Composers Datebook

Synopsis

The “waltz king” Johann Strauss Jr. was 45 before he tried his hand at writing an operetta, urged on by the management of Vienna’s Theater an der Wien, who wanted to replace the extremely popular French operettas of Jacques Offenbach with some by Vienna’s own famous purveyor of light music.

Even so, for the libretto of Strauss’ third operetta, the cagey theater managers hedged their bets by acquiring the rights to a spicy French farce which just happened to be written by the librettists of Offenbach’s biggest hits.

The original French farce was considered a little too racy as it stood, so some substantial changes were made before Strauss set to work. The end result, re-titled Die Fledermaus (or The Bat) opened in Vienna on today’s date in 1874.

Now, there is an oft-repeated myth that Fledermaus was initially a flop and that it closed after only sixteen performances. But blame that on famous American soprano, Adelina Patti, who had booked the Theater an der Wien for a run of Italian opera performances right after Die Fledermaus was opened.

When Patti left Vienna, Die Fledermaus returned for more performances, and has rarely been absent from Viennese stages from that day to this.

Music Played in Today's Program

Johann Strauss II (1825-1899): Die Fledermaus Overture; Vienna Symphony; Robert Stolz, conductor; BMG 72916

Synopsis

Today we offer a special “Gong Show” edition of the Composer’s Datebook.

On today’s date in 1791, at the height of the French Revolution, the Panthéon in Paris was converted into a mausoleum for national heroes, and the first to be interred there, with great pomp and ceremony, was Honoré Gabriel Riqueti, Comte de Mirabeau, a tremendously popular personage of the day.

For dramatic effect during the Count’s funeral procession through the streets of Paris, French composer François Joseph Gossec added an unusual percussion instrument to his funereal wind band: an exotic instrument someone had brought to Paris from the Far East, and known as—you guessed it—the gong.

It was reported that whenever the gong was struck during Mirabeau’s funeral procession, cries of terror and fright were heard from the crowd that lined the Parisian streets as the cortège passed.

Now terror and fright are bread and butter in the world of grand opera, and so the gong soon was adopted by 19th century composers like Spontini, Meyerbeer, and Wagner, and, in the 20th century, composers like Puccini, Stravinsky, Stockhausen, and George Crumb have also used gongs to—pardon the pun—striking effect!

Music Played in Today's Program

François-Joseph Gossec (1734 – 1829) Marche lugubre The Wallace Collection; John Wallace, cond. Nimbus 5175

Synopsis

In the 19th century, much like today, New Yorkers looking for musical entertainment had a lot to choose from. For example, on today’s date in 1871, the options included these three offerings:

First: at Lina Edwin’s Theater, a musical burlesque, Pluto, which The New York Times billed as an “Anglicized and condensed” version of Jacques Offenbach’s racy operetta, Orpheus in the Underworld, with interpolated comic sketches and monologues by the show’s star, the Jerry Seinfeld of the day, the ever-popular comedian Mr. Lingard.

Second: for the more serious sort, the American staged premiere of Richard Wagner’s opera, Lohengrin, at the Stadt Theater. The Times noted that Wagner’s opera was “brought out in Germany some 20 years earlier but was unknown here in its entirety until now.” A large audience showed up for the “entirety” of “Lohengrin,” which lasted over four hours and ended around midnight.

Finally: at Broadway’s Minstrel Hall, directly from Japan, Satsuma’s Circus offered the amazing Mr. Yadunochi, who first smoked a pipe, then ate it, then while playing on a flute expelled the pipe’s smoke through his instrument; for his finale, Mr. Yadunochi reproduced, as the Times put it “the original pipe whole and unsullied.” Now, that’s entertainment!

Music Played in Today's Program

Jacques Offenbach (1819-1890) (arr. Rosenthal): Cancan from Gaite Parisienne; Montréal Symphony; Charles Dutoit, conductor; London 430 718

Richard Wagner (1813-1883): Act 3 Prelude from Lohengrin; Berlin Philharmonic; Daniel Barenboim, conductor; Teldec 81791

Kozaburo Hirai (1910-2002): Sonata; Kazue Frances Asawa, flute; Kazue Kudo, koto; Crystal 316

Synopsis

On today’s date in 1961, American composer Wallingford Riegger died in New York City, a month shy of what would have been his 76th birthday.

Riegger was born in Albany, Georgia, in 1885. Like many American musicians back then, he studied in Germany. In the years before America entered World War I, Riegger worked in both the US and Europe: for three years he was the principal cellist with the St. Paul Symphony in Minnesota; he then served as an assistant voice coach and conductor at German opera houses in Würzburg and Königsberg.

Returning home in 1918, Riegger spent ten years teaching, eventually settling in New York in 1928. There he got to know Henry Cowell, Charles Ives, and other “ultra-modern” composers. Riegger’s early music had been in the traditional mode, but he quickly established himself as one of the leading figures in the more experimental American music scene.

In the 1930s, Riegger, like Copland, worked with the pioneers of modern American dance, including Martha Graham, and composed ballet scores. From 1938 on, however, he concentrated on non-theatrical scores, including symphonies and chamber works.

Riegger’s mature works blend atonality with traditional musical forms and dance rhythms, even on occasion some jazzy American syncopation.

Music Played in Today's Program

Wallingford Riegger (1885-1961): Wind Quintet; New York Woodwind Quintet; Bridge 9068

Synopsis

On this date in 1747, London concert-goers gathered in response to a newspaper announcement, which read, “At the Theatre-Royal in Covent-Garden will be perform’d a new oratorio, call’d Judas Maccabaeus … no person to be admitted without tickets … at half a guinea each.”

The composer of this piece was George Frideric Handel. Over time, one choral tune in Judas Maccabaeus, “See, the Conqu’ring Hero Comes,” became something generations of audience members would whistle or hum on their way home.

Oddly enough, audiences wouldn’t have heard that tune at the 1747 premiere, since Handel only added it to his score years later, after first using it in another oratorio altogether.

Fifty years after the oratorio’s premiere, Beethoven composed 12 variations on “See, the Conqu’ring Hero Comes” for piano and cello, and 90 years after Beethoven, the melody was used for an Easter hymn some of us know as Thine Be the Glory.

The tune also appears in a much rowdier context during the annual Last Night of the Proms concert in London, since it crops up in Henry Wood’s Fantasia on British Sea Songs, an almost obligatory party piece played on that occasion

Music Played in Today's Program

Ludwig van Beethoven (1770-1827): Variations on Handel’s ‘See, the conquering hero comes’; Henry Wood, conductor; Fantasia on British Sea Songs