Saturday, July 25 2015

---FIRST HALF HOUR---

:04—Emmanuel Chabrier (1841-1894): “Idyll,” from “Suite pastorale,” 1880, orch. 1885, Neeme Jarvi, Orchestre de la Suisse Romande [Chandos 5122]. This was written more than a decade before Debussy’s non-juvenile works.

:09—Cesar Franck (1822-1890): Prelude, from Prelude, Fugue & Variation, Op. 18, 1862, Paul Crossley, piano [ SK 58914]. Transcribed for piano but originally for organ. Bizet was a fan of it.

--SEGUE—

:15—Cesar Franck (1822-1890): “Psyche,” first move., 1887, Peter Lucker, Savarian Symphony [Hungaroton 31360]. (Savaria is western Hungary.)

:26—Gabriel Faure (1845-1924): “Sicilienne,” Op. 78, 1898, Steve Isserlis, cello; Pascal Devoyon, piano [RCA Victor 68049]. This is the original version of the piece.

---SECOND HALF HOUR---

:30—Saint-Saens (1835-1921): Violin Sonata No. 1, Op. 75, 1885, first move., Andres Cardenes, violin, and Doris Stevenson, piano [Arabesque 26619]. The next thing he wrote: “Carnival of the Animals.” In 1885 Debussy was 23 and Ravel was 10.

:37--Emmanuel Chabrier (1841-1894): “Espana,” 1883, John Eliot Gardiner, Vienna Philharmonic [DG 447 751]. His most popular work, an apotheosis of French music inspired by Spain.

:43—Saint-Saens (1835-1921): Quartet in B flat major, Op. 41, second move., 1875, Cristina Ortiz and members of the Fine Arts Quartet [Naxos 8.572904].

:50—Ernest Fanelli (1860-1917): “On the Nile,” 1883, Adriano, Slovak Radio Symphony [Marco Polo 5234]. From a ballet suite, not performed until 1913, when it caused a stir among Paris musicians and critics, who argued when Fanelli was the first Impressionist.

---THIRD HALF HOUR---

:04—Cesar Franck (1822-1890): “The Accursed Huntsman,” finale, Peter Lucker, Savarian Symphony [Hungaroton 31360]. Based on an August Burger poem, “The Wild Hunt,” about a German count who goes hunting on Sunday instead of going to church, and comes to a bad end.

:08—Cesar Franck (1822-1890): Violin Sonata, second move., 1886, Midori w/Robert McDonald, piano [SK 63331]. Easily Franck’s best-known chamber work, it was written, when Franck was 63, as a wedding present for violinist Eugene Ysaye, who did a quick rehearsal with wedding guest Leontine Bordes-Pene and then he nand she performed it for the others at the wedding reception. A couple months later they gave its public premiere in the dark when the museum venue in Brussels forbade artificial light.

:17—Cesar Franck (1822-1890): Piano Quintet, finale, 1880, Michael Levinas, piano w/Ludwig Quartet [Naxos 8.553645]. Camille Saint-Saens played piano at the premiere but was rumored to have thought the score was too erotic and discouraged performances.

:27--Cesar Franck (1822-1890): “Psyche Awakes with the Zephyrs,” from “Psyche,” Daniel Barenboim, Orchestre de Paris, [DG 476 280].

---FOURTH HALF HOUR---

:30--Emmanuel Chabrier (1841-1894): “Habanera,” 1885, John Eliot Gardiner, Vienna Philharmonic [DG 447 751]. Written 10 years before Ravel’s “Habanera” and 17 years before Debussy’s “Night in Grenada.”

:35—Gabriel Faure (1845-1924): Pavane, Op. 50, 1887, Keith Clark, Czech Radio Symphony of Bratislava [Naxos 8.550088]. Faure’s 1888 arrangement of what was originally a piano piece. Debussy wrote a pavane in his “Suite Bergamasque,” begun in 1890, and Ravel wrote his “Pavane for a Dead Princess” in 1899.

(TRICK QUESTION: WHICH BACH FUGUE IS THIS?)

:43—Cesar Franck (1822-1890): Fugue from Prelude, Fugue & Variation, Op. 18, 1862, Paul Crossley, piano [ SK 58914].

:46--Ernest Fanelli (1860-1917): “Party at the Palace of the Pharaoah,” 1885, Adriano, Slovak Radio Symphony [Marco Polo 5234]. Fanelli’s widow said Debussy and Ravel had both visited her husband and seen his scores.

