The great pianist-composer Franz Liszt was born in Hungary today in 1811. He is well-known for writing (and playing) some of the most technically difficult piano music in the world, music which at the time perhaps only he and a few others could play. But today the music finds its way into many concerts and competitions, and continues to amaze listeners and inspire young hopeful pianists.
Liszt's contemporaries included Chopin and Schumann (both one year older), as well as Wagner (two years younger). The latter composer eventually became his son-in-law, after Liszt's daughter Cosima (herself born illegitimately from an affair Liszt had with a married countess) left her husband, the pianist-conductor Hans von Bulow, and ran off with Wagner. When asked about what he thought of this, von Bulow supposedly said "Had it been any other man than Wagner, I would have killed him" - he idolized Wagner's music genius, and apparently didn't hold any grudges. What colorful lives!
Anyway, Liszt's music is not necessarily known for his compositional genius like Mozart, Beethoven, or Bach. Nor does he have an overwhelming amount of original memorable themes in his compositions. However, he deserves a place amongst the great composers for his forward-thinking in compositional styles, his amazing virtuosity, and his impact on composers that came after him.
Here are some interesting and important compositions:
- Grand Galop Chromatique, a wildly insanely difficult piece, played by the great Liszt interpreter, Georges Cziffra. This represents the typical "dazzling showmanship" Liszt that characterizes much of his music.
- La Campanella (from the Paganini-Liszt Etudes), a very famous and difficult transcription of a theme from one of Paganini's violin concertos. It shows off the "fast and light" virtuosity in much of Liszt's music, done masterfully here again by Cziffra.
- Liebestraum #3 ("Dream of Love"), one of Liszt's most popular and beautiful piano pieces, played here beautifully by Artur Rubinstein.
- "Annees de Pelerinage" ("Years of Pilgrimage"), three sets of pieces from when the composer was in Switzerland and Italy. These are really nice pieces, full of picturesque scenes. Au bord d'une source ("By the side of a spring") is one of my absolute favorites, both to play and listen to. Think of a mountain spring, beginning as a small trickle, getting progressively larger, finally into a noisy brook. Here is Au lac de Wallenstadt ("At the lake of Wallenstadt"), another piece from the same suite. You can hear the waves lapping calmly against the shore. The previous two are from his Switzerland year, and next one from his Italy year. "Apres une lecture du Dante - Fantasia Quasi Sonata" (After reading Dante) - one of Liszt's most original pieces of music, depicting Dante Alighieri's Divine Comedy. Here is a performance by Alfred Brendel, parts 1 and 2, preceded by a fascinating brief introduction to the piece. Finally, in the third set of the Annees de Pelerinage, is another one of Liszt's most famous compositions, "Les Jeux d'Eaux à la Villa d'Este" (The Fountains of the Villa d'Este), a very forward-looking composition that had a strong influence on both Debussy and Ravel, the impressionists.
- Hungarian Rhapsody No. 2, possibly the most famous piece Liszt ever wrote, thanks to Tom and Jerry, Looney Tunes, and many other usages of this piece in films, etc. It's one of 19 Hungarian Rhapsodies by Liszt, and is very free-form, with immediate-appeal themes and lots of dazzling virtuosity that is very fun to listen to. Here is the piece, played by Cziffra.
- Piano Concerto #1 in Eb Major, a delightfully free-spirited work, combining impressive difficult bravura passages, tender themes (in the 2nd movement especially), and light, shimmering sound effects (helped by extensive use of the triangle, pizzicato strings, high woodwinds, and upper register of the piano). It also shows Liszt's considerable skill in orchestration, something that his colleague, Chopin, lacked. Here is the piece played by Martha Argerich, 1st, 2nd, 3rd, and 4th movements.
I could really go on a lot longer than this, as there are quite a few more amazing and interesting pieces. I'll end with one of his "Transcendental Etudes", specifically, No. 8, "Wild Jagd" (Wild Hunt). This piece is near and dear to my heart, as I learned it and played it for about 2 years, in several competitions when I was in high school. Looking back, I don't think I really ever played it that well (it's tough!), but it sure was fun. I think it strongly contributed to my repetitive-stress injury when I was 17 and had to quit piano concerts for a year and re-train with the Dorothy Taubman Approach under the direction of my then new teacher, Robert Ward. Here then is the Wild Hunt, played terrifically by Claudio Arrau.
