In his autobiographical sketch, A Mingled Chime, British conductor Thomas Beecham offered this assessment of British composer Ethel Smyth: “Ethel Smyth is without question the most remarkable of her sex that I have been privileged to know,” and added that he admired her “fiery energy and unrelenting fixity of purpose.”

Born in 1858, she became a composer against her family’s wishes, and it took dogged determination to get her large-scale choral and operatic works performed in an era when most in the music business did not take female composers seriously. That was before they met Smyth, who convinced legendary conductors like Arthur Nikisch, Bruno Walter and Beecham, who realized her music had merit.

Her opera The Wreckers had its premiere performance in Leipzig on today’s date in 1906 and was championed in England by Beecham, who thought it her masterpiece. It remains, wrote Beecham in 1944, the year of her death, “one of the three or four English operas of real musical merit and vitality written in the past 40 years.”

Music Played in Today's Program

Ethyl Smyth (1858-1944): The Wreckers; Soloists and BBC Philharmonic; Odaline de la Martinez, conductor; Conifer 51250

Today’s date in 1928 marks the birthdate in 1928 of Italian composer Ennio Morricone, famous for more than 400 scores he wrote for films and TV.

If you’re a fan, you already know that he wrote the music for a series of spaghetti western movies like the 1964 classic A Fistful of Dollars, starring Clint Eastwood as a taciturn, sun-burnt, cigar-chomping gunman.

If you’re an oboist, you’ve probably played his haunting Gabriel’s Oboe at weddings or funerals. It’s a melody originally heard in his soundtrack to the 1986 film The Mission.

But in a 2006 interview for Dazed magazine, he revealed some things even his fans might not have known: He collected bars of hotel soap as a hobby. And if he hadn’t become a composer, he would have liked to have been a professional chess player.

He also offered a bit of wise advice when asked about scores that were not successes: “A long time ago, I really loved a film that I was working on and I became too involved. That was kind of unbalanced. It made me realize that you can’t love things too much if you want them to work.”

Music Played in Today's Program

Ennio Morricone (1928-2020): Gabriel’s Oboe from The Mission; Orchestra dell’Accademia Nazionale di Santa Cecilia; Ennio Morricone, conductor; Sony 57872

On today’s date in 1967, the New York Philharmonic gave the premiere performance of a new piece, November Steps, by Japanese composer Toru Takemitsu, a work commissioned by the orchestra as part of its 125th-anniversary celebrations. In addition to the usual instruments of the Western symphony orchestra, he included in his score two traditional Japanese instruments: the shakuhachi flute and the biwa, a kind of Japanese lute.

Eight years after the Takemitsu premiere, an organization called Music from Japan was founded to help make other Japanese contemporary music feel “at home” in America. Music from Japan has presented about 400 works across the U.S. and premiered over 40 new works, many of them specially commissioned.

On today’s date in 2000, to celebrate its 25th anniversary, Music from Japan presented a gala concert at Carnegie Hall, which included the premiere of a new orchestral work by talented young Japanese composer Karen Tanaka, one of the rising stars of her generation. Among her recorded works is Night Bird, a piece for two decidedly Western instruments: saxophone and piano.

Music Played in Today's Program

Toru Takemitsu (1930-1996): November Steps; Katsuya Yokoyama, shakuhachi; Kunshi Isuruta, biwa; Concertgebouw Orchestra; Bernard Haitink, conductor; Philips 426 667

Karen Tanaka (b. 1961): Night Bird; Claude Delangle, saxophone; BIS 890

On today’s date in 1830, 11-year-old piano virtuoso Clara Wieck took the stage of the Leipzig Gewandhaus for her first solo recital. Her father was a piano teacher, who had prepared Clara for a solo career since infancy.

This was the age of the great composer-pianists Franz Liszt and Frederic Chopin, and little Clara also wrote original works for her performances. Her Four Polonaises was published the following year. Her career as a composer and performer would eventually span five decades, and, like her father, she became one of the most famous piano teachers of her time.

Nowadays, composer-performers are more common in the world of jazz than classical music, although there are exceptions. One of them is Judith Lang Zaimont, who, like Schumann, developed a triple career as composer, performer and teacher.

“Composing is the central fact of my life. My music seeks to appeal both to the heart (the ‘Ahh!’ response) and to the head (the ‘Aha!’ response). When this mix is just right, I can sense it — and reactions from audiences can be positive, too,” she said.