:54--Gabriel Faure (1845-1924): Piano Quartet No. 2, Op. 45, 1886, scherzo, Emanuel Ax, piano w/Isaac Stern, violin; Jaime Laredo, viola; Yo-Yo Ma, cello [SK 48066].

Saturday, July 18 2015

---FIRST HALF HOUR---

:04—Benjamin Keakahiawa Nawahi (1899-1985): “My Girl from the South Seas Isles,” the Hawaiian Beachcombers [Yazoo 2055].

:07—Johnny Noble: “Little Grass Shack,” Kanui & Lula, 1933, recorded in Paris where this Hawaiian husband and wife were touring [Yazoo 2056].

:10—Benjamin Keakahiawa Nawahi (1899-1985): “Ticklin’ the Strings,” King Nawahi’s Hawaiians [Yazoo 2055].

:14—George Lewis: “New Orleans Hula,” George Lewis Trio, with George Lewis, clarinet; Lawrence Marreo, banjo; Alcide Pavageau, bass [AMCD 4]. Banjo is strummed like an ukulele. Quotes “Aloha Oe.”

:17—Benjamin Keakahiawa Nawahi (1899-1985): “Aloha Means I Love You,” King Nawahi’s Hawaiians [Yazoo 2055]. Lyrics refer to “Aloha Oe.”

:21—George Lewis: “Over the Waves,” George Lewis Trio, with George Lewis, clarinet; Lawrence Marreo, banjo; Alcide Pavageau, bass [AMCD 4]. Banjo is strummed like an ukulele. Recorded in 1945.

:26--Benjamin Kea/kahiawa Nawahi (1899-1985): “Maui No La Ka Oi,” King Nawahi’s Hawaiians [Yazoo 2055]. Sings Hawaiian, not entirely identical to what is spoken today.

---SECOND HALF HOUR---

:30—Harry Owens: “Voice of the Trade Winds,” Harry Owens and His Royal Hawaiians [RMCD 2120].

:34—George Ku: “Na Pua O Hawaii,” George Ku Trio, from, “Vintage Hawaiian Music: Steel Guitar Masters 1928-1934.” [Rounder 1052]. A traditional song, in Hawaiian, but the guitarist seems to be trying to make the song swing.

:37—Gussie Mueller: “Wang Wang Blues,” 1920, Paul Whiteman Orchestra with Mueller on clarinet [Capitol 30103]. The arrangement is by Ferde Grofe.

:40—Gussie Mueller: “Wang Wang Blues,” Sam Ku West Harmony Boys [Rounder 1052].

[HULA BLUES SUITE]

:44—Johnny Noble & Sonny Cunha: “Hula Blues,” Sol Hoopii, [Rounder 1012]. Hoopii went to the mainland in 1919 and turned people onto Hawaiian music until his death in Seattle in 1953.

:48--Noble & Cunha: “Hula Blues,” Jon Rauhouse, from “Steel Guitar Air Show,” [Bloodshot 093].

:51—Noble & Cunha: “Hula Blues,” Herb Remington, lap steel guitar [Horserock 10472].

[END HULA BLUES SUITE]

:53— Benjamin Keakahiawa Nawahi (1899-1985): “Mauna Kea,” King Nawahi’s Hawaiians [Yazoo 2055]. The all-time summit of note-bending.

:57—Bobby Ingano: “Hanohano Hanalei,” from “Steel n’ Love” 2010 [Kuliouou 05210]. Steel guitar technique dates back to 1894 when Joseph Kekuku (1874-1932), a student at Kamehameha, figured out that he could do slides with a comb, a knife or tube. If anyone did it earlier we don’t know it, but we DO know that when he did it, it was a sensation and he was widely copied.

---THIRD HALF HOUR---

:04—Benjamin Keakahiawa Nawahi (1899-1985): “Singin’ in the Bathtub,” Sol Hoopii and the Four Hawaiian Guitarists [Yazoo 2055].

:07—Palakiko & Paaluhi: “Maui,” Palakiko & Paaluhi [Arhoolie 7027].

:10—Charles E. King: “Song of the Islands,” Louis Armstrong & His Orchestra [Columbia 66498].

