Category Archives: Music History
Richard Glazier: From Ragtime to Reel Time
Posted by listeningatlunch in Multigenre, Music History
Richard Glazier
Clearly, pianist Richard Glazier is passionate about early
20th Century American music, with particular emphasis
on the tunes in the Broadway/Tin Pan Alley/Movie Musical
genres. He has parlayed his enthusiasm into a series of
lecture/recital programs, which he's performed throughout
the United States. I recently watched a PBS broadcast
of one of these programs released last year, under
the Sophie Productions label.
Glazier studied piano at Indiana University with
Menahem Pressler (1923 – ), pianist of the famed Beaux
Arts Trio, and earned his Doctorate of Musical Arts from
the Cleveland Institute of Music. From the evidence of
this DVD, Glazier's piano "chops" are as impressive as
his credentials. He has combined these skills with a
disarmingly natural ability as a raconteur/storyteller.
The reminiscences of his past included a meeting with
Ira Gershwin (1896-1983), which developed into a long
In fact, the music of George Gershwin (1898-1937)
receives the lion's share of footage on this 56-minute
disc, which includes arrangements of "The Man I Love,"
"Embraceable You" and a 13-minute solo piano
performance of "Rhapsody in Blue." Also on tap were
Jerome Kern's (1885-1945) "All the Things You Are,"
Richard Rodgers'(1902-1979) "Where or When," and
Harold Arlen's (1905-1986) "The Man That Got Away."
There's even footage of actor Mickey Rooney (1920 – )
recording an impromptu version of Roger Edens'
(1905-1970) "Dear Mr. Gable/You Made Me Love You,"
in a nod to Rooney's earlier musical career.
A three and one-half minute interview/portrait of
Glazier was included, bringing the total running time
of this disc to one hour. It was a highly enjoyable
and informative DVD. I would recommend "From
Ragtime to Reel Time: Richard Glazier in Concert"
to everyone, particularly those with an interest in
Broadway/Movie Musicals of the Golden Era.
André Previn: The Kindness of Strangers
Posted by listeningatlunch in Music History
André George Previn, Tony Palmer
Although released in 2009, Tony Palmer's film about
André Previn (1929 – ), "The Kindness of Strangers," was
actually shot in the 12 months prior to the 1998 premiere
of Previn's first opera, "A Streetcar Named Desire." According
to Palmer's comments in the accompanying liner notes,
the postponement of the original DVD release was
delayed due to a negligent film distributor who "… cut 30
minutes of footage without consulting me or Previn …"
Apparently, the British Broadcasting Company (BBC)
also felt that this film "… didn't add anything to our
understanding of him." Nevertheless, the film was finally
available in its original form and remastered, just in time for
Previn's 80th birthday.
Although a great deal of the focus of this film was on the
upcoming "Streetcar" premiere, there was also a generous
discussion of André Previn's peripatetic, multifaceted career
on both sides of the Atlantic Ocean, interspersed with archival
film footage and photographs. He narrated a lot of the footage
himself, candidly expressing his thoughts about these various
aspects of his musical life. This included a discussion of his
childhood in Europe, venturing to America and eventually
Hollywood, where he cut his musical teeth by composing,
arranging and conducting film scores in "the system." Previn
believed that this was excellent training for his future endeavors.
At the same time, the film devotes footage to his "other career"
as a noted Jazz pianist, with film footage of Previn playing
with bassist Ray Brown at the Blue Note Club in New York City.
One of the points made in this 118-minute documentary highlights
Previn's ability to feel at home in the United States, England,
Vienna, or wherever his career takes him while he embraces
multiple musical styles, from film scoring to Jazz and Classical
genres, assuming different roles of musician, conductor,
pianist, composer or television personality. In fact, I've always
maintained that André Previn has distinguished himself in
more genres and in more performance capacities than any
other musician, and is the greatest "multi-tasker."
Other personalities featured on this disc include soprano
Dame Kiri Te Kanawa, members of the Emerson Quartet,
soprano Renee Fleming, baritone Rodney Gilfry, and
second-generation Pop/Rhythm and Blues star, Natalie Cole.
