MUSICAL COMMENTARY ON "1001 NIGHTS"

 

1001 Nights is a title laden heavy with the perfume of many meanings. It is, of course, a reference to the principal transcription of this recording, that of Nicholas Rimsky-Korsakov’s magnificent Sheherezade. It is also, however, a poignant reference to the 1001 nights which called the artist again and again to this most majestic and awe inspiring “miracle of sound” which is the Theater Organ. It is the very tales of the 1001 nights themselves which have given inspiration to many of the compositions on this recording. It is fantastic musical journey, an Arabian dream, and one interpreted vividly by the imaginations of many and seemingly unlikely Western composers represented here. The instrument is a phenomenal orchestral organ uniquely equipped to handle such exotic literature, and the setting an absolutely stupendous and unforgettable architectural environment—one which at its’ very heart is the visual embodiment of this dream first celebrated centuries ago in the text of the 1001 nights. “1001 Nights” and its’ companion album “Fox Noel” are released in honor of the 80th anniversary of the premiere of “Mighty Mo” on December 25, 1929. They also coincide with what has been declared by the American Theater Organ Society as the 100th anniversary year of the birth of the Wurlitzer Theater Pipe Organ, as well as the 50th Anniversary of the first regular presentation of performances of the “Nutcracker” by the Atlanta Ballet on the stage of the Atlanta Fox Theater. The program has been carefully selected on both albums to reflect these unique and important anniversaries.

The Atlanta Fox Theater with its’ magnificent 4678 seat auditorium opened on Christmas Day, 1929. Described by the Atlanta Journal at the time as possessing "a picturesque and almost disturbing grandeur beyond imagination…”, it was designed principally by Olivier Vinour of the firm Marye, Alger and Vinour and is one of the outstanding examples of an ‘atmospheric’ theater anywhere in the world. Originally commissioned by the Ancient Arabic Order of the Nobles of the Mystic Shrine (more commonly refeered to as the “Shrines”) as the Yaarab Temple Shrine Mosque, they were not able to fund the completion of this massive 2.75 million dollar project. Final execution and funding of the project were the result of the efforts of William Fox who gave the theater its current name, and the building was signed under him with a twenty one year lease. The 4 manual/42 ½ rank Möller, affectionately dubbed “Mighty Mo” by audiences, has become famous as one of the finest, most complete, and most original unaltered examples of this builder’s work. The immensity and versatility of the tonal resources in this instrument almost defy description—it is a true miracle of sound possessing 3,622 pipes in 5 chambers ranging from less than 3” to over 32’ in total length along with an entire battery of tuned and un-tuned orchestral percussion as well as sound effects or “foley” for appropriate accompaniment of silent pictures.

What more fitting opening could there be to an album such as this that John Phillips Sousa’s Nobles of the Mystic Shrine. Dedicated by the composer to the Shrines, it is a rare example of a march opening in a minor key.

There is an important relation between Alexander Borodin and Nikolai Rimsky-Korsakov. Borodin’s "Prince Igor", a major opera in four acts depicting the history of Russian prince Igor Svyatoslavich against the invading Polovtsian tribes in 1185, was left unfinished at his death in 1887. Nikolai Rimsky-Korsakov and Alexander Glazunov undertook the completion of the work which finally premiered in St. Petersburg in 1890. Probably the best known portion of this work are what have come to be known as the Polyvetsian Dances, the second of which appears on this album: “Fly Away on the Wings of the Wind”. Most English speaking listeners will recognize this music by the more common title Stranger in Paradise. It is, perhaps, a sentiment not far from the imagination of most new visitors to the Fox Theater.

Demonstrating the art of transcription on a much broader scale is Nikolai Rimsky-Korsakov's “Sheherezade” Op. 35. This recording is the first presentation of the work ever in a solo transcription for organ. This massive symphonic suite in four movements with its’ dazzling and highly colorful orchestrations is an extraordinary tone poem organized loosely and fancifully around four movements; The Sea and Sinbad's Ship, The Kalendar Prince, The Young Prince and The Young Princess and finally Festival At Baghdad—The Sea—The Ship Breaks against a Cliff Surmounted by a Bronze Horseman. Throughout, one hears interspersed the musical motif of Scheherezade’s voice as she begins or ends one of her tales to the Sultan as, of for example, the first measures of the first movement. Her voice, sometimes strong, sometimes quavering with the fear of possible demise at the end of the tale, is the unifying musical thread across this vast musical tapestry. The work is one of the most electrifying tone poems ever composed and a true demonstration of the Theater Organ doing exactly that which it was designed for.

Following this, Albert Ketèlbey’s In a Persian Market – Intermezzo Scène is a longstanding favorite of Theater Organists across many generations and provides a wonderful opportunity to use some of the organs’ more unusual and fascinating devices, in this case the “trick” or mutation couplers between manuals. Of all of the most unlikely contributors to this fascinating list of composers is probably Cole Porter. Aladain, originally composed for the “DuPont Show of the Month” in 1957 has the unique distinction of being not only his final musical but his only made for TV musical. Of the many and varied marvelous and various selections from this work. In interpreting the selections for this particular instrument, special note might be made of the arrangement of “Make Way for the Emperor” which uses the very rare 2 octave tuned nightengale stop which only very rarely ever appears in public presentations or recordings of the instrument due to its extremely delicate voicing.

It is Alan Menken who has the last word in this recording, with a composition made popular to countless modern children in Walt Disney’s animated feature Aladin. The tales from the 1001 Nights will never die—they will spring to life over and over again and continue, I am sure, to fascinate generations for many centuries to come. They are the essence of the great Arabian Dream which this project has sought to explore. I hope you enjoy this recording and, as with the 1001 Nights themselves, find as many evenings enjoying this magical music and the home and instrument from whence it came.

The Atlanta Fox Theater has, as with the rest of the entire facility, made a strong commitment to the preservation and restoration of this instrument exactly as it was originally installed. The organ, therefore, operates as it did originally solely on the original pneumatic relay and combination action. In addition to its’ outstanding historic integrity, unique architectural setting and magnificent orchestral properties, this instrument was chosen for this recording specifically because it is a fine and altogether too rare example of originality. The console contains only six generals and six divisionals, and the entire recording was performed in real time without resorting to any multi-tracking or post production manipulation of the final musical performance. As this recording demonstrates, the only limitations imposed upon the performer by original technology are those of the imagination.

 

-Steven Ball