Tag: WWFM

  • Eugene List: Philly Roots, Pianist of Presidents

    Eugene List: Philly Roots, Pianist of Presidents

    Illustrating the adage (coined by me, I believe) that no one can ever get away from Philadelphia forever, the pianist Eugene List – who was born there 100 years ago today – returned from a childhood spent in Los Angeles to study piano with Olga Samaroff. Samaroff herself, of course, was born in Austin, TX, as Lucy Hickenlooper and later married Leopold Stokowski.

    The prodigious List had already made his orchestral debut with the Los Angeles Philharmonic. He rode the bus back to Philly to enter into a competition to study with Samaroff, who would train a remarkable stable of pianists, including Richard Farrell, Natalie Hinderas, William Kapell, Raymond Lewenthal, Rosalyn Tureck, and Alexis Weissenberg. In his second year with Samaroff, he won another competition which allowed him to perform with the Philadelphia Orchestra. At the behest of Stokowski, he ditched his plans to play the Schumann concerto and instead played the American premiere of Shostakovich’s Piano Concerto No. 1.

    While never entirely eschewing the standard Romantic literature, List was renowned for his devotion to neglected repertoire, including underserved works of Edward MacDowell and especially Louis Moreau Gottschalk, a revival of whose music he spearheaded. In particular, he drew attention for recreating some of Gottschalk’s “monster concerts,” which involved enormous numbers of pianists. He gave the American premiere of Carlos Chavez’s Piano Concerto (with the New York Philharmonic). He also edited the complete works of Stephen Foster.

    Motivated by the attack on Pearl Harbor in December of 1941, he promptly enlisted in the US Army at the age of 26. Initially, he was given an office job as a typist at the New York Port of Embarkation, but soon he was transferred to the Army Special Services Division. At the postwar Potsdam Conference, he was asked to play for Harry S. Truman, Winston Churchill, and Joseph Stalin. For Chopin’s Waltz in A-flat, Op. 42, a work he had not memorized, Truman acted as his page-turner. This earned List a reputation as “Pianist of the Presidents.” He played at the White House many times; the last was for Jimmy Carter in 1980.

    List’s later life was marred by tragedy. In 1983, after 42 years of marriage, his wife, the violinist Carroll Glenn, slipped into a coma only days after being diagnosed with a brain tumor. Two years later, while planning a recital to mark the 50th anniversary of his Carnegie Hall debut, List fell down the steps of his New York brownstone and broke his neck. He was 66 years-old.

    List was a familiar presence on radio and television, and he even appeared in a movie, “The Bachelor’s Daughters,” in 1946.

    We’ll hear List perform music by Gottschalk and Howard Hanson, alongside observances of the birthdays today of composers Hanns Eisler, Elisabeth Lutyens, and Wenzel Thomas Matiegka, and pianist and conductor Vladimir Ashkenazy – all to come between 4 and 6 p.m. EDT, on WWFM – The Classical Network and wwfm.org.

    Then stick around for music from cinematic adaptations of the books of Jane Austen on “Picture Perfect” at 6!


    PHOTO: Eugene List and Carroll Glenn

  • Ember WW1 Concert on The Classical Network

    Ember WW1 Concert on The Classical Network

    For today’s Noontime Concert on The Classical Network, on the eve of Independence Day, we offer “Safe for Democracy,” a concert presented by the ensemble Ember. The thoughtfully structured program was one of several this season put together by Ember to reflect on the centenary and legacy of World War I – the so-called “War to End All Wars” – the contributions of veterans, the human impact of military conflict, and the social realities of post-War America.

    Repertoire will encompass Charles Ives’ jingoist call to arms “He is there!” and the WWI popular song “How ya gonna keep ‘em down on the farm,” alongside music and poetry by Duke Ellington, George Gershwin, Langston Hughes, and others, with some rather surprising discoveries. Deborah Simpkin King directs.

    Then stick around as we attempt to tamp down the excessive temperatures with music of a somewhat cooling nature. The air waves will be full of water and ice and maybe even a little snow. We’ll wrap ourselves in the flag as we crank up the air conditioning, this Tuesday from 12 to 4 p.m. EDT, on WWFM – The Classical Network and wwfm.org.


    PHOTO: The Iwo Jima flag-raising, one of the most iconic images to come out of WWII, rendered in snow in the parking lot of the National Museum of the Marine Corps in Quantico, VA, in 2014

  • 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.

  • Bloch’s “America” An Immigrant’s Rhapsody

    Bloch’s “America” An Immigrant’s Rhapsody

    He came to love and revere his adopted country as only an outsider could.

    Just in time for Independence Day, we’ll have music by immigrant-turned-naturalized-American-citizen, Ernest Bloch. Bloch, born in Switzerland, is probably best remembered for his music on Jewish themes, including the rhapsody for cello and orchestra, “Schelomo,” the suite for violin and piano “Baal Shem,” and the humanitarian oratorio, “Sacred Service.”

    With a rise in anti-Semitism in Europe, Bloch decided to make the United States his permanent home. His epic rhapsody, “America,” was written, according to the composer, “in love for this country, in reverence to its past, in faith in its future.” He dedicated the work to Abraham Lincoln and Walt Whitman.

    Bloch first conceived the idea for the piece in 1916, as his steamer entered New York Harbor. The conflict of the First World War gave further impetus to the composition of what he envisioned as an American anthem, but it wasn’t until 1925 that the work began to take concrete form.

    For modern listeners, it’s possible that this symphony in all but name crosses the line at times into the Realm of Hokey, with its quotations of “Pop Goes the Weasel” and “Yankee Doodle” – it is certainly a time capsule – however, Bloch’s heartfelt conviction and his love for his adopted country remain palpable.

    Hear Bloch himself, full of patriotic fervor, introduce this homage to his adopted land. Leopold Stokowski conducts the Symphony of the Air. I hope you’ll join me for “Rhapsody in Red, White and Blue,” this Sunday night at 10:00 EDT, on WWFM – The Classical Network and wwfm.org.


    Bloch was also interested in the visual arts, especially photography, and developed a close friendship with Alfred Stieglitz, which you can read about here:

    http://ericjohnsonphoto.com/ernest-bloch-and-alfred-stieglitz-a-sunday-morning-conversion/

  • WWFM Classical Radio Fundraiser Ends Tonight

    WWFM Classical Radio Fundraiser Ends Tonight

    The ball ends at midnight. We don’t want to start out 2018-2019 in a pumpkin!

    Thank you to all of you who contributed to WWFM – The Classical Network’s end of the fiscal year fundraiser. Now that the weekend specialty programs have begun, our time to come to you is extremely limited.

    We’re still a little short of our goal. If you have not done so, please call now to make your gift at 1-888-232-1212. As the afternoon progresses, a few of us may yet be around to take your calls, but the telephone volunteers will gradually disperse. REMEMBER, YOU CAN MAKE YOUR CONTRIBUTION ONLINE AT WWFM.ORG UNTIL 11:59 TONIGHT and still have it count toward this year’s budget.

    Classical radio is as delicate as a glass slipper. We’ve been bringing great music to your community for 35 years, because of engaged listeners just like you. Thank you for everything that you do in order to keep The Classical Network strong. We couldn’t do it without you.

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