Composers Datebook

SynopsisToday’s date in 1904 marks the birthday of Richard Addinsell, a versatile British musician who became one of the most famous film score composers of his generation.Addinsell was born in London, studied music at the Royal College of Music, and pursued additional studies in Berlin and Vienna before heading off to America in 1933 for some practical education at Hollywood film studios. He put both his theoretical and practical learning to good use when he returned to England, where he began composing for a series of successful British movies, like the Oscar-winning 1939 film Goodbye, Mr. Chips.Addinsell also became a popular songwriter and accompanist for British comediennes and cabaret singers of the day.But Addinsell is best known as the composer of the Warsaw Concerto, a piano concerto consciously modeled on the big Romantic scores of Rachmaninoff. This music originally appeared in the 1941 British adventure film Dangerous Moonlight, retitled Suicide Squadron when it was released in the U.S. in 1942.After that mega-hit, Addinsell’s fluent and versatile writing continued to grace a goodly number of Post-War British films and TV dramatizations, ranging from historical epics to psychological thrillers, gritty “slice-of-life” dramas, and whimsical, light-hearted comedies.Addinsell died in London at 73 in 1977.Music Played in Today's ProgramRichard Addinsell (1904-1977): Goodbye, Mr. Chips; BBC Concert Orchestra; Kenneth Alwyn, conductor; Marco Polo 8.223732Richard Addinsell (1904-1977): Warsaw Concerto; Cristina Ortiz, piano; Royal Philharmonic; Moseh Atzmon, conductor; London 414 348

SynopsisComposers and publishers don’t always see eye to eye. Simrock, the German publisher of Dvořák’s music, irritated the patriotic Czech composer by issuing his scores with his first name printed in its Germanic form “Anton” rather than its Czech form “Antonín.” They finally came up with a compromise: Simrock abbreviated Dvorak’s first name, printing it as “A-N-T-period” on the music’s title page: Germans could read that as “Anton” and Czechs as “Antonín.” Everyone was happy.Simrock would also have liked Dvořák to stick to writing small-scale chamber works — which sold well — rather than large-scale symphonic works — which didn’t.“You counsel me that I should write small works, but this is very difficult … At the moment my head is full of large ideas and I will have to do as dear Lord wishes,” he wrote in 1891. A few years later, he would make Simrock very happy by sending them some large- and small-scale works that would sell tremendously well, including his New World Symphony and American String Quartet … plus this music — an American String Quintet published by Simrock as Dvořák’s Op. 97.Dvořák’s quintet was composed in Spillville, Iowa, in the summer of 1893 and was first heard at Carnegie Hall in New York on today’s date in 1894.Music Played in Today's ProgramAntonín Dvořák (1841-1904): American String Quintet; Smetana Quartet; Josef Suk, viola; Denon 72507

SynopsisOn today’s date in 1998, the Lark Quartet gave the first performance of the String Quartet No. 2 by American composer Aaron Jay Kernis. Like much of his music, the new quartet drew upon an eclectic variety of influences.As he put it: “My String Quartet No. 2 uses elements of Renaissance and Baroque dance music and dance forms as its basis and inspiration. For years I’ve played various Bach suites and pieces from the Fitzwilliam Virginal Book at the piano for my own pleasure, and I suspected for some time that their influence would eventually show up in my own work.”The Lark Quartet had commissioned Kernis’ String Quartet No. 1, and, like the composer, were over the moon when they learned No. 2 had won the Pulitzer Prize for music. Just three months after its premiere, he got the news by phone as he was headed to the airport to catch a flight to Spain. “I haven’t had a martini in years, but that’s sort of what it felt like,” he recalled. Kernis’ String Quartet No. 2 was a triple commission from Merkin Concert Hall in New York, Ohio University, and The Schubert Club of St. Paul, Minnesota, and was dedicated to Linda Hoeschler, the former Executive Director of the American Composers Forum.Music Played in Today's ProgramAaron Jay Kernis (b. 1960): String Quartet No. 2 (musica instrumentalis); The Lark Quartet; Arabesque 6727

SynopsisIn January of 1939, famous jazz clarinetist Benny Goodman was playing each night at New York’s Paramount Theater. On today’s date that year, he also appeared on the stage of Carnegie Hall.The occasion was the American premiere of a new chamber trio by the Hungarian composer Bela Bartok, commissioned by Goodman at the suggestion of Bartok’s compatriot, violinist Joseph Sizgeti. The work was billed as a two-movement “Rhapsody” for clarinet, violin and piano.Now, in 1939 Goodman was at the peak of his popularity with the swing-crazed youth of America, and the New York Times music critic felt the need to write: “There is no indication that Bartok wrote the clarinet part for Benny’s clarinet, so jitterbugs reading this review have been simply wasting their time. The work is as Hungarian as goulash, and Mr. Goodman was artist enough to restrain himself from any insinuation of swing. Indeed, considering that he had probably left the stage of the Paramount Theatre some minutes before he appeared on that of Carnegie Hall, the purity of his style and the bright neatness of his technique were particularly admirable.”The following year, Goodman and Szigeti recorded the trio with Bartok himself at the piano. For that occasion, Bartok added a third movement, and the resulting work was re-titled Contrasts.Music Played in Today's ProgramBéla Bartók (1881-1945): Contrasts; Benny Goodman, clarinet; Joseph Szigeti, violin; Bela Bartok, piano; CBS/SONY 42227

SynopsisIf the late 18th century is the Classical Age, and the 19th The Romantic, then perhaps we should dub our time “The Eclectic Age” of music. These days, composers can — and do — pick and choose from a wide variety of styles.American composer William Bolcom was loath to rule anything out when he approached the task of setting William Blake’s Songs of Innocence and of Experience to music. Bolcom calls for a large orchestra, multiple choruses, and more than a dozen vocal soloists versed in classical, pop, folk, country, and operatic styles. There are echoes of jazz, reggae, gospel, ragtime, country and rock idioms as well.As Bolcom put it: “At every point Blake used his whole culture, past and present, high-flown and vernacular, as sources for his many poetic styles. All I did was use the same stylistic point of departure Blake did in my musical settings.”The massive work received its premiere performance in Stuttgart, Germany, on today’s date in 1984.Most of the work was completed between 1973 and 1982, after Bolcom joined the faculty of the University of Michigan in Ann Arbor, and it was there that the work received its American premiere a few months following its world premiere in Germany.Music Played in Today's ProgramWilliam Bolcom (b. 1938): Songs of Innocence and of Experience Soloists; Choirs; University of Michigan School of Music Symphony; Leonard Slatkin, conductor; Naxos 8.559216/18