American Muse is a podcast about American orchestral music, hosted by conductor Grant Gilman, Director of Orchestral Studies at New World School of the Arts in Miami. Season two, The Case For, begins in January 2027. Each episode makes the case for one neglected American orchestral work, and for the professional orchestra that is performing it this year. The episodes are on video, with the score on screen, at youtube.com/@GrantGilman. Season one is still here: seven works and seven interviews, with JoAnn Falletta, Gerard Schwarz, Markand Thakar, Diane Wittry, Mark Gibson, Chelsea Tipton and Silas Huff. grantgilman.com/americanmusepodcast

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2021/3/20/18/ea25bd9f-9c1e-4140-b5a9-65acc9b5f58f_chelsea_tipton_-_processed_audio-_podcast.mp3

Today’s guest on the American Muse Podcast is a dynamic person and fantastic conductor and musician. In addition to his position as Music Director of the Symphony of Southeast Texas (where my father has played under him for many years), he is Principal Pops Conductor with the New Haven Symphony. Having already guest conducted all over the United States and Europe, he is persisting through the pandemic to conduct this season in Greensboro, Bridgeport, Lake Charles, Toledo, and at the Colour of Music Festival in Charleston. His work and community leadership is very well regarded. The Niches River Festival in Beaumont, TX named him Citizen of the Year, Capital One Bank gave him the Community Spotlight Award, and none other than the Atlanta Symphony Orchestra made him the first annual Aspire Award recipient. And as if all that wasn’t enough, I’ve been told he’s one of the nicest people you will ever meet! Here he is Maestro Chelsea Tipton! www.americanmusepodcast.com Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a>

Today’s guest on the American Muse Podcast is a dynamic person and fantastic conductor and musician. In addition to his position as Music Director of the Symphony of Southeast Texas (where my father has played under him for many years), he is Principal Pops Conductor with the New Haven Symphony. Having already guest conducted all over the United States and Europe, he is persisting through the pandemic to conduct this season in Greensboro, Bridgeport, Lake Charles, Toledo, and at the Colour of Music Festival in Charleston. His work and community leadership is very well regarded. The Niches River Festival in Beaumont, TX named him Citizen of the Year, Capital One Bank gave him the Community Spotlight Award, and none other than the Atlanta Symphony Orchestra made him the first annual Aspire Award recipient. And as if all that wasn’t enough, I’ve been told he’s one of the nicest people you will ever meet! Here he is Maestro Chelsea Tipton!

www.americanmusepodcast.com

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Chelsea Tipton - Interview

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A precocious young composer, the teacher of Charles Ives, and a NON-nationalistic Scottish work undeniably influenced by Tchaikovsky (even though it may have been intended to do the exact opposite), are all headline descriptions of the topic for this episode of the American Muse podcast: Horatio Parker and his work _A Northern Ballad_. ###Background####Bio- Youngest of the “Boston 6”, Horatio Parker was born 1863 in Auburndale, MA, a rural area at the time, now subsumed by the Boston city limits. He studied with George Whitefield Chadwick at the New England Conservatory of Music (NEC) and eventually, like most serious musicians at the time, went to Europe and studied with Josef Rheinberger at the Royal Music School in Munich. A similar comment by both these teachers points to a characteristic that Parker carried throughout his compositional career. Chadwick, speaking of the young Parked, roughly aged 17-19, says:&gt; He was far from docile. In fact, he was impatient of the restrictions of musical form and rather rebellious of the discipline of counterpoint and fugues. His lessons usually ended with his swallowing his medicine, but with many a wry grimace.- This quote probably says as much about the youthfulness of Parker as it does the fastidious Chadwick and his own workmanship-like character. Yet, while later studying with Rheinberger, also a former teacher of Chadwick, an observation by the Boston music critic William Apthorp would confirm Parker’s temptation to go against the grain:&gt; It is said of H. W. Parker that when he was a student in Munich under Rheinberger he was repeatedly introducing some new wrinkle, some unheard of effect... Certain of these musical inventions were distasteful to the master... and others were railed at playfully but secretly endorsed and even imitated by Rheinberger himself.- Upon returning to the United States, Parker moved to New York and bounced around several church positions. This is where Parker found the strongest market for his compositions, as any choral, organ, or piano work he wrote was quickly performed and highly praised. At the end of his time in New York, Parker spent one, lone year teaching at the famous National Conservatory of Music in America. Famous mostly because this is the school at which Antonín Dvořák taught during his highly publicized visit to the “New World”. And, that lone year, 1892-1893, overlapped with Dvořák’s first year.- Eventually, Parker returned to Boston, having a substantial reputation as a composer, mostly of choral works. In an ironic twist, relating to the observations of Parker as a young man, musicologist and biographer William Kearns found in Parker’s diaries that one of the reasons he left his church position was “problems of discipline among the boys in the Holy Trinity Choir... he complained that they are a ‘burden’ to the choirmaster and expressed the hope that the adult mixed choir at his new appointment would leave him more time for the important work of composition.” I am sure Chadwick had a laugh about that!- Parker’s stay in Boston only lasted one year, as he then took a teaching position at Yale. There, Parker developed a long legacy of composition students, punctuated by Roger Sessions and the inimitable Charles Ives. Parker developed _The History of Music_ course, served as editor of _Music and Drama_, served as dean of the School of Music, conducted and developed the New Haven Symphony Orchestra as both a professional ensemble and lab orchestra for Yale music students, all while continuing to compose. It was from this position that the rest of his life would be based. Also, this move towards academia would nudge Parker to analyze his own thinking about music, it’s place in society, and cause him to make definitive statements on the subject. Near the end of his life, Parker wrote in the _Yale Review_:&gt; In truth there are two very different kinds of taste. May I call them high and low to save space?... I think an enormous part of our national common progress is made by breaking down barriers between such types. Training the lowly to enjoy exalted music is known to be meritorious. I never heard anyone commend the reverse process of training the fastidious to recognize vulgar excellence.- The man comes full circle! A somewhat rogue youth, tamed by well-disciplined teachers, now embracing the diversity of musical options. And as can be seen, these phases manifest in his composition as well###Analysis of piece- And the main event: Parker’s tone poem _A Northern Ballad_- Written over the 1898-99 winter, the symphonic poem was premiered by the New Haven Symphony, conducted by the composer himself.- Overall, Parker’s pure orchestral output is limited, though what he did produce was compelling. _A Northern Ballad_ being one of his most mature works elicited quite a review from a New York newspaper in 1901: “The impression left by the whole is that if Mr. Parker would give up writing church music he has the stuff in him to turn out most effective secular material. His music is virile and full bodied, and its eclecticism is not greater than that of most music now being written.”- Now, the first question I had about the title of this piece was “what North is Parker referring to?” Apparently, it is nothing to do with America at all, but that of Scotland, a nod to his own Anglo-Saxon roots. There are some noticeable Scottish folk-like resemblances, and while one performance review describes the piece as quote “Celtic rather than distinctively Norse,” another notes its use of “Scotch melodies and instrumental coloring.” Rather than a nationalistic nod, it is possible this is a reaction to Dvorak&#39;s controversial statements about American music during his tenure as Director of the National Conservatory of Music in New York, where, as I mentioned earlier, Parker and Dvorak overlapped for one year. In his biography on Parker, William Kearns suggests that “Both its title and content suggest another step in Parker’s move away from German influences”. Ok, maybe the title. But, content? Uh... as you will hear, and I will point out specifically, there are quite a few elements that bear a striking resemblance to Tchaikovsky’s iconic _Romeo and Juliet_ overture. Yes, I know, Tchaikovsky is of course Russian, not German. However, Tchaikovsky’s style is a composite of MANY different influences from all over Europe, not the least of which is German, Italian, and French, all in addition to Russian. So, I have to say I disagree with Mr. Kearns, but let’s listen and see what you think.####Excerpts- The recording of Parker’s _A Northern Ballad_ you will hear is performed by the Albany Symphony Orchestra under the direction of Julius Hegyi, recorded on the New World Records label in 1986.- Tchaikovsky’s _Romeo and Juliet_ Overture recording is a video recording of the Orchestra della Radio della Svizzera italiana conducted by Leopold Stokowski.- Parker begins with an open sounding woodwind chorale, not displaying either urgency or haste, merely a state of ancient being.- This is unmistakably similar to Tchaikovsky’s opening bars of the Romeo and Juliet Overture.- As Parker opens up the dynamic range of the opening section, he adds the strings and sweetness of melodic inflection- Again, this compares closely to the Tchaikovsky, in a similar moment of the introduction just as the sound increases from the opening darkness.- As Parker concludes the introduction, he moves immediately into a quick section introduced by a pithy riff in the strings that will become a main motive of the rest of the work. This quickly builds to a driving rhythmic undercurrent in the horns and violas, covered by another motivic remnant of the opening, played in canon between the violins and cellos. This finally arrives at the climax with a brass canon on the same rhythmic theme, and flows back down just as smoothly as it ascended.- Another very close resemblance to Tchaikovsky, the quicker section jumps out with a tight rhythmic motive, quickly builds tension with a canonic theme, and surges to the first climax.- Back to the Parker. As he closes out this opening portion of the Allegro, Parker he briefly introduces a light motive (light as in airy, free; not as in Wagner’s “leitmotif”) in the flute and clarinet that while fleeting serves to break up some of the tension created so far. It is also quite probably a stylistic element Tchaikovsky would never have used in quite the same way. Parker then uses this lower moment to fake a recap, only to roar into a developmental section, alternating strings and winds with brass and percussion. At the very height of tension, Parker mixes declamatory chords and a decidedly off putting rhythmic configuration with an emerging melody in the horns, once again originating from the slow introduction of the piece itself.- As Parker finally comes down off the high of the development, he gives us a very partial recap of the slow introduction with some modifications. Then we get a brilliant and very creative surprise. We do get a restatement of the main Allegro section, but it has now taken on the more anxious rhythmic motive underneath a sped up recap of the INTRODUCTION melodic material in the brass! Generally speaking, an overture type piece will not always recap a slow introduction section. But in this case Parker has merged the two parts together to dramatic effect!- When the piece builds to a final moment of climactic tension, Parker utilizes another recognizable element, not EXCLUSIVE to Tchaikovsky, but certainly recognizable in many of his ballets, and, once again, his _Rome and Juliet_ Overture. As the melodic line in the strings develops and rises, the woodwinds and eventually horns alone begin a quick triplet pulse, giving a sense of nervous energy which drives to the overflowing moment at the top of the phrase.- And here is a corresponding moment in the Tchaikovsky, that heart breaking melody, a mix of love, lust, and impending death... that iconic moment when you say to yourself “oh THAT’S the piece!”- At long last Parker gives us a coda. Here he sets the complete work at peace, expanding the long melodic lines that have come before, filling out the orchestration, and arpeggiating chords in the harp, all lightening the air as if floating to it’s final rest at the concluding bars.###Closing- Ok, to be completely honest, despite my many comparisons to Tchaikovsky’s _Romeo and Juliet_ overture, I am NOT equating the two pieces in quality. I do believe the Tchaikovsky has more depth and ability to transport the listener to a superior experience. That is NOT to detract anything from _A Northern Ballad_ and Parker’s individual way of accomplishing this same task. My purpose is to both compare and differentiate the two composers, their styles, and above all show how Parker’s music is of high value to anyone willing to give it their time and ears. If you are one of those people I trust you will come to a similar conclusion, and live a better life for the experience. Music: “A Northern Ballad” by Horatio Parker from the album Parker: A Northern Ballad/Chadwick: Symphony No. 2. New World Records #80339.(p) &amp; © 1986 Anthology of Recorded Music, Inc.Used by permission. <a href="https://www.newworldrecords.org/products/parker-a-northern-ballad-chadwick-symphony-no-2" rel="nofollow">https://www.newworldrecords.org/products/parker-a-northern-ballad-chadwick-symphony-no-2</a> Overture to &#39;Romeo and Juliet&#39;By: Pyotr TchaikovskyPerformed by: Orchestra della Radio della Svizzera italiana; Leopold Stokowski, conductor Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a>

Far From Docile

A precocious young composer, the teacher of Charles Ives, and a NON-nationalistic Scottish work undeniably influenced by Tchaikovsky (even though it may have been intended to do the exact opposite), are all headline descriptions of the topic for this episode of the American Muse podcast: Horatio Parker and his work _A Northern Ballad_. 
###Background
####Bio
- Youngest of the “Boston 6”, Horatio Parker was born 1863 in Auburndale, MA, a rural area at the time, now subsumed by the Boston city limits. He studied with George Whitefield Chadwick at the New England Conservatory of Music (NEC) and eventually, like most serious musicians at the time, went to Europe and studied with Josef Rheinberger at the Royal Music School in Munich. A similar comment by both these teachers points to a characteristic that Parker carried throughout his compositional career. Chadwick, speaking of the young Parked, roughly aged 17-19, says:
		&gt; He was far from docile. In fact, he was impatient of the restrictions of musical form and rather rebellious of the discipline of counterpoint and fugues. His lessons usually ended with his swallowing his medicine, but with many a wry grimace.
- This quote probably says as much about the youthfulness of Parker as it does the fastidious Chadwick and his own workmanship-like character. Yet, while later studying with Rheinberger, also a former teacher of Chadwick, an observation by the Boston music critic William Apthorp would confirm Parker’s temptation to go against the grain:
		&gt; It is said of H. W. Parker that when he was a student in Munich under Rheinberger he was repeatedly introducing some new wrinkle, some unheard of effect... Certain of these musical inventions were distasteful to the master... and others were railed at playfully but secretly endorsed and even imitated by Rheinberger himself.
- Upon returning to the United States, Parker moved to New York and bounced around several church positions. This is where Parker found the strongest market for his compositions, as any choral, organ, or piano work he wrote was quickly performed and highly praised. At the end of his time in New York, Parker spent one, lone year teaching at the famous National Conservatory of Music in America. Famous mostly because this is the school at which Antonín Dvořák taught during his highly publicized visit to the “New World”. And, that lone year, 1892-1893, overlapped with Dvořák’s first year.
- Eventually, Parker returned to Boston, having a substantial reputation as a composer, mostly of choral works. In an ironic twist, relating to the observations of Parker as a young man, musicologist and biographer William Kearns found in Parker’s diaries that one of the reasons he left his church position was “problems of discipline among the boys in the Holy Trinity Choir... he complained that they are a ‘burden’ to the choirmaster and expressed the hope that the adult mixed choir at his new appointment would leave him more time for the important work of composition.” I am sure Chadwick had a laugh about that!
- Parker’s stay in Boston only lasted one year, as he then took a teaching position at Yale. There, Parker developed a long legacy of composition students, punctuated by Roger Sessions and the inimitable Charles Ives. Parker developed _The History of Music_ course, served as editor of _Music and Drama_, served as dean of the School of Music, conducted and developed the New Haven Symphony Orchestra as both a professional ensemble and lab orchestra for Yale music students, all while continuing to compose. It was from this position that the rest of his life would be based. Also, this move towards academia would nudge Parker to analyze his own thinking about music, it’s place in society, and cause him to make definitive statements on the subject. Near the end of his life, Parker wrote in the _Yale Review_:
		&gt; In truth there are two very different kinds of taste. May I call them high and low to save space?... I think an enormous part of our national common progress is made by breaking down barriers between such types. Training the lowly to enjoy exalted music is known to be meritorious. I never heard anyone commend the reverse process of training the fastidious to recognize vulgar excellence.
- The man comes full circle! A somewhat rogue youth, tamed by well-disciplined teachers, now embracing the diversity of musical options. And as can be seen, these phases manifest in his composition as well
###Analysis of piece
- And the main event: Parker’s tone poem _A Northern Ballad_
- Written over the 1898-99 winter, the symphonic poem was premiered by the New Haven Symphony, conducted by the composer himself.
- Overall, Parker’s pure orchestral output is limited, though what he did produce was compelling. _A Northern Ballad_ being one of his most mature works elicited quite a review from a New York newspaper in 1901: 
		“The impression left by the whole is that if Mr. Parker would give up writing church music he has the stuff in him to turn out most effective secular material. His music is virile and full bodied, and its eclecticism is not greater than that of most music now being written.”
- Now, the first question I had about the title of this piece was “what North is Parker referring to?” Apparently, it is nothing to do with America at all, but that of Scotland, a nod to his own Anglo-Saxon roots. There are some noticeable Scottish folk-like resemblances, and while one performance review describes the piece as quote “Celtic rather than distinctively Norse,” another notes its use of “Scotch melodies and instrumental coloring.” Rather than a nationalistic nod, it is possible this is a reaction to Dvorak&#39;s controversial statements about American music during his tenure as Director of the National Conservatory of Music in New York, where, as I mentioned earlier, Parker and Dvorak overlapped for one year. In his biography on Parker, William Kearns suggests that “Both its title and content suggest another step in Parker’s move away from German influences”. Ok, maybe the title. But, content? Uh... as you will hear, and I will point out specifically, there are quite a few elements that bear a striking resemblance to Tchaikovsky’s iconic _Romeo and Juliet_ overture. Yes, I know, Tchaikovsky is of course Russian, not German. However, Tchaikovsky’s style is a composite of MANY different influences from all over Europe, not the least of which is German, Italian, and French, all in addition to Russian. So, I have to say I disagree with Mr. Kearns, but let’s listen and see what you think.
####Excerpts
- The recording of Parker’s _A Northern Ballad_ you will hear is performed by the Albany Symphony Orchestra under the direction of Julius Hegyi, recorded on the New World Records label in 1986.
- Tchaikovsky’s _Romeo and Juliet_ Overture recording is a video recording of the Orchestra della Radio della Svizzera italiana conducted by Leopold Stokowski.
- Parker begins with an open sounding woodwind chorale, not displaying either urgency or haste, merely a state of ancient being. 
- This is unmistakably similar to Tchaikovsky’s opening bars of the Romeo and Juliet Overture.
- As Parker opens up the dynamic range of the opening section, he adds the strings and sweetness of melodic inflection
- Again, this compares closely to the Tchaikovsky, in a similar moment of the introduction just as the sound increases from the opening darkness. 
- As Parker concludes the introduction, he moves immediately into a quick section introduced by a pithy riff in the strings that will become a main motive of the rest of the work. This quickly builds to a driving rhythmic undercurrent in the horns and violas, covered by another motivic remnant of the opening, played in canon between the violins and cellos. This finally arrives at the climax with a brass canon on the same rhythmic theme, and flows back down just as smoothly as it ascended. 
- Another very close resemblance to Tchaikovsky, the quicker section jumps out with a tight rhythmic motive, quickly builds tension with a canonic theme, and surges to the first climax. 
- Back to the Parker. As he closes out this opening portion of the Allegro, Parker he briefly introduces a light motive (light as in airy, free; not as in Wagner’s “leitmotif”) in the flute and clarinet that while fleeting serves to break up some of the tension created so far. It is also quite probably a stylistic element Tchaikovsky would never have used in quite the same way. Parker then uses this lower moment to fake a recap, only to roar into a developmental section, alternating strings and winds with brass and percussion. At the very height of tension, Parker mixes declamatory chords and a decidedly off putting rhythmic configuration with an emerging melody in the horns, once again originating from the slow introduction of the piece itself.
- As Parker finally comes down off the high of the development, he gives us a very partial recap of the slow introduction with some modifications. Then we get a brilliant and very creative surprise. We do get a restatement of the main Allegro section, but it has now taken on the more anxious rhythmic motive underneath a sped up recap of the INTRODUCTION melodic material in the brass! Generally speaking, an overture type piece will not always recap a slow introduction section. But in this case Parker has merged the two parts together to dramatic effect! 
- When the piece builds to a final moment of climactic tension, Parker utilizes another recognizable element, not EXCLUSIVE to Tchaikovsky, but certainly recognizable in many of his ballets, and, once again, his _Rome and Juliet_ Overture. As the melodic line in the strings develops and rises, the woodwinds and eventually horns alone begin a quick triplet pulse, giving a sense of nervous energy which drives to the overflowing moment at the top of the phrase. 
- And here is a corresponding moment in the Tchaikovsky, that heart breaking melody, a mix of love, lust, and impending death... that iconic moment when you say to yourself “oh THAT’S the piece!”
- At long last Parker gives us a coda. Here he sets the complete work at peace, expanding the long melodic lines that have come before, filling out the orchestration, and arpeggiating chords in the harp, all lightening the air as if floating to it’s final rest at the concluding bars.
###Closing
- Ok, to be completely honest, despite my many comparisons to Tchaikovsky’s _Romeo and Juliet_ overture, I am NOT equating the two pieces in quality. I do believe the Tchaikovsky has more depth and ability to transport the listener to a superior experience. That is NOT to detract anything from _A Northern Ballad_ and Parker’s individual way of accomplishing this same task. My purpose is to both compare and differentiate the two composers, their styles, and above all show how Parker’s music is of high value to anyone willing to give it their time and ears. If you are one of those people I trust you will come to a similar conclusion, and live a better life for the experience.

