• Composers at the Beach Hot Summer Music

    Composers at the Beach Hot Summer Music

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    It’s bloomin’ hot! Great composers hit the beach. (Part 1 of 2)


  • Composers at the Beach Part Two

    Composers at the Beach Part Two

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    Great composers hit the beach. (Part 2 of 2)


  • Moonwalk Memories Space Movie Music

    Moonwalk Memories Space Movie Music

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    Can it really be 50 years since the first moonwalk? Could it ever have happened had it been today? We seem to be worlds away from the spirit of teamwork and optimism that harnessed good old-fashioned American know-how to the kind of integrity, cooperation, and sacrifice – the sense of something greater than oneself – necessary to point the way forward for mankind.

    Be that as it may, this week on “Picture Perfect,” we’ll celebrate Neil Armstrong’s historic “giant leap” with an hour of music from movies about space exploration and the moon.

    We’ll begin with a sop for the conspiracy theorists. “Capricorn One” (1978) runs with the idea – originally formulated with the televised moon landing – that the first manned mission to Mars is a fabrication, filmed on a soundstage. When the actual, unmanned capsule burns up upon re-entry into the earth’s atmosphere, the government attempts a cover-up, and the astronauts are sent scrambling for their lives. This is the film in which O.J. Simpson eats a rattlesnake. The cast also includes Elliot Gould, James Brolin, Sam Waterston, Hal Holbrook, and Karen Black. The music is by Jerry Goldsmith.

    If the moon landing were indeed a hoax, who better to execute it than Stanley Kubrick? (This is an actual theory!) After all, Kubrick had directed “2001: A Space Odyssey” (1968), which was released a little over a year before the flight of Apollo 11.

    For “2001,” under pressure from the studio, Kubrick again engaged his “Spartacus” collaborator, composer Alex North, to provide the music. North did his best to adhere as closely as possible to the temp tracks Kubrick had selected for some scenes, yet deviated enough from Richard and Johann Strauss to maintain his own distinctive musical identity.

    In the end, despite the obvious sensitivity and craftsmanship with which North undertook the project, Kubrick tossed out his entire contribution and stuck with his original choices by classical music masters. Unfortunately, he never bothered to mention it to the composer, who only found out at the film’s premiere. North’s original score remained unpublished until its first commercial release (conducted by Goldsmith) in 1993.

    Princeton’s own Demian Chezelle tackled Neil Armstrong – his personal struggles, and his triumph on the moon – in “First Man” (2018). Ryan Gosling plays Armstrong. The music is by Chezelle’s former Harvard classmate and frequent collaborator, Justin Hurwitz, two-time Academy Award winner for “La La Land.”

    Finally, Philip Kaufman’s panegyric to the heroic military pilots who helped propel America’s space program, both higher and faster, resulted in one of the best films of the 1980s. “The Right Stuff” (1983) provides an epic, three-hour ride, with a spot-on cast, including Ed Harris, Scott Glenn, Fred Ward, Dennis Quaid, and Sam Shepherd as Chuck Yeager. Though a darling of the critics, somehow the film didn’t quite catch on with audiences, perhaps intimidated by its imposing running time. The music is by Bill Conti, probably best known for his work on “Rocky.”

    Aim high this week, as we look to the moon and beyond, on “Picture Perfect,” music for the movies. This Friday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org.


  • Power Outage Sleep Deprivation and Solar Flare Prep

    Power Outage Sleep Deprivation and Solar Flare Prep

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    After thanking my lucky stars on Saturday that I don’t live in New York City (and not for the first time, I might add), a violent thunderstorm knocked out power last night until after 1 a.m. Rather than ensure an early and extended night’s sleep, as one might expect, a confluence of unfortunate circumstances (too much caffeine consumed too late in the day, an unusually late take-out dinner, chirping smoke alarms) made for a very long night. There is only so much reading one can do by flashlight.

    Roughly three hours sleep, and the day is off to a rough start. Volunteer work in the morning, a script to be written, and recording to be done for tomorrow night’s “Picture Perfect.” All First World problems, I know. The internet is made for whining.

    Good training for the impending solar flare that is fated to destroy all electronics. Nessun dorma!


    The apocalyptic forecast:

    https://www.newscientist.com/article/2150350-a-tech-destroying-solar-flare-could-hit-earth-within-100-years/

    Luciano Pavarotti finds the fortitude I lack:


  • Fauré & Gounod: Youthful Masterpieces

    Fauré & Gounod: Youthful Masterpieces

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    Don’t let those grey whiskers fool you.

    From a certain limited perspective, I suppose, Gabriel Fauré might have been considered a little long in the tooth when he came to compose the music we’ll hear on this week’s “Music from Marlboro.” But, as he so eloquently demonstrated, when it comes to art, age is only a number.

    At 76 years-old, Fauré surprised just about everyone when he unveiled his Piano Quintet No. 2 in C minor in 1921. For one thing, no one except his wife knew he was even at work on anything. He was supposed to have retired, having stepped down from the directorship of the Paris Conservatory only the year before.

    Though the composer’s health in his later years was far from the best, thanks in part to decades of heavy smoking, the Quintet conveys a surprisingly youthful spirit, full of tenderness and ardor. Paradoxically, a knowing serenity hangs over the piece, lending it a kind of wisdom and balance. I am reminded of Wordsworth’s assessment that poetry is the spontaneous overflow of powerful feelings recollected in tranquility.

    We’ll hear it performed at the 2015 Marlboro Music Festival by pianist Roman Rabinovich, violinists YooJin Jang and Scott St. John, violist Shuangshuang Liu, and cellist Will Chow.

    The program will open with Charles Gounod’s classically proportioned and wholly delightful “Petite symphonie” for nine wind instruments. Gounod, best known for his opera “Faust,” “Funeral March of a Marionette” (appropriated by Alfred Hitchcock), and for his setting of “Ave Maria,” was 66 when his “little symphony” was first performed in 1885. Though structurally the work travels a well-worn path, beaten a hundred years earlier by composers like Haydn and Mozart, its long-limbed melodies and occasional harmonic surprises mark it as a product of its time. Despite its evident nostalgia, its spirit of youth is ever-green.

    It was played at Marlboro in 2013 by flutist Marina Piccinini, oboists Nathan Hughes and Joseph Peters, clarinetists Anthony McGill and Alicia Lee, bassoonists Brad Balliett and Steven Dibner, and hornists David Cooper and Radovan Vlatković.

    This summer’s Marlboro Music Festival will run through August 11, as always on the campus of Marlboro College in Marlboro, Vermont. This weekend will include performances of music by Mozart, Tchaikovsky, and Marlboro composer-in-residence Jörg Widmann, on Saturday at 8 p.m.; and Schubert and more Widmann, on Sunday at 2:30 p.m. For more information, visit marlboromusic.org.

    To get you in the mood, join me for an hour of French music that belies and defies the passage of time, on the next “Music from Marlboro, this Wednesday evening at 6:00 EDT, on WWFM – The Classical Network.

    Marlboro School of Music and Festival: Official Page


    Timeless beauties: Gabriel Fauré (left) and Charles Gounod


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