Podcast appearances and mentions of Edward MacDowell

Feeling tired? Need to unwind? Then how about some gentle, soothing piano music? Welcome to the Episode 10 of the Fourth Series in the Relaxing Piano Playlist! In this very special episode, I perform for you music by Jean Louis Nicodé, Dora Pejacevic, Edward MacDowell and Amy Beach. I also feature an exclusive addition of a brand new piece by a current  contemporary London based composer, Nickie Hart, as well as a very special piece from Ukrainian composer Mykola Lysenko. To finish I also perform Movement 2 from Piano Concerto in A minor Op.16 by Edvard Grieg.

durée : 01:27:33 - En pistes ! du vendredi 17 novembre 2023 - par : Emilie Munera, Rodolphe Bruneau Boulmier - En ce vendredi matin, nous clôturons la semaine aux côtés d'Emilie et Rodolphe en parcourant les œuvres de Granados, Debussy, Ravel, mais aussi de Barber, Liszt, en passant par Ottaviano Petrucci, Edward MacDowell et Margaret Bonds. En pistes !

Sunday Worship for September 17, 2023, from Queen Anne Lutheran Church in Seattle, our 10:30 service— Guest preacher Rev. Leslie Mahraun; Pastor Dan Peterson, presiding; Cantor Kyle Haugen. Prelude—To a Wild Rose, Edward MacDowell (1861–1908); Song Without Words, Felix Mendelssohn-Bartholdy (1809–1847) • Introit—Ecclesiastes 36:18; Psalm 122:1 • Gathering Hymn—God Is Here, ELW 526 • First Reading—Genesis 50:15-21   • Psalm 103:1-13  • Second Reading—Romans 14:1-12 • Gospel—Matthew 18:21-35   • Sermon—Pastor Leslie Mahraun • Hymn of the Day—Forgive Our Sins as We Forgive, ELW 605 • Distribution Hymn—Take My Life, That I May Be, ELW 685 • Sending Hymn—God of Grace and God of Glory, ELW 705 ⁠Link here to view the bulletin.⁠ Enjoying our worship recordings? Consider giving a gift to our church; ⁠go to this link.

SynopsisThese days, when “Modern Music” is on the program, a sizeable chunk of the concert hall audience might start nervously looking for the nearest exit—but that wasn't always the case.On today's date in 1882, a 21-year old American composer and pianist named Edward MacDowell took the stage in Zurich, Switzerland, to perform his “Modern Suite” for piano at the 19th annual conference of the General Society of German Musicians, a showcase for new music whose programs were arranged by none other than Franz Liszt.Liszt had met MacDowell earlier that year, and when MacDowell sent him the music for his “Modern Suite” for solo piano, Liszt asked the young composer to play it himself at the Society's conference in Zurich.The success of his First “Modern Suite” lead to the creation of a Second, and both were published a year later by the Leipzig firm of Breitkopf & Hærtel. These two suites were the first works of MacDowell to appear in print, and launched his career as one of the major American composers of the late 19th century.Music Played in Today's ProgramEdward MacDowell (1860 - 1908) First Modern Suite, Op. 10 James Barbagallo, piano Naxos 8.559011On This DayBirths1836 - Brazilian opera composer Antonio Carlo Gomes, in CampinasDeaths1937 - American composer George Gershwin, age 38, in Hollywood, following an operation on a cystic brain tumorPremieres1882 - MacDowell: "Modern Suite" No. 1 for Piano, in Zurich, with composer as soloist1921 - Gershwin: musical revue, "George White's Scandals of 1921," at the Liberty Theater in New York City1996 - James MacMillan: "The World's Ransoming" (English horn Concerto), at the Barbican in London, by soloist Christine Pendrill with the London Symphony, Kent Nagano conducting2003 - Peter Maxwell Davies: "Naxos Quartet" No. 2, at the Pittville Pump Room, Cheltenham (UK), as part of the Cheltenham International Festival by the Maggini Quartet;Others1798 - In the nation's capital of Philadelphia, President John Adams signed an Act of Congress establishing the United States Marine Band (The original "32 drummers and fifers" assisted in recruiting and entertained residents)1885 - First concert of the Boston "Promenade" Orchestra (later dubbed the Boston "Pops") at the old Music Hall in Boston; Adolf Neuendorff conducts;1922 - Opening concert of the Hollywood Bowl, with German conductor Alfred Hertz at the podium1940 - Leonard Bernstein's first appearance as conductor of a professional orchestra, leading a performance of Wagner's Act I Prelude to "Die Meistersinger" with the Boston Pops at an open-air Esplanade Concert1998 - "The President's Own" U.S. Marine Band, America's oldest professional musical organization, marks its 200th anniversary Links and Resources On composer Edward MacDowell On the MacDowell Colony

