I just learned that today is the birthday of my friend, composer Robert Moran. I first encountered Bob’s music while I was scouring the bins at the now-defunct Tower Records Classical Annex, at 6th and South Sts., in Philadelphia. At a point, the suite, “Arias, Interludes and Inventions,” from his opera “Desert of Roses,” came out over the speakers, and my heart broke a little bit. I added it to my collection immediately.
A number of years later, unbeknownst to me, Bob was browsing in my bookshop. I think he tried to pay with a credit card, which is the kiss of death when dealing with Classic Ross Amico. I inquired if he happened to be the composer, and we’ve been pals ever since. Naturally, I had my recording of “Desert of Roses” on hand, and Bob penned me a very nice inscription.
Happy birthday, Bob. Whether you’re writing for Houston Grand Opera, 39 autos, giant puppets, or electric popcorn popper, the music is always vital and worth getting to know.
An aria from “Desert of Roses”:
Selections from “Trinity Requiem”:
“Obrigado” for Iowa Percussion:
Bob, looking groovy in merry prankster mode, introducing his “Lunchbag Opera” for the BBC:
Today is the birthday of Virgil Thomson (1896-1989), faux naïf composer and feared critic of the New York Herald Tribune.
I included two of Thomson’s “Five Blake Songs” on this week’s edition of “The Lost Chord” (which repeats tonight at 6 ET at wwfm.org), devoted yet again to recordings of American music by Eugene Ormandy and the Philadelphia Orchestra.
The songs, written for baritone Mack Harrell, were originally recorded for Columbia Records in 1951. When the recording was reissued on CRI in the 1970s, Thomson himself suppressed the fourth of them, “The Little Black Boy,” which therefore was absent from the only CD issue, in 1989, on the Bay Cities label. I own both the original LP and the Bay Cities disc, but since I only had time for two songs anyway, I resorted to the more portable CD. Fortunately, another maniacal collector has posted all five on YouTube. Here they are for your enjoyment:
It’s wonderful to have a composer like Thomson born so close to Thanksgiving. Here’s probably his best-known work, the “Symphony on a Hymn Tune”:
And, for good measure, his concertino for harp, strings and percussion, “Autumn”:
Amram, born in Philadelphia in 1930, has always been equally at home in classical music, jazz, folk and world music. He’s composed over 100 orchestral and chamber works, music for Broadway and film (including scores for “Splendor in the Grass” and “The Manchurian Candidate”), and two operas. He’s also written three books, with a fourth in the works.
He was raised on a farm in Bucks County, where he was introduced to classical, jazz and cantorial music by his father and uncle. He took piano lessons and experimented with instruments of the brass family, finally settling on the French horn. Following a year at Oberlin, he lit out for George Washington University, where he studied history. While there, he performed as an extra hornist with the National Symphony. He also studied privately with two musicians in the orchestra.
Amram became a pioneer of the jazz French horn, as well as the New York Philharmonic’s first composer-in-residence (named in 1966). He’s worked with artists ranging from Dizzy Gillespie to Bob Dylan to Leonard Bernstein, from Jack Kerouac to Arthur Miller, from Christopher Plummer to Johnny Depp. He’s a musician without boundaries, who has always been open to new experiences.
Trailer for the documentary, “David Amram: The First 80 Years”:
Amram Horn Concerto:
Amram with Dizzy Gillespie:
Amram (at the age of 80) performing at the Philadelphia Folk Festival:
Happy birthday, David Amram, still going way strong.
My newspaper duties have kept me off Facebook for most of the day, thereby frustrating my desire to send a shout-out to Philadelphia composer Vittorio Giannini on the occasion of his birthday anniversary.
Giannini was born in Philadelphia in 1903. He studied at the Milan Conservatory, after which he earned his graduate degree from Juilliard. He then taught at Juilliard, the Manhattan School of Music and the Curtis Institute.
Arguably his most important contribution as an educator was the foundation in 1965 of the North Carolina School of the Arts, which he envisioned as a Juilliard of the South. The school attracted to its faculty such luminaries as Ruggiero Ricci and Janos Starker. Giannini died the year after it opened, in 1966.
He was from a family of opera singers. His father founded the Verdi Opera House in Philadelphia. One sister taught voice at the Curtis Institute of Music and the other sang at the Metropolitan Opera. Giannini himself composed 14 operas, including “Lucedia,” “The Scarlet Letter,” “The Taming of the Shrew,” and one for radio, “Beauty and the Beast.” Two, “Casanova” and “Christus,” remain unperformed.
Not surprisingly, then, in his day he was known largely for his vocal music, but his Symphony No. 3 for wind band has fared best on disc. There are seven recordings in the current catalogue, from the classic release directed by A. Clyde Roller on the Mercury label to one of the later-in-life, digital recordings of Frederick Fennell.
Daniel Spalding, music director of the New Jersey Capital Philharmonic, recorded the Symphony No. 4 with the Bournemouth Symphony, for Naxos. The companion piece is Giannini’s Piano Concerto, with Gabriela Imreh, the soloist.
Spalding will conduct the New Jersey Capital Philharmonic Orchestra this Saturday, Oct. 24, at the Trenton War Memorial. The program will include Philip Glass’ “Concerto Fantasy for Two Timpanists and Orchestra” and Tchaikovsky’s Symphony No. 5. You can read all about it in the Friday edition of the Trenton Times.