Music:

A Northern Ballad
By: Horatio Parker
Performed by: Albany Symphony Orchestra; Julius Hegyi, conductor
Courtesy of New World Records
www.newworldrecords.org

Overture to &#39;Romeo and Juliet&#39;
By: Pyotr Tchaikovsky
Performed by: Orchestra della Radio della Svizzera italiana; Leopold Stokowski, conductor

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Horatio Parker - "A Northern Ballad"

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He is director of orchestral studies at the University of Cincinnati College-Conservatory of Music, where he has been for over 20 years. He has guest conducted orchestras and opera companies all over the United States and the world, and has traveled just as far to teach master classes, conducting workshops, and conduct student orchestras. Most recently, he was appointed head of the Conducting Institute at the Miami Music Festival. In 2017, Oxford University Press published his book _The Beat Stops Here_ to critical acclaim, and he is currently working on the 8th edition of _The Modern Conductor_. His premiere recording of the Gregory Spears’ opera _Fellow Travelers_, performed with the Cincinnati Opera in 2017, can be found on IDAGIO and Apple Music, and pandemic conditions allowing, he will be on a podium in Cincinnati this season. Maestro Mark Gibson joins me for this episode of the American Muse podcast! Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a>

CCM Director of Orchestral Studies

He is director of orchestral studies at the University of Cincinnati College-Conservatory of Music, where he has been for over 20 years. He has guest conducted orchestras and opera companies all over the United States and the world, and has traveled just as far to teach master classes, conducting workshops, and conduct student orchestras. Most recently, he was appointed head of the Conducting Institute at the Miami Music Festival. In 2017, Oxford University Press published his book _The Beat Stops Here_ to critical acclaim, and he is currently working on the 8th edition of _The Modern Conductor_. His premiere recording of the Gregory Spears’ opera _Fellow Travelers_, performed with the Cincinnati Opera in 2017, can be found on IDAGIO and Apple Music, and pandemic conditions allowing, he will be on a podium in Cincinnati this season. Maestro Mark Gibson joins me for this episode of the American Muse podcast!

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Mark Gibson Interview

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-William Henry Fry, born a Philadelphian in 1813... or 1815... well it seems no one really knows for sure. But, either is close enough for us. Though it might seem a foreign concept to us, being able to hear great music in the 19th century was completely dependent on an orchestra or opera company actually putting on the performance, geographically nearby, on an evening when you could go, assuming you could afford a ticket. No internet, YouTube, obviously. Philadelphia was great for Fry in this regard. In the 1830s, a French opera troupe toured to Philly and performed French opera sung in French, in addition to some other standards of the repertoire, like Rossini’s _La Gazza Ladra_. Multiple Italian opera companies came through with similar programming. These and many other experiences available to him in Philadelphia led to Fry not only taking composition lessons, but also having some early overtures and even operas performed. - Professionally, however, Fry took up the family business of journalism. His father founded the Philadelphia _National Gazette_, and later working as a foreign correspondent for the _Public Ledger_ and _New York Tribune_, Fry was able to spend 3 years in Paris (6 years total in Europe). Well, being the industrious man that he was, he took advantage of that time, soaking in as much music and culture as he could.- It also seems he soaked in a little arrogance as well! He constantly compared Paris to Philly and America generally. Particularly, in this quote… again this is a quote(!), Fry is very cutting: “Philadelphia is a Quaker abortion as regards plan; New York a Dutch monstrosity; Boston a Puritancial fright… When the groveling, penny-scraping, health destroying folly that blotted out the only dash of Beauty born of the narrow spirit which planned Philadelphia—the Centre Park—which changed that pretty little circle of verdure and trees into four square what-nots… which are a disgrace to Philadelphia and human nature, when that beggarly abortion which should be gibbeted as a criminal against good taste… shall be changed, a new birth shall be given to Democracy and the strength and splendor which royalty has conferred on Paris, social justice shall spread over our community. Perhaps if the Tuileries Gardens were in Philadelphia some money grub would vote for cutting it up to admit vehicles through, or worse even, for city lots.” As you can tell, the man had a lot to say…- At any rate, Fry did return to the US and lived out his life as news editor, critic, and composer. He relentlessly criticized audiences for wanting European-centric only programming, while championing American music. He even found time to do a series of music history lectures.- As for Fry’s compositions, many were lost upon his death. What remains is more than enough to fill out a musical sketch of the man at any rate.- Notably, Fry wrote an opera titled _Leonora_, and upon it’s production in 1845 it became the first grand opera written by an American composer. He additionally wrote 2 other operas, _Aurelia the Vestal_ and _Notre-Dame of Paris_. - An interesting quote by Fry on opera: “Rightly to hear and enjoy an old opera, we should place ourselves, so far as possible, in the circle of thought, artistic and general, of the period at which it was produced. With such mobility we may, to a degree, see with the eyes and hear with the ears of generations gone by.”- This thinking actually endears me to this man, as my personal, preferred production of a Mozart opera includes wigs and corsets. It’s not for everyone, and the modern thinking is to “update” all visual elements. But the dated scenery and costumes helps me enter the moment and the time period and disassociate from the present.- Fry wrote as many as 7 symphonies, or that’s what he calls them. They are really tone-poems, each one heavily programmatic, much shorter than expected, and usually not structured much like any symphony I know of. More on that later...- The 2 most famous ones, _Niagara_, also written in 1854, which we will discuss shortly, and the Santa Claus: Christmas Symphony, of 1853. The Christmas Symphony is quite unique. Fry calls for a saxophone, which is possibly the first use of the instrument in an orchestral setting. Like, the saxophone had only been invented like 10 years earlier, and no one had yet thought about putting it in a symphony. The piece is full of instrumental solos, even one for double bass! Not at all as memorable as Mahler’s bass solo in the 3rd movement of his 1st symphony, but still unusual. The piece is very engaging, and dramatically ends with Adeste Fideles, or Oh Come All Ye Faithful as it is better known.####Culture- As I mentioned, Fry wrote Niagara for a “Grand Musical Congress” at New York’s Crystal Palace. Now, the Crystal Palace has an interesting, though short, history. It was erected in 1853, aaaaaand burned down in 1858, so not much could come of the 5 years it existed. Patterned after London’s own building of the same name, this one was also built with iron and glass, in the shape of a Greek cross with a 100 ft dome atop the center. - This performance was in fact the 2nd opening of the Crystal Palace after the initial opening ceremony was apparently a dud, which included hours of musical performances and political speeches—including an appearance by President Franklin Pearce—in addition to the art and sculpture exhibition. In Fry’s review of the original he doesn’t hold back either: “The various speeches delivered on the occasion were attentively listened to by a select body of hearers, but the immense space of the Crystal Palace with its two floors and the multitudinous partial partitions, prevented the great mass present from hearing. The bad and vulgar American habit of talking and walking on such occasions, added also to the difficulty of catching what the speakers said... The effect produced upon the audience by the music foreshadows the success of keeping up that source of enjoyment for the Million as long as the Exhibition may be kept open.” In other words, Fry is saying why would they care how the music sounds as long as the politicians get to speak!- So, this Grand Musical Congress for the 2nd opening was to be an overwhelming event. One review at the time described it as quote “unit\[ing] in one grand ensemble the elite of the instrumental celebrities of Europe and America, together with the great choral societies, solo singers, etc., of Boston, New York, Philadelphia, Baltimore, Cincinnati, etc., etc.—to the number of some fifteen hundred performers”. And of course this kind of grandiose event could only come from the mind of one P.T. Barnum, the newly appointed President of the Crystal Palace.- As a featured composer of this 2nd event and a music critic with the New York Tribune, Fry got completely on board. He even elevated the event and the building to the level of the Greek Gods(!), asserting that the Crystal Palace quote “may be considered the Olympian festival of the Nineteenth Century.” Well, that’s one way to promote the event anyway!- Fry was to have 2 pieces performed on this concert: the Adagio from “The Breaking Heart” and our subject du jour, the Niagara Symphony, which does in fact bear the dedication “Composed for the Musical Congress at the Crystal Palace of New York.” However, since there is only one known review of the performance, and that review only mentions the Adagio, we are NOT even certain that the Niagara Symphony was performed at all! Well... I guess that’s technically true, but there is no other reason to doubt that it wasn’t performed either. And despite that, as we will see, the piece itself is thematically 100% in line with the event and all of its pomp and frills.###Analysis of piece####Overall scope- The _Niagara_ Symphony is certainly large in effect, meaning to evoke the visual and aural scene of the Falls themselves. But, it is by no means one of Fry’s largest works, like his opera Leonora and the more well known _Santa Claus_ Symphony. What the piece does is showcase Fry’s penchant for experimentation and visually evocative writing. The first rarity is the orchestration, calling for 5 timpanists playing 11 drums! ... Then, just as oddly, he calls for 2 “bass brass instruments”, specifying “tubas, ophicleides, bombardones... using very high register.” I had to look up the bombardone... it’s essentially the bottom range trombone, with the same range of a tuba! I have no idea how feasible this was at the time, but certainly today we would just use 2 tubas, similar to replacing the 2 serpentines Berlioz’ calls for in his _Symphonie Fantastique_. ####Excerpts- Now, lets hear excerpts of the piece itself.- A dull murmur of timpani rolls begins the piece, and as if turning a small bend in the water to take full view of the falls, the music builds quickly to a grand climactic fanfare- Then just as quickly, this climax erupts into confusion, running chromatic scales, even in the trumpets!, possibly representative of the rocky ride over the waves toward the falls 『play chromatics』- After yet another climactic crash (of waves, maybe?), the sound finally calms, opening up to a surprisingly stately, contrasting theme. Though, the timpani rolls persist beneath throughout, foreshadowing what is to come- In a moment of compositional brilliance, Fry creates a way of ending this stately theme and moving back to the drama of the falls, all while keeping the listener visually “in the boat” so to speak. Before fully ending the section, there are four rousing interjections, followed by stillness, only the ever rolling timpani heard. Only then, after rising tremello and brass chords does he finally arrive at a recap of the beginning fanfare- Now we get another moment of real creativity and real brilliance Fry. After repeating much of the opening material again, at a moment of tight dissonance and tension, Fry creates a distant sounding echo of this moment, and quietly ends the piece in oblivion. In the score, Fry specifically says of the ending measures “Retard these eight bars very much at the second time of playing them to produce a continued monotony of effect.”###Closing- This is truly a unique piece, even now. Even if you’ve never been to Niagara Falls, Fry’s work is engaging and vivid.- Like I said earlier, no matter what he calls it, this really isn’t a Symphony, or at least as designed by Haydn and perfected by Beethoven. And Fry spent enough time studying Art Music that he knew very well what a Symphony was. Maybe it was more of a marketing idea? Or possibly he had intended the pieces to be longer, originally?- At any rate, the entire piece is worth enjoying, in totality, as it is, no matter the title. Music: Niagara SymphonyBy: William Henry FryPerformed by: Tony Rowe; Royal Scottish National Orchestra Courtesy of Naxos of America, Inc. Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a>