Edward MacDowell (1860-1908)Piano Concerto No. 1 in La minore, Op. 15 (1882)1. Maestoso; Allegro con fuoco2. Andante tranquillo 3. Presto **********25'07”Piano Concerto No. 2 in Re minore, Op. 23 (1885) 1. Larghetto calmato 2. Presto giocoso3. Largo - Molto allegro National Symphony Orchestra of IrelandStephen Prutsman, pianoforte Arthur Fagen, direttore

Synopsis On this day in 1934, an excited crowd of locals and visitors had gathered in Hartford, Connecticut, for the premiere performance of a new opera entitled Four Saints in Three Acts. The fact that the opera featured 16 saints, not 4, and was divided into 4 acts, not 3, was taken by the audience in stride, as the libretto was by the expatriate American writer, Gertrude Stein, notorious for her surreal poetry and prose. The music, performed by players from the Philadelphia Orchestra and sung by an all-black cast, was by the 37-year old American composer, Virgil Thomson, who matched Stein's surreal sentences with witty musical allusions to hymn tunes and parodies of solemn, resolutely tonal music. Among the locals in attendance was the full-time insurance executive and part-time poet, Wallace Stevens, who called the new opera (quote): "An elaborate bit of perversity in every respect: text, settings, choreography, [but] Most agreeable musically… If one excludes aesthetic self-consciousness, the opera immediately becomes a delicate and joyous work all around." The opera was a smashing success, and soon opened on Broadway, where everyone from Toscanini and Gershwin to Dorothy Parker and the Rockefellers paid a whopping $3.30 for the best seats—a lot of money during one of the worst winters of the Great Depression. Music Played in Today's Program Virgil Thomson (1896-1989) Four Saints in Three Acts Orchestra of Our Time; Joel Thome, conductor. Nonesuch 79035 On This Day Births 1741 - Belgian-born French composer André Grétry, in Liège; 1932 - American composer and conductor John Williams, in New York City; Deaths 1709 - Italian composer Giuseppe Torelli, age 50, in Bologna; 1909 - Polish composer Mieczyslaw Karlowicz, age 32, near Zakopane, Tatra Mountains; Premieres 1874 - Mussorgsky: opera “Boris Godunov”, at the Mariinsky Theatre in St. Petersburg, with bass Ivan Melnikov in the title role, and Eduard Napravnik conducting; This was the composer's own revised, nine-scene version of the opera, which originally consisted of just seven scenes (Julian date: Jan.27); 1897 - Kalinnikov: Symphony No. 1 (Gregorian date: Feb. 20); 1904 - Sibelius: Violin Concerto (first version), in Helsinki, by the Helsingsfors Philharmonic conducted by the composer, with Victor Novácek as soloist; The revised and final version of this concerto premiered in Berlin on October 19, 1905, conducted by Richard Strauss and with Karl Halir the soloist; 1907 - Schoenberg: Chamber Symphony No. 1 in Vienna, with the Rosé Quartet and members of the Vienna Philharmonic; 1908 - Rachmaninoff: Symphony No. 2 in St. Petersburg, with the composer conducting (Julian date: Jan. 26); 1909 - Liadov: “Enchanted Lake” (Gregorian date: Feb. 21); 1910 - Webern: Five Movements, Op. 5, for string quartet, in Vienna; 1925 - Cowell: "Ensemble" (original version for strings and 3 "thunder-sticks"), at a concert sponsored by the International Composers' Guild at Aeolian Hall in New York, by an ensemble led by Vladimir Shavitch that featured the composer and two colleagues on "thunder-sticks" (an American Indian instrument also known as the "bull-roarer"); Also on program was the premiere of William Grant Still's "From the Land of Dreams" for three voices and chamber orchestra (his first concert work, now lost, dedicated to his teacher, Edgard Varèse); 1925 - Miaskovsky: Symphonies Nos. 4 and 7, in Moscow; 1934 - Virgil Thomson: opera "Four Saints in Three Acts" (libretto by Gertrude Stein), in Hartford, Conn.; 1942 - Stravinsky: "Danses concertantes," by the Werner Janssen Orchestra of Los Angeles, with the composer conducting; 1946 - Bartók: Piano Concerto No. 3 (completed by Tibor Serly after the composer's death), by the Philadelphia Orchestra, Eugene Ormandy conducting and György Sándor as the soloist; 1959 - Elie Siegmeister: Symphony No. 3, in Oklahoma City; 1963 - Benjamin Lees: Violin Concerto, by the Boston Symphony, with Erich Leinsdorf conducting and Henryk Szeryng the soloist; 1966 - Lou Harrison: "Symphony on G" (revised version), at the Cabrillo Music Festival by the Oakland Symphony, Gerhard Samuel condicting; 1973 - Crumb: "Makrokosmos I" for amplified piano, in New York; 1985 - Earle Brown: "Tracer," for six instruments and four-track tape, in Berlin; 1986 - Daniel Pinkham: Symphony No. 3, by the Plymouth (Mass.) Philharmonic, Rudolf Schlegel conducting; 2001 - Sierra: "Concerto for Orchestra," by the Philadelphia Orchestra, Wolfgang Sawallisch conducting; Others 1875 - American composer Edward MacDowell admitted to the Paris Conservatory; 1877 - German-born (and later American) composer Charles Martin Loeffler admitted to the Paris Conservatory; 1880 - German opera composer Richard Wagner writes a letter to his American dentist, Dr. Newell Still Jenkins, stating "I do no regard it as impossible that I decide to emigrate forever to America with my latest work ["Parsifal"] and my entire family" if the Americans would subsidize him to the tune of one million dollars. Links and Resources On Virgil Thomson More on Thomson

