Saturday, July 25 2015
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.
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.
Franck (1822-1890): “Psyche,” first move., 1887, Peter Lucker, Savarian
Symphony [Hungaroton 31360]. (Savaria is western Hungary.)
Faure (1845-1924): “Sicilienne,” Op. 78, 1898, Steve Isserlis, cello; Pascal
Devoyon, piano [RCA Victor 68049]. This is the original version of the piece.
(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.
Chabrier (1841-1894): “Espana,” 1883, John Eliot Gardiner, Vienna Philharmonic
[DG 447 751]. His most popular work, an apotheosis of French music inspired by
(1835-1921): Quartet in B flat major, Op. 41, second move., 1875, Cristina
Ortiz and members of the Fine Arts Quartet [Naxos 8.572904].
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
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.
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.
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
Franck (1822-1890): “Psyche Awakes with the Zephyrs,” from “Psyche,” Daniel
Barenboim, Orchestre de Paris, [DG 476 280].
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.”
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.
QUESTION: WHICH BACH FUGUE IS THIS?)
Franck (1822-1890): Fugue from Prelude, Fugue & Variation, Op. 18, 1862, Paul
Crossley, piano [ SK 58914].
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.
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
Keakahiawa Nawahi (1899-1985): “My Girl from the South Seas Isles,” the
Hawaiian Beachcombers [Yazoo 2055].
Noble: “Little Grass Shack,” Kanui & Lula, 1933, recorded in Paris where
this Hawaiian husband and wife were touring [Yazoo 2056].
Keakahiawa Nawahi (1899-1985): “Ticklin’ the Strings,” King Nawahi’s Hawaiians
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.”
Keakahiawa Nawahi (1899-1985): “Aloha Means I Love You,” King Nawahi’s
Hawaiians [Yazoo 2055]. Lyrics refer to “Aloha Oe.”
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.
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.
Owens: “Voice of the Trade Winds,” Harry Owens and His Royal Hawaiians [RMCD
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.
Mueller: “Wang Wang Blues,” 1920, Paul Whiteman Orchestra with Mueller on
clarinet [Capitol 30103]. The arrangement is by Ferde Grofe.
Mueller: “Wang Wang Blues,” Sam Ku West Harmony Boys [Rounder 1052].
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.
& Cunha: “Hula Blues,” Jon Rauhouse, from “Steel Guitar Air Show,”
& Cunha: “Hula Blues,” Herb Remington, lap steel guitar [Horserock 10472].
HULA BLUES SUITE]
Benjamin Keakahiawa Nawahi (1899-1985): “Mauna Kea,” King Nawahi’s Hawaiians
[Yazoo 2055]. The all-time summit of note-bending.
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.
Keakahiawa Nawahi (1899-1985): “Singin’ in the Bathtub,” Sol Hoopii and the
Four Hawaiian Guitarists [Yazoo 2055].
& Paaluhi: “Maui,” Palakiko & Paaluhi [Arhoolie 7027].
E. King: “Song of the Islands,” Louis Armstrong & His Orchestra [Columbia
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].
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.
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.]
Joplin (1868-1917): “Sugar Cane Rag,” William Albright, piano [Music Masters
“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.
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].
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
Joplin (1868-1917): “Pine Apple Rag,” William Albright, piano [Music Masters
Sol Hoopii: “Hula Girl,” Sol Hoopii’s Quartet [Arhoolie 7027].
QUESTION: IS THIS HAWAIIAN MUSIC?)
“Farewell Blues,” Sol Hoopii [Rounder 1012]. Hoopii does a vintage 1922 jazz
standard and transforms it with Hawaiian licks and his own tricks.
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.
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].
“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
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].
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”
Gershwin (1898-1937): “Rhapsody in Blue,” Aurelia Saxophone Quartet [Challenge
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.
Beatles: “Eleanor Rigby,” strings only, on “Anthology II,” originally recorded
1966, composed by George Martin for a double string quartet [Apple 34448].
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
“Take Five,” Jeff Peterson, from the 2005 album “Slack-Key Jazz,” [PP 001].
Davis: “All Blues,” Barry Flanagan, slack key guitar, 2002 [Finn 001]. The
original appeared on the 1959 album “Kind of Blue.”
“William Tell Overture,” Cool Hand Uke, ukulele [Ono 101010].
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.
Gershwin (1898-1937): “Where is brudder
Robbins?” from original cast recording. Fade around 1:55.
Gershwin (1898-1937): “Gone,” arr. Gil
Evans, Miles Davis and musicians, recorded 1958 [Columbia 67397].
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.
Adams (1947- ): “Shaker Loops,” 1978, first move., with words by Jon Anderson
Hendrix (1942-1970): “Purple Haze,” Frank Zappa & the Mothers of Invention
Supremes: “Love Child,” alternate take, 1968, contains an entire extra verse,
and Diana Ross puts more into it [Motown 3263].
Beatles: “Penny Lane,” alternate version, original recordings 1966 and 1967.
This combined elements subsumed or taken out in the actual release. [Apple
Rutles: “Doubleback Alley,” Eric Idle and Neil Innes parody “Penny Lane.”
QUESTION: HOW DOES THIS DIFFER FROM RELEASE?)
Harrison: “What is Life?”, alternate tracks, from reissue of “All Things Must
Pass,” with trumpet parts George Martin wrote that Harrison didn’t like
“Bolero,” Nat Shilkret & His Orchestra [RCA Victor 63670]. Much
abbreviated, and turned into a foxtrot.
“Bolero,” Frank Zappa & the Mothers of Invention [ZR 3881].
“Long Distance Runaround,” Wendy Lewis, vocal, with the Bad Plus: Ethan
Iverson, piano; Reid Anderson, bass; Davod King, drums [Heads Up 3148].
for Fears: “Everybody Wants to Rule the World,” The Bad Plus [Heads Up 3125].
Saturday, July 4 2015
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.
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.
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.
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.
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.
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.
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.
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.”
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.
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.
Reich (1936- ): “New York Counterpoint,” third move., Evan Ziporyn, clarinets [
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.
Mennin (1923-1983): “Folk Overture,” 1945, Christian Badea, Columbus Symphony
[New World 371]. Raised in Erie, Pa., president of Peabody Conservatory, then
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.
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.
Barber (1910-1981): Sym. No. 1, Op. 9, middle move., Marin Alsop, Scottish
National Orchestra [Naxos 8.559024].
Copland (1900-1990): “Music for the Theatre,” first move., 1934, Dennis Russell
Davies, Orchestra St. Luke’s [MusicMasters 60162].
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.”
QUESTION: WHO’S THE SINGER IN THIS PIECE?)
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.
“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.
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.”
Daugherty (1954- ): “Desi,” David Zinman, Baltimore Symphony [Argo 444 454].
Born in Iowa, professor of composition at the University of Michigan.
Confrey (1895-1971): “Coaxing the Piano,” 1922, Richard Dowling, piano [Klavier
77035]. Same guy who wrote “Kitten on the Keys” and “Dizzy Fingers.”