On today’s date in 1950, the Michigan All-Star Band, under the direction of Dale Harris, gave the premiere performance of a new work, George Washington Bridge at Interlochen Summer Music Camp. This music was written by American composer William Schuman, who was experiencing an especially creative period in the early 1950s. Schuman was living in New Rochelle, New York, but as president of the Juilliard School, spent much of his time in Manhattan, and, as Schuman explained:

“There are few days in the year when I do not see the George Washington Bridge. I pass it on my way to work as I drive along the Henry Hudson Parkway on the New York shore. Ever since my student days when I watched the progress of its construction, this bridge has had for me an almost human personality, and this personality is astonishingly varied, assuming different moods, depending on the time of day or night, the weather, and, of course, my own mood as I pass by … I have walked across it late at night when it was shrouded in fog, and during the brilliant sunshine hours of midday … It is difficult to imagine a more gracious welcome or dramatic entry to the great metropolis.”

The piece is in ABCBA form — a little like the rising and falling arch of a suspension bridge, in fact, and, since its 1950 premiere at Interlochen, Schuman’s George Washington Bridge has won a secure place as a classic of the wind band repertory.

Music Played in Today's Program

William Schuman (1910-1992): George Washington Bridge; Rutgers Wind Ensemble; William Bertz, conductor; Naxos 572230

On today’s date in 1962, the Symphony No. 5 for strings, by German-born American composer Gene Gutchë, received its premiere performance at Chatauqua, New York.

Romeo Maximilian Eugene Ludwig Gutchë was born in Berlin in 1907. His father, a well-to-do European businessman, was not amused by the notion of his son “wasting” his time on music, even though famous Berlin-based composer-pianist Ferruccio Busoni confirmed the young man’s talent. So he ran away from home, abandoning any hope of a sizeable inheritance in the process, and came to America.

He studied at the Universities of Minnesota and Iowa, and, in 1950, at 43, produced his first symphony. He would go on to compose six symphonies in all, plus an hour-long symphonic work for chorus and orchestra, Akhenaten, premiered by Leonard Slatkin and the St. Louis Symphony in 1983. For most of his life, despite fellowships and commissions, Gutchë lived modestly with his wife, Marion, in a cottage in White Bear Lake, Minnesota.

He died in the fall of 2001 — one year after this Cincinnati Symphony recording of his Symphony No. 5 was reissued on compact disc.

Music Played in Today's Program

Gene Gutchë (1907-2001): Symphony No. 5; Cincinnati Symphony; Max Rudolf, conductor; CRI 825

On today’s date in 1914, Austria-Hungary declared war on Serbia, effectively beginning World War I.

Early in the course of that war, French composer Albéric Magnard became a national hero when he died defending his home against invading German troops. Maurice Ravel tried to enlist as a French pilot but was refused because of his poor health. Instead, he became a truck driver stationed at the Verdun front. British composer Ralph Vaughan Williams was too old to be drafted, but he enlisted as a private in the Royal Army Medical Corps. Another British composer, George Butterworth, would be killed by a sniper during the Battle of the Somme.

Austrian violinist and composer Fritz Kreisler served briefly in the Austrian Army in 1914 before being wounded and honorably discharged. He arrived in then-neutral New York on November of 1914 and remained in America through the war years.

In 1915, Kreisler made a recording of Bach’s Double Violin Concerto, performing with the Russian violinist Efrem Zimbalist. Austria and Russian may have been at war in Europe, but in a cramped New Jersey recording studio, at least, the music of Bach provided a brief island of peace and harmony.

Music Played in Today's Program

J.S. Bach (1685-1750): Double Concerto (recorded 1915); Fritz Kreisler, Efrem Zimbalist, violins; string quartet; Buddulph CD 21/22

Alfred Hitchcock’s cold war spy film Torn Curtain, opened in New York Theaters on today’s date in 1966. It was the swinging 60s, and Hitchcock had asked his long-time collaborator, composer Bernard Hermann, for a pop score that would be “with it” with a possible hit single as a main title. What Hitch did not want was, as he put it, “more Richard Strauss.” Hermann assured Hitch he knew exactly what was required — and then ignored him completely.

Herrmann thought Torn Curtain was a dangerously weak film, and one that needed a huge symphonic score with an eerie choir of massed flutes and ominous, oppressive brass to make it effective. When Hitch heard a Hollywood studio orchestra rehearsing the main title music, he fired the composer on the spot and called in someone else to score the film.