Edward MacDowell (1860-1908)Piano Concerto No. 1 in La minore, Op. 15 (1882)1. Maestoso; Allegro con fuoco2. Andante tranquillo 3. Presto ***********25'07”Piano Concerto No. 2 in Re minore, Op. 23 (1885) 1. Larghetto calmato 2. Presto giocoso3. Largo - Molto allegroNational Symphony Orchestra of IrelandStephen Prutsman, pianoforte Arthur Fagen, direttore

Broadcast on radio from 1935 to 1953, Cavalcade of America was an anthology drama series that documented historical events, often through dramatization. In addition, it occasionally presented musicals, such as an adaptation of Show Boat, and condensed biographies of popular composers. It was later on television from 1952 to 1957. GSMC Classics presents some of the greatest classic radio broadcasts, classic novels, dramas, comedies, mysteries, and theatrical presentations from a bygone era. The GSMC Classics collection is the embodiment of the best of the golden age of radio. Let Golden State Media Concepts take you on a ride through the classic age of radio, with this compiled collection of episodes from a wide variety of old programs. ***PLEASE NOTE*** GSMC Podcast Network presents these shows as historical content and have brought them to you unedited. Remember that times have changed and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Golden State Media Concepts or the GSMC Podcast Network. Our goal is to entertain, educate give you a glimpse into the past.

Edward MacDowell (1860-1908)Piano Concerto No. 1 in La minore, Op. 15 (1882)1. Maestoso; Allegro con fuoco2. Andante tranquillo 3. Presto **********25'07”Piano Concerto No. 2 in Re minore, Op. 23 (1885) 1. Larghetto calmato 2. Presto giocoso3. Largo - Molto allegro National Symphony Orchestra of IrelandStephen Prutsman, pianoforte Arthur Fagen, direttore 

Carlos Iribarren | El repertorio de piezas para piano es prácticamente infinito y nos encanta bucear en busca de joyas para compartirlas con todos vosotros. 2 piezas de Felix Mendelssohn y Carl Philipp Emanuel Bach marcan los límites de un programa en el que también suenan obras de autores mucho menos conocidos como José Rolón, Vladimir Rebikov, Edward MacDowell, Elena Kats-Chernin o Mel Bonis. Carlos y Mario Mora conversan sobre las sensaciones que les producen las diferentes piezas y comentan curiosidades sobre los autores e intérpretes protagonistas en esta nueva entrega de Hoy Toca, el programa de Clásica FM que te quiere sorprender.

