Igor Stravinsky: Bringing New Sounds To A New Century

 

Igor Stravinsky, popularly recognized as a leading founder of Modern music in the 20th century, was born in Russia on this day in 1882. He lived in Switzerland and France before immigrating to the United States after World War II. Over his lifetime he composed in a variety of styles but is best remembered for his dazzling, rhythmic music in the early years - 1910 to 1914 - of the Ballets Russes produced by Sergei Diaghilev in Paris.

Portrait of Stravinsky                     Robert Delaunay, 1917

His work during that brief period included The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913). One could say they are all signature pieces - experimental and revolutionary - that dazzled and in some cases infuriated their audiences. Regardless, the three compositions as well as other sounds from Stravinsky's imagination had a huge impact on music and the arts. He was 27 when audiences first heard The Firebird. Keep in mind that Henry Ford sold 10,000 cars that year, the U.S. had 1000 miles of paved road, half the American population lived on farms or towns with fewer than 2500 people, and the flying machine was a very rare and thrilling sight.

In the century since the premiere of The Firebird, its innovative sounds have been re-patterned by the likes of Aaron Copeland, Leonard Bernstein, John Williams and others including Philip Glass who has perhaps carried rhythm as art to its farthest horizon to date. In the view of Tom Service writing in The Guardian in 2011,

Stravinsky is the only common influence that composers from Steve Reich to Thomas Adès, from Judith Weir to John Adams, from Elliott Carter to Louis Andriessen, can all agree on. Without Stravinsky, there would be no minimalism, not much neo-classicism, not enough rhythmic energy, and not nearly enough compositional freedom in the 20th and 21st centuries. Four decades on, the Stravinsky that's proved most popular with audiences, orchestras and concert halls is the colouristic brilliance of the three early ballets, Firebird, Petrushka, and the Rite.

Indeed, Stravinsky broke rules. In doing so he made new music. A century later it remains as fresh as the year it was composed. And although Stravinsky left this world almost a half century ago he indeed remains as the title of Service's article describes him, "Stravinsky Our Contemporary." Here's more proof with excerpts from a November 2019 concert by the Los Angeles Philharmonic under the baton of the brilliant conductor, Gustavo Dudamel. The Rite of Spring is one of the orchestra's signature pieces.

Some say the most productive experiments often make the biggest messes until they are better understood. The genius and madman in Stravinsky would very much agree.

For more on the place of dissonance in Stravinsky's music here is an entertaining seventeen minute journey on the subject by the British composer, Davis Bruce. This video can be as technical as you want to make it. By no means am I a musical technician so I enjoyed it by simply listening to how Stavinsky's used dissonance to create some of the most popular music of the last century.

Sources

Photos and Illustrations:
portrait, public domain, Robert Delaunay, New Art Gallery Walsall, West Midlands, England

Text:
Igor Stravinsky entry, Wikipedia.org
quotation, Tom Service, "Stravinsky Our Contemporary", theguardian.com, April 6, 2011

Walt Whitman: On Being In America

The American poet and essayist, Walt Whitman, was born on this day in 1819 in West Hills, Long Island, New York. His formal education ended after six years but his insatiable desire to learn immersed him in libraries, museums, lectures, salons, and landscapes in and around New York. His life as a poet, essayist, journalist and humanitarian would take him to New Orleans, Washington, Boston, and Camden, New Jersey, but his associations in New York would make the greater metropolitan area the hub of his career.

Whitman in 1887

A free spirit easily recognized as the most extraordinary poet of his time, Whitman bridged the American experience from the early Romantic period in literature to the advent of hard realism as the end of the century approached. I'm not sure what presence he has these days in public school systems across the country but baby boomers - born between 1946 and 1964 - had a full dose of his poetry beginning in elementary school. For more information on Whitman, including an extensive biography, visit the outstanding resources at the Walt Whitman Archive.

For an example of his work here is "One's-Self I Sing," the introductory poem to the third and last section of his collection, Leaves of Grass, as published in 1867.

ONE’S-SELF I sing—a simple, separate Person,

Yet utter the word Democratic, the word En-masse.

Of Physiology from top to toe I sing;

Not physiognomy alone, nor brain alone, is worthy for the muse—I say the

Form complete is worthier far;

The Female equally with the male I sing.

Of Life immense in passion, pulse, and power,

Cheerful—for freest action form’d, under the laws divine,

The Modern Man I sing.

Much of Whitman's poetry has been set to music. Sometimes the blend of music and existing poetry as opposed to lyric has limited success and authors often do not think favorably of such adaptations. I believe Whitman would have approved especially with the music coming from a fellow impressionist, in this case Frederick Delius. This composition has been a personal favorite for forty years. The recording features the superb Welsh baritone, Bryn Terfel, and the Bournemouth Symphony Orchestra and Chorus under the baton of Richard Hickox. If you want to follow the text it's available here.

Here is a brief, well-known poem brought to a new generation through it's use in the 1989 film, Dead Poets Society.