Showing posts with label Orchestral. Show all posts
Showing posts with label Orchestral. Show all posts
Wednesday, October 22, 2008
Monday, October 13, 2008
English Impressionism
Ralph Vaughn-Williams was born yesterday in 1872 in England. His music is impressionistic, although very different from the "Father" of impressionism, Debussy. I think that in all of his music there is a deep nostalgic twinge - a longing for beauty and for things to be at peace. He knew what England was like before World War I and how it was changed after, and I'm sure this had an influence on his works.
There are two works I'd like to highlight in particular. The first is Fantasia on a Theme of Thomas Tallis - this piece for strings is featured in the 2003 film, Master and Commander (one of my favorite movies). It brings me to tears when I hear it, especially thinking about where it is used in the movie. As someone has commented on the youtube posting - "This music is in sync with the action on the screen...of a sailor overboard who must be cut loose...and abandoned in the middle of the Pacific to save the 'Surprise' from sinking...as the spar to which he clings becomes a sea anchor. Both the horror and the beauty and the immensity of the act of cutting him lose into oblivion is brilliantly expressed in this music..."
Perhaps is his most famous (and for good reason) is The Lark Ascending, a piece for violin and orchestra. This piece makes me cry... hard... every time I hear it. I don't know if there exists another piece of music more clean, pure, beautiful, nostalgic, soothing, uplifting (OK, so I probably have said this about 20 other pieces this past year... but c'mon - listen to it and you'll understand!). Here is the last 7 minutes of the piece, set to scenery of rural England. The wikipedia article says - "The composition is intended to convey the lyrical and almost eternally English beauty of the scene in which a skylark rises into the heavens above some sunny down and attains such height that it becomes barely visible to those on the ground below."
There are two works I'd like to highlight in particular. The first is Fantasia on a Theme of Thomas Tallis - this piece for strings is featured in the 2003 film, Master and Commander (one of my favorite movies). It brings me to tears when I hear it, especially thinking about where it is used in the movie. As someone has commented on the youtube posting - "This music is in sync with the action on the screen...of a sailor overboard who must be cut loose...and abandoned in the middle of the Pacific to save the 'Surprise' from sinking...as the spar to which he clings becomes a sea anchor. Both the horror and the beauty and the immensity of the act of cutting him lose into oblivion is brilliantly expressed in this music..."
Perhaps is his most famous (and for good reason) is The Lark Ascending, a piece for violin and orchestra. This piece makes me cry... hard... every time I hear it. I don't know if there exists another piece of music more clean, pure, beautiful, nostalgic, soothing, uplifting (OK, so I probably have said this about 20 other pieces this past year... but c'mon - listen to it and you'll understand!). Here is the last 7 minutes of the piece, set to scenery of rural England. The wikipedia article says - "The composition is intended to convey the lyrical and almost eternally English beauty of the scene in which a skylark rises into the heavens above some sunny down and attains such height that it becomes barely visible to those on the ground below."
Wednesday, October 8, 2008
Australian music of the present
Carl Vine was born on this day in Australia in 1954. I have only really heard two pieces by this composer.
Piano Sonata No. 1 (written 1990) - this was my introduction to Carl Vine. I first heard Michael Kieran Harvey (the Australian pianist to whom the work was dedicated) play it at the one and only Ivo Pogorelich International Piano Competition more than a decade ago (in Pasadena, California) and win the grand prize. It is a work that has immediate appeal for its astounding complex rhythms, ethereal sections, shimmering pianism, and fierce, raw, intense emotion. It is also extremely difficult to play - I've been working on it on and off for a couple years now, and it is probably out of my league. The 1st movement starts out slow and dark, with lots of jazz-like tone clusters. It becomes quicker-paced, moving into spell-binding rhythms and interesting tonal harmonies. Then it becomes somewhat atonal and builds into a grand, wild, tonal theme (at 3:17) and finally crashes down, but then builds a second time into the same theme (at 4:17). Again it crashes, meanders, then finds itself in a thoughtful, ethereal theme shimmering to the end.
