David Ewen

“ But while the Japanese are certainly no longer curiosities in the theater—have, indeed, become a vogue on Broadway since the end of World War II—The Mikado has never lost its tremendous popularity. For The Mikado represents Gilbert and Sullivan at their creative peak. The whimsical characters, absurd situations, the savage malice of the wit and satire, and the strange and paradoxical deviations of the plot find Gilbert at the height of his whimsical imagination and skill; and at every turn, Sullivan was there with music that captured every subtle echo of Gilbert’s fancy. ”

“ He was the first composer to write symphonically for the dance, to bring to ballet music the fullest creative and technical resources of the skilled serious composer. Thus he opened a new field of compositions which later composers (Tchaikovsky, Stravinsky, and Ravel among many others) cultivated with fertility. The elegance of Delibes’ style, the caressing warmth of his lyricism, the richness of his harmonic and rhythmic language, the delicacy of his orchestration endow his ballet music with interest even when it is divorced from its choreography. ”

“ As Walter Niemann wrote 47 of these dances: “They are pure nature music, full of unfettered, vagrant, roving spirit, and a chaotic ferment, drawn straight from the deepest well springs of music by children of Nature. It seems impossible to imprison them in the bonds of measure, time, and rhythm, to convert their enchantingly refreshing uncivilized character, their wild freedom, their audacious contempt for all order into a civilized moderation and order.” ”

“ The oriental background of the opera permeates the atmosphere of the overture. A forceful introduction for full orchestra and arpeggio figures in harp lead to a skipping and delicate tune for first violins against plucked cello strings. The flutes and clarinets respond with a subsidiary thought. A crescendo brings on a strong subject for the violins against a loud accompaniment. After a change of tempo, another light, graceful melody is given by solo flute and oboes. ”

“ Offenbach was the genius of the opéra-bouffe, or French operetta. His music never lacked spontaneity or gaiety, sparkle or engaging lyricism. His writing had the warmth of laughter, the sting of satire, and the caress of sincere and heartfelt emotion. His lovable melodies woo and win the listener. The lightness of his touch and the freshness of his humor give voice to the joy of good living. Like his celebrated Viennese contemporary, Johann Strauss II, Offenbach is a giant figure 223 in semi-classical music. To the lighter musical repertory he brings the invention and imagination of a master. ”

“ Undoubtedly it was largely as a result of the triumph of the Rhapsody in Blue that world-famous composers like William Walton, Constant Lambert, Maurice Ravel, Kurt Weill and Paul Hindemith among many others produced serious jazz music.
Much has been said about its diffuseness of structure, and the inept way its material is developed. But for all its faults, the Rhapsody in Blue remains a vital, dynamic and at times an inspired piece of music. It is filled with wonderful lyricism; its rhythmic cogency is irresistible; its identity is completely American. ”

“ The most inspired musical thoughts came to him so spontaneously that he was always reaching for quill and paper to get them down—whether at his home, or at the houses of his friends, in restaurants, café-houses, and even while walking through the country. “The striking characteristics of Schubert’s best songs,” wrote Philip Hale, “are spontaneous, haunting melody, a natural birthright mastery over modulation, a singular good fortune in finding the one inevitable phrase for the prevailing sentiment of the poem, and in finding the fitting descriptive figure for salient detail. ”

“ Dvořák himself provided a description of the music of Carnival Overture. He aimed to describe “a lonely, contemplative wanderer reaching the city at nightfall where a carnival of pleasure reigns supreme. On every side is heard the clangor of instruments, mingled with shouts of joy and the unrestrained hilarity of the people giving vent to their feelings in songs and dances.” The overture begins with a lively section portraying the gayety of the carnival. A subdued melody in the violins brings relaxation, but the hubbub soon returns. ”

“ The call of trumpets suggests the incantation pronounced by the apprentice; a brisk theme for bassoons against plucked strings describes the parade of the broom back and forth as it brings the water; and arpeggio figures in the orchestra depict the water itself. The music then portrays the mounting terror of the apprentice as he is unable to arrest the march of the broom. After an overwhelming climax, at which point the apprentice splits the broom into two with a hatchet, the saucy march tune is doubled to inform us that two brooms are now at work. ”

“ Oklahoma!, Carousel, South Pacific, and The King and I have become enduring monuments in the American theater. They are continually revived, have been adapted for motion pictures, and are perpetually represented at semi-classical concerts and on records. In whatever form they appear they never fail to excite and inspire audiences. It is in these productions that Rodgers has reached the highest creative altitudes of his career, with music of such expressive lyricism, dramatic impact, consummate technical skill, and pervading charm and grace that its survival in American music seems assured. ”

“ Rarely do we encounter in Beethoven’s works such a fresh, spontaneous and entirely unsophisticated outpouring of song—a song that wears its beauty on the surface—as in these two compositions. The two Romances are companion pieces and pursue a similar pattern. Each opens with the solo violin presenting the main melody (in the F major accompanied by the orchestra, in the G major, solo) . Each then progresses to a pure outpouring of lyricism followed by virtuoso passages for the solo instrument. In each, violin and orchestra appear to be engaging in a gentle dialogue. ”

