Composers Datebook podcast

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The So What from BCG

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Re-Recruiting and Other New HR Strategies You Can’t Ignore 18:09

11 روز پیش18:09

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HR is no longer just about managing people—it’s about shaping the future of work. Jens Baier, BCG’s HR transformation expert, discusses how AI and shifting employee expectations are forcing companies to rethink talent strategies. From re-recruiting to upskilling employees, HR must adapt to a rapidly changing landscape. Learn More: Jens Baier: https://on.bcg.com/41ca7Gv BCG on People Strategy: https://on.bcg.com/3QtAjro Decoding Global Talent: https://on.bcg.com/4gUC4IT…

Composers Datebook

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Composers Datebook™ is a daily two-minute program designed to inform, engage, and entertain listeners with timely information about composers of the past and present. Each program notes significant or intriguing musical events involving composers of the past and present, with appropriate and accessible music related to each.

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Composers Datebook

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Composers Datebook

1
Pachelbel and his Canon 2:00

۵ hours پیش2:00

2:00

Synopsis On today’s date in 1706, German composer and organist Johann Pachelbel was buried in Nuremberg, the town where he was born 53 years earlier. In his day, Pachelbel was regarded as an innovative composer of Protestant church music and works for harpsichord and organ. He was acquainted with the Bach family, and was, in fact, the teacher of the teacher of J.S. Bach, and served as godfather to one J.S. Bach’s older relatives. Pachelbel would be pretty much forgotten by most music lovers until late in the 20th century, when an orchestral arrangement of a little canon he had written would suddenly become one of the best-known classical themes of our time. In 1979, American composer George Rochberg even included variations on Pachelbel’s famous Canon as the third movement of his own String Quartet No. 6. Like Bach, some of Pachelbel’s children also became composers, and one of them, Karl Teodorus Pachelbel, emigrated from Germany to the British colonies of North America. As “Charles Theodore Pachelbel,” he became an important figure in the musical life of early 18th century Boston and Charleston, and died there in 1750, the same year as J.S. Bach. Music Played in Today's Program George Rochberg (1918-2005): Variations on the Pachelbel Canon ; Concord String Quartet; RCA/BMG 60712…

Composers Datebook

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International Women's Day 2:00

1 day پیش2:00

2:00

Synopsis As today is International Women's Day, we thought we’d tell you about a wonderful French composer you may or may not have heard of before. Mélanie Hélène Bonis, or Mel Bonis as she preferred to be called, was a prolific composer of piano and organ works, chamber music, art songs, choral music, and several orchestral pieces. She studied at the Paris Conservatoire, where her teachers included César Franck. She was born in 1858 and died in 1937, so her lifetime spanned the age of Hector Berlioz to Alban Berg. In the 1890s, Bonis reconnected with her first love, a man she had met while still a student, who had encouraged her musical talent. So she left her husband, who did not encourage her, to devote herself full-time to her music. Initially performed and admired in Paris, after World War I her music was neglected, and she became bedridden from arthritis. Despite everything, she continued to compose up to the time of her death at 79. Among her works are seven piano portraits of women, collectively titled Femmes de Légende , or Legendary Women — some of which, like Salomé , she arranged for full orchestra. Music Played in Today's Program Mel Bonis (1858-1937): Salomé ; Orchestre du Capitole de Toulouse; Leo Hussain, conductor; Bru Zane BZ-2006…

Composers Datebook

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Persichetti's 'Pageant' 2:00

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Synopsis On today’s date in 1953, Pageant , a new work for symphonic winds premiered with the University of Miami Band. It was written by American composer Vincent Persichetti, who conducted the performance, as he did the work’s New York City debut later that same year with the Goldman Band, then America’s premiere professional wind ensemble, who had commissioned the work. It might seem odd that an amateur, student ensemble should premiere a work commissioned for professionals, but in the 1950s, when the U.S. college system was rapidly expanding, the savvy Mr. Persichetti was ready and willing to supply both students and professionals with more than a dozen new wind band scores to perform. He put it this way: “I find wonderful performances in the universities around the country. They may be students, but … they’ll find something there that you maybe didn’t quite even dream of, and make something of it, whereas sometimes the professional orchestras don't always get it as quickly. [The student musicians] have to work harder, but they do this all through high school and college, and by the time they get to the end of college they know what music is about and can phrase and shape it with some conviction.” Music Played in Today's Program Vincent Persichetti (1915-1987): Pageant ; Winds of the London Symphony Orchestra; David Amos, conductor; Naxos 8.570123…