Synopsis On today's date in 1935, at the Church of Saint François-Xavier in Paris, organist Geneviève de la Salle gave the first complete performance of the three-movement Suite, Op. 5, by the French composer, teacher, and virtuoso organist Maurice Duruflé. If you sing in a choir or are a fan of choral music, you're probably familiar with Duruflé's serene and tranquil “Requiem,” Op. 9, which premiered some 12 years later. Duruflé's Op. 5 premiered in 1935, his Op. 9 in 1947, so you might reasonably conclude the composer was a slow worker – which he was.  He was also a very self-critical perfectionist whose catalog of works is rather small, but exquisitely crafted.  In all, Duruflé's output comprises less than 15 published works, of which seven are for organ. Duruflé's music is firmly embedded in the French tradition of organ composers like César Franck and Louis Vierne, and orchestral composers like Debussy, Ravel, and Duruflé's own composition teacher, Paul Dukas.  The great French organist Marie-Claire Alain, when asked to describe Duruflé's music, replied "it is a perfectly honest art… He was not an innovator but a traditionalist… Duruflé evolved and amplified the old traditions, making them his own."  Music Played in Today's Program Maurice Durufle (1902-1986) — Organ Suite, Op. 5 (Todd Wilson, o (Schudi organ at St. Thomas Aquinas Church in Dallas, Texas)) Delos 3047 On This Day Births 1752 - Italian composer Muzio Clementi, in Rome; 1878 - English composer Rutland Boughton, in Aylesbury; Deaths 1837 - Irish composer John Field, age 54, in Moscow (Julian date: Jan.11); 1908 - American composer and pianist Edward MacDowell, age 47, in New York; 1981 - American composer Samuel Barber, age 70, in New York; Premieres 1724 - Bach: Sacred Cantata No. 73 ("Herr, wie du willst, so schicks mit mir") performed on the 3rd Sunday after Epiphany as part of Bach's first annual Sacred Cantata cycle in Leipzig (1723/24); 1729 - Bach: Sacred Cantata No. 156 ("Ich steh mit einem Fuss im Grabe") probably performed in Leipzig on the 3rd Sunday after Epiphany as part of Bach's fourth annual Sacred Cantata cycle (to texts by Christian Friedrich Henrici, a.k.a. "Picander") during 1728/29; 1895 - MacDowell: Suite No. 2 (":Indian"), at the old Metropolitan Opera House in New York City, by the Boston Symphony, with Emil Paur conducting; On the same program, MacDowell appeared as the soloist in his own Piano Concerto No. 1; 1933 - Bartók: Piano Concerto No. 2, in Frankfurt, with Hans Robaud conducting and the composer as soloist; 1936 - Chavez: "Sinfonia India," on a radio broadcast by the Columbia Symphony, conducted by the composer; 1948 - Diamond: Symphony No. 4, by the Boston Symphony, Leonard Bernstein conducting; 1963 - Peter Mennin: Symphony No. 7, by the Cleveland Orchestra, George Szell conducting; 1973 - Elliott Carter: String Quartet No. 3, in New York City, by the Juilliard String Quartet; This work won the Pulitzer Prize for music in that year (This was Carter's second Pulitzer Prize); 1999 - Thea Musgrave: "Three Women," in San Francisco, by the Women's Philharmonic, A. Hsu conducting; Others 1894 - Czech composer Antonin Dvorák presents a concert of African-American choral music at Madison Square Concert Hall in New York, using an all-black choir, comprised chiefly of members of the St. Philip's Colored Choir; On the program was the premiere performance of Dvorák's own arrangement of Stephen Foster's "Old Folks at Home," which featured vocal soloists Sissierette Jones and Harry T. Burleigh; 1943 - Duke Ellington and his orchestra present their first concert at Carngie Hall in New York, presenting the "official" premiere of Ellington's "Black, Brown and Beige" Suite (This work had received its world premiere at a trial performance the preceding day at Rye High School in Rye, New York). Links and Resources On Dvořák On Ellington

Synopsis If the name Henry Holden Huss doesn't ring a bell, we're not surprised – but in his heyday, around 1900, he was famous as a leading American concert pianist and composer. On today's date in 1894, Huss was the soloist with the Boston Symphony for the premiere of his own Piano Concerto in B Major. Now, piano concertos written in the key of B Major are not exactly thick on the ground, and Huss's unusual choice was probably influenced by the “Liebestod” or “Love-Death” music from Wagner's ultra-Romantic opera “Tristan and Isolde.” Certainly, Huss's Piano Concerto is in a similarly ultra-Romantic vein. In addition to his musical fame, Huss was justly proud of his ancestors: He was related on his father's side to the early 15th century Protestant martyr John Huss and on his mother's side to a member of George Washington's staff. Like his contemporary, pianist-composer Edward MacDowell, Huss studied in Germany. Unlike the more famous but tragic short career of MacDowell, Huss enjoyed a long, healthy and productive creative life. In addition to his Piano Concerto, Huss wrote symphonic poems, chamber works, music for chorus, and, not surprisingly, a number of solo piano works. He died at the age of 91 in 1953. Music Played in Today's Program Henry Holden Huss (1862–1953) — Piano Concerto, Op. 10 (Ian Hobson, piano; BBC Scottish Symphony; Martyn Brabbins, cond.) Hyperion 66949

From sleep piano hits like Moonlight Sonata to lesser known pieces by Edward MacDowell this episode contains one and a half hours of relaxing piano music paired with soothing sounds of nature. As always, no midroll ads! Like some tracks but not others? View the album on our Spotify artist page for free! The track listing for this episode is the following: Moonlight Sonata, Clair De Lune, La Fille Cheveux de Lin, Gymnopedies 1-3, Gnossiennes 1-5, To a Wild Rose, At an Old Trysting Place, To a Water Lily, A Deserted Farm, An Old Love Story, By Shouldering Embers, Le Cygne, Une Larme, Op. 9 No 1 and 2, Waltz in A Minor, Reverie, and Arabesque No 1. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Edward MacDowell (1860-1908)Piano Concerto No. 1 in La minore, Op. 15 (1882)1. Maestoso; Allegro con fuoco2. Andante tranquillo 3. Presto 25'07”Piano Concerto No. 2 in Re minore, Op. 23 (1885) 1. Larghetto calmato 2. Presto giocoso3. Largo - Molto allegroNational Symphony Orchestra of IrelandStephen Prutsman, pianoforte Arthur Fagen, direttore

