Music will fill Daniels Run Elementary at 9:55 a.m. on Friday, November 20, as the Children’s Opera Company performs “The Magic Flute” as a cultural arts assembly for students in grades 3 – 6. The assembly aligns with the fifth grade Program of Studies proscribed work, Mozart’s Magic Flute, while giving students an opportunity to experience a live opera, modified and adapted for a school-age audience.
Some members of the Daniels Run Singers will participate in the performance, and the sixth grade chorus will perform four adapted arias during the performance. This professional touring ensemble performs opera for young audiences in Northern Virginia and the Washington, D.C., metropolitan area, and was started by an FCPS music teacher.
The Daniels Run PTA and Daniels Run Singers activity fund are underwriting the cost of the performance.
• 1941 ~ Everything I Love, by Buddy Clark, was recorded this day, number 6469 on the Okeh label.
• 1943 ~ Lee (Melvin) Greenwood, CMA Male Vocalist of the Year, 1983 and 1984, sax, piano, band leader
• 1957 ~ The Crickets started a three-week run at No.1 on the UK singles chart with ‘That’ll Be The Day’. It was also a No.3 hit in the US where it went on to sell over a million. The song was inspired by a trip to the movies by Holly, Jerry Allison and Sonny Curtis in June 1956. The John Wayne film The Searchers was playing and Wayne’s frequently-used, world-weary catchphrase, “that’ll be the day” inspired the young musicians.
• 1958 ~ Simon LeBon, Singer with Duran Duran
• 1975 ~ Rocker Bruce Springsteen appeared on the cover of both TIME and Newsweek. Things were certainly going well for ‘The Boss’ that week.
• 2000 ~ Walter Berry, a bass baritone who won acclaim for his interpretations of Mozart and Strauss and was beloved by Austrians for his renditions of Schubert, died of a heart attack at the age of 71. Known for the powerful timbre of his voice, Berry was a prolific performer who sang 100 different roles in more than 1,280 appearances at the Vienna State Opera. His U.S. debut was a 1963 performance with the Metropolitan Opera in New York. His interpretations of classical lieder by fellow Austrian Franz Schubert won him his most loyal following. Austrians who rarely went to the opera loved Berry for his renditions of popular Viennese songs performed as they believed only a native- born son could. In 1989, he became a professor at the Vienna University for Music and Performing Arts.
• 2001 ~ John Roberts, a promoter of the Woodstock Music and Art Fair in 1969, died of cancer. He was 56. Roberts produced the festival concert with three others, almost by accident. The idea originally was a pitch for a television comedy show about two young venture capitalists with money but no business plans. Roberts and his partners funded the festival with Roberts’ inheritance and ticket sales. They lost $2.3 million but recovered their loss with royalties from film and album spinoffs, and held on to the profitable name and trademark symbol of a dove on the neck of a guitar. A graduate of the University of Pennsylvania, Roberts later invested in other companies, avoiding the music business. Roberts also was a championship bridge player.
• 2006 ~ Amy Winehouse released her second and final studio album Back to Black. The album spawned five singles: ‘Rehab’, ‘You Know I’m No Good’, ‘Back to Black’, ‘Tears Dry on Their Own’ and ‘Love Is a Losing Game’ and won Best Pop Vocal Album at the 50th Annual Grammy Awards. Back to Black sold 3.58 million copies in the UK alone, becoming the UK’s second best-selling album of the 21st century. Worldwide, the album has sold over 20 million copies.
1925 ~ Luciano Berio, Italian composer More information about Berio
• 1929 ~ George Crumb, American composer and teacher
• 1929 ~ The Rudy Vallee Show was broadcast for the first time over NBC radio. Actually, the Rudy Vallee show had several different titles over the years, all of which were referred to by the public as The Rudy Vallee Show. Megaphone-toting Rudy and his Connecticut Yankees band were mainstays on radio into the late 1940s.
• 1939 ~ Let’s Dance was recorded on Columbia Records. It became the theme song for the band that recorded it, the Benny Goodman Band.