Sources

Photos and Illustrations:
public domain photo, George Collins Cox, restored by Adam Cuerden, Library of Congress Prints and Photographs Division

Text:
whitmanarchive.org
Walt Whitman entry, wikipedia.org
One's Self I Sing, wikipedia.org

Igor Stravinsky's THE RITE OF SPRING, A Premiere Wrapped In Praise And Riot

There was an important anniversary in the world of music this weekend. Most of my musical posts usually concern people. This one is about a composition in the forefront of a revolution in sound at the end of the Edwardian era. On May 29, 1913 the 30 year-old composer, Igor Stravinsky, made music history in Paris. The event was the premiere of the ballet, The Rite of Spring. Like his earlier work for Sergei Diaghilev's Ballets Russes, it was experimental and revolutionary. When combined with primitive choreography and a human sacrifice theme some in the audience were dazzled while others were infuriated to the point of riot. 

The violence subsided rather quickly, the anger simmered a bit longer and Stravinsky's imaginative compositions went on to have a huge impact on music and the arts. At the forefront stands The Rite of Spring - Stravinsky produced several arrangement throughout his life - as one of the most widely recorded and performed  works in the world. It remains as fresh in 2025 as it was in 1913. In that century its innovative energy in sound and rhythm has been re-patterned by the likes of Aaron Copeland, Leonard Bernstein, John Williams, Philip Glass and many others.

Photo from 1913 showing original costumes

In the early 1980's the original choreography was meticulously reconstructed after being lost for almost six decades. A few years after its completion it was presented by the Joffre Ballet. Several adaptations based on the original costuming and set design have appeared over rhe last forty years. In my opinion the Jofre production remains the better representation of what that 1913 audience both heard and saw. Here is Part 1 - all three available on YouTube - of their performance.

Some say the most productive experiments often make the biggest messes until they are better understood. The genius and madman in Stravinsky would very much agree. 

Sources

Photos and Illustrations:
public domain photo from First Nights: Five Musical Premieres by Thomas F. Kelly. Yale University Press, New Haven, 2000.

Text:
Igor Stravinsky entry, wikipedia.org

Earth Day 2025

Today we celebrate our planet, our earthly home. At our home in the woods a celebration of the planet takes place in some way every day. Perhaps it's a seed order, a letter about water quality in the creek that crosses our property, admiring a blooming orchid or slicing into an amazing tomato harvested a few yards from the kitchen. More often these days I simply watch nature flowing through the seasons.

Our appreciation of nature persists in spite of the full-on seizure and politicization of environmental themes by the radical left - the green movement - that came with the fall of the Soviet Union in 1990. Even the unhinged need an anchor and it is after all the birthday (1870) of the Communist butcher, Vladimir Lenin. Still, it's sad they selected such a universal idea. And now even our information technology isolates us from the outside making it more difficult to experience, understand, appreciate, and protect our planet. All of my adult life, I fought hard to dissolve the barriers between people and nature. Whether we like it or not we live IN nature. The sooner we recognize it the better off both we and the planet will coexist.

Father Mississippi                  Walter Inglis Anderson, U.S., ca. 1955

Experiencing the earth and the built environment upon it has been the greatest teacher over the years. The written word provided significant guidance along the way. First came the foundation heard from childhood:

Psalm 104

1 Praise the LORD, O my soul. O LORD my God, you are very great; you are clothed with splendor and majesty. 2 He wraps himself in light as with a garment; he stretches out the heavens like a tent 3 and lays the beams of his upper chambers on their waters. He makes the clouds his chariot and rides on the wings of the wind. 4 He makes winds his messengers, flames of fire his servants. 5 He set the earth on its foundations; it can never be moved. 6 You covered it with the deep as with a garment; the waters stood above the mountains. 7 But at your rebuke the waters fled, at the sound of your thunder they took to flight; 8 they flowed over the mountains, they went down into the valleys, to the place you assigned for them. 9 You set a boundary they cannot cross; never again will they cover the earth. 10 He makes springs pour water into the ravines; it flows between the mountains. 11 They give water to all the beasts of the field; the wild donkeys quench their thirst. 12 The birds of the air nest by the waters; they sing among the branches. 13 He waters the mountains from his upper chambers; the earth is satisfied by the fruit of his work. 14 He makes grass grow for the cattle, and plants for man to cultivate-- bringing forth food from the earth: 15 wine that gladdens the heart of man, oil to make his face shine, and bread that sustains his heart. 16 The trees of the LORD are well watered, the cedars of Lebanon that he planted. 17 There the birds make their nests; the stork has its home in the pine trees. 18 The high mountains belong to the wild goats; the crags are a refuge for the coneys. 19 The moon marks off the seasons, and the sun knows when to go down. 20 You bring darkness, it becomes night, and all the beasts of the forest prowl. 21 The lions roar for their prey and seek their food from God. 22 The sun rises, and they steal away; they return and lie down in their dens. 23 Then man goes out to his work, to his labor until evening. 24 How many are your works, O LORD! In wisdom you made them all; the earth is full of your creatures. 25 There is the sea, vast and spacious, teeming with creatures beyond number-- living things both large and small. 26 There the ships go to and fro, and the leviathan, which you formed to frolic there. 27 These all look to you to give them their food at the proper time. 28 When you give it to them, they gather it up; when you open your hand, they are satisfied with good things. 29 When you hide your face, they are terrified; when you take away their breath, they die and return to the dust. 30 When you send your Spirit, they are created, and you renew the face of the earth. 31 May the glory of the LORD endure forever; may the LORD rejoice in his works-- 32 he who looks at the earth, and it trembles, who touches the mountains, and they smoke. 33 I will sing to the LORD all my life; I will sing praise to my God as long as I live. 34 May my meditation be pleasing to him, as I rejoice in the LORD. 35 But may sinners vanish from the earth and the wicked be no more. Praise the LORD, O my soul. Praise the LORD.

