Composers Datebook

Synopsis

On today’s date in 1937, a gala concert in Berlin presented the premiere performance of Robert Schumann’s Violin Concerto, a work composed in the fall of 1853, shortly before Schumann’s tragic mental collapse.

The concerto was never given a public performance during Schumann’s lifetime, although great 19th century violinist Joseph Joachim read through the score during an orchestral rehearsal early in 1854 and played the work privately in 1855 with piano accompaniment provided by Schumann’s wife, Clara. Clara, Joachim and their mutual friend Johannes Brahms all judged the concerto subpar and perhaps embarrassing evidence of Schumann’s declining mental state.

Oddly enough, the 1937 premiere in Berlin, attended by none other than Adolf Hitler, was presented as part of the Nazi’s Strength Through Joy cultural program. German commentators touted Schumann’s ties to the German “folk,” while American critics bemoaned that most of the great German violinists of the day were unavailable for this important premiere, having all left Germany for racial or political reasons.

On this side of the Atlantic, it was violinist Yehudi Menuhin who gave the American premiere of Schumann’s long-neglected concerto a month later, first with piano accompaniment at Carnegie Hall, then later with the St. Louis Symphony.

Music Played in Today's Program

Robert Schumann (1810-1856): Violin Concerto; Gidon Kremer, violin; Philharmonia Orchestra; Riccardo Muti, conductor; EMI 69334

Synopsis

As a busy church musician, Johann Sebastian Bach wrote around 300 sacred cantatas. That seems a high number to us — but consider that his contemporaries Telemann and Graupner composed well over a thousand cantatas each!

In what surviving documents we have, Bach himself rarely uses the Italian term “cantata” to describe these pieces, preferring “concertos” or simply “the music” to describe these works intended for Lutheran church services. It was only in the 19th century, as Bach’s music was being collected and catalogued, that the term “cantata” would become the official label for this sizeable chunk of Bach’s output.

On today’s date in 1731, the 27th Sunday after Trinity that year, Bach presented what would become one of his most popular cantatas: Wachet auf, Ruft uns die Stimme, or Awake, the Voice Calls to Us. In that 19th century catalog of Bach’s works, this is his Cantata No. 140.

The text is based on a Gospel parable recounting the story of the wise and foolish virgins, who are called, ready or not, to participate in a wedding feast. The opening choral melody may have been already familiar to Bach’s performers and congregation, but his dramatic setting of it is downright ingenious.

Music Played in Today's Program

J.S. Bach (1685-1750): Cantata No. 140 (Wachet auf, Ruft uns die Stimme); Bach Ensemble; Helmuth Rilling, conductor; Laudate 98.857

Synopsis

In 1944, while World War II ground on in Europe and Asia, David Diamond’s Rounds for String Orchestra received its premiere performance by the Minneapolis Symphony and its then conductor, Dimitri Mitropoulos. 

“Write me a happy work,” Mitropoulos had asked Diamond. “These are distressing times, most of the difficult music I play is distressing. Make me happy.”

To some in 1944, Rounds sounded as if Diamond had turned to traditional American folk music, but, as the composer put it, “the tunes are original. They sound like folk tunes, but they are really the essence of a style that must have been absorbed by osmosis.”

Even the stodgy conservative music critic of the St. Paul Pioneer Press expressed her grudging admiration. “It reveals a good deal of talent and resourcefulness” was her verdict.

Reviewing a subsequent Boston Symphony performance under Koussevitzky, New York Times critic Olin Downes was much more enthusiastic. He wrote, “It is admirably fashioned, joyous and vernal. There is laughter in the music.”

Rounds has gone on to become one of Diamond’s most frequently performed works. Perhaps joy and laughter in music remains as rare and precious a commodity now as it was back in those distressed days of 1944.

Music Played in Today's Program

David Diamond (1915-2005): Rounds; Los Angeles Chamber Orchestra; Gerard Schwarz, conductor; Nonesuch 79002

Synopsis

On today’s date in 1934, after 10 intense rehearsals, the Orquestra Sinfonica de Mexico, conducted by the Carlos Chávez, gave the premiere performance of the Symphony No. 2 of American composer Aaron Copland.

