Lawrence E. Anderson

The Gershwin Years

August 10, 2020 by Lawrence E. Anderson Leave a Comment

Rarely, in the 20^th century, was there a self-taught, virtuoso pianist, who became a creative composer of popular songs, Broadway shows, composer of serious symphonic music, and a black folk opera that blended jazz seamlessly into the fabric of his classical style concert hall music. That man was George Gershwin!

Gershwin was born in 1898, into a poor Russian-Jewish family in the lower east side of New York City. His Father, Morris, a skilled leather worker, had quite a few questionable business ventures. His Mother, Rose (Bruskin), was considered a real beauty; described by her son George as nervous, ambitious, and purposeful.

Rose was not supportive of her son’s interest in music and was quick to criticize her children when they disappointed her. Rose and Morris fell in love in Russia but had to wait until they emigrated to America to be married in 1895. A year later they had their first child, Israel. He became known as, Isadore or Izzy, and finally Ira.

Gershwin was not scholarly like his brother Ira but was rather hyperactive and mischievous. His interest in music was peaked when the family acquired a piano. He could pick out tunes readily and soon became quite adept at the keyboard He taught himself to play music he heard in his local, environment.

Schooling was not for Gershwin, like it was for Ira. He apparently ran wild on the streets of New Your City. Even so, he continued his self-taught regimen and even took a few lessons in piano technique and music theory.

His mother arranged for her young son to have a regular, respected teacher. Eventually Charles Hambitzer became, his music teacher and he was a great influence on young Gershwin’s life. He called Gershwin a genius and said he would become “a very special” musician and composer. He gave him a firm foundation in the classics before venturing into more modern music.

In 1913 he got his first real job in music in the Catskills Mountains, or the “Borscht Belt,” as a relief pianist. He made $5 a week. At this point, because he could make money, Gershwin’s father allowed him to eventually quit school and become a musician.

In 1914, Gershwin left the High School of Commerce in New York, and never went back. His life now was all music. He went to work at Romick’s, purveyor of sheet music, in Tin Pan Alley, for $15 a week. The pianist played and sung the songs sold by the publisher. Gershwin often embellished the songs that put him in disfavor with his employer. He wanted to use his own songs and was told not to do it.

Around 1915 he started to write many of his own songs. He also moonlighted in New Jersey playing music that was produced into piano rolls. He eventually disagreed with Remick’s so much, he quit.

By 1916 he had his first published song, sold his first instrumental piece, and had his first musical theater experience. At the young age of 17 he was definitely on his way to eventual fame and fortune.

In the era of the middle teens (1914-1920) Gershwin was a contemporary with composers Jerome Kern (1885-1945) and Irving Berlin (1888-1989). Both men were around 10 years Gershwin senior. Established composers would often need extra songs to “fill in the gaps.” This was a unique opportunity for young composers, like Gershwin, to have one of their songs inserted in a Broadway show. This, of course, drew attention to them and they also gained valuable experience in the Broadway Musical milieu.

During the rest of the teens Gershwin found work and continued studying the piano and music theory. He worked in Vaudeville and was a vocal coach and pianist on a new show called, “Miss 1917.” The music was by Victor Herbert and Jerome Kern. The producer of the show was Florenz Ziegfeld. The show was not successful, but the people Gershwin met, and with whom he worked, were an important element in his future theatrical experiences. Kern said,” He would help (Gershwin) whenever he was ready to write his own show,” wrote Ruth Leon, in her book, Gershwin.

Max Dreyfus became a lifelong colleague and publisher for almost all of Gershwin’s musical output. It is reported that together, Dreyfus and Gershwin made millions from the published works and other musical endeavors. After Gershwin’s death, Dreyfus noted “A man with Gershwin’s talent did not need anybody to push him ahead – his talent did all the pushing.”

One particular song Swanee, had a meteoric following and achieved worldwide acclaim in 1919.Gershwin was only 21 years old when he wrote it. Al Jolson heard the song and took an immediate liking to it. Jolson sang Swanee in The Jazz Singer, the first “Talkie” Movie ever made. This increased Gershwin’s fame and popularity. Jolson included it in his show and recorded the song that increased exposure to it and became one of his biggest hits.

Dreyfus said that Jolson was,” The most successful of all singers and the song was the hit of hits.” The recording and the sheet music sold in the millions. Gershwin would never be poor or destitute again.

Gershwin’s musical output was truly phenomenal, considering his tragically short life. He wrote, Strike Up The Band and 27 other Broadway shows, The Scandals of 1921, 22,and 23, four musicals, one opera, Porgy & Bess, 20 works for concert halls, including the most famous one – Rhapsody In Blue in 1924. He wrote Concerto in F, in 1925, An American In Paris in 1928, and almost 400 popular and endearing songs that are still in vogue today.

The story of Rhapsody in Blue and how it came about, is intriguing but not too well known. In 1924. Band leader, Paul Whiteman, (1891-1967) an aficionado of symphonic jazz, wanted to have a concert called Experiment in American Music. He commissioned Gershwin to write a piece for the concert. He, and other composers who submitted selections, were judged by a panel of luminaries in the music world.

Gershwin decided the piece would not be a concerto, but a rhapsody. A rhapsody is a free style composition usually in one movement. Whitman wanted Gershwin to be the piano soloist. Leon describes the rhapsody as, “A composition of sheer joy, full of juice, fun and sexual hi-jinxs.” Remarkably, it was written in three weeks and orchestrated by Ferde Grofe, Whiteman’s arranger.

Gershwin had little experience arranging for orchestral instruments. After the piece was played the tumultuous roar of the crowd was ear splitting as they expressed their genuine approval. Gershwin had become an icon and a star. It was considered an artistic endeavor to be remembered.

A year later a second concert piece was premiered. the Concerto in F. Again, with Gershwin playing the piano part. This concerto used jazz techniques with traditional forms. It has fast and slow movements, and a fast finale. Ethan Mordden, in his book, A Guide to Orchestral Music, describes the concerto, “It’s rude freshness, it’s urchin’s energy, it’s happy neglect of technique and it’s novelty – make it, not a failed classical concerto, but a classical concerto.” Gershwin successfully de-classified, “it’s its own master.”

The concerto composition involved more rigorous challenges for the orchestra than it did for the rhapsody. Some of the rhythms are more complex and some have unusual harmonies.

On a trip to Paris, Gershwin wanted to find a teacher for a few composition lessons. He approached Maurice Ravel, who turned him down claiming, “it would probably cause him to write bad Ravel.”

Gershwin talked with Stravinsky and the great composer asked him how much he earned last year? Gershwin said, $100,000. Stravinsky replied, “then perhaps I ought to study with you!”

Gershwin wanted to study for awhile with the great French teacher, Nadia Boulanger. She taught many American composers, including Aaron Copland. However, she also turned Gershwin down as she felt there was little she could teach him.

Two outstanding examples of his creative genius are, An American In Paris in 1928 and the opera, Porgy and Bess in 1933 to 1935. In Gershwin’s own words, “My purpose is to portray the impression of an American visitor in Paris. He strolls about the city and listens to various street noises and absorbs the French atmosphere.” He looked for and found a Paris taxi horn to help portray the individual character to his new piece.

Porgy & Bess, described as a ‘Black folk opera,’ was a smashing success. The setting is around Charleston, South Carolina. The songs and speech of the local black community were prominently present in the production. Memorable songs from the opera are: Summertime and I Got Plenty of Nuttin, among many others.

