The New Criterion

A Christmas podcast: with carols, songs, and other things from all over. Various musical presents under this Tannenbaum. Bach, “Grosser Herr, o starker König,” from the Christmas Oratorio Trad., “The First Noël” Trad., “Joy to the World” Rinker & Huddleston, “December” Trad., “O du fröliche” Trad., “Balulalow” Trad., “Everywhere I Go, Somebody Talkin’ ’Bout Jesus” Gruber and Mohr, “Silent Night” Tormé & Wells, “The Christmas Song” Trad., “Angels We Have Heard on High” Bach, “Herr, wenn die stolzen Feinde schnauben,” from the Christmas Oratorio

As our heading suggests, Jay fills this episode with preludes and other short pieces, and songs—by Tchaikovsky, Debussy, Shostakovich, and others. A wonderful, filling assortment. Shostakovich, Fugue in A major, from Preludes and Fugues, Op. 87 Debussy, “La fille aux cheveux de lin” Debussy, “Minstrels” Shostakovich, arr. Tsyganov, Prelude in D flat, Op. 34 Shostakovich, arr. Tsyganov, Prelude in C-sharp minor, Op. 34 Bach, arr. Kanneh-Mason, “Komm, süsser Tod” Tchaikovsky, Scherzo, from “Souvenir d’un lieu cher” Tchaikovsky, Mélodie, from “Souvenir d’un lieu cher” Clarke, “The Cloths of Heaven” Dunhill, “The Cloths of Heaven” Debussy, arr. Hartmann, “La fille aux cheveux de lin” Clarke, “Down by the Salley Gardens” Trad., arr. Britten, “Down by the Salley Gardens”

Roger Kimball, the Editor and Publisher of The New Criterion, discusses highlights of the December 2022 issue and reads from its opening pages.

James Panero reads “A library by the book,” his article on the politicization of the American library in the December 2022 issue of The New Criterion. https://newcriterion.com/issues/2022/12/a-library-by-the-book

This episode begins with “Early in the Morning,” the song by Ned Rorem (who just turned ninety-nine). It proceeds with “Oh, What a Beautiful Mornin’.” Later on, there is “Sunday Morning,” one of the “Sea Interludes” from Britten’s opera “Peter Grimes.” Jay was not going for a morning theme. It just happened that way. There is other music too, including a hymn, both in its straightforward choral version and in an improvisation by a famous, and devoted, pianist. Rorem, “Early in the Morning” Rodgers & Hammerstein, “Oh, What a Beautiful Mornin’,” from “Oklahoma!” Schoenberg, “Waldsonne” Britten, “Sea Interlude,” “Sunday Morning,” from “Peter Grimes” Shostakovich, Interlude No. 2, from “Lady Macbeth of Mtsensk” Chapí, “Carceleras,” from “Las hijas del zebedeo” Trad., “Come, Come, Ye Saints” Johannesen, Improvisation on a Mormon Hymn

Roger Kimball, the Editor and Publisher of The New Criterion, discusses highlights of the November 2022 issue and reads from its opening pages.

The New Criterion’s Visiting Critic Joshua T. Katz discusses “The beginnings: first words, first lines, first stories.”

Roger Kimball, the Editor and Publisher of The New Criterion, discusses highlights of the October 2022 issue and reads from its opening pages.

Executive Editor James Panero sits down with Visiting Critic Joshua T. Katz to discuss “The beginnings: first words, first lines, first stories,” the fourth annual Circle Lecture of The New Criterion.

True to the title of this episode, Jay has September songs: classical (Strauss and Ives, for example); popular (Earth, Wind & Fire!); and in between (Weill). A wonderful and timely bouquet. Marx, “Septembermorgen” Weill-Anderson, “September Song” Stenhammar, “September” Schmidt-Jones, “Try to Remember” Ives, “September” Strauss, “September” Earth, Wind & Fire, “September”

As you can tell from the heading, Jay plays “Mood Indigo” in this episode—or rather, Ella Fitzgerald sings it. There is more jazz at the end, as the Oscar Peterson Trio does up “Tangerine.” This episode also includes an aria by Puccini—two versions of it. Then there is a rare and wonderful tone poem by Liszt. And more. Highly interesting, and nourishing. Chopin, Etude in C minor, Op. 10, No 2 (“Revolutionary”) Ellington, “Mood Indigo” Puccini, “Aria di Rinuccio” from “Gianni Schicchi” (in Italian) Puccini, “Rinuccio’s Aria,” from “Gianni Schicchi” (in English) Liszt, Symphonic Poem No. 13, “From the Cradle to the Grave” Puccini, “Senza mamma” from “Suor Angelica” Schertzinger, “Tangerine”