• 1946 ~ Jerry Edmonton, Drummer with Steppenwolf
• 1960 ~ Brenda Lee hit #1 for the second time in the year with I Want to Be Wanted. 1960 was a very good year for the young (age 15) songstress. In addition to her first #1 smash, I’m Sorry (July 18), Lee had two other songs on the charts: SweetNothin’s (#4, April 18) and That’s All You Gotta Do (#6, July 4).
• 1975 ~ Looking to name your own greatest hits album something other than Greatest Hits? Do what former BeatleJohn Lennon did, with his package of the best. Lennon called it, “Shaved Fish”.
• 1977 ~ Gary Busey began filming The Buddy Holly Story. The star was a ringer for the rock idol.
• 2001 ~ Kim Gardner, a bassist who played with several bands, including the British rock group Ashton, Gardner & Dyke, died. He was 53. Gardner, born in London, joined fellow teen-age musicians Ron Wood, AliMcKenzie, Tony Munroe and Pete McDaniels to form the Thunderbirds. Shortening their name to the Birds, the band released four singles, including LeavingHere and No Good Without You Baby, both in 1965. Gardner’s next group was Ashton, Gardner & Dyke with Tony Ashton and Roy Dyke in 1968. The trio, whose albums featured a light, jazz-rock style, scored a top-three hit in Britain with Resurrection Shuffle in 1971. The group broke up a year later. Gardner also toured with Pacific Gas and Electric and other bands in the 1970s. He played bass with everyone from Eric Clapton to Bo Didley, and worked on 27 albums. Gardner also was a successful pub master and restaurateur. Gardner toured the United States regularly before settling in Los Angeles in 1973. In 1982, he started the original, 50-seat Cat & Fiddle Restaurant and Pub. Over the years, Cat & Fiddle has been a favorite destination for British rockers such as Keith Moon, Robert Plant and Rod Stewart, as well as Hollywood celebrities.
The manuscript of Mozart’s A major piano sonata K331 has recently been discovered in Budapest. Having spent the majority of its life in the Budapest’s National Széchényi Library for decades, the coveted manuscript was rediscovered by Haydn scholar Balazs Mikusi.
The piece was composed in 1783 and contains Mozart’s most popular jam, “Turkish March,” which has become a piano lesson staple all over the world.
Although, unfortunately, Mikusi can’t say how or when these pages found their way to Hungary; they reveal subtle differences from the published editions of the sonata. The key variances are seen in the phrasing, dynamics and occasionally the notes themselves.
“It is very rare that a Mozart manuscript pops up. Moreover the A Major Sonata had no known manuscript, so it is a really big discovery,” he said.
The library has only released teasing images of the manuscript, nothing more.
The Piano Puzzlers book is available in the O’Connor Music Studio library if you’d like to give any a try. Piano Puzzlers as heard on American Public Media’s “Performance Today.” Includes 32 tunes with songs by Gershwin, Berlin, Arlen, Porter, Rodgers, Fats Waller, Lennon & McCartney, and others disguised in the styles of Bach, Handel, Haydn, Mozart, Beethoven, Brahms, Schubert, Schumann, Chopin, Janacek, Debussy, Ravel, Rachmaninoff, Stravinsky, Prokofiev, Bartok, and Copland.
Includes an introduction by Fred Child, host of “Performance Today” as well as background info by Bruce Adolphe. “Bruce Adolphe has taken a common musician’s party game and elevated it to high art and truly funny musical slapsticks. The Piano Puzzlers are a unique combination of extraordinary insight into the styles of many composers subtle, expert workmanship and great, great fun!”
If you’re a music geek (like me), I have a program for you. Now, let me be clear, to fully qualify as a music geek…you must have a fond appreciation for classical music (no, Poison, Quiet Riot, and Zepplin do not count as classical music). So, if you’re a “music geek” without an appreciation for classical music…well, I hate to burst your bubble…but, you’re not truly a music geek. Instead, you’re a music appreciator, but not a geek. So, if you just listen to indie music and scowl at anything on a label larger than Matador…don’t bother following the link I’ll provide…the fun will be lost on you…And, you probably won’t have a chance.