As the aforementioned focus was on the premiere of "Streetcar,"
the latter portion of the film featured rehearsal footage and
interviews with the San Francisco Opera technical staff,
along with its director, Lotfi Mansouri. When questioned,
Previn addressed the unique challenges he faced while
composing this opera, as well as the musical and technical
changes that were made while bringing the project to fruition.
I believe that this is a wonderful portrait of a remarkable
musician, and director Tony Palmer's approach enables
the viewer to get inside the mind of his main subject, as
well as that of those who are fortunate enough to work with
him. In addition to Palmer's films about Gustav Holst and
Ralph Vaughan-Williams, I'd rate this DVD among the best
I've seen, and highly recommend it. This man knows how
to make a movie!
History of the Organ, Volume Four: The Modern Age
Aristide Cavaillé-Coll, César Franck, Charles Marie Widor, Giuseppe Gherardeschi, Louis Robilliard, Marie-Claire Alain, Max Reger, Olivier Messiaen, René Saorgin
"History of the Organ, Volume Four: The Modern Age" is the
final installment in this well-done series on DVD, released by
the Arthaus Musik label. Here, the geographic focus was on
instruments from Switzerland and France. The first piece,
"In the Guise of a Military Band Which Plays a March," by
Giuseppe Gherardeschi (1759-1815), illustrated some of the
technological advances made in organ building during the
early 19th Century, such as the addition of percussion
instruments to simulate a military band.
There was a discussion of the French organ builder,
Aristide Cavaillé-Coll (1811-1899), who allegedly built nearly
600 organs between 1840 and 1890. Some truly magnificent
instruments were on display here, including one with pipes
that were more than 30 feet long!
Organists René Saorgin (1928 – ), Louis Robilliard (1939 – )
and Marie-Claire Alain (1926 – ) were featured, both in
performances and interviews, and a piece by César Franck
(1822-1890) was used as a study tool for an organ pupil,
who was coached by her teacher.
Other pieces by Max Reger (1873-1916), Olivier Messiaen
(1908-1992), and the famous "Toccata" from Charles Marie
Widor's (1844-1937) "Fifth Organ Symphony" were performed.
Marie-Claire Alain also played and discussed a couple of works
by her older brother, Jehan, who unfortunately died in 1940,
at the age of twenty-nine.
While everything about this DVD was informative and well done,
I was again frustrated by the brief, 53-minute running time of
this disc. That's not much time in which to cover the entire
"Modern Age!" It's also a pity that there are only four discs in
this series. Clearly, the subject matter demands more attention.
In addition, the essay in the accompanying booklet was quite
thought-provoking, covering material that was regrettably not
included in the film, and the text translations were sometimes
awkward. Nevertheless, I would suggest that anyone who watches
this DVD should also read the essay. Despite my aforementioned
misgivings about the brevity of this series, I still highly recommend
it for what IS included.
Prokofiev: The Unfinished Diary
Noëlle Mann, Serge Prokofiev, Sergei Prokofiev, Simon Morrison, Svyatoslav Prokofiev
"Prokofiev: The Unfinished Diary" is an excellent, albeit brief
documentary released by the KULTUR label in 2008. It chronicles
the years between 1918 and 1936, when Sergei Prokofiev
(1891-1953) lived outside of Russia in America and Europe,
in an attempt to maintain a career as a successful composer.
This story is told via recent interviews with his son, Svyatoslav
(1924-2010) and grandson, Serge, along with other authorities,
including the curator of the Prokofiev archive, Noëlle Mann
(1947-2010), and one of his biographers, Princeton University
professor Simon Morrison. Svyatoslav restored the Prokofiev's
diaries by deciphering his father's Russian "shorthand," and then
copying them by hand. Photos and newsreel footage helped
to further this narrative, and the composer's music is played
throughout, including excerpts from his popular
"Third Piano Concerto."