Music Played in Today's Program

Clara Schumman (1819-1896): Four Polonaises; Josef de Beenhouwer, piano; CPO 999 758

Judith Lang Zaimont (b. 1945): “September” from Calendar Collection; Judith Lang Zaimont, piano; Four Tay 4001

The Nov. 7, 1950, issue of Look magazine included a record review of a new LP of music by avant-garde composer Edgard Varèse. “Varèse is unlike anything else in music, and well worth knowing,” the review suggested.

Frank Zappa, a young Californian just short of his 10th birthday, was fascinated by the Look magazine photo of Varèse accompanying the review, which made the composer look a little like a mad scientist in vintage horror films. The young Zappa felt compelled to hunt down the record and begin composing music himself. For his 15th birthday, he chose to spend a $5 gift from his parents on a long-distance phone call to Varèse, who he correctly guessed must live in New York’s Greenwich Village.

Today, Zappa is best remembered as the head of the iconoclastic rock band of the ‘60s and ‘70s the Mothers of Invention, but in 1983, he also conducted works of Varèse at a San Francisco concert honoring the composer’s centenary, and always acknowledged Varèse as a major influence. One of his final projects, recorded in 1993, the last year of his life, was an orchestral tribute to Varèse.

Music Played in Today's Program

Edgar Varèse (1883-1965): Ionisation; New York Philharmonic; Pierre Boulez, conductor; Sony 45844

Frank Zappa (1940-1993): Dog Breath Variations; Cincinnati Conservatory Wind Symphony; Eugene Corporon, conductor; Mark 1116

American composer Florence Price wrote three symphonies in all. Her Symphony No. 1 was premiered by the Chicago Symphony in 1933 and marked the first time a composition by an African-American woman was played by a major American orchestra. The score for her second symphony is lost. Her Symphony No. 3, commissioned by the WPA Federal Music Project, was premiered on today’s date in 1940 by the Detroit Civic Orchestra.

Price was born in 1887, in Little Rock, Arkansas, one of three children in a mixed-race family. Her mother was a music teacher who guided her early musical training. At 14, she enrolled in the New England Conservatory of Music, where she pretended to be Mexican to avoid the Ivy League racial prejudice of that time.

After teaching in the south, she moved to Chicago in 1927, where she became acquainted with the writer Langston Hughes and contralto Marian Anderson, both prominent figures in the African-American arts scene, who both helped promote her music.

Price died in 1953. After decades of neglect, early 21st-century performances and recordings of her works have helped revive interest in her life and career.

Music Played in Today's Program

Florence Price (1887-1953): Symphony No. 3; Women’s Philharmonic; Apo Hsu, conductor; Koch 7518-2

Into the Woods, a musical by Stephen Sondheim and James Lapine, opened on Broadway on today’s date in 1987, and brought to the stage characters from the world of fairy tales: Jack and the Beanstalk, Little Red Riding Hood, Cinderella and not one, but two Prince Charmings.

But in Lapine and Sondheim’s fairy tale, bad things happen to good people who make morally questionable decisions in their quest to “live happily ever after.”

At the time, Sondheim said, “All fairy tales are parables about steps to maturity. The final step is when you become responsible for the people around you, when you feel connected to the rest of the world.”

The New York Times review noted that this fairy tale’s quest was “the same painful, existential one taken by so many adults in Sondheim musicals past.” Granting the musical was “potent stuff,” some complained there was simply too much of it, with multiple plot lines resulting in a complicated story hampering Sondheim’s lyrical gifts from really taking off on their own.

Even so, since its 1987 premiere, Into the Woods has gone on to become one of the most performed and popular of all Sondheim’s musicals.

Music Played in Today's Program

Stephen Sondheim (1930-2021): Into the Woods; original Broadway cast members; RCA 60752

Today we honor one of America’s greatest patrons of chamber music, Elizabeth Sprague Coolidge, who died on this date in 1953.

Born in 1864, Coolidge was the daughter of a wealthy wholesale grocer. She put her inheritance to good use. In 1924, she proposed to the Library of Congress that an auditorium be constructed in Washington, D.C., that would be dedicated to the performance of chamber music. A year later it was built, and Coolidge Auditorium at the Library of Congress still stands today.

Not content with just a superb venue for chamber music, she diligently commissioned new works to be played there. The list of important chamber pieces her foundation commissioned is impressive, and includes Bartok and Schoenberg string quartets, the original chamber versions of Copland’s Appalachian Spring, Stravinsky’s Apollo ballets, and modern works by American composers as diverse as Samuel Barber, Milton Babbitt, George Crumb and John Corigliano.

