Handel with no strings attached
2m
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Composers Datebook
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Synopsis
Few of us today really know — or care — very much about the War of Austrian Succession, a conflict that troubled Europe in the 18th century. For music lovers, it’s enough to know that to celebrate the end of that war, George Frederic Handel was commissioned to compose music for a fireworks concert in London’s Green Park, an event that took place on today’s date in the year 1749.
Back then there were no such things as microphones and loudspeakers, so Handel’s score called for a huge military band of 24 oboes, nine horns, nine trumpets, three sets of timpani, 12 bassoons, two contrabassoons and strings. When King George II was told about it, he balked a little at the expense.
“Well, at least I hope there won’t be any fiddles,” he commented, and so Handel was informed the strings were definitely off.
A public rehearsal was held at the Vauxhall Gardens and a London newspaper reported that 100 musicians performed for an audience of more than 12,000, causing a three-hour traffic jam of carriages and pedestrians on London Bridge. The official event with fireworks went off with a bang — as well as a few fires breaking out.
Music Played in Today's Program
George Frederic Handel (1685-1759): Music for the Royal Fireworks; Academy of St. Martin in the Fields; Neville Marriner, conductor; Argo 414596
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Vaughan Williams' 'London Symphony'
Synopsis
At Queen’s Hall in London, on today’s date in 1920, conductor Albert Coates led the premiere of the revised version of A London Symphony of Ralph Vaughan Williams.
A longer version of this symphony had premiered six years earlier, and Vaughan Williams would continue to tinker with this work, on and off, for decades.
“The London Symphony is past mending,” wrote Vaughan Williams in 1951, “though with all its faults I love it still; indeed, it is my favorite.”
For most music lovers, Vaughan Williams means English folk tunes or hymns woven into lush works for strings, or musical pictures of English countryside. But it was a city view that inspired his London Symphony, described by Vaughan Williams himself as “a good view of the river and a bridge and three great electric-light chimneys and a sunset.”
In fact, you could call Vaughan Williams’ Symphony No. 2 a “sunset” symphony. Its final pages were inspired by an H.G. Wells novel describing a night passage on the Thames to the open sea: “To run down the Thames so is to run one’s hand over the pages in the book of England from end to end ... The river passes ... London passes … England passes …“
Music Played in Today's Program
Ralph Vaughan Williams (1872-1958): Symphony No. 2 (A London Symphony); London Symphony Orchestra; Richard Hickox, conductor; Chanos 9902
Pleyel and Poulenc
Synopsis
Pleyel and Company was a French piano firm founded in 1807 by composer Ignace Pleyel. The firm provided pianos for Chopin, and ran an intimate Parisian 300-seat concert hall called the Salle Pleyel — the “Pleyel room” in English, where Chopin once performed.
In the 20th century, a roomier Salle Pleyel comprising some 3,000 seats was built, and it was there on today’s date in 1929 that a new concerto for an old instrument had its premiere performance. This was the Concert Champêtre (Pastoral Concerto) for harpsichord and orchestra by French composer Francis Poulenc, with the Paris Symphony conducted by Pierre Monteux, and with Wanda Landowska as the soloist.
“A harpsichord concerto in a hall that seats thousands?” you may ask. “How could anyone hear the harpsichord?” Well, the answer is that Madame Landowska performed on a beefier, metal-framed harpsichord built in the 20th century rather than the quieter wood-framed instruments used in the 18th. Landowska’s modern harpsichord was specially-constructed for her by — who else? — Pleyel and Company.
Landowska needed those extra decibels because Poulenc’s concerto was scored for harpsichord and a large modern orchestra, with winds, percussion, and a large brass section that even included a tuba!
Music Played in Today's Program
Francis Poulenc (1899-1963): Concert Champêtre (Pastoral Concerto); Aimée Van de Wiele, harpsichord; Paris Conservatory Orchestra; Georges Prêtre, condcutor; EMI Classics 69446 or 95584
Purcell's big show
Synopsis
On today’s date in 1692, London audiences were treated to lavish theatrical entertainment with The Fairy Queen.
