by doubling down, in the mane, on his pedigree, celebrating the Norwegian countryside and its folk idioms in his music. His Violin Sonata of 1919 was foaled of this approach.

    Eyvind Alnaes (1872-1932), however, was a horse of a different color. Known, if at all, for his art songs – some of which were recorded by Kirsten Flagstad and Feodor Chaliapin – Alnaes’ musical language is less overtly “Norwegian” and more reactive to sugar cubes. His Piano Concerto of 1919 shadows Brahms and Tchaikovsky, and overtakes Rachmaninoff’s Piano Concerto No. 4, not completed until seven years later. Could Alnaes have been the rock in Rach’s shoe?

    Ladies and gentlemen, place your bets! The garland goes to “Dark Horse Norsemen” – works by neglected Norwegian composers – this Sunday night at 10:00 EST, on WWFM – The Classical Network and wwfm.org.


    Flagstad sings Alnaes:

    Chaliapin:


  • Single After the Holidays Regret

    Single After the Holidays Regret

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    Post-holiday regret


  • Arthurian Movie Music Picture Perfect Anniversary

    Arthurian Movie Music Picture Perfect Anniversary

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    This week on “Picture Perfect,” the Once and Future King of film music shows enters its tenth year, with selections from movies inspired by the legends of King Arthur.

    The legends provide so much grist for “Prince Valiant” (1954), based on Hal Foster’s enduring comic strip, set in the days of Arthur, though Val himself is a Viking prince of the kingdom of Scandia. Janet Leigh plays Princess Aleta, James Mason the villainous Sir Brack, Victor McLaglen Val’s Viking pal Boltar, and Sterling Hayden a preposterous Gawain. For the title role, Robert Wagner dons the signature page-boy haircut. The score, by Franz Waxman, is every bit as vivid as the film’s Technicolor, and a clear prototype for the exuberant, leitmotif-driven music of John Williams.

    “The Mists of Avalon” (2001), adapted from Marion Zimmer Bradley’s novel, takes the ingenious approach of retelling the Arthurian stories from the perspective of the oft-marginalized female characters. The revisionist approach breathes fresh life into the familiar tales, so that the book was greeted with critical and popular acclaim upon its release in 1983. A television miniseries, starring Julianna Margulies, Angelica Huston and Joan Allen, was produced for TNT, with music by Lee Holdridge.

    “First Knight” (1995) features an unlikely cast of Sean Connery as Arthur, Richard Gere as Lancelot, and Julia Ormond as Guinevere. The film is unique, to my knowledge, in being based on the writings of medieval French poet Chrétien de Troyes, as opposed to the more frequently-employed source, Sir Thomas Malory.

    The score is by Jerry Goldsmith. It was actually a bit of a rush job for Goldsmith, who stepped up at the very last minute to replace Maurice Jarre. Jarre had been approached to write music for what was originally a three-hour cut of the film. However, he only had four weeks in which to do so. Goldsmith, very well-known for his ability to write at white heat, was able to complete the score, and record the music in the allotted time.

    “Knights of the Round Table” (1953) may lack the gravitas and grit of “Excalibur” – in my opinion, the most powerful of the Arthurian films – but it does sport some undeniably satisfying 1950s spectacle. The glossy and pat MGM production stars Robert Taylor as Lancelot, Ava Gardner as Guinevere, and Mel Ferrer as Arthur. The fine score is by Miklós Rózsa, from the height of his “historical epic” phase.

    Join me, in the name of God, St. Michael and St. George! It’s more than just a knight at the movies, this Friday evening at 6:00 EST, on WWFM – The Classical Network and wwfm.org.


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