Category Archives: Radio

Lounge Lizards on Now Is the Time

from the CD

All varieties of vernacular show up this week on Now Is the Time, Saturday, April 29th at 9 pm on WRTI.org and WRTI-HD2. With movements like Sip ’N Stir (Cedar Rapids, Iowa) and Ramada Inn (Exit 1, New Jersey Turnpike), it sure sounds like Michael Daugherty, and those are two of the movements from his Lounge Lizards for two pianos and two percussion. Jeremy Haladyna dips into Mayan myth for Only Armadillos They Danced, and accompanies a string quartet with scratch turntable. In her Mosquito for piano, Jing Jin Luo follows the insect closely, ending with quite a kerfuffle.

Nickitas Demos brings together clarinets and saxophones, but only two players, in Citizens of Nowhere, and David Rakowski has one player perform on both piano and toy piano—sometimes simultaneously—in his 88th Etude for piano, subtitled Toyed Together. Kamran Ince’s Two-Step Passion is an elemental romp in this arrangement for chamber orchestra, and the always entertaining Eric Moe somehow suggests a mackerel, a catfish, and Catch and Release as Three Ways to Relieve Tension.

PROGRAM:
Michael Daugherty: Lounge Lizards
Jeremy Haladyna: Only Armadillos They Danced
Jing Jing Luo: Mosquito
Nickitas Demos: Citizens of Nowhere
David Rakowski: Etude No. 88, Toyed Together
Kamran Ince: Two-Step Passion
Eric Moe: Three Ways to Relieve Tension

Every Saturday night at 9 Eastern, Kile Smith plays new American classical music on WRTI’s Now Is the Time, at wrti.org and on HD-2. At wrti.org click on the Listen: Classical button at the top of any page. Thanks for supporting American contemporary music on WRTI! 

Easter Weekend on Now Is the Time

Gravestone detail from Evan Chambers CD, The Old Burying Ground

Life awaits its birth this Saturday before Easter on Now Is the Time, Saturday, April 15th at 9 pm on WRTI.org and WRTI-HD2. Evan Chambers walks through a graveyard and is inspired by inscriptions and poetry in the Introduction to The Old Burying Ground and its last section, Paths of Peace. Then, an empty building in a Memphis night wonders if the sun will ever return, in Abandoned, a monodrama by Kamran Ince.

“Will There Really Be a Morning?” is the first of Four Dickinson Songs by Lori Laitman, and Bora Yoon goes to the chant of Hildegard of Bingen for the Hymn to the Virgin O viridissima virga, “O branch of freshest green.” Justin Rubin turns to Native American flute, modern flute, viola, and cello for Breath of Life. Its three sections are The Yellow Light of Dawn, Beautiful Clouds Arising, and Incantation.

PROGRAM:
Evan Chambers: The Old Burying Ground, excerpts
Kamran Ince: Abandoned
Lori Laitman: Four Dickinson Songs
Bora Yoon: O viridissima virga
Justin Rubin: Breath of Life

Every Saturday night at 9 Eastern, Kile Smith plays new American classical music on WRTI’s Now Is the Time, at wrti.org and on HD-2. At wrti.org click on the Listen: Classical button at the top of any page. Thanks for supporting American contemporary music on WRTI! 

Wilhelm Peterson-Berger, Home at Last

Near the Peterson-Berger home in Frösö, Sweden

On Discoveries from the Fleisher Collection, Saturday April 1st, 5–6 pm… It almost seemed as if Wilhelm Peterson-Berger was never at home. Born 150 years ago, he grew up in a small northern Swedish town, Umea, nearer to Lapland than to Stockholm. He felt hemmed in and he longed for the wider world. When he discovered Edvard Grieg’s mix of moody lyricism, myth, and folk culture, he was transfixed. He knew that he must become a composer.

He left Umea for Stockholm, studied organ and composition at the Royal College of Music, and played piano. Still, he chafed against the worldview of teachers who wouldn’t hear of the modernist Grieg, let alone his other great musical love, Wagner. So he moved to Germany and studied in Dresden. He traveled to Bayreuth to immerse himself in the excruciatingly romantic operatic world of Wagner. He wrote a symphony. He wrote an Oriental Dance.

But then, of all things, he became homesick. He went back to Sweden, to Umea, and wrote little piano pieces. He didn’t know it, but they would become the most-loved music of his career. These Flowers of Frösö (named for a town on an island in a lake west of Umea) were everything Wagner wasn’t: small, innocent, at peace. He bought a parcel of land on the island.

And then, off to Germany again, to teach. But his students from rich families didn’t care about music, and he again was frustrated. He wrote pieces about a Stockholm carnival and about hiking through the mountains. He wrote the words and the music. Sweden called again, and in three years he was back, in those mountains.