A Man of Firsts

-William Henry Fry, born a Philadelphian in 1813... or 1815... well it seems no one really knows for sure. But, either is close enough for us. Though it might seem a foreign concept to us, being able to hear great music in the 19th century was completely dependent on an orchestra or opera company actually putting on the performance, geographically nearby, on an evening when you could go, assuming you could afford a ticket. No internet, YouTube, obviously. Philadelphia was great for Fry in this regard. In the 1830s, a French opera troupe toured to Philly and performed French opera sung in French, in addition to some other standards of the repertoire, like Rossini’s _La Gazza Ladra_. Multiple Italian opera companies came through with similar programming. These and many other experiences available to him in Philadelphia led to Fry not only taking composition lessons, but also having some early overtures and even operas performed. 
- Professionally, however, Fry took up the family business of journalism. His father founded the Philadelphia _National Gazette_, and later working as a foreign correspondent for the _Public Ledger_ and _New York Tribune_, Fry was able to spend 3 years in Paris (6 years total in Europe). Well, being the industrious man that he was, he took advantage of that time, soaking in as much music and culture as he could.
- It also seems he soaked in a little arrogance as well! He constantly compared Paris to Philly and America generally. Particularly, in this quote… again this is a quote(!), Fry is very cutting: “Philadelphia is a Quaker abortion as regards plan; New York a Dutch monstrosity; Boston a Puritancial fright… When the groveling, penny-scraping, health destroying folly that blotted out the only dash of Beauty born of the narrow spirit which planned Philadelphia—the Centre Park—which changed that pretty little circle of verdure and trees into four square what-nots… which are a disgrace to Philadelphia and human nature, when that beggarly abortion which should be gibbeted as a criminal against good taste… shall be changed, a new birth shall be given to Democracy and the strength and splendor which royalty has conferred on Paris, social justice shall spread over our community. Perhaps if the Tuileries Gardens were in Philadelphia some money grub would vote for cutting it up to admit vehicles through, or worse even, for city lots.” As you can tell, the man had a lot to say…
- At any rate, Fry did return to the US and lived out his life as news editor, critic, and composer. He relentlessly criticized audiences for wanting European-centric only programming, while championing American music. He even found time to do a series of music history lectures.
- As for Fry’s compositions, many were lost upon his death. What remains is more than enough to fill out a musical sketch of the man at any rate.
- Notably, Fry wrote an opera titled _Leonora_, and upon it’s production in 1845 it became the first grand opera written by an American composer. He additionally wrote 2 other operas, _Aurelia the Vestal_ and _Notre-Dame of Paris_. 
- An interesting quote by Fry on opera: “Rightly to hear and enjoy an old opera, we should place ourselves, so far as possible, in the circle of thought, artistic and general, of the period at which it was produced. With such mobility we may, to a degree, see with the eyes and hear with the ears of generations gone by.”
- This thinking actually endears me to this man, as my personal, preferred production of a Mozart opera includes wigs and corsets. It’s not for everyone, and the modern thinking is to “update” all visual elements. But the dated scenery and costumes helps me enter the moment and the time period and disassociate from the present.
- Fry wrote as many as 7 symphonies, or that’s what he calls them. They are really tone-poems, each one heavily programmatic, much shorter than expected, and usually not structured much like any symphony I know of. More on that later...
- The 2 most famous ones, _Niagara_, also written in 1854, which we will discuss shortly, and the Santa Claus: Christmas Symphony, of 1853. The Christmas Symphony is quite unique. Fry calls for a saxophone, which is possibly the first use of the instrument in an orchestral setting. Like, the saxophone had only been invented like 10 years earlier, and no one had yet thought about putting it in a symphony. The piece is full of instrumental solos, even one for double bass! Not at all as memorable as Mahler’s bass solo in the 3rd movement of his 1st symphony, but still unusual. The piece is very engaging, and dramatically ends with Adeste Fideles, or Oh Come All Ye Faithful as it is better known.
####Culture
- As I mentioned, Fry wrote Niagara for a “Grand Musical Congress” at New York’s Crystal Palace. Now, the Crystal Palace has an interesting, though short, history. It was erected in 1853, aaaaaand burned down in 1858, so not much could come of the 5 years it existed. Patterned after London’s own building of the same name, this one was also built with iron and glass, in the shape of a Greek cross with a 100 ft dome atop the center. 
- This performance was in fact the 2nd opening of the Crystal Palace after the initial opening ceremony was apparently a dud, which included hours of musical performances and political speeches—including an appearance by President Franklin Pearce—in addition to the art and sculpture exhibition. In Fry’s review of the original he doesn’t hold back either: “The various speeches delivered on the occasion were attentively listened to by a select body of hearers, but the immense space of the Crystal Palace with its two floors and the multitudinous partial partitions, prevented the great mass present from hearing. The bad and vulgar American habit of talking and walking on such occasions, added also to the difficulty of catching what the speakers said... The effect produced upon the audience by the music foreshadows the success of keeping up that source of enjoyment for the Million as long as the Exhibition may be kept open.” In other words, Fry is saying why would they care how the music sounds as long as the politicians get to speak!
- So, this Grand Musical Congress for the 2nd opening was to be an overwhelming event. One review at the time described it as quote “unit\[ing] in one grand ensemble the elite of the instrumental celebrities of Europe and America, together with the great choral societies, solo singers, etc., of Boston, New York, Philadelphia, Baltimore, Cincinnati, etc., etc.—to the number of some fifteen hundred performers”. And of course this kind of grandiose event could only come from the mind of one P.T. Barnum, the newly appointed President of the Crystal Palace.
- As a featured composer of this 2nd event and a music critic with the New York Tribune, Fry got completely on board. He even elevated the event and the building to the level of the Greek Gods(!), asserting that the Crystal Palace quote “may be considered the Olympian festival of the Nineteenth Century.” Well, that’s one way to promote the event anyway!
- Fry was to have 2 pieces performed on this concert: the Adagio from “The Breaking Heart” and our subject du jour, the Niagara Symphony, which does in fact bear the dedication “Composed for the Musical Congress at the Crystal Palace of New York.” However, since there is only one known review of the performance, and that review only mentions the Adagio, we are NOT even certain that the Niagara Symphony was performed at all! Well... I guess that’s technically true, but there is no other reason to doubt that it wasn’t performed either. And despite that, as we will see, the piece itself is thematically 100% in line with the event and all of its pomp and frills.
###Analysis of piece
####Overall scope
- The _Niagara_ Symphony is certainly large in effect, meaning to evoke the visual and aural scene of the Falls themselves. But, it is by no means one of Fry’s largest works, like his opera Leonora and the more well known _Santa Claus_ Symphony. What the piece does is showcase Fry’s penchant for experimentation and visually evocative writing. The first rarity is the orchestration, calling for 5 timpanists playing 11 drums! ... Then, just as oddly, he calls for 2 “bass brass instruments”, specifying “tubas, ophicleides, bombardones... using very high register.” I had to look up the bombardone... it’s essentially the bottom range trombone, with the same range of a tuba! I have no idea how feasible this was at the time, but certainly today we would just use 2 tubas, similar to replacing the 2 serpentines Berlioz’ calls for in his _Symphonie Fantastique_. 
####Excerpts
- Now, lets hear excerpts of the piece itself.
- A dull murmur of timpani rolls begins the piece, and as if turning a small bend in the water to take full view of the falls, the music builds quickly to a grand climactic fanfare 
- Then just as quickly, this climax erupts into confusion, running chromatic scales, even in the trumpets!, possibly representative of the rocky ride over the waves toward the falls 『play chromatics』
- After yet another climactic crash (of waves, maybe?), the sound finally calms, opening up to a surprisingly stately, contrasting theme. Though, the timpani rolls persist beneath throughout, foreshadowing what is to come 
- In a moment of compositional brilliance, Fry creates a way of ending this stately theme and moving back to the drama of the falls, all while keeping the listener visually “in the boat” so to speak. Before fully ending the section, there are four rousing interjections, followed by stillness, only the ever rolling timpani heard. Only then, after rising tremello and brass chords does he finally arrive at a recap of the beginning fanfare 
- Now we get another moment of real creativity and real brilliance Fry. After repeating much of the opening material again, at a moment of tight dissonance and tension, Fry creates a distant sounding echo of this moment, and quietly ends the piece in oblivion. In the score, Fry specifically says of the ending measures “Retard these eight bars very much at the second time of playing them to produce a continued monotony of effect.” 
###Closing
- This is truly a unique piece, even now. Even if you’ve never been to Niagara Falls, Fry’s work is engaging and vivid.
- Like I said earlier, no matter what he calls it, this really isn’t a Symphony, or at least as designed by Haydn and perfected by Beethoven. And Fry spent enough time studying Art Music that he knew very well what a Symphony was. Maybe it was more of a marketing idea? Or possibly he had intended the pieces to be longer, originally?
- At any rate, the entire piece is worth enjoying, in totality, as it is, no matter the title.

Music:

Niagara Symphony
By: William Henry Fry
Performed by: Tony Rowe; Royal Scottish National Orchestra

Courtesy of Naxos of America, Inc.

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William Henry Fry - "Niagara" Symphony

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Named one of the top 30 musicians worldwide by Musical America, conductor Diane Wittry joins us on this episode to discuss David Diamond, Gian Carlo Menotti, and Lowell Lieberman. Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a>

www.dianewittry.com

Named one of the top 30 musicians worldwide by Musical America, conductor Diane Wittry joins us on this episode to discuss David Diamond, Gian Carlo Menotti, and Lowell Lieberman.

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Diane Wittry Interview

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World renowned conductor, pedagogue, and author Markand Thakar joins me to discuss the possibility of sublime beauty in Western Art music. Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a>

World renowned conductor, pedagogue, and teacher

World renowned conductor, pedagogue, and author Markand Thakar joins me to discuss the possibility of sublime beauty in Western Art music.

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Markand Thakar Interview

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2020/10/26/19/f3514655-c49d-41fd-a95d-c37ea6565ce2_gerard_schwarz_interview_-_processed_audio-_podcast.mp3

The great Maestro Gerard &#34;Jerry&#34; Schwarz joins me to discuss his never-ending drive and his relationships with Alan Hovhaness and David Diamond. You don&#39;t want to miss what he has to say! www.gerardschwarz.com Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a>

Interview with General Maestro Gerard "Jerry" Schwarz

The great Maestro Gerard &#34;Jerry&#34; Schwarz joins me to discuss his never-ending drive and his relationships with Alan Hovhaness and David Diamond. You don&#39;t want to miss what he has to say!



www.gerardschwarz.com

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Gerard Schwarz Interview

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2020/10/16/6/859dd886-1f1c-4bc0-9390-f1bb9a6f29a5_walter_piston_-_podcast_audio.mp3

####Bio- Born 1894 in Rockland, Maine, and eventually the family moved to Boston. - Early on, Piston considered becoming an artist instead of a musician. He actual finished his degree in painting at the Massachusetts Normal Art School. He spoke of the transition quote &gt; “I went to art school and earned money on the side playing the violin and the piano. I kept getting more and more interested in music, and by the end of the senior year I was entirely devoted to it; but by then I was so near to graduation I decided to finish up school and I got my diploma as a painter.”- Since the Piston’s didn’t have a piano around until they moved to Boston, Walter picked up the violin and reportedly practiced so much his mother complained. That is ABSOLUTELY not something that would have happened in my house growing up! Quite the opposite...- One quote of Piston is just funny on its own, but also shows his continuous curiosity. Before he began his studies at Harvard, he seems to have wanted to get ahead of the draft, entering the Navy Band at MIT. He explained quote “when the war cam, the First World War, that is, and it became obvious that everybody had to go into the service, I wanted to go in as a musician. I couldn’t play any band instrument, but I knew instruments and I knew that the saxophone was very easy.” HAHAHAHA! Oh, but he wasn’t done. “So I... bought a saxophone, and stopped by at the public library to get an instruction book. I learned enough to play by ear. In a very short time I was called and I tried out for the band. I didn’t pretend to read the part but just played notes that went with the harmony, and I was accepted.” So that’s it?? Not only, in his own version of the story anyway, did he prove that quote “saxophone was very easy”... really? That was the standard for getting into the Navy Band at MIT in the early 20th century? No need to actually read the music, just play something that sounds like music, based on what they put in front of you... Were I a comedian I’m sure that whole thing would be ripe for material!- Piston married Kathryn Nason, who kept her maiden name. She was an artist, and though it seems she rarely exhibited her work, she was very involved in the advocacy for her medium.- The couple had no interest in and never had children. Instead they tended gardens and raised dogs and cats. In fact, Piston actually once confessed “Some of my best musical ideas come to me while I’m spreading manure.”- Now, Piston and his wife seemed to be of the Bohemian sort, passionate about art and music, preferring life exploration to outright money and security. They were part of a free-living group of people that lived in an un-urbanized area of Belmont, Maine, called “The Hill”. They got drunk often, discussed visual art, and even regularly held nude sketching parties. Since mostly you will only find pictures of the SENIOR Mr. Piston, this is an unfortunate image to have... but I digress. Though it may seem a youthful time, this was Piston’s way of life while he did a great deal of his serious composing.- While teaching at Harvard, Piston maintained quite a furtive compositional pace. In all, he wrote nearly 80 works that ran the gamut of the art music medium.####Culture- If you have ever had life kick you in the teeth, you understand the Einstein quote “The more I learn, the more I realize how much I don’t know.” In a way, Walter Piston had this figured out for himself early on when he reluctantly decided he was going to be a composer. Admitting to a reunion of the Harvard Class of 1924:&gt; After graduation I spent two years in Paris... I discovered [then] that I would probably become a composer. Now it is not from choice that one becomes a composer but rather, it seems, one does it in spite of everything even against one’s better judgement. But writing long-haired music is not a way to make a living...- Concurrent with teaching and composing, he wrote four academic texts that are still discussed and argued about to this day: Principles of Harmonic Analysis, Harmony, Counterpoint, and Orchestration.- The fact that Piston developed, published, and continuously edited his academic texts would suggest that he is by and large of an analytical mindset. However, even in those texts he offers warnings and nuggets of wisdom along the way, cautioning against taking theoretical study too far. In Counterpoint, Piston spends the first chapter discussing “melodic curve”, instructing that “the outline of a melody may be perceived by simply looking at the music” and that “the word curve is useful to suggest the essential quality of continuity”. Then, after giving many examples and explaining his methodology, Piston makes sure to point out “it is important to see that in the process of analysis and simplification we do not destroy or lose sight of those details of a melody which are the essence of its individuality and expressive quality.” This statement is telling of his own philosophy on composition itself. Putting it succinctly, from the preface to Harmony, “[music theory] tells not how music will be written in the future, but how music has been written in the past.” So, as much as Piston wrote about theory, about theories about theory, and edited the books he wrote about those theories on his own theory... he held the perspective that composition is an organic event, not to follow a prescribed path. This concept absolutely plays out in his work, as we will see with his Symphony No. 2.- Musicologist and biographer Howard Pollack does a great job of getting to the core of Piston’s compositional individuality. In his book _Walter Piston and His Music_, Pollack says “One steady and important aspect of Piston’s music is his ability to give an advanced twentieth-century idiom the sort of motion and direction one finds in eighteenth and nineteenth-century classics, and this he does by asserting such principles as pulse, melodic curve, harmonic rhythm, tonal design, and symmetrical form. In fact, all the musical elements, including dynamics and color, are responsive to form and movement.”- An interesting thing Piston said himself about what it is like to compose a piece gives us a bit of incite into his thinking. Quote “I used to tell my students, as soon as you put down one note you’ve changed the conditions, and then you have to consider the others in relation to this, whereas before you put it down, you’re free. On the other hand, you’ve got to be ready to throw that away, and that takes courage...” I’m sure this mirrors the writing process quite closely.- Symphony No. 2, written 1943, premiered by the National Symphony Orchestra in 1944.- Obviously, the timing of completion and premiere can’t be separated from WWII. Whether or not Piston intended it, this 2nd Symphony draws American patriotic association. Personally, I am not in agreement that the external factors effecting the composer him or herself will by default manifest itself literally in the music. Though, a few musician quotes from early performances show a strong emotional response. Hans Kindler, who conducted the premiere, said “\[The Symphony] is without even the shadow of a doubt one of the half dozen great works written during the last ten years. It sings forever in my heart and in my consciousness, and Dow not want to leave me. Even Erich Leinsdorf wrote “The performance of your Symphony which took place last night was, to me personally, the most gratifying experience with any score that has seen daylight within the last ten or fifteen years.” Well, we have to hear some of it after reviews like that!###Analysis of piece####Overall scope- Piston’s Symphony No. 2 is written in 3 movements: Moderato, Adagio, Allegro. 3 movement symphonies are a less used format. Usually 4 movements is standard, as established by Haydn and Mozart. But, it was not uncommon, and knowing Piston’s knowledge of form we can confidently assume he had strong reasoning to go this route. Even the movements themselves are basically in sonata form, though the sound and inflection is undeniably Pistonian.####Excerpts- In the first movement Moderato, the opening theme is a serious, lyrical unfolding from the very beginning, presented at first in unison with little accompaniment.- The second theme is a dramatic contrast to the first, playful, off kilter, almost tongue-in-cheek.- In the recap, Piston brings this theme back in a bigger, more filled out capacity adding brass and more percussion to boost the moment.- However, to close the movement this sort of fanfare becomes a calm brass chorale, ending just with the same seriousness as he began.- The Adagio movement, on the other hand, has a completely different feeling. Like home, down to earth. After a brief introduction to set the soft texture, syncopated pulses in the strings accompany a gorgeous clarinet solo, crafted and presented with simple delicacy.- Throughout this movement, even as it expands to climaxes and contracts back from them, the tenor of sensuousness never gives way. Even as the sound slowly builds to the ultimate moment of tension, the feeling is of complete organic overflow.- Incidentally, it was this 2nd movement that Leonard Bernstein conducted as a tribute to Piston upon his death.- The final movement, Allegro, begins with a pop, racing energy, and a characteristic Piston horn call, followed by a semi-fugue, all setting the stage for a quick, intense closing.- When this same material is repeated it is appropriately right at the height of excitement as Piston barrels into the recap.- Then to close out the whole of the symphony, Piston pushes forward the motion while letting out all the energy. He even pulls back the tempo for one brief moment, and then like a slingshot shoots off to the rousing finish!###Closing- Honestly, most of the orchestral pieces in Piston’s portfolio deserve to be heard, analyzed, and enjoyed, most notably including his 8 numbered symphonies, the ballet _The Incredible Flutist_, _Three New England Sketches_, and Serenata for Orchestra. Carrying on his legacy, not only will his theory texts continue to be discussed for many decades to come, after teaching at Harvard for 34 years, his long list students include some recognizable names such as Samuel Adler, Leroy Anderson, Arthur Berger, Leonard Bernstein, Elliott Carter, and Colon Nancarrow.- Piston’s music is moving and on the edge of what came to be a new sound in American music. Even now, his pieces have a distinctiveness of both depth and quality. As we continue to perform and hear his music, we will come to know more of the character of this great composer. Music: Symphony No. 2By: Walter PistonPerformed By: Gerard Schwarz, Seattle Symphony Orchestra Courtesy of Naxos of America, Inc. Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a>

