Composers Datebook

Synopsis

In the 19th century, much like today, New Yorkers looking for musical entertainment had a lot to choose from. For example, on today’s date in 1871, the options included these three offerings:

First: at Lina Edwin’s Theater, a musical burlesque, Pluto, which The New York Times billed as an “Anglicized and condensed” version of Jacques Offenbach’s racy operetta, Orpheus in the Underworld, with interpolated comic sketches and monologues by the show’s star, the Jerry Seinfeld of the day, the ever-popular comedian Mr. Lingard.

Second: for the more serious sort, the American staged premiere of Richard Wagner’s opera, Lohengrin, at the Stadt Theater. The Times noted that Wagner’s opera was “brought out in Germany some 20 years earlier but was unknown here in its entirety until now.” A large audience showed up for the “entirety” of “Lohengrin,” which lasted over four hours and ended around midnight.

Finally: at Broadway’s Minstrel Hall, directly from Japan, Satsuma’s Circus offered the amazing Mr. Yadunochi, who first smoked a pipe, then ate it, then while playing on a flute expelled the pipe’s smoke through his instrument; for his finale, Mr. Yadunochi reproduced, as the Times put it “the original pipe whole and unsullied.” Now, that’s entertainment!

Music Played in Today's Program

Jacques Offenbach (1819-1890) (arr. Rosenthal): Cancan from Gaite Parisienne; Montréal Symphony; Charles Dutoit, conductor; London 430 718

Richard Wagner (1813-1883): Act 3 Prelude from Lohengrin; Berlin Philharmonic; Daniel Barenboim, conductor; Teldec 81791

Kozaburo Hirai (1910-2002): Sonata; Kazue Frances Asawa, flute; Kazue Kudo, koto; Crystal 316

Synopsis

On today’s date in 1961, American composer Wallingford Riegger died in New York City, a month shy of what would have been his 76th birthday.

Riegger was born in Albany, Georgia, in 1885. Like many American musicians back then, he studied in Germany. In the years before America entered World War I, Riegger worked in both the US and Europe: for three years he was the principal cellist with the St. Paul Symphony in Minnesota; he then served as an assistant voice coach and conductor at German opera houses in Würzburg and Königsberg.

Returning home in 1918, Riegger spent ten years teaching, eventually settling in New York in 1928. There he got to know Henry Cowell, Charles Ives, and other “ultra-modern” composers. Riegger’s early music had been in the traditional mode, but he quickly established himself as one of the leading figures in the more experimental American music scene.

In the 1930s, Riegger, like Copland, worked with the pioneers of modern American dance, including Martha Graham, and composed ballet scores. From 1938 on, however, he concentrated on non-theatrical scores, including symphonies and chamber works.

Riegger’s mature works blend atonality with traditional musical forms and dance rhythms, even on occasion some jazzy American syncopation.

Music Played in Today's Program

Wallingford Riegger (1885-1961): Wind Quintet; New York Woodwind Quintet; Bridge 9068

Synopsis

On this date in 1747, London concert-goers gathered in response to a newspaper announcement, which read, “At the Theatre-Royal in Covent-Garden will be perform’d a new oratorio, call’d Judas Maccabaeus … no person to be admitted without tickets … at half a guinea each.”

The composer of this piece was George Frideric Handel. Over time, one choral tune in Judas Maccabaeus, “See, the Conqu’ring Hero Comes,” became something generations of audience members would whistle or hum on their way home.

Oddly enough, audiences wouldn’t have heard that tune at the 1747 premiere, since Handel only added it to his score years later, after first using it in another oratorio altogether.

Fifty years after the oratorio’s premiere, Beethoven composed 12 variations on “See, the Conqu’ring Hero Comes” for piano and cello, and 90 years after Beethoven, the melody was used for an Easter hymn some of us know as Thine Be the Glory.

The tune also appears in a much rowdier context during the annual Last Night of the Proms concert in London, since it crops up in Henry Wood’s Fantasia on British Sea Songs, an almost obligatory party piece played on that occasion

Music Played in Today's Program

Ludwig van Beethoven (1770-1827): Variations on Handel’s ‘See, the conquering hero comes’; Henry Wood, conductor; Fantasia on British Sea Songs

Synopsis

On today’s date in 1837, Princess Cristina Belgiojoso-Trivulzio, scored the social coup of the season at her Parisian salon. Ostensibly, it was the culmination of a three-day fundraiser in aid of Italian political refugees, but it really was the artistic equivalent of a prize fight — the fists in question pummeling the piano keyboard, a digital confrontation of the two leading virtuoso pianists of the day, Sigismund Thalberg and Franz Liszt.

Thalberg was up first, playing his own Fantasy on Themes from Rossini’s opera, Moses.  Liszt followed with one of his fantasias based on operatic themes. The music critic for the prestigious Journal des Debats was present, and he wrote, “Never was Liszt more controlled, more thoughtful, more energetic, more passionate. Never has Thalberg played with greater verve and tenderness. Each used every one of his resources. It was an admirable joust. The most profound silence fell over the noble crowd assembled, and, finally, Liszt and Thalberg were both proclaimed victors by this glittering and intelligent assembly. Thus: two victors and no vanquished.”

When asked for her verdict who had “won” the contest, the hostess, Princess Cristina replied with consummate diplomacy: “Thalberg is the first pianist in the  world — Liszt is unique,” she said.

Music Played in Today's Program

Sigismund Thalberg (1812-1871): Fantasy on Rossini’s ‘The siege of Corinth’; Francesco Nicolosi, piano; Marco Polo 8.223367

Franz Liszt (1811-1886): Fantasia on Italian Operatic Melodies; Andreas Pistorius, piano Capriccio 10076

Synopsis

In 2002, film director Godfrey Reggio released his latest movie. Naqoyqatsi — the Hopi word for “life as war” — was Reggio’s third and final installment in a trilogy of unusual, non-narrative films, all with Hopi titles, each comprised of visually striking, collage-like visuals set against hypnotic film scores by American composer Philip Glass.

Naqoyqatsi may have been a non-narrative film, Reggio described his 2002 film as a symphony in three movements, and even provided descriptive titles: Movement 1 — “language and place gives way to numerical code and virtual reality”; Movement 2 — “life becomes a game”; Movement 3 — “a world that language can no longer describe.”

Fast forward ten years to 2012, when Glass had been commissioned to turn his Naqoyqatsi film score into a concert work for cello and orchestra. In the film score, solos played by famous cellist Yo-Yo Ma featured prominently, so this “repurposing” of film score seemed a logical step.

And so, on today’s date in 2012, Glass’ Cello Concerto No. 2, Naqoyqatsi, received its premiere performance with the Cincinnati Symphony conducted by Dennis Russell Davies and Matt Haimowitz as the cello soloist.

Music Played in Today's Program

Philip Glass (b. 1938): Cello Concerto No. 2 (Naqoyqatsi); Matt Haimovitz, cello; Cincinnati Symphony; Dennis Russell Davies, conductor; Orange Mountain Music CD 0087