• 1561 ~ Jacopo Peri, Italian composer
More information about Peri
• 1882 ~ Tchaikovsky’s “1812 Overture” first performed in Moscow.
• 1885 ~ The Mikado, by Gilbert and Sullivan, opened at the Fifth Avenue Theatre in New York City.
• 1905 ~ Weldon Leo ‘Jack’ Teagarden, Jazz musician, trombonist and singer whose relaxed, melodic instrumental style was highly influential
More information about Teagarden
• 1952 ~ Doug Fieger, Musician, guitar, singer with The Knack
• 1952 ~ Rudy Gatlin, Singer with The Gatlin Brothers
• 1969 ~ Andy Williams received a gold record for the album Happy Heart on Columbia Records.
• 1977 ~ Best of My Love, by the Emotions, topped the pop charts. It had a number one run of four weeks.
• 2001 ~ Frank C. “Papa” Mangione, father of jazz musicians Chuck and Gap Mangione, died at age 91.
Mangione worked at Eastman Kodak Co., ran a grocery store for about two decades and returned to the photography company until his retirement in 1975. For the next 15 years, he sold music and merchandise on worldwide tours with his more famous son, Chuck, a flugelhorn ace.
A son of Italian immigrants, Mangione’s childhood was chronicled by his brother, Jerry, in a best-selling 1942 memoir called “Mount Allegro: A Memoir of Italian American Life.”
Three of Chuck Mangione’s songs, 60 Miles Young, 70 Miles Young and Papa Mangione, were dedicated to his father.
Classic horror themes are ominous and generally dread-inspiring for a reason: They are written in minor keys. Find a nifty melody, go minor, and watch the goosebumps pile up. For composers, sometimes it’s almost too easy.
To prove that it’s the minor key and not the melody that is eerily accenting the work of cinema’s most murderous villains, musician/writer/filmmaker Ian Gordon re-recorded five iconic themes in major keys. What comes next will definitely not frighten you.
A quick rundown:
The X-Files theme sounds like the beginning of an inspirational journey across side-scrolling Nintendo worlds. (One where you’re searching for a magic flute.)
Halloween sounds like the side A, track one of an indie-pop outfit’s meadow-frolicking breakout record.
Saw recalls the music that scores when the football game is getting out of hand and only the underdog protagonist can bring you back.
• 1881 ~ Georges Enesco, Rumanian composer, violinist and conductor
• 1918 ~ Sgt. Irving Berlin’s musical about army life in World War I opened at the Century Theatre in New York City. Yip Yip Yaphank included songs, such as Mandy and Oh, How I Hate to Get Up in the Morning.
• 1939 ~ Ginger (Peter) Baker, Trumpeter, drummer with Cream
• 1939 ~ The Dick Jurgens Orchestra recorded Day Dreams Come True at Night on Okeh Records. Eddy Howard was the vocalist on the piece. It became Jurgens’ theme song.
• 1940 ~ Johnny Nash, American pop-reggae singer, songwriter and guitarist
• 1943 ~ Billy J. Kramer (William Ashton), Singer with The Dakotas
• 1945 ~ Ian Gillan, Singer with Deep Purple
• 1947 ~ Gerard Schwarz, American trumpeter and conductor
• 1951 ~ John Deacon, Bass with Queen, score of Flash Gordon
• 1964 ~ The Beatles began their first North American concert tour. They would visit 26 cities.
• 1972 ~ NBC-TV presented The Midnight Special for the first time. John Denver was the host for the first show. Wolfman Jack was the show’s announcer. The Midnight Special proved to be a ratings success.
• 1991 ~ Richard Maltby passed away. He was an American musician, conductor, arranger and bandleader.
• 2001 ~ Singer Betty Everett, whose recording of The Shoop Shoop Song (It’s In His Kiss) made Billboard’s Top 10 in 1964, died Sunday. She was 61.
Everett is remembered primarily for one huge hit song in the 1960s, but she also recorded many other songs and was recognized as one of the top soul singers of her time.
