“Jazz is America’s music and the U.S. Navy Band Commodores, the Navy’s premier jazz ensemble, have been performing the very best of big band jazz for the Navy and the nation for 50 years,” (US Navy Band). “Formed in 1969, this 18-member group continues the jazz big band legacy with some of the finest musicians in the world … The list of guest artists who have appeared with the Commodores reads like a who’s who of jazz and popular music: Ray Charles, Branford Marsalis, Clark Terry, Grover Washington Jr., Chris Potter, Jerry Bergonzi, Eddie Daniels, James Moody and many more.”
In an interview with the Navy’s publication Fanfare, alto vocalist Chelsi Vanderpol detailed some of her preparation process: “I get the opportunity to solo pretty regularly and, absolutely, I still get nervous! I think we all do — I don’t think that goes away. I just think you get better at hiding it … Einstein says something about energy not being able to be destroyed, but rather changed from one form to another. I think about that and try to change that nervous energy into power and excitement to share my message with the audience. I think what we do is so important and I think people need to hear it.”
“America the Beautiful” had a rather roundabout origin: Its lyrics were written by Katharine Lee Bates and its music was composed by church organist and choirmaster Samuel A. Ward over several years during the 1890s, although Bates and Ward never met. The song wasn’t published until 1910. Among its many covers, the tune is perhaps most closely linked with Ray Charles, whose 1972 rendition was inducted into the Grammy Hall of Fame in 2005. The Navy Band’s arrangement, recorded here in 2019, rises a whole step at 2:16.
Former Baltimore Symphony conductor Marin Alsop wrote for NPR of ” … Dvorak’s melodic gifts, as well as his ability to spin a seemingly infinite number of variations on a tune. This, combined with Dvorak’s Bohemian heritage, results in music unlike any other composer’s. Symphony No. 9 is nicknamed New World because Dvorak wrote it during the time he spent in the U.S. in the 1890s. His experiences in America (including his discovery of African-American and Native-American melodies) and his longing for home color his music with mixed emotions. There’s both a yearning that simmers and an air of innocence.”
The piece is often considered to be one of the most popular of all symphonies. Astronaut Neil Armstrong took a recording of the New World Symphony along during the Apollo 11 mission, the first Moon landing, in 1969. (WRTI.org).
Among the more prominent of the piece’s many modulations is a shift from E minor to G# minor at 7:12.
We usually feature an up-tempo track on Fridays. But in light of this week’s invasion of Ukraine, focusing on music’s ability to bolster our common humanity seemed like the best choice for today.
“Finlandia is probably the most widely known of all the compositions of Jean Sibelius,” (This is Finland). “Most people with even a superficial knowledge of classical music recognise the melody immediately. The penultimate hymn-like section is particularly familiar; soon after it was published, the ‘Finlandia Hymn’ was performed with various words as far afield as the USA.”
In 1899, Sibelius composed the music “for a series of tableaux illustrating episodes in Finland´s past … a contribution towards the resistance (against) Russian influence … While Finland was still a Grand Duchy under Russia, performances within the empire had to take place under the covert title of “Impromptu” … In Finland, the ‘Finlandia Hymn’ was not sung until Finnish words for it were written by the opera singer Wäinö Sola in 1937. After the Russian aggression against Finland in 1939 (the Winter War), the Finnish poet V.A. Koskenniemi supplied a new text, the one that has been used ever since. Sibelius arranged the Hymn for mixed choir as late as 1948.”
Keith Bosley’s English translation of Koskenniemi´s text:
Finland, behold, thy daylight now is dawning, the threat of night has now been driven away. The skylark calls across the light of morning, the blue of heaven lets it have its way, and now the day the powers of night is scorning: thy daylight dawns, O Finland of ours!
Finland, arise, and raise towards the highest thy head now crowned with mighty memory. Finland, arise, for to the world thou criest that thou hast thrown off thy slavery, beneath oppression´s yoke thou never liest. Thy morning´s come, O Finland of ours!
The lyrics most frequently used in modern-day protest and worship settings were updated yet again by Lloyd Stone. The third verse is attributed to Georgia Harkness:
This is my song, O God of all the nations, a song of peace for lands afar and mine; this is my home, the country where my heart is; here are my hopes, my dreams, my holy shrine: but other hearts in other lands are beating with hopes and dreams as true and high as mine.