:14—Charles E. King: “Song of the Islands,” DISC II frontloaded, track 16, 2:49, Count Basie & His Orchestra with Basie playing organ, from the CD “Complete Clef/Verve Fifties Basie” [Mosaic 229].

:17—Charles E. King: “Palolo,” Sol Hoopii Trio [Arhoolie 7027]. Recorded in Los Angeles in 1927. The musicians really sell the song. Another and stranger version in the next half hour.

:21—Jimmie Rodgers: “Everybody Does It in Hawaii,” King Oliver & His Orchestra, with Roy Smeck playing lap steel. He is thought to have learned it by watching Sol Hoopii oin a touring Hawaiian revue. [Yazoo 2056.]

:24—Scott Joplin (1868-1917): “Sugar Cane Rag,” William Albright, piano [Music Masters 7061].

:XX—Filler: “Hawaiian War Chant,” from “Memories of Hawaii Calls Vol. I,” [HCS 928]. “Hawaii Calls” was on the air from 1935 to 1975, when it went off the air following the cutoff of a state subsidy.

--FOURTH HALF HOUR---

:30—Slim Smith: “My Little A-1 Brownie,” 1931, with solos on steel guitar, mandolin, standard guitar and harmonica ALL played by King Nawahi. The clarinetist is Benny Goodman. [Yazoo 2055].

:34--Charles E. King: “Palolo,” Kane’s Hawaiians [Arhoolie 7027]. Recorded in Oakland in 1927. Lots of weird effects, especially you know that the lyrics are a love song.

:38—Scott Joplin (1868-1917): “Pine Apple Rag,” William Albright, piano [Music Masters 7061].

:42-- Sol Hoopii: “Hula Girl,” Sol Hoopii’s Quartet [Arhoolie 7027].

(TRICK QUESTION: IS THIS HAWAIIAN MUSIC?)

:47—Mares-Roppolo-Schoebel: “Farewell Blues,” Sol Hoopii [Rounder 1012]. Hoopii does a vintage 1922 jazz standard and transforms it with Hawaiian licks and his own tricks.

:50—George and Ira Gershwin: “Lady Be Good,” Sol Hoopii Trio [Rounder 1052]. From the 1924 musical of the same name, a jazz standard usually associated with urban sounds at fast tempos.

:53—Harry Owens: “Sweet Leilani,” Les Paul & His Trio, from a 1949 album called “Hawaiian Paradise.” The original appearance of the song was in a Bing Crosby movie in 1937. Harry Owens wrote it for his daughter [One Way Records 20852].

:56—Anon.: “Tiger Rag,” Felix Mendelssohn’s Hawaiian Serenaders. [JASM 2589]. This was a group in England. Mendelssohn was neither Hawaiian nor related to the real Felix Mendelssohn. Furthermore, he could not sing or play any instrument. But his men were talented.

Saturday, July 11 2015

--FIRST HALF HOUR--

:04—Igor Stravinsky (1882-1971): “Rite of Spring,” Introduction and Dance of the Young Girls, 1913, Benjamin Frith and Peter Hill, piano four hands [Naxos 8.553386].

:11—Samuel Barber (1910-1981): “Agnus Dei,” 1936, Peter Broadbent and the Joyful Company of Singers [ASV 939]. The composer’s own arrangement of “Adagio for Strings” for voices.

:19—George Gershwin (1898-1937): “Rhapsody in Blue,” Aurelia Saxophone Quartet [Challenge Classics 72005].

--SECOND HALF HOUR—

:30—William Schuman (1910-1992): “Chester,” from “New England Triptych,” 1943, Jack Stamp, Keystone Wind Ensemble [Klavier 11155]. The composer was arranging his own work for band and started to get new ideas. This “Chester” is about twice the length of the original.

:37--The Beatles: “Eleanor Rigby,” strings only, on “Anthology II,” originally recorded 1966, composed by George Martin for a double string quartet [Apple 34448].

:40—Paul Desmond: “Take Ten,” Paul Desmond, soprano sax; Bob James, piano; Gabor Szabo, guitar; Gene Bertocini, guitar; Ron Carter, bass; Jack DeJohnette, drums; George Ricci, cello; recorded 1973. Desmond died in 1977 at the age of 52. [CTI 65133].

:47—Brubeck/Desmond: “Take Five,” Jeff Peterson, from the 2005 album “Slack-Key Jazz,” [PP 001].