Starting at age 9, Everett played the piano and sang in church. She continued to sing in gospel choirs before moving to Chicago in 1957, where she recorded a string of hits on local record labels such as C.J. Cobra and OneDerful that included I’ll Be There and I’ve Got a Claim On You.
Everett signed a contract in the early 1960s with VeeJay, a record label that was then issuing recordings by The Beatles.
Everett recorded The Shoop Shoop Song in the spring of 1964, and it soared to Billboard’s Top 10.
The song was later recorded by Cher in the soundtrack for the 1990 movie Mermaids and more recently by Vonda Shepard of the Fox television show Ally McBeal.
A concert pianist is someone who plays the piano in concerts. So far so good, although it may be worth adding the adverb ‘regularly’ to that description. Someone did once tell me that his Aunt Ada was a concert pianist. “She had a lovely touch and played to great acclaim in a concert in our church hall – ‘Rustle of Spring’ I think.”
To avoid any confusion the clip above was played by Semprini, not Aunt Ada.
I’ve written before on this blog about how much more time is spent practising secretly at home or backstage than in front of an audience. It’s the training leading up to the Wimbledon Final, the solitary punchbag months before the blood flies into the roaring crowds at the World Heavyweight Boxing Championship.
But between home and the stage there are many hours when I want to work and I can’t. It’s one of the greatest frustrations of my touring life that, unlike other instrumentalists, I arrive at a hotel without my instrument. There’s that hour before dinner or the time spent twiddling thumbs before doing an interview when I would love to twiddle all ten fingers and check through a passage in my concerto or just get loosened up after a long flight … and I can’t.
Or at least the effort involved in doing so can be enormous. A piano somewhere in the hotel is the best solution, as long as it’s far away from prying ears. It has been suggested to me in the past that I play in the atrium lobby, amidst the mingling guests, the palm trees, the pile-up of Samsonite suitcases. Not even ‘Rustle of Spring’ is thinkable in those circumstances, I’m afraid. If the hotel is a mere walk from the hall then that’s the next best scenario although, later in the evening, there’s unlikely to be someone waiting just for me at the stage door. It has to be planned in advance and it’s often hard to know my plans in advance.
Then the options start to get worse, a taxi ride to a distant hall in heavy traffic, for instance. Finding the venue itself is the first hurdle but then, how to find the stage door? I’ve spent many occasions circling the building, rattling rusty handles, banging my fists against flaking doors, pressing antique buzzers, shouting through glass walls, leaving voicemail messages … to no avail.
Sometimes a generous patron will invite me to use his or her piano. Now I don’t want to sound like I don’t appreciate such kind offers (and sometimes it’s been the beginning of a wonderful friendship) but in my experience pianos in strange homes often come with cats … or rattling photo frames perilously balanced on piano lids, or a vase of trembling flowers on the same, or an impossibly high bench, or a squeaky pedal. And worst of all is the person who, leaving the door open, says to me: “Oh, I love the piano. Don’t mind me. I’ll just be in the next room if you need anything. What are you going to practise?” Then I freeze. I simply can’t work if I know someone is listening to me. It’s a bit like writing when someone is looking over your shoulder. Self-consciousness makes self-expression (and self-criticism) impossible.
So for a long time I oscillated between these various unsatisfactory formats until in more recent years I just stopped trying to practise on the road at all. But then a few seasons ago I started renting an electric keyboard if I was going to stay in a city for more than a couple of days. It was wonderful, saving time and making time so much more fruitful. I’d turn the volume down very low and work away at any time of the day or night.
I’m just beginning a two-month tour, starting in Hobart this week with the Tasmanian Symphony Orchestra and Marko Letonja, playing all five Beethoven concertos for the first time. And, also for the first time, I’ve brought along my own electric piano. It’s an experiment and so far (during a short stop at a beach in Thailand last week) it’s been invaluable. A full length keyboard of 88 keys is no good because, as well as being just that bit too heavy to maneuver, it won’t fit into a regular taxi.
