Tag: Arthur Rubinstein

  • Heitor Villa-Lobos: Brazil’s Musical Genius

    Heitor Villa-Lobos: Brazil’s Musical Genius

    On the birthday of Heitor Villa-Lobos, here’s a documentary about Brazil’s most celebrated composer. Of course, most of it’s in Portuguese, but there are plenty of candid stills and footage and examples of his music, and Arthur Rubinstein speaks French.

    A few bonuses:

    Villa-Lobos plays Villa-Lobos

    Andrés Segovia (at 93)

    Julian Bream

    Arthur Rubinstein

    Nelson Freire

    Leonard Bernstein talks Villa-Lobos

    Conducting Villa-Lobos’ greatest hit, the Bachianas Brasileiras No. 5

    Joan Baez gives it a whirl

    The classic recording with Victoria de los Angeles and the composer conducting

    Bernstein conducts “The Little Train of Caipira,” from Bachianas Brasileiras No. 2

    The José Limón Dance Company performs “The Emperor Jones”

    Folkloric rainforest piece, “Uirapuru,” named for a Brazilian bird

    Feliz Aniversário, Heitor Villa-Lobos!

  • Leith Stevens’ Lost Piano Concerto

    Leith Stevens’ Lost Piano Concerto

    Hey, I’m the music guy, right?

    In preparing to talk about “The War of the Worlds” on “Roy’s Tie-Dye Sci-Fi Corner” the other day, I was in the process of boning up on Leith Stevens, the film’s composer, when I stumbled across this clip. It’s a piano concerto written for “Night Song” (1948), a movie starring Dana Andrews that somehow had slipped beneath my radar. The music is performed in the film by Arthur Rubinstein, Eugene Ormandy, and the New York Philharmonic.

    What’s that you say? The music is not about to win a Pulitzer? Well Rubinstein and Ormandy aren’t going win any Oscars either! (Actually, they’re not half bad.) Stevens eschews the Rachmaninoff-style movie concerto kitsch then very much in vogue. (I’m looking at you, “Warsaw Concerto.”) The trade-off, unfortunately, is a concerto that quickly faded into oblivion. More’s the pity. All in all, a fascinating document.

    Ah, the good old days, when you could enjoy a cigarette in a stairwell, while dreaming about touching Merle Oberon’s face, on the beach, during a concert…

    From Bosley Crowther’s review in the New York Times: “…The music, the prize concerto—well, that is really the thing which puts ‘Night Song’ in the spotlight as baldfaced and absolute sham. For this scrappy and meaningless jangle by Leith Stevens is good for nothing more than an excuse for filming the fiddles, the drums and the batteries of horns. And if Mr. Rubinstein and Mr. Ormandy can swallow it, along with their pride, they must have pretty strong stomachs.”

    Ouch! Everyone’s a critic.

    Crowther was later drummed out of the Times for doubling down on his hatred of “Bonnie and Clyde” in 1968.

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