Ernest Bloch: The man and his music; Episode 6 of 15

The griller quartet has performed Ernest Bloch's string quartet number four once again. So Zembla during the years nine hundred twenty two thousand twenty five Ryan Block was director of the Cleveland Institute of Music not only act as administrator of the school but he spent many hours giving master courses conducting the school acapella course and the student orchestra and of course composing every weekend Saturday. He would rock to the garage take out his own for jihad name is inker and drove to the institute. Arriving at nine o'clock sharp and he would leave after five except on Mondays when there was an evening chorus rehearsal. And on that evening he would invite some of the faculty for dinner at one of the better restaurants there. But he always insisted on making his own salad dressing strongly laced with garlic. This is not the very best thing to say before a chorus rehearsal but it became a tradition never forgotten. Then he gave Master Classes in composition to such pupils as Roger Sessions the late principal of Yale University

beverage than they did Rogers and many many others. Why for the institute is always very exciting and when he had visitors he would always go to the piano and play and illustrate his points. He believed in foam and he was distressed to hear some of the younger students having not to perfected their craft express an opinion that all those fuddy duddy rules of tonality and form were not quite useless. So one day he said all right I will show you that one can write a piece that is tonal using the old forms and still be alive and exciting and fresh. So one weekend he sat up in the living room and worked. He handed out pasta for all of us to copy saying they should be ready the next Friday afternoon in time for the string orchestra rehearsal that Friday some of us arrive in a rush waving in the air some of the PA that was still wet from copying and then block arrived and we read the piece had written and that was a prelude of the controller Grosso his first we all start with a bang and hot ass could one start this where when playing that

pressure you would were carried away. Proudlock conductor the beaming face into the end we all shot and cracked. We were a bit delirious and then blocked leaned over looking at some of the students and said ABM my friends why do you think of this piece. It was made with just old fashioned notes. He then decided to write a second movement for contrast a dirge. It is very expressive full of deep sighs and sentiment. But in the middle section becomes a bit like a comforting dream at the reality and then the dirge returns with its implacable pattern for the double bass. After the dirge blog added a passed around and there you see as it composed this teens a student in Brussels after the pastoral blog decided to write a few. He didn't know then that in his last 20 years he would entertain himself by trying to reconstruct the fugues of buffer memory using the process as a composer trying to recreate the work to understand the incredible logic and genius of Bach. At that time he hadn't

thought of this but now is teaching future to the students. One of his great rules was that one should spend many many weeks just reading a large number of perfect fugue themes that the laws of a good few theme that would be repeated over and over again with the same laws of all art and aesthetics. One evening when he was working in the living room we heard a shout Maglite. This is all fun. Come here the Rushton and there he was delighted with the end of his fugue this trek to where the theme comes in twice as slow as the other voices. He asked me to play this and double the voice to stress excitement. We were truly thrilled he was happy. The fugue was turning out well and what had started as a small experiment to show that one could write a piece in an own form and to analyse and become a complete con. grocer. Later he said mildly. I think that this piece might be even published Monday. You know it could be played in schools. He had no conception that this would become a repertory piece for orchestras for many years to come. Thus he proved his point

that a work written in there always but with the vigor and personality could remain fresh and alive. You were not here on his boss concerto Grosso number one. Conducted by Rafael Kubelik with the Chicago Symphony Orchestra. Eh. Eh

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lead. Player. Player. Player. Who were. Or were. Or are. A horror. Roughly Oku Billick has directed the Chicago Symphony Orchestra in a performance of the concerto Grosso number one of Ernest Bloch to close our program. You've been listening to the sixth in a series of 15 programs Ernest Bloch the man and his music

the commentator for this series is Suzanne block. The composer's daughter the quotations from Bloch's writings are read by Robert Morris and Lee Crowe good reads the quotations from other writers Ernest Bloch the man and his music is produced by Thomas Koester for WRVO are the noncommercial cultural and informational station of the Riverside Church in New York City. Albert Petrak speaking. This is the national educational radio network A.