Composers Datebook

Synopsis

These days at symphony concerts, when a new piece of music is about to be played, it’s not uncommon to overhear someone mutter, “Why do they have to program this new stuff, when there’s so much Brahms and Tchaikovsky we’d rather hear?”

Well, on today’s date in 1881, the 40th season of the New York Philharmonic Society’s concerts opened with a pair of new works: first the New York premiere of the Tragic Overture, by Johannes Brahms, and after that, the world premiere of Piano Concerto No. 2 by Peter Ilyich Tchaikovsky with soloist Madeleine Schiller.

Here’s what the New York Times had to say the following morning: “The return of Madame Schiller to the stage is a welcome event, ... the only regret being that her efforts had not been devoted to a more interesting work, for, apart from the novelty, it cannot be said that the Tchaikovsky concerto possessed any great merit. There are older works, of which one never tires and which, interpreted by Madame Schiller ... would always be welcomed.”

Ah, some things never change!

Music Played in Today's Program

Johannes Brahms (1833-1897): Tragic Overture; Chicago Symphony; Daniel Barenboim, conductor; Erato 95192

Peter Tchaikovsky (1840-1893): Piano Concerto No. 2; Barry Douglas, piano; Philharmonia Orchestra; Leonard Slatkin, conductor; RCA/BMG 61633

Synopsis

In his autobiographical sketch, A Mingled Chime, British conductor Thomas Beecham offered this assessment of British composer Ethel Smyth: “Ethel Smyth is without question the most remarkable of her sex that I have been privileged to know,” and added that he admired her “fiery energy and unrelenting fixity of purpose.”

Born in 1858, she became a composer against her family’s wishes, and it took dogged determination to get her large-scale choral and operatic works performed in an era when most in the music business did not take female composers seriously. That was before they met Smyth, who convinced legendary conductors like Arthur Nikisch, Bruno Walter and Beecham, who realized her music had merit.

Her opera The Wreckers had its premiere performance in Leipzig on today’s date in 1906 and was championed in England by Beecham, who thought it her masterpiece. It remains, wrote Beecham in 1944, the year of her death, “one of the three or four English operas of real musical merit and vitality written in the past 40 years.”

Music Played in Today's Program

Ethyl Smyth (1858-1944): The Wreckers; Soloists and BBC Philharmonic; Odaline de la Martinez, conductor; Conifer 51250

Synopsis

Today’s date in 1928 marks the birthdate in 1928 of Italian composer Ennio Morricone, famous for more than 400 scores he wrote for films and TV.

If you’re a fan, you already know that he wrote the music for a series of spaghetti western movies like the 1964 classic A Fistful of Dollars, starring Clint Eastwood as a taciturn, sun-burnt, cigar-chomping gunman.

If you’re an oboist, you’ve probably played his haunting Gabriel’s Oboe at weddings or funerals. It’s a melody originally heard in his soundtrack to the 1986 film The Mission.

But in a 2006 interview for Dazed magazine, he revealed some things even his fans might not have known: He collected bars of hotel soap as a hobby. And if he hadn’t become a composer, he would have liked to have been a professional chess player.

He also offered a bit of wise advice when asked about scores that were not successes: “A long time ago, I really loved a film that I was working on and I became too involved. That was kind of unbalanced. It made me realize that you can’t love things too much if you want them to work.”

Music Played in Today's Program

Ennio Morricone (1928-2020): Gabriel’s Oboe from The Mission; Orchestra dell’Accademia Nazionale di Santa Cecilia; Ennio Morricone, conductor; Sony 57872

Synopsis

On today’s date in 1967, the New York Philharmonic gave the premiere performance of a new piece, November Steps, by Japanese composer Toru Takemitsu, a work commissioned by the orchestra as part of its 125th-anniversary celebrations. In addition to the usual instruments of the Western symphony orchestra, he included in his score two traditional Japanese instruments: the shakuhachi flute and the biwa, a kind of Japanese lute.

Eight years after the Takemitsu premiere, an organization called Music from Japan was founded to help make other Japanese contemporary music feel “at home” in America. Music from Japan has presented about 400 works across the U.S. and premiered over 40 new works, many of them specially commissioned.

On today’s date in 2000, to celebrate its 25th anniversary, Music from Japan presented a gala concert at Carnegie Hall, which included the premiere of a new orchestral work by talented young Japanese composer Karen Tanaka, one of the rising stars of her generation. Among her recorded works is Night Bird, a piece for two decidedly Western instruments: saxophone and piano.

Music Played in Today's Program

Toru Takemitsu (1930-1996): November Steps; Katsuya Yokoyama, shakuhachi; Kunshi Isuruta, biwa; Concertgebouw Orchestra; Bernard Haitink, conductor; Philips 426 667

Karen Tanaka (b. 1961): Night Bird; Claude Delangle, saxophone; BIS 890

Synopsis

On today’s date in 1830, 11-year-old piano virtuoso Clara Wieck took the stage of the Leipzig Gewandhaus for her first solo recital. Her father was a piano teacher, who had prepared Clara for a solo career since infancy.

This was the age of the great composer-pianists Franz Liszt and Frederic Chopin, and little Clara also wrote original works for her performances. Her Four Polonaises was published the following year. Her career as a composer and performer would eventually span five decades, and, like her father, she became one of the most famous piano teachers of her time.

Nowadays, composer-performers are more common in the world of jazz than classical music, although there are exceptions. One of them is Judith Lang Zaimont, who, like Schumann, developed a triple career as composer, performer and teacher.

“Composing is the central fact of my life. My music seeks to appeal both to the heart (the ‘Ahh!’ response) and to the head (the ‘Aha!’ response). When this mix is just right, I can sense it — and reactions from audiences can be positive, too,” she said.

Music Played in Today's Program

Clara Schumman (1819-1896): Four Polonaises; Josef de Beenhouwer, piano; CPO 999 758

Judith Lang Zaimont (b. 1945): “September” from Calendar Collection; Judith Lang Zaimont, piano; Four Tay 4001