Synopsis Among the enduring souvenirs of the Paris World Exposition of 1889 was an impressive steel tower designed by Gustave Eiffel. Originally blasted as a grotesque eyesore by leading French artists – including the opera composer Charles Gounod – it was a smash hit with those attending the 1889 Exposition. Another great hit with attendees, including the impressionable French composer Claude Debussy, was the chance to hear exotic music from Java, Siam, and Egypt.  Audiences at an orchestra concert at the Exposition's Trocadero Palace on today's date in 1889 could have heard – for them – exotic music by several composers from the United States as well. It was something of a milestone in the history of American music.George Whitefield Chadwick tone poem entitled “Melpomene” was one of the works performed in Paris, along with orchestral pieces by Arthur Foote, Edward MacDowell, Dudley Buck, and John Paine. A perceptive French critic noted at the time there seemed to be a veritable “young American school” of composers, obviously influenced by German models ranging from Mendelssohn to Wagner. “Except for the lack of originality,” concluded the French critic, “the workmanship is serious, correct, solid, and always practical. And these young Americans appeared blessed with much energy.” Music Played in Today's Program George Whitefield Chadwick (1854 – 1931): Melpomene Overture )Detroit Symphony; Neeme Jarvi, cond.) Chandos 9439

Synopsis Among the enduring souvenirs of the Paris World Exposition of 1889 was an impressive steel tower designed by Gustave Eiffel. Originally blasted as a grotesque eyesore by leading French artists – including the opera composer Charles Gounod – it was a smash hit with those attending the 1889 Exposition. Another great hit with attendees, including the impressionable French composer Claude Debussy, was the chance to hear exotic music from Java, Siam, and Egypt.  Audiences at an orchestra concert at the Exposition's Trocadero Palace on today's date in 1889 could have heard – for them – exotic music by several composers from the United States as well. It was something of a milestone in the history of American music.George Whitefield Chadwick tone poem entitled “Melpomene” was one of the works performed in Paris, along with orchestral pieces by Arthur Foote, Edward MacDowell, Dudley Buck, and John Paine. A perceptive French critic noted at the time there seemed to be a veritable “young American school” of composers, obviously influenced by German models ranging from Mendelssohn to Wagner. “Except for the lack of originality,” concluded the French critic, “the workmanship is serious, correct, solid, and always practical. And these young Americans appeared blessed with much energy.” Music Played in Today's Program George Whitefield Chadwick (1854 – 1931): Melpomene Overture )Detroit Symphony; Neeme Jarvi, cond.) Chandos 9439

Edward MacDowell - Suite No. 1: Summer Idyll Ulster Orchestra Takuo Yuasa, conductor More info about today's track: Naxos 8.559075 Courtesy of Naxos of America, Inc. Subscribe You can subscribe to this podcast in Apple Podcasts, or by using the Daily Download podcast RSS feed. Purchase this recording ArkivMusic Amazon

On today's date in 1889 at New York’s Chickering Hall, a 28-year-old American composer named Edward MacDowell played the solo part at the premiere performance of his Piano Concerto No. 2. The critic of The New York Tribune confessed he derived keener pleasure from MacDowell’s Concerto than he had from the Fifth Symphony of Tchaikovsky, another new work that had just premiered in New York that year. Others compared MacDowell's Concerto favorably to those of Brahms. Ah, the fickle finger of fame — today MacDowell’s music is taken to task for exactly the reasons it was praised during his lifetime. Critics back then LIKED the fact that MacDowell’s music reminded them of famous European composers like Schumann or Grieg, while today’s critics complain it’s not “original” enough. But in his day, MacDowell was a major figure on the American music scene. At age 36, he became the first professor of music at Columbia University and served as the president of the newly formed Society of American Musicians and Composers. He arranged for his summer home in New Hampshire, now known as the MacDowell Colony, to become a working retreat for composers, which it remains to this day.

On today's date in 1889 at New York’s Chickering Hall, a 28-year-old American composer named Edward MacDowell played the solo part at the premiere performance of his Piano Concerto No. 2. The critic of The New York Tribune confessed he derived keener pleasure from MacDowell’s Concerto than he had from the Fifth Symphony of Tchaikovsky, another new work that had just premiered in New York that year. Others compared MacDowell's Concerto favorably to those of Brahms. Ah, the fickle finger of fame — today MacDowell’s music is taken to task for exactly the reasons it was praised during his lifetime. Critics back then LIKED the fact that MacDowell’s music reminded them of famous European composers like Schumann or Grieg, while today’s critics complain it’s not “original” enough. But in his day, MacDowell was a major figure on the American music scene. At age 36, he became the first professor of music at Columbia University and served as the president of the newly formed Society of American Musicians and Composers. He arranged for his summer home in New Hampshire, now known as the MacDowell Colony, to become a working retreat for composers, which it remains to this day.

