NRR Project: 'Peter and the Wolf' (1939)

 

Peter and the Wolf

Composed by Sergei Prokofiev

Performed by the Boston Symphony Orchestra, Serge Koussevitzsky, conductor

Richard Hale, narrator

Recorded 1939

24:24

Holy cow! I was asked by the Library of Congress to write about this piece, which I did in 2019. My explanatory essay sits at the National Recording Registry website, which you can read here.

The official term for music that educates is pedagogic music, and most of it is as awful as that sounds. Official culture in every society seeks to inculcate its values, moral and aesthetic, in each of its young generations, and many a child has been bored to tears by something earnest and condescending it is thought they “should” like. It’s a rare piece of music that remains as fresh and persuasive as Peter and the Wolf.

In classical music, there are a number of designated “kid-friendly” pieces that serve as gateways to Western art music, the symphonic world. Saint-Saen’s Carnival of the Animals, Britten’s Young Person’s Guide to the Orchestra. There are inadvertently famous classical riffs as well, and some children graduate into a love of the classical music they only heard snatches of. The Lone Ranger’s signature music is eventually understood as the overture to Rossini’s opera, Giullaume Tell, and the grand three-note opening theme from 2001: A Space Odyssey becomes Richard Strauss’ Also Sprach Zarathustra (especially as taught by kid-friendly composer and conductor Leonard Bernstein at one of his televised Young People’s Concerts).

One of the most successful of these compositions is Russian composer Sergei Prokofiev’s Peter and the Wolf, a “symphonic fairy tale for children” written in the Soviet Union but first recorded in America, by Serge Koussevitzsky and the Boston Symphony Orchestra. Since its premiere, it’s been recorded more than 400 times, in a dozen languages.

The young and enterprising Prokofiev left the fledgling Soviet Union in May, 1918; after many successes, he returned permanently in 1936. There, educator Natalya Sats asked him to write a piece that would teach instruments of the orchestra to children, for her Central Children’s Theatre.

The official culture of the day in the USSR was socialist realism, a style that featured idealistic depictions of the common man, depictions that were mandated, reviewed, critiqued, and censored by the central government. A useful work of art taught a moral lesson and reinforced Soviet values. For a libretto, Prokofiev started with a rhyming narrative by popular Soviet children’s writer Antonina Sakonyskaya, about a Young Pioneer (the Soviet equivalent of a Boy Scout) challenging an adult mired in reactionary, pre-Revolutionary thinking.

Dissatisfied, Prokofiev tossed the original poem aside and wrote his own story in prose. Turning to the music, he completed the piano score in less than a week, and the orchestration in another. Peter and the Wolf debuted on May 2, 1936 at a children’s concert by the Moscow Philharmonic. The American premiere took place in Boston in March, 1938, due to the presence there of Koussevitzsky.

Serge Koussevitzsky was another Russian, but one who chose life in the West after the Russian Revolution. A respected bassist and composer, his financial situation enabled him to advance his career by doing such things as hiring the Berlin Philharmonic for his conducting debut and forming a dominating music-publishing company that printed the work of composers such as Scriabin, Rachmaninoff, Stravinsky, and . . . Prokofiev. Koussevitzsky led the ensemble during a period of artistic greatness. (The primary performance space at the BSO’s legendary summer concert venue Tanglewood bears the name of the Koussevitzsky Music Shed.)

According to Koussevitzsky biographer Moses Smith, “Prokofiev appeared as a soloist and guest conductor for a program of his own music which included ‘Peter and the Wolf’ in its first American performance. In a pre-concert interview with newspapermen he had pointedly alluded to the bad reception Boston had previously accorded his more ‘serious’ works, which he was accordingly omitting from the forthcoming program.” Prokofiev biographer Simon Morrison adds, “Prokofiev informed a Time magazine reporter that because audiences in Boston could not grasp his ‘serious music,’ he was obliged to pander to them with ‘simple things.’”

Despite the composer’s deprecating comments, the simplicity of the composition is not to be confused with a lack of quality. It’s the story of young Peter, who, defying his Grandfather’s words of warning, defeats and captures a hungry wolf, with the aid of a few animal friends. Each character has a dedicated instrument and a distinct theme — what Wagnerians would call a leitmotif. Peter is voiced by the strings, and there is his grumpy Grandfather (bassoon), a bird (flute), a duck (oboe), a cat (clarinet), and the wolf himself (French horns). With precision and economy, Prokofiev sketches out the characters thematically as he moves the story along.

The role of the Narrator in the performance is key, and the debut recording features Richard Hale as such. The respected baritone was a frequent concert-hall performer; in later years he turned to character acting in films, becoming a familiar face in fare such as To Kill a Mockingbird (1962). Hale gives the reading a directness and emotional force absent in many other renditions of the role. In Hale’s performance, the story is thrilling and vital.