After an initial taste of success in the United States, this film
painted a picture of a man who eventually found his works out
of favor in Paris, where the musical climate during the 1920's
was at odds with his artistic endeavors. Based upon his diary
entries, the scholars interviewed for this film described him as
"…a difficult, impetuous person…a loner…" Unfortunately, he
was somewhat "hoodwinked" into believing that his artistic
life would be better in Russia, and he returned there in 1936,
during the height of Stalin's purges. He would learn the error
of this choice and as the saying goes, "The rest is history."
This 52-minute DVD provides insight into the thoughts and
history of one of the greatest composers of the first half of
the 20th Century. Much of the narrative for this documentary
is provided by Prokofiev's diary, covering much of his period of
exile from Russia. Narrator Richard Clarkin read these entries as a
voice-over accompaniment to the film.
It was noted that Prokofiev stopped writing diary entries in 1933,
and returned to Russia three years later. Sadly, the promises
made to him were not kept upon his return. Nevertheless,
there was some discussion of the works he completed during
the aforementioned exile period, including "The Love for Three
Oranges," "The Fiery Angel" and the ballet, "Chout." I was
intrigued to learn that Prokofiev embraced the Christian Science
religion, thereby making it quite difficult for him to complete
"The Fiery Angel."
A lot of information was packed into this short documentary,
and I felt it was a shame that this film was not longer. However,
I believe the producers of this documentary did a great job
within this short running time. I learned a lot, and
recommend it highly.
Dietrich Fischer-Dieskau (1925 – 2012)
You would think that when the most recorded singer in history
had passed, it would garner effusive media attention.
Unfortunately, that has yet to be the case; therefore, we must
take a moment to pay tribute to the life of baritone
Dietrich Fischer-Dieskau (1925-2012). Maestro Fischer-Dieskau
passed away on May 18, leaving a rich legacy as a singer, writer,
teacher, and conductor.
His performances were marked by an artistic sensitivity and
sensibility, equaled by few and surpassed by none. However,
what really set him apart was the range of his vocal repertoire,
both in concert and particularly on disc, in many languages. His
professional singing career lasted from 1947 to 1992, although
he retired from the operatic stage during the late 1970's.
Maestro Fischer-Dieskau's musical collaborators read like a
"Who's Who" of the Classical music firmament, having worked
with almost every major conductor during his singing tenure.
His lieder repertoire was more extensive than that of any
other singer, and his recordings as found on the 20-cd set,
"The Fischer-Dieskau Edition," provide a "textbook example"
of technique and text inflection for any aspiring singer.
He was also the author of memoirs and numerous
books on composers and musical interpretation, as well as
one that discussed the relationship between philosopher
Friedrich Nietzsche and Richard Wagner. His conducting
and pedagogical careers extended beyond his retirement
from singing.
We were saddened to hear of his passing, yet heartened
by his rich legacy. Dietrich Fischer-Dieskau can
definitely rest in peace.
Pantera: Screaming Black Messiahs (Unauthorized)
Posted by listeningatlunch in Music History, Rock
Dimebag Darrell, Eddie Van Halen, Pantera, Vinnie Paul Abbott
"Pantera: Screaming Black Messiahs (Unauthorized)" is a DVD
chronicling the history of a Texas band that reached the height
of fame during the 1990's. In my opinion, Pantera and Slayer
represent the heaviest of the "well-known" bands.
This informative, 66-minute documentary was released during
2008, and featured interviews with Pantera band members,
along with people who either worked with them, or knew them
well. However, it is not a concert film! Therefore, those expecting
to see footage of Pantera in concert may be disappointed.
Originally formed in 1979, Pantera started out in the "glam-rock"
vein, plying their trade as a successful cover band. Tommy Bradford,
their bass player from 1979 to 1982, contributed a lot of the
information about these early years. Vinnie Paul and Darrell
Abbott were brothers who played drums and guitar, respectively,
and were Pantera mainstays throughout the band's existence.