Listen now | Our performance of Edward MacDowell’s Sea Pieces, Op. 55, played by our host and pianist Eliana Zebro. Subscribe at pianohistories.substack.com

Listen now | Today, The Piano Histories Podcast will detail the history behind Edward MacDowell’s Sea Pieces, Op. 55, as well as part of the history of the People’s Party. Subscribe at pianohistories.substack.com

The Romantic Period – Part I This week we hear works by Franz Schubert, Charles-François Gounod, Johannes Brahms, Johann Strauss II, Charles-Marie Widor, Edward MacDowell, and Gustav Mahler. 164 Minutes – Week of September 21, 2020

These days, when "Modern Music" is on the program, a sizeable chunk of the concert hall audience might start nervously looking for the nearest exit—but that wasn't always the case. On today's date in 1882, a 21-year old American composer and pianist named Edward MacDowell took the stage in Zurich, Switzerland, to perform his "Modern Suite" for piano at the 19th annual conference of the General Society of German Musicians, a showcase for new music whose programs were arranged by none other than Franz Liszt. Liszt had met MacDowell earlier that year, and when MacDowell sent him the music for his "Modern Suite" for solo piano, Liszt asked the young composer to play it himself at the Society's conference in Zurich. Now, in an era when piano virtuosos like Liszt always played from memory, MacDowell premiered his "Modern Suite" with his own manuscript score propped up in front of him at the piano. This struck contemporaries as rather odd, but MacDowell's explanation was (quote): "I had never realized that my compositions could be worth actual study or memorizing!" The success of his First "Modern Suite" lead to the creation of a Second, and both were published a year later by the Leipzig firm of Breitkopf and Hærtel. These two suites were the first works of MacDowell to appear in print, and launched his career as one of the major American composers of the late 19th century.

Hoy es día de celebraciones para que ocupen nuestros primeros minutos del programa. Bob Dylan cumple 79 años y Rosanne Cash 60. El genio de Minnesota grabó “The Times They Are A-Changin” en los Columbia Recording Studios de la ciudad de Nueva York en Octubre de 1963 y casi nadie duda de la vigencia de su texto ni de la de su autor. Dentro de poco menos de un mes, el 19 de junio, saldrá al mercado el doble Rough And Rowdy Ways, el primer álbum de canciones originales del bardo en ocho años y muy posiblemente estemos antes un disco lo suficientemente distante de todo lo que ha hecho antes con unas canciones que, aunque parezcan mentira, no tienen precedente. Tiene mucho de épico y bastante de insondable, con una profunda mirada al pasado para contextualizar el presente más cercano. Y como ya avisa su propio título, lo hace a través de maneras ásperas y ruidosas. Ahí está, por ejemplo, “False Prophet”, cuya música tiene que ver muy directamente con el tema "If Lovin' Is Believin'" que Billy "The Kid" Emerson grabó en 1954 para Sun Records. Era también un 24 de Mayo, pero en 1955 cuando nacía Rosanne Cash, la primera hija de Johnny Cash y su primera mujer, Vivian Liberto. Ahora acaba de ser distinguida con la Medalla Edward MacDowell 2021, que honra a los artistas que han hecho importantes contribuciones a la cultura estadounidense. Eso sí, la ceremonia de entrega no tendrá lugar hasta el 8 de agosto de 2021 debido al coronavirus. Hemos recordado como "Girl From The North Country", que Dylan y El Hombre de Negro grabaron juntos en Nashville pasó a ser una de las canciones básicas de esas listas de canciones esenciales que Johnny Cash entregó una vez a su hija y que debía conocer para cantar country. También hemos ido a su debut discográfico en Alemania, donde se publicó su álbum de título homónimo muy cotizado entre los coleccionistas, ya que nunca se editó en Estados Unidos. Una década después de iniciar sus aventuras sonoras, los Mastersons han publicado su disco más compacto personal gracias al apoyo en la producción de Shooter Jennings. No Time For Love Songs termina siendo un canto de esperanza tras una etapa llena se sinsabores y pérdidas de personas cercanas. La pareja ofrece un cierto optimismo ante al desánimo en canciones tan elocuentes como “Eyes Open Wide”. Cuando podría esperarse un disco desabrido por parte de Steve Earle al hablar de los mineros virginianos, asistimos a un intento personal de poner voz y hallar puntos de encuentro con aquellos que tienen una dirección diferente a la suya. Las 10 canciones que conforman Ghosts of West Virginia están grabadas junto a los Dukes con un abanico de propuestas sonoras que se abren a los sonidos de los Apalaches, las baladas camperas y el folk de los viejos cafés. Entre ellas se encuentra “If I Could See Your Face Again”, compuesta desde la perspectiva de la esposa de uno de los mineros muertos en el desastre minero de Upper Big Branch de hace 10 años, mientras mira al valle al anochecer. Para ello, Steve Earle ha dado todo el protagonismo a la impactante voz de Eleanor Whitmore en uno de los momentos más escalofriantes del disco, en cuyo último corte, el llamado Hardcore Troubadour hace referencia a la crisis de los opiáceos para amainar el dolor que en West Virginia ha supuesto la tasa de mortalidad por sobredosis más alta del país durante el pasado año. Neil Young nos lo había anticipado el año pasado y el próximo 19 de junio, dos meses después de su fecha prevista y el mismo día en que Dylan publica su nuevo disco, se hará realidad la edición de Homegrown (Never Know To Fail). El disco sale al mercado 46 años después de que empezara a grabar canciones en aquel mes de junio del 74 y no dejara de hacerlo hasta enero del año siguiente. Se trata de una docena de cortes de los que siete son inéditos y el resto han aparecido en grabaciones posteriores. En el triple Decade encontramos “Love Is A Rose” que conocimos con ese título gracias a Linda Ronstadt en 1975 para su álbum Prisoner in Disguise. Pero la melodía procede de otra canción inédita como "Dance Dance Dance", que Crazy Horse habían grabado en el 71. Neil Young tenía previsto publicar Homegrown en 1974, dos años después de Harvest, pero lo dejó guardado por el impacto emocional de su ruptura con su novia Carrie Snodgress. Dentro de aquella depresión, "Try" tiene algún rasgo de optimismo y es una de las canciones inéditas del proyecto. Además de la voz y la acústica de Neil Young, en este corte estaban Levon Helm a la batería, Ben Keith en el Steel guitar, Tim Drummond al bajo y Emmylou Harris en las armonías vocales. La industria musical se esfuerza cada vez más por mantener viva la mística y hay sellos discográficos, casi siempre independientes, muy laboriosos en las tareas de rescate de grabaciones legendarias, presentadas con un mimo que las grandes empresas no suelen dar. Acaba de ver la luz con solo 7.500 copias Anthology: The Story of the Grateful Dead, una caja de ocho álbumes repartidos en 14 discos con las grabaciones esenciales de la banda californiana. Hay cuatro LPs de estudio irremplazables (Workingman's Dead, American Beauty, Wake of the Flood y Terrapin Station) y cuatro de los álbumes en vivo más representativos del grupo (Live/Dead, Europe '72 Vol. 1, Reckoning, y Without a Net), que suponen una visión general de los 30 años de carrera de Grateful Dead. Como pieza suprema de American Beauty, hemos querido escuchar “Box Of Rain”, un tema que Phil Lesh, bajista del grupo, quería cantarle a su padre moribundo. Robert Hunter ayudó en la letra. La canadiense Kathleen Edwards decidió hace seis años abandonar definitivamente el mundo de la música y pasó a regentar el Quitters Coffee, en Stittsville, en la provincia de Ontario. Siempre caminó por las sendas del country, el folk, e incluso el pop, con tintes acústicos y una suprema elegancia. Después de aquel inesperado abandono de la música, Kathleen recibió una llamada del manager de Maren Morris en 2017. La estrella del country y miembro de las Highwomen quería que la cantautora canadiense compusiera con ella. Voló a Nashville y pasó unos días allí. Su estancia fue tan aleccionadora que decidió volver a componer y a cantar. Durante los últimos dos años ha estado conformando el álbum Total Freedom, que saldrá en agosto. Será el primero desde 2012 y es una especie de síntesis de folk rock que arropa una profunda autorreflexión de las experiencias vividas y las pruebas pasadas. “Options Open”, que hoy cierra nuestro tiempo, nos permite darle la bienvenida de nuevo. Escuchar audio