But not for long. After a few years he was in Stockholm, at age 28, and for the next 34 years he served as the powerful music critic for the Daily News of Stockholm. “Criticism must be ruthless,” he would say, and he was unrelenting. For two years he also produced operas at the Royal Stockholm Opera—at the same time that the conductor was suing him for defamation. He liked Beethoven, Wagner, Grieg, and the modern August Söderman, but he decried what he believed to be the lessening of standards in much of what was current. Sibelius came under fire, as did Saint-Saëns, impressionists (just about anything French, for that matter), Nielsen, Stenhammar, Alfvén, and Schoenberg.

And he paid for it. Alfvén ran a festival, and wouldn’t play Peterson-Berger’s music. Others steered clear. Still, he was performed a little, and he did receive honors, including a knighthood and election to the Royal Academy.

His Third Symphony is his most successful large work. The Philadelphia Orchestra with Stokowski performed it in 1927, and it is still played to this day. Lapland had been a part of Sweden, and Peterson-Berger quotes five Lapp songs. The third movement contains some of the most gorgeous Swedish orchestral music written at the time, and it sounds—dare we say it?—almost French.

Peterson-Berger built a house on Frösö and lived there after retirement until his death. A friend noticed him on a train, heading to the land of the lake and the island. The composer and irascible critic was looking at the landscape slipping by, and wept uncontrollably. He was going home.

PROGRAM:
Wilhelm Peterson-Berger (1867–1942). Symphony No. 3, Lapland (1913–15)
Edvard Grieg (1843–1907). Sigurd Jorsalfar, Homage March (1872)

From Pi to Prime on Now Is the Time

Another Pi Day, 3/14, just slipped by, so let’s hear the magic of numbers on Now Is the Time on WRTI this Saturday, March 18th at 9 pm. Reginald Bain based his Pi Day on… well, you’ll hear as much of the 3.1415926… sequence that can fit into four minutes and 50 seconds, read aloud over his inventively pulsing music. You can check here to see if he got it right.

From a number the end of which is unattainable we then go to Unattainable Spaces by David Laganella, abstract music based on an abstract painting. We see a recognizable number in Daniel Schnyder’s The Iron Tetrapod, but have no idea what a Quiptych is, until we enjoy a piece with that title by David Evan Thomas, performed by Zeitgeist.

For pianist Jerome Lowenthal, Ned Rorem wrote 75 Notes for Jerry, and for the Baroque/new music ensemble Mélomanie, composer and lutenist Mark Rimple composed Partita 622. Mark Zuckerman’s Proverbs for Four at Fifty sets Hebrew scriptures to celebrate the jubilee of 50th birthdays. Then our numbers program, which started with pi, closes by circling back to Reginald Bain and his entertaining piece The Music of the Primes.

PROGRAM:
Reginald Bain: Pi Day
David Laganella: Unattainable Spaces
Daniel Schnyder: The Iron Tetrapod
David Evan Thomas: Quiptych
Ned Rorem: 75 Notes for Jerry
Mark Rimple: Partita 622
Mark Zuckerman: Proverbs for Four at Fifty
Reginald Bain: The Music of the Primes

Every Saturday night at 9 Eastern, Kile Smith plays new American classical music on WRTI’s Now Is the Time, at wrti.org and on HD-2. At wrti.org click on the Listen: Classical button at the top of any page. Thanks for supporting American contemporary music on WRTI! 

Mackenzie, Holbrooke, and British Music Coming into Its Own

On the next Discoveries from the Fleisher Collection, Saturday, March 4th, 5–6 pm on WRTI-FM:

alexandermackenzievanityfair1904

Sir Alexander Mackenzie

Two British composers populate this month’s Discoveries from the Fleisher Collection, Saturday at 5:00 p.m. on WRTI. Josef Holbrooke and Alexander Mackenzie were well known and enjoyed success, but they often struggled to gain more than a foothold in performance circles. The reasons, however, were different.

Holbrooke was also a critic and writer. His opinions about music, especially music from outside of England, both rankled and were seen as self-serving. Mackenzie for almost four decades was busy running the Royal Academy of Music, which left him little time to compose. Nevertheless, he helped begin the renaissance of 20th-century British music, of which Holbrooke was a beneficiary.

Mackenzie’s musical family included a violinist father and grandfather. Young Alexander played in his father’s orchestra from the age of 8, and two years later he was studying in Germany. At 14 he was an employed violinist in a German orchestra. He later lived in Italy, and along with becoming fluent in German and Italian, he would become good friends with Liszt, von Bülow, Sarasate, Joseph Joachim, Clara Schumann, Gounod, and Dvořák.

He led the Royal Academy of Music from 1888 to 1924, bringing it to international stature. He conducted British premieres of European works, helped English composers, and among many official honors received the adulation of a 24-year-old Elgar, who said that meeting Mackenzie was “the event” of his life. But for all his national and international success, Sir Alexander Mackenzie was moved by the music of his beloved Scotland. His “Scottish Concerto” is a lively dissertation on folk tunes, a pleasant introduction to this affable composer.

josefholbrooke

Josef Holbrooke

“Affable” is the last adjective many people would be inclined to apply to Josef Holbrooke. Like William Henry Fry in America, Holbrooke complained often and loudly about the adulation of foreign composers at the expense, he thought, of homegrown ones. He pulled two of his works from a concert (something his career could ill afford), because the typeface of the foreign soloist’s name was larger than his on the posters.