His brother, Ira, was the inspired writer of the lyrics of almost all Gershwin songs from 1924. His contributions to the success and popularity of their music is legendary.

For years to come, The Gershwin Brothers, will be remembered for the unbelievable treasure of songs they left for the world to enjoy. The Broadway shows and hit songs will undoubtedly be remembered as being their finest and most popular contributions to 20^th century music. There was no one like them!

The Incredible Mills Brothers

July 10, 2020 by Lawrence E. Anderson Leave a Comment

When thinking about the myriad of male singing groups in the recent past, one group rises to the top of the list – the incomparable Mills Brothers! They were so famous, they became legends in their own time, a feat very few people ever reach.

The four brothers, John C, Herbert. Harry, and Donald, were all born within five years between 1910 and 1915, in Piqua, Ohio. They were born into a musical, but modest of means family. Their father, John H. Mills, was a barber and sang in a barbershop quartet. Their mother, Eathel, was a light opera singer. The four brothers gravitated into vocal music naturally due to their parents.

As soon as Donald, the youngest, was able to sing with his older brothers, their early career in music began. They sang in two churches and outside their father’s barbershop, where they earned a few coins from passersby. Among their early gigs they sang at a local theater during intermission for four dollars a night; not bad pay for 1924, although it was only a dollar a piece.

It was also in 1924, the Mills Brothers unique trademark-sound was created, mostly by accident. The story goes that Harry, who accompanied his brothers on the kazoo, (a toy instrument) either misplaced it or forgot it! Harry had to quickly think of how to mimic an instrument sound. Apparently, at that instant, the sound that launched a remarkable – over 50-year career – was born.

The citizens of their hometown, Piqua, loved them so much – they did not have to worry about scrounging for jobs anymore. In 1928 a famous radio station, WLW, in Cincinnati, Ohio, invited the Mills Brothers to audition for radio work. Unfortunately, they were not hired and had to wait for another chance at fame. During this time, each brother learned how to mimic instruments with their voices.

Two years after their first audition at the radio station they had another audition, and this time they were hired. Their shows became a big hit on radio and the group became nationally known in 1930. Sponsors for the radio show wanted more input in the programming. This meant the Mills Brothers had to use other names for their various sponsors. For example, when Standard Oil of Ohio was a sponsor, the group performed as The Steamboat Four. But on Sundays they could use their own name, The Mills Brothers.

Because of their new-found fame, they signed a three- year contract and were given their own national show on NBC out of New York. This was a first for an all African American singing group. In Cincinnati at WLW they earned $140 a week. In New York, they earned $3,250 a week, about $90,000 in today’s dollars.

One of the highlights of their New York gig was singing at the Palace Theater with Bing Crosby. They also recorded their first song, Tiger Rag that became the first recording ever to sell a million copies. More hits followed and their recording career blossomed. Soon, because of their hit radio show and a million-seller record, many large corporations wanted to sponsor shows.

Hollywood was aware of their popularity and they were offered roles in films. In 1932 the Mills Brothers were featured in the film. The Big Broadcast, along with big-named stars. Other movies followed. By the mid 1930’s the group was on the international scene. They gave the first of four Royal Command performances for the King and Queen of England.

During their tour in 1936, the eldest brother, John C. Mills, the guitarist, developed pneumonia. They went back to America but returned to England before John C. fully recovered; he had a relapse and died. The brothers were so shaken. they contemplated ending their musical career. Their father, John H. Mills, agreed to fill in and became a member of the group. They also found a guitarist. Their father would remain with the group for 20 years. England was so taken by the group that Harry Mills said, “We were the Beatles of the 30’s.” The Mills Brothers toured the world wooing people from South America to Australia.

During World War II the brothers toured the United States entertaining the troops. They did not have a hit recording for quite awhile and they knew if they were to keep their fame, they would soon need a hit song. In 1942 they had their hits! They recorded, I’ll Be Around and Paper Doll. The later became their biggest hit ever, selling more than eleven million copies. After a momentary downturn, in the early 1940’s, they miraculously had a string of hits that sustained them throughout the rest of the decade an into the 1950’s.

Downbeat Magazine named The Mills Brothers, their favorite vocal group in the successive years of 1950, 1951 and 1952 – that was unheard of for three years in a row.

In this era other vocal groups began to lose favor with the public, but not

The Mills Brothers. The quartet hung on and in 1952 they had a tremendous hit with the song, Glow Worm. This song proved to be their last big number one song. After that hit, they like so many others, were losing their fame and popularity with the public; as rock and roll began to dazzle the public, and soon would take over the pop scene in America.

In 1956, their father, John H retired from the group. This left three of them to carry on with another guitarist. They toured less frequently but continued to record with some degree of popularity with the loyal public. In 1967 their father died at the age of 85. That same year the group recorded, Cab Driver, that made the top 40 charts. They still produced recordings into the late 1960’s and early 1970’s.

In the early 1980’s Harry Mills decided to retire. Then Herbert and Donald decided to join their brother in retirement. Harry died in 1982. Herbert and Donald, along with John H. Mills II, Donald’s son, revived the group and continued performing.

A great honor was given to The Mills Brothers in 1993. The group was inducted into the United in Group Harmony Association’s Hall of Fame. In 1998 another honor followed with a Lifetime Achievement Award by the National Academy of Recording Arts and Sciences. Donald and John H gave their final performance in 1998. Donald, the last of the original four Mills Brothers, died in 1999 at the age of 84.

The brother’s home-town Piqua, Ohio, erected a plaque in the middle of the town square in 1990. The following words are on the plaque: America’s Greatest Singing Group and Musical Ambassadors to the World!

These words are true and prophetic as the Mills Brothers circled the globe 16 times during 37 world tours.

The list of their accomplishments is very long. Some of their most popular recordings and hits are: Tiger Rag, Nobody’s Sweetheart, Goodbye Blues, How Am I Doing, Sweet Sue, St. Louis Blues, It Don’t Mean a Thing, I’ll Be Around, Paper Doll, Lazy River, Glow Worm, Standing On The Corner, King Porter Stomp, Yellow Bird and Cab Driver.

Other notable milestones, in their over 50-year career, was 2,300 recordings. Their first hit, Tiger Rag was in 1931. Their last hit was Cab Driver in 1967. The Mills Brothers sold over 75 million records, three dozen gold records, they were first black group to have a radio show, first musical group to sell more that one million copies of a recording, first black group to perform at the London Palladium, four Royal Command Performances and they appeared in more than 40 films, shorts and cartoons.

“Their greatness was in more than just the amazing numbers they produced. It was in their unique sound, their love of music, their perseverance in the face of adversity and their singular ability to cross generational and racial boundaries.” said, Linda McMaken in her article, Sweet Harmony The Mills Brothers.

Please submit your questions and comments to banddirector01@comcast.net

Visit our website at www.danvilleband.org for up-to-date information about The Danville Community Band.

Does Music Affect Success in the Business World?

June 1, 2020 by Lawrence E. Anderson Leave a Comment

While growing up I saw the benefits of music in my own family. My father was an executive head of the drafting department of 110 men in the San Francisco office of Chevron Corporation. He had pressures that I never realized or thought about. He hired and fired many people over the course of many years. He planned the workload for all the men and figured out vacation schedules This was a real challenge and very stressful for him. On weekends at home, he relaxed by playing the piano and singing.

