Born May 22, 1891 at Dampierre-sur-Moivre, in northern France, Lucien
Cailliet studied at several French music conservatories before graduating
from the Dijon Conservatory at age twenty-two. He also received a degree
from the National Conservatory in Paris. He was a bandmaster in the
French Army and, in 1915, he toured the United States with the French
In 1919, he joined the Philadelphia Orchestra as a clarinetist, saxophonist, and arranger, where he worked closely with Leopold Stokowski. In 1923, Cailliet became an American citizen and continued to play with the Philadelphia Orchestra while attending graduate school at the Philadelphia Musical Academy. After receiving his Doctor of Music Degree in 1937, he moved to California to teach at the University of Southern California. After teaching there for seven years, he decided to devote his time to guest conducting and composing film scores.
In 1933, Cailliet performed Reynaldo Hahn's Sarabande et Theme
on bass clarinet with Leopold Stokowski and the Philadelphia Orchestra.
In 1937, he made a new arrangement of Modest Mussorgsky's piano suite
Pictures at an Exhibition.
As Cailliet said in a radio interview quoted by Obert-Thorn, the method of Stokowski was to sketch his orchestration on sheet music of the original work. He would indicate which instruments should play each phrase, where he wanted a certain reed, or where he wanted a combination of reeds and brass, as well as dynamics. Stokowski passed this along to Cailliet, who wrote out a full score according to Stokowski’s directions. Then Stokowski would rehearse the orchestra and make alterations after the rehearsal.
Evidence lies in manuscripts with Stokowski’s handwriting, where he wrote in French (such as “bois” for “woodwinds”) because the French-speaking Cailliet needed a guide to start his work. Cailliet said about the transcriptions, “It was his [Stokowski’s] idea completely, and of course he was himself a very good orchestrator. He made a very good choice of instruments.” That was a description of Stokowski’s transcriptions, whereas Cailliet’s — as heard on this CD — were entirely his own. He also made several arrangements for clarinet choir that have become staples of the repertoire. Many Cailliet orchestrations were recorded by a plethora of orchestras.
He contributed to nearly fifty films as either composer or arranger. Among the best known of these films are She Wore a Yellow Ribbon, The Ten Commandments (for which Elmer Bernstein wrote the score), and Gunfight at the O.K. Corral. His most famous orchestration is the virtuoso piece for piano and orchestra Midnight on the Cliffs by the pianist and composer Leonard Pennario, for the Andrew L. Stone film Julie (1956). He died on January 3, 1985.
|Pipedreams is a radio music
program produced and distributed by American Public Media (APM) based
in Saint Paul, Minnesota, created and hosted since its inception by J.
Michael Barone. Each one- or two-hour show features organ music, and centers
on a theme such as a particular instrument, venue, organ builder, performer,
composer, period, etc. The program has been in weekly national broadcast
syndication since 1983 (following pilot episodes in 1982), and it remains
the only nationally syndicated radio program in the United States devoted
to organ music. The program is available on APM-affiliated stations and
on the Pipedreams.org website. In recent years, Pipedreams'
weekly radio audience has fluctuated around 200,000 listeners. The program's
major sponsors include the Associated Pipe Organ Builders of America,
and the program's major accolades include the 2001 Deems Taylor Radio
Broadcast Award for Excellence from the American Society of Composers,
Authors and Publishers.
Johann Nepomuk David (November 30, 1895 - December 22, 1977) was born in Eferding Austria. He was a choirboy in the monastery of Sankt Florian and studied at an episcopal teacher training college in Linz, 1912–1915, after which he became a school teacher. He studied briefly (1921–2) at both the Musikhochschule (where was a composition student of Joseph Marx) and the university of Vienna (where he studied with Guido Adler). He returned to Linz in 1922, where he acted as musical director of the Linz "Kunststelle" until 1924. From January 1925 until the autumn of 1934 he was a teacher at a local catholic school, founded and directed a Bach choir, and was organist at a Protestant church at Wels. He then became professor of composition and theory at the Musikhochschule in Leipzig (November 1934 – January 1945). From 1945 to 1947 he was professor of music at the Mozarteum, Salzburg, and finally, from 1948 to 1963, professor of theory and counterpoint (practically: composition) at the Musikhochschule in Stuttgart. At Stuttgart, he also directed the Bruckner choir (1949–52), the academy's chamber orchestra (1950–53).
David wrote a number of orchestral works including eight symphonies (of which the fifth has been recorded, as have some other works including a disc of organ music), several concertos including an organ concerto and three violin concertos, instrumental works including many for or with organ, and many choral works. His general style changed from the modal tendencies seen in his first two symphonies to the more acerbic though still tonal sound of the later ones.
David died, aged 83, in Stuttgart. His son, Thomas Christian David (1925–2006), was also a composer.
His pupils included Johan Kvandal (1919-1999), Hans Georg Bertram (1936–2013), Seóirse Bodley (born 1933), Helmut Lachenmann (born 1935), Hans Stadlmair (born 1926), and Ruth Zechlin (1926–2007).Among his prizes are:
© 1987 Bruce Duffie
This conversation was recorded on the telephone on August 31, 1987. Portions were broadcast on WNIB in 1992 and 1997. This transcription was made in 2020, and posted on this website at that time. My thanks to British soprano Una Barry for her help in preparing this website presentation.
To see a full list (with links) of interviews which have been transcribed and posted on this website, click here.
Award - winning broadcaster Bruce Duffie was with WNIB, Classical 97 in Chicago from 1975 until its final moment as a classical station in February of 2001. His interviews have also appeared in various magazines and journals since 1980, and he now continues his broadcast series on WNUR-FM.You are invited to visit his website for more information about his work, including selected transcripts of other interviews, plus a full list of his guests. He would also like to call your attention to the photos and information about his grandfather, who was a pioneer in the automotive field more than a century ago. You may also send him E-Mail with comments, questions and suggestions.