Coolidge was an amateur composer and accomplished pianist. Her passion for music and enthusiasm for the creation of new works was all the more remarkable considering that tragically she battled deafness from her mid-30s.

Music Played in Today's Program

Igor Stravinsky (1882-1971): Apollo ballet; Stockholm Chamber Orchestra; Esa-Pekka Salonen, conductor; Sony Classical 46667

At Carnegie Hall on today’s date in 2002, the American Composers Orchestra presented new works inspired by the Hebrew Psalms. The program included the premiere of a new work by American composer David Lang, How to Pray.

In his program note, Lang wrote: “[The] Psalms are so central to religious experience [because] they are a comprehensive catalogue of how to talk to the Almighty. ... Of course, it's like reading one side of a correspondence. ... I am not a religious person. I don't know how to pray. I do, however, know some of the times and places and formulas that are supposed to help make prayer possible. Sometimes I find myself sending those messages out. And then I wait, secretly hoping that I will recognize the response.”

The minimalist-style, patterned repetition in Lang’s How to Pray, reminded some listeners of a “mandala” — those intricate graphic patterns intended to be an aid to meditation for Hindu or Buddhist believers.

Stravinsky fans with sharp ears might also recognize the running piano line from the beginning of Stravinsky’s Symphony of Psalms, which Lang borrows and weaves into the pattern of How to Pray as both a tribute and inspiration.

Music Played in Today's Program

David Lang (b. 1957): How to Pray; Real Quiet ensemble; Gil Rose, conductor; Naxos 8.559615

On today’s date in 1979, a new play by Peter Schaffer, Amadeus, opened at the National Theatre in London.

Schaffer’s play tells the story of Mozart’s final years in Vienna, including some posthumous gossip that it was the petty jealousy and back-stabbing intrigue of Mozart’s Italian contemporary Antonio Salieri that hastened his untimely demise. There was even a Romantic legend that Salieri had actually poisoned Mozart, a legend Shaffer gave a psychological spin.

Music historians were quick to attack Shaffer’s play as wildly inaccurate and downright unfair to poor old Salieri, who, they said, was not all that bad a fellow. Accurate or not, Schaffer’s play was a big hit, and five years later was made into a wildly successful film. That movie version of Amadeus prompted millions of new classical music fans to snap up any recordings of Mozart’s Requiem they could find.

And what about the music historians? They couldn’t even find comfort in the old public relations adage, “There’s no such thing as bad press as long as they spell your name right!” They felt even the movie’s title was bogus. Mozart never signed his middle name “Amadeus,” preferring the French version, “Amadé.”

Music Played in Today's Program

Wolfgang Mozart (1756-1791): Requiem; La Chapelle Royale and Orchestre des Champs Elysees; Philippe Herreweghe, conductor; Harmonia Mundi 901620

In France, today is “la Fete de la Toussaint” — All Saints’ Day — observed as both a sacred and secular national holiday, a time to visit cemeteries and put flowers on the graves of relatives. In 1947, when memories of the dead of World War II were still fresh, French Radio broadcast three premieres at a special concert from the Salle Gaveau in Paris.

First on the program was the French premiere of Hungarian composer Lazlo Lajhta’s somber In Memoriam. This had been the first new orchestral work to be performed in Budapest when concert life had resumed after the war.

Second was the world premiere of the Symphony No. 6 by Polish composer Alexandre Tansman, who, being Jewish, found refuge in France in 1938, then, during the German occupation, had fled to the United States. In 1946, he returned to Europe in time for the premiere of his symphony, In Memoriam, at this concert.

The third work on the program was another world premiere: a newly completed Requiem Mass by French composer Maurice Duruflé, originally commissioned as an orchestral work in 1941 during the German occupation of France, which morphed into a choral Requiem Mass by the time of the liberation.

Music Played in Today's Program

Maurice Duruflé (1902-1986): Requiem; Westminster Choir; Joseph Flummerfelt, conductor; Avie 46

Since today is Halloween, how about a tale from the crypt — with a composer’s skull or two tossed in for good measure!

Music lovers have always had a “thing” about composers’ skulls. In 1820, for example, Prince Esterhazy ordered that Haydn’s remains be transferred from Vienna to Eisenstadt, only to discover that Haydn’s skull was missing. It had been stolen by two of Haydn’s closest friends, who had bribed the gravediggers, claiming they did it for pseudo-scientific phrenological research.