After the premiere in Boston, Prokofiev toured America in 1938. He made a point of going to Hollywood and playing Peter and the Wolf for Walt Disney, in the hopes he would craft an animated film based on the score. Disney nearly added a Peter and the Wolf segment to his animated/classical music anthology Fantasia (1940), but eventually produced it as a segment of the anthology Make Mine Music in 1946.

The premiere recording exists as a six-part set of 78-rpm records bound together (these bulky, heavy folders gave us the phrase “record album”). The initial release was wildly popular, and soon recording followed recording, sporting narrators as varied as Boris Karloff, David Bowie, Eleanor Roosevelt, and Alice Cooper. Peter and the Wolf is popular — and sturdy — enough to endure hundreds of renditions.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: Charlie Christian plays ‘Rose Room.’

 

SOURCES

 

Koussevitzsky

Moses Smith

Muriwai Books

2017 (1947)

 

Serge Koussevitzsky

Hugo Leichtentritt

Harvard University Press

1946

 

The People’s Artist: Prokofiev’s Soviet Years

Simon Morrison

Oxford University Press

2009

 

 

NRR Project: 'Over the Rainbow' (1939)

 

NRR Project: ‘Over the Rainbow’

Music by Harold Arlen; Lyrics by E.Y. Harburg

Performed by Judy Garland with Victor Young and his Orchestra

Recorded July 1939

2:47

One of the greatest American songs was crafted for the groundbreaking Technicolor fantasy film The Wizard of Oz in 1939. It was written expressly for Judy Garland to sing as Dorothy in the sepia-toned prologue to the movie, set in Kansas. There, amid her colorless, ramshackle environment, Dorothy sings of wanting to be somewhere else, somewhere “the dreams that you dream really do come true.”

First, read Walter Limler’s excellent explanatory essay here. It breaks down just how difficult it was for composer Harold Arlen to come up with the music for this song. He was adept at crafting comic songs, but this one needed to be heartfelt. (In musicals, this type of song is often referred to as a “wants” song, one in which the lead character expresses longing for change.)

The movie was a hit, and so was the song. It became Judy Garland’s theme song (she was only 16 when she first recorded it), and is one of the most familiar tunes of all time.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time:‘Peter and the Wolf.’

NRR Project: 'O Que e que a Bahiana tem’ (1939)

 

NRR Project: ‘O Que e que a Bahiana tem’

Performed by Carmen Miranda and Bando de Lua

Recorded December 1939

3:17

Carmen Miranda (1909-1955) persists in our collective imagination as “the lady in the tutti-frutti hat,” the exuberant Brazilian songstress whose outrageous outfits were her trademark.

There are two excellent explanatory essays on her at the National Recording Registry – one byKathyrn Bishop-Sanchez, here; and one by Cary O’Dell, here. I can only add a bit myself.

She released her first album in 1930. She was already popular in Brazil when she recorded this song in 1938. It’s from her fifth film, Banana di Terra. The song took off and she recorded it in New York in December of that year.

She was an immediate hit. She dressed in an approximation of the wardrobe of the Bahia women – Brazilian peasant-class ladies who dressed extravagantly. She wears bright colors, enormous jewelry, and fantastic headgear, usually featuring fruit and flowers.

“O Que e que a Bahiana tem” and other numbers she performed in the New York show Streets of Paris in 1939. Soon she was seen on the screen, usually filmed in New York due to her theatrical commitments. She was dubbed the Queen of Samba.

In 1940 she did her first American movie, Down Argentine Way. She is always presented as a cliché Other, a weird amalgam of entertaining traits combined with an excessive visual style. She made 13 films in all.

As derided as she might be for her look, her musicianship was excellent and as distinctive as the later Yma Sumac, another Latin phenomenon. She did help immensely to inject Latin music into the American mainstream.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time:‘Over the Rainbow.’

NRR Project: The John and Ruby Lomax Southern States Recording Trip

 

NRR Project: The John and Ruby Lomax Southern States Recording Trip

Recorded March 31 – June 14, 1939

350 performances

The most epic journey in American roots music began March 31, 1939. Seventy-two-year-old John Lomax and his wife Ruby Terrill, 53, set out on an expedition into the heart of the American soul, as expressed through music.

They recorded everything and everyone. They recorded English and Spanish, all faiths, all colors. According to Matthew Barton and the National Recording Registry from which you read here, “the Lomaxes captured a wide range of traditional musical styles in English and Spanish, including ballads, blues, children's songs, cowboy songs, fiddle tunes, field hollers, lullabies, play-party songs, religious dramas, spirituals, and work songs, as well as interviews with the performers.”

In fact, just cut to Barton’s essay here. Just read it. It’s really good!

