Today marks the anniversary of the first performance of the best-known work of Swiss-born American composer, Ernest Bloch, whose Hebrew Rhapsody: Schelomo, for cello and orchestra, premiered at Carnegie Hall on today’s date in 1917. The piece is a meditation on the Book of Ecclesiastes, which describes King Solomon reflecting sadly on the vanity of human endeavor — Schelomo being the original Hebrew pronunciation of Solomon.

Schelomo premiered just a year after Bloch came to the United States. In America, Bloch had found encouragement and remarkable acceptance of his music. His Schelomo was premiered at an all-Bloch concert at Carnegie Hall arranged by The Society of the Friends of Music with the Philadelphia orchestra’s principal cellist Hans Kindler as soloist.

Schelomo was originally written with Russian cellist Serge Alexander Barjansky in mind, and was dedicated to him and his wife; but it was not until a concert in Rome in 1933, a fateful year for European Jewish communities, that Bloch got to conduct the work with Barjansky as soloist. Despite his success in America, he tried to resume his career in Europe in the 1930s, but, discouraged by the rise of anti-Semitism and threats of war, he returned to American for good in 1938.

Ernest Bloch (1880-1959): Schelomo; Mischa Maisky, cello; Israel Philharmonic; Leonard Bernstein, conductor; DG 427 347

On today's date in 1953, at New York’s 92nd Street YMCA, the Walden String Quartet tackled the difficult String Quartet No. 1 by American composer Elliott Carter.

Carter's Quartet was as densely-packed with ideas as a page from James Joyce — an author the composer cited as an influence. But, writing for the Herald Tribune, composer Virgil Thomson gave the work a glowing review: “The piece is complex of texture, delicious in sound, richly expressive and in every way grand — the audience loved it,” wrote Thomson.

That same year Carter’s quartet won First Prize in the International String Quartet competition in Belgium — a contest Carter entered almost as an afterthought. “My Quartet No. 1 was written largely for my own satisfaction and grew out of an effort to understand myself,” he said. To escape from the distractions of New York, Carter retreated to the desert near Tucson to write it. No one had commissioned the quartet, and Carter initially feared its complexity would baffle performers and audiences. His next quartet, equally challenging, won a Pulitzer Prize.

Complexity would characterize Carter's music for the next 50 years — although the composer himself insisted that fantasy and invention, rather than difficulty for its own sake, had always been his goal.

Elliott Carter (1908-2012): String Quartet No. 1; The Composers Quartet; Nonesuch 71249

The marimba is a percussion instrument of tuned bars, usually made of wood, arranged like the keys of a piano. These bars are struck with mallets to produce resonate, rounded — and, well, woody — musical tones.

The marimba was developed in Mexico and Guatemala, inspired by instruments native to Africa reconstructed in the New World by enslaved Africans in Central America. By the mid-20th century, the marimba was showing up in jazz ensembles, and classical composers would, on occasion, even write a marimba concerto or two. More recently, massed marimbas make up a sonorous, albeit stationary, component of hyper-kinetic drum and bugle corps spectaculars.

Contemporary American composer Jennifer Higdon loves the sound of the marimba, and so in 2006 wrote a piece for three marimbas, Splendid Wood.

‘Splendid Wood’ is a joyous celebration of the sound of wood, one of nature’s most basic materials. Wood is a part of all sorts of things in our world, but is used most thrillingly and gloriously in instruments. This work reflects the evolving patterns inside a piece of wood, always shifting, and yet every part is related and contributes to the magnificent of the whole,” she said.

Splendid Wood was commissioned by Bradford and Dorothea Endicott for the New England Conservatory Percussion Ensemble and had its New York premiere on today’s date in 2007, by the Mannes Percussion Ensemble under the direction of James Preiss.

Jennifer Higdon (b. 1962): Splendid Wood; New England Conservatory Percussion Ensemble; Naxos 8.559683

On today’s date in 1784, Italian violinist Regina Strinasacchi gave a concert in Vienna and had the good sense to commission a new work for the occasion from an up-and-coming young Austrian composer named Wolfgang Mozart.

“We have the famous Strinasacchi from Mantua here right now. She is a very good violinist, has excellent taste, and a lot of feeling in her playing — I’m composing a sonata for her at this moment that we’ll be performing together on Thursday,” he wrote to his father.

Wolfgang’s papa must have been pleased about the cash commission, but might have frowned to learn that Strinasacchi received her part barely in time for the performance, and that his son hadn’t even bothered to write out his own part in full. Also, Regina and Wolfgang never got together to rehearse prior to the concert, which meant that she was probably sight-reading her part, and he improvising his.

No matter — the new sonata was received warmly and afterward Wolfgang had a whole month to dot all the musical i’s and cross all the musicals t’s in his score before it was printed. And, for the record, this Violin Sonata No. 32 is arguably one of Mozart’s finest.

