• Civil War Films: Music & Memorial Day

    Civil War Films: Music & Memorial Day

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    Memorial Day has its roots in Decoration Day, a time to honor those who gave “the last full measure of their devotion” during the War Between the States. This week on “Picture Perfect,” we acknowledge the heroism and sacrifice of ordinary Americans placed in extraordinary circumstances.

    The Civil War drama, “Gettysburg” (1993) – based on the Pulitzer Prize-winning novel, “The Killer Angels,” by Michael Shaara – was originally intended to be a television mini-series, but when Ted Turner was struck by the quality of the production, he turned around and released it theatrically. Despite the 254 minute running time, and some fairly ridiculous facial hair, “Gettysburg” yet manages to be engrossing, moving, and at times exhilarating.

    The film stars Tom Berenger, Jeff Daniels (who’s never been better), and Martin Sheen. It’s a testament to the power of the storytelling that “Gettysburg” yet manages to engage – despite Berenger’s “Cousin It” beard. In fact, my friends and I always refer to this film as “Gettys-BEARD.”

    Perhaps another indication of its television origins – a transparent attempt to keep a lid on the budget – is the score by Randy Edelman, which is performed, in large part, on electronic, as opposed to acoustic, instruments. I guess that’s the price you pay for a four-hour film with a cast of thousands. It would have been nice had Turner splurged on an orchestra, but the music still manages to inspire.

    There was no such cost-cutting in evidence on “Gone with the Wind” (1939). Max Steiner goes all out with a full symphony orchestra. So much of the film deals with the personal interactions between Scarlett O’Hara, Ashley Wilkes, Melanie Hamilton, and a certain “visitor from Charleston.” However, the human story is set against the sprawling backdrop of the Antebellum, Civil War and Reconstruction eras. We’ll hear music associated with the Civil War segments at the heart of the film, including the memorable sequence with Scarlett walking among the wounded.

    When the nine-part Ken Burns’ television documentary, “The Civil War” (1990), first aired, over five consecutive nights, it became the most watched program in PBS history. The theme music is particularly well known, as “Ashokan Farewell.” Its composer is Jay Ungar, who performs it on the series’ original soundtrack, with Molly Mason and the ensemble Fiddle Fever.

    Finally, “Glory” (1989) dramatizes a valorous campaign undertaken by Colonel Robert Gould Shaw’s 54th Massachusetts Voluntary Regiment, an all African American outfit that distinguished itself in a hopeless assault on Fort Wagner, near Charleston, South Carolina. The film sports a terrific cast, including Morgan Freeman, Matthew Broderick, and Cary Elwes, with an Oscar-winning performance by Denzel Washington.

    James Horner’s score can be a little derivative at times, but, with the participation of the Harlem Boy Choir, it manages to tug the heart strings at all the key moments.

    Hundreds of thousands laid down their lives so that we can troll one another on the internet. We’re bigger than our differences, people. Preserve the union of history and entertainment on “Picture Perfect” – music for the movies – this Friday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org.


    PHOTO: Tom Berenger (left), breaking the beard budget


  • Newman & Oltman Premiere Brouwer’s New Work

    Newman & Oltman Premiere Brouwer’s New Work

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    Here’s another one for your Classic Ross Amico pin-up collection:

    At WWFM – The Classical Network with Michael Newman and Laura Oltman, of the Newman and Oltman Guitar Duo.

    Newman and Oltman dropped by the WWFM studios on Monday to share conversation and music, including a generous live performance – the world broadcast premiere, as a matter of fact – of two movements from Leo Brouwer’s “The Book of Imaginary Beings.” This was music written expressly for them by arguably Cuba’s foremost living composer.

    Newman and Oltman will perform the complete work for the first time in concert this weekend, on the final program of this year’s Raritan River Music Festival. The concert will take place on Saturday at 7:30 p.m., at Stanton Reformed Church, in Stanton, NJ. For details, look online at raritanrivermusic.org.

    Newman and Oltman will then take the piece to New York City for a second performance, at the New York Guitar Seminar, with the composer in attendance, on June 26. You’ll find more information by following the link at N & O’s website, guitarduo.com.

    And if you missed it, here’s our interview, complete with in-studio musical teasers:


  • Mozart’s Genius at Marlboro Music

    Mozart’s Genius at Marlboro Music

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    “The most tremendous genius raised Mozart above all masters, in all centuries and in all the arts.”

    – Richard Wagner

    So glad to hear you say that, Richie. Then you won’t mind if we enjoy an all-Mozart hour for your birthday, on this week’s “Music from Marlboro.”*

    Mozart doubles the violas in his String Quintet No. 5 in D Major, K. 593. Composed in 1790, the work was recollected by the composer’s widow, Constanze, as having been written for a musical amateur, often speculated to be Johann Trost. Trost must have been quite the gifted dilettante. He also knew Haydn from Esterhaza, and Haydn dedicated some of his quartets to him.

    When Haydn and Mozart played through the D Major Quintet together before Haydn’s first visit to London, the two men took turns indulging in the first viola part. The work was known for centuries as the “Zigzag” because of an alteration to the original manuscript that modified what had been a descending chromatic figure in the final movement into something decidedly more humorous.

    We’ll hear it played at the 2005 Marlboro Music Festival by Sarah Kapustin and Diana Cohen, violins; Mark Holloway and Sebastian Krunnies, violas; and David Soyer, cello.