In 1888, it was the remains of Beethoven and Schubert who were dug up and moved to Vienna’s new Central Cemetery. Nothing was missing, but on both occasions, the Austrian composer Anton Bruckner was present, and, according to witnesses, managed somehow to lovingly hold the skulls of both Beethoven and Schubert in his hands and speak to them before they were reburied.

For his part, Bruckner insisted that he buried under the organ at St. Florian Monastery in upper Austria, and if you pay your respects today, you will see that Bruckner’s coffin is in an underground crypt, sharing space with a wall of thousands of stacked skulls looking out at you, bones belonged to early Christians who, like Bruckner, wished to be buried there.

Music Played in Today's Program

Kevin Puts (b. 1972): Marimba Concerto; Ji Su Jung, marimba; Baltimore Symphony; Marin Alsop, conductor; Naxos CD 8.559926

American opera composer Jake Heggie and his librettist Terrence McNally decided to follow their Dead Man Walking — a successful but harrowing opera about capital punishment — with a lighter, more comic work, Great Scott.

Now, McNally winced when people called Great Scott a “comic” opera, since it deals with a serious topic — for opera lovers, at least, namely, “Does opera still matter?”

Great Scott is set in a large U.S. city with a respected, but struggling, opera company. The city also has a powerhouse professional football team. In Great Scott, international opera star Arden Scott returns to her hometown to save the opera company by staging the world premiere of a long-lost Italian bel canto work, Rosa Dolorosa, Figlia di Pompei. Unfortunately, the scheduled premiere falls on the same day as the home team’s first Super Bowl.

Does the diva save the opera company? And who wins the Super Bowl?

Well, you’ll just have to listen to the opera to find out!

Fortunately, a Dallas Opera recording of Great Scott was made at its premiere on today’s date in 2015 — featuring powerhouse American mezzo-soprano Joyce DiDonato in the title role.

Music Played in Today's Program

Jake Heggie (b. 1961): Rosa Dolorosa Overture from Great Scott; Joyce DiDonato, mezzo-soprano; Dallas Opera; Patrick Summers, conductor; Erato 9029594078

On today’s date in 1739, George Frideric Handel took out an advertisement, announcing that he was now accepting subscriptions for his new set of 12 Grand Concertos for strings. He had, in fact, finished the first concerto one month before, on Sept. 29, and spent the next five weeks polishing off the other 11 at the rate of one every two or three days.

Handel’s publisher was John Walsh Jr., who had a shop in London at the sign of the harp and oboe in Catherine Street on the Strand. One hundred twenty-two copies of the music were to be printed and sold at a prepublication price of two guineas each. Among the initial 100 subscribers were three royal princesses and the duke of Cumberland, and two copies each were sold to the Academy of Music in Dublin and a certain Charles Jennens.

It was Jennens who was to provide the text for Handel’s next major oratorio, Messiah, and the city of Dublin the venue for its famous premiere.

So, in 1739, just as today, it pays to advertise!

Music Played in Today's Program

George Frederic Handel (1685-1757): Concerto Grosso No. 5; I Solisti Italiani; Denon 6305

In St. Petersburg on today’s date in 1893, Peter Ilyich Tchaikovsky conducted the first performance of his latest symphony, his sixth. From the beginning, this symphony has been commonly known by its French subtitle, the Pathétique, a designation suggested by the composer’s brother, Modest.

Now, by Pathetique, Modest meant something like “passionate” or “emotional,” with overtones of “pathos” and “suffering,” but in plain old English, “pathétique” translates as “pathetic,” a word with a slew of negative connotations. The French sounds much better, thank you. Tchaikovsky had originally wanted to call it A Program Symphony with, apparently, no intention of cluing anyone in on what that program might be.

In any case, nine days after he conducted the premiere, Tchaikovsky was dead. Was his death the result of a fatal glass of unboiled water recklessly drunk during the height of a cholera epidemic? Or was it a deliberate suicide to avoid the scandal of a homosexual affair becoming public? Did his Symphony Pathétique encode the answer?

Speculation has raged around Tchaikovsky’s last symphony ever since, surrounding this last work with what one critic has called “voluptuous gloom.”

Music Played in Today's Program

Peter Tchaikovsky (1840-1893): Symphony No. 6 (Pathétique); Russian National Orchestra; Mikhail Pletnev, conductor; DG 449 967

On today’s date in 1994, Dennis Russell Davies conducted the Chicago Symphony in the premiere performance of a 23-minute orchestral work by American composer Steven Mackey. The new piece was titled Eating Greens, after a painting of the same name that the composer purchased at an African art store in the French Quarter of New Orleans.