This always seemed to help him, both physically and emotionally. It was a good release from the pressures of business. I know playing music proved to be helpful and beneficial in his professional work.

It has been known for years and substantiated by 1,000’s of research studies, that exposure to music, in many forms and dimensions, like listening or actual participation by singing or playing, can lead to many positive and enduring aspects in one’s life.

In many articles over the years, I have written about how early training in music has increased students grade point average (GPA), and scholastic aptitude test (SAT), exam scores. They generally do better in other academic subjects than students that did not have musical experiences. Music also helps adults in many significant ways, including health, pain management, sports and entertainment industries.

Businessman and author Craig. M. Cortello, believes that exposure and experiences in music, leads to success in the business world. He states this in his book. Everything We Needed to Know About Business, We Learned Playing Music. Cortello points out that, ”There are scores of ex-athletes who give speeches regarding the parallels between sports and business success, and there doesn’t seem to be a shortage of funding for sports programs,” “I felt it was time to tell the music education/business success correlation story.”

Among the benefits of music experiences learned in childhood and adulthood, related to the business world are self-confidence, leadership, collaboration with others, salesmanship, creativity, innovation, discipline, risk taking, passion and basic fundamentals.

Successful Businesspeople with Music Backgrounds

Genevieve Thiers, a Chicago opera singer, attributes her business success – founding two companies – to her operatic training and musical background. “Once you learn to channel energy and direct power when you’re in front of people singing, it is not something you forget,” Thiers explained. “Being a performer also toughens your skin, making you open to risk taking.”

Thiers believes that because you have that strength behind you, the ability to dismiss rejection translates into salesmanship.

It is easy to see the training acquired through music helped make her a great business success story today.

Jimmy A. Palmer, former regional administrator for the Environmental Protection Agency, is another example of the importance of musical training for success in business.

Palmer says, “The discipline that is needed to play an instrument well is – you just have to work at it!” The same diligence is needed in the business sector. He said,” My own personal musical odyssey has been a huge part of my personal career development.” Palmer’s career led to greater responsibilities. His ability with personal relationships through music advanced his leadership skills in business.

Dr. H. Steven Sims is another example of success in the business of healing, health and medicine. Sim’s early musical experiences include singing at age five and he plays piano, bassoon and trombone. His diligent practice learning all those instruments led to his goal of obtaining a medical degree. In other words, he had the fortitude and discipline to forge ahead and obtained his hard-earned goals. Sims said, “Spending time to get a result, having a vision, deciding what you want to do in life, and laying out a plan – the practice really helped long term.”

Teamwork also came into play as Sims played in a band. He learned that his part had to fit into other parts. This, of course, is an extremely important lesson to learn working with other people, in Sims case, the operating room.

Another important lesson that Sims learned, from performing music was overcoming stage fright. When he learned to accomplish this, it related directly to the decisions and actions needed as a medical healer, and specifically, a surgeon. “Courage is not the absence of fear. It is realizing your fear and going ahead and doing what you should do,” said Sims. “That experience helped in terms of training me when I got a little nervous. It helped me use that energy to perfect my performance rather than fall apart.”

These are just a few of the business professionals who benefited greatly by having music in their backgrounds. Their accounts reveal that they cannot imagine not having music in their lives. They attribute much of their success in the business sector

to the lessons well learned while studying and performing music.

Sims sums it up beautifully when he says, “Even now, sitting down at the piano, playing something and singing is complete catharsis.”

Please submit your questions and comments to banddirector01@comcast.net Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

Antonio Vivaldi and The Four Seasons

May 2, 2020 by Lawrence E. Anderson Leave a Comment

In the shadow of two giants – J.S. Bach and George Frideric Handel, from the late Baroque period – we find the formidable Italian virtuoso, violinist, and composer, Antonio Vivaldi.

Vivaldi was born in Venice, Italy in 1678 (his actual year of birth is disputed by some historians; a few believe it was 1675.) His family was of modest means as his father was a baker, who later became a violinist in the employ of St. Mark’s Cathedral in Venice.

The young Vivaldi started training for the priesthood when he was 15. He was ordained in 1703, but did not celebrate mass after 1705, presumably because of a chest complaint. Vivaldi was known as the “Red Priest” due to his red hair. During this time, he studied and practiced violin, becoming quite excellent on the instrument.

During 1703, he also became maestro di violin at the Pio Ospedale della Pieta, a girl’s orphanage in Venice. His tenure at the orphanage was a long and fruitful 36 years. The Venetian Ospedales were considered embryonic music conservatories, where young musicians honed their skills under the instruction of master teachers.

Many 17^th and 18^th century Italian composers were either students or teachers at these institutions. The orphanages offered frequent concerts for the public. Music was an extremely important part of the curriculum. Some of the concerts were so excellent they were considered almost professional.

During the late Baroque period, an interesting practice was playing other composer’s music. Often a piece was composed, played at a concert once, forgotten, and often discarded. What a waste of time and energy – it might have been a masterpiece! The ability to write quickly was required and thought essential to becoming a successful composer.

While at the Ospedale, Vivaldi composed many works and brought the violin concerto to a very high artistic level. He also “produced a large number of works for unusual combinations of instruments as aids to his teaching,” wrote, John Stanley in his book, Classical Music.

“He was of especial importance in the history of the solo violin concerto, as opposed to the concerto grosso,” wrote Homer Ulrich in his book, Chamber Music. A concerto grosso is a Baroque concerto that uses a full orchestra (or ripieno) and a group of soloists (or concertino.)

The trio sonata was brought to new heights and further developed by Vivaldi. The trio sonata, an early form of chamber music, consists of violin I and II, cello or bass, and harpsichord. The trio sonata evolved from both the sonata da camera (chamber sonata) that was slow and serious and the sonata da chiesa (church sonata) that was light and dance-like.

The two types of sonatas began to influence each other and eventually the distinctions between them disappeared into one combined form. Vivaldi’s format became known as the Italian Concerto. The concerto was in three movements designated fast, slow, fast. This format became the “standard.” His concept of the solo violin in a quasi-leadership position in the concerto, remained the norm for the violin concerto thereafter.

Vivaldi’s first opera – Ottone in Villa of 1713, was performed in the Vicenza, followed by forty more operas during his career – an astonishing number considering his prolific output of other works. In 1737 one opera was banned by the church because he was a non–practicing priest and had an alleged relationship with a singer. Whether this reason was the cause of the banning is open for speculation.

A practice, that might be termed questionable today was, when visiting dignitaries or important people came to Venice, Vivaldi altered the dedication of his work to flatter and gain fame, notoriety or money from the distinguished guests.

Ethan Mordden, wrote in A Guide to Orchestral Music, “Vivaldi traveled widely and left a prolific oeuvre which has yet to be fully appreciated.” Vivaldi was inspired to write his famous work, The Four Seasons – Le Quattro Stagioni while traveling to Mantua in northern Italy. This great work was composed circa 1725 and is enjoyed worldwide to this day.

The four sections of the concerto are: Spring, Summer, Autumn, and Winter. However, musicologists have assigned each season or section as a separate concerto. Vivaldi wrote many similar concerti but this one has achieved enormous acclaim, popularity and fame in modern times. It is his most famous signature work. This piece is so unique because it is an early example of programme music, (where the music relates a story.) He assigned various instruments to represent objects or persons, things such as animals, birds, or natural phenomena.

In the concerto each section or season describes musically the story or description of what is happening during each season.