Copland’s Symphony No. 2 was titled The Short Symphony, but there was a lot packed into its 15-minute duration. He said, “The Short Symphony’s preoccupation is with complex rhythms, combined with clear textures. Sonority-wise, the most rhythmically complex moments have a certain lightness and clarity.”

“Shortly after its Mexican introduction, the piece was announced for an American premiere by Leopold Stokowski with the Philadelphia Orchestra but was never given,” Copland recalled. “A similarly announced performance by the Boston Symphony under Koussevitzsky was also cancelled. Both told me subsequently that they had announced performances because they had admired the work, but that the composition was so intricate from a rhythmic standpoint that they dared not attempt a performance within the allotted period.”

In 1937, Copland recast his Short Symphony as a chamber sextet, leaving the music fundamentally unchanged, but re-barring the score to make it less challenging for performers. It wasn’t until the 1980s, decades after its Mexican premiere, that his symphony was performed by American orchestras in its original form.

Music Played in Today's Program

Aaron Copland (1900-1990): Symphony No. 2 (Short Symphony); San Francisco Symphony; Michael Tilson Thomas, conductor; BMG 68541

Synopsis

Today is the Feast Day of St. Cecilia, the patron saint of music and musicians. Over time, her Feast Day came to be celebrated with special works composed in her honor, all extolling the power of music. Of these, the most famous were written by three great British composers: Henry Purcell, George Frederick Handel and Benjamin Britten.

In the 17th century, Henry Purcell wrote four cantatas, or odes for St. Cecilia’s Day. The most famous of these, Hail! Bright Cecilia! was written in 1692.

British poet John Dryden, a contemporary of Purcell’s, wrote two poems in praise of St. Cecilia. These attracted the attention of great British composer of the following century, George Frederick Handel. The first, Alexander’s Feast premiered in 1736 — oddly enough not on St. Cecilia’s Day — but proved so popular that Handel set Dryden’s other ode to St. Cecilia, From Harmony, Heavenly Harmony, and performed both pieces on today’s date in 1739.

Great 20th-century British composer Benjamin Britten was actually born on St. Cecilia’s Day in 1913. In the early 1940s, British poet W.H. Auden wrote Anthem for St. Cecilia’s Day for Britten, who set it to music in 1942.

Music Played in Today's Program

Henry Purcell (1659-1695): Hail Bright Cecilia!; Gabrieli Consort; Paul McCreesh; Archiv 445 882

George Frederic Handel (1685-1759): Ode for St. Cecilia’s Day; English Concert; Trevor Pinnock, conductor; Archiv 419 220

Benjamin Britten (1913-1976): Hymn to St. Cecilia; London Sinfonietta Voices; Virgin 90728

Synopsis

On today’s date in 1986, at the New England Conservatory of Music, a new choral work by American composer John Harbison received its premiere performance. The Flight into Egypt was scored for soprano, baritone, chorus and chamber orchestra, and would win the Pulitzer Prize for Music the following year.

The text for Harbison’s cantata is taken from the Gospel of Matthew describing the Holy Family’s escape into Egypt after the birth of Jesus and King Herod’s subsequent slaughter of all newborn male children in an attempt to kill this prophesied threat to his throne.

“The Flight began in a conversation with colleagues about Christmas texts. We talked about counseling experiences during Christmas season at Emmanuel Church, Boston, where we were all involved as musicians — a time when need, isolation, and anxiety increase. We agreed that the darker side of Christmas needs representation, especially now, as the distance widens between the privileged and the less fortunate,” Harbison recalled.

“At the beginning of The Flight into Egypt, is an oboe melody, exotic and forlorn, imitated by the other reed players,” Harbison continued. “The piece constantly hides and reveals its loyalty to the first oboe melody that guides the whole journey.”

Music Played in Today's Program

John Harbison (b. 1938): Flight into Egypt; Cantata Singers and Ensemble; David Hoose, conductor; New World 80395

Synopsis

American composer, singer, dancer and choreographer Meredith Monk was born in New York City on today’s date in 1942.

Monk attended Sarah Lawrence College, where she studied theatre, dance and music. After graduating in 1964, she began performing pieces that combined gesture and movement with vocal and visual elements. Around that time, a number of contemporary composers had begun stretching the boundaries of instrumental music, but, as she recalls, there wasn’t much happening regarding extended vocal techniques.

