Composers Datebook

Not all composers were nice people, and even some of the more famous ones turn out to have been rather nasty, greedy, vindictive and altogether unpleasant specimens of humanity, despite the enduring beauty of their music.

But we like to showcase the better side of the species. On today’s date in 1739, for example, George Frederick Handel premiered this music, his Organ Concerto in A Major, as a special, added attraction at a benefit concert in London. It was organized “for the benefit and increase of a fund established for the support of decayed musicians and their families.”

The previous year Handel had been shocked to learn that the widow and children of one of his favorite performers, oboist John Christian Kitch, were found wandering impoverished on the streets of London. Handel called a meeting of some of his colleagues at the Crown and Anchor Tavern and started a charitable fund, even enlisting the support of rival composers and musicians who heretofore had not been on very good terms with Herr Handel.

Within a year, a series of benefit concerts were organized to raise money for a continuing fund to assist musicians fallen on hard times, and even Handel’s enemies had to admit the gruff and frequently abrasive German must have had a good heart after all.

George Frederic Handel (1685-1757): Organ Concerto in A; Peter Hurford, organ; Concertgebouw Chamber Orchestra; Joshua Rifkin, conductor; London 430 569

It’s time once again for our Composer Quiz: Name a famous American composer who was also a successful businessman. If you answered insurance executive Charles Ives, Jay will show you what's under the box. But if your answer was “John Alden Carpenter,” vice president of George B. Carpenter and Co., supplies and equipment dealer, we'll just pull back the curtain and show you all your prizes!

John Alden Carpenter was born in 1876 near Chicago, and, after studies out East, entered his father’s business back home, eventually becoming its vice president. Fortunately for the budding composer, the firm was largely run by his brothers, and he had enough free time to devote to his music. On today’s date in 1915, the Chicago Symphony premiered Carpenter’s first big orchestral work, the suite, Adventures in a Perambulator. (You get extra points if you knew a perambulator is a baby buggy.)

Anyway…

Carpenter's pram piece was a big success, and he wrote a string of other popular works, including a ballet based on the Krazy Kat comic strip of his day, and Skyscrapers, a jazzy and topical tribute to the transformation of urban America in the 1920s.

Unlike the unconventional Charles Ives, who toiled away in obscurity, the more conventional Carpenter was famous in his day. Ironically, while Ives’ fame only increased after his death in 1954, when Carpenter died in 1951, his music rapidly fell from fashion.

John Alden Carpenter (1876-1951): Adventrues in a Perambulator; National Symphony of Ukraine; John McLaughlin Williams, conductor; Naxos 8.559065

Russian émigré composer and pianist Sergei Rachmaninoff was himself the soloist on today’s date in 1927 in the first performance of his Piano Concerto No. 4 with the Philadelphia Orchestra, conducted by Leopold Stokowski.

Rachmaninoff had premiered his Concerto No. 3 in New York in 1909, and he’d been thinking about writing another one for over a decade. In the meantime, his life had been disrupted by both the Russian Revolution and the exhausting business of earning a living as a touring virtuoso pianist. In 1926, he finally felt he could afford to take some time off and put a Piano Concerto No. 4 down on paper.

In its original form, it turned out to be a much longer work than even Rachmaninoff thought practical. He joked to a friend that its movements would have to be “performed on successive nights, like Wagner’s Ring operas.”

He made a number of cuts before the Philadelphia premiere, but even so, the new work was not well received, and so he kept cutting. Audiences and critics still remained cool, and Rachmaninoff eventually shelved the work for a time — quite a time. In 1941 he prepared a “final cut” version, which ended up considerably shorter than his other three Piano Concertos, and recorded it with Eugene Ormandy and the Philadelphia Orchestra.

Sergei Rachmaninoff (1873-1943): Piano Concerto No. 4; Jean-Yves Thibaudet, piano; Cleveland Orchestra; Vladimir Ashkenazy, conductor; London 458 930

On today’s date in 1972, a most unusual chamber work by American composer George Crumb had its premiere at the Library of Congress in Washington, D.C.

Ideally, and “impractically” according to Crumb, it should have been heard, not in a concert hall in March … but in the open air … heard at a distance across a body of water, on a moonlit evening in August.

Vox Balaenae, which is Latin for The Voice of the Whale, is scored for three masked musicians, performing on electric flute, electric cello and amplified piano.