Spring

This movement is characterized by the violin soloist imitating bird calls and chirps, trickily streams, a passing storm and the birdsong returning. The second part, or slow movement, is reminiscent of a slumbering goatherder and his dog. The fast third movement represents a dance of nymphs and shepherds.

Summer

The fast, first movement, suggests the intense atmosphere of the dog days of summer. The strings imitate an ill wind rushing by, and the solo violin and harpsichord imitate a shepherd worried about a gathering storm. The movement concludes with storm effects in both solo and orchestral parts.

Autumn

The first part depicts the inebriate spirits in scales and runs.

Sleep is suggested in the slow or second movement. The

third movement is subtitled, “The Hunt.” The soloist depicts the flight of a stag from the hunt and hound, his wound and eventual death.

Winter

The first movement starts with discordant repeated notes from the cello, then viola followed by the violins. The sound is empty of feeling. The soloist enhances the scene by depicting a snowy street and a bitter cold wind. The second movement goes indoors to a blazing hearth. The violin’s pizzicatos or plucked notes, imitate the rain falling outside. The third movement reflects the perils of the season and the slickness of the ice.

Each of The Four Seasons is accompanied by a poem, supposedly written by the composer. The poems tell of the textual foundations for the music.

It is obvious that The Four Seasons is indeed a programmatic composition. Each section tells about the different seasons of the year. Again, this was not common in the Baroque period. It is a rather unique departure for a concerto setting. Mordden comments that this was, “In an epoch that generally disliked extramusical allusions in music.” In other words, Vivaldi stepped out of the mainstream structure that was expected of composers.

In his own time, he was recognized by the master himself, J.S. Bach, who transcribed some of Vivaldi’s concerti grossi for organ or harpsichord. Obviously, he wouldn’t have done this unless he thought Vivaldi’s music was worthy.

In the 20^th and 21^st centuries, it is apparent that Vivaldi’s music became more popular than when he was alive. What a testament to his genius, talent, productivity and inspiring music he penned.

Please submit your questions and comments to banddirector01@comcast.net Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

Does Music Make Life Better?

April 7, 2020 by Lawrence E. Anderson Leave a Comment

There are many opinions about the presence of music in our lives. Does it make life indeed better, richer, physically and emotionally less stressful? Could it possibly lead to a life of contentment?

More and more research is being done by investigators at universities and research centers. Thankfully, we are learning much more about the restorative, positive effects of music’s involvement in the mental and physical health of people, worldwide.

A friend gave me an article that appeared in Reader’s Digest by freelance writer and editor, Michelle Crouch. Her article, entitled, 13 Incredible Ways Music Benefits You, was so compelling I decided to share many of her comments about the positive benefits of music. For years I have written about the healthful benefits of music, here in ALIVE Magazine.

Crouch wrote that in one study, researchers found that happy music in the workplace can help workers be more efficient. It takes less time to complete a task while listening to music, especially when the work is repetitive. University researchers found upbeat music helpful in making workers more corporative when arriving at decisions.

Surgeons improved their operating efficiency listening to music while performing surgery. The stress hormone, Cortisol, was found to decrease while listening to music, just as well as getting a massage. Patients with anxiety listened to music while in a dimly lit room. After three months, patients who listened to music experienced the same drop in anxiety as the patients who received massages. Also, patients listening to music before undergoing surgery experienced less anxiety and had limited need for sedatives. Pain was reduced after surgery, requiring less medication.

“Researchers from the Netherlands and Australia discovered that people come up with creative solutions when they listen to happy, upbeat music,” wrote Crouch. A possible reason is that music relaxes you and improves your brain’s flexibility so the creative juices can flow. While listening to music, moderate volume, rather than loud, is preferred.

Listening to music, causes the brain to release the neurotransmitter dopamine, sometimes associated with being in love—obviously a positive feeling. Crouch reported the dopamine can flow when one expects the best part of a song is coming.

When exercising, or working out, one can go farther if music is playing. Many times, repeated exercises can be very boring and tedious, however, when one listens to music, the boredom and tediousness can be lessened by distracting and motivating one to stay on task. When the psychological factors of music on exercise are examined, it can be termed, “a type of legal, performance – enhancing drug.”

Listening to music while exercising can produce a rush of energy that can be real. Many college age men were studied while doing squats while listening to a favorite song. The result was, they did squats more explosively and performed reps at faster speeds than a control group of similar men doing the same exercise in silence. They also found that people sprint faster and can hold heavy weights longer while listening to music.

How would you like to sleep longer, wake up fewer times during the night, and feel better and more rested in the morning? In a study conducted by the National Sleep Foundation, seniors who listened to 45 minutes of soft, slow music before going to bed reported a 35 percent improvement during their sleep time and less dysfunction during the day-time hours.

The fact that music can indeed heal has been known for centuries. Although music has worked in many facets of healing, until recently we didn’t know why or how. In an analysis of 400 studies, the findings found that music enhances the body’s production of an anti-body that attacks viruses and bacteria.

Crouch reminds us that the expression “time does fly,” has new meaning when it applies to listening to music. Like waiting in a doctor’s office, for example, many judge their waiting period as shorter when music is playing.

Stores and other retailers have known this fact for many years. When music is being played, buyers stay longer, look more, and very importantly, spend more money. It is proven that in restaurants and bars, more food and drinks are sold when music, especially slow music, is played. In grocery stores, sales increase 38 percent when the background music has a slow tempo.

Even the human heart can be helped by listening to joyful music. By listening to music that brings you joy, the blood vessels expand, increasing blood flow and improving cardiovascular health, according to a study at the University of Maryland.

In a revue of studies of 1,400 heart disease patients, it was found that music reduced heart rate, blood pressure, and anxiety. In our complex society, if more people listened to music, perhaps those with heart problems could be significantly reduced.

In a study of adults who focused on melodies of their childhood while being treated by safe electric shocks, pain was reduced by 17 percent. Other studies showed that pain may be reduced for fibromyalgia and even cancer patients. Children also benefited by listening to soothing, upbeat music while having an IV inserted. They had less pain, distress, and anxiety when compared to children with no music present during the procedure.

More research is being done with Alzheimer’s patients.

When a patient listens to a song from their past, they can be helped to retrieve memories, communicate more effectively, and remember who they are. Singing was found to be especially effective and powerful. When patients remembered an old favorite song, over time, it was found that it may boost their cognitive behavior and function. A study involving Parkinson’s patients also showed improvement.

Music, can and does, have a positive effect on people. It provides great joy, a sense of well-being, and comfort to the mind, body and soul.

Many thanks to Michelle Crouch for sharing her wise thoughts and words making this article possible.

Visit our website at danvilleband.org for up-to-date information about the Danville Community Band or reach me at banddirector01@comcast.net.

African American Spirituals & Slave Songs

March 11, 2020 by Lawrence E. Anderson Leave a Comment

Gospel, Jazz and Blues evolved from the music of slavery.

One of the saddest, most inhumane and despicable chapters in American history is, without a doubt, the slave trade. Yet ironically those heavily burdened people left us with a genre of music, that is described as unique and unequaled, anywhere else in the world.

Historians trace the beginning of the slave trade to 1619, when a Dutch ship brought twenty African natives to Jamestown, Virginia. In subsequent years more and more Africans were brought to the Colonies.

