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Music  Club > 2020 Spring (Season 14)

Music Club: Wednesday 20 May 2020

Meeting open for joining at 8:15 pm Beirut Time
Talk starts at 8:30 and until 9:45

Why is this Rhapsody Blue? . . . and why a Rhapsody at all?

Speaker: Akram Najjar
Language: English (supported by some Arabic)


Video download
: we have succeeded in uploading the Rhapsody in Blue video.
Click Here to view/download it. (557 MB).

Performance of the Rhapsody in Blue:
Fazil Say (piano) with the hr-Sinfonieorchester (Frankfurt Radio Symphony Orchestra) + Carlos Miguel Prieto (conductor)

Rhapsody in Blue is a 1924 musical composition by American composer George Gershwin for solo piano and jazz band, which combines elements of classical music with jazz-influenced effects. Commissioned by bandleader Paul Whiteman, the composition was orchestrated by Ferde Grofé several times, including the original 1924 scoring, "theater orchestra" setting published in 1926, and the symphony orchestra scoring published in 1942.

The piece received its premiere in the concert, An Experiment in Modern Music, which was held on February 12, 1924, in Aeolian Hall, New York, by Whiteman and his band with Gershwin playing the piano. For the next 17 minutes, George Gershwin, an unknown 26-year-old composer, caressed and pounded the piano at center stage, chasing the orchestra through a thrill ride of skyrocketing notes. It was an unforgettable debut -one that brought new respect to jazz and helped redefine classical music. Today, Rhapsody in Blue is one of the 10 most-performed works of the 20th century, right up there with "Happy Birthday" and "White Christmas."

The Talk
Akram will guide us through the Rhapsody by showing what is "Blue" in it and why it is a Rhapsody.
Various examples will be given by pianists that show how the various themes in the work are "bluish" . . . . and why.


 
 
 
Fazil Say
(Adapted from Wikipedia Click Here)
 
Fazıl Say wrote his first piece – a piano sonata – as early as 1984, at the age of fourteen, when he was a student at the Conservatory of his home town Ankara. It was followed, in this early phase of his development, by several chamber works without an opus number, including Schwarze Hymnen for violin and piano and a guitar concerto. He subsequently designated as his opus 1 one of the works that he had played in the concert that won him the Young Concert Artists Auditions in New York: the Four Dances of Nasreddin Hodja. This work already displays in essence the significant features of his personal style: a rhapsodic, fantasia-like basic structure; a variable rhythm, often dance-like, though formed through syncopation; a continuous, vital driving pulse; and a wealth of melodic ideas that may often be traced back to themes from the folk music of Turkey and its neighbors. In these respects, Fazıl Say stands to some extent in the tradition of composers like Béla Bartók, George Enescu, and György Ligeti, who also drew on the rich musical folklore of their countries. He attracted international attention with the piano piece Black Earth (1997), in which he employs techniques familiar to us from John Cage and his works for prepared piano.
 
After this, Say increasingly turned to the large orchestral forms. Taking his inspiration from the poetry (and the biographies) of the writers Nâzım Hikmet and Metin Altıok, he composed works for soloists, chorus and orchestra which, especially in the case of the oratorio Nâzim, clearly take up the tradition of composers such as Carl Orff. In addition to the modern European instrumentarium, In the year 2007 he aroused international interest with his Violin Concerto 1001 Nights in the Harem, which is based on the celebrated tales of the same name, but deals specifically with the fate of seven women from a harem. Since its world premiere by Patricia Kopatchinskaja, the piece has already received further performances in many international concert halls.
Fazıl Say scored a further great success with his first symphony, the Istanbul Symphony, premiered in 2010 at the conclusion of his five-year residency at the Konzerthaus Dortmund. Jointly commissioned by the WDR and the Konzerthaus Dortmund in the framework of Ruhr. 2010, the work constitutes a vibrant and poetic tribute to the metropolis on the Bosporus and its millions of inhabitants. The same year saw the composition, among other pieces, of his Divorce String Quartet (based on atonal principles), and commissioned works like the Piano Concerto Nirvana Burning for the Salzburg Festival and a Trumpet Concerto for the Mecklenburg-Vorpommern Festival, premiered by Gábor Boldoczki.
 
In response to a commission from the 2011 Schleswig-Holstein Musik Festival, Say has also written a Clarinet Concerto for Sabine Meyer that refers to the life and work of the Persian poet Omar Khayyam. Fazıl Say’s works are issued worldwide by the renowned music publishers Schott Music of Mainz.
 
Fazil's Home Page Click Here



Akram Najjar is a graduate of AUB in Physics and Mathematics (1966). By 1969, he completed a degree in Electronic Engineering in University of Hertfordshire, UK. His professional life was spent in Information Technology. When he was 11 years old he was sick for 6 months. His mother Souad introduced him to Classical Music, which became a life long love. (Later on joined by Rock and Jazz). Unfortunately, after an initial tuition of 18 months, he did not continue his piano studies. Through his love for music, he became an informed and dedicated amateur. At AUB, he took many courses in philosophy and literature. He used the analytic and critical approached he learnt in these fields to arrive at a critical understanding of music.
Akram has published several technical books (www.marginalbooks.com), a few literary works (www.marginalstories.com) and 4 puzzle books (www.thehiddenpaw.com).

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