And yet Hans Richter, Thomas Beecham, and Henry Wood conducted his music; Granville Bantock and others were his friends. He could be humorous and ebullient, but rarely did an opinion form in his brain but that he did not give it out.

His music is filled with sweep, color, and intricacy. Ironically, for all his bemoaning of foreign influence, his work is largely Wagnerian and Straussian. But there is an English warmth and—might we say—an affability to it that is endearing. Mackenzie at the beginning of a new English music, and Holbrooke in the next generation, are two composers who should fascinate us today.

PROGRAM:
Josef Holbrooke (1878–1958). Pantomime Suite (Ballet from Pierrot and Pierrette) (1908)
Alexander Mackenzie (1847–1935). Scottish Concerto for Piano and Orchestra (1897)
Holbrooke. The Girl I Left Behind Me, Symphonic Variations (1908)

Overtures, Fanfares, and Brass on Now Is the Time

whitacre

Eric Whitacre

On Saturday, February 18th at 9 pm, Now Is the Time presents a taste of the upcoming Chamber Orchestra of Philadelphia “Sounds of America” concert. We hope you can join us for a different look at some of the composers who will be represented on those February 26th and 27th concerts.

On Silver Wings for band is by Kenneth Fuchs; so is the overture for orchestra Discover the Wild. Eric Whitacre’s Her Sacred Spirit Soars finds a place here, as do three short works by John Corigliano for brass quintet, Antiphon, Fanfares to Music, and the Overture from his Gazebo Dances. All these come from a brand-new CD by the Gaudete Brass, celebrating Corigliano’s 75th birthday a few years ago.

Daron Hagen’s Concerto for Brass Quintet centers the program, and is a tour de force. In five movements for brass quintet alone—Sennets, Melodia, Invention, Romance, Tuckets—it’s a brilliant, strong work.

PROGRAM:
Kenneth Fuchs: On Silver Wings
John Corigliano: Gazebo Dances, Overture
Daron Hagen: Concerto for Brass Quintet
John Corigliano: Antiphon
Eric Whitacre: Her Sacred Spirit Soars
Kenneth Fuchs: Discover the Wild
John Corigliano: Fanfares to Music

Every Saturday night at 9 Eastern, Kile Smith plays new American classical music on WRTI’s Now Is the Time, at wrti.org and on HD-2. At wrti.org click on the Listen: Classical button at the top of any page. Thanks for supporting American contemporary music on WRTI! 

Charles Koechlin and the Law of the Jungle

koechlinOn Discoveries from the Fleisher Collection this Saturday, February 4th, 5 to 6 pm on WRTI…the music of Charles Koechlin is not performed much; that much is certain. We may even call it, in this, the 150th anniversary of his birth, neglected. While there are logical reasons his legacy may have suffered, we also can’t fully understand why.

The French composer worked at a time when the composers of every European nation were creating, in one way or another, music particular to their countries. There have always been regional colors in music—the Spanish Renaissance is tinted differently from the Italian—but in the late 19th and early 20th centuries nationalism was bubbling up all over Europe. It was fueled by political realities, by the re-discovery of folk cultures, and by Romanticism, which reigned in art, literature, and philosophy.

In France, the standard-bearers of a new French sound were Debussy, Ravel, and then the new generation who followed the modernism of Satie. Where did that leave Koechlin? His music is not the impressionism of Debussy and Ravel. It has been called impressionistic, and while it is lovely, it is darker and cooler. Sometimes it is Bach-like in the inner workings of its voices. It is also modernist, but it isn’t the French modern of his time. A German piquancy of atonality runs, like allspice, through Koechlin’s music.

Its being hard to place may explain why it isn’t performed so much. But here’s where we may not understand the neglect of the music of Charles Koechlin: It is downright gorgeous.

Rudyard Kipling wrote his series of The Jungle Book stories in the 1890s, and it grabbed the attention of Koechlin. Today we’ll hear three of his stand-alone Jungle Book works, in reverse order of their completion, although he worked on them over decades. The Law of the Jungle is not the me-first nihilism it has come to mean now. For Kipling and Koechlin, it is Baloo the Bear laying down the governing precepts of civilization to Mowgli the man-cub. It is Confucius rather than Tennyson’s “Nature, red in tooth and claw.” A holy man’s mysticism and sacrifice informs The Meditation of Purun Bhagat. Spring Running, the longest, is in four sections: Spring in the Forest, Mowgli, The Running, and (when Mowgli leaves the jungle) Night.

Throughout these Jungle Book works and all of Koechlin’s music runs the aspiration to color (with exquisite orchestration) and concision that is, yes, very French. There is much else, also, leaving us still pondering his neglect.

PROGRAM:
Charles Koechlin (1867-1950). The Law of the Jungle (1939)
Koechlin. The Meditation of Purun Bhagat (1936)
Koechlin. The Spring Running (1908-25)