And here, from 1971, are words that to me reinforce that foundation:

...If you think that the world is going somewhere, that there are certain things that are supposed to happen and there are certain things that are supposed not to happen you never see the way it is like music. Music has no destination. We don' play it in order to get somewhere. If that were the way, the best orchestras would be those who got to the end of the piece the fastest. Music is a pattern which we listen to and enjoy as it unfolds. In the same way, "Where is the water going?" Where do the leaves go? Where are the clouds going? There not going anywhere because nature understands that the point of the whole thing is to be here, to be wide awake to the now that is going on. So when you listen to music you don't try to hold in your memory what is past or to think about what's coming. You listen to the pattern as it unfolds and so watch it as it moves now. It's a dance. And dancing is like music for when you dance you dance just to dance. You don't aim at a particular place on the floor that is your destination of the dance. You listen to the music and you move your body with it [as if] your eyes are following the patterns of the water.

 

The secret of...life is to spend some time every day in which you don't think but just watch, in which you don't form any ideas about life but look at it, listen to it, smell it, feel it. And when you get rid of all the talk in your head, all the ideas about what I do as distinct from what happen to me or what's the difference between man and nature or between what's mine and what's yours it all goes. And it's just the dancing pattern, what the Chinese call "li," the word that originally meant the markings in jade, the grain in wood, or...the pattern on water. When you let go of the definitions, of the attempt to try to pin down nature, to pin down life in your mind so that you can feel you are completely in control of it, its all based on the idea that you're different from it, that you have to master it. When you don't pin it down anymore, when you don't try to cling to it as if it was something different from you then your whole life has about it the sensation of flowing like water. It always goes away. but it always comes back because away and back are two sides of the same thing. Let it go!

Earth Day 2025 will soon be over in my woods but these passages where East meets West tell me that every day is an Earth day. For me the celebration indeed flows like water. Every day is a day to spend some time in observing nature and practicing its wise stewardship.

Five generations ago the Czech composer, Antonin Dvorak, spent his last summer in the United States in the Czech settlement of Spillville, Iowa. In two weeks there surrounded by a landscape of fields, farms, and families under the open skies of the prairie he composed what has become known as the American Quartet. It is a beautiful expression of the optimism of the American experience (see Alexis de Toqueville's Democracy in America) and a fine way to conclude remarks on what should be an uplifting celebration of the "big blue marble" we call Earth.

I hope this post encourages you to go OUTside and find your INside.

 



Sources

Text:

Psalm 104, Holy Bible, NIV

Alan Watts, writer/narrator, Buddhism, Man and Nature, Hartley Foundation, Inc., Cos Cob, Connecticut, 1968

Photos and Illustrations:
Anderson painting, porterbriggs.com

J. S. Bach: Sounds From Heaven

J.S. Bach statue in Leipzig, Germany

Today marks the birthday (in 1685, and for Old Style calendar sticklers, it's March 21) of one of the great three "B's" in classical music, Johann Sebastian Bach, He gave us some of the most sublime music in western culture and it would be an oversight, especially as a Lutheran, not to honor this master of the Baroque and pillar of Lutheranism. 

Here, in seventeen minutes, I think you will understand the compelling effect Bach music has on listeners. In this interpretation by Glenn Gould you'll also be able to hear the performer's notorious verbal accompaniment.

His music was largely forgotten for almost a century following his death, but had been restored by the first quarter of the 19th century. The new-found popularity of Bach was due largely to the composer-performers, Felix Mendelssohn and Ludwig van Beethoven, and the publication of many of Bach's works. 

I was introduced to the music of J.S. Bach as an infant at Mount Calvary Lutheran Church in my little hometown in the mountains of Maryland. The church already had been baptizing members of my father's family for over seventy years. In the summer of my ninth year our family moved leaving behind not only familiar places but also a church family. When I left town I took Bach's faith and music with me. 

So what makes his music so appealing? I could give you my opinion but I'm going to defer to Rick Beato, a performer, composer, producer, teacher, and music historian who has produced an outstanding fifteen minute assessmenyt of Bach and his legacy. Beato's You Tube channel has many videos on the subject. Prepare to be surprized watching your favorite musicians of the past sixty years - jazz, blues, rock, country, c;lassical, or whatever - discuss the place of Bach in the lives and careers. 

Bach's music has remained very much alive in me since leaving "home" seventy years ago. His preludes. fugues, harmonies, the shear wonder of his work, it's all in my blood, and I can't play a single note of it. Wouldn't have it any other way. I simply listen and let it flow.

