Arthur Terence Galt MacDermot (born December 18, 1928) is a Canadian composer, pianist and writer of musical theatre. He won a Grammy Award for the song "African Waltz" in 1960. His most successful musicals have been Hair (1967; its cast album also won a Grammy) and Two Gentlemen of Verona (1971). MacDermot has also written music for film soundtracks, jazz and funk albums, and classical music, and his music has been sampled in hit hip-hop songs and albums.
MacDermot was born in Montreal, Quebec, the son of a Canadian diplomat. He was educated at Upper Canada College and Bishop's University (Sherbrooke, Quebec, Canada). He received a Bachelor of Music from Cape Town University, South Africa and made a study of African music his specialty. He also studied the piano privately with Neil Chotem.
MacDermot won his first Grammy Award for the Cannonball Adderley recording of his song "African Waltz" (the title track of the album of the same name) in 1960. He moved to New York City in 1964 where, three years later, he wrote the music for the hit musical Hair, which he later adapted for the 1979 film. Its Broadway cast album won a Grammy Award in 1969. His next musicals were Isabel's a Jezebel (1970) and Who the Murderer Was (1970), which featured British progressive rock band Curved Air. MacDermot had another hit with the musical Two Gentlemen of Verona (1971), which won the Tony Award for Best Musical. For that show, MacDermot was nominated for a Tony for best music and won the Drama Desk Award for Outstanding Music. His later musicals, however, including Dude and Via Galactica (both 1973) and The Human Comedy (1984), have not been successful on Broadway.
The Concerto for Piano and Orchestra in G minor, Op. 33, was the first of three concertos that Antonín Dvořák completed—it was followed by a violin concerto and then a cello concerto—and the piano concerto is probably the least known and least performed.
As the eminent music critic Harold C. Schonberg put it, Dvořák wrote "an attractive Piano Concerto in G minor with a rather ineffective piano part, a beautiful Violin Concerto in A minor, and a supreme Cello Concerto in B minor".
Dvořák composed his piano concerto from late August through 14 September 1876. Its autograph version contains many corrections, erasures, cuts and additions, the bulk of which were made in the piano part. The work was premiered in Prague on 24 March 1878, with the orchestra of the Prague Provisional Theatre conducted by Adolf Čech with the pianist Karel Slavkovsky.
While working on the concerto, Dvořák himself realized that he had not created a virtuosic piece in which the piano does battle with the orchestra. Dvořák wrote: "I see I am unable to write a Concerto for a virtuoso; I must think of other things." What Dvořák composed instead was a symphonic concerto in which the piano plays a leading part in the orchestra, rather than opposed to it.
Maurice Ravel's Piano Concerto in G major was composed between 1929 and 1931. The concerto is in three movements and is heavily influenced by jazz, which Ravel had encountered on a concert tour of the United States in 1928.
The concerto was deeply infused with jazz idioms and harmonies, which, at the time, were highly popular in Paris as well as the United States, where Ravel was traveling on a piano tour. Ravel remarked that "The most captivating part of jazz is its rich and diverting rhythm. ...Jazz is a very rich and vital source of inspiration for modern composers and I am astonished that so few Americans are influenced by it." After his well-received tour, Ravel wanted to give the first public performance of this new work himself. However, health issues precluded this possibility, with his preparatory practice of Liszt's and Chopin's etudes leading to fatigue. He then planned a premiere for March 9, 1931, in Amsterdam, but these plans also were canceled due to his work on the Concerto for the Left Hand, his many public appearances, and his performances of his other works.
The Concerto for Piano and Wind Instruments was written by Igor Stravinsky in Paris in 1923–24. This work was revised in 1950.
It was composed four years after the Symphonies of Wind Instruments, which he wrote upon his arrival in Paris after his stay in Switzerland. These two compositions are from Stravinsky's neoclassical period, and represent a departure from the composer's previous Russian style of The Rite of Spring.
This concerto numbers among many works for piano written about the same time to be played by the composer himself. This is also true of Capriccio for Piano and Orchestra (1929), his Sonata of 1924 and his Serenade in A (1925). He kept the performance rights to himself for a number of years, wanting the engagements for playing this work for himself, as well as urgently desiring to keep "incompetent or Romantic hands" from "interpreting" the piece before undiscriminating audiences.
The orchestra is scored for two flutes, piccolo, two oboes, cor anglais, two clarinets, two bassoons (second bassoon doubling contrabassoon), four horns, four trumpets, three trombones and tuba and accompanied by timpani, cymbals. Although combining winds and piano was unusual at the time, the form had been explored earlier in the twentieth century and would be explored later.
We starve-look
At one another
Short of breath
Walking proudly in our winter coats
Wearing smells from laboratories
Facing a dying nation
Of moving paper fantasy
Listening for the new told lies
With supreme visions of lonely tunes
Somewhere
Inside something there is a rush of
Greatness
Who knows what stands in front of
Our lives
I fashion my future on films in space
Silence
Tells me secretly
Everything
Everything
Manchester England England
Manchester England England
(Eyes look your last)
Across the Atlantic Sea
(Arms take your last embrace)
And I'm a genius genius
(And lips oh you the
Doors of breath)
I believe in God
(Seal with a righteous kiss)
And I believe that God believes in Claude
(Seal with a righteous kiss )
That's me, that's me, that's me
(The rest is silence
The rest is silence
The rest is silence)
We starve-look
At one another
Short of breath
Walking proudly in our winter coats
Wearing smells from laboratories
Facing a dying nation
Of moving paper fantasy
Listening for the new told lies
With supreme visions of lonely tunes
Singing
Our space songs on a spider web sitar
Life is around you and in you
Answer for Timothy Leary, dearie
Let the sunshine
Let the sunshine in
The sunshine in
Let the sunshine
Let the sunshine in
The sunshine in
Let the sunshine
Let the sunshine in