But then I discovered the Nord 76-key Piano 2 with Hammer Action. Hand-made in Sweden (yes, I did a second take too) it’s the perfect tool for the job. There are lots of pieces of course which you can’t play from start to finish with a reduced keyboard (although only one note, occurring just three times, in all five Beethoven concertos is missing) but, like a ballet dancer at the barre, in just thirty minutes I can warm up, stretch the muscles, work at a few problem passages here and there and generally keep in shape without having to leave my room. Now when I don’t play the piano I don’t want to.
By Stephen Hough
Concert pianist, writer of words and music, governor of royal ballet companies, theology, art, poetry, perfume, puddings. Website: www.stephenhough.com Twitter: @houghhough
• 1750 ~ Antonio Salieri, Italian composer and conductor
More information about Salieri
• 1873 ~ Leo Slezak, Austrian tenor
• 1907 ~ Howard Swanson, American composer
• 1937 ~ The first FM radio construction permit was issued. It went to W1X0J (later to become WGTR) in Boston, MA. The station went on the air two years later.
• 1939 ~ Johnny Preston, Singer
• 1944 ~ Carl Wayne, Singer with The Move
• 1949 ~ Ralph Flanagan and his orchestra recorded their first tune on wax, You’reBreaking My Heart.
• 1950 ~ Dennis Elliott, Drummer with Foreigner
• 1957 ~ Ron Strykert, Guitarist with Men at Work
• 1958 ~ Perez Prado, the ‘Mambo King’, received one of the first gold records awarded by the Record Industry Association of America (RIAA). The single, Patricia, was certified as having sold over one million copies.
• 1973 ~ Jazz drummer Gene Krupa played for the final time with members of the original Benny Goodman Quartet. Krupa, a jazz and big band legend, died on October 6, 1973.
• 1981 ~ Rex Harrison brought the award-winning My Fair Lady back to Broadway as he recreated the role of Henry Higgins. The play had originally opened in 1956.
• 2001 ~ Jack Elliott, a composer and conductor who worked on numerous hit television shows and movies, died of a brain tumor. He was 74.
Elliott came to Los Angeles in the early 1960s to work as a musical arranger on Judy Garland’s television show.
He gained a reputation as one of the top composers and arrangers in Hollywood. If a television show was popular in the 1970s, it most likely had the music of Elliott and his frequent collaborator Allyn Ferguson. They worked on such shows as: “Police Story,” “Barney Miller,” “Starsky and Hutch,” “Charlie’s Angels” and “The Love Boat.”
He also worked in films and teamed with director Carl Reiner on several projects, including: “The Comic,” “The Jerk” and “Oh God.”
Elliott served as music director for the 1984 Summer Olympics in Los Angeles, writing the music for the opening and closing ceremonies as well as conducting the orchestra.
• 2003 ~ Tony Jackson, bass player for The Searchers, a Liverpool band best known for the 1964 song “Needles and Pins,” died at the age of 63.
Jackson sang and played bass for The Searchers, a Liverpool band that briefly rivaled The Beatles for popularity in the early 1960s. “Needles and Pins” made the top 20 in the United States after it was released in 1964.
Jackson was lead singer on the band’s first two British hits, “Sweets for My Sweet” and “Sugar and Spice,” but played bass only on the enduring “Needles and Pins” and “Don’t Throw Your Love Away.”
Feeling sidelined, Jackson quit the group in 1964. His follow-up band, Tony Jackson and the Vibrations, failed to score a hit and he drifted out of the music business.
Music Theory in One Lesson was developed to make music theory more approachable than ever before. This book is packed and carefully formatted with rich, easy to understand diagrams. The use of space and visual learning really sets this book apart from the rest. The ability to read music is not required at any point in this book, so anyone can learn! The book is short and sweet, giving you the tools necessary to explore music in any direction you please.
Audio Examples are provided on the Music Theory in One Lesson website.
“As a music major, I’ve had to complete four semesters of college music theory. I can honestly say that in those four semesters I did not learn, much less understand, a fraction of what I did reading Music Theory in One Lesson. Each topic is expertly condensed and explained in a refreshing and enlightening way. This text takes all the pain so typically associated with learning music theory and replaces it with one exciting ‘Eureka!’ after another. I highly recommend it.”