It's my hope that you can take time today to listen to the videos in this post. Normally I try to avoid posting music longer than ten minutes but today will be an exception. Also, I trust if interested you'll watch the other Bach videos available on Beato's YouTube channel. You will not be disappointed.

As an aside, I highly recommend Rick Beato's YouTube channel as an outstanding source for news and general info on all kinds of music and music history. He knows the industry from all sides in addition to being an entertaining host and interviewer.

Music's ultimate end or final goal…should be for the honor of God and the recreation of the soul.

                                                        J. S. Bach - Leipzig, 1738

Sources

Photo: stlpublicradio.org, flickr/seabamirum

Celebrating The American Composer, Philip Glass, On His Birthday

 

Philip Glass                           Luis Alvarez Roure, U.S., 2016

Philip Glass is the most well-known minimalist composer and master of what he calls music of repetitive structure in our time. He was born into a musical family in  Baltimore and lived in an apartment above his father's record store. In that environment he developed a love of music, particularly modern classical music, by listening to promotional recordings and records that had been returned to the store. At eight he was studying music at the Peabody Conservatory of Music. At fifteen he continued his musical training and studied mathematics and philosophy at the University of Chicago. 

Listeners cannot help but "count" in one way or another throughout all of his compositions. And his work is surely a Calculus in our own time, retaining its minimalist core wrapped in a stylistic evolution. He has composed operas, symphonies, concertos, string quartets, chamber pieces, and film scores. Three of his scores received Academy Award nominations.

He wrote his first score for the film, Koyaaniqatsi (1982), a mesmerizing audiovisual feast by Godfrey Reggio and Ron Fricke examining the interface of people, technology, and nature. Glass's score for this film has become a signature piece, one that he and his ensemble have performed around the world for almost four decades. Glass has also composed for many popular films including Candyman (1992), The Hours (2002), and the memorable satire, The Truman Show (1998).

Listening to Glass is often more an experience where one can get be the music as a participant rather than merely listen. Even at its simplest, his work has complexities in tone, harmony, tempo and orchestration. For one thing, Glass counts. He plays by the numbers, practicing his musical arithmetic adding, subtracting, multiplying, dividing, and even solving some algebraic formulas here and there. In the end music to Glass seems like the mathematics he studied. Fortunately for our culture, popular as well as haute, he became an extraordinary, prolific, and popular composer whose significant international influences in the music world continue to this very day which happens to be his 87th birthday.

Sources

Photos and Illustrations:
Collection of the Smithsonian National Portrait Gallery, Washington, D.C.

Text:
philipglass.com
wikipendia.org

Frederick Delius: Saturation In Sound

 

Delius in 1907

The English composer, Frederick Delius, was born on this day in Yorkshire in 1862. At 24, he lived the classic story of breaking away from the family business - wool, no less - to pursue a love for the arts, in this case, music. The break was interesting for it took him first to Solano Grove and an orange plantation on the banks of the St. Johns River south of Jacksonville, Florida. Later, he would teach music in Danville, Virginia, before returning to Europe for formal education in Germany. He took the sounds of American culture with him. In 1888, he settled in Paris, later married the painter, Jelka Rosen - she painted the portrait below - and devoted his life to composition. In his last sixteen years he was tortured by the pain of a slow death from syphilis contracted during his early years in Paris. In the four years before his death in 1934, he was blind and essentially paralyzed from the neck down. He composed and completed some of his most significant work during this period, all of it reaching paper through the notations of his loyal amanuensis, Eric Fenby.

Delius patterned much of his music after that of his friend and fellow composer, Edvard Grieg, but tempered it with English impressionism, a love of naturalism, and his American experience, particularly his immersion in African American cultural themes while working on his father's grapefruit plantation. The result was a unique and demanding music for performer and listener alike and one that almost demands an acquired appreciation. From his death until the 1970's many in the classical music industry thought his compositions were "too sweet" and trapped in immature cliches. Today, his popularity continues to grow but I believe he remains an underappreciated figure in 20th century music.

Portrait of Delius by his wife, Jelka Rosen, Grez-sur-Loing, France, 1912

I first encountered Delius's music in a BBC program in 1968. The unique lyric quality of his compositions was like a magnet and there was no escape from the compelling soundscapes with such rich, complex imagery and depth. It was easy to fall under the Delius spell as a student of physical and historical geography. The appreciation increased when I began a life-long career focused on the nation's most significant and often most beautiful places.

Years ago, I had the opportunity to sit alone on a dock watching the evening move over the St. Johns River landscape not far from Solano Grove. Delius's music was in my head and all the beauty of "Old Florida" was in my heart. A century earlier he had likely walked the river's edge at that very place, watched the same sun glistening on the water, heard the worker's songs blending with those of insects and the wind rustling the reeds and nearby palmettos.

Over his lifetime he would be identified with the English school of music, but would put much of that Florida experience into his work. In fact, he has a significant place in American music history having been the first classical composer to use musical themes of black Americans in the South. Those themes appear in several of his composition more than forty years before George Gershwin and Porgy and Bess. 