Melodic Curve

####Bio
- Born 1894 in Rockland, Maine, and eventually the family moved to Boston. 
- Early on, Piston considered becoming an artist instead of a musician. He actual finished his degree in painting at the Massachusetts Normal Art School. He spoke of the transition quote 
		&gt; “I went to art school and earned money on the side playing the violin and the piano. I kept getting more and more interested in music, and by the end of the senior year I was entirely devoted to it; but by then I was so near to graduation I decided to finish up school and I got my diploma as a painter.”
- Since the Piston’s didn’t have a piano around until they moved to Boston, Walter picked up the violin and reportedly practiced so much his mother complained. That is ABSOLUTELY not something that would have happened in my house growing up! Quite the opposite...
- One quote of Piston is just funny on its own, but also shows his continuous curiosity. Before he began his studies at Harvard, he seems to have wanted to get ahead of the draft, entering the Navy Band at MIT. He explained quote “when the war cam, the First World War, that is, and it became obvious that everybody had to go into the service, I wanted to go in as a musician. I couldn’t play any band instrument, but I knew instruments and I knew that the saxophone was very easy.” HAHAHAHA! Oh, but he wasn’t done. “So I... bought a saxophone, and stopped by at the public library to get an instruction book. I learned enough to play by ear. In a very short time I was called and I tried out for the band. I didn’t pretend to read the part but just played notes that went with the harmony, and I was accepted.” So that’s it?? Not only, in his own version of the story anyway, did he prove that quote “saxophone was very easy”... really? That was the standard for getting into the Navy Band at MIT in the early 20th century? No need to actually read the music, just play something that sounds like music, based on what they put in front of you... Were I a comedian I’m sure that whole thing would be ripe for material!
- Piston married Kathryn Nason, who kept her maiden name. She was an artist, and though it seems she rarely exhibited her work, she was very involved in the advocacy for her medium.
- The couple had no interest in and never had children. Instead they tended gardens and raised dogs and cats. In fact, Piston actually once confessed “Some of my best musical ideas come to me while I’m spreading manure.”
- Now, Piston and his wife seemed to be of the Bohemian sort, passionate about art and music, preferring life exploration to outright money and security. They were part of a free-living group of people that lived in an un-urbanized area of Belmont, Maine, called “The Hill”. They got drunk often, discussed visual art, and even regularly held nude sketching parties. Since mostly you will only find pictures of the SENIOR Mr. Piston, this is an unfortunate image to have... but I digress. Though it may seem a youthful time, this was Piston’s way of life while he did a great deal of his serious composing.
- While teaching at Harvard, Piston maintained quite a furtive compositional pace. In all, he wrote nearly 80 works that ran the gamut of the art music medium.
####Culture
- If you have ever had life kick you in the teeth, you understand the Einstein quote “The more I learn, the more I realize how much I don’t know.” In a way, Walter Piston had this figured out for himself early on when he reluctantly decided he was going to be a composer. Admitting to a reunion of the Harvard Class of 1924:
		&gt; After graduation I spent two years in Paris... I discovered [then] that I would probably become a composer. Now it is not from choice that one becomes a composer but rather, it seems, one does it in spite of everything even against one’s better judgement. But writing long-haired music is not a way to make a living...
- Concurrent with teaching and composing, he wrote four academic texts that are still discussed and argued about to this day: Principles of Harmonic Analysis, Harmony, Counterpoint, and Orchestration.
- The fact that Piston developed, published, and continuously edited his academic texts would suggest that he is by and large of an analytical mindset. However, even in those texts he offers warnings and nuggets of wisdom along the way, cautioning against taking theoretical study too far. In Counterpoint, Piston spends the first chapter discussing “melodic curve”, instructing that “the outline of a melody may be perceived by simply looking at the music” and that “the word curve is useful to suggest the essential quality of continuity”. Then, after giving many examples and explaining his methodology, Piston makes sure to point out “it is important to see that in the process of analysis and simplification we do not destroy or lose sight of those details of a melody which are the essence of its individuality and expressive quality.” This statement is telling of his own philosophy on composition itself. Putting it succinctly, from the preface to Harmony, “[music theory] tells not how music will be written in the future, but how music has been written in the past.” So, as much as Piston wrote about theory, about theories about theory, and edited the books he wrote about those theories on his own theory... he held the perspective that composition is an organic event, not to follow a prescribed path. This concept absolutely plays out in his work, as we will see with his Symphony No. 2.
- Musicologist and biographer Howard Pollack does a great job of getting to the core of Piston’s compositional individuality. In his book _Walter Piston and His Music_, Pollack says “One steady and important aspect of Piston’s music is his ability to give an advanced twentieth-century idiom the sort of motion and direction one finds in eighteenth and nineteenth-century classics, and this he does by asserting such principles as pulse, melodic curve, harmonic rhythm, tonal design, and symmetrical form. In fact, all the musical elements, including dynamics and color, are responsive to form and movement.”
- An interesting thing Piston said himself about what it is like to compose a piece gives us a bit of incite into his thinking. Quote “I used to tell my students, as soon as you put down one note you’ve changed the conditions, and then you have to consider the others in relation to this, whereas before you put it down, you’re free. On the other hand, you’ve got to be ready to throw that away, and that takes courage...” I’m sure this mirrors the writing process quite closely.
- Symphony No. 2, written 1943, premiered by the National Symphony Orchestra in 1944.
- Obviously, the timing of completion and premiere can’t be separated from WWII. Whether or not Piston intended it, this 2nd Symphony draws American patriotic association. Personally, I am not in agreement that the external factors effecting the composer him or herself will by default manifest itself literally in the music. Though, a few musician quotes from early performances show a strong emotional response. Hans Kindler, who conducted the premiere, said “\[The Symphony] is without even the shadow of a doubt one of the half dozen great works written during the last ten years. It sings forever in my heart and in my consciousness, and Dow not want to leave me. Even Erich Leinsdorf wrote “The performance of your Symphony which took place last night was, to me personally, the most gratifying experience with any score that has seen daylight within the last ten or fifteen years.” Well, we have to hear some of it after reviews like that!
###Analysis of piece
####Overall scope
- Piston’s Symphony No. 2 is written in 3 movements: Moderato, Adagio, Allegro. 3 movement symphonies are a less used format. Usually 4 movements is standard, as established by Haydn and Mozart. But, it was not uncommon, and knowing Piston’s knowledge of form we can confidently assume he had strong reasoning to go this route. Even the movements themselves are basically in sonata form, though the sound and inflection is undeniably Pistonian.
####Excerpts
- In the first movement Moderato, the opening theme is a serious, lyrical unfolding from the very beginning, presented at first in unison with little accompaniment. 
- The second theme is a dramatic contrast to the first, playful, off kilter, almost tongue-in-cheek. 
- In the recap, Piston brings this theme back in a bigger, more filled out capacity adding brass and more percussion to boost the moment. 
- However, to close the movement this sort of fanfare becomes a calm brass chorale, ending just with the same seriousness as he began. 
- The Adagio movement, on the other hand, has a completely different feeling. Like home, down to earth. After a brief introduction to set the soft texture, syncopated pulses in the strings accompany a gorgeous clarinet solo, crafted and presented with simple delicacy. 
- Throughout this movement, even as it expands to climaxes and contracts back from them, the tenor of sensuousness never gives way. Even as the sound slowly builds to the ultimate moment of tension, the feeling is of complete organic overflow. 
- Incidentally, it was this 2nd movement that Leonard Bernstein conducted as a tribute to Piston upon his death.
- The final movement, Allegro, begins with a pop, racing energy, and a characteristic Piston horn call, followed by a semi-fugue, all setting the stage for a quick, intense closing. 
- When this same material is repeated it is appropriately right at the height of excitement as Piston barrels into the recap. 
- Then to close out the whole of the symphony, Piston pushes forward the motion while letting out all the energy. He even pulls back the tempo for one brief moment, and then like a slingshot shoots off to the rousing finish! 
###Closing
- Honestly, most of the orchestral pieces in Piston’s portfolio deserve to be heard, analyzed, and enjoyed, most notably including his 8 numbered symphonies, the ballet _The Incredible Flutist_, _Three New England Sketches_, and Serenata for Orchestra. Carrying on his legacy, not only will his theory texts continue to be discussed for many decades to come, after teaching at Harvard for 34 years, his long list students include some recognizable names such as Samuel Adler, Leroy Anderson, Arthur Berger, Leonard Bernstein, Elliott Carter, and Colon Nancarrow.
- Piston’s music is moving and on the edge of what came to be a new sound in American music. Even now, his pieces have a distinctiveness of both depth and quality. As we continue to perform and hear his music, we will come to know more of the character of this great composer.

Music:

Symphony No. 2
By: Walter Piston 
Performed By: Gerard Schwarz, Seattle Symphony Orchestra

Courtesy of Naxos of America, Inc.

Advertising Inquiries: https://redcircle.com/brands

Walter Piston - Symphony No. 2

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2020/10/16/6/918cf0b3-b61d-4fd8-ad60-7e391f1c1a58_william_schuman_-_processed_audio.mp3

So this is it, ladies and gents, the episode where we discuss the piece for which this podcast was named and the composer that wrote it: William Schuman and his Symphony No. 10 ‘American Muse’! The man literally got letters in the mail telling him either how awful his music was, OR how it had changed someone’s life. Were he still alive today, I would absolutely send him a physical letter thanking him for so dramatically effecting my life. Ironically, I did in fact send his two children, Andrea and Anthony, physical letters to ask for their permission to use the music you just heard at the beginning of this podcast! Anyway, let’s talk about this man and his fantastic compositions.###Background- I first heard music by William Schuman when I was an eager young musician in middle school. I listened to his Symphony No. 5, performed by Leonard Bernstein and the New York Philharmonic string section, recorded on a vinyl record (I kid you not). The opening bars explode with energy and melodic creativity unlike I had ever heard. It was forceful, bold, full of life. It drew me in and to this day has not let go. From that moment I knew I had to know more about this man and his music. He and his music are a large part of the reason I began this podcast, my blog, and my book to be released next year, _Secrets of American Orchestral Music_.####Bio- One of the first things one learns about Schuman is the story of how he came to be a composer in the first place. He did play bass in a dance band, but never considered it very serious. Then he went to a concert at Carnegie Hall and heard the New York Philharmonic, conducted by the great Arturo Toscanini. He was so blown away by the performance he said &#34;I was overwhelmed. I had never heard anything like it. The very next day, I decided to become a composer.&#34; So, he dropped out of New York University, quit his job, enrolled at the Malkin Conservatory of music to study composition, and a short 5 years later he graduated from Columbia University. Who knew it could be so easy? While this anecdotal story is humorous, it accurately shows a key characteristic of Schuman&#39;s personality. He is an optimist, endlessly curious, and has a child-like approach to new endeavors. He is also steadfast and resolute in his values, many times refusing to compromise his artistic work or arts administration efforts. - Though not all of William Schuman&#39;s biographical history is pertinent here, some key positions and career events as well as insight into his composition process help to contextualize the unique nature of the man and his music. One fortuitous happenstance came at the beginning of his journey to become a composer. In 1930, primed by having just attended his first orchestral concert, Schuman saw a sign for the Malkin Conservatory, walked in, and according to him “registered for a course in harmony because he had heard somewhere that composers begin by studying harmony.” This placed him with Max Persin, a teacher more interested in discovering the intricacies of each individual piece rather than regurgitating from quote “a textbook of dull orthodoxy.” Not long after earning a teaching degree from the Columbia University Teachers College, Schuman carved out a teaching and administrative position at Sarah Lawrence College. The way in which this came about is characteristic of Schuman&#39;s free-form thinking and commitment to the highest quality in any endeavor he undertook. Schuman convinced the president and Faculty Advisory Committee on Appointments at Sarah Lawrence to make him the quote &#34;one man... coordinator, working from a single focal point&#34; on a new set of freshman focused courses. Schuman connected with the faculty and administration at Sarah Lawrence on a philosophical level, influenced by the progressive education movement of John Dewey and the concept that &#34;making knowledge one&#39;s own was the central goal of education…” This desire for individuality and freedom from convention carried over into Schuman&#39;s composing. Keenly aware of contemporary trends, Schuman casts the &#34;emergence of a contemporary tonal language&#34; in the twentieth century as &#34;a musical revolution.&#34; Referring to contemporary composers (presumably including himself), Schuman posits “\[t]he process of seeking a way of creating fresh sounds is a natural one for a truly creative musician. It may be conscious or subconscious, or both. But whatever the process, the result is innovation in musical speech.&#34; Even Copland recognized the boldness of Schuman&#39;s work, describing it as &#34;music of tension and power,&#34; and expounding on his rhythmic writing as &#34;so skittish and personal, so utterly free and inventive.&#34;- Schuman&#39;s commitment to his own musical and educational standards resulted in his being tapped as president of Juilliard in 1945. Schuman was reluctant to even consider the post because, as Steve Swayne puts it in his biographic work _Orpheus in Manhattan_, “\[h]e could see no possible marriage between Juilliard’s hidebound, rote education and the progressive, student-oriented approach that he enjoyed at Sarah Lawrence.&#34; Partly due to this honesty expressed to Juilliard&#39;s board of directors, Schuman was offered and eventually accepted the position. As a sign of the school&#39;s desire for change, Schuman immediately made drastic alterations to the Juilliard curriculum and faculty. One program he spearheaded is particularly of note here. Showing his independent thinking and will to move forward, Schuman explains his educational philosophy:&gt; The first requisite for a musician in any branch of the art is that he be a virtuoso listener. It has been a student who is adept at the writing of melodic dictation may be incapable of listening to a symphonic composition with an understanding of its design. In other words, an ability to hear the component parts of the language of music… does not ipso facto mean integrated understanding--an understanding that can only be achieved when the whole work is clearly viewed as the sum of these parts... In an effort to replace conventional theory with more meaningful studies, the Juilliard School has discontinued its Theory Department and added to its curriculum a new department--Literature and Materials of Music.- This is the kind of ideology Schuman applied to his composition and administrative roles. In a 1986 interview, Schuman illustrates the interconnected nature of all his endeavors: &#34;composition has been the continuum of my life&#39;s work, but it&#39;s been by no matter of means my sole pursuit. I would never be happy just being a composer. I&#39;ve always wanted and needed to do other things of a general societal nature.&#34;####Culture- Even through his compositional process, Schuman shows his independent thinking. Intending not to be bound by the limitations of both his piano skill and of the instrument itself, according to a biography written by Vincent Persichetti, Schuman &#34;writes for the instruments of the orchestra directly... sings the parts at the top of his lungs... because his music is essentially melodic... He does, however, use the piano for new vocabulary departures; that is, for experimentation.”- One more quote by Schuman from 1977, helps summarize his philosophy on the balance of artistic honesty and the ambition needed for such a high profile career he had to that point:&gt; I would like to be loved through my music, as anybody would be. But I recognized that this was not necessarily to be the case, and it would be much better to be despised and write what you want than to be loved and write what you didn’t want.… I was asked that question just the other day \[in February 1977] … “Why—when you write these difficult symphonies that hardly anybody ever plays, and you can write the New England Triptych or orchestrate Ives’ Variations on America—why don’t you write a holiday overture that would make you a lot of money and would be played a lot?”- Hopefully the continued reverence of Schuman’s music will suffice as an answer to that question.- Schuman&#39;s symphonic output is quite varied, ranging from symphonies and concertos to ballet and opera. Schuman got the most mileage out of his symphonies, and he admittedly put most of his focus on their creation. Schuman’s symphonies are most representative of all his compositional work, even by his own statements in an interview with Overtones: &gt; “It never occurred to me not to write symphonies... I like every medium in music when I’m working on it… \[but] I believe that as long as writers write long and complicated novels, composers are going to write in the symphonic forms, because they give an opportunity that nothing else gives.”- Schuman wrote 10 numbered symphonies, though he “withdrew” the first two.###Analysis of piece####Overall scope- Now to Symphony No. 10, the ‘American Muse’ itself.- The recorded excerpts you will hear today are from a 2005 NAXOS recording of the Seattle Symphony conducted by Maestro Gerard Schwarz, a dear friend of this podcast.- Written and premiered in 1976, this symphony was commissioned for the American Bicentennial by the National Symphony Orchestra, and conducted by Antal Dorati. - The work is in 3 movements: Con Fuoco, Larghissimo, and the third movement goes through many different speeds, but does begin and end with a Presto.- The orchestration is outrageously large: 4 flutes, 3 oboes, English horn, Eb clarinet, 3 Bb clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 4 trombones, tuba, percussion that calls for 4 players, timpani, piano, harp, celesta, and strings. Whew! None of this would have been surprising coming from Schuman at that point, but even today that is quite a task to take on.####Excerpts- The opening fanfare sets a tone of muscularity, optimism as Schuman might put it...- And then gives way to a mostly brass chorale, punctuated by moments of woodwind interaction.- Not long after, we have a section of what we call homorhythm. This is when all or large portions of the orchestra are playing the same active rhythms, but not the same notes, in fact they are usually quite dissonantly contrasting notes. It is a powerful effect as Schuman builds a great deal of tension. In this excerpt there is a short unison of homorhythm followed by 2 independent layers.- After spending this entire movement in tonic disarray, giving a bit of tonal center, but then taking it away with swaths of dissonance, Schuman suddenly takes an about face at the end and we get, at first, blips of tonal, recognizable chords, before a final Eb major chord grabs hold and blares to the end as if we had been in that bright, happy key all along!- I LOVE that moment!- The second movement, Larghissimo, is a work of beauty, but you have to stick with it. Schuman lets his slow movements develop as organically as possible from the simplest of musical aspects. Here, he begins basically with a chord cluster, again moving only in homorhythmic motion, and very slowly at first. While the violas and then cellos take the lyrical line, which again does not change very much at all, but makes big glissando jumps when it does.- Then what follows is an iconic Schuman sound if there ever was one, I swear I could pick this writing out from any other composer on the planet. The violins slowly expand a high, and still higher reaching, melodic line over chromatically moving chordal movement in the violas and cellos, and just as the line starts to peak, he opens up the sound more, then again as another peak comes, he adds horns... and on and on, one layer after another. It is a long section, but here is a fairly representative moment. 『- And again, just like in the first movement, though this movement isn’t quite so tonally wandering, he lets out all the tension, leaves off with a question mark... and gives us a big, fat, juicy Eb major chord!- The final movement, beginning Presto, starts a series of homorhythmic sections, first strings alone, then trading off with the woodwinds. The activity begins with much space, but quickly becomes lively, almost furious! 『- One element we had yet to come across was Schuman’s craftiness with a fugue. Finally, in the last symphonic movement he ever wrote, in order to build up as much energy and tension as possible, Schuman writes a complex double fugue. This is not a tightly formed, rule-following Bach-like fugue you would expect, but most of the elements you would expect are there. It gives him the chance to push forward and pull back at will. One theme is very active, harmonically and rhythmically, while the other is long held out notes with little movement.- Now you must be wondering if and when we get that Eb major chord we’ve gotten at the end of every other movement. We do! And in similar fashion, Schuman prefaces it with heavy dissonance and confusion. This time, though, the final brilliant chord arrives and finishes in full fanfare. Instant standing ovation!###Closing- Beyond composition, Schuman taught at Sarah Lawrence College, served as president of the Juilliard School, facilitated it’s move into the newly built Lincoln Center, founded the Juilliard String Quartet, served as president of Lincoln Center itself, and won 2 Pulitzer Prizes and the National Medal of Arts. Many people desire to change or effect the world in some way. William Schuman did that and more during his time. As long as we perform or hear his music, he still does. Music: Symphony No. 10By: William SchumanPerformed by: Gerard Schwarz; Seattle Symphony Orchestra Courtesy of Naxos of America, Inc. Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a>

