Tag: Samuel Barber

  • Ormandy’s Lost American Music

    Ormandy’s Lost American Music

    It’s not so much that I am out of ideas, but it is mighty convenient that I had so much material left over from last week’s show, consisting of rarely-heard recordings of American music performed by Eugene Ormandy and the Philadelphia Orchestra.

    This Sunday night on “The Lost Chord,” I reach for the already conveniently stacked CDs to cue up three more gems.

    Samuel Barber was born in West Chester, Pa., not far from Philly, in 1910. He attended Philadelphia’s Curtis Institute of Music and had his first orchestral work, the “School for Scandal Overture,” performed by the Philadelphia Orchestra in 1931, when he was 21 years-old.

    His “First Essay for Orchestra” was sent to Arturo Toscanini in the same mail as his “Adagio for Strings.” Toscanini performed both works with the NBC Symphony in 1938, but it was Eugene Ormandy who made the first recording of the “Essay,” with the Philadelphians, in 1940.

    Vincent Persichetti was born in Philadelphia in 1915, and he died there in 1987. In between, he attended Combs College of Music, the Curtis Institute (where he studied conducting with Fritz Reiner) and the Philadelphia Conservatory. He taught at Combs and the Philly Conservatory. Then he received an invitation from William Schuman (some of whose music we heard last week) to take up a professorship at Juilliard.

    Persichetti was one of our great composers, but to this day he remains underappreciated, more respected than loved. His Symphony No 4 of 1951 must be one of his most immediately attractive works.

    Finally, John Vincent may be the most undeservedly neglected composer in Ormandy’s entire discography. Ormandy described his recording of Vincent’s Symphony in D (“A Festival Piece in One Movement”) as “one of the best we have ever done,” and the piece itself as “one of the finest compositions created by an American composer in the past decade.” The 1954 work sounds at times like Sibelius gone to the rodeo, but my, is it good stuff!

    I hope you’ll join me for “All-American Ormandy II,” rarely-heard recordings of Barber, Persichetti and Vincent, on “The Lost Chord,” this Sunday night at 10 ET, with a repeat Wednesday evening at 6; or that you’ll listen to it later as a webcast at wwfm.org.

    To help get you in the mood, here’s an in-depth interview with Persichetti by Bruce Duffie:

    http://www.bruceduffie.com/persichetti.html

  • Memorial Day Military Symphonies on The Lost Chord

    Memorial Day Military Symphonies on The Lost Chord

    This Sunday night on “The Lost Chord,” in anticipation of Memorial Day, we’ll have two symphonies composed for the armed forces.

    Morton Gould wrote his Symphony No. 4 for the United States Military Academy at West Point. It was his first large scale piece for symphonic band. The score calls for a “marching machine,” but the recording we’ll hear, issued on the Mercury label, employs the feet of 120 musicians of the Eastman School Symphony Band. Frederick Fennell directs the Eastman Wind Ensemble.

    Samuel Barber composed his Symphony No. 2 in 1943, while he was serving in the U.S. Army Air Force. 20 years later, he revised and published the slow movement as a separate opus, titled “Night Flight,” and then jettisoned – and actually tried to destroy – the rest. The work was reconstituted after the composer’s death, and is now back in circulation. We’ll hear a recording with Marin Alsop and the Royal Scottish National Orchestra.

    I hope you’ll join me for “Orchestrated Maneuvers” – American military symphonies for Memorial Day – tonight at 10 ET, with a repeat Wednesday evening at 6; or that you’ll listen to it later as a webcast, at http://www.wwfm.org.

    PHOTO: Corporal Samuel Barber with the score of his Second Symphony

  • Happy Birthday Samuel Barber His Best Music

    Happy Birthday Samuel Barber His Best Music

    March 9. Time for a trip to the Barber. Samuel Barber, that is.

    Happy birthday, Sam (born in West Chester, Pa., on this date in 1910).

    My favorite Barber pieces? The Violin Concerto. The Symphony No. 1. The Second Essay for Orchestra. “Souvenirs” (in the version for four-hand piano). Okay, and the Adagio.

    Sing it, Lenny.

    If you’re feeling a little on the bleak side, here’s some happy music to counterbalance the Adagio. It’s from his set of piano pieces titled “Excursions.”

    PHOTO: What you doin’ with that black shirt and baton, Sammy? Ironically, he disliked his Second Symphony. He disliked it so much, he tried to destroy it.

  • Pets Music and Facebook

    Pets Music and Facebook

    Has anyone ever set up a Facebook account and not posted a picture of their pets within a week? Personally, I think I’ve exercised remarkable restraint.

    I don’t know about you, but my animals are great music lovers. My dog, Corgi, a foxy lass of indeterminate breed, was a great opera lover. She used to fall asleep with her head against the speaker while listening to the Metropolitan Opera.

    The imperious Hannah (a.k.a. Ki-TEH) also enjoys vocal music, though for a while she and I were working our way through all the Haydn symphonies.

    She definitely prefers music to silence during the long hours I spend writing on the computer, preferably typing with one hand while rubbing her belly with the other. Until she’s had enough, that is. She can be a harsh mistress.

    I don’t know Lena S. Lee, but this is a sweet tribute. Here she is with Samuel Barber’s “The Monk and His Cat.”

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