This post opened with Song of Summer, written in 1930 when Delius was blind and paralyzed. To conclude, here are two earlier compositions. The first is from the Florida Suite, written in 1888 when he was twenty years old. Music historians agree that this piece represents the first use of black American folk idioms in classical form by a European composer. He also composed the first black opera, Koanga. (George Gershwin is most often erroneously credited with this accomplishment, but his opera, Porgy and Bess, premiered fifty years later.

 

The second work,  In A Summer Garden, was composed in 1908. This and many other Delius works would go on to influence a number of popular music composers well into the 20th century. Perhaps the most significant of them was the iconic composer, pianist, and bandleader, Duke Ellington, whose composed - most likely with his arranger, Billy Strayhorn - In a Blue Summer Garden as a tribute. 

Over forty years have passed since I watched that sunset near Solano Grove. That's a long time to explore and mature in one man's music. It remains a most satisfactory experience filled with complex brushstrokes of sound so different, immersive, and timeless.

Music is a cry of the soul. It is addressed and should appeal instantly to the soul of the listener. It is a revelation, a thing to be reverenced.

                                                                          Frederick Delius

Sources

Photos and Illustrations:

Delius photograph, Monographein Moderner Musiker, Leipzig, Germany: C.F. Kahnt Nachfolger, 1907. Public domain in the United States
Portrait of Frederick Delius by his wife, Jelka Rosen.

Text:
title, from comments by Delius biographer, Christopher Palmer, 1976

The Delius Society
Before the Champions: Frederick Delius' Florida Suite for Orchestra, Mary E. Greene., M.A. Thesis, University of Miami, 2011
Radio Swiss Classic, Frederick Delius
Wikipedia, the free encyclopedia, Frederick Delius

A Birthday Celebrated And Shared

For several years now my birthday always brings to mind the remarkable coincidence that I share the day with two of my favorite personalities from the world of the arts. Studying them in depth came later in my life and it's only been in the last thirty years or so that I realized September 29 was a big day we shared. It's a coincidence from somewhere in the stars beyond time. I don't want to attempt an explanation. And there's no delusion here, my friends, I will never approach their genius. Not sure I'd want to. I'll simply leave it at that and let this post unfold.

So who are these two artists? They are Walter Inglis Anderson and George Gershwin. I discovered Anderson on my own in the 1970s during the dedication of a National Park Service visitor center in Ocean Springs, Mississippi. The award-winning center featured architectural elements incorporating his motifs as well as interior displays of his nature paintings, island journals, and other books. The building itself, a gift to the National Park Service, was a work of art emerging from the salt marsh at the edge of Davis Bayou. Unfortunately, the center was destroyed by Hurricane Katrina. In regard to George Gershwin, I had an ear for him very early in life as my mom and dad enjoyed listening to his work on radio, records, and television.

Walter Inglis "Bob" Anderson, Self-Portrait, ca. 1941

George Gershwin a few months before his death in 1937

Anderson and Gershwin were filled with creative genius and tragic loss. Anderson died (1965) in his early sixties recognized as a local artist and obscure introvert wracked by schizophrenia. National appreciation of his contribution to American art would come slowly and long after his death. Even today he's not well known among general populations beyond the South. Gershwin would die of an aggressive brain tumor at the age of 37 at the height of his career and known throughout the world.

Walter Inglis Anderson, was born on September 29, 1903 in New Orleans. After training at the Pennsylvania Academy of Fine Arts in the mid-1920s, he spent most of his career associated with Shearwater Pottery, a family enterprise founded in Ocean Springs, Mississippi. Though deeply troubled with mental illness for much of his life, he produced thousands of vivid works of art - often called "abstract realism" - seeking to celebrate the unity of human existence with nature. I often describe his work as decorated illustrations that play freely with figure and ground and the positives and negatives of visual perception. His realizations of nature explode in the mind's eye. Observing Anderson is a meditative experience. Visit the Walter Inglis Anderson Museum of Art site to learn more about the life and work of this regional artist whose work has only recently has taken on national significance.

Frogs, Bugs, Flowers                          Walter Anderson, ca 1945

George Gershwin was born in New York in 1898. He went on to become perhaps the most beloved American composer of the last century through his many compositions for the musical stage, the concert hall, and what has become known as the Great American Songbook. Gershwin's appeal comes in part from his colorful and lively incorporation of jazz motifs in all of his music. He died in 1937 with what could only be called a spectacular career ahead of him. I often imagine what he could have brought to American music had he lived another forty years. Here is a spectacular interpretation of the final movement of Gershwin's Concerto in F. For good reason he originally called the it New York Concerto. To me there's no more energetic sound image of the Big Apple than this piece.

Today I begin my 78th year still deeply immersed in the amazing output of Anderson and Gershwin. Although I'm perfectly happy not to share their fame, I'm honored to share their interpretations of the American experience with anyone. And what fine interpretations they are.