Rawboned Music

So this is it, ladies and gents, the episode where we discuss the piece for which this podcast was named and the composer that wrote it: William Schuman and his Symphony No. 10 ‘American Muse’! The man literally got letters in the mail telling him either how awful his music was, OR how it had changed someone’s life. Were he still alive today, I would absolutely send him a physical letter thanking him for so dramatically effecting my life. Ironically, I did in fact send his two children, Andrea and Anthony, physical letters to ask for their permission to use the music you just heard at the beginning of this podcast! Anyway, let’s talk about this man and his fantastic compositions.
###Background
- I first heard music by William Schuman when I was an eager young musician in middle school. I listened to his Symphony No. 5, performed by Leonard Bernstein and the New York Philharmonic string section, recorded on a vinyl record (I kid you not). The opening bars explode with energy and melodic creativity unlike I had ever heard. It was forceful, bold, full of life. It drew me in and to this day has not let go. From that moment I knew I had to know more about this man and his music. He and his music are a large part of the reason I began this podcast, my blog, and my book to be released next year, _Secrets of American Orchestral Music_.
####Bio
- One of the first things one learns about Schuman is the story of how he came to be a composer in the first place. He did play bass in a dance band, but never considered it very serious. Then he went to a concert at Carnegie Hall and heard the New York Philharmonic, conducted by the great Arturo Toscanini. He was so blown away by the performance he said &#34;I was overwhelmed. I had never heard anything like it. The very next day, I decided to become a composer.&#34; So, he dropped out of New York University, quit his job, enrolled at the Malkin Conservatory of music to study composition, and a short 5 years later he graduated from Columbia University. Who knew it could be so easy? While this anecdotal story is humorous, it accurately shows a key characteristic of Schuman&#39;s personality. He is an optimist, endlessly curious, and has a child-like approach to new endeavors. He is also steadfast and resolute in his values, many times refusing to compromise his artistic work or arts administration efforts. 
- Though not all of William Schuman&#39;s biographical history is pertinent here, some key positions and career events as well as insight into his composition process help to contextualize the unique nature of the man and his music. One fortuitous happenstance came at the beginning of his journey to become a composer. In 1930, primed by having just attended his first orchestral concert, Schuman saw a sign for the Malkin Conservatory, walked in, and according to him “registered for a course in harmony because he had heard somewhere that composers begin by studying harmony.” This placed him with Max Persin, a teacher more interested in discovering the intricacies of each individual piece rather than regurgitating from quote “a textbook of dull orthodoxy.” Not long after earning a teaching degree from the Columbia University Teachers College, Schuman carved out a teaching and administrative position at Sarah Lawrence College. The way in which this came about is characteristic of Schuman&#39;s free-form thinking and commitment to the highest quality in any endeavor he undertook. Schuman convinced the president and Faculty Advisory Committee on Appointments at Sarah Lawrence to make him the quote &#34;one man... coordinator, working from a single focal point&#34; on a new set of freshman focused courses. Schuman connected with the faculty and administration at Sarah Lawrence on a philosophical level, influenced by the progressive education movement of John Dewey and the concept that &#34;making knowledge one&#39;s own was the central goal of education…” This desire for individuality and freedom from convention carried over into Schuman&#39;s composing. Keenly aware of contemporary trends, Schuman casts the &#34;emergence of a contemporary tonal language&#34; in the twentieth century as &#34;a musical revolution.&#34; Referring to contemporary composers (presumably including himself), Schuman posits “\[t]he process of seeking a way of creating fresh sounds is a natural one for a truly creative musician. It may be conscious or subconscious, or both. But whatever the process, the result is innovation in musical speech.&#34; Even Copland recognized the boldness of Schuman&#39;s work, describing it as &#34;music of tension and power,&#34; and expounding on his rhythmic writing as &#34;so skittish and personal, so utterly free and inventive.&#34;
- Schuman&#39;s commitment to his own musical and educational standards resulted in his being tapped as president of Juilliard in 1945. Schuman was reluctant to even consider the post because, as Steve Swayne puts it in his biographic work _Orpheus in Manhattan_, “\[h]e could see no possible marriage between Juilliard’s hidebound, rote education and the progressive, student-oriented approach that he enjoyed at Sarah Lawrence.&#34; Partly due to this honesty expressed to Juilliard&#39;s board of directors, Schuman was offered and eventually accepted the position. As a sign of the school&#39;s desire for change, Schuman immediately made drastic alterations to the Juilliard curriculum and faculty. One program he spearheaded is particularly of note here. Showing his independent thinking and will to move forward, Schuman explains his educational philosophy:
		&gt; The first requisite for a musician in any branch of the art is that he be a virtuoso listener. It has been a student who is adept at the writing of melodic dictation may be incapable of listening to a symphonic composition with an understanding of its design. In other words, an ability to hear the component parts of the language of music… does not ipso facto mean integrated understanding--an understanding that can only be achieved when the whole work is clearly viewed as the sum of these parts... In an effort to replace conventional theory with more meaningful studies, the Juilliard School has discontinued its Theory Department and added to its curriculum a new department--Literature and Materials of Music.
- This is the kind of ideology Schuman applied to his composition and administrative roles. In a 1986 interview, Schuman illustrates the interconnected nature of all his endeavors: &#34;composition has been the continuum of my life&#39;s work, but it&#39;s been by no matter of means my sole pursuit. I would never be happy just being a composer. I&#39;ve always wanted and needed to do other things of a general societal nature.&#34;
####Culture
- Even through his compositional process, Schuman shows his independent thinking. Intending not to be bound by the limitations of both his piano skill and of the instrument itself, according to a biography written by Vincent Persichetti, Schuman &#34;writes for the instruments of the orchestra directly... sings the parts at the top of his lungs... because his music is essentially melodic... He does, however, use the piano for new vocabulary departures; that is, for experimentation.”
- One more quote by Schuman from 1977, helps summarize his philosophy on the balance of artistic honesty and the ambition needed for such a high profile career he had to that point:
		&gt; I would like to be loved through my music, as anybody would be. But I recognized that this was not necessarily to be the case, and it would be much better to be despised and write what you want than to be loved and write what you didn’t want.… I was asked that question just the other day \[in February 1977] … “Why—when you write these difficult symphonies that hardly anybody ever plays, and you can write the New England Triptych or orchestrate Ives’ Variations on America—why don’t you write a holiday overture that would make you a lot of money and would be played a lot?”
- Hopefully the continued reverence of Schuman’s music will suffice as an answer to that question.
- Schuman&#39;s symphonic output is quite varied, ranging from symphonies and concertos to ballet and opera. Schuman got the most mileage out of his symphonies, and he admittedly put most of his focus on their creation. Schuman’s symphonies are most representative of all his compositional work, even by his own statements in an interview with Overtones: 
		&gt; “It never occurred to me not to write symphonies... I like every medium in music when I’m working on it… \[but] I believe that as long as writers write long and complicated novels, composers are going to write in the symphonic forms, because they give an opportunity that nothing else gives.”
- Schuman wrote 10 numbered symphonies, though he “withdrew” the first two.
###Analysis of piece
####Overall scope
- Now to Symphony No. 10, the ‘American Muse’ itself.
- The recorded excerpts you will hear today are from a 2005 NAXOS recording of the Seattle Symphony conducted by Maestro Gerard Schwarz, a dear friend of this podcast.
- Written and premiered in 1976, this symphony was commissioned for the American Bicentennial by the National Symphony Orchestra, and conducted by Antal Dorati. 
- The work is in 3 movements: Con Fuoco, Larghissimo, and the third movement goes through many different speeds, but does begin and end with a Presto.
- The orchestration is outrageously large: 4 flutes, 3 oboes, English horn, Eb clarinet, 3 Bb clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 4 trombones, tuba, percussion that calls for 4 players, timpani, piano, harp, celesta, and strings. Whew! None of this would have been surprising coming from Schuman at that point, but even today that is quite a task to take on.
####Excerpts
- The opening fanfare sets a tone of muscularity, optimism as Schuman might put it... 
- And then gives way to a mostly brass chorale, punctuated by moments of woodwind interaction. 
- Not long after, we have a section of what we call homorhythm. This is when all or large portions of the orchestra are playing the same active rhythms, but not the same notes, in fact they are usually quite dissonantly contrasting notes. It is a powerful effect as Schuman builds a great deal of tension. In this excerpt there is a short unison of homorhythm followed by 2 independent layers.
- After spending this entire movement in tonic disarray, giving a bit of tonal center, but then taking it away with swaths of dissonance, Schuman suddenly takes an about face at the end and we get, at first, blips of tonal, recognizable chords, before a final Eb major chord grabs hold and blares to the end as if we had been in that bright, happy key all along! 
- I LOVE that moment!
- The second movement, Larghissimo, is a work of beauty, but you have to stick with it. Schuman lets his slow movements develop as organically as possible from the simplest of musical aspects. Here, he begins basically with a chord cluster, again moving only in homorhythmic motion, and very slowly at first. While the violas and then cellos take the lyrical line, which again does not change very much at all, but makes big glissando jumps when it does. 
- Then what follows is an iconic Schuman sound if there ever was one, I swear I could pick this writing out from any other composer on the planet. The violins slowly expand a high, and still higher reaching, melodic line over chromatically moving chordal movement in the violas and cellos, and just as the line starts to peak, he opens up the sound more, then again as another peak comes, he adds horns... and on and on, one layer after another. It is a long section, but here is a fairly representative moment. 『
- And again, just like in the first movement, though this movement isn’t quite so tonally wandering, he lets out all the tension, leaves off with a question mark... and gives us a big, fat, juicy Eb major chord! 
- The final movement, beginning Presto, starts a series of homorhythmic sections, first strings alone, then trading off with the woodwinds. The activity begins with much space, but quickly becomes lively, almost furious! 『
- One element we had yet to come across was Schuman’s craftiness with a fugue. Finally, in the last symphonic movement he ever wrote, in order to build up as much energy and tension as possible, Schuman writes a complex double fugue. This is not a tightly formed, rule-following Bach-like fugue you would expect, but most of the elements you would expect are there. It gives him the chance to push forward and pull back at will. One theme is very active, harmonically and rhythmically, while the other is long held out notes with little movement.
- Now you must be wondering if and when we get that Eb major chord we’ve gotten at the end of every other movement. We do! And in similar fashion, Schuman prefaces it with heavy dissonance and confusion. This time, though, the final brilliant chord arrives and finishes in full fanfare. Instant standing ovation!
###Closing
- Beyond composition, Schuman taught at Sarah Lawrence College, served as president of the Juilliard School, facilitated it’s move into the newly built Lincoln Center, founded the Juilliard String Quartet, served as president of Lincoln Center itself, and won 2 Pulitzer Prizes and the National Medal of Arts. Many people desire to change or effect the world in some way. William Schuman did that and more during his time. As long as we perform or hear his music, he still does.

Music:

Symphony No. 10
By: William Schuman
Performed by: Gerard Schwarz; Seattle Symphony Orchestra

Courtesy of Naxos of America, Inc.

Advertising Inquiries: https://redcircle.com/brands

William Schuman - Symphony No. 10 'American Muse'

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2020/10/14/5/a1ac2909-6530-4459-9807-e6e53b94fe50_william_grant_still_-_processed_audio-_podcast.mp3