    Mozart wrote his Symphony No. 35 in 1782. Subtitled the “Haffner,” it is not to be confused with his “Haffner Serenade,” though both works had their origins in commissions from the eminent Haffner family of Salzburg.

    The “Serenade” was composed in 1776 to celebrate the wedding of Marie Elisabeth Haffner. A second serenade was written four years later for her brother, Mozart’s friend, Sigmund Haffner the Younger, for the occasion of his ennoblement. Mozart complained to his father at the time that he was “up to his eyeballs in work.” On top of his usual teaching obligations, he was pressed to complete an arrangement of his opera “The Abduction from the Seraglio,” even as he was looking to move into a house in Vienna prior to his marriage to Constanze Weber. Nevertheless, he began churning out music, sending it piecemeal to his father.

    It was only later, when Mozart found a moment of calm, that he was able to take a look at what he had actually written and realized that it wasn’t half bad. He arranged material from this second “Haffner” serenade and expanded the orchestration to create what we now know as the “Haffner” Symphony – his Symphony No. 35 – in 1783.

    We’ll hear an inspired performance of the work, featuring an ad hoc orchestra under the direction of Pablo Casals. Together, they manage to convey joy, intimacy, and exuberance in a cherishable recording from the 1967 Marlboro Music Festival.

    Get the most from Mozart, on the next “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

    (*For all you Wagnerites, tune in a little early to enjoy some of HIS music between 4 and 6!)


  • Homer’s Homesick Sounds on WWFM

    Homer’s Homesick Sounds on WWFM

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    As one who seemingly can’t find his way home, I thought I would offer up an afternoon of music inspired by the ultimate wanderer.

    Our centerpiece will be a rarely-heard work, “Odysseus: Symphony in Four Movements,” by the English composer Armstrong Gibbs. Its four movements are meant to evoke the “Escape from Calypso,” “Circe,” “Cyclops,” and “The Return.” If you’re a fan of Vaughan Williams’ “A Sea Symphony,” you might also enjoy this.

    “The Return,” of course, refers to Odysseus’ return to Ithaca, after 20 years’ absence, when he finally strings his bow and lays waste to his rivals in one of the most satisfying bloodbaths in all of literature. It also forms the climax of Benjamin Britten’s “The Rescue of Penelope,” a radio play for vocal soloists and orchestra. In the work’s only recording, we’ll hear none other than Dame Janet Baker as the speaker.

    I’ll try to mix it up from there, with music suggested by “The Iliad” and “The Odyssey.”

    We’re homesick for Homer, from 12 to 4 p.m. EDT, on WWFM – The Classical Network and wwfm.org.


  • Brouwer Premiere LIVE on The Classical Network

    Brouwer Premiere LIVE on The Classical Network

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    ¡Hola!

    Tune in this afternoon on The Classical Network to get a taste of LEO BROUWER, LIVE.

    Join me for a special visit from Michael Newman and Laura Oltman of the Newman and Oltman Guitar Duo. Newman and Oltman will drop by to talk about the final concert of this year’s Raritan River Music Festival, which will take place this Saturday at 7:30 p.m., at Stanton Reformed Church, in Lebanon, NJ, and will include the WORLD PREMIERE of Brouwer’s “El Libro de los Seres Imaginarios” (“The Book of Imaginary Beings”).

    Brouwer, who turned 80 in March, is Cuba’s foremost composer and arguably the most important living composer of music for the classical guitar. “El Libro” is a 16-minute, four movement work, inspired by a compendium of mythological beings by Jorge Luis Borges.

    The fulfillment of the commission, which was planned to coincide with Newman and Oltman’s 40th anniversary as a guitar duo and the 30th anniversary of the Raritan River Music Festival, has been years in the making, the culmination of a successful pentathlon of sorts, guitarists and composer bounding over the hurdles of language, geography, culture, politics, and bureaucracy.

    What makes Newman and Oltman’s visit today particularly exciting is that they plan to perform selections from Brouwer’s new work, LIVE, IN-STUDIO, which means the music will be heard FOR THE FIRST TIME ANYWHERE. Following Saturday’s premiere, the couple will take the piece to New York City for the opening of the New York Guitar Seminar on June 26. The duo holds exclusive performance and recording rights to the piece.

    Saturday’s program, “New Music of the Americas: Compositions from Brazil, Cuba, & USA,” will also include music by Paul Moravec and works by festival guests Clarice Assad and João Luiz.

    The Raritan River Music Festival was founded by Newman and Oltman in 1989, as a stimulating series of concerts that embrace new music, world music, and straightforward classical repertoire, presented by professional musicians, in intimate, historic venues in Hunterdon and Warren Counties.

    This year’s festival has included concerts by the Horszowski Trio, performing Schumann and Elliot Carter, at Greenwich Presbyterian Church in Stewartsville; Eileen Ivers and the unIVERSal Roots Band, in a celebration of Americana music and its Irish roots, at Clinton Presbyterian Church in Clinton; and harmonicist Robert Bonfiglio and flutist Clare Hoffman, performing works by Native American and Grand Canyon-inspired composers, at Prallsville Mills in Stockton.

    For more information about Saturday’s concert and the Raritan River Music Festival, visit raritanrivermusic.org; to learn more about Newman and Oltman, look online at guitarduo.com; and for scintillating music and conversation, tune in at 5:00, the core of today’s broadcast with Classic Ross Amico, which will take place, as always, from 4 to 7 p.m. EDT, on WWFM – The Classical Network and wwfm.org.


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