Little Room, South Wall Walter Inglis Anderson, 1950-65

Sources

Photos and Illustrations:

Walter "Bob" Anderson, Self-portrait, 1941. Walter Anderson Museum of Art, Ocean Springs, Mississippi.
Frogs, Bugs, and Flowers, Walter Anderson, ca 1945. Repository: Roger H. Ogden Collection. Copyright held by Roger H. Ogden.
George Gershwin 1937. Carl Van Vechten Collection, Library of Congress

John Rutter: Never-Ending Sounds Of Joy And Hope

John Rutter at Clare College, Cambridge, England

John Rutter, the renowned British composer, conductor and arranger, turns 79 today. He is best known and loved for his choral music, the Cambridge Singers choir, and their recording label, Collegium Records. Doing an Internet search for Rutter doesn't bring up much more than the same brief biography. Though far from reclusive, the composer enjoys his privacy, but he does have a fairly active Facebook page. In addition, there is the occasional article here, and here that gives readers some insight into the man behind the music. My take on this relative dearth of information is simply that one should get to know the man through his music. Here is an anthem he wrote for the wedding of Prince William and Catherine Middleton in 2011:

Some in the classical music world, mostly in Great Britain, find Rutter's compositions to be a bit simple, repetitive, and stylistically confused. Others place him at the top among contemporary composers. I have to side with the latter appraisals. The melodies are generally simple, the harmonies beautiful, and the style affords a perfect balance of music and message. Furthermore, choirs of all sizes and skill levels perform his work to appreciative audiences everywhere. If popularity is any indicator, John Rutter's music will be enjoyed for a long, long time.

Here is the finale of Rutter's 2016 composition, Visions, a four-part work based on the theme of Jerusalem:

Here is perhaps Rutter's most recognized and popular work, his choral work based on Cecil Frances Alexander's hymn, All Things Bright and Beautiful.

Splendid sounds indeed.







Sources

Photos and Illustrations:
Clare College Alumni

Text:
johnrutter.com

John

Johann Sebastian Bach: God's Composer Comes Home

Statue of composer J.S. Bach in Leipzig, Germany

This day in 1750 marks the passing of one of the great three "B's" in classical music, Johann Sebastian Bach, He gave us some of the most sublime music in western culture and it would be an oversight, especially as a Lutheran, not to honor this master of the Baroque and pillar of Lutheranism. Bach is a taste of genius. Although his work was largely forgotten for a century following his death, it went on to influence composition and performance in virually all music genres to this very day.

Magnificat in D Major, Nikolaus Harnoncourt conducting.

Goldberg Variations. The performance is by the dazzling and eccentric Canadian pianist, Glenn Gould, who was well-known for quietly "scatting" during his performances. He drove sound and recording engineers batty.

Cello Suite No. 6 in D Major, Yo Yo Ma

Toccata and Fugue in D Minor. A familiar piece but it never gets old especially when played by the amazing young organist, Gert Van Hoef. He made this video a few weeks before his nineteenth birthday.

Bach's music has been a part of me for so long that I couldn't begin to tell you when I first heard it other than to say it had to be in church at a very early age. The preludes. fugues, harmonies, the shear wonder of his work, it's all in my blood, and I can't play a single note of it. Wouldn't have it any other way. I simply listen and let it flow.

It's my hope that you can take time today to listen to the four pieces included in this post. Normally I try to avoid posting music longer than ten minutes but today will be an exception.

Music’s ultimate end or final goal…should be for the honor of God and the recreation of the soul.

                                                        J. S. Bach - Leipzig, 1738






Sources

Photo: stlpublicradio.org, flickr/seabamirum

Igor Stravinsky: Defining The Future In Music

Igor Stravinsky, popularly recognized as a leading founder of Modern music in the 20th century, was born in Russia on this day in 1882. He lived in Switzerland and France before immigrating to the United States after World War II. Over his lifetime he composed in a variety of styles but is best remembered for his dazzling, rhythmic music in the early years - 1910 to 1914 - of the Ballets Russes produced by Sergei Diaghilev in Paris.

Portrait of Stravinsky                     Robert Delaunay, 1917

His work during that brief period included The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913). One could say they are all signature pieces - experimental and revolutionary - that dazzled and in some cases infuriated their audiences. Regardless, the three compositions as well as other sounds from Stravinsky's imagination had a huge impact on music and the arts. He was 27 when audiences first heard The Firebird. Keep in mind that Henry Ford sold 10,000 cars that year, the U.S. had 1000 miles of paved road, half the American population lived on farms or towns with fewer than 2500 people, and the flying machine was a very rare and thrilling sight.

In the century since the premiere of The Firebird, its innovative sounds have been re-patterned by the likes of Aaron Copeland, Leonard Bernstein, John Williams and others including Philip Glass who has perhaps carried rhythm as art to its farthest horizon to date. In the view of Tom Service writing in The Guardian in 2011,

Stravinsky is the only common influence that composers from Steve Reich to Thomas Adès, from Judith Weir to John Adams, from Elliott Carter to Louis Andriessen, can all agree on. Without Stravinsky, there would be no minimalism, not much neo-classicism, not enough rhythmic energy, and not nearly enough compositional freedom in the 20th and 21st centuries. Four decades on, the Stravinsky that's proved most popular with audiences, orchestras and concert halls is the colouristic brilliance of the three early ballets, Firebird, Petrushka, and the Rite.