This summer, Jay had a long talk with Marilyn Horne, the great mezzo-soprano, resulting in a piece called “A Life of Singing.” He thought a podcast, to accompany the piece, would be good. You may well agree. Tracks of various types, showing the versatility, and the heart, of this extraordinary singer. Mahler, “Liebst du um Schönheit,” from “Rückert-Lieder” Bizet, “Dat’s Love” (Habanera), from “Carmen Jones” Schubert, “Die junge Nonne” Wolf, “Auf einer Wanderung” Wagner, “Träume,” from “Wesendonck-Lieder” Rossini, “Tanti affetti in tal momento!” from “La donna del lago” Bizet, “Adieux de l’hôtesse arabe” Bernstein, “Somewhere,” from “West Side Story” Trad., arr. Davis, “Shenandoah” Malotte, “The Lord’s Prayer”

This episode begins with Mozart—a movement from a piano sonata. It ends with a popular song, from the mid-1950s: “Little Things Mean a Lot.” In between are wonders and curiosities—including the Orientalist song on which the James Bond theme is based. Mozart, Allegretto from Sonata No. 10 in C major, K. 330 “The Star-Spangled Banner,” arranged by Stravinsky “The Tahiti Trot,” an arrangement by Shostakovich of “Tea for Two” Norman, Monty, “Bad Sign, Good Sign” Norman, Monty, “The James Bond Theme” Stutz-Lindeman, “Little Things Mean a Lot”

Jay presents a program of music by Aram Khachaturian. You get the “Sabre Dance,” sure, from the ballet “Gayane.” But plenty more, too. Very interesting fellow, Khachaturian. All tracks by Aram Khachaturian Waltz from “Masquerade” (orchestra) Suite from “Gayane” Adagio from “Spartacus” Waltz from “Masquerade” (piano) Piano Concerto Violin Concerto

Sometimes Jay indulges in hyperbole—but the hyperbole is not far off. In this episode, he calls Dawn Upshaw’s 1989 recording of “No word from Tom” (Stravinsky) “just about the best thing ever.” You may well agree. He begins the episode with another “just about the best thing ever”: Leontyne Price in “Summertime” (Gershwin), live in Munich, 1968. Also on the menu are Mozart, Bridge, Medtner, and Szymanowski. A winning line-up. Gershwin, “Summertime” from “Porgy and Bess” Mozart, String Quartet No. 2 in D major, K. 155 Medtner, Fairy Tale No. 3 Bridge, “Allegro appassionato” Szymanowski, Violin Concerto No. 2 Stravinsky, “No word from Tom” from “The Rake’s Progress”

Roger Kimball, the Editor and Publisher of The New Criterion, discusses highlights of the June 2022 issue and reads from its opening pages.

Jay begins and ends with Simon Preston, the English organist, who recently passed away. He also pays tribute to Alexander Toradze, the Georgian-born American pianist who also passed away in recent days. There is a little piece by Chopin, with which Jay is in love. And more. You remember Mitch Miller, from “Sing Along with Mitch”? Well, he began his career as an oboist. And Jay has him in a concerto by Vaughan Williams. It is a wide, wonderful world, this world of music. Bach, Fugue from Toccata, Adagio, and Fugue in C major, BWV 564 Vaughan Williams, Oboe Concerto, second movement Chopin, Étude No. 2 in A flat from “Trois nouvelles études” Rossini, Inflammatus, Stabat Mater Shostakovich, Piano Concerto No. 2 in F, first movement Boulanger, Georges, “American Vision” Widow, Toccata from Organ Symphony No. 5

James Panero reads “The obtuse bard,” his article on Winslow Homer in the June 2022 issue of The New Criterion. https://newcriterion.com/issues/2022/6/the-obtuse-bard

Douglas Murray discusses his latest book, “The War on the West,” during an event for the Friends of The New Criterion with an introduction by James Panero, Executive Editor.

Roger Kimball, the Editor and Publisher of The New Criterion, discusses highlights of the May 2022 issue and reads from its opening pages.