Eating Greens is a colorful orchestral suite of seven movements. The fourth movement is only 46 seconds long and is playfully labeled “The Title Is Almost as Long as the Piece Itself.” Other movements’ titles acknowledge the influence of the colorful and playful visual artist Henri Matisse and the quirky but brilliant jazz composer and pianist Thelonious Monk.

In the liner notes for the recording of Eating Greens, conducted by Michael Tilson Thomas, Mackey wrote, “On more than one occasion, Michael has used the word ‘wacky’ to describe my music. Composers usually blanch at such attributions — nobody wants to be captured in a single word — but I can live with ‘wacky.’ It is not a common adjective, does not end with ‘ism’ and clearly the rhyme with my last name personalizes it.”

Music Played in Today's Program

Steven Mackey (b. 1956): Eating Greens; New World Symphony; Michael Tilson Thomas, conductor; RCA/BMG 63826

For composers of new operas, all too often, after the heady champagne of opening night comes the strong black coffee of “the morning after” — sipped anxiously while reading the first reviews.

Imagine yourself as American composer Robert Ward, whose opera The Crucible was premiered by the New York City Opera on today’s date in 1961. Here’s what he would have read in the New York Times the following morning:

“Last night, the audience heard an opera that, in philosophy and workmanship, could have been composed at the turn of the century, or before. And, judging from the response at the end of the work, the audience loved it.”

Hmm. Not all that bad, so far.

But down a few more lines comes this zinger: “Mr. Ward is an experienced composer whose music fails to bear the impress of a really inventive mind. Melodically, his ideas had little distinction. ... [The opera’s] powerful subject cried out for intensity, for brutality and shock. ... Instead, we had musical platitudes.”

Ouch!

Oh, well, despite the nasty review, his opera did well at the box office, and, for the record, went on to win the Pulitzer Prize for Music the following year.

Music Played in Today's Program

Robert Ward (1917-2013): The Crucible; New York City Opera; Emerson Buckley, conductor; Albany 25/26

On today’s date in 1970, a new chamber work by American composer John Corigliano received its premiere performance at a concert given by the Chamber Music Society of Lincoln Center, the group that had commissioned it.

The new piece, Poem in October, was scored for tenor voice and eight instruments and was a setting of poetry by Dylan Thomas, the great Welsh poet who died in 1953.

“The thing that most appeals to me is the sound of his words,” he explained. “Phrases from Poem in October like ‘a springful of larks in a rolling cloud’ and ‘the blue altered sky streamed again a wonder of summer’ are in themselves musical.”

“The music itself is unabashedly lyrical. I sought to convey a pastoral feeling that would match the directness and simplicity of the text, to deal in understatement and succinctness rather than in complexity and theatrical effect,” Corigliano said.

His chamber scoring includes three “pastoral” wind instruments — flute, oboe and clarinet — plus strings, and, perhaps to give the work a slightly archaic feel, a harpsichord.

Music Played in Today's Program

John Corigliano (b. 1938): Poem in October; Robert White, tenor; Thomas Nyfenger, flute; Humbert Lucarelli, oboe; Joseph Rabbai, clarinet; American String Quartet; Maurice Peress, conductor and harpsichord; RCA 60395

On today’s date in 2002, at the Kennedy Center in Washington, D.C., Leonard Slatkin conducted the National Symphony in the premiere of a new symphony by American composer Cindy McTee.

She subtitled her Symphony No. 1, Ballet for Orchestra, saying: “Music is said to have come from dance — [and] the impulse to compose often begins as a rhythmical stirring and leads to a physical response — tensing muscles, gesturing with hands and arms, or quite literally, dancing. … There is also much pleasure to be gained from observing the gestures of a conductor, or from seeing the coordinated bowing of the string sections within an orchestra. My Ballet for Orchestra emerged out of a similar kinesthetic/emotional awareness and a renewed interest in dance music.”

McTee’s symphony makes passing allusions to earlier works by Stravinsky, Ravel, Barber and even Penderecki, tossing in some jazz and folk fiddling allusions for good measure. But Allan Kozinn, reviewing the new symphony for the New York Times, wrote: “Ms. McTee’s sense of organization kept the work from becoming a pastiche: As diverse as its ideas were, they seemed to unfold naturally within an orchestral fabric that used the ensemble’s full coloristic range.”