Herrmann was crushed. He had thought that Hitch should have been grateful. “You call in the doctor to make you healthy, not to make you rich!” he later quipped. Hermann may well have right. Torn Curtain is regarded as one of Hitchcock’s lamest efforts, while Herrmann’s rejected score has gone on to be recorded and admired on its own.

Music Played in Today's Program

Bernard Herrmann (1911-1975): Unused Torn Curtain film score; Los Angeles Philharmonic; Esa-Pekka Salonen, conductor; Sony 62700

On today’s date in 1882, the first performance of Richard Wagner’s new opera Parsifal took place at the Bayreuth Festival in Bavaria. In the audience was 25-year-old American Gustav Kobbé, an ardent opera fan who would go on to write Kobbé’s Complete Opera Book, a standard reference work on the subject.

As he watched the opening scene of Parsifal, his gaze became fixed on one spot of the painted scenery, depicting a pile of rocks. Was that Wagner’s face painted on one of the rocks? Or was that Wagner himself, staring out at the singers on stage? During the intermission, he asked others if they had seen what he had, but they just looked at him as if the heat of the Bavarian summer had affected the young American’s brain.

But after the opera he asked one of the singers, who was surprised at his sharp eyesight — but confirmed what he saw. To ensure that singers followed his specific directions where to stand and when to move, Wagner had, in fact, been standing on stage amid the painted rocks. To all eyes but Kobbé’s, Wagner’s craggy, sun-tanned face had blended in perfectly with the painted scenery.

Music Played in Today's Program

Richard Wagner (1813-1883): Act I excerpt from Parsifal; Metropolitan Opera Orchestra; James Levine, conductor; DG 437 501

On today’s date in 1976, an unusual opera premiered at the Théatre Municipale in Avignon, France. It ran for five hours with no breaks between acts. The audience was invited to wander in and out as it pleased. The libretto consisted of numbers, solfege syllables and some cryptic poems written by a pupil from a New York School for Disturbed Children. Even the title of this new opera, Einstein on the Beach, was unusual, suggesting something at once serious and surreal.

In the opera, a violinist dressed up like Albert Einstein wanders in and out of some scenes, a reference to the fact that, in real life, the famous physicist was also a talented amateur violinist. Einstein on the Beach was collaboration between two Americans: composer Philip Glass and set designer Robert Wilson. It made the rounds in Europe, attracted a great deal of attention, and came to America in November of 1976 for two sold-out performances in New York staged at the Metropolitan Opera with Glass and his ensemble.

Its music was even referenced as a kind of “in joke” during a famous TV commercial in which Einstein debates the merits of Coke vs. Pepsi. For the record, Albert chooses Pepsi.

Music Played in Today's Program

Philip Glass (b. 1937): Violin Solo from Einstein on the Beach; Gregroy Fulkerson, violin; New World 80313

The composer of this familiar theme was born on today’s date in 1904 in Lyon, France. He was christened Noel Arnaud, but is better known as Leo Arnaud, the name he adopted after emigrating to the United States. He studied music in his native France with two of its leading composers, Vincent d’Indy and Maurice Ravel. In the 1930s, Arnaud settled in Hollywood, where he churned out scores for everything from Blondie Goes Latin to The Ice Follies of 1939. The high point of his cinematic career was an Oscar nomination for his work as an arranger for the 1964 musical The Unsinkable Molly Brown.

Some years earlier, Hollywood Bowl conductor Felix Slatkin commissioned Arnaud to write some music for a 1958 LP sonic spectacular designed to show off the new “stereophonic” recording process. The album was titled Charge! and featured military style fanfares and suites, including Bugler’s Dream.

In 1968, when ABC television was looking for a musical theme for its Olympic coverage, it chose Bugler’s Dream. By 1988, when the NBC network secured TV rights for the Olympics, Arnaud’s theme had become the instantly recognizable signature theme for the games.

Music Played in Today's Program

Leo Arnaud (1904-1991): Olympic Theme; Cleveland Symphonic Winds; Frederick Fennell, conductor; Telarc 80099

On today’s date in 1757, Italian composer Domenico Scarlatti died in Madrid. He was 71, and for the last 38 years of his life was employed at the court of Princess Maria Barbara, first in her native Portugal, and then, when the princess married the heir to the Spanish throne, in Madrid.

Although Domenico could very well have stayed in Italy and become a famous opera composer like his father, Alessandro Scarlatti, Domenico spent the better part of his life composing over 600 virtuoso sonatas for Maria Barbara. Only a handful of these were published during his lifetime. In the 19th century, Liszt and Brahms took the trouble to hunt down additional Scarlatti sonatas in manuscript, but the bulk of them remained unpublished and unknown until a complete edition was published in the 20th century.

