I’ve been experiencing internet connection woes ever since Microsoft commandeered my computer Thursday night for yet another automatic “upgrade.” So I’m only posting in coffee houses for the time being. Hopefully I’ll be back soon. In the meantime, know my hatred for Microsoft and enjoy these coffee clefs.
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Microsoft Upgrade Woes Coffee Shop Posts

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Latin Swashbucklers Beat the Cold with Zorro & More

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Frigid temperatures got you down? Put some swagger back into your step with an hour of music from Latin swashbucklers.
Alfred Newman gets the blood pumping with his virile soundtrack for “Captain from Castile” (1947), in which Tyrone Power flees persecution at the hands of the Inquisition to join Cortés’ expedition to conquer Mexico. The film was shot on location with one sequence set against the backdrop of an erupting volcano!
Power, of course, was one of the screen’s great Zorros. However, with “The Mask of Zorro” (1998), Antonio Banderas becomes the Zorro for our time. He’s aided and abetted by Anthony Hopkins, as the elder Zorro who mentors him. (TWO Zorros in one film! I could expire of joy.) Catherine Zeta-Jones is radiant, and the music by James Horner literally hits all the right notes.
This film was already a throw-back upon release, with plenty of real-life, real-time swordplay and stunts galore, with the barest minimum of computer-generated bells and whistles. I wish to God popcorn entertainment could still be like this. As it was, “The Mask of Zorro” was like a belated last gasp of the 1980s. It was easily the best swashbuckler of the ‘90s – though, really, was there much competition?
Banderas got a chance to send-up his image in the Dreamworks’ computer-animated feature, “Puss in Boots” (2011), a spin-off from the Shrek series, which actually turned out to be a better sequel than “The Legend of Zorro” (2005).
The film sports plenty of Zorro in-jokes, which extend even to Henry Jackman’s entertaining score. How is it that animated movies are just about the only movies these days that seem to keep up the great symphonic tradition of classic film scoring?
Finally, Errol Flynn has one last swash left in his buckle for “The Adventures of Don Juan” (1948), his last wholly satisfying period adventure. Equally, Max Steiner rises to the occasion and provides one of his best scores, just about on the same level as those of the master of the genre, Erich Wolfgang Korngold.
I hope you’ll join me for an hour of Latin swords, on “Picture Perfect,” this Friday evening at 6:00 EST, on WWFM – The Classical Network and wwfm.org.
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Musical Hybrids on WPRB

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Ah, humans… compelled to classify everything. The more confusing the world gets, the more we try to understand. But what’s the alternative?
At a time when everything seems so fluid – language, mores, sexuality, and even gender – I thought we’d take a look at some equally perplexing musical hybrids this Thursday morning on WPRB.
Concertos are usually understood to be works for solo instrument and orchestra. However, we’ll be focusing on concertos for orchestra alone. Likewise, symphonies are ordinarily purely orchestral endeavors. We’ll hear symphonies for orchestra and prominent instrumental soloist.
Among our featured highlights will be the Concerto for Orchestra – now Grammy-nominated for “Best Contemporary Classical Composition” – by one-time Classic Ross Amico guest Zhou Tian; a symphony for solo piano by Charles-Valentin Alkan; an organ symphony by Aaron Copland, and a “concerto symphonique” for piano and orchestra by Henry Charles Litolff.
We may not know whether it’s fish or fowl, but whatever it is I’ll be tossing it in the blender, this Thursday morning from 6 to 11 EST on WPRB 103.3 FM and wprb.com. It will be another breakfast of champions, on Classic Ross Amico.
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Symphony or Concerto Genre Bending Music

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Hector Berlioz’s “Harold in Italy” (viola and orchestra). Leonard Bernstein’s Symphony No. 2 “The Age of Anxiety” (piano and orchestra). Benjamin Britten’s Cello Symphony. These genre-bending works break all the rules. Are they symphonies or concertos?
We won’t be hearing any of these this Thursday morning on WPRB, though we will be listening to a full playlist of “concertos” for orchestra and “symphonies” for orchestra with prominent part for solo instrumentalist.
Generally speaking, the concerto for orchestra is a large-scale piece in which the various sections of an orchestra are each given an opportunity to shine. The symphonies with a prominent solo instrument? Well, there is really is no rule for that. Why Vincent d’Indy’s “Symphony on a French Mountain Air,” for piano and orchestra, is not a concerto is anyone’s guess, beyond the French custom, usually applied to organ works, of calling concertos symphonies. Call it Gallic contrarianism, if you will.
Highlights of the morning will include music by one-time Classic Ross Amico guest Zhou Tian, whose Concerto for Orchestra has been nominated in the category of “Best Contemporary Classical Composition” for this year’s Grammy Awards; organ “symphonies” by Alexandre Guilmant and Aaron Copland; a concerto “symphonique” for piano and orchestra by Henry Charles Litolff; and a “symphony” for solo piano by Charles-Valentin Alkan.
Prepare yourself for identity crises and plenty of disorientation, this Thursday morning from 6 to 11 EST, on WPRB 103.3 FM and wprb.com. Then, why should things be different this week from any other, on Classic Ross Amico?
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Zhou Tian Grammy Nominee on WPRB Today

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I hope you’ll join me this morning for music by Zhou Tian. Zhou was my guest on Classic Ross Amico when his work, “Broken Ink,” was performed by the Princeton Symphony Orchestra last season. Zhou’s brilliantly orchestrated Concerto for Orchestra has been nominated for a Grammy Award in the category of “Best Contemporary Classical Composition.” A recording, with the Cincinnati Symphony Orchestra, will provide the capstone to today’s survey of concertos for orchestra and genre-bending symphonies featuring solo instruments, which will continue until 11:00 EST on WPRB 103.3 FM and wprb.com.
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