Music Played in Today's Program

Cindy McTee (b. 1953): Symphony No. 1 (Ballet for Orchestra); Detroit Symphony; Leonard Slatkin, conductor; Naxos 8.559765

On today’s date in 2008, at the University of Minnesota in Minneapolis, soprano Dawn Upshaw and the St. Paul Chamber Orchestra gave the first performance of a new song cycle, Carlos Drummond de Andrade Stories. Its composer, Maria Schneider, conducted the premiere.

Drummond was one of Brazil’s greatest poets, and Schneider came to know his work through English translations by Mark Strand. “Drummond’s poetry struck me as deeply Brazilian, and Brazil is a country for which I’ve long felt an affinity,” she said.

The Minneapolis premiere was something of a homecoming for Schneider, who was born in Minnesota and studied composition at its university before heading off to the Eastman School and after graduation being hired by the great jazz orchestrator Gil Evans as his assistant. In 1992, she formed her own jazz orchestra and won a Grammy with it in 2004.

Upshaw is a big fan of Schneider’s work, and in 2011 they collaborated on the premiere of a second song cycle, Winter Morning Walks, based on poems of Ted Kooser.

“I knew that no matter what she was going to write, it was going to be a joyful experience,” Upshaw said.

Music Played in Today's Program

Maria Schneider (b. 1960): Carlos Drummond de Andrade Stories; Dawn Upshaw, soprano; St. Paul Chamber Orchestra; Maria Schneider, conductor; ArtistShare AS-0121

Royalty was often flattered by the composers of the Baroque age. Handel wrote glorious ceremonial music for British monarchs, and Bach was not above working up an obsequiously complimentary cantata or two for some German prince. At the French Court of Versailles, King Louis XIV appeared on stage for cameo appearances during operas and ballets whose stories complemented his wisdom, talent and impeccable good taste.

On today’s date in 1987, at the Houston Grand Opera in Texas, Richard Nixon, Henry Kissinger, and Chairman Mao didn’t come on stage in their own personas, but did appear as characters in the premiere of a new opera by American composer John Adams. Nixon in China was a somewhat surreal and not necessarily flattering dramatization of a real event: President Nixon’s ground-breaking trip to communist China in 1972.

One can only guess at the former president’s reaction to being portrayed on stage. Adams did report that Nixon’s lawyer, Leonard Garment, attended a performance of Nixon in China, most likely on the former president’s behalf. No lawsuit followed, and, Adams notes with some amusement, Garment even became something of a fan of his music!

Music Played in Today's Program

John Adams (b. 1947): Nixon in China; Orchestra of St. Luke’s; Edo de Waart, conductor; Nonesuch 794543

American composer Marga Richter was born on today’s date in 1926, in Reedsburg, Wisconsin. She began piano lessons by 4, started composing at 12 and had her first work performed when she was in high school in Robbinsdale, Minnesota, where her family had moved so she could study at the MacPhail School of Music in Minneapolis. The family moved again in 1943, this time to New York, so she could attend the Juilliard School.

She would recall, “I really didn’t notice that there weren’t any women composers to model myself after until I got to Juilliard, and then I found I was the only one there.”

She persisted as a composer, and a New York Times reviewer of a concert of her music in 1951 found it “restless, inventive, dissonant, clean; … her intentions seemed … well realized.” They added, “We will hear more from Miss Richter.”

That said, it took decades for her nearly 200 works, which range from operas and orchestra scores to chamber works for solo instrument, to earn increasing respect and performances here and abroad.

Richter died in 2020, at 93, in New Jersey.

Music Played in Today's Program

Marga Richter (1926-2020): Fragments; Moravian Philharmonic Orchestra; Petr Vronský, conductor; Navona 6050

On today’s date in 1950, Karel Ančerl was named the artistic director of the Czech Philharmonic, a position he would hold for the next 18 years.

He had first conducted the orchestra in 1930, when, upon graduation from the Prague Conservatory, he led that ensemble in one of his compositions. For a time, he debated whether to be a composer or a conductor. He opted for the latter, demonstrating a mastery of classical and contemporary scores with other orchestras in Czechoslovakia.

With all that in mind, it might not seem all that surprising that in 1950, he was eventually tapped to lead the Czech Philharmonic — but that would be ignoring the miracle that he was even alive in 1950.

In 1942, he and his family were imprisoned in the Nazis’ notorious Theresienstadt concentration camp, and, in 1944, they were transported to Auschwitz, where his wife and young son were killed. He alone survived.