While not coming anywhere close to matching Scarlatti’s output, one 20th century American composer, Philadelphia-born Vincent Persichetti, composed ten harpsichord sonatas of his own.

The growing number of modern-day harpsichordists has meant that in addition to the wealth of old music for the instrument, many contemporary composers have followed Persichetti’s example, and are writing new works for this old instrument.

Music Played in Today's Program

Domenico Scarlatti (1685-1757): Sonata in C Minor; Elaine Comparone, harpsichord; Laurel 838

Vincent Pershichetti (1915-1987): Sonata No. 4; Elaine Comparone, harpsichord; Laurel 838

On today’s date in 1847, Giuseppe Verdi conducted the premiere performance of his newest opera, I Masnadieri or The Robbers, at Her Majesty’s Theater in London. And speaking of her Majesty, Queen Victoria was in the audience, as were other state dignitaries, including the Duke of Wellington and Louis Napoleon of France.

It was the first time in over twenty years that a world-famous composer had composed an opera specifically for London. As one of Verdi’s young assistants put it, “Neither Rossini, Bellini, or Donizetti had ever pitched their tents on the banks of the Thames.”

As an added attraction, 27-year old Swedish soprano, Jenny Lind, topped an all-star line-up of singers. It was Lind’s London debut and the first time ever that an operatic role had been specially written for her.

The premiere was a great success for all concerned, with Verdi and the singers called to the stage again and again to cheers from the audience. The critics, for their part, were less than kind. “We take this to be the worst opera that has been given in your time at Her Majesty’s Theater. There does not exist an Italian composer more incapable of producing what is commonly called melody,” wrote one.

I Masnadieri fared a little better back in Italy, but gradually faded from the active repertory until the revival of interest in all of Verdi’s opera in the 20th century.

Music Played in Today's Program

Giuseppe Verdi (1813-1901): I Masnadieri Overture; Hungarian State Opera Orchestra; Iper Giorgio Morandi, conductor; Naxos 8.554077

In London on today’s date in 1938, the Ballet Russe of Monte Carlo presented Nobilissima Visione, a work by German composer Paul Hindemith based on the life of Saint Francis of Assisi.

The idea may have been suggested by his wife, who had recently converted to Catholicism. The Hindemiths had visited the Church of Santa Croce in Florence were deeply impressed by its frescoes depicting scenes from the life of St. Francis. He originally intended to incorporate melodies by 14th-century French composer Machaut into his ballet but ended up writing original themes in an archaic style. As a staged ballet or as a concert suite, Nobilissima Visione proved to be one of his most popular works.

“My ballet is not an eye-catcher in the old style. It is not exactly full of sparkling wit, but all the same it makes a fine impression, with all the trappings of success that a composer greedy for recognition could wish. Even the earthshaking impresario Sol Hurok was so impressed that he pressed me to his smart businessman’s heart and is insisting on my conducting the piece myself in New York and surrounding villages,” Hindemith wrote in 1938.

Music Played in Today's Program

Paul Hindemith (1895-1963): Nobilissima Visione; San Francisco Symphony; Herbert Blomstedt, conductor; London 433 809

Today a tip of the hat to a much-beleaguered and frequently unacknowledged species: the piano teacher. Do you, for example, remember the name of your first piano teacher?

In the case of Duke Ellington, it was not a name one could easily forget. She was a certain Mrs. Clinkscales, and Ellington always gave her credit for her persistence. “Because of my enthusiasm for playing ball and racing through the street, I missed more lessons than I took. When she had her piano recital with all her pupils, I was the only one who could not play his part. So Mrs. Clinkscales had to play the treble, and I just played the umpy-dump bottom!” Ellington wrote.

Avant-garde American composer Morton Feldman immortalized the name of his piano teacher in an elegiac chamber piece, Madame Press Died Last Week at Ninety. This music was premiered in France on today’s date in 1970. Madame Maurina Press had taught the children of the Czar and knew the Russian composer Alexander Scriabin. She started teaching Feldman when he was twelve, and his tribute to her is scored for 12 instruments — with the piano conspicuous by its absence!