Nikki Giovanni, in her book, On My Journey Now, describes the arrival of the slaves poignantly:“Stepping off the ships to a language that demeaned them, to a topography totally unfamiliar, to a God they did not know, they nonetheless found a way to laugh, love, and believe in tomorrow.” Giovanni goes on to say, “As sad as slavery was going to be it was an opportunity for the people to imagine new lives.”

After arrival in the Colonies, the slaves were cleaned up and put on the auction block. Uncle Tom’s Cabin, by Harriet Beecher Stowe, says it all: “Human property is high in the market and is therefore, well-fed, well-cleaned, tended, and looked after, that it may come to sale sleek, strong, and shining.” This description applied to the beginning of the horrendous process, for a “quick sale” at auction, but was not necessarily the case after the sale to the new owner. America wanted cheap labor and slavery was the answer.

After the sale, all the slaves had to look forward to was a lifetime of servitude, and in some cases, hard discipline, and mental and physical suffering. The work was long and hard; from sunup to sundown.

It is said the music slaves created started with moans on the long arduous sea voyage to the New World. Later it morphed into the spiritual songs. Since the Africans came from different tribes and locations, they had different customs and languages; the moans and ultimately the music they created was galvanizing and common grounds for a meeting of the minds.

Eugenie Rocherolle, in her book, It’s Me O Lord, describes, “The songs were created by captive slaves who, in their helplessness and despair, found solace and hope for their survival in these songs.These spirituals, Sometimes I Feel Like a Motherless Child, and Nobody Knows the Trouble I See, speak eloquently of the sadness of their lives.”

At the end of the workday, even though they were dead tired, many did not go to bed. Instead, they brought whatever they had – a pot for a drum, a flute made from wood and a comb for a mouth harp – and with these instruments they made music. The music they made was invigorating and stimulating.Through their music they told their troubles to the Lord.

The slaves created work songs and developed their own rhythms. They didn’t like the work, but they were proud of what they did. Many hated the people in charge – the overseers – they worked because they had no choice.

To ease the workload, the boredom and burden of their labors, spiritual songs provided comfort and solitude. They also expressed a feeling of devotion and they wished for an ultimate freedom from bondage. This helped to release pent-up emotion and sorrow. Spirituals were considered songs of survival. They provided an escape for the spirit, not available to captive souls.

“Spirituals were not only sacred songs for worship, baptism, and funerals, but secular songs as well—like cotton picking, rowing, loading river boats, and singing children to sleep. They could also serve as a coded signal for a secret nocturnal religious meeting or for escape to the north on the underground railroad,” wrote Sandra Jean Graham in her book, Spirituals and the Birth of a Black Entertainment Industry.

This aspect of slave songs was virtually unknown to slave holders and overseers. It was a way of communication with other slaves and with the underground railroad. The words of the songs appeared innocent to the overseers and they did not know that the slaves were possibly planning to escape or start a revolt. The slaves were very clever and astute in their form of communication and transmitting information. The universal meaning of the songs speaks of the challenges that enslaved the Africans daily. The songs were also expressions of religious faith.

Composers of these songs were virtually unknown. It was a meeting of individual talents for the melody and content and a group response for the chorus part. The songs were of oral tradition—basically unwritten and unpublished. Because there was no written record, the songs only existence was in performance.

The Spirituals have several related progenitors including slave shouts, ring dances, African heritage chants, Anglo-American hymnody, and camp meeting songs. The camp meetings attracted hundreds and thousands, of both white and black people. The hymns resembled the spirituals because they usually had a verse and refrain not unlike the spirituals. Some hymns became known as ‘shouts’ that became a style of hymnody prevalent among Southern rural, black and white people.

Note-wise, most spirituals have fewer scale notes than the typical seven tone major scale. The pitches used are do, re, mi, sol, and la, fa and ti are missing. The missing ti or seventh degree of the scale, prevents the strong pull toward do that is almost always present in melodies in major keys.

Tempo is dictated by the use or purpose of the song, the mood and occasion. If it’s a work song the tempo or speed of the song may be rather quick with a regular beat. If the song has more of a sacred or prayerful feeling the tempo might be slower with a rhythm that is freer and not so regular. Many slave songs were songs of survival from the horrendous plight in which they found themselves.

Another form of spiritual music is the ring shout. Irving Schlein, in his book, Slave Songs of the United States, describes the ring shout. “Jacobs Ladder was a ring shout – a ring shout is a ‘round’ like, Row, Row, Row, Your Boat. You start singing one at a time and end up at the same place. Simplicity of melody and words were of utmost importance in the slave songs.”

Slaves developed plantation songs that were composed of both African musical elements and European elements. The songs were prominent in the last decades of the 18^th century. The African American spiritual, also called Negro spiritual, was one of the largest and important forms of American folk songs.

Perhaps, for the first time, some of the spirituals appeared in publication. This was a landmark effort in 1867, titled, Slave Songs of the United States, authored by William Francis Allen, Charles Pickard Ware and Lucy McKim Garrison.

Sandra Jean Graham, in her book, Spirituals and the Birth of a Black Entertainment Industry, wrote“Fearing that emancipation would lead to increasing acculturation of blacks and therefore the extinction of their folk songs, the editors sought to preserve the music while it was still possible.” This was one of the reasons for publishing the songs.

The contents of the book contain, spirituals, work songs, field hollers, soldiers’ songs of the Civil War, and Freedom Songs. Of course, this was just a small sample of the hundreds of songs that lived in the oral tradition of performance before they were on paper or published. The book was extremely popular and created much interest. It sold out in its first printing.

Some of the slaves dared to learn to read and right. This was a very risky and dangerous thing to do. If they were caught, they would be punished severely and most likely sold. The owners and overseers did not want their slaves to get ideas about escaping, freedom, revolting, or other notions that might undermine their status as property of the owners.

As hideous and immoral as the slave trade was in American history, the musical contribution of these people engendered a genre of music that developed into a rich tapestry of unique American music. Gospel, Jazz and Blues evolved from the music of slavery.

Please join us as The Danville Community Band presents “American Icons: Goldman, Rogers & Sousa, Sunday, March 15, 2020, 2:00 P.M. at the Blackhawk Museums, Danville. Concert free with Museum entrance and free parking. Please submit your questions and comments to: banddirector01@comcast.net. Visit our website at www.danvilleband,org for up-to-date information about the Danville Community Band

Frederic Chopin and His Music

February 5, 2020 by Lawrence E. Anderson Leave a Comment

If one was to choose a child prodigy, an absolute master of pianistic talent and abilities as a brilliant composer of piano music of the 19^th century, it would have to be Frederic Chopin. His skills on piano were legendary as were his compositions for solo piano, with small ensemble, and orchestra.

Early Background

Chopin (1810 – 1849) was born into a middle-class family in Zelasowa Wola not far from Warsaw, Poland. His father, Mikolaj (Nicolas), a Frenchman who had quite a few occupations, was a tutor for aristocratic families in Warsaw. This position exposed young Frederic to cultured Warsaw society. His father also played flute and violin and eventually became a professor at the Warsaw Lyceum. Chopin’s mother, Justina, from Poland, introduced young Frederic to music. His talent for music was obvious at an early age, and he studied music beginning at age six. Chopin composed and published his first piece at age seven and began his career as a concert pianist at age eight. His general education was adequate but not great. A true child prodigy, he studied at the Warsaw Conservatory from 1826 where he graduated with honors in 1829.

Chopin left on an extended concert tour of the main German cities, ending in Paris, France. He subsequently left Poland for good and settled in France, his father’s homeland. Some years later, in 1835, he became a French citizen.