Indeed, Stravinsky broke rules. In doing so he made new music. A century later it remains as fresh as the year it was composed. And although Stravinsky left this world almost a half century ago he indeed remains as the title of Service's article describes him, "Stravinsky Our Contemporary." Here's more proof with excerpts from a November 2019 concert by the Los Angeles Philharmonic under the baton of the brilliant conductor, Gustavo Dudamel. The Rite of Spring is one of the orchestra's signature pieces.

Some say the most productive experiments often make the biggest messes until they are better understood. The genius and madman in Stravinsky would very much agree.

For more on the place of dissonance in Stravinsky's music here is an entertaining seventeen minute journey on the subject by the British composer, Davis Bruce. This video can be as technical as you want to make it. By no means am I a musical technician so I enjoyed it by simply listening to how Stavinsky's used dissonance to create some of the most popular music of the last century.

Sources

Photos and Illustrations:
portrait, public domain, Robert Delaunay, New Art Gallery Walsall, West Midlands, England

Text:
Igor Stravinsky entry, Wikipedia.org
quotation, Tom Service, "Stravinsky Our Contemporary", theguardian.com, April 6, 2011

Walt Whitman: He Was America Singing

The American poet and essayist, Walt Whitman, was born on this day in 1819 in West Hills, Long Island, New York. His formal education ended after six years but his insatiable desire to learn immersed him in libraries, museums, lectures, salons, and landscapes in and around New York. His life as a poet, essayist, journalist and humanitarian would take him to New Orleans, Washington, Boston, and Camden, New Jersey, but his associations in New York would make the greater metropolitan area the hub of his career.

Whitman in 1887

A free spirit easily recognized as the most extraordinary poet of his time, Whitman bridged the American experience from the early Romantic period in literature to the advent of hard realism as the end of the century approached. I'm not sure what presence he has these days in public school systems across the country but baby boomers - born between 1946 and 1964 - had a full dose of his poetry beginning in elementary school. For more information on Whitman, including an extensive biography, visit the outstanding resources at the Walt Whitman Archive.

For an example of his work here is "One's-Self I Sing," the introductory poem to the third and last section of his collection, Leaves of Grass, as published in 1867.

ONE’S-SELF I sing—a simple, separate Person,

Yet utter the word Democratic, the word En-masse.

Of Physiology from top to toe I sing;

Not physiognomy alone, nor brain alone, is worthy for the muse—I say the

Form complete is worthier far;

The Female equally with the male I sing.

Of Life immense in passion, pulse, and power,

Cheerful—for freest action form’d, under the laws divine,

The Modern Man I sing.

Much of Whitman's poetry has been set to music. Sometimes the blend of music and existing poetry as opposed to lyric has limited success and authors often do not think favorably of such adaptations. I believe Whitman would have approved especially with the music coming from a fellow impressionist, in this case Frederick Delius. This composition has been a personal favorite for forty years. The recording features the superb Welsh baritone, Bryn Terfel, and the Bournemouth Symphony Orchestra and Chorus under the baton of Richard Hickox. If you want to follow the text it's available here.

Here is a brief, well-known poem brought to a new generation through it's use in the 1989 film, Dead Poets Society.

Sources

Photos and Illustrations:
public domain photo, George Collins Cox, restored by Adam Cuerden, Library of Congress Prints and Photographs Division

Text:
whitmanarchive.org
Walt Whitman entry, wikipedia.org
One's Self I Sing, wikipedia.org

Memorial Day Weekend 2024

In the American composer Charles Ives's time (1874-1954) the holiday we celebrate on Monday was known as Decoration Day. It was a time to remember men and women in uniform who died in service to their country. Today, we call it Memorial Day and, though both its date and scope have changed over time, its central meaning remains strong. At virtually every crossroad town from sea to sea, there will be old soldiers, flags, a speech or two, and prayers. These events will take place at memorial walls bearing the names of the honored dead. Invariably, the audiences will be small, but firmly dedicated to the idea that the nation will always remember the cost of freedom.

Ives captures much of the historic character of this day in his composition, Holiday Symphony, Section II, "Decoration Day." The piece has a number of familiar tunes but you may not recognize them without a guide. Like the holiday itself, Ives give us rich, complex, and contemplative moments in time and space.

I hope you experience Decoration/Memorial Day to its fullest, that is, with remembrance and celebration.

Baltimore's Renowned Modern Music Master, Philip Glass, At 87

 

Philip Glass                           Luis Alvarez Roure, U.S., 2016

Philip Glass is the most well-known minimalist composer and master of what he calls music of repetitive structure in our time. He was born into a musical family in  Baltimore and lived in an apartment above his father's record store. In that environment he developed a love of music, particularly modern classical music, by listening to promotional recordings and records that had been returned to the store. At eight he was studying music at the Peabody Conservatory of Music. At fifteen he continued his musical training and studied mathematics and philosophy at the University of Chicago. 

Listeners cannot help but "count" in one way or another throughout all of his compositions. And his work is surely a Calculus in our own time, retaining its minimalist core wrapped in a stylistic evolution. He has composed operas, symphonies, concertos, string quartets, chamber pieces, and film scores. Three of his scores received Academy Award nominations.