####Bio- It seems especially difficult to summarize the life and career of William Grant Still. At the simplest, Still performed, conducted, composed, orchestrated, and arranged music, earning him the title “Dean of Afro-American Composers”. But what he was as a man is so much deeper and more complex. His compositions give us a brief glimpse of his personality and philosophy (and I am grateful for that). Beyond this, Still’s words and those affected by him do a meritorious job in striving to complete the picture of the man. Yet, in the end, he is too multidimensional to be easily labeled.- Still began as a performer and arranger for W.C. Handy, the self-proclaimed “Father of the Blues.” This association brought Still to Harlem in 1919, during a pivotal moment in American history, at the peak of the “Harlem Renaissance.” Though the Harlem Renaissance would lay a foundation for the Civil Rights movement roughly 30 years later, at the time it was as an explosion of African American art and philosophy after the Civil War and during the period when “Jim Crow” laws were sweeping the South. It was a time of individuality, self-assertion, and rich expression in the face of current segregation and oppression, while slavery was not just a memory for most. - Still was absolutely unique at this moment, as the most well-known—and often the first—African-American to compose works in the European art music fashion. Other African-American “firsts” for Still included having a symphony performed by a professional orchestra, conducting a major symphony orchestra, and having an opera performed by a major opera company.- Still’s massive portfolio alone is impressive, totaling nearly 200 compositions, which in addition to the well-known symphonies and operas, includes ballet and chamber music. The most well-recognized works are likely his “Afro-American” Symphony No. 1, the opera Troubled Island, and his ballet Sahdji. The symphonic poem Africa, written in the same year as the Symphony No. 1 and Sahdji (1930), is a notable hidden gem as even after revising it numerous times following a successful performance by the Rochester Philharmonic and Howard Hanson—a long time champion of Still’s works—Still eventually withdrew the work, unpublished(!).####Culture- That label of “first” is tricky, needing a broader view to the context and implication. Musicologist Gayle Murchison was a colleague of mine at the College of William &amp; Mary, and in fact has agreed to be a guest on this show to talk about American composers. She addresses this issue of duality for Still:Quote The title “Dean of Afro-American Composers” is Still’s due. Yet it does not aptly describe his accomplishments or the artistic and aesthetic ideals he pursued in his work. Such a title is easily bestowed on Still, who crossed many racial barriers during a period in American history when the achievements of African Americans were measured by firsts as a marker of racial progress and improvement in race relations. But to see him in this way is to accord him a place in American music history largely on the basis of his race and to consider only one facet of his accomplishments.End quote. After all, I believe Still was a genius, and should be recognized for that at any moment in history.- The piece we will hear today, _Africa_, obviously weighed on Still’s mind for a long period, having begun composition in 1924, and philosophically tied in with the Harlem Renaissance. Writing to George Barrère, the conductor to premiere the work, Still gives insight into the programmatic content:An American Negro has formed a concept of the land of his ancestors based largely on its folklore, and influenced by his contact with American civilization. He beholds in his mind’s eye not the Africa of reality but an Africa mirrored in fancy, and radiantly ideal.###Analysis of piece####Overall scope- Now to the music itself- Written in 3 movements, titled “land of peace”, “land of romance”, and “land of superstition”. As we talked about, the work is programmatic, and Still put a great deal of thought into this aspect.- So, before we go further I want to make a personal statement involving Programmatic music. If you are not sure what that is, at it’s simplest, programmatic music follows a story. Usually, the concept originates with a story, and the composer writes music to emulate the atmosphere described or follow, outright, the drama as it unfolds. Bizet&#39;s “Symphony Fantastique” and Elgar’s “Enigma” Variations are classic examples. So, I want to make it completely clear what my thoughts are on programmatic music. I LOVE the stories, they are interesting, usually enjoyable, and often give us insight into the composer and what they were thinking when writing the piece. However, I believe from the standpoint of enjoying and consuming the art, I believe the program to be completely superfluous. It is a nice dressing, but neither enhances nor serves the music directly when receiving a performance of the work. My anecdotal argument is this: Elgar wrote his Enigma variations 1899, and practically ever since it has been played by orchestras all over the world, enjoyed by countless audiences, and studied to death by every serious orchestral musician. Therefore, we do know a few tid-bits about the people on whom the variations were based, most notably Jaeger from the 9th variation, titled ‘Nimrod’, which refers to the hunter ++need more context++. They were very close friends, etc. etc. I hold that this story and external information would be completely unknown to us if the music was not as good, powerful, and moving as it is. Therefore, the program is extra, non-essential, like a performance venue during a global pandemic!- And it is for this reason that though I will discuss both, separately and in tandem, when analyzing a piece, my philosophy is squarely attached to the sounds themselves, while respecting the fact that the composer him or herself made the connection to the story.- Ok, tangent over. Now, on to the music.####Excerpts- These excerpts are from a 2005 NAXOS recording of the Fort Smith Symphony, conducted by John Jeter.- Ironically, after saying all of that, there is a strong programmatic tie to the very opening bars of _Africa_. Distant, rhythmic drums. This certainly sets a serene background for the flute solo that follows. It is hard NOT to conjure an image in the mind of heat rising against the distant sunset on a vast African plain. \[play opening to 1:05]- Titled “Land of Peace” this movement goes through what seems like progressive vignettes of calm scenic African events. Still uses this format to show all of his strengths, European Romantic style writing, jazz influenced lyrical moments, soloistic writing, and crafty orchestrational mixture. \[3:10-3:46]- At the second theme, Still opens into a rich, satisfying horn led melodic line, with harp and string accompaniment. It instantly reminds me of the 2nd theme of Hanson’s 2nd Symphony, and it’s not a stretch that Still was influenced by that piece considering how much Hanson championed Still’s compositions. \[5:04-5:49]- “Land of Romance”, the middle movement, includes even more of a jazz/dissonance clash. In this spot, the chromatic melodies seem to have a pleasurably erratic nature, and the harmonic movement below, while the pulse is steady, seems to constantly be slipping in a similar chromatic fashion. \[1:58-3:09]- At the overflow moment, the volume does rise with full brass and percussion. Though, the previous characteristics remain, creating a both unsettling and satisfying climactic moment. \[3:54-5:01-ish]- Finally, in “Land of Superstition”, Still introduces a bit of forward motion. Still continues to show his orchestrational prowess in this movement, along with his particular blend of styles. Hear how he moves back and forth between sections of the orchestra, all while moving the energy forward and creating a jazzy flavor at the same time. \[2:38-3:47]- The only time Still comes close to a big band moment is at the high point of this movement, when the bottom of the orchestra cycles a recognizable walking bass pattern and practically everyone else sings out a long, loud bluesy melody. Yet, Still doesn’t lose his voice entirely, using a very unique mode mixture, constantly going back and forth between major and minor. \[5:10-5:57-ish]###Closing- Even without any of this explanation of the programmatic aspect, the piece itself has a mysterious character, aurally engaging from the opening drum beats and flute solo, the hypnotic bluesy rhythms, the easy downward slide of chromatic movement in the strings, to the often celebratory mood of the last movement. As in his other orchestral works, especially his five numbered symphonies, Still shows complete mastery of orchestration and suitable timbre use for every instrument, section, and combination thereof. Like all other great composers, his adeptness in this area is so deft that one does not even think of it while enraptured in the moment. I can’t think of a better compliment. Music: &#39;Africa&#39;By: William Grant StillPerformed by: Fort Smith Symphony, John Jeter Courtesy of Naxos of America, Inc. Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a>

A Universal Composer

####Bio
- It seems especially difficult to summarize the life and career of William Grant Still. At the simplest, Still performed, conducted, composed, orchestrated, and arranged music, earning him the title “Dean of Afro-American Composers”. But what he was as a man is so much deeper and more complex. His compositions give us a brief glimpse of his personality and philosophy (and I am grateful for that). Beyond this, Still’s words and those affected by him do a meritorious job in striving to complete the picture of the man. Yet, in the end, he is too multidimensional to be easily labeled.
- Still began as a performer and arranger for W.C. Handy, the self-proclaimed “Father of the Blues.” This association brought Still to Harlem in 1919, during a pivotal moment in American history, at the peak of the “Harlem Renaissance.” Though the Harlem Renaissance would lay a foundation for the Civil Rights movement roughly 30 years later, at the time it was as an explosion of African American art and philosophy after the Civil War and during the period when “Jim Crow” laws were sweeping the South. It was a time of individuality, self-assertion, and rich expression in the face of current segregation and oppression, while slavery was not just a memory for most. 
- Still was absolutely unique at this moment, as the most well-known—and often the first—African-American to compose works in the European art music fashion. Other African-American “firsts” for Still included having a symphony performed by a professional orchestra, conducting a major symphony orchestra, and having an opera performed by a major opera company.
- Still’s massive portfolio alone is impressive, totaling nearly 200 compositions, which in addition to the well-known symphonies and operas, includes ballet and chamber music. The most well-recognized works are likely his “Afro-American” Symphony No. 1, the opera Troubled Island, and his ballet Sahdji. The symphonic poem Africa, written in the same year as the Symphony No. 1 and Sahdji (1930), is a notable hidden gem as even after revising it numerous times following a successful performance by the Rochester Philharmonic and Howard Hanson—a long time champion of Still’s works—Still eventually withdrew the work, unpublished(!).
####Culture
- That label of “first” is tricky, needing a broader view to the context and implication. Musicologist Gayle Murchison was a colleague of mine at the College of William &amp; Mary, and in fact has agreed to be a guest on this show to talk about American composers. She addresses this issue of duality for Still:
		Quote The title “Dean of Afro-American Composers” is Still’s due. Yet it does not aptly describe his accomplishments or the artistic and aesthetic ideals he pursued in his work. Such a title is easily bestowed on Still, who crossed many racial barriers during a period in American history when the achievements of African Americans were measured by firsts as a marker of racial progress and improvement in race relations. But to see him in this way is to accord him a place in American music history largely on the basis of his race and to consider only one facet of his accomplishments.
	End quote. After all, I believe Still was a genius, and should be recognized for that at any moment in history.
- The piece we will hear today, _Africa_, obviously weighed on Still’s mind for a long period, having begun composition in 1924, and philosophically tied in with the Harlem Renaissance. Writing to George Barrère, the conductor to premiere the work, Still gives insight into the programmatic content:
		An American Negro has formed a concept of the land of his ancestors based largely on its folklore, and influenced by his contact with American civilization. He beholds in his mind’s eye not the Africa of reality but an Africa mirrored in fancy, and radiantly ideal.
###Analysis of piece
####Overall scope
- Now to the music itself
- Written in 3 movements, titled “land of peace”, “land of romance”, and “land of superstition”. As we talked about, the work is programmatic, and Still put a great deal of thought into this aspect.
- So, before we go further I want to make a personal statement involving Programmatic music. If you are not sure what that is, at it’s simplest, programmatic music follows a story. Usually, the concept originates with a story, and the composer writes music to emulate the atmosphere described or follow, outright, the drama as it unfolds. Bizet&#39;s “Symphony Fantastique” and Elgar’s “Enigma” Variations are classic examples. So, I want to make it completely clear what my thoughts are on programmatic music. I LOVE the stories, they are interesting, usually enjoyable, and often give us insight into the composer and what they were thinking when writing the piece. However, I believe from the standpoint of enjoying and consuming the art, I believe the program to be completely superfluous. It is a nice dressing, but neither enhances nor serves the music directly when receiving a performance of the work. My anecdotal argument is this: Elgar wrote his Enigma variations 1899, and practically ever since it has been played by orchestras all over the world, enjoyed by countless audiences, and studied to death by every serious orchestral musician. Therefore, we do know a few tid-bits about the people on whom the variations were based, most notably Jaeger from the 9th variation, titled ‘Nimrod’, which refers to the hunter ++need more context++. They were very close friends, etc. etc. I hold that this story and external information would be completely unknown to us if the music was not as good, powerful, and moving as it is. Therefore, the program is extra, non-essential, like a performance venue during a global pandemic!
- And it is for this reason that though I will discuss both, separately and in tandem, when analyzing a piece, my philosophy is squarely attached to the sounds themselves, while respecting the fact that the composer him or herself made the connection to the story.
- Ok, tangent over. Now, on to the music.
####Excerpts
- These excerpts are from a 2005 NAXOS recording of the Fort Smith Symphony, conducted by John Jeter.
- Ironically, after saying all of that, there is a strong programmatic tie to the very opening bars of _Africa_. Distant, rhythmic drums. This certainly sets a serene background for the flute solo that follows. It is hard NOT to conjure an image in the mind of heat rising against the distant sunset on a vast African plain. \[play opening to 1:05]
- Titled “Land of Peace” this movement goes through what seems like progressive vignettes of calm scenic African events. Still uses this format to show all of his strengths, European Romantic style writing, jazz influenced lyrical moments, soloistic writing, and crafty orchestrational mixture. \[3:10-3:46]
- At the second theme, Still opens into a rich, satisfying horn led melodic line, with harp and string accompaniment. It instantly reminds me of the 2nd theme of Hanson’s 2nd Symphony, and it’s not a stretch that Still was influenced by that piece considering how much Hanson championed Still’s compositions. \[5:04-5:49]
- “Land of Romance”, the middle movement, includes even more of a jazz/dissonance clash. In this spot, the chromatic melodies seem to have a pleasurably erratic nature, and the harmonic movement below, while the pulse is steady, seems to constantly be slipping in a similar chromatic fashion. \[1:58-3:09]
- At the overflow moment, the volume does rise with full brass and percussion. Though, the previous characteristics remain, creating a both unsettling and satisfying climactic moment. \[3:54-5:01-ish]
- Finally, in “Land of Superstition”, Still introduces a bit of forward motion. Still continues to show his orchestrational prowess in this movement, along with his particular blend of styles. Hear how he moves back and forth between sections of the orchestra, all while moving the energy forward and creating a jazzy flavor at the same time. \[2:38-3:47]
- The only time Still comes close to a big band moment is at the high point of this movement, when the bottom of the orchestra cycles a recognizable walking bass pattern and practically everyone else sings out a long, loud bluesy melody. Yet, Still doesn’t lose his voice entirely, using a very unique mode mixture, constantly going back and forth between major and minor. \[5:10-5:57-ish]
###Closing
- Even without any of this explanation of the programmatic aspect, the piece itself has a mysterious character, aurally engaging from the opening drum beats and flute solo, the hypnotic bluesy rhythms, the easy downward slide of chromatic movement in the strings, to the often celebratory mood of the last movement. As in his other orchestral works, especially his five numbered symphonies, Still shows complete mastery of orchestration and suitable timbre use for every instrument, section, and combination thereof. Like all other great composers, his adeptness in this area is so deft that one does not even think of it while enraptured in the moment. I can’t think of a better compliment.


Music:

&#39;Africa&#39;
By: William Grant Still
Performed by: Fort Smith Symphony, John Jeter

Courtesy of Naxos of America, Inc.

Advertising Inquiries: https://redcircle.com/brands

William Grant Still - 'Africa'

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2020/10/5/14/2708d6fc-e6b3-4099-b2c1-1a62ab1de984_silas_huff_interview_-_processed_audio-_podcast.mp3

Interview with Maestro Silas Huff, Director of Orchestras at Washburn University in Lawrence, Kansas. We discuss opening school and rehearsing a full orchestra during COVID-19 and the unknown epic life of Horatio Parker, one of the so called Boston 6. Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a>

Interview with the modern Swiss army knife conductor, Silas Huff

Interview with Maestro Silas Huff, Director of Orchestras at Washburn University in Lawrence, Kansas. We discuss opening school and rehearsing a full orchestra during COVID-19 and the unknown epic life of Horatio Parker, one of the so called Boston 6.

Advertising Inquiries: https://redcircle.com/brands

Silas Huff Interview

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2020/9/29/3/343a506c-0db8-4653-b014-4a77332e083e_george_whitefield_chadwick_-_processed_audio-_podcast.mp3

- In this episode we will look at George Whitefield Chadwick, a member of the so called Boston 6, and dubbed by John Phillip Sousa as the “Pride of New England”. We will hear parts of his single movement work _Aphrodite_ , and find out how closely the music ties to the mythical figure herself. Also, we will explore Chadwick’s time as student, teacher, then president of the New England Conservatory of music.###Composer- George Whitefield Chadwick’s life spans an interesting series of world historical events and societal shifting inventions. I’m quoting from Bill Faucett’s biography on Chadwick, as he puts it very articulately:  “Born in 1854, just a few years before the first volley of the Civil War, he lived to see the devastation of the Great War and the turmoil wrought by the onset of the Great Depression.” “Chadwick also watched as technology improved—and sometimes invaded—his life via electricity, the phonograph and the gramophone, the telephone, and the motion picture. He traveled widely—first by horse cart and train, then by steamship and automobile, and eventually by air—in the United States and abroad. Chadwick’s travels enabled his presence at many of the age’s most consequential musical events…”  Can you even imagine? Living and being so highly productive before electricity, the car, and the telephone? I know there are many others that did this, but it is a heavy concept to take in.- So Chadwick, born in Massachusetts, studied piano for a little bit at the New England Conservatory in Boston, then with an eye toward studying in Europe, as did most musicians at the time, he took a teaching position at the Michigan Conservatory of Olivet College to earn and save money. After 3 years, he went to Germany and studied piano and organ at the Munich Conservatory. After 2 years there, in 1879, seemingly ready to come back to the US anyway, Chadwick was invited to conduct his own _Rip Van Winkle_ Overture at Boston’s Handel and Haydn Society Triennial Festival. So, he packed up and came back to Boston for good. Then, over nearly a decade, Chadwick held various church organ positions, conducted orchestras, managed festivals, and composed more and larger pieces. In 1897, though reticent at first to accept the position, Chadwick became director of the New England Conservatory of Music. (as a side note, this is very similar to how William Schuman became director of Juilliard, after declining the position multiple times) Though the position took up much of his time, Chadwick continued to teach composition and compose a great deal himself. He was even commissioned to write for Connecticut’s Norfolk Music Festival, for which among other pieces he composed _Aphrodite_, the piece we will discuss shortly. - Chadwick’s composition portfolio is large and eclectic. Piano and organ works, chamber music, orchestral, concerti, choral and stage pieces. He worked a great deal between that and his position at NEC. The ONLY thing that slowed him down was his health. First, it was Rheumatism, which made him lose some teeth and degraded his eyesight. That led to gout, which gave him a lot of chronic pain. But what did him in was a heart condition. Because he consistently wrote in his diary throughout his life, we have a clear though sobering account of the days leading up to his death. For example, on December 27, 1930 he writes “Paderewski dinner and concert,” “Had a heart attack and could not go.” Just like that! As if it was a minor inconvenience!###Culture- Our piece today is _Aphrodite_, written in 1911, Chadwick actually wrote this long, one movement work in a single month! The piece itself is quite hefty orchestrationally as well, notably calling for triple woodwinds, 4 horns, 4 trumpets, off-stage trumpets, both harp and celesta, and field drums.- As I mentioned, Chadwick wrote this piece for the Norfolk Festival. To put the Norfolk Festival performance into perspective, June of 1912, this was only 6 weeks after the sinking of the Titanic! Even Chadwick remarked “\[it] has so overshadowed all other affairs that I could not get into any mood to write.”###Back story and anecdote of piece- Apparently, the impetus for this work was born from Chadwick’s fascination with the marble bust of Aphrodite herself at the Museum of Fine Art in Boston. Though the work is entirely instrumental, Chadwick worked out a translation of ancient Greek poetry to accompany the score: In a dim vision of the long agoWandering by a far-off Grecian shoreWhere streaming moonlight shone on golden sandsAnd melting stars dissolved in silver seas,I humbly knelt at Aphrodite’s shrineImploring her with many a fervid prayerTo tell the secret of her beauty’s powerAnd the depths of the ocean whence she sprang.At last the wave-born goddess raised her handAnd smiling said: “O mortal youth, behold!”Then all these mysteries passed before mine eyes. - Intriguingly, while the vast majority of Chadwick’s work is Romantic, Germanic, structured in form, this piece is, obviously, highly programmatic. While it is one movement, he designates titled sections: Moonlight on the sea, Storm, Requiem, The Lovers, Children Playing, Approach of a Great Army and Hymn to Aphrodite, Moonlight scene partly repeated, and Finale. A thematic strain is persistent throughout, instead of a formal rotation. ###Analysis of pieceNow let’s hear the piece itself. This 2002 NAXOS recording is of the Nashville Symphony conducted by Kenneth Schermerhorn. On a side note, because of the pandemic, the Nashville Symphony was forced to cancel their entire 2020-2021 season. This is of course grave news for the organization, the musicians, and their audience. I truly hope that the situation turns around for the Nashville Symphony and they get back to making music as quickly as is possible for everyone’s safety.- A very melancholy beginning, the solo viola plays a variation of the Aphrodite motive that will persist throughout the piece. Accompanied by clarinets, the short phrase ends on a deceptive and un-resolving chord, followed by an ominous statement by the timpani.- After this repeats, building suspense, the texture settles in, an undulating figure in the strings, while the English horn plays the Aphrodite motive.- Though this section expands and builds, it is never harsh, never erupts. Not only does the activity remain relatively calm, the melody itself is rarely presented with a bright instrument, like oboe or flute, and even when it is it’s combined with clarinet or English horn to mitigate the brighter timbre of the instrument. This is a keen insight of orchestration on the part of Chadwick- Eventually this transitions to a raucous Storm section, heavy on the low brass and percussion.- Having built up a substantial amount of tension, Chadwick opens up directly into the Requiem. Immediately, the simple theme is accompanied by quick running chromatic scales in the lower register, swelling over and over.- Having released a great deal of the opening tension during the requiem, Chadwick enters “The Lovers” section. This opens with a violin and horn duet that develops an intimate melodic line, likely signifying the lovers themselves.- After this opening, the lyrical line is developed to a fulfilling crest, and in Wagnerian style opens into a lightness and quicker tempo only to arrive at yet another, greater, fuller moment of bliss.- Following a very light, waltz-like section meant to be the “Children Playing”, Chadwick then makes use of offstage drums and trumpets to introduce the extended march of an approaching “Great Army”. The march builds up and as the army arrives, a grand Maestoso gives way, presenting a “Hymn to Aphrodite”.- When the drama finally plays out, Chadwick reprises the “Moonlight” theme from the opening, but this time with a bit more brightness. At last, he brilliantly allows the undulating accompaniment to organically expand, adding broader and larger swelling wind chords over the top, as if breathing in sweet relief to the end.###Outro- Chadwick was often accused, notably by his own colleague Horatio Parker, for being technical, craftsman like. Honestly, I don’t hear what they hear. I find my self more engaged in this music every time I hear it. On top of that, Chadwick partly has a lot to do with the fact that in my own conservatory training I was offered and even at times encouraged to enrich myself with traditions other than just that of Europe. Do not get me wrong, I can play Bach, Mozart, Beethoven, Brahms, Mahler, etc. ALL DAY LONG. Though, I am thankful to people like Chadwick who encouraged American teachers, performers, and composers to believe in their own set of traditions, skills, instincts. Now, we have a mix of everything. What could be better? Music: &#39;Aphrodite&#39;By: George Whitefiled ChadwickPerformed by: Kenneth Schermerhorn, Nashville Symphony Orchestra Courtesy of Naxos of America, Inc. Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a>