In France he supported himself by selling his compositions and by giving piano lessons. Chopin was in great demand as a piano teacher. As a soloist he was known for his exquisite playing, his ability to improvise, and his delicacy and beauty of tone. His temperament and style were more conducive to a small salon rather than a large concert hall.

The study of composition was enhanced by his teacher and mentor, Joseph Elsner. In Chopin’s early period he composed two of his most distinguished piano compositions, both piano concerti, where the orchestra plays a secondary role to the piano. His manner and style eventually caught on with the Parisian public and he became one of the most popular, in demand, and well-paid performers in Paris.

It was in Paris where he met Franz Liszt with whom he often appeared in concerts. They became friends and Liszt helped Chopin gain a following and a great reputation. He developed friendships with other famous romantic period composers including Mendelssohn and Berlioz.

Chopin’s Mature Period

He wrote some 170 works for piano. In his writing he was fond of long, rather sustained lines, and soring melodies, frequently embellishing those melodies. He often used folk music and dances from his native Poland.

Many historians and musicologists have said Chopin was much more comfortable in shorter musical forms. He was particularly fond of dance music. His waltzes reflected this love of the form but interestingly, the waltzes were not very danceable, due to their unexpected and surprising changes of tempo and rhythm.

The year 1837 saw the beginning of a ten-year period in Chopin’s life with French writer, Amantine Dupin, who used the male penname, George Sand. She apparently inspired Chopin during some emotionally troubled but productive and prolific times, composing some of his greatest music. During this period, he was experiencing some health problems. Their relationship ended unhappily and rather suddenly in 1847.

In the 19^th century, the advanced mechanics of the piano were continually improving. One improvement that Chopin used to good measure was the damper pedal, as he was able to sustain chords with the use of this pedal.

Chopin’s Musical Output

When commenting on Chopin’s music, in general, Martin Bernstein in his book, An Introduction to Music, reflects that Chopin wrote with elegance and refinement. This is a generally held opinion by many learned musicians. His music exhibits great variety and he was not afraid to use dissonance in his composing, but not to an extreme.

Among his many works are: 19 Nocturnes – his most popular pieces suggesting calmness in nighttime; 24 Preludes – short pieces in major and minor keys; 24 Etudes (French for studies). These Etudes are pieces to develop instrumental technique. Four Scherzos, in triple time with a rapid tempo. Three impromptus, communicating an impression of improvisation. Four ballades; extensive pieces, narratives in music, often lyrical and heroic in tone, suggesting stories. Waltzes, including some reminiscent of Austrian or German dance forms. Mazurka; a lively Polish peasant dance, with a lively tempo in triple rhythm. His ballads and Mazurkas were some sources for his rhythms and unusual melodies. Polonaise; a more formal, slow, courtly processional dance in triple rhythm of Polish origin. These last three forms show that Chopin was a champion of the Polish Nationalistic School. Chopin was a passionate Polish Nationalist who loved his country but detested with a vengeance the Czarist Regime. He also wrote two Piano Concertos (No. 1 & No. 2). His works represent a substantial output for someone so young.

Not too long ago I saw a film depicting the life, trials, and tribulations of Frederic Chopin, titled, A Song to Remember. The film, released in 1945, was directed by Charles Vidor with music by Miklos Rozsa. The movie starred Cornel Wilde as Chopin. Paul Muni played Professor Joseph Elsner Chopin’s teacher and mentor who guided Chopin in his early years in Poland and early adulthood.

Merle Oberon played George Sand, with whom Chopin had a ten-year association. In some ways it was fictionalized, and in other ways it was quite accurate, according to what we know now through research and the writings of musicologists.

Unfortunately, he didn’t live a normal lifespan. He would have left many more masterpieces with historic significance for us to enjoy. In 1849, at the age of 39, Chopin died of consumption (tuberculous).

A quote from Chopin: “Simplicity is the final achievement. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art.”

Mark Your Calendar! for American Icons: Goldman, Rogers, and Sousa, our annual concert at the Blackhawk Museums, March 15^th at 2:00 p.m. Come early, Free Parking. Visit our website at danvilleband.org for up-to-date information about the Danville Community Band or reach me at banddirector01@comcast.net.

Burt Bacharach and His Music

December 31, 2019 by Lawrence E. Anderson Leave a Comment

A legend in one’s own time is a hard moniker to achieve. Without a shadow of a doubt, Burt Bacharach is one of the undisputed owners of this title. He has more than earned this distinction by his many significant contributions to his art. Among his varied musical talents are: prolific composer, song writer, arranger, conductor, record producer, versatile pianist, and singer. Not only has he done them all, he is amazingly accomplished at all of them –except being a conductor—he had to grow into that one. This was echoed by scores of people he worked and collaborated with through many years.

Bacharach was born in Kansas City, Missouri in 1928. Shortly after his birth the family moved to Forest Hills, Queens, New York. This is where he grew up and went to school. He was born into a German Jewish family who did not practice Judaism. His mother, Irma, was an artist and amateur song writer who played the piano by ear.

His father, Bert, had different jobs in men’s clothing, He worked in public relations, as a disc jockey, and became a syndicated journalist with a column in 84 newspapers. Fortunately for the family they were not hit hard during the depression of the early 30s. Bacharach’s father always seemed to have several “irons in the fire” that brought in enough money to supply the family with what they needed.

When he was born his parents decided he would not be named Bert, after his father. They did not like the nameof Big Bert and Little Bert or Bert Junior, so they compromised by selecting the name, “Burt”—same name different spelling. To differentiate even further, his mother started calling him “Happy.” That name stuck for a long time.

At age eight, Bacharach started piano lessons taught by his mother. She was a task master when it came to practicing. Young Bacharach did not like to practice! He wanted to go outside with his friends and play ball. Consequently, all that practice led him to become an excellent pianist. What a boon to his career later in life.

Bacharach was not a great student in school, but when it became obvious that he had a real talent for music, he went on to higher education. He studied at McGill University—where he wrote his first song—at the Mannes School of Music, and the Music Academy of the West.

After his second year at McGill, he spent the summer in California and studied composition with the famous French composer, Darius Milhaud, a French Jew who fled from Paris when it fell to the Nazis in 1940. Milhaud also taught at Mills College in Oakland, California where jazz artist, Dave Brubeck, was one of his students.

After his third year at McGill he decided not to continue his studies toward a degree. He was drafted into the army, but did not take to military life at all. He eventually joined an entertainment group and began playing piano at different army bases. Bacharach was assigned to the officer’s club on Governor’s Island in New York City. He could even live off base, which was conveniently close to his parents’ Manhattan apartment. Later, he was assigned to Germany where he wrote orchestrations for the band that played in a nightclub.

After the army, he returned to live with his parents in New York. He studied for a while at Mannes College of music. He really didn’t know what he wanted to do with his music. A quote from his book, Anyone Who Had a Heart, sums up Bacharach’s philosophy – “I think what you write is what you are.”

He became a pianist and conductor for singers, Vic Damone, later, Polly Bergen, Steve Lawrence, The Ames Brothers, and Paula Stewart, whom he eventually married. Stewart related that Vic Damone was not well educated, and he asked Bacharach for some “Big Words” so he could impress the girls.

Bacharach was married four times. His most noteworthy association was with movie star, Angie Dickinson, from 1965 to 1981.