Their father, Jerry, was initially their manager. Pantera was formed
while they were still in high school, and Darrell was in his mid
teens. He soon developed into one "helluva" guitarist.
In 1981, Pantera toured for the first time, opening for major bands,
such as Judas Priest and Ozzy Osborne. By 1986, they had released
three albums. The following year, they were joined by Phil Anselmo,
and released their heaviest album yet, "Power Metal." Pantera
originally featured two guitarists, but by this time, Darrell was their
sole guitarist. He was originally nicknamed "Diamond Darrell," but
was now known as "Dimebag Darrell."
Shortly after the release of "Power Metal," the band was signed by
ATCO Records, and their 1990 release of "Cowboys From Hell,"
ushered in a new era for the band. Gone were the days of "glam
metal." Driven by songs like "Cemetery Gates," Pantera now played
with an ultra-heavy style in the thrash vein, which soon became
known as "Groove Metal." In 1992, they released "Vulgar Display
of Power," following it with the 1994 release of "Far Beyond Driven."
Each album seemed heavier than its predecessor, and according
to most aficionados, Pantera was at its "purest" during these years.
Phil Anselmo's over-the-top vocals assisted the insane intensity
of their stage shows. Unfortunately, Anselmo had drug problems,
and a rift manifested between him and the other band members.
The schism escalated, reaching a point whereupon Anselmo
recorded his vocals in his hometown in Louisiana, while the remainder
of the band recorded their parts in Texas. The final mixing was
then done in Los Angeles.
In 1996, Anselmo collapsed on stage, from a heroin overdose. He
further distanced himself from Pantera by engaging in side projects
with his band, "Down." Meanwhile in 1997, "Cowboys From Hell,"
"Vulgar Display of Power" and "Far Beyond Driven" all went
platinum, and the band's fame reached its peak. After three more
albums, including a "live" album, they basically called it quits
Vinnie and Dimebag Darrell formed a new group, "Damage Plan,"
and at one of their concerts in 2004, Darrell was fatally shot by
a fan. In fact, he wasn't the only person killed on stage that night!
As a result of this violence, any fan hopes for a Pantera reunion
were put to rest.
This documentary was dedicated to the memory of Dimebag Darrell,
and the last several minutes of it discussed the horrific
circumstances of his untimely demise. He was one of the genre's
greatest "axemen." When it was mentioned that one of his longtime
heroes, Eddie Van Halen, spoke at his funeral and placed one of
his own signature guitars in Darrell's coffin, my eyes actually
welled up with tears.
Some of the post-1990 Pantera albums received "Parental Advisory"
cover labels. They were uncompromising in their music, and never
cared about trends or critics. Their concern was forging their own
brand of "metal mayhem," and their fans loved them for it. This
"Unauthorized" DVD tells their story quite well. Bonus features
include text biographies of more than 20 people who were either
involved with and/or interviewed for this film. I recommend it for
Pantera fans, and those "metal in their blood!"
Johnny Mercer: The Dream's on Me
Posted by listeningatlunch in Jazz, Music History
Clint Eastwood, Johnny Mercer, Tony Bennett
"Johnny Mercer: The Dream's on Me" is a Warner Brothers
documentary film, directed by Bruce Ricker. It was released as
a part of a two-DVD set in 2009, in conjunction with Turner
Classic Movies.
As with the other Ricker film previously discussed, "Tony Bennett:
The Music Never Ends," this film provides a thorough portrait
of Mercer, a seminal figure in the entertainment world. Clint
Eastwood also served as executive producer of this project, and
his prominent presence includes appearances at various points
in both the documentary film and the accompanying bonus features.
Johnny Mercer (1909-1976) was born into a well-to-do family in
Savannah, Georgia. His childhood years were chronicled in a fair
amount of detail, set here against the musical and political backdrop
of the South. From there, the film moves throughout many different
stages of his life and career, touching on his early enthusiasm for
jazz, the theater, and his relationships with Hollywood and
Broadway. Along the way, his collaborations with different
entertainment personalities are mentioned. Their names read like a
"Who's Who" of music and dance: Fred Astaire, Bing Crosby, Andre
Previn, Nat "King" Cole, Henry Mancini, Blake Edwards, and others.
