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I found his need for Violin and Piano with the words time and breath and Charles Reiner accompanying at the piano and here again Suzanne block block composition for violin and numerous. It had been the instrument for which as a young boy each one great talent in the old scrapbook at the Library of Congress. The very first clipping when thieves went up a review of the performance he gave in Geneva at the age of 11 for the praise but warning the young boy that all the theft might be dangerous so early at the age of 17 he went to a brothel to study with the great surgeon evaluate who after thing from a blocked competition advised him to develop what he felt were great gifts there. For as you said this being the year 1898 we have good Valen is a dime a dozen but not enough composers of value. He wrote several young works for this instrument a concerto which is why they destroyed and if there's a phantasy is provided in piano which you never laugh about Legation whose manuscript I'm deposit at the lobby of Congress about 1910 when he was conductor of the orchestra of the city of Lausanne in
Switzerland. Bloch engaged a 17 year old phenomenon whose name was Rose left to get the block and his wife would often reminisce about the youth moderately played how beautiful it was how shy and modest through other years a deep friendship grew between the two men laughing until blocks there when a knocking thirty eight block completed the work he dedicated to the Getty who gave its world premiere of that same year the trouble of conducting the Cleveland Symphony Orchestra when a first recording with me back to getit with Shar Mensch conducting. This concert was based on a theme which has been around a flea thought him break this scene was Joba down from American Indian music block heard in New Mexico the theme and typically as any Indian things in a descending third into thought fickle patients. Bom bom bom. The theme recurs often through other work the concert in itself is not a toy engine in character or pretends to have anything to do with American Indian music. He was struck with a theme retained it absorbed it and use it as he saw fit. No doubt it is close to the blockage
him but clearly is not the break it seems that every time Bloch wrote for a solo string instrument. People thought a little more in its own fifties was a continuation of the work as a because of his great popularity. Luck would continue riding Shalom was for all the other instance of the orchestra. This is like putting an actor in Hollywood for whatever successful part brought him in the limelight and this contrasts with some factions are moral so may seem in part Oriental but is the opening theme that unifies anti-work. It was composed in 1937 while he lived in Europe. It may be that he uses I make Indian themed there because it enough target for the American Southwest blockhead always an authority for the country had left and when it appeared of his life he tried to paint what a call and scape. The father had painted Swiss landscapes why in America and your estate in the Swiss Alps so run about magnificent mountains he told us it painted a vision of California Redwood. He finished the concert in a small village called shop in the Swiss French Alps he had difficulty with a long cadence for the violin and the pans would pick up
his old violin which had lain untouched for years. This valley was supposed to grow in areas that mother dotted all along its authenticity and it and she was right. At the time of the cadence of composition in childcare all the other was a bit husky and rusty blockhead to practise fearfully and during this period I happened to be there to the Great Porter here in work he would stop seriously and think exercises scales in at you though he would begin with a grand virtue to approach the results would be not up to it. So what happened would be that after a rather impatient at everything with this poll showing he would lose his discipline and enjoy himself by improvising for a long time. Mother would shake her head and fancy. Why doesn't he work properly which is what she would say about me when I was a child according to her blog had been a bell invalid but to her his performance sounded cold and unlike his beautiful piano playing with a woman orchestra all the way had very little technical training in the piano. She felt that he wrote better for the violin and playing it.
He understood the instruments thanks to its contact with it and in the contralto brought out all the intense lyricism and resource of the instrument. Rather than give you an outline of the way let me quote from a substantial review by the English critic the late Ernest Newman. Perhaps the most important is a critic of the 30s and 40s in part of his review firm and matter in music. This is from the London Paris 1939. The listener to block fine work will find himself flung headlong into a sea of pure fourth and fifth in the opening phrase of the concerto and kept there from first to very last for very often when these one time outcast from respectable musical society are not being openly displayed at this point or that in the harmony of the concerto they are subtly implicit is joint in the melodic structure. The playing musical man however who happily perhaps knows no more about theory than his music loving ancestors for the
last two thousand years have done but only knows what he likes and what he doesn't like is no doubt by this time sufficiently used to the innovations of modern harmony not to be perturbed by any amount of force he will perhaps find himself liking the concerto without knowing why. Anyone who would try for instance to analyze blocks con. In terms of subject would have a hard time of it. Big AI Tiriel unifying motive is there indeed. The theme given out at the commencement of the first movement this theme takes several shapes during the course of the work and it is entrusted to the farewell gesture of the soloist. But apart from this motive there are so many smaller ones each of which keeps recurring at the most unexpected moment and in the most unexpected company. That quotation an elucidation of them would take up almost as much space as the score itself. This description by an expert critic would have the counter take a score and study authority before writing a
review. Gives a good idea of the general impression of the work. It is in three movements. I go to see it in which appears a cadenza which called a block to pick up his writing again after almost 40 years. The following which there comes a moment when it patrón theme comes in what might be called off key. Give the magical mystery atmosphere that cannot be given a livelier almost springlike freshness with the main theme having the final word. We're not here just to getit playing the part of Bloch voted conservative with all cats of the 50 dick with a bow to our. Child conducting our own. Ooh.
Ooh ooh. Ooh. Need it again.
And again.
Ernest Bloch: The man and his music
Episode Number
Episode 10 of 15
Producing Organization
WRVR (Radio station : New York, N.Y.)
Riverside Church (New York, N.Y.)
Contributing Organization
University of Maryland (College Park, Maryland)
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Series Description
For series info, see Item 3659. This prog.: Three Nocturnes for Piano, Violin, and Cello; Fantasie for Violin and Piano; Violin Concerto
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Producing Organization: WRVR (Radio station : New York, N.Y.)
Producing Organization: Riverside Church (New York, N.Y.)
AAPB Contributor Holdings
University of Maryland
Identifier: 68-39-10 (National Association of Educational Broadcasters)
Format: 1/4 inch audio tape
Duration: 00:24:51
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Chicago: “Ernest Bloch: The man and his music; Episode 10 of 15,” 1968-11-11, University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed November 30, 2023,
MLA: “Ernest Bloch: The man and his music; Episode 10 of 15.” 1968-11-11. University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. November 30, 2023. <>.
APA: Ernest Bloch: The man and his music; Episode 10 of 15. Boston, MA: University of Maryland, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from