Broadway

Let’s Start the New Year Right

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(Above: Bing Crosby, Virginia Dale, Fred Astaire, and Marjorie Reynolds in the 1942 film, Holiday Inn.) Happy New Year! The first day of January may be a time to sweep up the confetti and put away the party hats, but take a moment and listen to Irving Berlin’s Let’s Start the New Year Right. This suave melody, sung  by the golden-toned Bing Crosby, was written for the 1942 Paramount Pictures classic, Holiday Inn. (White Christmas became the smash hit from …

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Over the Rainbow with Anne Akiko Meyers

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  Earlier in the week, I had the pleasure of accompanying violinist Anne Akiko Meyers in the Samuel Barber Violin Concerto. Meyers performed with the Williamsburg Symphonia, a chamber orchestra based in Williamburg, Virginia. You can hear her interpretation of the Barber on this recording, released in 2000. (She is accompanied by conductor Christopher Seaman and the Royal Philharmonic Orchestra. Listen to the second movement here). Anne Akiko Meyers’ family joined her in …

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On the Town with Misty Copeland

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  Tomorrow, Misty Copeland, the first African-American woman to be named a principal dancer with the American Ballet Theater, will begin a two week stint on Broadway. Copeland will join the cast of the latest production of On the Town, playing the role of Ivy Smith. Here is a preview and here is Terry Teachout’s review of the production. In the world of ballet, Misty Copeland is a ground breaker, redefining long-held views regarding the …

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Lonely Broadway, Circa 1946

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Here’s an interesting historical coincidence from the golden age of American musical theater: At one fleeting moment in the late 1940s, there were three shows running on (or near) Broadway containing songs with strikingly similar titles. The shows had little in common in terms of style or substance. But the three songs, Lonely Room, Lonely Town, and Lonely House share an obvious, if superficial bond. Lonely Room Lonely Room is a dark soliloquy, occurring near the end …

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The Joy of Wrong Notes

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The element of surprise is an important ingredient in every great melody. Each note of a melody sets up expectations which are either fulfilled or delightfully challenged. Often subconsciously, we enjoy the unexpected “wrong” notes that take a melody in a bold new direction. We listen closely to hear how the disruption will work itself out. For an example, listen to the jarring appoggiaturas in the second movement of Mozart’s otherwise serene Piano Concerto …

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Mischa, Jascha, Toscha, Sascha

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A pop song about the prominent violinists of the day? It seems hard to imagine now. But around 1921 George and Ira Gershwin wrote Mischa, Jascha, Toscha, Sascha, a lighthearted ditty about four great Jewish Russian violinists who were well known at the time: Mischa Elman, Jascha Heifetz, Toscha Seidel, and Sascha Jacobsen. The lyric also refers to “Fritz” (Kreisler) and the legendary teacher Leopold Auer. According to biographer Charles Schwartz, George Gershwin enjoyed …

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The Lusty Month of May

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  I can’t resist marking the recent turn of the calendar page with this well-known excerpt from Alan Jay Lerner and Frederick Loewe’s 1960 Broadway musical, Camelot. The score includes some of Loewe’s most beautiful and soaring melodies, including The Simple Joys of Maidenhood, If Ever I Would Leave You, and I Loved You Once In Silence.  Born in Germany, Frederick Loewe began writing songs at the age of 7 and performed as a piano soloist with the …

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