Musicologists have long tried to understand how cosmopolitanism and nationalism affected classical music. Ryan Weber takes on this task in his book, Cosmopolitanism and Transatlantic Circles in Music and Literature (Palgrave MacMillan, 2018). Using the music and ideas of Edvard Grieg, Edward MacDowell, and Percy Grainger as his lens, Weber finds unexpected connections between these two concepts, which are often presented as being at odds with one another, and in the process complicates overly simplistic analyses of the nationalism of these composers. He contextualizes his discussion further by examining the close connections between music and literature at the turn of the twentieth century, and how notions of cosmopolitanism, nationalism, universalism, and hybridity explored by writers during this period deeply influenced Grieg, MacDowell, and Grainger. While he keeps his discussion primarily focused on the past, Weber also speaks to the challenges we continue to face around these issues. Ryan Weber is the chair of the Department of Fine Arts at Misericordia University in Pennsylvania. He specializes in nineteenth- and twentieth-century European and American music with research interests in critical disability studies, transatlanticism, cosmopolitanism, and eugenics. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Musicologists have long tried to understand how cosmopolitanism and nationalism affected classical music. Ryan Weber takes on this task in his book, Cosmopolitanism and Transatlantic Circles in Music and Literature (Palgrave MacMillan, 2018). Using the music and ideas of Edvard Grieg, Edward MacDowell, and Percy Grainger as his lens, Weber finds unexpected connections between these two concepts, which are often presented as being at odds with one another, and in the process complicates overly simplistic analyses of the nationalism of these composers. He contextualizes his discussion further by examining the close connections between music and literature at the turn of the twentieth century, and how notions of cosmopolitanism, nationalism, universalism, and hybridity explored by writers during this period deeply influenced Grieg, MacDowell, and Grainger. While he keeps his discussion primarily focused on the past, Weber also speaks to the challenges we continue to face around these issues. Ryan Weber is the chair of the Department of Fine Arts at Misericordia University in Pennsylvania. He specializes in nineteenth- and twentieth-century European and American music with research interests in critical disability studies, transatlanticism, cosmopolitanism, and eugenics. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Musicologists have long tried to understand how cosmopolitanism and nationalism affected classical music. Ryan Weber takes on this task in his book, Cosmopolitanism and Transatlantic Circles in Music and Literature (Palgrave MacMillan, 2018). Using the music and ideas of Edvard Grieg, Edward MacDowell, and Percy Grainger as his lens, Weber finds unexpected connections between these two concepts, which are often presented as being at odds with one another, and in the process complicates overly simplistic analyses of the nationalism of these composers. He contextualizes his discussion further by examining the close connections between music and literature at the turn of the twentieth century, and how notions of cosmopolitanism, nationalism, universalism, and hybridity explored by writers during this period deeply influenced Grieg, MacDowell, and Grainger. While he keeps his discussion primarily focused on the past, Weber also speaks to the challenges we continue to face around these issues. Ryan Weber is the chair of the Department of Fine Arts at Misericordia University in Pennsylvania. He specializes in nineteenth- and twentieth-century European and American music with research interests in critical disability studies, transatlanticism, cosmopolitanism, and eugenics. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Musicologists have long tried to understand how cosmopolitanism and nationalism affected classical music. Ryan Weber takes on this task in his book, Cosmopolitanism and Transatlantic Circles in Music and Literature (Palgrave MacMillan, 2018). Using the music and ideas of Edvard Grieg, Edward MacDowell, and Percy Grainger as his lens, Weber finds unexpected connections between these two concepts, which are often presented as being at odds with one another, and in the process complicates overly simplistic analyses of the nationalism of these composers. He contextualizes his discussion further by examining the close connections between music and literature at the turn of the twentieth century, and how notions of cosmopolitanism, nationalism, universalism, and hybridity explored by writers during this period deeply influenced Grieg, MacDowell, and Grainger. While he keeps his discussion primarily focused on the past, Weber also speaks to the challenges we continue to face around these issues. Ryan Weber is the chair of the Department of Fine Arts at Misericordia University in Pennsylvania. He specializes in nineteenth- and twentieth-century European and American music with research interests in critical disability studies, transatlanticism, cosmopolitanism, and eugenics. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nestle for a while with coots, moorhens and bearded tits from a reed-bed in Humberside, clapper larks rising up from the grasslands of the Kalahari, autumnal sounds of squirrels and nuthatches from the woodlands in Virginia and a spooky Hallowe’en soundscape from a churchyard in Bedfordshire. And there are short excerpts of music by Elgar, John Barry, Amy Beach, Steeleye Span, Edward MacDowell and the Ahmad Sham Sufi Qawwali Group.