Music Played in Today's Program

Morton Feldman (1926-1987): Madame Press died last week at 90; Orchestra of St. Luke’s; John Adams, conductor; Nonesuch 79249

During WWII, German troops encircled Leningrad for 900 days, a siege that caused immense suffering for that city’s residents. One of them, composer Dmitri Shostakovich, appeared on the cover of a July 1942 issue of TIME magazine, grim-faced and wearing the helmet of a Leningrad fireman.

The publicity was for the American premiere of Shostakovich’s Symphony No. 7 (Leningrad), as a live NBC Symphony radio broadcast on today’s date in 1942. The broadcast was dedicated to the Russian War Relief, and the NBC announcer explained how the score of the recently-completed symphony had been flown from the Soviet Union to the West via Teheran.

Two famous conductors, Leopold Stokowski and Arturo Toscanini, had been hotly contesting who would conduct the American premiere. The older conductor pulled rank. “Don’t you think, my dear Stokowski, it would be interesting to hear the old Italian conductor play this work of a young Russian anti-Nazi composer?” Toscanini wrote.

Friends of Shostakovich later suggested he may have had more than just the Nazis on his mind and quote him as saying: “Fascism is not simply National Socialism. This is music about terror, slavery, and oppression of the spirit.”

Music Played in Today's Program

Dimtri Shostakovich (1906-1976): Symphony No. 7 (Leningrad); NBC Symphony; Arturo Toscanini, conductor; RCA Toscanini Edition Vol. 22

Today we pay tribute to Pauline Viardot-Garcia, born in Paris on today’s date in 1821. Her father was Manuel Garcia, the tenor for whom Rossini had written the role of Count Almaviva in The Barber of Seville. Her older sister was legendary operatic diva Maria Malibran, a famous interpreter of operas by Bellini and Donizetti.

Little Pauline wanted to be a piano virtuoso and took lessons from Liszt, but at 15, her mother decided she, too, should become a singer. Chopin adored her voice, and together they arranged some of his mazurkas as songs. Meyerbeer and Gounod wrote operatic roles for her.

In 1860, with the composer at the piano croaking out the tenor part of Tristan, Viardot-Garcia sang the role of Isolde at the first private reading of music from Wagner’s Tristan and Isolde, and it was she who gave the premiere performance of Brahms’ Alto Rhapsody in 1870.

She married Louis Viardot, the director of the Theatre Italien in Paris, and at their home one was just as likely to meet Charles Dickens or Henry James as Berlioz or Tchaikovsky. She was also a composer of songs and chamber operas, which are receiving renewed attention.

Music Played in Today's Program

Pauline Viardot-Garcia (1821-1910): 12 Poems by Pushkin, Fet and Turgenev: No. 12: Les Étoiles; Laetitia Grimaldi, soprano; Ammiel Bushakevitz, piano; Bis 2546

On today’s date in 1877, the Vienna Philharmonic performed for the first time in Salzburg, the birthplace of Mozart, during a three-day music festival that included works by Mozart and others, including two living composers of that day, 44-year-old Brahms and 64-year-old Wagner.

The Philharmonic would return to Salzburg six more times for mini-festivals through 1910, some led by composer-conductors like Richard Strauss and Gustav Mahler.

In 1925, an annual Salzburg Festival was established, with the Vienna Philharmonic and Vienna State Opera as the main musical participants. World War II disrupted the festival in the 1940s, but soon after it reestablished itself among the most prestigious of international musical happenings.

Traditionally, a familiar brass fanfare opens each Salzburg Festival radio broadcast, but probably few music lovers know the name of its composer.

It was written by Joseph Messner, who wrote over 700 works. He was born in 1893 in the Austrian Tyrol and died in 1969 in a village near Salzburg, where he had served as church organist, conductor and composer for decades, leading many Festival concerts featuring sacred music by Mozart and others.

Music Played in Today's Program

Wolfgang Mozart (1756-1791): Menuetto and Trio from Haffner Symphony; Vienna Philharmonic; Rafael Kubelik, conductor; Seraphim 68531

Joseph Messner (1893-1969): Salzburg Festival Fanfare; Salzburg Mozarteum Orchestra; Ivor Bolton, conductor; Oehmns CD 734

Today we note the birthday of a remarkable composer, conductor and virtuoso violinist: Eugéne Ysaÿe, who was born in Liége, Belgium, on today’s date in 1858. After studies with two of the most famous violin composers of his day, Henyrk Wieniawski of Poland and his Belgian compatriot, Henri Vieuxtemps, he soon was touring Europe and Russia as a star performer himself.