Crumb wrote, “The work was inspired by the singing of the humpback whale, a tape recording of which I had heard two or three years previously. Each of the three performers is required to wear a black half-mask or visor-mask. The masks, by effacing the sense of human projection, are intended to represent, symbolically, the powerful impersonal forces of nature. I have also suggested that the work be performed under deep-blue stage lighting.”

In the opening of his piece, marked “Vocalise … from the beginning of time,” he quoted, with tongue firmly planted in masked cheek, the famous sunrise theme from Richard Strauss’ Also Sprach Zarathustra, used to great effect in the opening of the Kubrick film 2001: A Space Odyssey.

George Crumb (b. 1929): Vox Balaenae (Voice of the Whale); Zizi Mueller, flute; Fred Sherry, cello; James Gemmell, piano; New World 357

A new opera by Jules Massenet had its premiere at the Paris Opera on today’s date in 1894. Thaïs and was based on a rather spicy novel of the same name by the popular French author of the day, Anatole France.

The novel and the opera are based on an old seventh-century manuscript, which mentions a fabulously beautiful Egyptian courtesan named Thaïs who converted to Christianity and spent the rest of her life meditating in seclusion on matters spiritual. In Massenet’s opera, the conversion from strip-tease artiste to nun is depicted by an instrumental interlude, the famous Meditation from Thaïs, which has become a favorite showpiece for solo violinists.

To add a dash of the piquant to the tale, in both the novel by Anatole France and in the opera by Massenet, the young monk who diligently convinces Thaïs to change her wicked ways suddenly falls madly in love with her himself, and just as diligently tries to persuade her to add just one more name — his — to her list of satisfied customers.

As they used to say in ancient Egypt: “Ooh-la-la!”

Jules Massenet (1842-1912): Meditation from Thaïs; Nigel Kennedy, violin; English Chamber Orchestra; EMI 57330

The thick historical novels of 19th century French writer Alexandre Dumas, Sr. are packed with some fact and a lot of fiction. Chapter 22 of The Three Musketeers, for example, set during the 17th century reign of King Louis XIII, begins as follows:

“Nothing was talked of in Paris but the ball which the aldermen were to give to the king and queen in which their Majesties were to dance the famous La Merlaison — the favorite ballet of the king. Eight days had been spent preparing for the important evening. The city carpenters erected risers for the guests; the hall would be lit by two hundred huge candles of white wax, a luxury unheard of; and twenty violins were ordered, the price for them double the usual rate, since they would be playing all night.”

In this case, Dumas was referencing a real event.

On today’s date in 1635, at Chantilly castle, a gala ballet premiered. It depicted in stylized dance the Louis’ favorite activity: hunting the blackbird (“la merlaison” in French). The choreography, the costumes, and music were all created by the king — who also danced several of the lead roles.

It got a rave review in the press of the day. If there were any critics, we suspect Cardinal Richelieu, the dreaded power behind the throne in Dumas’ novel — and in real life — had them hauled off and “dealt with.”

Ah yes, it's good to be King.

Louis XIII Roi de France (1601-1643): Ballet de la Merlaison; Ancient Instrument Ensemble of Paris; Jacques Chailley, conductor; Nonesuch LP H-71130

On today’s date in 1942, on a radio broadcast by the NBC Symphony, 75-year-old Italian conductor Arturo Toscanini led a performance of El Salón Mexico by 41-year-old American composer Aaron Copland. Copland, who attended the performance, was amazed to see that Toscanini knew his score by heart, apparently unaware that the extremely nearsighted Toscanini always memorized the scores he conducted.

After the performance, Copland was invited backstage to the Green Room to meet Toscanini. “He addressed me as ‘maestro.’ That was a shock. It was rather fun to be addressed as ‘maestro’ by the maestro. But Toscanini seemed disturbed. I wondered what was bothering him and apparently the rhythmic complications of my piece had caused him considerable headache, trying to remember all these changes of rhythms in the piece by heart, and made him a little unsure of his memory,” he recalled

Years later, among Toscanini’s papers, a copy of Copland’s score was found, written out in Toscanini’s own hand, from first note to last, apparently made as an aide to — or test of — his memory. Copland asked Toscanini’s son Walter for a photocopy, and it remained one of his prized possessions.

