History and art: Lyndon Johnson, Civil Rights, Vietnam, Stephen Stucky, the Dallas Symphony, and “August 4, 1964”

August 4, 2017

The Dallas Symphony Orchestra, under the direction of Jaap van Zweden, presents the premiere of Steven Stucky's oratorio

The Dallas Symphony Orchestra, under the direction of Jaap van Zweden, presents the premiere of Steven Stucky’s oratorio “August 4, 1964,” with soloists, from left, mezzo-soprano Kelley O’Connor, soprano Laquita Mitchell, tenor Vale Rideout, and baritone Robert Orth. Photo from the National Endowment for the Arts, Jason Kindig

In an era when our president and Congress appear unable to deal with one issue on a good day, it may be instructive to look back to a day upon which one U.S. President handled a lot, all at once.

On August 4, 1964, President Johnson awoke to the news that two U.S. Navy ships cruising in the Tonkin Gulf had been fired upon by North Vietnamese Navy gunboats; then the FBI called and announced that the bodies of three civil rights workers had been found, young men registering African Americans to vote in Mississippi.  Both of these events rumble through history like a Rocky Mountain avalanche to today; either was a make-or-break event for any presidency.  

Lyndon Johnson dealt with them both, the same day. And though Vietnam did not turn out for the best, it’s useful to note that Johnson’s call for Congress to grant authority to act on the Tonkin incident got results just three days later.

Sadly we note that Stephen Stucky, the composer of this great piece, died of brain cancer on February 14, 2016.

“August 4, 1964,” is an oratorio covering a remarkable and fantastic coincidence in the presidency of Lyndon B. Johnson.  On that day, the bodies of three civil rights workers who had been missing for nearly seven weeks, were found in shallow graves near Philadelphia, Mississippi — they were the victims of violence aimed at stopping blacks from voting.  The incident was a chief spur to the 1965 Voting Rights Act.

And also on that day, the U.S.S. Maddox reported it had been attacked by gunboats of the North Vietnamese Navy, in the Gulf of Tonkin.  The Gulf of Tonkin incident led to the Gulf of Tonkin Resolution, which gave Johnson the authority to expand and escalate the war in Vietnam, which he did.

Cover for the CD of the Dallas Symphony's performance of Steven Stucky's

Cover for the CD of the Dallas Symphony’s Grammy-nominated performance of Steven Stucky’s “August 4, 1964,” Jaap van Zweden conducting.

The Dallas Symphony commissioned the work, from composer Steven Stucky and librettist Gene Scheer, in commemoration of President Johnson’s 100th birth anniversary — he would have been 100 on August 27, 2008.  The works were premiered in Dallas in 2008.

The music is outstanding, especially for a modern piece.  The Dallas Symphony played at its flashiest and most sober best, under the baton of new conductor Jaap van Zweden.  It was a spectacular performance.  According to the New York Times:

Mr. van Zweden, hailed in his debut as music director a week before, scored another triumph here. And the orchestra’s assured and gritty performance was rivaled by that of the large Dallas Symphony Chorus, both corporately and individually, in shifting solo snippets charting the course of the fateful day.

The strong cast, mildly amplified, was robustly led by the Johnson of Robert Orth, last heard as another president in John Adams’s “Nixon in China” in Denver in June. Laquita Mitchell and Kelley O’Conner, wearing period hats, were touching as Mrs. Chaney and Mrs. Goodman. Understandably, the taxing role of a high-strung McNamara took a small toll on the tenor of Vale Rideout in his late aria.

The entire thing deserves more commentary, perhaps soon.  There is stellar history in the choral piece.  And there is this:  Consider that Lyndon Johnson, the best legislator and second most-effective executive we ever had as president, got hit with these two crises the same day.  On the one hand the nation got the Voting Rights Act, the Fair Housing Act, executive orders and government support to end segregation and the evils it created.  On the other hand, we got stuck with the disaster of the Vietnam War.

How would the nation fared had a lesser person been in the White House on that day?

(August 4 is a busy, busy day in history; much to think about.)

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This is an encore post.

Much of this is an encore post.

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History in art: August 4, 1964, and the Dallas Symphony

August 4, 2014

On August 4, 1964, President Johnson awoke to the news that two U.S. Navy ships cruising in the Tonkin Gulf had been fired upon by North Vietnamese Navy gunboats; then the FBI called and announced that the bodies of three civil rights workers had been found, young men registering African Americans to vote in Mississippi.  Both of these events rumble through history like a Rocky Mountain avalanche to today; either was a make-or-break event for any presidency.  