The 2nd movement is the heart of the piece. It starts off very soft, shimmering at a lightening-quick pace, wild, chaotic, yet ordered (if that makes any sense). The perpetual motion continues, building into a loud rushing-water-like theme that climbs up and then loses steam, plunging down into a deep pool of water........ then tone clusters on the low and high ends of the piano are played slowly while a pensive theme plays in the middle register. This continues for awhile until things become more atonal and restless, furiously building back into the original theme, this time faster and louder. Then finally everything erupts, as if a volcano was bubbling and just waiting to spew (4:36). The rest of the piece is full of angry passion, relentless in its drive and pursuit. Just when you thought it couldn't get any more wild, the tempo DOUBLES (5:25) and the REALLY wild chase ensues, then lets up a little bit with low rumblings (6:32), then with a final burst of violence (7:10), the piece's energy just falls out the bottom, the original theme from the 1st movement returns, and everything fades into nothingness. What a wild piece!
Since then, I've become acquainted with one other piece by Vine, his Celebrare Celeberrime - a celebration for orchestra (written 1993). Thanks to my wife, who heard it on the radio and thought I'd like it - she was right. It sounds like there is a didgeridoo in the orchestration - how cool is that?
Piano Sonata No. 1 (written 1990) - this was my introduction to Carl Vine. I first heard Michael Kieran Harvey (the Australian pianist to whom the work was dedicated) play it at the one and only Ivo Pogorelich International Piano Competition more than a decade ago (in Pasadena, California) and win the grand prize. It is a work that has immediate appeal for its astounding complex rhythms, ethereal sections, shimmering pianism, and fierce, raw, intense emotion. It is also extremely difficult to play - I've been working on it on and off for a couple years now, and it is probably out of my league. The 1st movement starts out slow and dark, with lots of jazz-like tone clusters. It becomes quicker-paced, moving into spell-binding rhythms and interesting tonal harmonies. Then it becomes somewhat atonal and builds into a grand, wild, tonal theme (at 3:17) and finally crashes down, but then builds a second time into the same theme (at 4:17). Again it crashes, meanders, then finds itself in a thoughtful, ethereal theme shimmering to the end.
The 2nd movement is the heart of the piece. It starts off very soft, shimmering at a lightening-quick pace, wild, chaotic, yet ordered (if that makes any sense). The perpetual motion continues, building into a loud rushing-water-like theme that climbs up and then loses steam, plunging down into a deep pool of water........ then tone clusters on the low and high ends of the piano are played slowly while a pensive theme plays in the middle register. This continues for awhile until things become more atonal and restless, furiously building back into the original theme, this time faster and louder. Then finally everything erupts, as if a volcano was bubbling and just waiting to spew (4:36). The rest of the piece is full of angry passion, relentless in its drive and pursuit. Just when you thought it couldn't get any more wild, the tempo DOUBLES (5:25) and the REALLY wild chase ensues, then lets up a little bit with low rumblings (6:32), then with a final burst of violence (7:10), the piece's energy just falls out the bottom, the original theme from the 1st movement returns, and everything fades into nothingness. What a wild piece!
Since then, I've become acquainted with one other piece by Vine, his Celebrare Celeberrime - a celebration for orchestra (written 1993). Thanks to my wife, who heard it on the radio and thought I'd like it - she was right. It sounds like there is a didgeridoo in the orchestration - how cool is that?
Saturday, September 13, 2008
The Father of Atonality
The Austrian-Jewish composer Arnold Schoenberg was born today in 1874. Known as the "emancipator of dissonance", Schoenberg started out as a continuation of the romantic tradition of Brahms, Wagner, Richard Strauss, and Mahler, but in the early 1900's, he moved into atonality. His twelve-tone-row technique was a method that gave equal treatment to all 12 half-steps in the chromatic scale, leaving his compositions without a key signature.