This list goes on and on.
Mercer was considered to be one of the greatest lyricists ever, and
just a few of his songwriter collaborators include: Jerome Kern,
Hoagy Carmichael, Harold Arlen, Ziggy Elman, Johnny Mandel,
and the aforementioned Mancini and Previn. He also wrote for
Billie Holiday and Ella Fitzgerald, and worked alongside Duke Ellington.
Archival film footage is featured of Bing Crosby, Fred Astaire,
Mel Torme, The Mills Brothers, Nat "King" Cole, and many other
greats. Performances are also included from Johnny Mercer, who
was an excellent singer and recording artist, in his own right. It isn't
common knowledge that he wrote music as well as lyrics, and I
was disappointed that this aspect of his career wasn't explained
in more detail.
A discussion of Mercer's personal life included topics such as his
longtime affair with Judy Garland, his sometime irascible behavior
while under the influence of alcohol, and his strong desire to be a
family man and an "ordinary guy." Mercer demonstrated his power
in the entertainment industry by co-founding Capitol Records in 1942,
and signing Nat "King" Cole to this label, the following year.
Disc One consists of the 90-minute documentary film. Bonus
features are found on Disc Two, and are quite worthwhile.
These include footage of Clint Eastwood discussing Johnny Mercer
with composer John Williams and performer Jamie Cullum.
Various singers and musicians also offer their renditions of
Mercer's songs, including Clint's teenage daughter, Morgan,
Audra McDonald, Cleo Laine, Michael Feinstein, and others.
Like Tony Bennett, Mercer was also a talented painter, and one of
the bonus features is even devoted to his artwork. A montage of
family photos is narrated by Mercer's niece, and an informative text
biography concludes this portrait.
Johnny Mercer wrote the lyrics for some 1,500 songs, roughly 100 of
which were hits, and his place in the pantheon of American song is
assured. This wonderful and informative two-DVD set was a revelation
to me, and worthy of an "A."
Alfred Brendel Plays and Introduces Schubert, Volumes 1-5
Posted by listeningatlunch in Classical, Music History
"Alfred Brendel Plays and Introduces Schubert, Volumes 1-5," is a series
of five DVDs of 13 films made during 1976 and 1977 for television by
Radio Bremen in Germany. The focus of these films is the mature
(i.e., 1822-1828) music for solo piano by Franz Schubert. We have just
finished viewing Disc One, consisting of three works: the "Wanderer
Fantasy in C Major D760" (1822), the "Piano Sonata in A Major D784"
(1823), and the unfinished "Piano Sonata in C Major D840" (1825).
These DVDs are very special, primarily because each piece is preceded
by a lecture of roughly 10 minutes by Brendel, which is delivered from
his notes while sitting at the keyboard. He demonstrates a depth of
insight that is obviously the product of a great deal of thought and study.
As expected from such a well-known "Schubertian," the performances are
quite good. However, Brendel does have an interesting keyboard manner,
complete with nervous ticks and twitches. Once again, I noticed bandages
on a few of his fingers, which I initially observed while watching the "Alfred
Brendel: In Portrait" DVD.
Of course, it's the actual performances that count, and they are fine ones.
They seem to be almost painstakingly prepared, and perhaps at times, a bit
"over-studied." The two Sonatas featured here are not as well known, and
like most of Schubert's later Sonatas, require a greater degree of attention and
concentration than the more famous "Impromptus" and "Moments musicaux,"
which are also featured in this series.
These works have a fine advocate in Alfred Brendel, and I was quite grateful
for the opportunity to revisit them. I eagerly look forward to the other four
discs in the series. In particular, the "Wanderer Fantasy" is more well known,
and dates from 1822. In fact, it is perhaps the first well-known example of an
extended piano work in a single movement with four distinct sections, which
are tied together cyclically by a theme, undergoing different transformations.
