Classic Ross Amico

Tag: Harpsichord

Bach, Schweitzer, Růžičková: Music for the Soul

If there is any doubt that Bach is good for the soul, one need look no further than two spiritual titans whose birthdays we’ll celebrate today.

Albert Schweitzer (1875-1965) is widely remembered for his humanitarian efforts. A lifelong scholar, a missionary, and a physician who brought medical assistance to the people of Gabon, he was awarded the Nobel Prize in 1952.

A frail child, Schweitzer took to the organ as soon as he was tall enough to reach the pedals. His love of music paralleled his development as a philosopher and a theologian. In fact, no less an authority than Charles-Marie Widor was stunned by Schweitzer’s insights into Bach’s organ works, which were informed in part by a Lutheran background he shared with the composer. Schweitzer wrote extensively on Bach, in French, German, and English. In addition, he gave numerous organ recitals in Europe to finance his hospital in Africa.

A reverence for life was central to Schweitzer’s philosophy. While he continued his humanitarian work in Lambaréné throughout World War II, Zuzana Růžičková (1927-2017) weathered the incomprehensible in several Nazi concentration camps.

Růžičková survived internment at Terezin, Auschwitz, and Bergen-Belsen. Of the latter, in particular, she recalled, “If ever there was Hell, this was the lowest part of Hell.” Following the war, she stood up for years against political and anti-Semitic persecution under Czechoslovakia’s communist rule. She survived Stalin and lived through the Velvet Revolution, maintaining her integrity and gaining recognition as “first lady of the harpsichord.” Růžičková became the first harpsichordist to record all of Bach’s keyboard music.

Unlike Schweitzer, Růžičková was not particularly religious, but her spirit was large and her will indomitable. Her love of music was with her always, even in the camps. (At Terezin, she transcribed some of Bach’s music to take with her to Auschwitz.) Both she and Schweitzer were acutely aware of human suffering on a scale that most of us are lucky never to have encountered. Yet they also recognized a greater good. Perhaps it’s no coincidence that they both lived to be 90.

I hope you’ll join me today as we sample their artistry, among my featured offerings from 4 to 7 p.m. EST, on WWFM – The Classical Network and wwfm.org.

January 14, 2019
Friday Fun Classical Music Broadcast

After a long week at the office, what better way to get a jump on the weekend than with a little karaoke? Join me this afternoon at 4:00 EST to hear Leopold Stokowski conduct his own symphonic synthesis from Mussorgsky’s “Boris Godunov.” No one cares if you don’t exactly sound like Chaliapin when you’re stuck in Friday traffic.

I’ll get you in the mood with the overture “Tsar Boris” by the regrettably short-lived Russian composer Vasily Kalinnikov, whose birthday anniversary it is today – but you’ll want to be there at 4 sharp!

At 6:00, it’s “Picture Perfect,” music for the movies. It will be a program devoted to “arch harpsichords” in mysteries and thrillers. On this Friday the 13th, why not? I’ll have more about it on my Facebook page later this afternoon.

Toss some salt over your shoulder, caress a rabbit’s foot (preferably while it’s still on the rabbit), and join me today between 4 and 7:00 EST for plenty of musical good luck, on WWFM – The Classical Network and at wwfm.org.

January 13, 2017
Harpsichords & Hitchcock Mystery Soundtracks

The harpsichord has frequently been employed on soundtracks to mysteries and thrillers, when it has been appropriate to lend a film somewhat of a “wry” tone. This week on “Picture Perfect,” we’ll hear selections from four scores that keep tongue embedded firmly in cheek, even as the corpses begin to pile up.

Ron Goodwin wrote the music for a series of Agatha Christie adaptations that starred Margaret Rutherford as Miss Marple. In the first of these, “Murder She Said” (1961), Marple goes undercover as a domestic servant. The Miss Marple theme became a popular hit, which you may still recognize.

Bette Davis enjoyed something of a comeback following her turn in “Whatever Happened to Baby Jane?,” opposite Joan Crawford. The film singlehandedly defined a subgenre which has been variously described as “psycho-biddy,” “hag horror,” “hagsploitation” and “grande dame guignol.” Camp and black comedy are essential elements. “Dead Ringer” (1964) was yet another “bad twin” film, with Davis’ delicious performance underscored by André Previn.

Sir Laurence Olivier and Michael Caine play a deadly game of cat and mouse, as a mystery writer plans to exact revenge on his wife’s lover, in a big screen adaptation of Anthony Shaffer’s play, “Sleuth” (1972). John Addison, who had previously harpsichorded his way to an Academy Award with his score for “Tom Jones,” wrote the impish music.

Finally, Barbara Harris plays a fake psychic and Bruce Dern her cab-driving, private investigator boyfriend, who become embroiled with serial kidnappers, in Alfred Hitchcock’s final film, “Family Plot” (1976). The composer was none other than John Williams, poised between his breakout success, “Jaws,” and “Star Wars,” which was to make him a household name. (Both “Jaws” and “Star Wars” were Academy Award winners for Best Original Score),

Hitchcock was full of suggestions as to the music and how it should be conducted. The composer recollects that on one occasion, when trying to convey the tone he was seeking, Hitch remarked, “Mr. Williams, murder can be fun.”

I hope you’ll join me for an hour of “arch harpsichords” this week on “Picture Perfect,” this Friday evening at 6 ET, with a repeat Saturday morning at 6, or that you’ll listen to it later as a webcast at http://www.wwfm.org.

January 29, 2015

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