I was saying to someone the other day that one of the very first gigs we did – I don’t even think we were the Beatles, it was the Quarrymen – one the very first times I ever played with John, we did a very early gig at a thing called a Co-Op Hall, and I had a lead solo in one of the songs and I totally froze when my moment came. I really played the crappiest solo ever. I said, “That’s it. I’m never going to play lead guitar again.” It was just too nerve-wracking onstage. So for years, I just became rhythm guitar and bass player and played a bit of piano, do a bit of this, that and the other. But nowadays, I play lead guitar, and that’s the thing that draws me forward. I enjoy it. So, yeah, that means the answer to “Are you going to retire?” is “When I feel like it.” But that’s not today.
At the deepest level, McCartney has little idea where all the melodies come from. He still hasn’t figured out how he wrote “Yesterday” in his sleep. “I don’t like to use the word ‘magic,’ unless you spell it with a ‘k’ on the end, because it sounds a bit corny. But when your biggest song – which 3,000 people and counting have recorded – was something that you dreamt, it’s very hard to resist the thought that there’s something otherworldly there.”
1978 SPECIAL CITATION for distinguished service to the arts (Posthumous)~
NAXOS: George Szell~ http://www.naxos.com/person/George_Szell_38224/38224.htm
“Szell stories”—tales of his irascibility, hauteur and genius—are still popular when musicians gather to drink and dish after concerts. Pianist Glenn Gould referred to Szell’s “Dr. Cyclops” reputation and nearly walked out of his one and only collaboration with the conductor. (“That nut’s a genius” was Szell’s personal appraisal of Gould.) In 1946, his first year as music director of the Cleveland Orchestra, Szell fired 22 of the 94 musicians in the group, and he later dismissed his brilliant principal oboist of almost two decades for a single insubordinate comment at a rehearsal. Most of his players were terrified of him; some frankly despised him. After Szell’s death, one Cleveland violinist refused to cut his hair, letting it grow down to his waist in posthumous rebuke to the martinet who could no longer object.
And yet Szell’s accomplishments in Cleveland cannot be overstated. He summed up his approach succinctly three years before his death. “My aim in developing the Cleveland Orchestra has been to combine the finest virtues of the great European orchestras of pre-World War II times with the most distinguished qualities of our leading American orchestras,” Szell wrote. “We put the American orchestra’s technical perfection, beauty of sound, and adaptability to the styles of various national schools of composers into the service of warmhearted, spontaneous music-making in the best European tradition.” And indeed, such was his legacy.
Bob Dylan Through The Years~
Bob Dylan: Official Site~ http://www.bobdylan.com/us/home
Early in his career, Wagner learned both the elements and the practical, political realities of his craft by writing a handful of operas which were unenthusiastically, even angrily, received. Beginning with Rienzi (1838-40) and The Flying Dutchman (1841), however, he enjoyed a string of successes that propelled him to immortality and changed the face of music. His monumental Ring cycle of four operas — Das Rheingold (1853-54), Die Walküre (1854-56), Siegfried (1856-71) and Götterdämmerung (1869-74) — remains the most ambitious and influential contribution by any composer to the opera literature.
A great music lover, Renoir was one of the first admirers of Wagner in France. At the beginning of 1882, when the painter was travelling in the south of Italy, he had the opportunity to visit Palermo where Wagner was staying. After two fruitless attempts, Renoir was finally introduced to the “maestro” who, the day before, had put the final notes to Parsifal.
The course of this meeting is well known thanks to a letter from Renoir to one of his friends, dated 15 January 1882:
Pete Townshend (1945)
art: John Entwistle
Grace Jones (1948)
art: Keith Haring
photographed by Robert Mapplethorpe
William Grant Still (1895-1978)
African American Composer, Arranger, Conductor & Oboist
Dean of African American Composers
On this date in 1895, William Grant Still was born. He was an African American musician and composer.
Still was the first African American to conduct a major symphony orchestra, the first African-American to have an opera, “Troubled Island” (1949) performed by a major opera company, and the first to have an opera, “A Bayou Legend,” performed on national television (1981).
The period from 1926 to the early 1940s was Still’s most prolific. During this time he wrote “Levee Land” (1925), a suite for orchestra and soprano that combines traditional western musical elements with jazz; “From the Black Belt” (1926), a work for chamber orchestra based on seven short character sketches; “Sahdji” (1930), a choral ballet based on an African story, and “Afro-American Symphony.”
Irving Berlin was born Israel Beilin on May 11, 1888. In 1907 he published his first song, “Marie from Sunny Italy,” and by 1911 he had his first major international hit — “Alexander’s Ragtime Band.” Over the next five decades, Irving Berlin produced an outpouring of ballads, dance numbers, novelty tunes and love songs that defined American popular song for much of the century. He wrote seventeen complete scores for Broadway musicals and revues, and contributed material to six more. His songs have provided memorable moments in dozens of…films. An intuitive business man, Irving Berlin was a co-founder of ASCAP (American Society of Composers, Authors and Publishers), founder of his own music publishing company, and with producer Sam Harris, builder of his own Broadway theatre, The Music Box.
In the late 19th century the sheet music business dominated the music industry in the United States. Parlor music took over the scene as the piano became a part of the middle class home. This led to a demand for sheet music for home consumption. The genre that grew out of this demand was called Tin Pan Alley, from the area of New York City where most of the song publishers were located. Success was measured by the sale of sheet music. To attract business, sheet music publishers hired artists to make beautiful covers…In the early 20th century the phonograph and recorded music grew in popularity and began to replace sheet music. In the 1920s, radio became the rage and eventually the record industry replaced the sheet music publishers as the prevailing music medium.
World renowned violinist Nora Clench was a child prodigy, born Esther Leonora Clench in what is now Ontario, Canada. Nora made her debut as a violinist at the age of 8. When she was fifteen she entered the Leipzig Conservatory in Germany, and after graduating in 1889 she became first violinist and leader of an orchestra in Buffalo, New York. She later toured Europe and eventually moved to London. • In 1900 Clench temporarily gave up playing the violin in order to go to Paris to paint. When she returned to music she founded the all-female “Nora Clench Quartet”, which played a prominent role in the music of fin de siecle London. • Clench again retired from the violin in 1908, at the age of 41, when she married the Australian landscape painter Arthur Streeton. The Nora Clench Quartet continued without her. In 1923, the Streeton family moved to Australia. In 1937 Streeton was given a knighthood for his services to fine art, and Clench became Lady Streeton. • Nora Clench died in Australia in 1938; her husband died in September 1943 after a long illness. The couple’s property with its house, studio and cottage, in 5 acres of garden, remains in the ownership of the Streeton family today.
Biography & Photos~
Program of her farewell appearance~ https://archive.org/details/cihm_36309
Nude Study (1903) attributed to Nora Clench
In mid 1936, Ella made her first recording. “Love and Kisses” was released under the Decca label, with moderate success. By this time she was performing with Chick’s band at the prestigious Harlem’s Savoy Ballroom, often referred to as “The World’s Most Famous Ballroom.”
Shortly afterward, Ella began singing a rendition of the song, “(If You Can’t Sing It) You Have to Swing It.” During this time, the era of big swing bands was shifting, and the focus was turning more toward bebop. Ella played with the new style, often using her voice to take on the role of another horn in the band. “You Have to Swing It” was one of the first times she began experimenting with scat singing, and her improvisation and vocalization thrilled fans. Throughout her career, Ella would master scat singing, turning it into a form of art.
Ella Fitzgerald | Official Site~ http://www.ellafitzgerald.com/about/biography
Ella Fitzgerald at 100 (npr)~