:52—Miles Davis: “All Blues,” Barry Flanagan, slack key guitar, 2002 [Finn 001]. The original appeared on the 1959 album “Kind of Blue.”

:58—Rossini: “William Tell Overture,” Cool Hand Uke, ukulele [Ono 101010].

--THIRD HALF HOUR—

:04—Gabriel Faure (1845-1924): Pavane, Op. 50, Bobby McFerrin, St. Paul Chamber Orchestra. [SK 64600]. McFerrin of “Don’t Worry, Be Happy” fame, the son of two opera singers, conducts but also sings.

:10—George Gershwin  (1898-1937): “Where is brudder Robbins?” from original cast recording. Fade around 1:55.

:12--George Gershwin  (1898-1937): “Gone,” arr. Gil Evans, Miles Davis and musicians, recorded 1958 [Columbia 67397].

:16--George Gershwin  (1898-1937): “Gone,” arr. Gil Evans, Miles Davis with Quincy Jones conducting the combined Gil Evans and George Gruntz big bands [Warner Bros. 45221]. Gil Evans had died three years earlier and family had to hunt for the chart. Miles was 65 and had two months to live when he performed on this date. The other trumpet player, who had been ready to fill in if necessary, was Wallace Roney, then 31.

:21—John Adams (1947- ): “Shaker Loops,” 1978, first move., with words by Jon Anderson [Angel 55088].

:27—Jimi Hendrix (1942-1970): “Purple Haze,” Frank Zappa & the Mothers of Invention [ZR 3881].

--FOURTH HALF HOUR--

:30—The Supremes: “Love Child,” alternate take, 1968, contains an entire extra verse, and Diana Ross puts more into it [Motown 3263].

:34--The Beatles: “Penny Lane,” alternate version, original recordings 1966 and 1967. This combined elements subsumed or taken out in the actual release. [Apple 34448].

:38—The Rutles: “Doubleback Alley,” Eric Idle and Neil Innes parody “Penny Lane.” [Rhoino 75760].

(TRICK QUESTION: HOW DOES THIS DIFFER FROM RELEASE?)

:41--George Harrison: “What is Life?”, alternate tracks, from reissue of “All Things Must Pass,” with trumpet parts George Martin wrote that Harrison didn’t like [Capitol 30474].

:44—Ravel: “Bolero,” Nat Shilkret & His Orchestra [RCA Victor 63670]. Much abbreviated, and turned into a foxtrot.

:47—Ravel: “Bolero,” Frank Zappa & the Mothers of Invention [ZR 3881].

:53—Yes: “Long Distance Runaround,” Wendy Lewis, vocal, with the Bad Plus: Ethan Iverson, piano; Reid Anderson, bass; Davod King, drums [Heads Up 3148].

:57—Tears for Fears: “Everybody Wants to Rule the World,” The Bad Plus [Heads Up 3125].

Saturday, July 4 2015

---FIRST HALF HOUR---

:04—Arthur Foote (1853-1937): Suite in E for Strings, Op. 63, 1908, fugue, Kenneth Klein, London Symphony [EMI 49263]. The first American composer to achieve an international reputation without having studied in Europe.

:11—Morton Gould (1913-1996): “Sermon,” from “Spirituals for Orchestra,” Howard Hanson, Eastman-Rochester Orchestra [Mercury 432 016]. The first staff pianist at Radio City Music Hall, and president of ASCAP the last eight years of his life.

:15—Mark O’Connor (1961- ): “Wide Open Spaces,” Marin Alsop, Baltimore Symphony [Omac 12]. Seattle-born bluegrass fiddler, and championship winner at the Grand Ole Opry at the age of 13, who has classical training as well.

:20—Elliott Carter (1908-2012): Elegy, 1943, Gerard Schwarz, Los Angeles Chamber Orchestra [Nonesuch 79002]. Originally for viola and piano, revised in 1961 for string quartet, here played by a full string orchestra.

:26—William Schuman (1910-1992): “Chester” from “New England Triptych,” Howard Hanson, Eastman-Rochester Orchestra [Mercury 432 755]. Modern arrangement of song of William Billings (1746-1800). Schuman went to his first symphony concert at the age of 19. He studied under Roy Harris.

---SECOND HALF HOUR---

:30—Vincent Persichetti (1915-1987): Sym. for Band, Op. 86, first move., Frederick Fennell, Eastman Wind Ensemble [Mercury432 754]. Professor of composition at Juilliard. His students: Philip Glass, Peter Schickele, Lowell Liebermann.