This show was loosely based on Shakespeare’s comedy A Midsummer Night’s Dream, a play already 100 years old in 1692. To make it more in line with contemporary taste, characters were added or cut, and scenes shifted around to such an extent that Shakespeare, were he alive to see it, would be hard put to recognize much of his original concept. Musical sequences were also expanded, and the producers hired the leading British composer of the day to write them. His name was Henry Purcell, and The Fairy Queen would turn out to be the biggest success of his career.
In addition to writing the show’s songs and dances, Purcell provided music to entertain the audience as they entered and exited the theater or stretched their legs during intermission.
The good news is no expense was spared in the show’s production. The bad news was the show’s producers barely recovered their expenses. Subsequent productions, they decided, would be less flashy, but, recognizing the quality of Purcell’s music, they signed him for their next extravaganza.
Music Played in Today's Program
Henry Purcell (1659-1695): The Fairy Queen; Le Concert des Nations; Jordi Savall, conductor; Auvidis 8583
Leo Sowerby
Synopsis
Today’s date marks two anniversaries in the life of American composer, teacher and organist Leo Sowerby, who lived from 1895 to 1968. Sowerby was born May 1 in Grand Rapids, Michigan, and on his 32nd birthday in 1927, was hired as the permanent organist and choirmaster at St. James’ Church in Chicago, where he remained for the next 35 years.
Sowerby wrote hundreds of pieces of church music for organ and chorus, plus chamber and symphonic works, which are only recently receiving proper attention.
It’s not that Sowerby was neglected during his lifetime — he won many awards, including a Pulitzer Prize in 1946 — but many seemed put off by both his unabashedly Romantic style and his unprepossessing physical appearance. American composer Ned Rorem, who took theory lessons from Sowerby, put it this way:
“Leo Sowerby was … of my parents’ generation, a bachelor, reddish-complexioned and milky skinned, chain smoker of Fatima cigarettes, unglamorous and non-mysterious, likable with a perpetual worried frown, overweight and wearing rimless glasses, earthy, practical, interested in others even when they were talentless; a stickler for basic training, Sowerby was the first composer I knew and the last thing a composer was supposed to resemble.”
Music Played in Today's Program
Leo Sowerby (1895-1968): Classic Concerto; David Mulbury, organ; Fairfield Orchestra; John Welsh, conductor; Naxos 8.559028
Operatic intrigue and Debussy's 'Pelleas'
Synopsis
Today we have a tale of jealousy to tell — the tale of Claude and Mary and Maurice and Georgette — related to the premiere, on today’s date in 1902, of Pelléas et Mélisande.
This new opera by Claude Debussy was based on a play about jealousy by the Belgian playwright Maurice Maeterlinck. Debussy had worked on his opera for years with no objection from Maeterlinck until late in 1901, when Debussy announced that the Scottish soprano Mary Garden would sing the role of Mélisande.
Suddenly, two weeks before the premiere, Maeterlinck began saying the opera was “alien” to him, that he had lost artistic control over his own work, that he hoped the opera would flop.
Well, that accounts for Claude and Mary and Maurice, but what about Georgette? Turns out she was the real reason behind Maeterlinck’s objections. Georgette was a soprano — and Maeterlinck’s mistress. When Debussy refused to even consider her for the lead role in his new opera, Maeterlinck’s smear campaign began.
He was not alone — eminent French composer Camille Saint-Saëns, jealous as any character in Debussy’s opera, delayed his customary vacation abroad to stay in Paris, and, as he put it, “to speak ill of Pelléas.”
Music Played in Today's Program
Claude Debussy (1862-1918): Pelléas et Mélisande; Cleveland Orchestra, Erich Leinsdorf, conductor; Cleveland 9375