Beethoven’s first published works—his Opus No.1—were three trios for piano, violin and cello and already they show a marked advance on Haydn’s trios in the comparative interdependence of the three parts. Their freedom from Haydn’s oppressive formality looks forward to the first mature trios, the pair that comprises Opus 70, displaying all sorts of harmonic twists, thematic innovations and structural idiosyncrasies, these trios make much of the piano part and contain plenty of dramatic outbursts that are typical of Beethoven’s middle period.
Even more arresting is the first of the Opus 70 trios (1808) nicknamed ”The Ghost” because of its mysterious and haunting Largo. Its sibling boasts a cheerful bombastic finale that is the most entertaining music that Beethoven composed for this combination of instruments.
The “Archduke” Trio Opus 97 (1811) was Beethoven’s last full – scale work for piano trio and is typically conclusive. The third movement is its centre of gravity, a highly moving set of variations with the cello dominating the thematic content. It opens with a hymn-like theme and progresses to a coda which magnificently sums up the movements ideas. The finale might be less powerful than that of Opus 70 No. 2, but it nevertheless has a sweeping rhythmic power. Again, it is beyond the shadow of a doubt that Beethoven defined the piano trio form that it retained throughout the 19th century by allowing the string instruments the status of genuinely equal partners in this superlative performance.
• 1939 ~ The famous vaudeville house, Hippodrome, in New York City, was used for the last time. There were several places called the Hippodrome around the country. They weren’t, generally, theatres, nor true nightclubs. Hippodromes were designed for the wide variety of vaudeville acts available at the time … dancing, music, comedy and skits.
• 1940 ~ Marching Along Together, by Frankie Masters and his orchestra, was recorded for Okeh Records.
• 1942 ~ Barbara George, Singer
• 1945 ~ Suzanne Farrell (Ficker), Ballerina
• 1953 ~ James ‘J.T.’ Taylor, Singer with Kool and The Gang
• 1958 ~ Madonna (Madonna Louise Veronica Ciccone), Singer
• 1962 ~ Brian Epstein, manager of The Beatles, handed drummer Pete Best his walking papers. Best had been with the group for 2-1/2 years. Ringo Starr (Richard Starkey) was picked to take his place. One month later, the group recorded, Love Me Do.
• 1977 ~ Elvis Presley was rushed from Graceland to Baptist Memorial Hospital in Memphis, Tennessee. Doctors’ efforts to revive him were fruitless and he was pronounced dead (coronary arrhythmia) at 3:30 p.m. He was 42 years old.
• 1984 ~ Prince was pictured on the cover of Rolling Stone magazine. He was shown with his left armpit exposed.
• 1984 ~ Though it didn’t make the pop music charts, a new single by Elvis Presley was released by RCA Victor Records. The song was originally recorded in 1956 at the Tupelo (MS) Fairgrounds. It was called, Baby, Let’s Play House.
• 2000 ~ Sally Amato, who founded the Amato Opera Theater with her husband, Anthony Amato, in 1948, died at the age of 82.
Amato, who performed under her maiden name, Serafina Bellantone, was born in Little Italy in 1917. As a child she appeared in vaudeville skits in local movie theaters.
She met her husband when they were both appearing in an operetta at New Jersey’s Paper Mill Playhouse, and they founded the Amato Opera Theater to provide young singers with a chance to perform.
Picture a seven-foot grand piano in a studio. The lid’s missing, so you can see all the strings. Researchers suspend a rod embedded with 32 microphones over the piano’s body.
“We played this middle C at a very soft level, a medium level, and a very loud level,” says Agnieszka Roginska, a professor in NYU’s music technology program. She says using a pianist to play middle C over and over wouldn’t be scientific. So they’re using a disklavier, a fancy player piano triggered by electronics. “So we could hit the same note, with the same velocity, thousands of times,” she says.
They’d record the piano in one spot. Then move the microphones eight inches. Record the note. Move the mics again. Record the note. Over and over and over, until they reach the back of the piano. At the end, they get “what is basically a very dense acoustical scan of the radiation pattern of the grand piano,” Roginska says.
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