Composers Datebook American Public Media

Synopsis
On today’s date in 1692, London audiences were treated to lavish theatrical entertainment with The Fairy Queen.

This show was loosely based on Shakespeare’s comedy A Midsummer Night’s Dream, a play already 100 years old in 1692. To make it more in line with contemporary taste, characters were added or cut, and scenes shifted around to such an extent that Shakespeare, were he alive to see it, would be hard put to recognize much of his original concept. Musical sequences were also expanded, and the producers hired the leading British composer of the day to write them. His name was Henry Purcell, and The Fairy Queen would turn out to be the biggest success of his career.

In addition to writing the show’s songs and dances, Purcell provided music to entertain the audience as they entered and exited the theater or stretched their legs during intermission.

The good news is no expense was spared in the show’s production. The bad news was the show’s producers barely recovered their expenses. Subsequent productions, they decided, would be less flashy, but, recognizing the quality of Purcell’s music, they signed him for their next extravaganza.

Music Played in Today's Program
Henry Purcell (1659-1695): The Fairy Queen; Le Concert des Nations; Jordi Savall, conductor; Auvidis 8583

Synopsis
Today’s date marks two anniversaries in the life of American composer, teacher and organist Leo Sowerby, who lived from 1895 to 1968. Sowerby was born May 1 in Grand Rapids, Michigan, and on his 32nd birthday in 1927, was hired as the permanent organist and choirmaster at St. James’ Church in Chicago, where he remained for the next 35 years.

Sowerby wrote hundreds of pieces of church music for organ and chorus, plus chamber and symphonic works, which are only recently receiving proper attention.

It’s not that Sowerby was neglected during his lifetime — he won many awards, including a Pulitzer Prize in 1946 — but many seemed put off by both his unabashedly Romantic style and his unprepossessing physical appearance. American composer Ned Rorem, who took theory lessons from Sowerby, put it this way:

“Leo Sowerby was … of my parents’ generation, a bachelor, reddish-complexioned and milky skinned, chain smoker of Fatima cigarettes, unglamorous and non-mysterious, likable with a perpetual worried frown, overweight and wearing rimless glasses, earthy, practical, interested in others even when they were talentless; a stickler for basic training, Sowerby was the first composer I knew and the last thing a composer was supposed to resemble.”

Music Played in Today's Program
Leo Sowerby (1895-1968): Classic Concerto; David Mulbury, organ; Fairfield Orchestra; John Welsh, conductor; Naxos 8.559028

Synopsis
Today we have a tale of jealousy to tell — the tale of Claude and Mary and Maurice and Georgette — related to the premiere, on today’s date in 1902, of Pelléas et Mélisande.

This new opera by Claude Debussy was based on a play about jealousy by the Belgian playwright Maurice Maeterlinck. Debussy had worked on his opera for years with no objection from Maeterlinck until late in 1901, when Debussy announced that the Scottish soprano Mary Garden would sing the role of Mélisande.

Suddenly, two weeks before the premiere, Maeterlinck began saying the opera was “alien” to him, that he had lost artistic control over his own work, that he hoped the opera would flop.

Well, that accounts for Claude and Mary and Maurice, but what about Georgette? Turns out she was the real reason behind Maeterlinck’s objections. Georgette was a soprano — and Maeterlinck’s mistress. When Debussy refused to even consider her for the lead role in his new opera, Maeterlinck’s smear campaign began.

He was not alone — eminent French composer Camille Saint-Saëns, jealous as any character in Debussy’s opera, delayed his customary vacation abroad to stay in Paris, and, as he put it, “to speak ill of Pelléas.”

Music Played in Today's Program
Claude Debussy (1862-1918): Pelléas et Mélisande; Cleveland Orchestra, Erich Leinsdorf, conductor; Cleveland 9375

Synopsis
On today’s date in 1899, Edward Kennedy Ellington was born in Washington, D.C.

The son of a former White House butler, Elllington was born into a comfortable middle-class African American household. After piano lessons from the aptly named Miss Klinkscales, Ellington composed his first original piece, The Soda Fountain Rag. Two important mentors were a local dance band leader, Oliver “Doc” Perry and a high school music teacher named Henry Grant, who introduced Ellington to classical composers like Debussy.

“From both these men I received freely and generously,” Ellington recalled. “I repaid them as I could, by playing piano for Mr. Perry, and by learning all I could from Mr. Grant.”

Always a stylish dresser, Ellington was nicknamed “The Duke” by friends, and while still in his teens, the five-piece dance band he formed was playing in New York City. That ensemble grew to 11 men by 1930 and to an orchestra of 19 by 1946.

The Ellington orchestra was an ensemble of jazz virtuosos, and for them Ellington would compose some 2000 original works, a body of music extensively documented in public and private recordings, and now regarded as one of the most astonishing musical accomplishments of the 20th century.

Music Played in Today's Program
Edward Kennedy “Duke” Ellington (1899-1974): The River Suite; Detroit Symphony; Neeme Järvi, conductor; Chandos 9154

Synopsis
For the 1965-1966 season of the New York Philharmonic, Leonard Bernstein planned a series of concerts titled “Symphonic Forms in the 20th Century,” programming works by Mahler, Sibelius and other great European masters. Bernstein also included American symphonies, including, on today’s date in 1966, the belated premiere performance of David Diamond’s Symphony No. 5.

Diamond began work on his Symphony No. 5 in 1947, and its original inspiration was two-fold: Diamond wanted to compose a symphony for Bernstein to premiere and to translate into music the vivid emotions he experienced after attending a performance of Sophocles’ tragedy, Oedipus the King. But Diamond found recreating the Oedipus story harder than he thought. He ended up putting his Fifth aside, and finished and premiered his Sixth, Seventh, and Eight Symphonies before coming to the realization that, “Program symphonies were just not for me.”

Years later, Bernstein asked, “What ever happened to that symphony you were going to write for me?”

Diamond explained all this to Bernstein, who replied, “Well, it’s about time you did something about it — it’s silly to have one symphony that just isn’t there!”

And so, Diamond set to work completing a non-programmatic Fifth, dedicated to Leonard Bernstein.

Music Played in Today's Program
David Diamond (1915-2005): Symphony No. 5; Juilliard Orchestra, Christopher Keene, conductor; New World 80396

Synopsis
Few of us today really know — or care — very much about the War of Austrian Succession, a conflict that troubled Europe in the 18th century. For music lovers, it’s enough to know that to celebrate the end of that war, George Frederic Handel was commissioned to compose music for a fireworks concert in London’s Green Park, an event that took place on today’s date in the year 1749.

Back then there were no such things as microphones and loudspeakers, so Handel’s score called for a huge military band of 24 oboes, nine horns, nine trumpets, three sets of timpani, 12 bassoons, two contrabassoons and strings. When King George II was told about it, he balked a little at the expense.

“Well, at least I hope there won’t be any fiddles,” he commented, and so Handel was informed the strings were definitely off.

A public rehearsal was held at the Vauxhall Gardens and a London newspaper reported that 100 musicians performed for an audience of more than 12,000, causing a three-hour traffic jam of carriages and pedestrians on London Bridge. The official event with fireworks went off with a bang — as well as a few fires breaking out.

Music Played in Today's Program
George Frederic Handel (1685-1759): Music for the Royal Fireworks; Academy of St. Martin in the Fields; Neville Marriner, conductor; Argo 414596