Twentieth Century

Anne-Sophie Mutter Plays Takemitsu

by

At the end of April, German violinist Anne-Sophie Mutter will be appearing with conductor Andris Nelsons and the Boston Symphony. The program will pair the Tchaikovsky Violin Concerto with an exciting lesser-known work: Japanese composer Tōru Takemitsu’s Nostalghia for solo violin and orchestra, written in 1987 in memory of the Russian film-maker Andrei Tarkovsky. Takemitsu was inspired by Tarkovsky’s use of wide, long, gradually unfolding landscape shots. Here is what Mutter said about the piece in a Huffington …

Read more

Barber’s Second Essay: Mid-Century American Romanticism

by

Samuel Barber (1910-1981) composed his first piece, a 23-measure piano composition in C minor called Sadness, at the age of seven. At the age of nine he wrote this precocious letter: Dear Mother: I have written this to tell you my worrying secret. Now don’t cry when you read it because it is neither yours nor my fault. I suppose I will have to tell it now without any nonsense. To begin with I …

Read more

Barbara Bonney: Samuel Barber’s Four Songs, Op. 13

by

Think twentieth-century music and what comes to mind? Probably the atonal serialism of Arnold Schoenberg, Elliott Carter, Milton Babbitt, or Karlheinz Stockhausen, along with the witty, neoclassical utterances of Stravinsky. But we should never forget that twentieth-century music is also the distinctive, Neo-Romantic voice of American composer Samuel Barber (1910-1981). Perhaps no composer in the twentieth century contributed to the genre of the art song more profoundly than Barber, who seems to have inherited the …

Read more

The 2017 Oscars: Nominees for Best Original Score

by

The 89th Academy Awards are coming up this Sunday. Here are some excerpts from this year’s nominees for “Best Original Score: “Moonlight” (Nicholas Britell) Nicholas Britell’s score for Moonlight alters and manipulates sound in a way that is similar to expressive techniques used in cinematography. In this interview with The Frame, the Juilliard-trained pianist and composer said, Barry [Jenkins, the director] told me right from the beginning about his love of “chopped and screwed” music, which …

Read more

Finding “Joie de vivre” in Poulenc

by

Music has the ability to unleash mysterious powers which transcend the literal. I was reminded of this recently, as I listened to George Gershwin’s ebullient song, Of Thee I Sing, featured in Monday’s post. It’s the title song of one of the Broadway musical theater’s most zany political satires. Within the show, the premise of the song is delightfully ridiculous: It’s the campaign song of a goofy presidential candidate who’s running on a …

Read more

“Of Thee I Sing”: Gershwin’s Wacky, Tuneful, Political Satire

by

Today is President’s Day in the U.S. Over the past few years, here at The Listeners’ Club, we’ve marked the occasion with musical portraits of Washington, Lincoln and even Richard Nixon. Today, let’s consider the fictitious presidential candidate John P. Wintergreen who runs on a “love” platform. He’s the goofy protagonist of the 1931 Pulizer-Prize-winning Broadway musical satire Of Thee I Sing, with music by George Gershwin, lyrics by Ira Gershwin, and a book by George S. …

Read more

The 2017 Classical Grammys

by

Here is an overview of last weekend’s 2017 Grammy Awards in the classical categories. From opera to chamber music, the list features a heavy dose of American contemporary music: Best Orchestral Performance Shostakovich: Under Stalin’s Shadow – Symphonies Nos. 5, 8 & 9 Andris Nelsons, conductor (Boston Symphony Orchestra) This is the second installment in a series of live-concert Shostakovich recordings by Music Director Andris Nelsons and the Boston Symphony on the …

Read more