SynopsisOn today’s date in 1777, the German composer Christoph Willibald Gluck was baffled by Parisian audiences and wrote these lines to a friend:“I am so much disgusted with music that at present that I would not write one single note for any amount of money … Never has a more keenly-fought battle been waged than by the enemies of my new opera, Armide. The intrigues against my previous operas were no more than little skirmishes in comparison. Admirers tell me, ‘Sir, you are fortunate to be enjoying the honor of persecution’ and ‘every genius has had the same experience’— Bah! To the devil with their fine speeches!“Still, yesterday, at the eighth performance of Armide, the hall was so tightly packed that when a man was asked to take off his hat, he replied, ‘Come and take it off yourself, I can’t move my arms!’ — which caused laughter. I have seen people coming out with their hair bedraggled and their clothes drenched as though they had fallen into a stream. Only the French would pay for such an experience!”Gluck would ultimately triumph in Paris and could count among his most ardent supporters none other than the French queen, Marie Antoinette — who presumably had a much cooler and certainly less crowded box at the opera.Music Played in Today's ProgramChristoph Willibald von Gluck (1714-1787): Act Two Aria from Armide; Rockwell Blake, tenor; Monte Carlo Philharmonic; Patrick Fournillier, conductor; EMI 55058Christoph Willibald von Gluck (1714-1787): Don Juan Ballet Music; Rhine Chamber Orchestra of Cologne; Jan Corazolla, conductor; Christophorus 74507
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Kern's 'Show Boat' is launched in D.C.
SynopsisToday’s date marks the anniversary of the first performance of Jerome Kern’s Show Boat, produced in 1927 at the National Theater in Washington, D.C. by Florenz Ziegfeld.Show Boat’s book and lyrics were by Oscar Hammerstein II, adapted from Edna Ferber’s novel, which had been published only the year before. It was a most unusual story for a musical, and dealt frankly with alcoholism and interracial marriage. Mixing tragic and comic elements was something simply unheard of in American musical theater of that time.Ziegfeld’s secretary recalled that before the Washington premiere, he fretted that audiences would be disappointed that the girls on stage were wearing much too much clothing for a typical Ziegfeld show. There was little or no applause following the November 15 premiere, and he assumed that Show Boat was a flop. But the Washington audiences were simply too stunned to react.When Ziegfeld’s secretary told his boss that there were long lines waiting to buy tickets for subsequent performances, at first he didn’t believe it. But by the time Show Boat opened on Broadway the following month, even the great Ziegfeld knew he had a hit on his hands — and one based on great music and a powerful book, with nary a scantily-glad show girl in sight!Music Played in Today's ProgramJerome Kern (1885-1945): Selections from Show Boat; Royal Liverpool Philharmonic; Carl Davis, conductor; EMI 4573
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An important date for Copland and Bernstein
SynopsisIf ever there was a red-letter day in American music, November 14 must surely be it. For starters, it’s the birthday of Aaron Copland, who was born in New York City on today’s date in 1900 — and then there’s all that happened on November 14 in the life of Leonard Bernstein.Here’s how Bernstein explained it: “I never forget a Copland birthday. Two of the most important events of my life happened on November 14 — the first in 1937 when Aaron and I met for the first time … Now, I worried and complained terrifically back then and always took my troubles to Aaron, who would tell me to ’stop whining.’ He seemed to have such complete confidence in me that he didn’t show a bit of surprise when on Sunday, November 14, 1943, I made a dramatic success by filling in for the ailing Bruno Walter and conducting the New York Philharmonic. All Aaron’s predications came true — and on his birthday!”As if that weren’t enough, in 1954, again on Copland’s birthday, Bernstein made his TV debut presenting Beethoven’s draft sketches for the opening of his Symphony No. 5. It proved a smash success — and led to Bernstein’s televised Young Person’s Concerts that brought classical music to millions of Americans coast to coast.Music Played in Today's ProgramAaron Copland (1900-1990): Piano Blues No. 3; James Tocco, piano; MPR 201
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Casals and Copland at the White House
SynopsisOn this date in 1961, cellist Pablo Casals gave a chamber concert at the White House, at the invitation of President John F. Kennedy. The concert was given in honor of Governor Luis Muñoz of Puerto Rico, the home of Pablo Casals. Casals played works of Mendelssohn, Schumann and Couperin, with his own composition, Song of the Birds, as an encore.While eminent guests raved over the performance, the cellist’s laconic comment was simply, “It went well.” Casals could afford to be blasé. After all, he had played at the White House before — for President Teddy Roosevelt back in 1904!Aaron Copland was also invited to the November 13th White House concert in 1961. In a diary entry, he noted: “Pierre Salinger and Senator Mike Mansfield were at our table. President Kennedy was in full view the entire time… I was surprised at his reddish-brown hair. No evil in the face, but plenty of ambition there, no doubt. Mrs. K. statuesque … After dinner we were treated to a concert by Pablo Casals. No American music. The next step.”That “next step” came the following spring. In May of 1962, the Kennedys presented Copland’s ballet Billy the Kid at the White House for the visiting president of the Ivory Coast Republic, with Copland as guest of honor.Music Played in Today's ProgramPablo Casals (1876-1973): Song of the Birds; Patrick Demenga, cello; Gerard Wyss, piano; Novalis 150117Aaron Copland (1900-1990): Billy the Kid Ballet; Dallas Symphony; Eduardo Mata, conductor; Dorian 90170
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William Schuman writes a 'Symphony for Strings'
SynopsisOn today’s date in 1943, the Boston Symphony and conductor Serge Koussevitzky gave the first performance of a Symphony for Strings by American composer William Schuman.Schuman was 33 at the time, but Koussevitzky had already been programming and commissioning his music for about five years. Koussevitzky had already given the premiere performances of his popular American Festival Overture and Symphony No. 3.Schuman’s Symphony for Strings is dedicated to the memory of Koussevitzky’s wife, Natalie, whose family fortune had enabled Koussevitzky to establish himself as a conductor, found a publishing house, and commission many of the 20th century’s most significant works, including Stravinsky’s Symphony of Psalms and Bartok’s Concerto for Orchestra.In Russia, the Koussevitzkys championed Russian music. In France, they supported French composers. And, beginning in 1924, when Koussevitzky became the music director of the Boston Symphony, many American composers benefited from this remarkable couple’s enthusiasm for new music. Symphony for Strings is just one of a long list of the Koussevitzky’s American commissions, which includes works by Aaron Copland, Roy Harris, Samuel Barber, Walter Piston and Leonard Bernstein.Taken as a whole, the concert music commissioned by Serge and Natalie Koussevitzky remains one of the most remarkable musical legacies of the 20th century.Music Played in Today's ProgramWilliam Schuman (1910-1992): Symphony No. 5 (Symphony for Strings); I Musici de Montreal; Yuli Turovsky, conductor; Chandos 9848
Composers Datebook™ is a daily two-minute program designed to inform, engage, and entertain listeners with timely information about composers of the past and present. Each program notes significant or intriguing musical events involving composers of the past and present, with appropriate and accessible music related to each.
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