His earliest important work is called "Transfigured Night", still written in a late-romantic tradition with heavy use of chromaticism (such as Wagner's Tristan and Isolde). Here is an excerpt.
A few years later, Schoenberg was to come up with his revolutionary ideas. Here is a short film documenting his ideas. Here is a short piano solo piece illustrating the result of his compositional style.
Perhaps to most of us, it is more enjoyable to listen to people talk about Schoenberg's music than to listen to the music itself. :) Furthermore, listening to people describe Schoenberg who love his music really helps one understand it better. Here's a really fascinating discussion and excerpts of a rehearsal of his piano concerto by Mitsuko Uchida, who describes the music and her love for it with great eloquence. Also, Glenn Gould and Yehudi Menuhin discuss Schoenberg and then play a piece together.
I consider myself somewhat musically educated. I can appreciate a wide variety of music, even very modern sounding stuff. I have a hard time getting excited by Schoenberg, however. Oh sure, I find some of it interesting and even fascinating (see excerpt of Uchida above). But it seems that when tonality is lost, the emotional range of the music is severely limited. Can atonal pieces express anger, rage, despair, depression, fear? Absolutely - maybe they are the best for these emotions. They may even be able to evoke a spirit of lightheartedness or humor. But can atonal music express joy, peace, contentedness, fulfillment, beauty? I am inclined to think not. I'm not saying this music has no place. Under the right conditions and at the right time, this music is appropriate (certainly would help in certain movies!). But I think going atonal has lost a large depth of what music can express...
His earliest important work is called "Transfigured Night", still written in a late-romantic tradition with heavy use of chromaticism (such as Wagner's Tristan and Isolde). Here is an excerpt.
A few years later, Schoenberg was to come up with his revolutionary ideas. Here is a short film documenting his ideas. Here is a short piano solo piece illustrating the result of his compositional style.
Perhaps to most of us, it is more enjoyable to listen to people talk about Schoenberg's music than to listen to the music itself. :) Furthermore, listening to people describe Schoenberg who love his music really helps one understand it better. Here's a really fascinating discussion and excerpts of a rehearsal of his piano concerto by Mitsuko Uchida, who describes the music and her love for it with great eloquence. Also, Glenn Gould and Yehudi Menuhin discuss Schoenberg and then play a piece together.
I consider myself somewhat musically educated. I can appreciate a wide variety of music, even very modern sounding stuff. I have a hard time getting excited by Schoenberg, however. Oh sure, I find some of it interesting and even fascinating (see excerpt of Uchida above). But it seems that when tonality is lost, the emotional range of the music is severely limited. Can atonal pieces express anger, rage, despair, depression, fear? Absolutely - maybe they are the best for these emotions. They may even be able to evoke a spirit of lightheartedness or humor. But can atonal music express joy, peace, contentedness, fulfillment, beauty? I am inclined to think not. I'm not saying this music has no place. Under the right conditions and at the right time, this music is appropriate (certainly would help in certain movies!). But I think going atonal has lost a large depth of what music can express...
Friday, September 5, 2008
Rachel's reactions to Wagner
I missed Richard Wagner's birthday on May 22, partially because I was so busy, and partially because I didn't feel inspired at the time. I don't really listen to his music much, and never have been much into opera.
But just a few days ago, as I was driving to the store with my 2-year-old, Rachel, I turned on the radio to listen to some music. Jim Svejda of classical KUSC was introducing a piece by Wagner. It was a 1940's recording of the Prelude from his opera, Tristan and Isolde, arranged for violin, piano, and orchestra, for a movie. Svedja's words were something like "this overblown, emotional rendition was calculated to leave not a dry eye in the audience". I half-listened as we drove and half-day-dreamed about I can't remember what (my eyes were dry, though).
When we arrived at the market, I turned off the music and the car and opened up the door to get Rachel out. She looked very forlorn, and was quietly saying "it's OK... it's OK... it's OK" (note: Rachel has begun at a very young age to practice "self-talk" when she's distressed). I couldn't figure out what had upset her, unsuccessful at getting her to tell me what the matter was. Then it dawned on me.
Me: "Rachel, did the music make you sad?"