“ As a composer of symphonies and other orchestral compositions Gillis reveals a refreshing sense of humor as well as a delightful bent for whimsy, qualities which make some of his works ideal for programs of light music. He has often drawn inspiration and materials from American folk music and jazz, consistently producing music that combines sound musical values with sound entertainment. “My feeling,” he has said, “is that music is for the people and the composer’s final aim should be to reach them. And since the people whistle and sing, I should like them to whistle and sing my music.” ”

“ Both in and out of Finland this music is as much an eloquent voice for its country as its national anthem. One can go even further and say that more people in the world know the melodies of Finlandia than the Finnish anthem. So stirring are its themes, so identifiably Finnish in personality and color, that for a long time it was believed Sibelius had utilized national folk tunes; but the music is entirely Sibelius’. It opens with a proud exclamation in the brass. After this comes a sensitive melody for the woodwind, and a prayer-like song for the strings. ”

“ War comes, and this idyllic mood is shattered. A broad melody for strings ending in forceful chords tells about the tragedy of Pearl Harbor and the grim business of repairing the damage inflicted upon it by the Japanese. The third movement is one of the most famous in the suite, often performed independently of the other sections. It is stirring and dramatic march music of symphonic dimensions entitled “Guadalcanal March.” ”

“ The main melody depicting the sunrise itself is heard in muted trumpet against a chordal background. As the movement progresses, the music becomes increasingly luminous, until the sun finally erupts into full resplendence. “The Painted Desert” is an atmospheric tone picture. Nebulous chords suggest an air of mystery before a sensual melodic section unfolds. “On the Trail” is the most popular movement of the suite, having for many years been expropriated as the identifying theme-signature for the Philip Morris radio program. An impulsive, restless rhythm brings us a picture of a jogging burro. ”

“ The American passes a café, and stops for a moment to listen to the sounds of a music-hall melody, presented by the trombones. Then he resumes his stroll, as a second walking subject is heard in the clarinet. A solo violin (which Deems Taylor interpreted as a young lady accosting our tourist!) provides a transition to two main melodies in both of which the American’s growing feeling of homesickness finds apt expression. The first is a blues melody for muted trumpets; the second a Charleston melody for two trumpets. The blues melody receives climactic treatment in full orchestra. ”

“ Though Puccini was an exponent of “Verismo,” a movement in Italian opera which emphasized everyday subjects treated realistically, he poured into his operas such a wealth of sentiment, tenderness, sweetness of lyricism, and elegance of style that their emotional appeal is universal, and he has become the best loved opera composer of the 20th century. Selections from his three most popular operas are basic to the repertory of any semi-classical or “pop” orchestra. ”

“ In setting Gilbert’s lyrics to music, Sullivan was always capable of finding the musical mot juste to catch every nuance of Gilbert’s wit and satire. So neatly, even inevitably, does the music fit the words that it is often difficult to think of one without the other. Like Gilbert, Sullivan was a master of parody and satire; he liked particularly to mock at the pretensions of grand opera, oratorio, and the sentimental ballad, pretensions of which he himself was a victim when he endeavored to work in those fields. ”

“ In this scene there is also heard the stirring strains of the Grand March. This march begins softly but soon gathers its strength and erupts with full force as the king, his attendants, the Priests, the standard bearers, Amneris and her slaves appear in a brilliant procession. The people raise a cry of praise to the king and their Gods in “Gloria all’ Egitto.” After this comes the dramatic march music to which the Egyptian troops, with Radames at their head, enter triumphantly into the square and file proudly before their king. ”

“ He is probably at his best in programmatic pieces in which extra-musical sounds are neatly adapted to and often serve as a background for his sprightly tunes—ranging from the clicking of a typewriter to the meowing of a cat.
Blue Tango is the first strictly instrumental composition ever to achieve first place on the Hit Parade. For almost a year it was the leading favorite on juke boxes, and its sale of over two million records represents Anderson’s healthiest commercial success. Scored for violins, this music neatly combines an insistent tango rhythm with a sensual melody in a purple mood. ”

“ The popular overture to this light opera opens with a brisk march in full chords. A gracious little melody then unfolds in the strings. After a return of the march music in a more subdued vein, a romantic song is offered by the clarinets against plucked strings. The music now grows livelier as a principal thought is given by chattering strings and woodwind. ”

“ While an etude is essentially a technical exercise, Chopin produced twenty-seven pieces for piano which, though they still probe various technical problems, are nevertheless so filled with poetic thought and musical imagination that they belong in the realm of great art and must be numbered with his most significant compositions. That in E major is one of his most beautiful melodies, a soulful song rather than a technical exercise; Chopin himself regarded this as one of his most inspired pages. One of the many transcriptions of this composition existing is for the voice. ”

“ The dying woman mingles with the dancers, she strives to make them look into her eyes, but the shadowy guests one and all avoid her glance. Then she seems to sink exhausted on her couch, and the music breaks off. But presently she gathers all her strength and invokes the dance once again with more energetic gestures than before. ”

“ Thus a new waltz king had arisen in Vienna. His reign continued until the end of the century. For fifty years Johann Strauss II stood alone and unequalled as the musical idol of Vienna. His performances were the talk of the town. His own music was on everyone’s lips. After the death of father Strauss in 1849, he combined members of the older man’s orchestra with his own, and toured all of Europe with the augmented ensemble. From 1863 to 1870 he was conductor of the Viennese balls, a post once held by his father. In 1872 he made sensational appearances in Boston and New York. ”