The Hand of a Very Fine Craftsman

- In this episode we will look at George Whitefield Chadwick, a member of the so called Boston 6, and dubbed by John Phillip Sousa as the “Pride of New England”. We will hear parts of his single movement work _Aphrodite_ , and find out how closely the music ties to the mythical figure herself. Also, we will explore Chadwick’s time as student, teacher, then president of the New England Conservatory of music.
###Composer
- George Whitefield Chadwick’s life spans an interesting series of world historical events and societal shifting inventions. I’m quoting from Bill Faucett’s biography on Chadwick, as he puts it very articulately: 

“Born in 1854, just a few years before the first volley of the Civil War, he lived to see the devastation of the Great War and the turmoil wrought by the onset of the Great Depression.” “Chadwick also watched as technology improved—and sometimes invaded—his life via electricity, the phonograph and the gramophone, the telephone, and the motion picture. He traveled widely—first by horse cart and train, then by steamship and automobile, and eventually by air—in the United States and abroad. Chadwick’s travels enabled his presence at many of the age’s most consequential musical events…” 

Can you even imagine? Living and being so highly productive before electricity, the car, and the telephone? I know there are many others that did this, but it is a heavy concept to take in.
- So Chadwick, born in Massachusetts, studied piano for a little bit at the New England Conservatory in Boston, then with an eye toward studying in Europe, as did most musicians at the time, he took a teaching position at the Michigan Conservatory of Olivet College to earn and save money. After 3 years, he went to Germany and studied piano and organ at the Munich Conservatory. After 2 years there, in 1879, seemingly ready to come back to the US anyway, Chadwick was invited to conduct his own _Rip Van Winkle_ Overture at Boston’s Handel and Haydn Society Triennial Festival. So, he packed up and came back to Boston for good. Then, over nearly a decade, Chadwick held various church organ positions, conducted orchestras, managed festivals, and composed more and larger pieces. In 1897, though reticent at first to accept the position, Chadwick became director of the New England Conservatory of Music. (as a side note, this is very similar to how William Schuman became director of Juilliard, after declining the position multiple times) Though the position took up much of his time, Chadwick continued to teach composition and compose a great deal himself. He was even commissioned to write for Connecticut’s Norfolk Music Festival, for which among other pieces he composed _Aphrodite_, the piece we will discuss shortly. 
- Chadwick’s composition portfolio is large and eclectic. Piano and organ works, chamber music, orchestral, concerti, choral and stage pieces. He worked a great deal between that and his position at NEC. The ONLY thing that slowed him down was his health. First, it was Rheumatism, which made him lose some teeth and degraded his eyesight. That led to gout, which gave him a lot of chronic pain. But what did him in was a heart condition. Because he consistently wrote in his diary throughout his life, we have a clear though sobering account of the days leading up to his death. For example, on December 27, 1930 he writes “Paderewski dinner and concert,” “Had a heart attack and could not go.” Just like that! As if it was a minor inconvenience!
###Culture
- Our piece today is _Aphrodite_, written in 1911, Chadwick actually wrote this long, one movement work in a single month! The piece itself is quite hefty orchestrationally as well, notably calling for triple woodwinds, 4 horns, 4 trumpets, off-stage trumpets, both harp and celesta, and field drums.
- As I mentioned, Chadwick wrote this piece for the Norfolk Festival. To put the Norfolk Festival performance into perspective, June of 1912, this was only 6 weeks after the sinking of the Titanic! Even Chadwick remarked “\[it] has so overshadowed all other affairs that I could not get into any mood to write.”
###Back story and anecdote of piece
- Apparently, the impetus for this work was born from Chadwick’s fascination with the marble bust of Aphrodite herself at the Museum of Fine Art in Boston. Though the work is entirely instrumental, Chadwick worked out a translation of ancient Greek poetry to accompany the score:

In a dim vision of the long ago
Wandering by a far-off Grecian shore
Where streaming moonlight shone on golden sands
And melting stars dissolved in silver seas,
I humbly knelt at Aphrodite’s shrine
Imploring her with many a fervid prayer
To tell the secret of her beauty’s power
And the depths of the ocean whence she sprang.
At last the wave-born goddess raised her hand
And smiling said: “O mortal youth, behold!”
Then all these mysteries passed before mine eyes.

- Intriguingly, while the vast majority of Chadwick’s work is Romantic, Germanic, structured in form, this piece is, obviously, highly programmatic. While it is one movement, he designates titled sections: Moonlight on the sea, Storm, Requiem, The Lovers, Children Playing, Approach of a Great Army and Hymn to Aphrodite, Moonlight scene partly repeated, and Finale. A thematic strain is persistent throughout, instead of a formal rotation.

###Analysis of piece
Now let’s hear the piece itself. This 2002 NAXOS recording is of the Nashville Symphony conducted by Kenneth Schermerhorn. On a side note, because of the pandemic, the Nashville Symphony was forced to cancel their entire 2020-2021 season. This is of course grave news for the organization, the musicians, and their audience. I truly hope that the situation turns around for the Nashville Symphony and they get back to making music as quickly as is possible for everyone’s safety.
- A very melancholy beginning, the solo viola plays a variation of the Aphrodite motive that will persist throughout the piece. Accompanied by clarinets, the short phrase ends on a deceptive and un-resolving chord, followed by an ominous statement by the timpani.
- After this repeats, building suspense, the texture settles in, an undulating figure in the strings, while the English horn plays the Aphrodite motive.
- Though this section expands and builds, it is never harsh, never erupts. Not only does the activity remain relatively calm, the melody itself is rarely presented with a bright instrument, like oboe or flute, and even when it is it’s combined with clarinet or English horn to mitigate the brighter timbre of the instrument. This is a keen insight of orchestration on the part of Chadwick
- Eventually this transitions to a raucous Storm section, heavy on the low brass and percussion.
- Having built up a substantial amount of tension, Chadwick opens up directly into the Requiem. Immediately, the simple theme is accompanied by quick running chromatic scales in the lower register, swelling over and over.
- Having released a great deal of the opening tension during the requiem, Chadwick enters “The Lovers” section. This opens with a violin and horn duet that develops an intimate melodic line, likely signifying the lovers themselves.
- After this opening, the lyrical line is developed to a fulfilling crest, and in Wagnerian style opens into a lightness and quicker tempo only to arrive at yet another, greater, fuller moment of bliss.
- Following a very light, waltz-like section meant to be the “Children Playing”, Chadwick then makes use of offstage drums and trumpets to introduce the extended march of an approaching “Great Army”. The march builds up and as the army arrives, a grand Maestoso gives way, presenting a “Hymn to Aphrodite”.
- When the drama finally plays out, Chadwick reprises the “Moonlight” theme from the opening, but this time with a bit more brightness. At last, he brilliantly allows the undulating accompaniment to organically expand, adding broader and larger swelling wind chords over the top, as if breathing in sweet relief to the end.
###Outro
- Chadwick was often accused, notably by his own colleague Horatio Parker, for being technical, craftsman like. Honestly, I don’t hear what they hear. I find my self more engaged in this music every time I hear it. On top of that, Chadwick partly has a lot to do with the fact that in my own conservatory training I was offered and even at times encouraged to enrich myself with traditions other than just that of Europe. Do not get me wrong, I can play Bach, Mozart, Beethoven, Brahms, Mahler, etc. ALL DAY LONG. Though, I am thankful to people like Chadwick who encouraged American teachers, performers, and composers to believe in their own set of traditions, skills, instincts. Now, we have a mix of everything. What could be better?

Music:

&#39;Aphrodite&#39;
By: George Whitefiled Chadwick
Performed by:  Kenneth Schermerhorn, Nashville Symphony Orchestra

Courtesy of Naxos of America, Inc.

Advertising Inquiries: https://redcircle.com/brands

George Whitefield Chadwick - 'Aphrodite'

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2020/10/5/14/43ad6eae-c89b-4e15-84e3-437766892efb_roy_harris_-_processed_audio-_podcast.mp3

- In this episode of American Muse we will hear the first symphony by Roy Harris, titled for the year it was written 1933. We will discuss the odd man Harris was, his nomadic nature, and an interesting story about he, his wife, and her name... stay tuned for that. (Play opening 10 seconds)###Composer- Roy Harris, or LeRoy as is his full first name, born in Oklahoma, but quickly moved to southern California. Studied with Arthur Farwell at UC Berkeley. Had his first orchestral piece premiered at Eastman by Howard Hanson (that’s about the best promotion you could ask for right out of the gate!). Then met a guy named Aaron Copland who suggested he go to Paris and study with another composer named Nadia Boulanger. It’s hard to go wrong after starting a career with names like that on your resume. Oh, but let’s add one more shall we?? After returning to the US, Harris eventually meets Serge Koussevitzky, another career maker at the time, who then premiered and recorded Harris’ _Symphony 1933_ , and THAT became the first commercially recorded American symphony.- Another thing to know about this man is that he could NOT sit still for very long. In chronological order, he taught at Juilliard, Westminster, Cornell, Stanford, Colorado College, University of Utah, Peabody College for Teachers in Nashville, Pennsylvania College for Women, Southern Illinois University, Indiana University, the Inter-American University in Puerto Rico, UCLA, and finally Cal State University, Los Angeles. And that’s just the university positions!- Harris had a massive composition portfolio, and while he covered most of the bases—vocal, chamber, ballet, concertos, etc.—his main focus was clearly on the symphonic form. Harris numbered 13 symphonies (although, out of superstition, he numbered the last 14 to avoid the number 13), plus the _Three Symphonic Essays_, _American Portrait_, _Our Heritage_ (which he apparently only finished one movement for), a Symphony for High School Orchestra, _American Symphony_ for jazz band, Choral Symphony for chorus and orchestra, and the _Walt Whitman Symphony_ for solo baritone, chorus and orchestra. Oh! Also a _Symphony for Voices_, an entirely a cappella work. So, I’d say, he was hooked on the symphony.- Now, though there is STILL time left for this to happen to me… I have never had the honor of being properly called a genius (uh, by anyone other than my mother…). Roy Harris, on the other hand, did have this dubious fortune. Paraphrasing a famous quote of Robert Schumann praising the talents of an up and coming Frédéric Chopin, one Arthur Farwell said of Roy Harris, quote “Gentlemen, a genius—but keep your hats on!” Later, the equally great Walter Piston would counter by complimenting Harris for quote “surviving the trying experience of having been hailed as a genius.” It would seem that Roy Harris had a strong effect on critics and contemporaries alike. One possible reason the label of genius did not effect Harris negatively was his ability to stay so presently in the moment, maintaining an intense focus on the matter at hand. Certainly an aspect that reveals itself in his compositions, and a characteristic that makes for long days and short years.- Ok, one strange story I need to tell you is about he and his second wife. In 1936, Harris married Beula Duffey. Duffey was already on her way to a spectacular career as a pianist, having been hailed as a prodigy in Canada, and then as the youngest faculty member at Juilliard. The interesting part is that Harris convinced her to changer her FIRST name to Johana, after the great Johan Sebastian Bach! From what I could find, this was welcomed and uncontentious. It seems to have been a business and career decision as much as anything else. I just can’t quite imagine starting that conversation: “Darling, I love you, I love everything about you… it’s just, your name… I don’t like it, and no one else will either. Instead, let’s name you after a VERY dead male composer. What do you say??”- It turns out that at first Harris only numbered the symphonies that used the traditional symphonic orchestra. But, then he wrote the _Abraham Lincoln Symphony_ for piano, percussion, and brass, and numbered it the 10th, so that tradition ended.- Harris’ approach to the various aspects of symphonic composition is articulated nicely by a biographer of his, Dan Stehman. He says quote “Formal procedures… he employs in the symphonies are virtually the same as in his miscellaneous orchestral and band works, and his chamber compositions, for that matter. Acquaintance with all of Harris’ works in the genre reveals that his most consistent view appears to have been of the symphony as a work of greater seriousness, emotional variety, intensity of expression, and length than was the norm for him. Though… the elements which went into their creation were formed and treated quite similarly to those employed in other works, the materials of the symphonies are sometimes greater in number, richer in complexity, and accorded a more elaborate development. with especially prominent use of the various types of motivic working out… Occasionally ideas recur in a thematic sense within a symphony… thus providing more of a sense of large scale unity than one finds… in the miscellaneous pieces. … \[T]he quality of the ideas in the symphonies, particularly the long melodies, is sometimes more distinctive than that found elsewhere in Harris’s oevre.- So, Symphony 1933, Symphony No. 1, pieced together from bits he had already composed. Yet it isn’t necessary to know that to enjoy the work. The initiation of this piece came about, as I mentioned earlier, via Aaron Copland introducing Harris to Koussevitzky, who was at the time not only the music director of the Boston Symphony Orchestra, he premiered works by so many American composers he was basically a career maker. According to Harris’ memory, Koussevitzky said “Copland told me you are the American Mussorgsky. You must write for me a big symphony from the West. I will play.” Excuse my Russian accent, but that’s a pretty cool endorsement from someone that, at the time, was likely destined to make your career, right? - Now to the symphony itself. These excerpts were performed by the Louisville Orchestra under the direction of Jorge Mester.- Symphony 1933 is in 3 movements: Allegro, Andante, and Maestoso; nothing special there. What Harris does from the very beginning is establish a rhythmic theme, one that is both inherently contrasting, alternating triplets against 8ths, but is presented as triumphant and at times aggressive. At the very opening the timpani presents the rhythm and the winds furiously wind through the melodic material that will be developed, followed by a brass variation. (Play opening 45 seconds)- The middle section of this movement shows characteristic melodic writing by Harris, using a soaring string line supported by regularly interjected rhythmic motives reminiscent of the opening energy beneath.- In the final section, where the opening material returns, Harris shows his ability to play with layers and space. In this excerpt string and timpani punctuate a heavy rhythmic figure, the woodwinds play a sustained, menacing melodic line in unison, and the brass begin a fugal conversation over the top. The effect is powerful!- In the second movement, Harris’ lush melodic writing is fully featured. Another aspect is the harmonic writing, that is in some ways key to the uniquely American sound that is starting develop. Here, Harris uses a tightly dense harmonic accompaniment that moves rhythmically in sync with the moldy, and has many surprising chromatic twists as it moves along.- The last movement, while not overwhelming in energy, is constantly building interest and tension. In fact, Harris does this with a motive based only on 3 notes! Throughout out the movement he morphs those 3 notes in so many fashions you likely would not notice without it being pointed out, and that’s the point! - Here is the very opening with the 3 note motive- Another version with a considerable amount of variation and energy this time, and more and more rhythmic complexity as it goes along- In a moment of calmness, Harris varies the motive in a much more horizontal, lyrical fashion.- Finally, Harris falls into repetitive mode to build up some energy. - This piece is easy to listen to and take in. It is not very long, but packs quite a mental punch. Though it was his first symphony, Harris does show compositional growth and maturity here. It is more than worth your time to listen to and enjoy. I can almost guarantee you’ve rarely heard another piece like it. Music: Symphony No. 1 &#39;1933&#39;By: Roy HarrisPerformed By: The Louisville Orchestra, Jorge Mester Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a>