In 1886, when 28-year old Ysaÿe married, great Belgian composer Cesar Franck presented the young couple with his Violin Sonata as a wedding present. That same year, Ysaÿe founded a famous string quartet, and in 1893 it was the Ysaÿe Quartet that gave the premiere performance of Claude Debussy’s String Quartet, a work its composer dedicated to the ensemble in admiration.

In 1918, he made his American debut as a conductor with the Cincinnati Symphony, and made such a great impression there that he remained as music director of the Cincinnati Symphony from 1918 to 1922.

As a composer, he wrote eight concertos and a set of six solo sonatas for the violin. In 1928, at 70, the patriotic Belgian began work on an opera, Peter the Miner to a libretto in his native Walloon language, and was at work on a second opera when he died at 72, in 1931. In 1937, Queen Elizabeth of Belgium inaugurated the annual Eugene Ysaÿe International Prize for promising young violinists.

Music Played in Today's Program

Cesar Franck (1822-1890): Violin Sonata; Itzhak Perlman, violin; Martha Argerich, piano; EMI 56815

Eugène Ysaÿe (1858-1931): Chant d’hiver; Aaron Rosand, violin; Radio Luxembourg Orchestra; Louis de Froment, conductor; Vox Box 5102

For decades, Russian-born American composer, conductor and witty musical lexicographer Nicolas Slonimsky compiled the reference work Music Since 1900. It’s a year-by-year, month-by-month, day-by-day chronicle of musical events he deemed significant, interesting, or simply amusing.

Here, for example, is Slonimsky’s entry for July 15, 1942:

“Heitor Villa-Lobos conducts in Rio de Janeiro the first performances of three of his orchestral Choros: No. 6, No. 9 and No. 11, exhaling the rhythms, the perfumes and the colors of the Brazilian scene, with tropical birds exotically chanting in the woodwinds against the measured beats of jungle drums.”

Slonimsky did have a way with words, and certainly had fun compiling his mammoth (and highly readable) reference work.

For his part, Brazilian composer Heitor Villa-Lobos was equally diligent, so much so that he claimed he couldn’t always remember everything that he had written. His Choros No. 11 for piano and orchestra lasts some 65 minutes and is one of his most ambitious works. Originally the word “choro” meant improvised music by Brazilian street musicians, but Villa-Lobos always used the word in its plural form to describe over a dozen of his instrumental works.

Music Played in Today's Program

Heitor Villa Lobos (1887-1959): Choros No. 9; Hong Kong Philharmonic; Kenneth Schermerhorn, conductor; Naxos 8.555241

A famous commercial for magnetic recording tape once asked the question: “Is it live — or Memorex” — suggesting it was hard to tell the difference. These days, at concerts of some contemporary composers’ works, the correct answer would be “It’s live and Memorex” — as there is a growing body of works that involve both live performers and prerecorded tape.

A 1995 work by American composer Ingram Marshall, Dark Waters, was written for an English horn soloist accompanied by a prerecorded tape of fragments from old 78-rpm recordings of Jean Sibelius’ chilly tone-poem The Swan of Tuonela. Both the live English horn part and the prerecorded tape are digitally processed and mixed at each live performance. “Those who know the Sibelius will recognize familiar strains,” Marshall said.

On today’s date in 1998, Marshall and Libby Van Cleve, the English horn player for whom Dark Waters was written, recorded the work at St. Casimir’s Church in New Haven, Connecticut. “You can actually hear the sound of that church in the recording,” recalled Van Cleve. “We finished at about 3 a.m., and it was stiflingly hot — how ironic that Ingram’s music — and Sibelius’ — is always associated with cold climates!”

Music Played in Today's Program

Ingram Marshall (1942-2022): Dark Waters; Libby van Cleve, English horn; Ingram Marshall, electronics; New Albion 112

On today’s date in 1829, German composer Felix Mendelssohn was in London, participating in a gala concert to raise funds for the victims of a flood in Silesia. “Everyone who has attracted the slightest attention during the season will take part,” wrote Mendelssohn. “Many offers of good performers have had to be declined, as otherwise the concert will last till the next day!”

Mendelssohn performed his Double Concerto for two pianos and orchestra, joined by his friend and fellow composer/pianist Ignaz Moscheles. Mendessohn and Moscheles jointly prepared a special cadenza, and jokingly bet each other how long the audience would applaud it — Mendessohn predicting 10 minutes, and Mosceheles, more modestly, suggesting five.

