Composers Datebook

Synopsis

“Spaghetti western” is a nickname given to a genre of Italian films from the 1960s, most famously directed by Sergio Leone, and often starring Clint Eastwood as the taciturn, gun-toting anti-hero.

Spaghetti Western also is the title of a concerto for English horn written by American composer Michael Daugherty that received its premiere performance on today’s date in 1998 at a Pittsburgh Symphony concert conducted by Mariss Jansons.

“Just as Leone’s films redefined the Western genre from an Italian perspective, I redefine the European concerto … within an American context. In my Spaghetti Western, the English horn soloist is the ‘Man with no Name,’ moving through a series of sun-drenched panoramas, barren deserts, and desolate towns of the Wild West, … [one of ] the gun-slinging characters who haunt the landscape,” he wrote.

Daugherty gave Italian titles to his three-movement concerto: “Strade Vuote” (“Empty Streets”), “Assalto all’Oro” (“Gold Rush”) and “Mezzogiorno di Fuoco” (“Noon of Fire”). And since Eastwood was unable to play the English horn for the Pittsburgh Symphony premiere, Harold Smoliar removed the cigar from his parched, suntanned lips, adjusted his poncho and took up his English horn for the performance.

Music Played in Today's Program

Michael Daugherty (b. 1954): Spaghetti Western; Harold Smoliar; University of Michigan Symphony; Kenneth Kiesler, conductor; Equilibrium 63

Synopsis

On today’s date in 1875, one of the greatest musical match-makers of all time died in Spartanburg, South Carolina. His name was William Walker, an American Baptist shape-note-singing master who published several collections of traditional shape note tunes.

“Shape note” refers to a simple musical notation designed for communal singing. In his 1835 collection, Southern Harmony, Walker married a shape-note tune known as “New Britain” to the text of “Amazing Grace,” a hymn written by Anglican clergyman and abolitionist, John Newton.

Walker’s collection was a bestseller in the 19th century, and two centuries later, “Amazing Grace” has become one of the best-known and best-loved hymns of our time.

In 2011, a new orchestral fanfare based on “Amazing Grace,” by African-American composer Adolphus Hailstork, was published and subsequently recorded by the Virginia Symphony — appropriately enough, since Hailstork has served as professor of music and composer-in-residence at Virginia’s Norfolk State and Old Dominion universities, and in 1992 was named a cultural laureate of Virginia. In addition to this fanfare, Hailstork’s works range from choral and chamber pieces to symphonies and operas.

Music Played in Today's Program

Adolphus Hailstork (b. 1941): Fanfare on “Amazing Grace”; Virginia Symphony; JoAnne Faletta, conductor; Naxos 8559722

Synopsis

On today’s date in 2011, the Saint Louis Symphony under David Robertson premiered a new piano concerto by American composer Steven Mackey. The soloist was Orli Shaham, Robertson’s wife, to whom the new work was dedicated.

The new concerto had an odd title: Stumble to Grace, which Mackey explained:

“There is a narrative running through the piece … the piano is all thumbs … as it stumbles in its first entrance, playing naïve and awkward plinks and plunks. By [the end], the piano plays sophisticated, virtuosic and, at times, graceful contrapuntal music — a fugue, in fact … the inspiration … came from observing my now two-and-a-half year old toddler learning to become human … I wanted to open my compositional process to incorporate some of the whimsy and exuberance that he brings to his exploration of the world. A preoccupation with one’s children is common among most new parents but this seemed particularly appropriate … for a piece written for Orli Shaham. She and her conductor husband, David Robertson, have twins less than a year older than my son and we’ve had play dates and shared narrations about new parenthood.”

Music Played in Today's Program

Stephen Mackey (b. 1956): Stumble to Grace; Orli Shaham, piano; Los Angeles Philharmonic; David Robertson, conductor; Canary Classics CC-11

Synopsis

In the 1970s, the Afro-American Music Opportunities Association collaborated with Columbia Records to create an audio anthology of works by underrepresented Afro-American composers. Dubbed The Black Composer Series, this became a famous series of LPs devoted to recent works by then-contemporary composers as well as notable works from the 18th and 19th centuries.

One of the earliest composers represented in Columbia’s Black Composer Series was José Maurício Nunes Garcia, who was born in Brazil on today’s date in 1767. His grandparents had been African slaves, but his parents were Brazilians of mixed race. Since their young son showed great musical abilities, he was encouraged to pursue musical studies, and eventually secured a prestigious position as master of music at the Royal Chapel in Rio. By that time, he also had become a Roman Catholic priest.

Sacred music in 18th-century Brazil was heavily influenced by the symphonic mass settings of Haydn and Mozart. Garcia, in fact, had conducted the first performance of Mozart’s Requiem Mass in Rio de Janeiro. Garcia’s own Requiem Mass proved to be one of his most famous and often-performed works, and the one selected for inclusion in Columbia’s Black Composer Series.

Music Played in Today's Program

José Maurício Nunes Garcia (1767-1830): Sanctus from Requiem Mass; Morgan State College Choir; Helsinki Philharmonic; Paul Freeman, conductor; Columbia Masterworks LP S33431/Sony CD G010003978687N

Synopsis

On today’s date in 1962, Russian-born composer Igor Stravinsky returned to his homeland for the first time in nearly half a century. When he left in 1914, Czar Nicholas was still on the throne. By 1962, a lot had changed. For starters, his music had been severely criticized in the Soviet Union. Tikhon Khrennikov, first secretary of the Soviet Composers’ Union, branded Stravinsky “the apostle of reactionary forces in bourgeois music.” Dimtri Shostakovich had condemned “the unwholesome influence of Stravinsky” and his “complete divorce from the true demands of our time.”

Whether Khrennikov or Shostakovich really believed this, or merely parroted the official party line, is debatable. But his return to Russia proved a profoundly emotional experience for all concerned. The 80-year-old composer reconnected with old friends he had not seen in 50 years and relatives he had never met. And, yes, he even met with Khrennikov and Shostakovich.

Stravinsky led the Moscow Symphony in his Symphonic Ode and Orpheus Ballet. Robert Craft, his American assistant, then led the orchestra in his revolutionary Rite of Spring — all to thunderous applause. For an encore, he returned to conduct a quintessentially Russian score: his own 1917 arrangement of the Volga Boatmen’s Song.

Music Played in Today's Program

Igor Stravinsky (1882-1971): Ode; Cleveland Orchestra; Oliver Knussen, conductor; DG 4843064