Classical music lovers are best acquainted with the Shakers by way of the hymn “Simple Gifts,” employed by Aaron Copland, of course, as the basis for a set of variations at the climax of his ballet “Appalachian Spring.” But the Shaker tradition predates Copland by nearly 200 years.
This week on “The Lost Chord,” we’ll hear ample selections from “Simple Gifts: Shaker Chants and Spirituals,” an unusual album of traditional Shaker melodies, spearheaded by Joel Cohen in 1995. With this remarkable project, Cohen sought to preserve music of the Shakers in somewhat authentic performances, augmenting his Boston Camerata and Schola Cantorum with members of the actual dwindling population of Sabbathday Lake, Maine, the last active Shaker community, established in 1783.
Music has always been an integral part of Shaker worship. There are over ten thousand songs extant. In Shaker society, musical revelation is considered a spiritual gift. As such, it was important to document these inspirations as they occurred. Since many of the scribes had no musical education, a system of notation reliant on letters of the alphabet evolved. These were often not positioned on a staff, and simple rhythmic values were employed. Lyrics sometimes involve syllables and words of unknown tongues.
The second half of tonight’s program will consist of “Shaker Loops,” a modern American classic by John Adams. This kaleidoscopic example of Minimalism was originally composed in 1978, as a four-part work for seven solo strings (three violins, one viola, two cellos, and double bass). It bears the influence of Adams’ early electronic experiments. On its surface, it may seem somewhat repetitive – each instrument assigned a loop of oscillations – but when heard simultaneously, the various strands are continually shifting. The resultant mesmeric quality neatly parallels the ecstatic writhings of the Shakers.
The work falls into four movements, flowing into one another without break: “Shaking and Trembling;” “Hymning Slews;” “Loops and Verses;” and “A Final Shaking.” Adams arranged the piece for string orchestra in 1983. We’ll hear the world premiere recording, with the San Francisco Symphony conducted by Edo de Waart.
Time to get shaking! Give thanks for simple gifts, on “All Shook Up,” on “The Lost Chord,” now in syndication on KWAX, the radio station of the University of Oregon!
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Clip and save the start times for all three of my recorded shows:
PICTURE PERFECT, the movie music show – Friday at 8:00 PM EST/5:00 PM PST
SWEETNESS AND LIGHT, the light music program – Saturday at 11:00 AM EST/8:00 AM PST
THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EST/4:00 PM PST
Stream them, wherever you are, at the link!
https://kwax.uoregon.edu/
Category: The Lost Chord
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Salty Cossacks on “The Lost Chord”
This week on “The Lost Chord,” our ears will burn from the haughty and profane response of the Zaporozhy Cossacks to an ultimatum from Sultan Mehmad IV. The Sultan demanded the peaceful surrender of the Cossacks, after they had scored a glorious defeat against his Ottoman forces. To his giddy and inebriated foes, he was not exactly negotiating from a position of power.
Among Reinhold Glière’s works steeped specifically in Ukrainian lore is the symphonic poem/ballet “The Zaporozhy Cossacks,” based on the famous canvas by Ilya Repin. Glière, born in Kyiv in 1875, is best known for his ballet “The Red Poppy,” with its ubiquitous “Russian Sailor’s Dance,” and perhaps for his epic Symphony No. 3, “Ilya Muromets.”
In 1913, Glière attained an appointment to the school of music in Kyiv, which was raised to the status of conservatory shortly thereafter. Glière served as director of the conservatory from 1914 to 1920.
One of his pupils there was Boris Lyatoshynsky, who lived from 1895 to 1968. Lyatoshynsky was a student at the conservatory at the start. The first movement of his Symphony No. 1 was written as a graduation work. The other two movements followed in 1919.
The first performance of the piece took place under Glière’s direction in 1923. If you get all sweaty listening to the orchestral works of Alexander Scriabin, you certainly won’t want to miss this, an opulent work by a young man determined to impress.
I hope you’ll join me for “Steppe Lively” – classical music from Ukraine – on “The Lost Chord,” now in syndication on KWAX, the radio station of the University of Oregon!
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Clip and save the start times for all three of my recorded shows:
PICTURE PERFECT, the movie music show – Friday at 8:00 PM EST/5:00 PM PST
SWEETNESS AND LIGHT, the light music program – Saturday at 11:00 AM EST/8:00 AM PST
THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EST/4:00 PM PST
Stream them, wherever you are, at the link!
https://kwax.uoregon.edu/
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If you aren’t too squeamish, you can read more about the Cossacks’ reply, with a rough (and I do mean rough) translation here. The translation was removed from a Wikipedia page about the painting, but preserved in a screenshot taken for the purpose of Ukrainian studies by the Department of Slavic Languages and Literatures at the University of Toronto.
https://tarnawsky.artsci.utoronto.ca/courses/Cossacks/Reply%20of%20the%20Zaporozhian%20Cossacks%20-%20Wikipedia,%20the%20free%20encyclopedia.pdf
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IMAGE: Ilya Repin’s “Reply of the Zaporozhian Cossacks” (1880-1891)
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