In the Baroque age, double concertos were very popular, but by Mendelssohn’s day they had become less common. In our time, concertos for two pianos are even rarer. One of the most successful American Double Concertos was written between 1952 and 1953 by American composer Quincy Porter. Also known as the Concerto Concertante, commissioned by the Louisville Orchestra. It proved to be one of the most popular of Porter’s works, and even won the Pulitzer Prize for Music in 1954.

Music Played in Today's Program

Felix Mendelssohn (1809-1847): Double Concerto; Güher and Süher Pekinel, pianos; Philharmonia Orchestra; Neville Marriner, conductor; Chandos 9711

Quincy Porter (1897-1966): Concerto for Two Pianos; Joshua Pierce and Dorothy Jonas, duo pianists; Moravian Philharmonic; David Amos, conductor; Helcion 1044

The Violin Sonata No. 3 by American composer William Bolcom had its premiere on today’s date in 1993 at the Aspen Music Festival in Colorado. The work was commissioned to honor the 75th birthday of Dorothy Delay, a legendary violin teacher who taught at Juilliard for many years.

The violin is a strange animal for composers to master, especially if they aren’t violinists already, and Bolcom subtitled this work Sonata Stramba, “stramba” being the Italian word for “strange” or “odd.”

Bolcom confessed to being fascinated by two musical sounds more than any other: the voice and the violin. “When I was about ten, we trundled out my maternal grandfather’s imitation Stradivarius, made in Czechoslovakia, and I took a few not-very-successful lessons. When the violin was stolen out of the back seat of my father’s Buick that was the end of my studies of the instrument,” Bolcom recalled.

Bolcom did become a talented pianist, however, and befriended violinist Gene Nastri, who initiated the young composer into the mysteries of the instrument by performing Mozart and Beethoven Violin Sonatas with him, as well as the fledgling violin works written by the young composer.

Music Played in Today's Program

William Bolcom (b. 1938): Violin Sonata No. 3; Irina Muresanu, violin; Michael Lewis, piano; Centaur 2910

These days, when modern music is on the program, a sizeable chunk of the concert hall audience might start nervously looking for the nearest exit — but that wasn’t always the case.

On today’s date in 1882, 21-year old American composer and pianist Edward MacDowell took the stage in Zurich, Switzerland, to perform his Modern Suite for piano at the 19th annual conference of the General Society of German Musicians, a showcase for new music whose programs were arranged by none other than Franz Liszt.

Liszt had met MacDowell earlier that year, and when MacDowell sent him the music for his Modern Suite for solo piano, Liszt asked the young composer to play it himself at the Society’s conference in Zurich.

The success of his Modern Suite No. 1 lead to the creation of a second, and both were published a year later by the Leipzig firm of Breitkopf & Hærtel. These two suites were the first works of MacDowell to appear in print, and launched his career as one of the major American composers of the late 19th century.

Music Played in Today's Program

Edward MacDowell (1860-1908): Modern Suite No. 1; James Barbagallo, piano; Naxos 8.559011

On today’s date in 1919, British composer Edward Elgar finished a work he labeled jokingly as his Opus 1001 — a 50-second Smoking Cantata, intended, according to the manuscript score, as “an edifying, allegorical, improving, expostulatory, educational, persuasive, hortatory, instructive, dictatorial, magisterial, inadautory work.”

The score was completed at the Hertfordshire home of a wealthy banker named Edward Speyer, one of his oldest friends, to whom the manuscript was given. When he came to stay, Speyer had only one request, that the composer and his musician friends, “Kindly do not smoke in the hall or on the staircase.”

That’s also full text of Elgar’s cantata.

In the middle of his manuscript, he drew a medieval hell’s mouth, belching smoke. The little score was discovered, performed, and recorded for the first time in July of 2003.

Music Played in Today's Program

Edward Elgar (1857-1934): Smoking Cantata; Andrew Shore, bar; Hallé Orchestra; Mark Elder, conductor; Hallé CD HLL-7505

Today we note the birth and death anniversaries of two American composers of the 20th century.

On today’s date in 1915, American composer David Diamond was born in Rochester, New York. In 1940, Dmitri Mitropoulos, then the music director of the Minneapolis Symphony commissioned one of his best-known works. He had specifically asked Diamond for an upbeat piece of music. “Write me a happy work,” he asked. “These are distressing times ... make me happy!” The 29-year-old composer responded with his popular Rounds for String Orchestra, which Mitropoulos premiered in Minneapolis in 1944.

Also on today’s date, in 1984, the American composer and teacher Randall Thompson died in Boston at 85. Randall Thompson wrote three symphonies and some fine chamber works, but his best-known piece of music is this choral setting of Allelujah which was first performed at the opening of the Berkshire Music Center at Lenox, Massachusetts, in the summer of 1940, when Thompson was 41 years old.

