Tag: Richard Wagner

  • Siegfried Wagner Idyll Story & Recording

    Siegfried Wagner Idyll Story & Recording

    Even as a child, Siegfried Wagner seemed out of step with his parents.

    Nevertheless, here’s the charming story behind the “Siegfried Idyll,” a work named for him by his father.

    The idyll was composed shortly after Siegfried’s birth, in1869, and presented as a surprise gift by the composer to Siegfried’s mother, Wagner’s new bride, Cosima (recently divorced from conductor Hans von Bülow, a Wagner champion, who had tolerated their affair).

    In a supreme romantic gesture, Wagner unveiled the work on Christmas morning, with his musicians arrayed along the stairs leading to the master bedroom of their Swiss villa. Wagner had it played for Cosima every year as an expression of his love. It had been his original intention to keep it private, within the family, but then cash ran short, as it almost always did, and he was willing to change his mind. Themes from the work would also be reused in the Ring Cycle.

    The original title of the piece was not quite so snappy. At the time the music was first presented, the score bore the inscription: “Triebschen Idyll, with Fidi’s birdsong and the orange sunrise, as symphonic birthday greeting. Presented to his Cosima by her Richard.” Fidi, of course, was the Wagners’ nickname for their son, born 150 years ago today.

    Hear Siegfried conduct the serenade named for him by his father, in this 1927 recording.

  • Franz Liszt Underrated Genius Radio Tribute

    Franz Liszt Underrated Genius Radio Tribute

    He is one of history’s most influential and undersold composers.

    A champion of program music (music intended to express extramusical ideas), the inventor of the symphonic poem, a pioneer of structural innovation, and an explorer of strange new harmonies, Franz Liszt seldom gets the credit he deserves. By contrast, a composer like Richard Wagner (Liszt’s son-in-law) is revered for the “Tristan chord,” a kind of shot-heard-‘round-the-world that is said to have changed music. It’s seldom noted that it was but one of the ideas Wagner “borrowed” from Liszt.

    As a conductor, Liszt’s energetic promotion of composers like Hector Berlioz and Wagner – then a political fugitive – marred with scandal and intrigues his tenure at the Weimar court. For his pains, he was frequently attacked by critics, derided by his peers, and undercut by his own showmanship.

    No one seems to contest that he was one of the most remarkable pianists who ever lived, but the assessment is often tempered by charges of vulgarity, of crass pandering to sensation and to the mob.

    Liszt played benefit concerts for victims of flood and fire, as well as for political refugees, spearheaded the creation of a monument to and festival for Beethoven in Bonn, never charged a fee for his lessons to his many pupils, and selflessly promoted the works of others, including (beside Berlioz and Wagner) Grieg, Smetana, Debussy, Saint-Saëns, Fauré, and Borodin.

    This is the thanks he gets?

    At the very least, I think he deserves three hours of airplay on his birthday. I hope you’ll join me this afternoon for a mix of piano and orchestral works, choral music and lieder, and transcriptions and fantasies of famous works by other composers.

    It will be an all-Liszt playlist, from 4 to 7 p.m. EDT, on WWFM – The Classical Network and wwfm.org.

  • Columbus Day Classical Music & Montserrat Caballé

    Columbus Day Classical Music & Montserrat Caballé

    Before Columbus Circle, Columbus OH, and the Knights of Columbus came… He Who Must Not Be Named.

    He’s a controversial figure today, but he inspired a lot of music, and this afternoon on The Classical Network, we’ll sample some of it, including works by Richard Wagner (for a stage play), Sir William Walton (for a radio play), Victor Herbert (for the concert hall, by way of the Chicago World’s Fair), and Kurt Weill & Ira Gershwin (for film).

    In addition, we’ll honor one of Spain’s greatest singers, Montserrat Caballé, who died on Saturday at the age of 85, and remember composers Louis Vierne and Toru Takemitsu, on the anniversaries of their births.

    In 1492, he sailed the ocean blue. No one will be harmed in the discovery of stimulating music on Columbus Day, from 4 to 7 p.m. EDT, on WWFM – The Classical Network and wwfm.org.


    Montserrat Caballé sings Queen Isabella alongside José Carrera’s Columbus, in the world premiere of Leonarda Balada’s “Cristóbal Cólon” (1989)

  • Gluck Opera Reformer You Should Know

    Gluck Opera Reformer You Should Know

    Get ready to Gluck out.

    Today marks the anniversary of the birth of Christoph Willibald Gluck (1714-1787), a composer concert promoters and marketers seem to have a hard time getting their heads around. Give them Verdi, Wagner or even Britten, and they’ll run with it. But Gluck? Who he?

    Oh yeah. Isn’t he the guy who wrote the “Dance of the Blessed Spirits?”

    We always hear about Gluck being a reformer, and in truth his influence on the future of opera was incalculable. He shunned floridity for its own sake. He was not a sensualist. He rebelled against the superficial effects of “opera seria,” with its showy arias ornamented beyond recognition by star castrati, to arrive at something closer to naturalism.

    With Gluck, words and music bore equal weight. Drama was of the foremost importance. He tossed out the dry recitative to create a more continuous flow in the action. Performers took a back seat to emotional truth. The effect was kind of a chaste grandeur, simplicity at the service of theatrical power. Works like “Orfeo ed Euridice” and “Alceste” were radical for their time.

    Gluck’s influence runs through Mozart to Weber, Berlioz and Wagner. Yet today his works are less frequently performed than those of any of his followers.

    Find out more about Gluck in “Gluck the Reformer” (featuring John Eliot Gardiner, William Christie and others):

    Then join me this afternoon, when among my featured works will be a selection of Gluck arias and ballet music, and even a monumental arrangement of a Gluck overture by Richard Wagner. We’ll also honor Frederick Fennell and Gilbert Kalish on their birthdays.

    “Glück” means “happiness” in German, you know. We’ll cram in as much happiness as we can, this Monday afternoon from 4 to 7 p.m. EDT, on WWFM – The Classical Network and wwfm.org.

  • Marlboro Music Festival Archive Performances

    Marlboro Music Festival Archive Performances

    With this year’s Marlboro Music Festival poised to enter its final weekend, we’ll continue our exploration of the Marlboro Music archive, with performances of Gioachino Rossini’s String Sonata No. 3 (a 1989 recording featuring violinists Lara St. John and Ivan Chan, cellist Paul Tortelier, and double bassist Timothy Cobb), Max Reger’s Introduction, Passacaglia and Fugue (a 1977 recording with pianists Yefim Bronfman and Luis Btlle), and Richard Wagner’s “Siegfried Idyll” (a 1971 performance led by Alexander Schneider).

    This year’s Marlboro Music Festival runs through August 13. Learn more about this weekend’s events at marlboromusic.org. Then join me for great chamber music and chamber orchestra performances on “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

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