In 1968, when Czechoslovakia was invaded by Soviet and Warsaw Pact troops, Ančerl emigrated to Canada in protest and served as music director of the Toronto Symphony until his death in 1973.

Music Played in Today's Program

Bohuslav Martinu (1890-1959): Symphony No. 5; Czech Philharmonic; Karel Ancerl, conductor; Supraphon SU-3694-2

Rugby is a style of football that originated in England at Rugby School and was played at British public boy’s schools during the 19th century.

It’s also the name of a tone poem written by Swiss composer Arthur Honegger that premiered in Paris at the Théâtre des Champes-Elysées on today’s date in 1928 at the first concert of the Orchestre Symphonique de Paris.

In describing his tone poem, Honegger wrote: “I’m very fond of soccer, but rugby is closer to my heart … I’m more keenly attracted by rugby’s rhythm, which is savage, abrupt, chaotic and desperate. It would be wrong to consider my piece as program music. It simply tries to describe in musical language the game’s attacks and counterattacks, and the rhythm and color of a match.”

Now, you would think in such a slam-bang contact sport as rugby that Honegger would employ a big battery of percussion instruments, but — surprise — they are totally absent in his score. Not to worry. There is plenty of rough-and-tumble action between the strings, woodwinds and brass, but fortunately no protective headgear is required by either the performers or the listeners.

Music Played in Today's Program

Arthur Honegger (1892-1955): Rugby

On today’s date in 1871, Hermann Levi conducted the premiere of a new choral work by Johannes Brahms: Schicksalslied, or Song of Destiny. It’s a setting of a poem by Friedrich Hölderlin, contrasting in its first part the blissful Greek gods on Mount Olympus and in its second the miserable suffering of we mortals below.

Brahms discovered the poem in summer 1868 while visiting his friend Albert Dietrich on the shores of the North Sea. As Dietrich recalled, during one seaside stroll: “Brahms, usually so lively, was quiet and grave. Earlier that morning (he was always an early riser), he had found Hölderlin’s poems in my bookcase and was deeply impressed. Later on, some of us were lounging by the sea, when we saw Brahms a long way off sitting by himself on the shore writing.”

Brahms originally planned to repeat the blissful opening words of the poem as the ending of his setting, but that didn’t ring true to the poem. He was stuck. Conductor Hermann Levi suggested a solution: Repeat the serene opening music, yes, but as a wordless, instrumental-only close.

Brahms had his solution, and, as a reward, Levi his premiere.

Music Played in Today's Program

Johannes Brahms (1833-1897): Schicksalslied (Song of Destiny); Atlanta Symphony Orchestra and Chorus; Robert Shaw, conductor; Telarc CD 80176

Today’s date in 1946 marks an important moment in Parisian theatrical history with the debut performance of a legendary acting company created by husband-and-wife actors Jean-Louis Barrault and Madeleine Renaud. Their opening production was Shakespeare’s Hamlet in a French translation by André Gide, with incidental music by Swiss composer Arthur Honegger. To play Honegger’s score, Barrault hired two young musicians at the start of their careers.

The first, 21, was to play the eerie electronic sounds Honegger scored for the Ondes Martinot, evoking the elder Hamlet’s ghost. That young musician was a composition student named Pierre Boulez, who would remain associated with Barrault’s company for a decade before becoming a famous conductor and composer of avant-garde scores like Le Marteau Sans Maître.

The second musician Barrault hired was a 22-year-old percussionist, who brought Hamlet to a dramatic close with timpani crescendos evoking Fortinbras’ final line in the play, “Go, bid the soldiers shoot.” That young musician, Maurice Jarre, would also become a famous composer, taking quite a different career path than Boulez. He devoted himself to film scoring, composing several famous ones, such as Dr. Zhivago for British film director David Lean.

Music Played in Today's Program

Pierre Boulez (1925-2016): Le Marteau Sans Maître; Orchestre Du Domaine Musical; Pierre Boulez, conductor; PCA 101

Maurice Jarre (1924-2009): Lara’s Theme from Dr. Zhivago; Royal Philharmonic Orchestra; Maurice Jarre, conductor; Sony 42307

Of all the works of Richard Strauss, the one that premiered in Dresden on today’s date in 1925 ranks amount the least-known.

