Seiji Ozawa, longtime conductor of the Boston Symphony Orchestra, dies at 88

Seiji Ozawa, the conductor who led the Boston Symphony Orchestra longer than any other music director, has died at age 88.

The conductor died Feb. 6 in Tokyo due to heart failure, according to a spokesperson for the Seiji Ozawa International Academy Switzerland.

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Pictured: Seiji Ozawa (1963); Photo by Don Hunstein, New York, Public Domain.

Miles Hoffman, Host of ‘A Minute with Miles’, Dies at 71

It is with great sadness we share the news that Miles Hoffman, host of A Minute with Miles, passed away on August 18, 2023, after battling a long illness.

In addition to his work on A Minute with Miles, he was a contributor to NPR and penned The NPR Classical Companion. Beyond his radio pursuits, Miles was a gifted violist who played in the National Symphony Orchestra and was artistic director of the American Chamber Players, a group he founded. He also served on the faculty of Converse University and was Dean of their Petrie School of Music for several years.

Coby Cartrette Hennecy from ETV Endowment of South Carolina fittingly describes Hoffman’s legacy: “Miles Hoffman brought classical music to life with an energy and insight that’s unforgettable. He left his mark on radio audiences everywhere.”

Hoffman was a graduate of Yale University and the Juilliard School. In 2003, he was awarded an honorary Doctor of Humane Letters degree from Centenary College of Louisiana in recognition of his achievements as a performer and educator.

We are grateful for his incredible knowledge of music and his wonderful ability to share that knowledge in such an enjoyable way. Miles was one of a kind, and he will be truly missed by everyone at WDAV.

Geoff Nuttall, Spoleto Festival USA’s Director of Chamber Music, dies at 56

The classical music community is mourning the loss of Geoff Nuttall, co-founding first violinist of the St. Lawrence String Quartet (SLSQ), beloved faculty member of Stanford University’s department of music and director of chamber music at the Spoleto Festival in South Carolina. Nuttall died in California, where he was based, on Oct. 19 of pancreatic cancer. He was 56.

Read full article at CBC Music

Pictured: Geoff Nuttall. Credit Geoff Yost/Spoleto Festival USA.

Ennio Morricone, The Sound Of The American West, Dies At 91

The iconic score to The Good, the Bad and the Ugly: This is the sound of the American West, at least filtered through the ears of an Italian — specifically, composer Ennio Morricone. He was a giant in the world of film scores who wrote the music for more than 500 movies.

Morricone died Monday in Rome at the age of 91. The Italian cultural ministry confirmed his death in a statement that called him “a musician of refined skill who with his melodies has been able to excite and make the whole world dream.”

When Morricone wrote a score for a Western, he used sneaky tricks to make those evocative sounds, like whistles, animal calls, creaks, gunshots and groans. And his most famous sound?

“I used a coyote howl: Aie-aie-aaah. That is the theme of the film,” Morricone told NPR in 2014.

Morricone worked closely with directors to create a new kind of score. Dialogue was often minimal; instead, the soundtrack did the talking.

Historian Christopher Frayling wrote a book about the Italian Westerns. He told NPR in 2007 that the composer — and the directors he worked with — wanted to infuse those films with, among other things, a sense of humor.

“They wanted something that was much more hip, much more related to pop,” Frayling said. “So it’s Italian folk instruments plus rock music of the mid-1960s, and it was an astonishingly raucous, noisy sound.”

The creator of that sound was born in Rome in 1928. Ennio Morricone began writing music at the age of six, and never stopped. In the mid 1960s, he discovered the contemporary music scene in Italy and joined a collective called Gruppo di Improvvisazione Nuova Consonanza that was influenced by John Cage‘s avant-garde experimentation.

“As a joke I called these friends of mine,” Morricone told NPR. “And I started telling them to do kind of a sound like groans or very strange sounds, and I started conducting them. And I also did sounds myself.”

From that early experience, Morricone was off and running toward one of the most celebrated film-scoring careers of all time. It began with Il Federale in 1961 and continued through his collaborations with director Sergio Leone on a famous series of Westerns that included A Fistful of Dollars; For a Few Dollars More; The Good, the Bad and the Ugly; and Once Upon a Time in the West. But that wasn’t all he did.

Some of his best-known scores included the political drama The Battle of Algiers; Brian de Palma’s take on 1930s gangsters, The Untouchables; The Mission, about a Jesuit priest in South America; and Cinema Paradiso, about a young boy growing up after World War II with a love of movies.

Frayling had a chance to meet the choirmaster who worked on another Morricone film and asked what words the choir was actually singing. “He said, ‘I can’t remember,’ ” Frayling recounted. ” ‘They’re just sounds, you know, and the human voice is used as another musical instrument.’ “

But while the words might have been imprecise, the maestro’s hand still guided every aspect of the production. Many film composers write the music, and then hand the score off to someone else to orchestrate. But Morricone insisted on being part of each step in the process.

“Because a real composer has to take care of all his music,” Morricone told NPR. “And those who actually just write the melody and then hand it on to someone else are not. To me, they’re not real composers.”

This attention to detail paid off. Between 1979 and 2001, Morricone was nominated for six Academy Awards, and he was presented with an honorary Oscar in 2007.

He finally won the best original score prize outright in 2016 for Quentin Tarantino’s The Hateful Eight, but none of it seemed to go to his head. He told NPR that he didn’t think of himself as having created that iconic world of the Wild West.

“I understand and I know that a movie kind of belongs to a director,” he said. “So what I do is follow him. What I think I have done is specified, and made clearer, what the characters were feeling.”

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