A huge milestone in Bacharach’s career was meeting Hal David, a lyricist who had worked with Guy Lombardo, Frank Sinatra, Teresa Brewer, and many more. Like Bacharach, Hal David was a perfectionist. He was known as an extraordinary lyricist and a dependable person. David proved to be a flexible partner, often bringing words to Bacharach to set to music. Sometimes Bacharach would bring David a phrase he had written, and they worked together to write a song.

The first hit song with Hal David was The Story of My Life, written in 1957; this was the start of many hit songs with David. Later, David went on to become the president of ASCAP (American Society of Composers, Authors and Publishers) from 1980 to 1986.

Bacharach had a long association with German entertainer, Marlene Dietrich, which began when Dietrich was 56 years old. They played Las Vegas, and from there went on tours in South America and many other extended world tours together. She was quoted as saying, “Bacharach, as a man, embodied everything a woman could wish for. He was considerate and tender, gallant and courageous, but above all, he was admirable and loving. His loyalty knew no bounds. How many such men are there?”Dietrich said.

There have been many influential people in Bacharach’s life, including Hal David, Herb Alpert, Brian Epstein, and a very important association with the songstress, Dionne Warwick. Among Bacharach’s many honors, awards, and citations are six Grammys and three Academy Awards. He holds the distinction of having over 70 top hit songs among his many compositions. Bacharach was also associated with the Austin Power Films in 1997, 1999 and 2002.

Bacharach composed through the late 1950s-1980s. He wrote for both stage and film, as well as recordings. He is one of the top composers of the 20^th century. One of his personal favorites is the song, Alfie from the film of the same name in 1966. He recorded this song with Cilla Black at the Abbey Road Studios in London, England. With Hal David they produced the Broadway Musical, Promises, Promises.

A few of his hit songs are: Raindrops Keep Fallin’On My Head, What’s New Pussycat, The Look of Love, What The World Needs Now is Love, I’ll Never Fall in Love Again, (They long to be) – Close to You ,and, Do You Know The Way to San Jose.

Bacharach’s songs can be characterized by unorthodox chord progressions based on his background in the jazz idiom, sometimes diverting from the traditional form of pop songs. His music has been recorded by more than 1,000 artists. He is always adamant about how a song should be played and what it should sound like.

If there is a more deserving song composer called “iconic,” it is certainly Burt Bacharach. What a gift his music has given us to enjoy for years and years to come.

Please submit your questions and comments to banddirector01@comcast.net

Visit our website at danvilleband.org for up-to-date information about the Danville Community Band.

Christmas in Scandinavia

December 5, 2019 by Lawrence E. Anderson Leave a Comment

There are many Americans who have a Scandinavian background in their ancestry. But how many of them have a knowledge of Scandinavian Christmas traditions, food and music? I would venture to say, not many.

It may be surprising to know that many of our American and western world traditions stem from Scandinavian countries. Many of these customs date from Norse pre-Christian times with pagan rituals.

Even though the Bible does not give a specific date for the birth of Jesus; December 25^th was chosen, as it falls near the winter solstice. Light and candles were very important in this season. Stephen Nissenbaum wrote in his book The Battle for Christmas, “The ancients sent the darkness scattering by filling their homes with fire-light.”

In contemporary times, Scandinavian traditions are more commercial. Presents, Santa Claus and secular events are more prevalent than the sacred traditions of the past.

Norwegian Christmas Traditions

In Norway, Christmas traditions start to appear in late November, with many streets in Oslo decorated with lighted Christmas trees. This tends to take away some of the gloominess, dreariness and darkness that is common, being so close to the Artic Circle. At this time of the year daylight is only a few hours a day.

During Advent, julebord or pre-Christmas parties, are hosted by stores, clubs and private parties. December 23^rd, or “Little Christmas Eve,” is a time when family and friends decorate the Christmas tree, bake gingerbread, and consume lots of a traditional favorite, rice pudding, (risengrynsgrot.)

Americans usually open their presents on Christmas morning. In Norway, five bells are rung from the churches on Christmas eve. Presents are opened at night, not on Christmas morning.

Food on a Norwegian Christmas table often consists of dry-cured lamb ribs (pinnekjott) and cod cured in lye (lutefisk). A favorite dessert is risen grynsgrot (rice pudding mentioned above.) Often, the drink of choice is a mulled wine called Glogg.The Norwegians like to dip gingerbread (pepperkake) in their Glogg.

Music in Norway

Ole Bull (1810-1880) was Norway’s virtuoso violinist of the 19^th century. He was also a composer, entrepreneur, and self-proclaimed leader of the cultural elite in Norway. As a child prodigy, he unbelievably was admitted as first violin in the Bergen Orchestra, when he was eight years old! His musicianship was so outstanding he was called the “Paganini of the North.”

Bull surrounded himself with some of the most famous people of his era, including musicians, Schumann, Liszt, and Wagner. Bull was able to start a national theatre in Bergen. He made the writer, Henrik Ibsen, manager of his theatre.

Edvard Grieg (1843-1907) the diminutive Norwegian, became one of Norway’s greatest composers. The writer, Henrik Ibsen, was very influential in promoting the fame and reputation of Grieg. The famous incidental music of Peer Gynt, was composed by Grieg with the story by Ibsen.

Swedish Christmas Traditions

Traditions in Sweden are somewhat like Norway’s. The Swedish people also like to visit families and friends during Christmas and New Year’s.

Burning candles is still common. Women and young girls celebrate Saint Lucia Day (or Saint Lucy) on December 13 during Advent. Women and girls wear crowns with lighted candles on their heads. Legend says, in ancient times, Lucia wore a candle-lit wreath on her head to light her way while taking food to Christians hiding in catacombs.

A peculiar and unique tradition is having a Christmas tree that is as straight as can be—a very challenging task. A questionable activity, when trying to choose a tree in the woods, is attempting to fell the tree with a shotgun blast! Maybe that tradition needs to be re-thought!

The Christmas table may feature, “jellied pigs’ feet, sausage, lutfisk (spelled differently than in Norway), ham, pate, anchovy dish called (gubbrora) and pickled herring,” reported by Noha Charney in the article, A Scandinavian Christmas: History and food Traditions.

In some schools and businesses, the popular “Santa Game”is played. Gifts are given anonymously. Participants are given someone’s name and they then give them a gift. The person receiving the gift must then guess who the giver is.

The Swedish tradition of “Twelfth Night” is where star-boys (Stjarngossar) carrying stars made from paper, then go from house to house singing Christmas songs and are followed by the “Three Wise Men.” They hope to get schnapps and other food in exchange for their songs.

Music in Sweden

One of the most popular musical groups is The Son of Orpheus Male Choir. It dates to its founding in 1853 at Uppsala University. The Choir performs music from many periods of music history. The choirs’ arrangements are in the style of the original compositions.

Danish Christmas Traditions

The Danes begin their Christmas season with Advent – four Sundays before Christmas, with a wreath made of spruce boughs and red berries. They also place four candles on top, which they light each Sunday before Christmas Eve. The Advent calendar candle has 24 marks on it and is lighted every day for 24 days—December 1-24^th—that burns down one mark each day. Children receive a gift of candy for each day during Advent.

The Danish Christmas tree, like many cultures, has a gold or silver star atop the tree. Unlike other traditions, the Danes place their national flag around the tree.