Every Wednesday night, on my way home from WNL, I turn on my local NPR station to listen to Piano Puzzlers on Performance Today. It’s absolutely incredible. A pianist/composer (Bruce Adolphe) takes a familiar folk or pop tune and sets it inside a classical masterpiece (or in the style of a particular composer). Sometimes it’s easy…sometimes it’s ridiculously difficult. There are days when I say, “got it” on the first pass. Then there are days when I say, “what the heck?” And, more often than not, I’m able to get either the popular/folk tune or the composer.
This is sad to admit, but there are nights when I’ll slow down on the drive home or sit in the car in the driveway to finish an episode. In fact, I get a little worked up if someone stops me after WNL…as I might miss the beginning of Piano Puzzlers (it usually hits around 8:20pm on our local station).
Take a listen to some of the archives and see if you can figure it out! It’s really cool…but probably only appreciated by music geeks (the kind of people that listen to NPR for their musical programs and not just the snipets of cool indie rock between segments on All Things Considered…which is a great show too).
Classical piano pieces by such composers as Beethoven, Mozart and Chopin likely sounded much different when the masters first performed those works than they do today. Pianos themselves have changed considerably — but so, too, has technique.
Over the past decade, a growing number of musicologists have begun to take a closer look at how technique shapes not just the sound of music, but also the audience’s emotional response to it.
“Music has one foot in physics and one foot in aesthetics,” said Rolf Inge Godoy, a professor of musicology at the University of Oslo. “Body motion is essential for shaping the outcome of the sound, both in terms of what you actually hear and in terms of the visual impact on an audience.”
Dr. Godoy uses optical motion capture — also employed by the animation industry — to study the physics of musical movement. Infrared cameras capture light from reflective markers placed on a cellist’s hands or a percussionist’s body, recording the performer’s motion at up to 500 frames per second and at an accuracy to one-third of a millimeter.
Computer algorithms then make associations between the motion data, what is heard and what listeners say they felt.
Recently Dr. Godoy turned the technology on a fascinating question: How were such classical pieces as Mozart’s Variation K. 500 and Hummel’s Etudes, Opus 125, originally played, and how might that have made a difference in sound and in audience reaction?
To find out, Dr. Godoy struck up a collaboration with Christina Kobb, a doctoral candidate at the Norwegian Academy of Music and head of theory at Barratt Due Institute of Music in Oslo. Ms. Kobb has developed an unusual expertise: She has learned how to play the piano according to techniques described nearly 200 years ago.
As a visiting student at Cornell University in 2010, she researched 19th-century pedagogical piano treatises — essentially, instruction manuals for piano playing. The techniques that they described, she realized, differed drastically from those she had been taught.
“I was not following even the most basic instructions given to beginners at the time,” Ms. Kobb said. “I wondered, ‘Would this make a difference in my playing?’ ”
For the next three years, she gradually replaced her modern way of playing with 19th-century technique, gleaned from around 20 treatises. Most were written in Vienna in the 1820s, while a few were published in France and England. Her primary source, however, was “A Complete Theoretical and Practical Course of Instructions on the Art of Playing the Piano Forte,” the seminal 465-page treatise published in 1827 by Johann Nepomuk Hummel, one of Mozart’s students.
“It’s hard enough learning how to play once,” she said. “I had to become conscious of every motion in my hands and fingers, things that normally I would do automatically, by habit.”
While modern players tend to hunch over the keys and hold their forearms nearly perpendicular to the keyboard, 19th-century style dictated that pianists sit bolt upright. The posture prevented players from bringing their weight to bear on the keyboard, instead forcing them to rely on smaller finger movements. The elbows were held firmly against the body, with forearms sloping down and hands askew.
As Ms. Kobb became more fluent in this approach, she found that certain movements — jumping quickly between disparate chords, for example — became swifter and more fluid. “The elbow against your body serves as a sort of GPS, so you always know where you are,” she said.
