Composers Datebook

Synopsis

On today’s date in 1951, the classic sci-fi film The Day the Earth Stood Still was playing in theaters across America. The film’s opening sequence depicted a UFO hovering over Washington, D.C. Back then, flying saucer sightings were increasingly common, perhaps a result of mass hysteria spawned by cold war tensions and the existential threat posed by the atomic bomb. Or maybe we were being visited by other planets?

In any case, the movie made a big impression at the time, and countless kids — and probably a few adults as well — memorized the magic words “Gort: Klaatu barada nikto” which, in the film, prevented Washington DC’s destruction by a death-ray robot.

Fast forward nearly 50 years to 1999, when Washington, D.C.’s National Symphony premiered a new concerto for percussion and orchestra, specially composed for virtuoso percussionist Evelyn Glennie by American composer Michael Daugherty.

Inspired by the outer-space look of her percussion gear, Daugherty titled his piece UFO and asked that the soloist arrive unexpectedly and dressed as a space alien! In performance, she moved through the audience and around the stage while performing sleight-of-hand improvisations on a variety of flying saucer-like percussive instruments.

Music Played in Today's Program

Bernard Herrmann (1911-1975): The Day the Earth Stood Still film score; National Philharmonic; Bernard Herrmann, conductor; London 443 899

Michael Daugherty (b. 1954): UFO; Evelyn Glennie, percussion; North Texas Wind Symphony; Eugene Migliaro Corporon, conductor; Klavier 11121

Synopsis

In September 2001, American composer Elliott Carter was just a few months shy of his 93rd birthday, but still busy composing new works both large and small.

On today’s date that year, his Cello Concerto received its premiere in Chicago with cellist Yo-Yo Ma and Daniel Barenboim conducting the Chicago Symphony.

Carter’s music is technically challenging for performers, and its complexity can make it equally challenging for audiences, especially at first hearing. Despite all that, his comments on his music were usually quite straightforward:

“In this score I have tried to find meaningful, personal ways of revealing the cello’s vast array of wonderful possibilities,” he wrote. “My Concerto is introduced by the soloist alone, playing a frequently interrupted cantilena that presents ideas later to be expanded into movements.”

A month after its premiere, Ma, Barenboim and the Chicago Symphony brought the new work to Carnegie Hall, and the New York Times reviewer Anthony Tommasini wrote:

“For all its complexities … the cello part has a rhapsodic, improvisatory quality … At its conclusion, when Mr. Carter, who is 92, climbed the steps to the stage with a cane to steady him, he received a prolonged standing ovation.”

Music Played in Today's Program

Elliott Carter (1908-2012): Cello Concerto; Alisa Weilerstein; Staatskapelle Berlin; Daniel Barenboim conductor; Decca 478 2735

Synopsis

Today’s date in 1899 marks the birthday of famous African-American composer, choir director and teacher, William L. Dawson, in Anniston, Alabama. After musical studies in Kansas City and Chicago, from 1931 to 1956 Dawson taught at the Tuskegee Institute, where he developed the Institute’s Choir into an internationally-renowned ensemble.

His arrangements of African-American spirituals, which he preferred to call folksongs, are justly famous, but in 1934 he produced his masterwork, a Negro Folk Symphony, modeled on Dvorak’s New World Symphony, but exhibiting his own distinctive mastery and development of his themes. His goal, he said, was for audiences to know that it was “unmistakably not the work of a white man.”

“The themes are taken from what are popularly known as Negro Spirituals. In this composition, the composer has employed themes … over which he has brooded since childhood, having learned them at his mother’s knee,” he wrote.

Dawson’s symphony was successfully premiered by Leopold Stokowski and the Philadelphia Orchestra, who took the new work to Carnegie Hall, where its 35-year-old composer was repeatedly called to the stage. The symphony was revised in 1952 with added African rhythms inspired by the composer’s trip to West Africa.

Music Played in Today's Program

William L. Dawson (1899-1990): Negro Folk Symphony; Symphony of the Air; Leopold Stokowski, conductor; DG 477 6502

Synopsis

“Spaghetti western” is a nickname given to a genre of Italian films from the 1960s, most famously directed by Sergio Leone, and often starring Clint Eastwood as the taciturn, gun-toting anti-hero.

Spaghetti Western also is the title of a concerto for English horn written by American composer Michael Daugherty that received its premiere performance on today’s date in 1998 at a Pittsburgh Symphony concert conducted by Mariss Jansons.

“Just as Leone’s films redefined the Western genre from an Italian perspective, I redefine the European concerto … within an American context. In my Spaghetti Western, the English horn soloist is the ‘Man with no Name,’ moving through a series of sun-drenched panoramas, barren deserts, and desolate towns of the Wild West, … [one of ] the gun-slinging characters who haunt the landscape,” he wrote.

Daugherty gave Italian titles to his three-movement concerto: “Strade Vuote” (“Empty Streets”), “Assalto all’Oro” (“Gold Rush”) and “Mezzogiorno di Fuoco” (“Noon of Fire”). And since Eastwood was unable to play the English horn for the Pittsburgh Symphony premiere, Harold Smoliar removed the cigar from his parched, suntanned lips, adjusted his poncho and took up his English horn for the performance.

Music Played in Today's Program

Michael Daugherty (b. 1954): Spaghetti Western; Harold Smoliar; University of Michigan Symphony; Kenneth Kiesler, conductor; Equilibrium 63

Synopsis

On today’s date in 1875, one of the greatest musical match-makers of all time died in Spartanburg, South Carolina. His name was William Walker, an American Baptist shape-note-singing master who published several collections of traditional shape note tunes.

“Shape note” refers to a simple musical notation designed for communal singing. In his 1835 collection, Southern Harmony, Walker married a shape-note tune known as “New Britain” to the text of “Amazing Grace,” a hymn written by Anglican clergyman and abolitionist, John Newton.

Walker’s collection was a bestseller in the 19th century, and two centuries later, “Amazing Grace” has become one of the best-known and best-loved hymns of our time.

In 2011, a new orchestral fanfare based on “Amazing Grace,” by African-American composer Adolphus Hailstork, was published and subsequently recorded by the Virginia Symphony — appropriately enough, since Hailstork has served as professor of music and composer-in-residence at Virginia’s Norfolk State and Old Dominion universities, and in 1992 was named a cultural laureate of Virginia. In addition to this fanfare, Hailstork’s works range from choral and chamber pieces to symphonies and operas.

Music Played in Today's Program

Adolphus Hailstork (b. 1941): Fanfare on “Amazing Grace”; Virginia Symphony; JoAnne Faletta, conductor; Naxos 8559722