Long Days and Short Years

- In this episode of American Muse we will hear the first symphony by Roy Harris, titled for the year it was written 1933. We will discuss the odd man Harris was, his nomadic nature, and an interesting story about he, his wife, and her name... stay tuned for that. (Play opening 10 seconds)
###Composer
- Roy Harris, or LeRoy as is his full first name, born in Oklahoma, but quickly moved to southern California. Studied with Arthur Farwell at UC Berkeley. Had his first orchestral piece premiered at Eastman by Howard Hanson (that’s about the best promotion you could ask for right out of the gate!). Then met a guy named Aaron Copland who suggested he go to Paris and study with another composer named Nadia Boulanger. It’s hard to go wrong after starting a career with names like that on your resume. Oh, but let’s add one more shall we?? After returning to the US, Harris eventually meets Serge Koussevitzky, another career maker at the time, who then premiered and recorded Harris’ _Symphony 1933_ , and THAT became the first commercially recorded American symphony.
- Another thing to know about this man is that he could NOT sit still for very long. In chronological order, he taught at Juilliard, Westminster, Cornell, Stanford, Colorado College, University of Utah, Peabody College for Teachers in Nashville, Pennsylvania College for Women, Southern Illinois University, Indiana University, the Inter-American University in Puerto Rico, UCLA, and finally Cal State University, Los Angeles. And that’s just the university positions!
- Harris had a massive composition portfolio, and while he covered most of the bases—vocal, chamber, ballet, concertos, etc.—his main focus was clearly on the symphonic form. Harris numbered 13 symphonies (although, out of superstition, he numbered the last 14 to avoid the number 13), plus the _Three Symphonic Essays_, _American Portrait_, _Our Heritage_ (which he apparently only finished one movement for), a Symphony for High School Orchestra, _American Symphony_ for jazz band, Choral Symphony for chorus and orchestra, and the _Walt Whitman Symphony_ for solo baritone, chorus and orchestra. Oh! Also a _Symphony for Voices_, an entirely a cappella work. So, I’d say, he was hooked on the symphony.
- Now, though there is STILL time left for this to happen to me… I have never had the honor of being properly called a genius (uh, by anyone other than my mother…). Roy Harris, on the other hand, did have this dubious fortune. Paraphrasing a famous quote of Robert Schumann praising the talents of an up and coming Frédéric Chopin, one Arthur Farwell said of Roy Harris, quote “Gentlemen, a genius—but keep your hats on!” Later, the equally great Walter Piston would counter by complimenting Harris for quote “surviving the trying experience of having been hailed as a genius.” It would seem that Roy Harris had a strong effect on critics and contemporaries alike. One possible reason the label of genius did not effect Harris negatively was his ability to stay so presently in the moment, maintaining an intense focus on the matter at hand. Certainly an aspect that reveals itself in his compositions, and a characteristic that makes for long days and short years.
- Ok, one strange story I need to tell you is about he and his second wife. In 1936, Harris married Beula Duffey. Duffey was already on her way to a spectacular career as a pianist, having been hailed as a prodigy in Canada, and then as the youngest faculty member at Juilliard. The interesting part is that Harris convinced her to changer her FIRST name to Johana, after the great Johan Sebastian Bach! From what I could find, this was welcomed and uncontentious. It seems to have been a business and career decision as much as anything else. I just can’t quite imagine starting that conversation: “Darling, I love you, I love everything about you… it’s just, your name… I don’t like it, and no one else will either. Instead, let’s name you after a VERY dead male composer. What do you say??”
- It turns out that at first Harris only numbered the symphonies that used the traditional symphonic orchestra. But, then he wrote the _Abraham Lincoln Symphony_ for piano, percussion, and brass, and numbered it the 10th, so that tradition ended.
- Harris’ approach to the various aspects of symphonic composition is articulated nicely by a biographer of his, Dan Stehman. He says quote “Formal procedures… he employs in the symphonies are virtually the same as in his miscellaneous orchestral and band works, and his chamber compositions, for that matter. Acquaintance with all of Harris’ works in the genre reveals that his most consistent view appears to have been of the symphony as a work of greater seriousness, emotional variety, intensity of expression, and length than was the norm for him. Though… the elements which went into their creation were formed and treated quite similarly to those employed in other works, the materials of the symphonies are sometimes greater in number, richer in complexity, and accorded a more elaborate development. with especially prominent use of the various types of motivic working out… Occasionally ideas recur in a thematic sense within a symphony… thus providing more of a sense of large scale unity than one finds… in the miscellaneous pieces. … \[T]he quality of the ideas in the symphonies, particularly the long melodies, is sometimes more distinctive than that found elsewhere in Harris’s oevre.
- So, Symphony 1933, Symphony No. 1, pieced together from bits he had already composed. Yet it isn’t necessary to know that to enjoy the work. The initiation of this piece came about, as I mentioned earlier, via Aaron Copland introducing Harris to Koussevitzky, who was at the time not only the music director of the Boston Symphony Orchestra, he premiered works by so many American composers he was basically a career maker. According to Harris’ memory, Koussevitzky said “Copland told me you are the American Mussorgsky. You must write for me a big symphony from the West. I will play.” Excuse my Russian accent, but that’s a pretty cool endorsement from someone that, at the time, was likely destined to make your career, right?

- Now to the symphony itself. These excerpts were performed by the Louisville Orchestra under the direction of Jorge Mester.
- Symphony 1933 is in 3 movements: Allegro, Andante, and Maestoso; nothing special there. What Harris does from the very beginning is establish a rhythmic theme, one that is both inherently contrasting, alternating triplets against 8ths, but is presented as triumphant and at times aggressive. At the very opening the timpani presents the rhythm and the winds furiously wind through the melodic material that will be developed, followed by a brass variation. (Play opening 45 seconds)
- The middle section of this movement shows characteristic melodic writing by Harris, using a soaring string line supported by regularly interjected rhythmic motives reminiscent of the opening energy beneath.
- In the final section, where the opening material returns, Harris shows his ability to play with layers and space. In this excerpt string and timpani punctuate a heavy rhythmic figure, the woodwinds play a sustained, menacing melodic line in unison, and the brass begin a fugal conversation over the top. The effect is powerful!
- In the second movement, Harris’ lush melodic writing is fully featured. Another aspect is the harmonic writing, that is in some ways key to the uniquely American sound that is starting develop. Here, Harris uses a tightly dense harmonic accompaniment that moves rhythmically in sync with the moldy, and has many surprising chromatic twists as it moves along.
- The last movement, while not overwhelming in energy, is constantly building interest and tension. In fact, Harris does this with a motive based only on 3 notes! Throughout out the movement he morphs those 3 notes in so many fashions you likely would not notice without it being pointed out, and that’s the point! 
- Here is the very opening with the 3 note motive
- Another version with a considerable amount of variation and energy this time, and more and more rhythmic complexity as it goes along
- In a moment of calmness, Harris varies the motive in a much more horizontal, lyrical fashion.
- Finally, Harris falls into repetitive mode to build up some energy.

- This piece is easy to listen to and take in. It is not very long, but packs quite a mental punch. Though it was his first symphony, Harris does show compositional growth and maturity here. It is more than worth your time to listen to and enjoy. I can almost guarantee you’ve rarely heard another piece like it.

Music:

Symphony No. 1 &#39;1933&#39;
By: Roy Harris
Performed By: The Louisville Orchestra, Jorge Mester

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Roy Harris - Symphony No. 1 ‘1933’

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2020/10/24/17/3418e879-db87-4e6e-abf5-39b693fd203f_fixed_joann_falletta_interview_-_processed_audio-_podcast.mp3

Interview with Grammy Award Winning Conductor JoAnn Falletta! Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a>

Interview with the Grammy Award Winning Conductor!

Interview with Grammy Award Winning Conductor JoAnn Falletta!

Advertising Inquiries: https://redcircle.com/brands

JoAnn Falletta Interview

https://s3.us-east-2.amazonaws.com/pod-public-media-files/2020/10/5/13/e340d2f5-7991-48d9-b321-ffe4cf04f011_trailer_episode_audio.mp3

Introducing the American Muse Podcast! Hello! My name is Grant Gilman. I am a conductor, violinist, and author, based in Atlanta, Georgia. I grew up the son of 2 violinists, who both went to Eastman and became professionals. Beyond that, I have a pretty typical musician story. I was bitten by the music bug very young, and despite everyone, including my parents, constantly reminding me there is no money in classical music, I couldn’t do anything else.I remember playing in youth orchestra and constantly breaking my bow hair. It is not unusual to break a hair every once in a while, but I did it regularly. I realized that I wanted to play my part AND the winds AND the percussion all at once, that’s why I was pressing so hard. I knew, even then, that my place was on the podium. That’s where I could be a part of all the sounds at once. Then my high school orchestra director let me conduct both my own composition and Elgar’s famous Enigma Variations, both in concert. Well, that was it, no going back. I was going to be a conductor, for better or worse.So, I went to the Peabody Conservatory of Music, studied violin with Martin Beaver, former 1st violin of the Tokyo String Quartet, Misha Rosenker, and Pamela Frank, world renowned soloist and chamber player. It just so happened that one of the best conducting programs in the world is ALSO at Peabody, so I stayed for my Masters degree, and got to study with Gustav Meier (rest in peace, my friend) and Markand Thakar.After playing and conducting in various positions all over the country, I decided to get my doctorate. That took me to the University of Cincinnati College-Conservatory of Music, or CCM as we call it, and I studied under Mark Gibson.Now, it just so happens I married up! My wife, Kim, is a fantastic horn player. After 10 years playing under JoAnn Falletta in the Virginia Symphony, she won 2nd horn with the Atlanta Symphony, under the baton of Robert Spano. So, after having grown up in south Texas, I now live in another very hot and humid area of the country. But, Atlanta is great!When I was still quite young, I would actually listen to my mother’s collection of vinyl records. No, this is not a joke. She had tons of them! One that I found was so striking because I had never heard of the composer, and certainly not the piece, but the music blew me away EVERY time I listened to it. The conductor was Leonard Bernstein, leading the strings of the New York Philharmonic. The piece was Symphony No. 5 by William Schuman. And that is where my journey began.I never lost that sound from my mind, the optimism, boldness, complex, driving rhythmic movement, dense and engaging harmonic support. Until that moment I knew only the most prevailing composers of history. Now I had another world to discover.So I’m starting a podcast! The title is “American Muse”, in honor of William Schuman, which is what he titled his 10th and final symphony. This podcast is for all of those people, like my young self, that have never heard of these American orchestral composers from the 19th and 20th centuries. I want to find and share hidden and lesser-known gems that will brighten your day and bring depth to your world, as only art and music can do.Now of course our team will need help! You can expect to hear a collection of extraordinary guests that are experts in this field. I will be interviewing them, asking them some pointed questions that we think you will find not only entertaining but also very educational. And the first guest will be none other than JoAnn Falletta!Beyond that, we want you to be as involved as possible. We want to know if you have a composer or piece you would like us to feature. We love finding new pieces!Also, we want to know if you have a guest to propose I interview. Like the composers themselves, the experts in this niche can be just quite elusive.Furthermore, If you are an educator and have an idea, something that would tie in with your curriculum that would be of benefit to you, please reach out to us. We plan to dedicate an episode each season toward educating young musicians and students.Thanks for listening to my short introduction, and I hope you are as excited as we are! The show will be available anywhere you get your podcasts already, a video version will be on YouTube, and you can also find links and show notes on my website grantgilman.com/americanmusepodcast. Feel free to contact us with thoughts or ideas at americanmusepodcast@grantgilman.com. Advertising Inquiries: <a href='https://redcircle.com/brands'>https://redcircle.com/brands</a>

Introducing Grant Gilman!

Introducing the American Muse Podcast!

Hello! My name is Grant Gilman. I am a conductor, violinist, and author, based in Atlanta, Georgia. I grew up the son of 2 violinists, who both went to Eastman and became professionals. Beyond that, I have a pretty typical musician story. I was bitten by the music bug very young, and despite everyone, including my parents, constantly reminding me there is no money in classical music, I couldn’t do anything else.
I remember playing in youth orchestra and constantly breaking my bow hair. It is not unusual to break a hair every once in a while, but I did it regularly. I realized that I wanted to play my part AND the winds AND the percussion all at once, that’s why I was pressing so hard. I knew, even then, that my place was on the podium. That’s where I could be a part of all the sounds at once. Then my high school orchestra director let me conduct both my own composition and Elgar’s famous Enigma Variations, both in concert. Well, that was it, no going back. I was going to be a conductor, for better or worse.
So, I went to the Peabody Conservatory of Music, studied violin with Martin Beaver, former 1st violin of the Tokyo String Quartet, Misha Rosenker, and Pamela Frank, world renowned soloist and chamber player. It just so happened that one of the best conducting programs in the world is ALSO at Peabody, so I stayed for my Masters degree, and got to study with Gustav Meier (rest in peace, my friend) and Markand Thakar.
After playing and conducting in various positions all over the country, I decided to get my doctorate. That took me to the University of Cincinnati College-Conservatory of Music, or CCM as we call it, and I studied under Mark Gibson.
Now, it just so happens I married up! My wife, Kim, is a fantastic horn player. After 10 years playing under JoAnn Falletta in the Virginia Symphony, she won 2nd horn with the Atlanta Symphony, under the baton of Robert Spano. So, after having grown up in south Texas, I now live in another very hot and humid area of the country. But, Atlanta is great!
When I was still quite young, I would actually listen to my mother’s collection of vinyl records. No, this is not a joke. She had tons of them! One that I found was so striking because I had never heard of the composer, and certainly not the piece, but the music blew me away EVERY time I listened to it. The conductor was Leonard Bernstein, leading the strings of the New York Philharmonic. The piece was Symphony No. 5 by William Schuman. And that is where my journey began.
I never lost that sound from my mind, the optimism, boldness, complex, driving rhythmic movement, dense and engaging harmonic support. Until that moment I knew only the most prevailing composers of history. Now I had another world to discover.
So I’m starting a podcast! The title is “American Muse”, in honor of William Schuman, which is what he titled his 10th and final symphony. This podcast is for all of those people, like my young self, that have never heard of these American orchestral composers from the 19th and 20th centuries. I want to find and share hidden and lesser-known gems that will brighten your day and bring depth to your world, as only art and music can do.
Now of course our team will need help! You can expect to hear a collection of extraordinary guests that are experts in this field. I will be interviewing them, asking them some pointed questions that we think you will find not only entertaining but also very educational. And the first guest will be none other than JoAnn Falletta!
Beyond that, we want you to be as involved as possible. We want to know if you have a composer or piece you would like us to feature. We love finding new pieces!
Also, we want to know if you have a guest to propose I interview. Like the composers themselves, the experts in this niche can be just quite elusive.
Furthermore, If you are an educator and have an idea, something that would tie in with your curriculum that would be of benefit to you, please reach out to us. We plan to dedicate an episode each season toward educating young musicians and students.
Thanks for listening to my short introduction, and I hope you are as excited as we are! The show will be available anywhere you get your podcasts already, a video version will be on YouTube, and you can also find links and show notes on my website grantgilman.com/americanmusepodcast. Feel free to contact us with thoughts or ideas at americanmusepodcast@grantgilman.com.

Advertising Inquiries: https://redcircle.com/brands

American Muse Podcast - Trailer Episode

American Composers Nearly Forgotten

Podcast about American orchestral music. Featuring interviews with guests including JoAnn Falletta and Gerard Schwarz.