Composers Datebook

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'The Handmaid's Tale' opera by Ruders 2:00

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Synopsis On today’s date in 2000, the Royal Danish Opera in Copenhagen gave the premiere of The Handmaid’s Tale , a new opera based on the dystopian novel by Canadian writer Margaret Atwood. The book and opera tell of a nightmarish future: following a nuclear disaster in the United States, infertility rates have soared, and a religious sect has staged a military coup, enslaving the few fertile women who remain as breeders, or “handmaids,” for the military and religious commanders of their sect. Said Atwood, “There is nothing new about the society I depicted in The Handmaid's Tale except the time and place. All of the things I have written about have been done before — more than once, in fact.” Despite its grim subject matter, Danish composer Poul Ruders said he saw “huge operatic potential” when he first read the book back in 1992. The original production in Copenhagen was sung in Danish, but Ruders says he conceived the work in English. The opera was staged in that language first in London at the English National Opera, and subsequently, at the opera’s American premiere, in St. Paul by The Minnesota Opera, to great critical acclaim. Music Played in Today's Program Poul Ruders (b. 1949): The Handmaid’s Tale ; Royal Danish Orchestra; Michael Schonwandt, conductor; DaCapo 9.224165-66…

Composers Datebook

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Shostakovich and his 'Leningrad Symphony' 2:00

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Synopsis The eastern Russian city of Kuibyshev might seem an unlikely site for an important symphonic premiere, but from 1941 to 1943, Kuibyshev was the temporary capital of the Soviet Union. As German and Finnish troops advanced from the west, the Russian government and its cultural institutions moved east. Among the refugees relocated to Kuibyshev were the Bolshoi Theatre Orchestra from Moscow and composer Dimitri Shostakovich from Leningrad. And so, on today’s date in 1942, Kuibyshev was the venue for the world premiere of Shostakovich’s Symphony No. 7 ( Leningrad ). A microfilm copy of the new score was flown to Tehran, then transported by car to Cairo, then flown to Brazil for transfer by the U.S. Navy to New York, where the American premiere was given on July 19, 1942, by the NBC Symphony under Arturo Toscanini. Less than a month later, on August 9, 1942, the Leningrad Symphony was even performed in the besieged and starving city of Leningrad. The few musicians still capable of performing were given extra rations to keep up their strength, and, to ensure a measure of quiet during their performance, a Russian artillery commander ordered an intensive artillery bombardment on the enemy troops surrounding the city. Music Played in Today's Program Dmitri Shostakovich (1906-1975): Symphony No. 7 ( Leningrad ); Kirov Orchestra and Rotterdam Philharmonic; Valery Gergiev, conductor; Philips 376-02…

Composers Datebook

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Strong's 'Sintram' Symphony 2:00

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Synopsis At Carnegie Hall on today’s date in 1893, the New York Philharmonic gave the premiere performance of a new symphony by 37-year-old American composer and New York native George Templeton Strong, Jr. This was a big deal at a time when the Philharmonic rarely played works by non-European composers. As the Philharmonic’s program book put it, somewhat defensively: “The acceptance of a work for performance is to a certain extent a declaration that it belongs to the very best class of contemporaneous literature according to the unbiased judgment of those who are entrusted with these concerts.” Strong’s Symphony No. 2 ( Sintram ), was inspired by a literary work of that name depicting the victory of good over evil. The New York Times review gave it high marks, praising the composer’s imagination and mastery of instrumentation, but ventured to suggest the new symphony was a tad long and “unremittingly serious in tone.” Strong was not present. He was in Switzerland, a country he was soon to adopt as his permanent home. His absence on the American scene caused his music, despite its merits, to be soon forgotten on this side of the Atlantic. Music Played in Today's Program George Templeton Strong (1856-1948): Symphony No. 2 ( Sintram ); Moscow Symphony; Adriano, conductor; Naxos 8.559018…