Monk began testing how she could stretch the range, timbre and character of her own singing, inventing a vocabulary based on her particular voice — as she explains it, just as a dancer would develop a vocabulary of movement particular to their body.

Considering her long-standing interest in integrating music with movement and visuals, opera seemed a natural outlet for Monk’s talents, and in 1993 she premiered a full-length opera, Atlas.

Atlas was inspired by the life of Alexandra David-Neel, a scientist who was the first Western woman to travel in Tibet. It seemed a natural choice for Monk, for whom exploration and curiosity are so important. “If I knew what I was looking for, it wouldn’t be that interesting,” she said.

Music Played in Today's Program

Meredith Monk (b. 1942): Atlas; Meredith Monk Ensemble; Wayne Hankin, conductor; ECM 1491

Synopsis

In the summer of 1936, the songwriting team of George and Ira Gershwin settled their affairs in New York, put their furniture in storage, and flew off to Hollywood to fulfill a contract with the RKO Studios. The Gershwins were to supply music for a series of new movies, some starring an old friend of theirs, dancer Fred Astaire.

In those days the big movie studios moved quickly, and so did the Gershwins. The first film in the contracted series, with Fred Astaire and Ginger Rogers as the romantic leads, was Shall We Dance and was completed, scored and released in less than a year.

On today’s date in 1937, RKO Studios released their second Gershwin collaboration, Damsel in Distress. This starred Astaire and Joan Fontaine, and included two songs that would become Gershwin classics: “A Foggy Day in London Town” and “Nice Work if You Can Get It.”

The release of Damsel in Distress, however, must have been a bittersweet event for the friends and family of George Gershwin: it proved to be the last major project Gershwin had completed before his untimely death on July 11 that same year following surgery to remove a brain tumor.

Music Played in Today's Program

George Gershwin (1898-1937): Damsel in Distress Suite (An American in London); (Hollywood Bowl Orchestra; John Mauceri, conductor; Philips 434 274

Synopsis

Falling in love with someone else’s spouse can result in divorce, emotional turmoil, or (in the case of composers) some very Romantic music.

Take the case of Brahms, who for most of his adult life carried a torch for Mrs. Clara Schumann, the wife of his friend and mentor, Robert Schumann. Brahms’ Piano Quartet No. 3 was conceived during an especially turbulent period in his relationship with the Schumanns. When finished, Brahms wrote to his publisher, “On the cover you must have a picture, namely a head with a pistol to it. I’ll send you my photograph, and since you like color printing, you can use blue coat, yellow breeches, and top-boots.”

That garb was favored by Young Werther, the Romantic hero in a novel by Goethe, who commits suicide after falling in love with a married woman.

Coincidentally, in the audience for the Viennese premiere of Brahms’ quartet on today’s date in 1875 were Richard and Cosima Wagner. Cosima had run off with Wagner while she was still married to famous conductor Hans von Bulow, but her diary entry for November 18 suggests she didn’t find anything Romantic in Brahms or his music. She wrote, “[Brahms], a red-faced, crude-looking man, his music dry and stilted.”

Music Played in Today's Program

Johannes Brahms (1833-1897): Piano Quartet No. 3; Ames Piano Quartet; Dorian 90217

Synopsis

The intimate combination of flute and guitar has proven to be an attractive one for a number of composers — and if the composer herself plays the flute, so much the better.

Canyon Echoes, written by the American composer and flutist Katherine Hoover premiered on today’s date in 1991 at the Walker Art Center in Minneapolis by flutist Susan Morris De Jong and guitarist Jeffrey Van.

Katherine Hoover gave her Canyon Echoes a subtitle: An Apache Folktale.

“This piece was inspired by a book called The Flute Player, a simple and beautifully illustrated retelling of an Apache folktale by Michael Lacapa,” Hoover explained. “It is the story of two young Apaches from different areas of a large canyon. They meet at a Hoop Dance, and dance only with each other. The next day, as the girl works up on the side of the canyon in her father's fields, the boy sits below by a stream and plays his flute for her (flute-playing was a common manner of courtship). She puts a leaf in the stream which flows down to him, so he knows she hears.”