Lyndon Johnson dealt with them both, the same day

“August 4, 1964,” is an oratorio covering a remarkable and fantastic coincidence in the presidency of Lyndon B. Johnson.  On that day, the bodies of three civil rights workers who had been missing for nearly seven weeks, were found in shallow graves near Philadelphia, Mississippi — they were the victims of violence aimed at stopping blacks from voting.  The incident was a chief spur to the 1965 Voting Rights Act.

And also on that day, the U.S.S. Maddox reported it had been attacked by gunboats of the North Vietnamese Navy, in the Gulf of Tonkin.  The Gulf of Tonkin incident led to the Gulf of Tonkin Resolution, which gave Johnson the authority to expand and escalate the war in Vietnam, which he did.

Cover for the CD of the Dallas Symphony's performance of Steven Stucky's

Cover for the CD of the Dallas Symphony’s Grammy-nominated performance of Steven Stucky’s “August 4, 1964,” Jaap van Zweden conducting.

The Dallas Symphony commissioned the work, from composer Steven Stucky and librettist Gene Scheer, in commemoration of President Johnson’s 100th birth anniversary — he would have been 100 on August 27, 2008.  The works were premiered in Dallas in 2008.

The music is outstanding, especially for a modern piece.  The Dallas Symphony was at its flashiest and most sober best, under the baton of new conductor Jaap van Zweden.  It was a spectacular performance.  According to the New York Times:

Mr. van Zweden, hailed in his debut as music director a week before, scored another triumph here. And the orchestra’s assured and gritty performance was rivaled by that of the large Dallas Symphony Chorus, both corporately and individually, in shifting solo snippets charting the course of the fateful day.

The strong cast, mildly amplified, was robustly led by the Johnson of Robert Orth, last heard as another president in John Adams’s “Nixon in China” in Denver in June. Laquita Mitchell and Kelley O’Conner, wearing period hats, were touching as Mrs. Chaney and Mrs. Goodman. Understandably, the taxing role of a high-strung McNamara took a small toll on the tenor of Vale Rideout in his late aria.

The entire thing deserves more commentary, perhaps soon.  There is stellar history in the choral piece.  And there is this:  Consider that Lyndon Johnson, the best legislator and second most-effective executive we ever had as president, got hit with these two crises the same day.  On the one hand the nation got the Voting Rights Act, the Fair Housing Act, executive orders and government support to end segregation and the evils it created.  On the other hand, we got stuck with the disaster of the Vietnam War.

How would the nation fared had a lesser person been in the White House on that day?

(August 4 is a busy, busy day in history; much to think about.)

More: 

This is an encore post.

Much of this is an encore post.


Happy birthday, Peter Schickele – 79 on July 17, 2014

July 17, 2014

The genius behind P. D. Q  Bach, and the compoaser of the score to Silent Running, is 79 today.  Happy birthday, Peter Schickele!

This is a mostly encore post, of course.

Peter Schickele, a.k.a. P. D. Q. Bach

Peter Schickele, born July 17, 1935

May he live to be a happy, robust, still-composing, still performing 139, at least.

Some people know him as a great disk jockey. Some people know him as the singer of cabaret tunes. Some people know and love him as a composer of music for symphony orchestra, or to accompany Where the Wild Things Are.

Peter Shickele, left, and P. D. Q. Bach, together, in happier times.

Then there are those happy masses who know him for his historical work, recovering the works of Johann Sebastian Bach’s final and most wayward child, P. D. Q. Bach.

Tip of the old bathtub-hardened conductor’s baton to Eric Koenig.

This is mostly an encore post.  It was scheduled to run on time, not sure why it didn’t — problems of being on the road, you know.

 


Peter Schickele – 77 on July 17, 2012

July 17, 2012

 

Peter Schickele is 77 today yesterday.

Peter Schickele, a.k.a. P. D. Q. Bach

Peter Schickele, born July 17, 1935

May he live to be a happy, robust, still-composing, still performing 137, at least.

Some people know him as a great disk jockey. Some people know him as the singer of cabaret tunes. Some people know and love him as a composer of music for symphony orchestra, or to accompany Where the Wild Things Are.