He wrote his first score for the film, Koyaaniqatsi (1982), a mesmerizing audiovisual feast by Godfrey Reggio and Ron Fricke examining the interface of people, technology, and nature. Glass's score for this film has become a signature piece, one that he and his ensemble have performed around the world for almost four decades. Glass has also composed for many popular films including Candyman (1992), The Hours (2002), and the memorable satire, The Truman Show (1998).

Listening to Glass is often more an experience where one can get be the music as a participant rather than merely listen. Even at its simplest, his work has complexities in tone, harmony, tempo and orchestration. For one thing, Glass counts. He plays by the numbers, practicing his musical arithmetic adding, subtracting, multiplying, dividing, and even solving some algebraic formulas here and there. In the end music to Glass seems like the mathematics he studied. Fortunately for our culture, popular as well as haute, he became an extraordinary, prolific, and popular composer whose significant international influences in the music world continue to this very day which happens to be his 87th birthday.

Sources

Photos and Illustrations:
Collection of the Smithsonian National Portrait Gallery, Washington, D.C.

Text:
philipglass.com
wikipendia.org

In Creating New Musical Forms He Captured Even More Beauty In This World

 

Delius in 1907

The English composer, Frederick Delius, was born on this day in Yorkshire in 1862. At 24, he lived the classic story of breaking away from the family business - wool, no less - to pursue a love for the arts, in this case, music. The break was interesting for it took him first to Solano Grove and an orange plantation on the banks of the St. Johns River south of Jacksonville, Florida. Later, he would teach music in Danville, Virginia, before returning to Europe for formal education in Germany. He took the sounds of American culture with him. In 1888, he settled in Paris, later married the painter, Jelka Rosen - she painted the portrait below - and devoted his life to composition. In his last sixteen years he was tortured by the pain of a slow death from syphilis contracted during his early years in Paris. In the four years before his death in 1934, he was blind and essentially paralyzed from the neck down. He composed and completed some of his most significant work during this period, all of it reaching paper through the notations of his loyal amanuensis, Eric Fenby.

Delius patterned much of his music after that of his friend and fellow composer, Edvard Grieg, but tempered it with English impressionism, a love of naturalism, and his American experience, particularly his immersion in African American cultural themes while working on his father's grapefruit plantation. The result was a unique and demanding music for performer and listener alike and one that almost demands an acquired appreciation. From his death until the 1970's many in the classical music industry thought his compositions were "too sweet" and trapped in immature cliches. Today, his popularity continues to grow but I believe he remains an underappreciated figure in 20th century music.

Portrait of Delius by his wife, Jelka Rosen, Grez-sur-Loing, France, 1912

I first encountered Delius's music in a BBC program in 1968. The unique lyric quality of his compositions was like a magnet and there was no escape from the compelling soundscapes with such rich, complex imagery and depth. It was easy to fall under the Delius spell as a student of physical and historical geography. The appreciation increased when I began a life-long career focused on the nation's most significant and often most beautiful places.

Years ago, I had the opportunity to sit alone on a dock watching the evening move over the St. Johns River landscape not far from Solano Grove. Delius's music was in my head and all the beauty of "Old Florida" was in my heart. He had likely walked the river's edge at that very place, watched the same sun glistening on the water, heard the worker's songs blending with those of insects and the wind rustling the reeds and nearby palmettos.

Over his lifetime he would be identified with the English school of music, but would put much of that Florida experience into his work. In fact, he has a significant place in American music history having been the first classical composer to use musical themes of black Americans in the South. Those themes appear in several of his composition more than forty years before George Gershwin and Porgy and Bess. 

This post opened with Song of Summer, written in 1930 when Delius was blind and paralyzed. To conclude, here are two earlier compositions. The first is from the Florida Suite, written in 1888 when he was twenty years old. Music historians agree that this piece represents the first use of black American folk idioms in classical form by a European composer. He also composed the first black opera, Koanga. (George Gershwin is most often erroneously credited with this accomplishment, but his opera, Porgy and Bess, premiered fifty years later.

 

The second work,  In A Summer Garden, was composed in 1908. This and many other Delius works would go on to influence a number of popular music composers well into the 20th century. Perhaps the most significant of them was the iconic composer, pianist, and bandleader, Duke Ellington, whose composed - most likely with his arranger, Billy Strayhorn - In a Blue Summer Garden as a tribute. 

Over forty years have passed since I watched that sunset near Solano Grove. That's a long time to explore and mature in one man's music. It remains a most satisfactory experience filled with complex brushstrokes of sound so different, immersive, and timeless.

Music is a cry of the soul. It is addressed and should appeal instantly to the soul of the listener. It is a revelation, a thing to be reverenced.

                                                                          Frederick Delius

Sources

Photos and Illustrations:

Delius photograph, Monographein Moderner Musiker, Leipzig, Germany: C.F. Kahnt Nachfolger, 1907. Public domain in the United States
Portrait of Frederick Delius by his wife, Jelka Rosen.

Text:
title, from comments by Delius biographer, Christopher Palmer, 1976

The Delius Society
Before the Champions: Frederick Delius' Florida Suite for Orchestra, Mary E. Greene., M.A. Thesis, University of Miami, 2011
Radio Swiss Classic, Frederick Delius
Wikipedia, the free encyclopedia, Frederick Delius