In his review of the Opera Theater of St. Louis' performance of Scott Joplin's Treemonisha (1916) Anthony Tommasini (The New York Times) writes, "But what ultimately ennobles the opera is Joplin's music. The score is often awkward, yet disarming. Though Joplin was the king of ragtime there are actually few real rags in the opera. The lilt and lyricism of ragtime music run through the score, as does the melancholia that is always part of Joplin's voice, even in such seemingly jolly works as The Maple Leaf Rag. A gentle sadness pervades every bit of Treemonisha: the recitatives; the moments of tension, thick with seventh chords; the confessional arias, like Monisha's moving account of her adopted daughter's origins; even the dances and choruses. And when the time comes for jubilation at the happy ending, what does Joplin provide? A Real Slow Drag, a wistful dance of subdued joy and hope." Watch a performance of this "happy ending" with soprano Carmen Balthrop and the Houston Grand Opera . . . one of this week's FEATURED NEW MUSIC VIDEOS.

Krzysztof Penderecki has been an exceptional phenomenon in the history of music, not only in that of Polish music, but in the history music in general. And in twentieth-century music, no one has had a career quite like his. He enjoyed success from the very start. When the results of the Second Competition of Young Composers were decided in 1959, it turned out that Penderecki's compositions (submitted under different pseudonyms) had taken the first, second and third prizes - Krzysztof Penderecki, an unknown 28-year-old assistant professor at the Composition Department of the State Musical Academy in Krakow. In 1960, he wrote a work titled 8'37" (which is how long the composition lasts), for which he received a prize the next year from the UNESCO International Rostrum of Composers in Paris. The work is now known as Threnody for the Victims of Hiroshima, and it has been played all over the world. During that period Penderecki became a leading representative of avant-garde music. Then in 1966 came the premiere performance of his Passion According to St. Luke. With this work, Penderecki parted with the radicalism of the avant-garde. He began composing works that were accessible to the average music lover - with a content, construction and emotions that were instantly understandable. Penderecki has said, "It is not important to me how the St. Luke Passion is described, whether as traditional or an avant-garde. For me it is simply one that is genuine. And that is enough." He is himself in each of his works, and he has not allowed the critics to discourage him. He stands his own and has continued to write music his own way. Hear Penderecki talk about his life and his music . . . our COMPOSER PORTRAIT for the week.

The Silencers (1966) is a quintessential 1960's spy spoof movie, directed by Phil Karlson. It is the first (and best) of four colorful Matt Helm fims, with debonair 'Rat Pack' member Dean Martin cleverly cast as a womanizing smoothie, the Man from ICE (Intelligence Counter Espionage). The attitudes may have dated — this is very much of its time — but the women continue to delight, especially Stella Stevens as a divine klutz. According to Mark Hasan (Film Score Monthly), "The film score of The Silencers fused big-band arrangements with a level of playful yet aggressive writing, imbued with a vigor reminiscent of composer Elmer Bernstein's classic 1950s output. That isn't to say his 1960s scores to that time were weak, but The Silencers exudes such vitality and goofiness that the final result is utterly addictive." Watch a montage from this over the top film backed by the infection music of the great Elmer Bernstein . . . our current PYTHEAS SIGHTING.

Conductor Andre Kostelanetz expressed nervousness at premiering William Schuman's New England Triptych with the New York Philharmonic, so he instead first performed it with the University of Miami Symphony Orchestra on October 26, 1956. It was played in New York the following week. Critics gave glowing reactions - and the New England Triptych became an instant classic. The music is based on three hymn tunes by 18th century American composer William Billings: "Be Glad Then, America," " When Jesus Wept," and "Chester." With the exception of his arrangement of Charles Ives’ organ piece "Variations on America," New England Triptych is recorded and performed more often than any work by William Schuman. Hear a classic performance of the New England Triptych with Max Rudolph conducting the Cincinnati Symphony Orchestra . . . this week's FROM THE PYTHEAS ARCHIVES.

Explore, Listen and Enjoy!
Vinny Fuerst
Pytheas Center for Contemporary Music