Composers Datebook

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Carnival of the Animals 2:00

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Synopsis Today’s date in 1886 marks the premiere in Paris of The Carnival of the Animals , the most popular work of French composer Camille Saint-Saëns, who steadfastly refused to allow it to be published until after his death, fearing its frivolity might damage his reputation as a “serious” composer. Saint-Saëns had a point. The work was first heard at a pre-Lenten house concert, and a few days later at Émile Lemoine’s exclusive members-only chamber music series, where it became an annual Shrove Tuesday Carnival tradition. Once the famous pianist Harold Bauer was one of the Shrove Tuesday performers, as he recalled in his autobiography: “Everyone who participated had to wear makeup representing the animal whose music he was supposed to be playing. The flutist had a carboard head showing him as a nightingale. The cellist was a very flabby swan; the distinguished players of the string quartet were shown as donkeys of various breeds. Saint-Saëns and I were the two pianists — he made up to look like our host Lemoine, and I, furnished with a wig and beard, disguised as Saint-Saëns. [We two] pianists were provided with immense carboard hands and feet that were clipped off at the moment of performance, which was extremely hilarious.” Music Played in Today's Program Camille Saint-Saëns (1835-1921): Carnival of the Animals ; David Owen Norris, piano; I Musici Montreal; Yuli Turovsky, conductor; Chandos 9246…

Composers Datebook

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Goffredo Petrassi 2:00

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2:00

Synopsis Ask a serious music lover to name major figures in 20th century music and it’s likely the names Schoenberg, Stravinsky and Bartók will crop up. But in addition to those Austrian, Russian and Hungarian composers, a lively group of Italian modernists were also active throughout the 20th century — only their names and music are not so well known. One of them was Goffredo Petrassi, born in 1904. Petrassi became one of the leading figures in a group of Italian composers that included Luigi Dallapiccola, Alfredo Casella and Gian Francesco Malipiero. This group tried to compensate for Italy’s almost total preoccupation with opera by concentrating more on instrumental pieces. Petrassi’s own musical influences range from the Italian Renaissance music he sang as a young choirboy in Rome to the works of abstract painters like Jackson Pollock that he viewed when visiting America. Petrassi’s largest body of work was his eight Concertos for Orchestra composed between 1933 and 1972, but in his final years he turned to chamber works, such as this Autumn Sestina completed in 1982, scored for six instruments. When asked where the “Autumn” in the title came from, the 78-year-old Petrassi responded, “Perhaps it’s got something to do with my age.” Music Played in Today's Program Goffredo Petrassi (1904-2003): Sestina d’autunno ; Compania; Andrea Molino, conductor; Stradivarius 33347…

Composers Datebook

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Debussy in Boston 2:00

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Synopsis Claude Debussy probably never saw the reviews his symphonic suite La Mer ( The Sea ) received after its American premiere on today’s date in Boston in 1907 — and that was probably for the best. Musicologist Nicholas Slonimsky, who collected notably bad reviews in his notably excellent Lexicon of Musical Invective , says the 1907 Boston audience was a tough crowd, composed of — as Slonimsky put it — “easily discomfited dowagers, quiet academically minded New England music lovers, and irascible music critics.” The Boston newspaper reviews of the 1907 audience’s reaction to Debussy’s La Mer included some real zingers like: “Frenchmen are notoriously bad sailors, and we clung like a drowning man to a few fragments of the tonal wreck.” An even more graphic critic said: “It is possible that Debussy did not intend to call it La Mer , but Le Mal de Mer , which would at once make the tone-picture as clear as day. It is a series of symphonic pictures of seasickness. The first movement is Headache . The second is Doubt , picturing moments of dread suspense … The third movement, with its explosions and rumblings, has now a self-evident purpose: The hero is endeavoring to throw up his boot heels!” Music Played in Today's Program Claude Debussy (1862-1918): La Mer ; Orchestre Symphonique de Montreal; Charles Dutoit, conductor; London/Decca 430240…

