Afternoon Palate Cleanser: "San Francisco Polyphony" by György Ligeti

Off the tops of our heads, we can't think of too many classical/chamber pieces written in honor of our fair city. This one, 1973's "San Francisco Polyphony," is by Hungarian-born composer György Ligeti who's most famous for scoring parts of Stanley Kubrick films like 2001 and Eyes Wide Shut. It's, like, dissonant and you can't exactly dance to it. But we welcome any imaginative suggestions for what all that scary ruckus is around 3:50 -- Embarcadero Station at rush hour?

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This is a great piece, commissioned by The San Francisco Symphony in 1973, back when it was conducted by Seiji Ozawa.

Among the other classical works inspired by the City is Symphony No. 1 in F minor: "A Symphony of San Francisco," commissioned in 1936 to celebrate the arrival of Pierre Monteux as music director (a post he would hold until 1952, making him the longest-serving SFO music director ever). And the composer of "A Symphony of San Francisco"? None other than Meredith Willson, who would go on to write the Broadway classic The Music Man more than twenty years later. True fact!

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Okay so I know almost no one really cares about Meredith Willson's early work, but here's a review of the "Symphony of San Francisco" from Time magazine of 27 April 1936:

...San Franciscans listened last week to the premiere of a symphony which was supposed to be inspired by San Francisco's glories. Composer and conductor of the performance was Meredith Willson, born 33 years ago in Mason City, Iowa. At 17 Composer Willson was playing the flute in Sousa's band, later joined the New York Philharmonic, now works in San Francisco as a musical director for National Broadcasting Co. In his Symphony No. 1 in F, Composer Willson was first mindful of the pioneers who settled the city, then of the Great Fire (i. e. earthquake) with its ruins & ashes, then of "the almost childish delight of a people who have a continental love for artistic pursuits." In his scherzo he quoted from Cara Nome, harking back to the Christmas Eve in 1910 when Luisa Tetrazzini sang it on the square by Lotta's Fountain. In the finale he loudly attempted to glorify modern engineering, the skyscrapers and the great new bridge over San Francisco Bay.

The scoring throughout was vigorous, obvious, abounding in theatrical crescendos which brought him tremendous applause. Willson's program notes made a sure-fire appeal to civic pride. The conclusion was described as "a call of defiance to the elements that had the temerity to dispute the spiritual strength and courage of the Golden City of the West."

Interesting! The piece was given its world premiere by the SF Symphony at the War Memorial Opera House on 1/8/1975, with Seiji Ozawa conducting. Here's what Ligeti himself wrote about it, from our program notes: "I was happy in this city--one of the most beautiful and most poetic cities of the world--and I felt the peculiar 'genius loci' of San Francisco environment and of the people living in it. Very indirectly, filtered through the texture of this music, you will feel the presence of the San Francisco atmosphere, of the low clouds sailing slowly from the ocean and falling like a soft curtain over the city, of the presence of water and salt everywhere, of the strange mixture of gaiety and loneliness of people in the streets, of the student musicians between red bricks of the old chocolate factory, of watching the turning of the cable car on a corner of Market Street, of the feeling you have when you park your car on a hilly street, of the view of red towers of the Golden Gate Bridge appearing very suddenly and very close behind a fog."

Jean Shirk
San Francisco Symphony

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