Music Played in Today's Program

Katherine Hoover (1937-2018): Canyon Echoes (Duologue); Susan Morris De Jong, flute; Jeffrey Van, guitar; Gasparo 336

Synopsis

In the year 1900, German-born conductor Fritz Scheel arranged for two orchestral programs in Philadelphia billed as the Philippines Concerts. These were benefits, as contemporary ads put it: “for the relief of families of the nation’s heroes killed in the Philippines.” The previous year U.S. troops had fought a guerrilla army in the Philippines and had suffered heavy casualties.  

The concerts proved so successful that Philadelphians decided Scheel’s pick-up orchestra should become instead a permanent ensemble, similar to the orchestras of New York and Boston. And so, on today’s date in 1900, the first official concert of the Philadelphia Orchestra took place at the Academy of Music, offering a program of Goldmark, Beethoven, Tchaikovsky, Weber and Wagner.

During the century that followed, the fame of the Philadelphia Orchestra spread worldwide via recordings made by the orchestra’s famous maestros Leopold Stokowski and Eugene Ormandy, who gave many U.S. and world premiere performances of works by European and American composers.

In 1940, Russian composer Sergei Rachmaninoff, on the occasion of the premiere of his Symphonic Dances by the Philadelphians, paid the orchestra this compliment: “Today, when I think of composing, my thoughts turn to you, the greatest orchestra in the world.”

Music Played in Today's Program

Richard Wagner (1813-1883): Act I Prelude, from Die Meistersinger; Philadelphia Orchestra; Eugene Ormandy, conductor; CBS 38914

Sergei Rachmaninoff (1873-1943): Symphonic Dances; Philadelphia Orchestra; Charles Dutoit, conductor; London 433 181

Synopsis

Today is the birthday of a quite remarkable 18th century British composer, Sir William Herschel, who was born in Hannover, Germany on this date in 1738.

Herschel’s father was a regimental oboist, and young William himself eventually joined papa’s regimental band — also as an oboist. In his early 20s he settled in England, was active in Newcastle, Leeds, Halifax and Bath, and in time became a prominent figure on the music scene, attracting the attention of the Royal Family. He composed 24 symphonies and a number of concertos.

In addition to music, Herschel had a passion for astronomy, and, beginning in the 1770s, concentrated more and more of his attention on scientific matters. In 1781, he discovered the planet Uranus, a feat that made him famous throughout Europe. Herschel was named Astronomer Royal to the British crown and given a pension that enabled him to give up music and devote himself entirely to astronomy.

Haydn, during his stay in England, paid Herschel a visit to take a peek through his impressive 40-foot telescope. Herschel was knighted in 1817 and became the first president of the Royal Astronomical Society in 1821. He died the following year, in 1822, at 83.

Music Played in Today's Program

William Herschel (1738-1822): Oboe Concerto; Richard Woodhams, oboe; The Mozart Orchestra; Davis Jerome, conductor; Newport Classic 85612

Gustav Holst (1874-1934): Uranus, from The Planets; Philharmonia Orchestra; Simon Rattle, conductor; EMI 9513

Synopsis

In fall 1995, American composer Andrew Waggoner received a commission from the Bohuslav Martinu Philharmonic of the Czech Republic for a new orchestral work, which was premiered on today’s date in 1996.

“I had a symphony in my mind for some time and decided that this was the chance I needed to see it through,” Waggoner wrote.

The resulting work, Waggoner’s Symphony No. 2, opens with a solo for the cello, an elegy, perhaps, for cellist Anna Cholakian, the founding member of the Cassatt Quartet, who had died from cancer while Waggoner was working on the piece.

“Quite unexpectedly, and for the first time in my life as a composer, the piece began to draw from everything around it,” Waggoner wrote, including some recycled elements from his own music, including a setting of one of the Holy Sonnets by 17th century British poet John Donne.

Waggoner was born in New Orleans in 1960, and studied music at the Eastman School and Cornell University. In addition to his composition work, he’s worked as an announcer and producer for public radio stations WXXI in Rochester and WNYC in New York. His Symphony No. 2 was recorded by the same Czech orchestra that premiered it.

Music Played in Today's Program

Andrew Waggoner (b. 1960): Symphony No. 2; Bohuslav Martinu Philharmonic; Petr Pololanik, conductor; CRI 884

Synopsis

On today’s date in 1940, Disney’s animated film Fantasia opened at New York’s Broadway Theater.