Rachel: "Yeah." (tears start flowing and she starts wailing and crying)
Me: "It's OK, baby. Music makes daddy cry sometimes, too."
Rachel: (still wailing and crying)
Then I got her out of the car and she settled down pretty quickly, softly saying "it's OK... it's OK" to herself every few minutes, and every couple hours for the rest of the day.
Well, here is the famous prelude from Tristan and Isolde. It's actually quite an amazing piece. It is a very important composition, in which Wagner began to push the limits of tonality and harmony, influencing others after him (such as Mahler, Richard Strauss, and Schoenberg), eventually leading to the atonality of the 20th century. It is also very, very emotional, and can really tear you up inside if you're in a certain mood.
Rachel listens to another piece by Wagner quite regularly. The Ride of the Valkyries is probably Wagner's most famous work (besides the Bridal Chorus from Lohengrin), part of his opera, Die Walkure, from his famous Ring Cycle. I have grown up hearing this piece in all sorts of settings, from cartoons, to computer games, to... hearing it every morning at 7am blasted in the halls of my college dorm during finals week (a very odd tradition at my very fine undergraduate institution). I also heard it in its original context, while watching part of the opera in a class during college. It's quite a fine, moving, piece of music.
Rachel likes "The Ride" much better than she likes the Prelude to Tristan and Isolde. My wife got a birthday card last year that plays The Ride when you open it up. She gave it to Rachel to play with, and now Rachel totes it around the house, opening it up, giggling when she hears the music, and saying "It's Vogno! (Wagner)"... but she did cry the first time she heard it as well. This time, though, it was clearly out of fear, and not sadness. She was only about 14 months old at the time, and was rather startled when she opened the card up and this intense music started to play.
Well, there you have it. My daughter is extremely sensitive to music. Not unlike her daddy. I still remember when she was 6 months old and I played my wooden recorder for her. I played a very haunting melody that Dickon plays from the movie The Secret Garden (1987 version), and she started to curl her lip under, got tears in her eyes and cried. This happened every time I played that piece, until she finally grew to cry every time I played the recorder. Then I had to stop playing the recorder altogether for about a year. She isn't afraid of it anymore. Music does powerful things to her emotions, even from such a young age!
But just a few days ago, as I was driving to the store with my 2-year-old, Rachel, I turned on the radio to listen to some music. Jim Svejda of classical KUSC was introducing a piece by Wagner. It was a 1940's recording of the Prelude from his opera, Tristan and Isolde, arranged for violin, piano, and orchestra, for a movie. Svedja's words were something like "this overblown, emotional rendition was calculated to leave not a dry eye in the audience". I half-listened as we drove and half-day-dreamed about I can't remember what (my eyes were dry, though).
When we arrived at the market, I turned off the music and the car and opened up the door to get Rachel out. She looked very forlorn, and was quietly saying "it's OK... it's OK... it's OK" (note: Rachel has begun at a very young age to practice "self-talk" when she's distressed). I couldn't figure out what had upset her, unsuccessful at getting her to tell me what the matter was. Then it dawned on me.
Me: "Rachel, did the music make you sad?"
Rachel: "Yeah." (tears start flowing and she starts wailing and crying)
Me: "It's OK, baby. Music makes daddy cry sometimes, too."
Rachel: (still wailing and crying)
Then I got her out of the car and she settled down pretty quickly, softly saying "it's OK... it's OK" to herself every few minutes, and every couple hours for the rest of the day.
Well, here is the famous prelude from Tristan and Isolde. It's actually quite an amazing piece. It is a very important composition, in which Wagner began to push the limits of tonality and harmony, influencing others after him (such as Mahler, Richard Strauss, and Schoenberg), eventually leading to the atonality of the 20th century. It is also very, very emotional, and can really tear you up inside if you're in a certain mood.
Rachel listens to another piece by Wagner quite regularly. The Ride of the Valkyries is probably Wagner's most famous work (besides the Bridal Chorus from Lohengrin), part of his opera, Die Walkure, from his famous Ring Cycle. I have grown up hearing this piece in all sorts of settings, from cartoons, to computer games, to... hearing it every morning at 7am blasted in the halls of my college dorm during finals week (a very odd tradition at my very fine undergraduate institution). I also heard it in its original context, while watching part of the opera in a class during college. It's quite a fine, moving, piece of music.