Wolfgang Mozart (1756-1791): Violin Sonata No. 32

For American conductor and composer Bernard Herrmann, 1940 was a busy year. On the East Coast, he had been appointed chief conductor of the CBS Radio Symphony; on the West Coast, he was busy in Hollywood, scoring Citizen Kane for director Orson Welles.

Herrmann was 30 at the time and recalled: “I was given twelve weeks to do my job. I worked on the film reel by reel, as it was being shot and cut. This way I had a sense of the picture being built and of my own music being a part of that building. Many sequences were actually tailored to match the music.”

The finished product was released to the public on today’s date in 1941, and was an instant success, with The New York Times review noting “the stunning manner in which the music of Bernard Herrmann has been used.”

Although nominated for Best Picture and Best Musical Score, the film didn’t win either Oscar in 1941. No matter — for many film makers, film critics, and film fans, Citizen Kane rates No. 1 among the greatest films ever made.

Bernard Herrmann (1911-1975): Citizen Kane film score (opening); National Philharmonic; Charles Gerhardt, conductor; RCA CD 707

At New York’s Alice Tully Hall on today’s date in 2003, the Avalon Quartet gave the first complete performance of a new four-movement string quartet, Sun Threads, by American composer Augusta Read Thomas.

Each movement of the new work has its own evocative title and had been premiered previously as stand-alone pieces by a consortium of ensembles: the first movement, Eagle at Sunrise, by the Ying Quartet; the second, Invocations, by the Miami Quartet; the third, Fugitive Star, by the Avalon Quartet; and the fourth, Rise Chanting, by the Alexander Quartet.

As the poetic titles indicate, Thomas is not afraid of emotion in music, but insists on internal logic as well, and said:

“I believe my music must be passionate, involving risk and adventure, such that a given musical moment might seem like a surprise right when you hear it but, only a millisecond later, seems inevitable … One of my main artistic credos has been to examine small musical objects — a chord, a motive, a rhythm, a color — and explore them from every possible perspective. The different perspectives reveal new musical elements, which I then transform and which in turn become the musical development.”

Augusta Read Thomas (b. 1964): Eagle at Sunrise from Sun Threads; Walden Chamber Players; ART CD 1992007

Today’s date in 1945 marks the birthday in Pittsburgh of great American playwright August Wilson. He chronicled the experiences of the Great Northward Migration of African-Americans decade by decade across the 20th century in a series of ten powerful and poetic plays collectively called The Pittsburgh Cycle. Plays in the series include Fences and The Piano Lesson, both of which won the Pulitzer Prize for Drama. Wilson was inducted into the American Theater Hall of Fame and a Broadway theater is named after him.

American composer Kathryn Bostic provided theatrical scores for several of his plays, working closely with him. Because of her collaboration, she also scored the PBS American Masters documentary August Wilson: The Ground on Which I Stand, which ultimately led her to create The August Wilson Symphony, which was premiered by the Pittsburgh Symphony in 2018.

One of the major quests in Wilson’s plays is what he called “finding one’s song,” and music — especially the blues — figures large in his work. Perhaps with that in mind, Bostic composed a song, “State of Grace” as her personal memorial to Wilson, a song she has recorded, accompanying herself at the piano.

Kathryn Bostic (b. 1970): “State of Grace”; Kathryn Bostic, vocal and piano; Pittsburgh Symphony strings; KBMusic digital download

On today’s date in 1865, the hottest ticket in Paris was for the premiere of Giacomo Meyerbeer’s long-awaited grand opera L’Africaine, or The African Maid, at the Paris Opera. And when I say “long-awaited,” I mean long-awaited! Meyerbeer had begun work on L’Africaine some 25 years earlier. It had become a standing joke in the French press to rib Meyerbeer about the “imminent” completion of his opera.

There were many reasons for the delay: Meyerbeer was a slow worker and a perfectionist; he was sidelined by ill health; he was waiting for better singers, more sympathetic management at the Opera, etc. etc.

Opera fans back then must have given up hope he would ever finish L’Africaine, but — surprise! — he did and the work was slotted for production at the Paris Opera. At that point, ironically, he died, and his widow entrusted another composer to supervise the rehearsals for its 1865 premiere.

Meyerbeer’s operas were the 19th century equivalent of the sweeping costume epic movies of Cecil B. DeMille. In L’Africaine, the hero is the explorer Vasco da Gama, and one of the opera’s more spectacular stage effects involved a Portuguese ship running aground on an exotic reef and being taken over by a swarm of natives.

Giacomo Meyerbeer (1791-1864): “O Paradis” from L’Africaine; Ben Heppner, tenor; London Symphony; Myung-Whun Chung, conductor; DG 471 372