I can only add that, for the lover of American music, this collection of musical pieces, all fully accessible online, is the mother load of content. In only 10 weeks, the Lomaxes found and captured hundreds of bits of oral culture that could never be accessed today. The wealth of what they collected is still impacting scholars and musicmakers today.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: Carmen Miranda sings ‘O Que e que a Bahiana tem’.

NRR Project: 'In the Mood' (1940)

 

NRR Project: ‘In the Mood’

Composed by Joe Garland and Andy Razaf

Performed by the Glenn Miller and his Orchestra

Recorded Aug. 1, 1939

3:09

I must first point to the extremely learned essay on this piece from Dennis M. Spragg, which you can read here. (He is the senior consultant for the Glenn Miller Archives at the University of Colorado Boulder.) Like any great detective, he searches for the origin of the piece and rings all the changes on it down to the date of its incredible success.

Because the first few bars of the song are instantly identifiable, and in fact evoke an entire period in American history – the span of big-band music, which thrived from the mid-1930s to the end of the Second World War in 1945. This iconic song, in both its instrumental and vocal renditions, bring back memories of grandparents and great-grandparents, all those who survived the Depression and WWII – those dubbed the Greatest Generation.

The story of “In the Mood” is one of the long evolution of a riff, that began in 1925. Jazz is uniquely conducive to the re-formation of music that already exists, so it didn’t take long for different artists and ensembles to adapt, transform, and perfect it. Joe Garland copyrighted his version in 1938. Finally, in 1939 Glenn Miller purchased the tune from Garland. Miller rearranged the number with Eddie Durham, and voila – “In the Mood” crystalized into its eternal form.

It's swinging, instantly memorable, a smoothly orchestrated syncopation that invites the listener to dance. It’s one of those perfect songs, one that deserves it place in the collective consciousness.

Just one caveat -- the National Recording Registry notes that the recording is “seamless and precise.” This is one quality of Miller’s style that can be interpreted in a negative way. All of Miller’s work is based on the flawless and modulated performance of the text as written. He was an auteur, he, like Duke Ellington, could shape exactly the sound he wanted to hear. And his taste was excellent.

This is different approach than that taken by the relatively looser bandleaders Benny Goodman and Artie Shaw, not to mention the real swingers such as Count Basie and Andy Kirk and his Twelve Clouds of Joy, Is Miller, then more mechanical, more soulless, more vanilla, more . . . wholesome?

It would mark the high point of the general American public’s love of jazz. It would have been fascinating to hear his development after the war years, but his untimely death in 1944 precludes us from knowing other than what became a string of well-machined popular hits for him and his outfit.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: the John and Ruby Lomax Southern States Recording Trip.

NRR Project: 'If I Didn't Care' (1939)

 

NRR Project: ‘If I Didn’t Care’

Composed by Jack Lawrence

Performed by the Ink Spots

Recorded 1939

3:09

First of all, read Andrew Hickey’s excellent explanatory essay here. I can only echo his words.

The Ink Spots were a vocal quartet much in the style of the already popular Mills Brothers, although initially they essayed more comic material. They formed in 1934, and worked steadily at all manner of gigs until they made a huge hit of “If I Didn’t Care,” which sold an amazing 19 million copies.

The song runs on highs and lows – first, the soaring tenor of Bill Kenny, followed by a spoken reprise of the lyrics by bass Hoppy Jones, then another repetition of the opening. This style was immediately co-opted by many other groups, but nothing could compare to the originals. It’s a sweet and yearning tune that still enchants decades later.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Next time: ‘In the Mood.’

NRR Project: 'Body and Soul' (1939)

 

NRR Project: ‘Body and Soul’

Composed by Johnny Green, lyrics by Edward Heyman, Robert Sour, Frank Eyton

Performed by Coleman Hawkins and His Orchestra

Recorded Oct. 11, 1939

3:02

 

First of all, I could not do better than the fantastic essay written by Stephen Rush for the National Recording Registry. Here it is, and it explicates the importance of this recording quite wonderfully.

Hawkins (1904-1969), originally from Missouri, gravitated to New York in the early 1920s. He is credited as one of the great jazz soloists, in league with Louis Armstrong and Lester Young. Here he improvises from the chord structure of the piece, largely ignoring the melody – a trend in music that would eventually develop into the bebop approach. By taking apart the song and riffing on its chord changes, he elevated the solo jazz instrument as an interpretive outlet for musicians who wanted to move past the more conservative playing of the 1920s and 1930s.

In other words, the piece is beautiful and deserves thoughtful listening.

The National Recording Registry Project tracks one writer’s expedition through all the recordings in the National Recording Registry in chronological order. Nest time: the Inkspots do ‘If I Didn’t Care’.