Be careful out in those forests this summer! As Edward MacDowell shows us in this week's piece, they can be pretty scary places! Music: http://imslp.org/wiki/Suite_No.1%2C_Op.42_(MacDowell%2C_Edward) https://creativecommons.org/licenses/by-nc-nd/3.0/legalcode

Comenzamos la semana con toda la información musical. En primer lugar, hablamos de la incursión de las nuevas tecnologías en el día a día musical a través del proyecto El Atril Digital presentado el pasado fin de semana. Además, visitamos las redes sociales, celebramos el cumpleaños de hoy del compositor Edward MacDowell, Buenas Noticias con Ana Laura Iglesias y conocemos en exclusiva las novedades de los Concursos de Juventudes Musicales de España de la mano de su presidente, Miquel Cuenca.

Comenzamos la semana con toda la información musical. En primer lugar, hablamos de la incursión de las nuevas tecnologías en el día a día musical a través del proyecto El Atril Digital presentado el pasado fin de semana. Además, visitamos las redes sociales, celebramos el cumpleaños de hoy del compositor Edward MacDowell, Buenas Noticias con Ana Laura Iglesias y conocemos en exclusiva las novedades de los Concursos de Juventudes Musicales de España de la mano de su presidente, Miquel Cuenca.

Klavierwerke von Alexander Reinagle, Edward MacDowell, George Antheil, Charles Ives und Roger Sessions | Ulrich Roman Murtfeld (Klavier)

Donald Macleod explores the work of the many female composers who have visited the Edward MacDowell artists' colony in Peterborough, New Hampshire

This is a very well-known melody by the American composer, Edward MacDowell. He has wonderful music, including this piece, and I encourage pianists everywhere to get to know his music. I hope to record several more of his works over the coming months and years. This piece is often played as prelude or postlude in churches or for weddings. It has a beautiful melody and is accompanied by an equally beautiful harmonic progression. As my first recording of an American composer, I hope that you enjoy it!

The MacDowell Colony was founded in 1907 by the American composer Edward MacDowell and his pianist wife Marian. America's first artistic residency programme has played host to more than six thousand artists. As part of its centenary year celebrations, in 2007 Donald Macleod was allowed exclusive access to the colony set in its own grounds in New Hampshire, USA. There he meets composer Stewart Wallace, working on his opera The Bonesetter's Daughter, and Blake Tewksbury, an authority on the MacDowell Colony.