Composers Datebook

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'Tombeaux' by Ravel and Daugherty 2:00

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Synopsis Maurice Ravel’s orchestral suite Le Tombeau de Couperin was premiered in Paris on this day in 1920. It had started out as a suite of solo piano pieces, intended as a tribute to great French Baroque composer François Couperin — or, as Ravel wrote, “not so much to Couperin himself, as to 18th-century French music in general.” Although the French word “tombeau” translates literally as “tomb,” it also signifies a musical piece paying tribute to a past master, in the English sense of “in memoriam.” In that spirit, Ravel dedicated each movement of his suite to friends of his killed during World War I. Although the “tombeau” as a musical form has been associated almost exclusively with French composers, one contemporary American composer has used the form as well, albeit with more wickedly satirical intent. Michael Daugherty’s Tombeau de Liberace jokingly references the pianist and showman, a kitschy icon of 20th century American pop culture. Michael Daugherty said, “Starting from the vernacular idiom, I have composed Le Tombeau de Liberace as a meditation on the American sublime: a lexicon of forbidden music. It is a piano concertino in four movements, each creating a distinct Liberace atmosphere.” Music Played in Today's Program Maurice Ravel (1875-1937): Le Tombeau de Couperin ; St. Paul Chamber Orchestra; Hugh Wolff, conductor; Teldec 74006…

Composers Datebook

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Beach's Piano Quintet 2:00

10 روز پیش2:00

2:00

Synopsis On today’s date in 1908, the Hoffman String Quartet gave a recital at Boston’s Potter Hall, opening their program with a Romantic classic, Robert Schumann’s String Quartet from 1842, followed by much more modern fare — Debussy’s String Quartet written in 1893. And to close their program, the Hoffman Quartet premiered a brand-new contemporary work: a piano quintet by American composer Amy Beach, with the composer at the piano. The Boston Globe’s critic noted “the audience was of goodly proportions and very demonstrative in its appreciation of Mrs. Beach’s composition,” but (critics being critics), did a little nit-picking, concluding, “The work is thoroughly good, though a little too choppy at times.” The critic from The Boston Evening Transcript had fewer nits to pick, writing: “The quintet begins in the luminous key of F-sharp minor, and throughout Mrs. Beach modulates freely … [she] has sought a modern sonority of utterance … Her rhythms spurred the ear, and her harmonies [have] tang and fancy … In imagination, feeling, and expression, it is distinctly rhapsodic. Mrs. Beach can think musically in truly songful melodies, and such are the themes of her new quintet.” Music Played in Today's Program Amy Beach (1867-1944): Piano Quintet; Garrick Ohlsson, piano; Takács Quartet; Hyperion CDA-68295…

Composers Datebook

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Strauss, de Lancie and the Oboe Concerto 2:00

11 روز پیش2:00

2:00

Synopsis On today’s date in 1946, the Zurich Tonhalle Orchestra gave the premiere of a new oboe concerto by German composer Richard Strauss, then in his 80s. The soloist was Swiss oboist Marcel Saillet, to whom the work is dedicated. The concerto owes its existence, however, to John de Lancie, a 20-something American oboist and GI who was then stationed in Germany and visited Strauss at his Bavarian home shortly after the end of World War II. “I asked him, in view of the numerous beautiful, lyric solos for oboe in almost all his works, if he had ever considered writing a concerto for oboe. He answered ‘No,’ and there was no more conversation on the subject,” recalled de Lancie. But de Lancie’s question did plant a seed, and after returning to civilian life in the states in 1946, de Lancie got a letter from Strauss’ publisher offering him the work’s American premiere. As it turned out, the American premiere of the Strauss concerto was given by another oboist named Mitchell Miller — a musician who some of us of a certain age remember as an energetic choral conductor of the sing-along TV show, Sing Along with Mitch . Music Played in Today's Program Richard Strauss (1864-1949): Oboe Concerto; John de Lancie, oboe; Chamber Orchestra; Max Wilcox, conductor; RCA/BMG 7989…