My country’s skies are bluer than the ocean, and sunlight beams on cloverleaf and pine; but other lands have sunlight too, and clover, and skies are everywhere as blue as mine: O hear my song, thou God of all the nations, a song of peace for their land and for mine.
May truth and freedom come to every nation; may peace abound where strife has raged so long; that each may seek to love and build together, a world united, righting every wrong; a world united in its love for freedom, proclaiming peace together in one song*
This contemporary arrangement of the piece (2021), performed by British vocal octet ensemble VOCES8, is by the group’s tenor, Blake Morgan. VOCES8 “is proud to inspire people through music and share the joy of singing. Touring globally, the group performs an extensive repertoire both in its a cappella concerts and in collaborations with leading orchestras, conductors and soloists. Versatility and a celebration of diverse musical expression are central to the ensemble’s performance and education ethos.”The Guardian describes the ensemble’s sound as “the beauty of perfectly blended unblemished voices.”
After beginning in G# major, there is a modulation up to B major at 2:36. Many thanks to Jackie D. for bringing this arrangement to our attention!
According to the Grove Dictionary of Music, “Salomon Jadassohn was born to a Jewish family living in Breslau, the capital of the Prussian province of Silesia. This was a generation after the emancipation of the Jews in Central European German-speaking lands and during a time of relative tolerance.” Jadassohn attended Leipzig Conservatory in 1848, just a few years after it had been founded by Felix Mendelssohn. Jadassohn studied privately with pianist and composer Franz Liszt.
MusicWeb International reports that Jadassohn “later taught at the (Leipzig) Conservatory; his list of pupils reads like a Who’s Who of notable composers including Grieg, Delius and Busoni … As a composer he was prolific, having four symphonies, two piano concertos and a substantial assemblage of chamber works to his name.”
“Elegie,” a movement from the “Serenade for Flute and Piano,” Op. 108 (1890), straddles the line between G minor and Bb major throughout, then transitions to G major between 1:28 and 1:48.
From Naxos’ liner notes for its release Camille Saint-Saëns Complete Piano Music 4: Dances and Souvenirs:
“There is a long history of composers writing instrumental dances that were and are intended as ‘concert’ works, initially flourishing in the Baroque era. By the late 18th century, the allemandes, courantes and gigues that were once all the rage were all but outmoded, save for the minuet, which appears copiously in works of Haydn, Mozart and in Beethoven’s early period. By the mid-19th century the fast triple metre of the waltz prevailed, along with the wealth of musical variety and contrast composers brought to its manifestations. Chopin codified the waltz as a stand-alone solo piano genre, as well as the much more vernacular, and resolutely Polish mazurkas and polonaises.
Camille Saint-Saëns (1835–1921) inhabited all of these eras as a composer of concert music in dance genres, even though his first works didn’t see the light of day until the mid-19th century. Among his many formidable musical feats was as a pioneering editor and advocate for French Baroque music, especially works of Lully and Rameau, spearheading the revival of this music in the late 19th century. More famously to the 19th century public, Saint-Saëns was one of the greatest keyboard prodigies of the past 200 years. When he made his piano recital debut at the age of 10 … he announced to the audience that he would be pleased to perform any of Beethoven’s 32 sonatas as an encore. A good deal later, Liszt referred to him as the greatest organist on earth.”
1892’s Mazurka No. 1, Op. 21 starts in G minor. The “B” section (first heard here at 1:02) is in the parallel major. The French composer’s trademark chromaticism softens the lines between these two primary keys throughout. The pianist featured on this recording is Geoffrey Burleson.
The “Humoresque No. 7” (Op. 101, 1894) by Antonín Dvořák was originally written as part of a cycle for solo piano. It was composed during a multi-year US visit by Dvorak during which the Czech composer also wrote his iconic “New World” Symphony.
Performed here by the legendary duo of violinist Itzhak Perlman and cellist Yo-Yo Ma, accompanied by the Boston Symphony Orchestra under the baton of Seiji Ozawa, the piece begins in Gb major, transitions to Gb minor at 1:35, and back to major again at 2:27.
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