Chords and scales sound smoother and can be played faster, Ms. Kobb also found, and dramatic pauses between notes — often a matter of physical necessity rather than of style — are lessened. The old style also allows the performer to be more discriminatory and subtle in choosing which notes to stress, Ms. Kobb learned, producing a performance that is subdued by today’s standards.
“There’s a different physical feeling to playing, as well as a different outcome,” she said.
To identify the sources of those differences, Dr. Godoy and his colleagues recently attached 46 pieces of reflective material to Ms. Kobb’s fingers and arms, and then filmed her playing on an electric piano. After analyzing her movements, the researchers will be able to tell precisely which differences in technique account for each variation in the music as it is played in the old and modern styles.
“The correlation between bodily effort and sound output is really what we’re aiming to find out, but in order to do that we need to perform extensive statistical analysis, which is tremendously time-consuming,” Dr. Godoy said. He expects the results of the data analysis in three to four months.
“We are exploring those connections to get a better understanding of what music is,” Dr. Godoy added. “What is its power, and why do people respond so strongly to it?”
For her part, Ms. Kobb now plans to delve deeper into the repertoire of Romantic composers. “It’s time to restore the early techniques to try to bring us even closer to the way music sounded at the time of Beethoven,” she said.
• 1284 ~ The Pied Piper exacted his revenge upon the German town of Hamelin this day. The townspeople had promised to pay the piper a large fee if he could rid their town the nasty rats running all over the place. He had played his trusty pipe and the rats had followed him out of town and into the River Weser. But once the rodents were eliminated, the local folks decided not to pay after all. The piper was not pleased and repaid the townspeople by playing his pipe for the children of Hamelin, just like he had done for the rats. And just like the rats, the children followed him out of town.
• 1582 ~ Johannes Schultz, Composer
• 1657 ~ Tobias Michael, Composer, died at the age of 65
• 1893 ~ “Big Bill” Broonzy, American blues singer and guitarist
• 1894 ~ Bill Wirges, American orchestra leader
• 1901 ~ William Busch, Composer
• 1902 ~ Antonia Brico, Conductor and pianist. Because there were so few opportunities for female conductors, she organized the Woman’s Symphony Orchestra in 1935.
• 1909 ~ “Col Tom” Parker (Dries Van Kruijk), Elvis Presley’s manager
• 1933 ~ Claudio Abbado, Italian conductor
More information about Abbado
• 1933 ~ The Kraft Music Hall debuted. It turned out to be one of radio’s longest- running hits. The first program presented Paul Whiteman and his orchestra. SingerAl Jolson became the host of the show shortly thereafter. Several years later, crooner Bing Crosby was named the host. The Kraft Music Hall continued on NBC radio until 1949 and then on TV for many more years; the first year as Milton Berle Starring in the Kraft Music Hall, then Kraft Music Hall Presents: The Dave King Show followed by Perry Como’s Kraft Music Hall for four seasons. From 1967 on, The Kraft Music Hall featured a different host.
• 1934 ~ Dave Grusin, Composer of film scores
• 1934 ~ Luis Felipe Pires, Composer
• 1940 ~ Billy Davis, Jr., Singer with The 5th Dimension
• 1942 ~ Larry Taylor, Musician, bass with Canned Heat
• 1943 ~ John Allen Strang, Composer
• 1943 ~ Georgie Fame (Clive Powell), Singer
• 1945 ~ Barry Schrader, Composer
• 1945 ~ Erno Rapee, Composer, died at the age of 54
• 1956 ~ Clifford Brown, American jazz trumpeter, died at the age of 25
• 1964 ~ A Hard Day’s Night was released by United Artists Records. The album featured all original material by The Beatles and became the top album in the country by July 25, 1964.
• 1965 ~ Mr. Tambourine Man, by The Byrds, reached the number one spot on the pop music charts. The song was considered by many to be the first folk-rock hit. The tune was written by Bob Dylan, as were two other hits for the group: All I Really Wantto Do and My Back Pages. The group of James Roger McGinn, David Crosby, Gene Clark, Chris Hillman and Mike Clarke charted seven hits. The Byrds were inducted into the Rock and Roll Hall of Fame in 1991.