Disney’s film was a milestone in cultural crossover, in which classical music — in the person of conductor Leopold Stokowski — shook hands (literally and figuratively) with pop culture — in the person of Mickey Mouse.

It was also a milestone in cinematic sound. For its initial East and West Coast release, the Philadelphia Orchestra recorded nine special tracks, one for each section of the orchestra. These were mixed by Stokowski into a 4-track stereo soundtrack to be played in synchronization with the film on special equipment made by RCA for a multiple-loudspeaker theater installation called “Fantasound.” Three large speakers were positioned behind the projection screen, and no fewer than 65 smaller speakers were placed around the walls of the theater.

The resulting surround-sound was stunning by 1940 standards, but cost $85,000 to set up. After the second full installation at the Carthay Circle Theater in Los Angeles, “Fantasound” was not employed anywhere else. Instead, eight reduced “Fantasia Road Show” speaker set- ups toured American movie theaters until 1941, when, following the outbreak of World War II, Disney diverted his funds, technology and even Mickey Mouse toward the war effort.

Music Played in Today's Program

Bach, Tchaikovsky, Dukas, Stravinsky, Beethoven, Ponchielli, Mussorgsky and Schubert: excerpts from Fantasia soundtrack; Philadelphia Orchestra; Leopold Stokowski, conductor; Buena Vista 600072

Synopsis

For the ideal performance of Makrokosmos II: Twelve fantasy pieces after the Zodiac, by American composer George Crumb, one should perhaps be outdoors in a remote clearing under a crystalline canopy of stars.

For the record, the premiere performance of Crumb’s suite for amplified piano took place indoors at Alice Tully Hall in New York City on today’s date in 1974, at a recital of new American works given by pianist Robert Miller.

In his program notes, Miller offered these words about Crumb’s Makrokosmos II:

“Each of the 12 pieces is associated with a different sign of the Zodiac, and is written out in a very precise notation, but the music will at times sound … almost improvisatory. The piano has become an orchestra unto itself. There is an enormously wide range of sound, timbre, touch, dynamics, etc.”

One use of quotation by Crumb is beautifully subtle. In the eleventh piece, Litany of the Galactic Bells, the opening music — a shimmering bell effect which recalls the coronation scene from Mussorgsky’s Boris Godunov — gradually subsides and moves almost imperceptibly into a short excerpt from Beethoven’s Hammerklavier Sonata. The effect is somewhat like the changing colors of a prism.”

Music Played in Today's Program

George Crumb (1929-2022): Makrokosmos No. 2 (Laurie Hudicek, piano) Furious Artisans 6805

Synopsis

On today’s date in 1923, the League of Composers presented its first chamber concert in New York City. Their stated mission was to present music by living composers whose works represented new trends in music.

Their opening concert included a world premiere: a piano quintet by Swiss composer Ernest Bloch, who was then living in America. While not a radical work, Bloch’s quintet was strong stuff for 1923, and even included some quartertone elements.

The New York Times critic was impressed, but not won over, writing, “To the inevitable question, ‘Do you like it?’ it seems almost impossible to answer, but if pressed I should say, no, not for any fault in the work but simply because of its too apparent determination to be emotionally stirring.”

British critic Ernest Newmann, on the other hand, singled out Bloch’s First Quintet for special praise. “No other piece of chamber music produced in any country during that period can be placed in the same class with it.”

For his part, Bloch said simply, “I write without any regard to please either the so-called ‘ultra-moderns’ or the so-called ‘old-fashioned.’”

Music Played in Today's Program

Ernest Bloch (1880-1959): Piano Quintet No. 1; Portland String Quartet; Paul Posnak, piano; Arabesque 6618

Synopsis

On today’s date in 1910, Gustav Mahler conducted the New York Philharmonic in a concert billed as “the first of a series arranged in chronological sequence, comprising the most famous composers from the period of Bach to the present day.”

Mahler’s program included works of Handel, Rameau, Gretry and Haydn, and opened with his own arrangement of music from Bach’s Orchestral Suites.

Now, Bach’s music had been appearing on Philharmonic programs for decades, but some were shocked to see how Mahler presented it. Rather than standing in front of the orchestra with his baton, Mahler led the orchestra seated at the keyboard of a Bach-Klavier (a Steinway piano whose action had been tinkered with to make it sound more like a harpsichord). That bit of “historically informed performance” was something brand new back then.