:36—William Bolcom (1938- ): “Graceful Ghost,” 1970, Richard Dowling, piano [Klavier 77035]. Inspired, Bolcom said, by his late father. Seattle-born, studied under Milhaud and Messiaen, aims to blur the lines between popular and art music.

:41—Dana Suesse (1909-1987): Concerto in Three Rhythms, finale, rag: presto, 1932, Michael Gurt, piano w/Richard Rosenberg, Hot Springs Music Festival Symphony [Naxos 8.559647]. Known as “the female Gershwin.”

:46—Easley Blackwood (1933- ): Sym. No. 5, Op. 34, finale, 1990 James DePreist, Chicago Symphony [Cedille 016]. Patterned to some degree after Sibelius, the third and finale movement combines a scherzo with a finale as Sibelius does in his own Fifth.

:53—Kent Kennan (1913-2003): “Campo di Fiori” from “Three Pieces for Orchestra,” Howard Hanson, Eastman-Rochester Orchestra [Mercury 434 307]. His “Technique of Orchestration” is still widely used as a textbook. The brother of George F. Kennan, an advisor to Truman who helped shape U.S. policy in the Cold War.

:56—Steve Reich (1936- ): “New York Counterpoint,” third move., Evan Ziporyn, clarinets [ Nonesuch 19481].

---THIRD HALF HOUR---

:04—Peter Boyer (1970- ): “Silver Fanfare,” 2004, Peter Boyer, London Philharmonic [Naxos 8.559769]. Written for the silver anniversary of the Pacific Symphony of Orange County, Calif. Rhode Island-born and raised. Moved to L.A. to study film music, writes scores for The History Channel.

:09—Peter Mennin (1923-1983): “Folk Overture,” 1945, Christian Badea, Columbus Symphony [New World 371]. Raised in Erie, Pa., president of Peabody Conservatory, then of Juilliard.

:19—John Alden Carpenter (1876-1951: “Skyscrapers,” excerpt, 1926, Kenneth Klein, London Symphony [EMI 49263]. Best-known for “Adventures in a Perambulator,” 1914, describing a baby’s day from the baby’s point of view.

:22—Walter Piston (1894-1976): Polka finale from “The Incredible Flutist,” 1938, Howard Hanson, Eastman-Rochester Orchestra [Mercury 434 307]. Born in Rockland, Maine, family moved to Boston when he was 11. Studied with Boulanger then taught at Harvard for the rest of his active life.

:25—Samuel Barber (1910-1981): Sym. No. 1, Op. 9, middle move., Marin Alsop, Scottish National Orchestra [Naxos 8.559024].

---FOURTH HALF HOUR---

:30—Aaron Copland (1900-1990): “Music for the Theatre,” first move., 1934, Dennis Russell Davies, Orchestra St. Luke’s [MusicMasters 60162].

:36—Robert Moran (1937- ): “Points of Departure,” 1993, David Zinman, Baltimore Symphony [Argo 444 454]. Born in Denver, studied under Darius Milhaud, settled in Philadelphia. Collaborated with Philip Glass on the opera “The Juniper Tree.”

(TRICK QUESTION: WHO’S THE SINGER IN THIS PIECE?)

:43—Douglas Moore (1893-1969): “Jenny Lind,” from “Pageant of P.T. Barnum,” 1926, Howard Hanson, Eastman-Rochester Orchestra [Mercury 434 319]. No one sings but the piece is about a singer.

:46—Chicago: “Man vs. Man,” final track on Chicago III [CRD 3003]. Chicago formed in 1967 and four of the original seven members are still with the band.

:48—Phil Woods (1931- ): Third Improvisation for Saxophone Quartet, 1978, The Prism Quartet [Koch 37024]. Juilliard-trained jazz alto sax player, Woods plays the sax solos on Billy Joel’s “Just the Way You Are” and Steely Dan’s “Doctor Wu.”

:52—Michael Daugherty (1954- ): “Desi,” David Zinman, Baltimore Symphony [Argo 444 454]. Born in Iowa, professor of composition at the University of Michigan.

:57—Zez Confrey (1895-1971): “Coaxing the Piano,” 1922, Richard Dowling, piano [Klavier 77035]. Same guy who wrote “Kitten on the Keys” and “Dizzy Fingers.”