For starters, it has an odd title, Parergon to the Symphonia Domestica. “Parergon” means “an ornamental accessory or embellishment,” and he meant his new work, written for piano left-hand and orchestra, as a follow-up to his Symphonia Domestica tone-poem of 1903, which depicted one day in the Strauss family household, complete with baby’s bath.

The baby in question was his son Franz, who by 1925 was a young man setting up his own household, and recently recovered from a near-fatal case of typhus contracted while on his honeymoon in Egypt. For Strauss, this Parergon was a private celebration of his son’s survival.

For Paul Wittgenstein, the wealthy one-handed concert pianist who commissioned the new work, this was one of several he had requested from leading composers of his day, all designed to showcase his talent. Wittgenstein’s contract with Strauss stipulated that Wittgenstein alone would have exclusive rights to the Parergon as long as he wished, and so it wasn’t until 1950 that any other pianist could perform it.

Music Played in Today's Program

Richard Strauss (1864-1949): Parergon to the Symphonia Domestica

The hills surrounding the Austrian town of Salzburg, according to Rogers and Hammerstein, are “alive with the sound of music.” Well, the same could have been said for the vast interior and multiple choir lofts of Salzburg Cathedral on today’s date in 1682. A lavish celebration of the 1100th anniversary of the Archbishopric of Salzburg culminated in a specially-composed mass setting, with performers placed above and all around the citizens assembled there for the occasion.

The music was composed by one of Salzburg’s most remarkable composers. No, not Mozart – he wouldn’t be born for another six decades or so. We’re talking about Heinrich Ignaz Franz von Biber, who lived from 1644 to 1704, and, while not a native son like Mozart, was similarly employed by one of the princely archbishops of Salzburg. Unlike Mozart, however, Biber was on much better terms with his employer.

Biber’s magnificent Missa Salisburgensis for 53 voices is now regarded as a masterpiece of the Baroque music — but was almost lost. Forgotten for two centuries, the manuscript score was rediscovered by a choir director in 1870 in the home of a Salzburg greengrocer, who planned to use the large sheets of music paper to wrap vegetables.

Music Played in Today's Program

Heinrich Ignaz Franz Biber (1644-1704): Missa Salisburgensis; Musica Antiqua Köln; Reinhard Goebel, conductor; DG Archive 457 611

On today’s date in 1883, the premiere of Antonín Dvořák’s Violin Concerto was given in Prague by Czech violinist František Ondrícek with the National Theatre Orchestra, led by Czech conductor Moric Anger, an old friend of Dvořák’s and his onetime roommate.

The concerto was commissioned by distinguished violinist Joseph Joachim, an old friend and collaborator of German composer Johannes Brahms. Brahms had sent him two of Dvořák’s chamber works for strings. He expressed enthusiasm for these pieces and urged Dvořák to write a concerto for him.

So far, so good.

He had a finished score by December 1879, but Joachim had what we now would call “some issues” with the score, and, by the time he was finishing the last revisions, three years had elapsed with no talk of a premiere. He realized Joachim was unlikely ever to premiere the new concerto, so he offered it to Ondrícek, a young virtuoso who eagerly championed it in Prague and abroad.

Joachim finally did perform Dvořák’s concerto in Berlin in 1894, about 15 years after he had commissioned it.

Music Played in Today's Program

Antonin Dvořák (1841-1904): Violin Concerto

As far as housewarming gifts go, a nice bottle of champagne is common, or maybe a bouquet of flowers. But if you’re a composer, and the occasion is the ceremonial opening performance at a new concert hall, you write a celebratory piece of music.

On today’s date in 1984, for the inaugural concert of the Indianapolis Symphony’s new home, the Circle Theater, American composer Ellen Taaffe Zwilich wrote an orchestral work titled, appropriately enough, Celebration.

“In writing this work, I was motivated by three complementary goals. First, I wanted to celebrate a joyous and historic occasion with all its inspiring symbolism of beginning and renewal. My second goal was to write a kind of ‘toccata’ or test piece for the new Circle Theater. Finally, I wanted to celebrate the orchestra itself, which is, after all, the centerpiece of the occasion. Thus, Celebration is like a mini-concerto for orchestra,” she said.

Zwilich’s housewarming gift was dedicated to the Indianapolis Symphony’s music director in 1984, conductor John Nelson. Despite its origins as an occasional piece for a particular event, Celebration has gone on to become one of her most popular and frequently performed orchestral works.

Music Played in Today's Program

Ellen Taaffe Zwilich (b. 1939): Celebration; Indianapolis Symphony; John Nelson, conductor; New World 336