Composers Datebook

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Zwilich's Third 2:00

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2:00

Synopsis Like Rodney Dangerfield, the viola is often an instrument that “gets no respect“ — so no viola jokes, today, folks. Quite the opposite, in fact. For its 150th Anniversary celebration, the New York Philharmonic commissioned a number of new orchestral works. One of them premiered at New York’s Avery Fisher Hall on today’s date in 1993: American composer Ellen Taaffe Zwilich’s Symphony No. 3. It’s no exaggeration to suggest Zwilich knows the symphony orchestra from inside out: for seven years she was a violinist in the American Symphony Orchestra, a New York-based ensemble conducted by Leopold Stokowski when she was a player. For her Symphony No. 3, Zwilich confessed she had an often-neglected section of the orchestra in mind: “I had noticed over the years the rising quality of viola playing, and I thought that the Philharmonic’s section was absolutely amazing,” she said in an interview. “So when I had this commission … I really wanted to put the spotlight on the viola section and give them a great deal to do, not only in terms of virtuosity, but of importance and centrality to the piece. This symphony really grew out of my love for this section of the orchestra.” Music Played in Today's Program Ellen Taaffe Zwilich (b. 1939): Symphony No. 3; Louisville Orchestra; James Sedares, conductor; Koch 7278…

Composers Datebook

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Handel meets Streisand 2:00

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Synopsis It’s quite likely that if we could ask him, great 18th century composer George Frideric Handel would have described himself first and foremost as a composer of Italian operas. For most of the 19th century, however, it was chiefly Handel’s English-language sacred oratorios that kept his fame alive. It wasn’t until the 20th century that curiosity about Handel’s Italian operas led to revivals, recordings and their eventual return to the repertory of opera companies worldwide. On today’s date in 1711, Handel’s opera Rinaldo had its premiere performance in London at the Queen’s Theater in the Haymarket. This was the first Handel opera produced in London, and the first Italian opera written specifically for that city. It was designed to be a spectacle, full of heroic chivalry and stage magic including live birds and flying machines, a kind of 18th century Star Wars , if you will. It was a tremendous success, and, like Star Wars , was so popular that it became fit material for parody. Handel’s Act III march of Christian Crusaders resurfaced as a chorus of highway robbers in John Gay’s Beggar’s Opera of 1728, a spoof poking fun at both contemporary politics and the conventions and pretensions of Italian-style opera. Music Played in Today's Program George Frederic Handel (1685-1759): Lascia Ch’io Pianga from Rinaldo ; Barbra Streisand, soprano; Columbia Symphony; Claus Ogerman, conductor; CBS/Sony 33452 John Gay (1685-1732): The Beggar’s Opera ; The Broadside Band; Jeremy Barlow, conductor; Hyperion 66591…

Composers Datebook

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Handel's 'Esther' 2:00

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2:00

Synopsis On the popular NPR quiz show Wait Wait Don’t Tell Me, there is a segment called “Bluff the Listener” where three outlandish news stories are read to a contestant, who then has to guess which one is true. So, for the voice of Bill Kurtis on your home answering machine, which of these really happened in London on today’s date in 1732: a) George Frideric Handel got into a sword fight with his Southbank wigmaker, screaming at the poor man, “Donnervetter! In dis vig I luk like ein Pomeranian hund!” b) Handel’s especially smooth trip across the Thames to buy said wig provided the inspiration for his famous Water Music , or c) as part of his 47th birthday celebration, choir boys from the Chapel Royal sang and acted in a staged performance of Handel’s sacred oratorio Esther in the Crown and Anchor Tavern on the Strand. If you guessed “C” you would be correct. Extra points if you knew that this would be the only staged performance of any of Handel sacred oratorios before the twentieth century, and that in Handel’s day there was a ban on presenting staged biblical dramas in public theaters — but not, apparently, in pubs. Music Played in Today's Program George Friedrich Handel (1835-1921): Overture from Esther (1732 version); London Handel Orchestra; Laurence Cummings, conductor; SOMM CD-2389…

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