• 1966 ~ “Time for Singing” closed at Broadway Theater New York City after 41 performances
• 1971 ~ Inia Te Wiata, opera singer, died
• 1971 ~ Juan Manen, Composer, died at the age of 88
• 1971 ~ “Man of La Mancha” closed at ANTA Washington Square Theater New York City after 2329 performances
• 1972 ~ David Lichine (Lichtenstein), Russian/American choreographer, died at the age of 61
• 1973 ~ Arnold Richardson, Composer, died at the age of 59
• 1973 ~ London production of “Grease” premiered
• 1977 ~ Lou Reizner, Rock vocalist/producer, died at the age of 43
• 1977 ~ Elvis Presley sang the last performance of his career, in Indianapolis. He died two months later.
• 1981 ~ Peter Kreuder, German composer, died
• 1982 ~ André Tchaikowsy, Pianist and composer, died
• 1983 ~ Walter O’Keefe, Songwriter and TV host, died at the age of 82
• 1983 ~ “Show Boat” closed at Uris Theater New York City after 73 performances
• 2001 ~ French soprano Gina Cigna, famed for singing Puccini’s “Turandot”, died at the age of 101. Born in Paris in 1900, Cigna made her stage debut at Milan’s La Scala opera house at age 27 under the name Ginette Sens. Her breakthrough came two years later when she performed in Mozart’s “Don Giovanni” at La Scala under her own name. Arturo Toscanini, the conductor, was particularly fond of Cigna’s expressive voice, which received widespread acclaim. An auto accident ended Cigna’s performing career in 1947. Until 1965, she coached opera singers in Milan, Siena and Canada.
Definitely one for lovers of schadenfreude, this documentary shows the moment that pianist Maria Joao Pires realized that the concerto she had prepared was not the same one as the orchestra had just started playing.
Skip to 0’43 to catch her moment of realization, followed by a remarkably subtle argument between pianist and conductor Riccardo Chailly, which Maria loses.
Don’t worry – of course she knows the new concerto (Mozart’s No.20 in D minor, K.466), and of course she executes it magnificently. She’s a pro.
Antonei Sergejvitch Tartarov was a fictional Russian pianist whose real name was Jean-Jacques Hauser.
He had an exceptional gift for improvisation.
On April 16, 1968 Hauser fooled an audience of 2,000 people in Zurich into thinking not only that he was a little-known Russian virtuoso (Tartarov), but that much of the improvised material in his program was composed by Beethoven, Mozart, Prokofiev, and Liszt.
Imagine when it was announced that the music the audience had just applauded as works of genius had actually been improvised on the spot by a home-grown Swiss pianist.
As the festival continues to evolve in directions that have less and less to do with its namesake, the Philharmonic, perhaps sensing an opportunity, offers a Mozart program of its own this week: the “Prague” Symphony and the Piano Concertos No. 20, in D minor, and No. 21, in C, with Jeffrey Kahane as guest conductor and soloist.
The “Prague” must be every opera lover’s favorite Mozart symphony. Composed in Vienna in 1786 and evidently given its premiere in Prague early the next year, it is a virtual caldron of tunes more or less shared with “Le Nozze di Figaro” (1786) and “Don Giovanni” (1787).
More than that, the symphony, played before intermission, evokes the moods and characters of those operas, especially “Don Giovanni.” Mr. Kahane treated all of that a bit matter-of-factly at Wednesday evening’s performance, with little lingering to search out lascivious byplay in dark recesses or to limn a bumbling Leporello.
So it came as a delightful surprise, after intermission, when Mr. Kahane injected the condemnatory sequence of rising and falling scales from “Don Giovanni” into his own cadenza for the first movement of the D minor Concerto. His playing was deft and virtuosic in both concertos, though his fast tempos in the outer movements of the C major resulted in some blurred scalar passages and a slightly hectic feel at times.
You might have feared a certain weightiness from the Philharmonic in Mozart, but Mr. Kahane generally drew stylish playing from a reduced band of 40 or so. The strings had a pliant quality, and the woodwinds were especially fine.
1782 ~ 
MaryO'Studio 