“[My Alleujah is] a very sad piece,” said Thompson. “Here it is comparable to the Book of Job, where it is written, ‘The Lord giveth and the Lord has taken away. Blessed be the name of the Lord.’”

Music Played in Today's Program

David Diamond (1915-2005): Rounds; Los Angeles Chamber Orchestra; Gerard Schwarz, conductor; Nonesuch 79002

Randall Thompson (1899-1984): Alleluia; Robert Shaw Chamber Singers; Robert Shaw, conductor; Telarc 80461

Today’s date in 1931 marks the birthday of the first notable Native American composer of concert music. His name was Louis Ballard, and he was born in Devil’s Promenade in Oklahoma. His father was Cherokee, and his mother Quapaw.

As a young boy he attended — but managed not to be irreparably damaged by — one of the notorious boarding schools where Native American students were taught to forget everything about their own language and culture. He remained rooted in Quapaw language and traditions at the same time his interest in European classical music developed, and in 1962 became first American Indian to receive a graduate degree in music composition.

Inspired by the example of Bela Bartok, who incorporated the folk music of Eastern Europe in his works, Ballard attempted to do the same with Native American source material in concert works both large and small. He was nominated for a Pulitzer Prize in 1971 and in 1974 his orchestral piece Incident at Wounded Knee was performed at Carnegie Hall and taken on an Eastern European tour by Saint Paul Chamber Orchestra, who had commissioned the work.

Music Played in Today's Program

Louis Ballard (1931-2007): Mid-Winter Fires; Amy Morris, flute; Mark Serrup, oboe; Mary Goetz, piano; Indande Records 52352

Unless you’re just mad about 18th century history, it’s unlikely you know off the top of your head who the winners and losers were in the War of the Spanish Succession. Suffice it to say, on today’s date in 1713, to celebrate the successful resolution of that conflict, a festive choral Te Deum was performed at St. Paul’s Cathedral in London.

It was written by ambitious 28-year old German composer, George Friedrich Handel. We’re not sure if Handel wrote his Utrecht Te Deum in response to an invitation from the British royal family or wrote it “on spec” to win their favor. In any case, when performed by the Royal Musicians and the choir of the Chapel Royal on July 7, 1713, it made a tremendous impression.

Handel’s first royal employer was King George the First, and three years after Handel’s death, King George III sat on the throne. Now, King George may have suffered from madness and lost the American colonies, but at least he did know a good composer when he heard one. He idolized Handel and saw to it that the composer was buried in Westminster Abbey.

Music Played in Today's Program

George Frederic Handel (1685-1757): Utrecht Te Deum; St. Paul’s Cathedral Choir; The Parley of Instruments; John Scott, conductor; Hyperion 67009

On today’s date in 1971, jazz great Louis Armstrong died in New York City at 69. He was born in New Orleans, and for years, all the standard reference books listed his birthday as the Fourth of July, 1900. Well, it turned out that wonderfully symbolic date was cooked up by his manager Joe Glaser. Armstrong wasn’t sure when he was born, so the Fourth of July seemed as good a date as any, and was accepted as fact for many years. Eventually documents were discovered that proved he was actually born on August 4, 1901.

Armstrong earned the nickname “Satchmo,” short for “Satchelmouth,” and in later years he was affectionately dubbed “Pops.” If documentary filmmaker Ken Burns is to be believed, he was the central figure in the development of jazz in the 20th century.

British music critic Norman Lebrecht offered this assessment: “Armstrong never bowed his head nor sang from anywhere but the heart. He was a figure of enormous dignity and a musical innovator of universal importance.” Acknowledging his influence in American concert music, composer Libby Larsen subtitled one of her works, a 1990 Piano Concerto, Since Armstrong.

Music Played in Today's Program

Louis Armstrong (1901-1971): Skip the Gutter; Louis Armstrong and the Hot Five; Columbia 44422; I’m in the Barrel arr. David Jolley; Windscape Arabesque 6732

On today’s date in 1992, lovers of the tango had good reason to be sad. Argentinean composer and bandoneón virtuoso Astor Piazzolla had died in Buenos Aires at the age of 71.

The bandoneón is a close relation of the accordion, and for it Piazzolla composed new music inspired by the tango, an Argentinian dance form that originated in working-class dancehalls. While still a teenager, he had played bandoneón in the orchestra of Carlos Gardél, the most famous tango singer of the 1930s. Eventually, he formed his own band, which became famous throughout South America.