In a letter to a friend back in Europe, Mahler wrote, “I had great fun recently with a Bach concert, for which I worked out the basso continuo conducting and improvising quite in the style of the old masters … this produced a number of surprises for me — and also for the audience. It was as though a floodlight had been turned on to this long-buried literature.”

Music Played in Today's Program

J.S. Bach (1685-1750) (arr. Gustav Mahler): Orchestral Suite; Berlin Radio Symphony; Peter Schwarz, conductor; Schwann 11637

Synopsis

If you’ve ever attended a live symphony concert, you’re familiar with the routine: before anyone starts playing, before the conductor even steps on stage, the principal oboist sounds an “A” — and the other musicians tune their instruments to that pitch.

On today’s date in 1975, a few people in the audience at Carnegie Hall might have been surprised to hear this familiar ritual segue directly into the opening of John Corigliano’s new Oboe Concerto, which was receiving its premiere performance by oboist Burt Lucarelli and the American Symphony orchestra.

The first movement of Corigliano’s Concerto is titled Tuning Game, followed by a Song-Scherzo, Aria and a final Dance. This form, Corigliano said, arose “from the different aspects of the oboe … the coloratura qualities of the oboe are emphasized in the Aria movement, for example, but the whole Concerto is highly theatrical, virtuoso music for both soloist and orchestra.”

Theatrical is right! The final dance movement was inspired by the sound of the rhaita, or Morrocan oboe. According to Corigliano: “I was fascinated by the rhaita’s sound, heady and forceful ... but having an infectiously exciting quality. I first heard the instrument in Marrakech in 1966, serenading a cobra.”

Music Played in Today's Program

John Corigliano (b. 1938): Oboe Concerto; Humbert Lucarelli, oboe; American Symphony; Kazuyoshi Akiyama, conductor; RCA/BMG 60395

Synopsis

Okay, here’s a cocktail party question for music fans: “What do James Brown — the master of funk — and Soviet symphonic composer Dmitri Shostakovich have in common?”

The answer is Stomp, a piece by Seattle-based composer David Schiff that premiered on today’s date in 1990 at Alice Tully Hall in New York City at a concert by Marin Alsop’s Concordia orchestra.

For starters, on the score of Stomp, Schiff includes a reference to James Brown’s music, instructing the players, “Every instrument is treated like a drum.” Also, during its opening, there’s a staccato rhythm based on Brown’s iconic tune, “I Feel Good.”

And the Shostakovich connection? Well, Schiff confesses to modeling Stomp on the opening movement of that composer’s Symphony No. 9, right down to a strict imitation of Shostakovich’s repeat of the exposition, in sonata-form style.

On the origin and subsequent use of Stomp, Schiff said, “Marin Alsop conducted one of my pieces at Tanglewood in 1988 and later asked me for a new orchestral piece for her Concordia orchestra; since then, Stomp has since been played by many orchestras including the L.A. Philharmonic, who took it to high schools to demonstrate that classical music could be really loud.”

Music Played in Today's Program

David Schiff (b. 1945): Stomp; Baltimore Sym; David Zinman, conductor; Argo 444 454-2

Synopsis

On today’s date in 1940, the Chicago Symphony helped celebrate their 50th anniversary with the premiere performance of a specially commissioned symphony from famous Russian composer Igor Stravinsky.

Stravinsky himself was on hand to conduct his Symphony in C — a work that attracted a great deal of attention at the time. For starters, writing a symphony in the key of C Major seemed a defiantly anti-modern gesture at a time when Arnold Schoenberg’s twelve tone method of composition was gaining ground with prominent American musicians and critics.

Traditionally, C Major was deemed a “happy” or “bright” key, but Stravinsky composed his Symphony during one of the unhappiest periods of his life, when his wife, his mother and one of his daughters had all died in rapid succession.

“It is no exaggeration to say that in the following weeks I was able to continue my own life only by my work on the Symphony in C,” Stravinsky wrote. “But I did not seek to overcome my grief by portraying or giving expression to it in music, and you will listen in vain, I think, for traces of this sort of personal emotion.”

Music Played in Today's Program

Igor Stravinsky (1882-1971): Symphony in C; Chicago Symphony; Georg Solti, conductor; London 458 898