Peter Shickele, left, and P. D. Q. Bach, together, in happier times.

Then there are those happy masses who know him for his historical work, recovering the works of Johann Sebastian Bach’s final and most wayward child, P. D. Q. Bach.

Tip of the old bathtub-hardened conductor’s baton to Eric Koenig.

This is mostly an encore post.  It was scheduled to run on time, not sure why it didn’t — problems of being on the road, you know.

 


Bill Adkins: Art education boosts achievement, but needs administrator support to work

June 24, 2011

One of our very good art teachers at Moises Molina High School, William Adkins,  works with a group called Big  Thoughts.  Big Thoughts interviews teachers who work with the program about how arts education boosts student achievement in core areas, and how to leverage arts to improve the boost.  Adkins had some thoughts about how art really is a core part of education , and on the role of administrators in helping teachers:

You can view 74 videos from about 30 different people on the Big Thoughts menu at Vimeo.

Adkins’ students regularly win awards, often outperforming the many more students at our district’s arts magnets.  One of his students, Moses Ochieng, too the top prize at the state art meet this year for a brilliant sculpture he did.  Moses was my student in U.S. history, too — a great adventure, since he emigrated from Kenya just a few years ago, and he lacks the familiarity with so many American things that we, and the textbooks, and the state tests, take for granted that students know.  Ochieng’s art helped focus him on history.  It supplemented his studies so that he picked up two years of history work in just one year.

More:


Quote of the moment: Edward Albee on democracies, and hope for the future

March 14, 2011

Playwright Edward Albee - Albee Foundation photo

Playwright Edward Albee - Albee Foundation photo

[On the slashing of arts education funding:] It’s especially discouraging when you live in a democracy where anything good is possible, if only we have the courage to deal with it.

— Edward Albee, playwright, Diane Rehm Show (WAMU-FM/NPR), March 14, 2011 (49:50 in)


Somebody get that on tape: August 4, 1964, and the Dallas Symphony

September 22, 2008

The piece just premiered — I hope some lucky recording company has the good sense to take the tapes of the Dallas Symphony’s performances this past week, and release them quick.

“August 4, 1964,” is an oratorio covering a remarkable and fantastic coincidence in the presidency of Lyndon B. Johnson.  On that day, the bodies of three civil rights workers who had been missing for nearly seven weeks, were found in shallow graves near Philadelphia, Mississippi — they were the victims of violence aimed at stopping blacks from voting.  The incident was a chief spur to the 1965 Voting Rights Act.

And also on that day, the U.S.S. Maddox reported it had been attacked by gunboats of the North Vietnamese Navy, in the Gulf of Tonkin.  The Gulf of Tonkin incident led to the Gulf of Tonkin Resolution, which gave Johnson the authority to expand and escalate the war in Vietnam, which he did.

The Dallas Symphony commissioned the work, from composer Steven Stucky and librettist Gene Scheer, in commemoration of President Johnson’s 100th birth anniversary — he would have been 100 on August 27.

The music is outstanding, especially for a modern piece.  The Dallas Symphony was at its flashiest and most sober best, under the baton of new conductor Jaap van Zweden.  It was a spectacular performance.  According to the New York Times:

Mr. van Zweden, hailed in his debut as music director a week before, scored another triumph here. And the orchestra’s assured and gritty performance was rivaled by that of the large Dallas Symphony Chorus, both corporately and individually, in shifting solo snippets charting the course of the fateful day.

The strong cast, mildly amplified, was robustly led by the Johnson of Robert Orth, last heard as another president in John Adams’s “Nixon in China” in Denver in June. Laquita Mitchell and Kelley O’Conner, wearing period hats, were touching as Mrs. Chaney and Mrs. Goodman. Understandably, the taxing role of a high-strung McNamara took a small toll on the tenor of Vale Rideout in his late aria.

The entire thing deserves more commentary, perhaps soon.  There is stellar history in the choral piece.  And there is this:  Consider that Lyndon Johnson, the best legislator and second most-effective executive we ever had as president, got hit with these two crises the same day.  On the one hand the nation got the Voting Rights Act, the Fair Housing Act, executive orders and government support to end segregation and the evils it created.  On the other hand, we got stuck with the disaster of the Vietnam War.

How would the nation fared had a lesser person been in the White House on that day?


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