But Piazzolla had a burning desire to write concert music, and won a scholarship to study composition in Paris with Nadia Boulanger. She encouraged him to explore the possibilities inherent in the music he knew best, so he set about reinventing the tango. The result was dubbed “nuevo tango,” as vital as the old ones, but often dark and brooding.

When asked why these new tangos were so melancholy, he replied, “Not because I’m sad. Not at all. I’m a happy guy … no, my music is sad because the tango is sad — sad and dramatic, but not pessimistic.”

Music Played in Today's Program

Astor Piazzolla (1921-1992): Tres Minutos con la Realidad; Nestor Marconi, bandoneon; Yo Yo Ma, cello; ensemble; Sony Classical 63122

Weather permitting, there’s a good chance you’ll be attending an outdoor symphonic concert tonight that will close with Tchaikovsky’s 1812 Overture, complete with a volley of booming cannon shots, church bells, and dazzling fireworks.

It’s become an American tradition to perform the 1812 Overture on July 4, even though it has nothing to do with the 1776 War of Independence — or America’s War of 1812, for that matter.

No, it’s all down to Arthur Fielder and the Boston Pops.

For years, a wealthy American businessman named David Mugar financed an outdoor Pops concert on Boston’s Esplanade on the Fourth of July. But by the mid-1970s, attendance started to decline, so Mugar suggested that if Fiedler would close the annual concert with the 1812 Overture, people might be lured back by the live cannon fire Tchaikovsky asks for in the piece.

Well, it worked. Outdoor concerts with the 1812 Overture plus cannons quickly became a tradition, and in 1976, 400,000 people attended the Boston Pops’ outdoor Bicentennial Fourth of July concert — setting a Guinness World Record for best-attended classical concert.

And, a year after his death in 2022, a bronze statue of Mugar was unveiled on the Boston Esplanade.

Music Played in Today's Program

Peter Tchaikovsky (1840-1893): 1812 Overture; Minneapolis Symphony Orchestra; Antal Dorati, conductor; Mercury Living Presence 434360

Country Gardens is the best-known work of Australian-born American composer, arranger, and pianist Percy Grainger. Its score bears this note: “Birthday-gift, Mother, July 3, 1918.” His mother Rose was responsible for his excellent early musical training.

In 1918, he arranged a folk tune given to him in 1908 by Cecil Sharp, a major figure in the folklore revival in England. He titled this arrangement Country Gardens, and it went over so well at his recitals that he decided to have it published.

It was a big hit and broke sales records. In fact, until his death in 1961, its sales generated a significant portion of Grainger’s annual income. Like other composers with a mega-hit, Grainger came to resent being known for just one tune and would say to audiences: “The typical English country garden is not often used to grow flowers. It’s more likely to be a vegetable plot. So you can think of turnips as I play it”.

In 1931, Country Gardens was arranged for wind band by someone other than Grainger, but around 1950, at the special request of a Detroit band director, Grainger prepared his own wind band arrangement, which likewise became a hit.

Music Played in Today's Program

Percy Grainger (1882-1961): Country Gardens; Royal Northern College of Music Wind Orchestra; Timothy Reynish Chandos 9549

In German, “Gluck” means “luck,” and today’s date marks the birthday of a German composer named Christoph Willibald Gluck, whose good fortune it was to be credited with reforming the vocally ornate but dramatically static form of Baroque opera.

In the 18th century, opera was the biggest and most high-profile of all musical forms, and Gluck wrote 49 of them during his 67 years of life. Like many 18th century opera composers, the stories Gluck chose were often based on ancient Greek myths such as “Orpheus and Eurydice.”

It wasn’t the matter of Gluck’s operas that was revolutionary, but the manner in which he set these stories to music. When the British music historian Charles Burney visited Gluck in 1771, he recorded the composer’s own words on the subject.

“It was my design to divest music of those abuses which the vanity of singers, or the complacency of composers, had so long disfigured Italian opera and made the most beautiful and magnificent of all public exhibitions into the most tiresome and ridiculous,” said Gluck.

To sum it all up, Gluck told Burney, “My first and chief care as a dramatic composer was to aim at a noble simplicity.”

Music Played in Today's Program

Christoph Willibald von Gluck (1714-1787): Dance of the Blessed Spirits from Orpheus; Academy of Ancient Music; Christopher Hogwood, conductor; L’Oiseau-Lyre 410553