Aaron Copland (1900-1990): El Salòn Mèxico; NBC Symphony; Arturo Toscanini, conductor

It might seem farfetched that Winona Ryder, Emma Watson and Charles Ives might have anything in common, but there is a connection of sorts: Ryder appeared in a 1994 film based on Louisa May Alcott’s classic 19th century novel, Little Women, Emma Watson appears in the 2019 remake and, in 1913, American composer Charles Ives composed “The Alcotts,” the second movement of his Concord Sonata for piano, which evokes Louisa May, her novel and her real-life family and friends, who included the New England Transcendentalists, Emerson and Thoreau.

Set during the American Civil War, Alcott’s Little Women chronicles the coming of age of four young women in Concord, Massachusetts. The story of has charmed readers and film-goers around the world. Ives’s music, like Alcott’s novel, is nostalgic, affectionate, and quietly powerful.

Contemporary American composer, Mark Adamo, crafted an opera based on Alcott’s Little Women which premiered on today’s date in 1998 at the Opera Studio of Houston Grand Opera. After its premiere, that company’s general director, David Gockley, pronounced Adamo’s opera “destined to become an American classic,” and since its successful Houston Opera revival in 2000, Adamo’s Little Women has been staged again and again, to equal acclaim from audiences and critics.

Charles Ives (1874-1954): The Alcotts from Concord Sonata; Anthony de Mare, piano; CRI 837

Mark Adamo (b. 1962): Little Women; Houston Grand Opera; Patrick Summers, conductor; Ondine 988

The stage directions read: “The garden of the Grimaldi Palace outside Genoa. On the left side, the palace, directly in front, the sea. Dawn is breaking.”

The evocative music is by Italian opera composer Giuseppe Verdi, the prelude to his opera Simon Boccanegra, which premiered on today’s date in 1857 in Venice.

Despite its shimmering prelude, his new opera was not well received. The critics felt it was one of those works which “does not make its effect immediately … It is written with the utmost exquisite craftsmanship but needs to be studied in all its details.”

Verdi, a practical man of the theater, knew what that sort of review really meant. He wrote: “I thought I’d done something passable, but it seems I was mistaken. The score is not possible as it stands. It is too sad, too depressing. I shall need to redo it to give it more contrast and variety, more life.”

The revised version of Simon Boccanegra premiered 24 years later, in 1881, with additions and alterations to the story by Arrigo Boito, the brilliant librettist for Verdi’s final operas, Otello and Falstaff.

Despite the revisions, Boccanegra remained one of the least popular of Verdi’s works for many decades. In the 1930s, it was revised successfully at the Metropolitan Opera in New York with an all-star cast, and since then, audiences have had more opportunities to study Verdi’s score sufficiently to appreciate its “exquisite craftsmanship, contrast, variety and life.”

Giuseppe Verdi (1813-1901): Simon Boccanegra; La Scala Chorus and Orchestra; Claudio Abbado, conductor; DG 449 752

Today’s date marks the birth anniversaries of two major 20th century American composers: Carl Ruggles was born in East Marion, Massachusetts on today’s date in 1876, and Henry Cowell, in Menlo Park, California in 1897.

Ruggles was a tough old bird, who wrote a small handful of tough, uncompromising musical works. He was the conductor of a symphony orchestra in Winona, Minnesota from 1908-1912, a teacher at the University of Miami from 1937-1943, and a talented painter to boot. His first music to be performed in public was A Voice Crying in the Wilderness, an apt description of Ruggles himself, a crusty loner who once claimed the only man he ever met who could out-swear him was his friend and colleague Charles Ives. He eventually retired to an old schoolhouse in Arlington, Vermont.

Ruggles’ striking orchestral works, with titles like Sun-Treader and Men and Mountains, are occasionally revived, but he remains just a name for most 21st-century concert-goers.

Henry Cowell was a much more genial, out-going sort: a composer, performer and teacher who wrote a great deal of music, ranging from the dissonant and experimental to the beguilingly lyrical. He was an early apostle of what we now call world music, and in 1956 undertook a world tour, sponsored by the Rockefeller Foundation and the US State Department, which included lengthy stays in Iran, India and Japan, and resulted in him writing a number of musical works incorporating ideas and musical instruments from those countries.

Carl Ruggles (1897-1971): Sun-Treader; Cleveland Orchestra; Christoph von Dohnanyi, conductor; Cleveland Orchestra 75th Anniversary CD Edition 093-75

Henry Cowell (1897-1965): Homage to Iran; Leopold Avakian, violin; Mitchell Andrews, piano; Basil Bahar, Persian drum CRI 836