For the most part, the recorded sound was decent, although I noticed that
toward the end of the "C Major Sonata," the sound began to break up and dissipate. Perhaps this was a result of the conditions in the television studio
Judging from this first volume, "Alfred Brendel Plays and Introduces Schubert,
Volumes 1-5," on the EuroArts label is highly recommended.
Toscanini in His Own Words
Toscanini
"Toscanini in His Own Words" is a wonderful dramatized version
of a discussion between conductor Arturo Toscanini, his relatives
and closest associates, circa 1955. Since Toscanini never granted
interviews or left any diaries, he has been a real challenge
from a biographical standpoint. Fortunately his son, Walter, secretly
recorded his father during many informal gatherings. In 2007,
50 years after the maestro's death, his family allowed these
filmmakers to use the tapes, in addition to excerpts from his letters.
The result is a fascinating glimpse into Toscanini's mind and opinions
of various subjects, including the women in his life, the music he revered,
composers he knew personally, such as Verdi and Puccini, and the
regimes of Adolf Hitler and Benito Mussolini. Actor Barry Jackson does
a great job of portraying Toscanini, and his excellence is equaled by
the other actors and actresses who engage the maestro in a discussion
of his life. Actual newsreel footage and films from the Toscanini family
archives are interspersed with this dramatic reenactment. Naturally,
a large portion of the footage is of Toscanini conducting.
This dramatization was well assembled by director Larry Weinstein with
noted Toscanini biographer, Harvey Sachs. It is very valuable, because
the words spoken by Barry Jackson as Toscanini are the actual words
of the maestro, with priceless bits of information. Therefore, "Toscanini
in His Own Words," is a big success, and this 2009 DVD release on the
Medici Arts label is highly recommended.
Jacqueline du Pre: A Celebration of Her Unique and Enduring Gift
Christopher Nupen, Jacqueline du Pre
According to filmmaker Christopher Nupen, "Jacqueline du Pre:
A Celebration of Her Unique and Enduring Gift," is a sequel to his 2004
release, "Jacqueline du Pre: In Portrait." This 2007 film expands upon
"In Portrait" in many ways, with more interviews and testimonials
from those who knew and worked with du Pre, including Dietrich
Fischer-Dieskau, Pinchas Zukerman, Itzhak Perlman, Zubin Mehta, and
Vladimir Ashkenazy.
The DVD consists of two films, "Who Was Jacqueline du Pre?" and
"Remembering Jacqueline du Pre," each lasting roughly 56 minutes.
Sandwiched between these two films is a 12-minute audio excerpt from
a Brahms Sonata, played by du Pre and Daniel Barenboim with a photo
montage, and a 15-minute interview with du Pre by Nupen from 1980.
This interview was originally conducted for television, but never before
seen in its entirety. As Nupen rightly states, this is one of the beauties
of the DVD format. By this time, Jacqueline du Pre was confined to a
wheelchair, due to the effects of multiple sclerosis. This made the
interview and much of the remaining footage difficult to watch with
dry eyes.
While viewing this disc, it became obvious to me how music naturally
flowed from du Pre, like a cascade. At one point, when clowning around
during rehearsals of Schubert's "Trout Quintet," with Itzhak Perlman,
Daniel Barenboim, Zubin Mehta and Pinchas Zukerman, everyone swapped
instruments. Jacqueline du Pre did a decent job of playing Perlman's violin, while
holding it like a cello! Other film clips showed her playing the piano. Of course,
her cello playing and sound were amazing.
Although the slow movement from Beethoven's "Ghost" Trio and a five-minute
excerpt from the Elgar "Cello Concerto," are also shown in their entirety
on the "In Portrait" DVD, most of the material here is different footage.
As with the "In Portrait" disc, "Jacqueline du Pre: A Celebration of Her Unique
and Enduring Gift," ends with a 38-minute compilation of excerpts from
26 other Nupen films. In my opinion, both of these DVDs are essential
viewing and once again, Christopher Nupen "knocks it out of the park."