The holiday dinner would most likely be a stuffed duck or goose with apple and prune stuffing. The usual side dishes may be cranberry sauce, beets, red cabbage, and sweet potatoes. Again, as with other Scandinavian countries, rice pudding is a must for dessert.

Music in Denmark

Carl Nielsen (1865-1931) was a noted Danish composer of classical music. His music was reflective of a national style, most vividly exemplified in his six symphonies. Nielsen was Denmark’s most prominent composer. Today Denmark is popular for its many music festivals and is noted for its modern jazz, pop, and rock music.

Finnish Christmas Traditions

Finns like to joke that Santa Claus comes from Finland. They say everyone knows that! Many Finnish traditions coincide with the traditions of other neighboring countries. A strong tradition in Finland is to decorate your log cabin, inside and out, with numerous candles. Another unique tradition is to go from the sauna, that is quite warm, to the very cold outdoors in the snow and ice. Burrrrr! They’re tough; they can take it!

The Christmas feast favors roast pork, fish and various casseroles, to go with meat and fish. For dessert the Finns like ginger biscuits, varied chocolates, and their national version of mulled wine (Golgi). The popular rice pudding is ever-present but eaten for breakfast and not for dessert.

Music in Finland

Jean Sibelius (1865-1957) was a famous and popular Finnish composer. Finlandia, was one of his signature pieces. It was so popular, it put Finland on the “musical map.” Sibelius was a champion of nationalistic Finnish music.

Sami music (folk music) popular in northern Finland and Norway, is known for its highly spiritual songs called joik. It is similar to some native American songs. Modern Finish music includes the popular rock music, heavy metal, hip-hop, pop, and jazz.

Some of the research for this article was enhanced by the writings of Noah Charney, notably, A Scandinavian Christmas: History and Food Traditions.

Here’s hoping your Christmas Season is a bright one and your New Year is filled with good health and happiness!

Mark your calendar-The Danville Community Band’s Annual Christmas Concert is December 15^th at 4:00 p.m. in the sanctuary at Community Presbyterian Church. Concert and Parking are FREE. Come early!

Submit your questions and comments to banddirector01@comcast.net

Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

The Theatre Organ

November 13, 2019 by Lawrence E. Anderson Leave a Comment

When you think of a musical instrument one does not necessarily think about its size. However, one of the largest instruments is the traditional pipe organ. Obviously, it’s not the small organ found in many homes, but the massive instrument found in many churches and auditoriums.

The theatre organ, a close cousin of the pipe organ, is an even larger, more massive instrument than its cousin. The theatre organ is a musical instrument phenomenon of the early 20^th century.

Ancient origins of the organ date to circa 250 BC. The main developments occurred between the 14^th and 18^th centuries with many newer innovations in the 19^th century. Interestingly, the organ was basically the only instrument not prohibited by the church in the Dark Ages.

The Theatre Organ

The theatre organ would not have existed without the advent of motion pictures and the impressive buildings where they were shown. Theatre organs were used for Broadway musicals and Hollywood movies. One can readily see how important the theatre organ was to the budding motion picture industry. The organ and its various components brought excitement and created a sense of realism to the silent images portrayed on the screen.

Some of the theatres were known as “movie palaces” or a “cathedral of motion pictures.” Since early films were silent, music was needed to enhance the drama on the screen. Musicians were hired and in the larger venues a full orchestra was used. However, in smaller houses only a few musicians were needed and just one was often hired in many theatres.

An instrument was needed to take the place of an orchestra or small ensemble—enter the theatre organ. There was also an economic factor in the equation; it was more economical to hire only one musician rather than many in an orchestra.

At first the traditional pipe organ was used but that proved inadequate. With new innovations, the pipe organ was adapted to achieve the desired purposes that better suited the action on the screen.

Builders: The new renovations to the pipe organ were the brain-child of English inventor, Robert Hope-Jones. Many of his innovations were done in England. When he arrived in America, he partnered with German immigrant Rudolph Wurlitzer and his company in New York. Hope-Jones ideas were brought to fruition with Wurlitzer and the resulting instrument was called the “Wurlitzer-Hope-Jones Unit Orchestra,” that became the “Mighty Wurlitzer.” This instrument was a one-man substitute for the orchestra.

Unfortunately, because of differences with the Wurlitzer Company, in 1914 Hope-Jones committed suicide. His ideas and inventions went on to markedly influence the building of theatre organs. The Wurlitzer Company continued to expand, and it became the largest maker of theatre organs in the world.

Other manufactures were: Bartola Company in Wisconsin; Robert Morton Company in California; Marr and Colton Company in New York and the Page Organ Company in Ohio. Builders of church and pipe organs also built theatre organs in the teens and the 1920s. Many theatre organs were installed in sports arenas, civic buildings and churches. Many were electric powered in the 1920s and 1930s.

Organ Components: There are characteristics that distinguish a theatre organ from a traditional pipe organ in a church or concert hall. In small venues and private homes, the components are all housed in a self-contained enclosure. In larger venues the components were installed in various spaces in the building. The console was visible near the stage. The other components were usually not seen.

The horseshoe shaped console consists of two, three or more manuals (keyboards); a semicircle of “tongue-shaped” stop tabs, like knobs you pull, and a foot pedal board played by the feet, plus many other buttons and pedals that control the swell shutters and other mechanics. The console is often positioned on a lift or elevator in front of the theatre screen.

The relay controls the “brains” of the instrument. When keys or stops, are activated, electronic signals direct the correct pipes and other components to sound the pitches.

The blower is a fan that directs the air to blow through the pipes. It also provides the air to sound the pneumatically operated instruments (traps). The blower also operates the swell-shutters and pistons that change many stops. The wind chest is a wood container that houses the pressurized air from the blower.

A set of pipes is known as a “rank of pipes.” Most ranks contain 60 to 70 pipes. The size of the organ determines the number of ranks- small organs have three or four ranks; large organs can have over 50 ranks and 3,000 to 4,000 pipes. Pitch is determined by the size of a pipe. Some pipes are smaller than a pencil. The lowest bass pipe in a large instrument is about 32 feet in length. The differences in pipe size can be enormous.

The traps are real percussion instruments including piano, xylophone, glockenspiel, orchestra bells, and cymbals, among others. These instruments are in pipe chambers. They are actuated from the console and sound by pneumatic action. Beaters are located above the percussion instruments. All the drums, both snare and bass, are activated in the same way.

Other sound effects like sirens, horns, whistles, sleigh bells and bird calls are all sounded from the console. Sometimes miles of electrical and wind lines are used for all components of the organ.

Many of the traps and components are at various distances from each other. One example is the organ in New York’s Radio City Music Hall. The Wurlitzer Organ, installed in 1932, has 56 ranks – and is the largest original Wurlitzer installation. This one organ has more wiring than all of Rockefeller Center.

There are many large theatre organs located in various parts of the country. Locally, one can hear an authentic theatre organ concert on the Spreckels Organ, at the California Palace of the Legion of Honor Art Museum, at Lincoln Park in San Francisco.

Are you interested in playing the organ?

Before you can learn to play the organ, most teachers will advise you to study the piano for at least a year. The challenges involved in learning the organ—using the keyboards and foot pedals, plus learning to read the musical scores—makes learning this instrument difficult. One must be dedicated to master the organ.

Many thanks to Professor Donald Plondke, organist, pianist and vocalist, for his contribution to the research for this article.

Please submit your questions and comments to banddirector01@comcast.net

Visit our website at www.danville.org for up-to-date information about the Danville Community Band.