Rachel likes "The Ride" much better than she likes the Prelude to Tristan and Isolde. My wife got a birthday card last year that plays The Ride when you open it up. She gave it to Rachel to play with, and now Rachel totes it around the house, opening it up, giggling when she hears the music, and saying "It's Vogno! (Wagner)"... but she did cry the first time she heard it as well. This time, though, it was clearly out of fear, and not sadness. She was only about 14 months old at the time, and was rather startled when she opened the card up and this intense music started to play.
Well, there you have it. My daughter is extremely sensitive to music. Not unlike her daddy. I still remember when she was 6 months old and I played my wooden recorder for her. I played a very haunting melody that Dickon plays from the movie The Secret Garden (1987 version), and she started to curl her lip under, got tears in her eyes and cried. This happened every time I played that piece, until she finally grew to cry every time I played the recorder. Then I had to stop playing the recorder altogether for about a year. She isn't afraid of it anymore. Music does powerful things to her emotions, even from such a young age!
Monday, July 7, 2008
Do you have Mahleria?
The Austrian-Jewish composer Gustav Mahler was born today in 1860. For some reason, Mahler has more of a "cult-following" than most other classical composers, which has led some to diagnose those in the following as having the disease, "Mahleria". I myself greatly enjoy much of Mahler's music, leading me to think I had a touch of this illness. However, when I did a little bit of reading online, I realized my illness is nothing compared to some. Here is an incredibly funny medical description of Mahleria, especially funny if you've taken a medical microbiology course and have read a little bit about Mahler's life in relation to his symphonies.
Here's a long thread from some individuals clearly infected with Mahleria (the beginning post admits it outright). There are some interesting comments about his music in here, especially the first post, which gives a short summary of each of Mahler's symphonies.
Here is a link to a more in-depth analysis of Mahler's symphonies and songs than you'll probably ever want to read, from a man who has been listening to and studying Mahler's works for more than 40 years. I couldn't even make it through the first symphony's commentary, it was so long, but skimming this is pretty interesting if you know the music already, or if you're really motivated to know which recording you should buy of each Mahler symphony.
As those I link to have written, much of Mahler's music is programmatic. His music is extremely emotional, ranging from the most tortuous heart-wrending cries to the grandest exultations of rapture. Even though Mahler is not my favorite composer, I think I would rather go to a concert of a Mahler symphony than any other piece of music. The dynamic range of his works, from the ultra-soft to the fullness of the large brass sections and deafening crashes have a tendency to utterly amaze one sitting in a concert hall. The performance I went to of Mahler's 5th symphony some 10 years ago I will never forget as the most amazing musical concert I have ever attended. I was shedding so many tears from the pathos of the first 3 movements, that I was too emotionally exhausted to thoroughly and properly enjoy the tender 4th movement and the joyous 5th movement. Sigh... maybe I do have a touch of Mahleria.
On to the music. If you are new to Mahler, and don't have the natural tendency to enjoy loud, emotional late-romantic music, I would suggest beginning with his 4th symphony. Mahlerites always refer to it as "remarkably understated" or something of the sort. It was the first Mahler I ever heard, and it didn't take me too long to really enjoy it. It is his shortest symphony (usually a little under an hour), and is in only four movements (many of his symphonies are 5 movements, and two are even 6 movements). Here is the lovely classical-sounding first movement, parts 1 and 2. Here is the mysterious and ghostly (yet very lyrical) second movement. The third movement (parts 1, 2, and 3) forms the core of the symphony and is a very tender, yearning, beautiful song-like piece. This is truly heavenly music - take the time to listen to it and I think you'll agree! The fourth movement is a poem about heaven from a child's viewpoint, sung by a soprano, and is exquistely beautiful as well. What a perfect way to end Mahler's most peaceful and accessible symphony.
Mahler's first four symphonies are called the Wunderhorn symphonies because the themes presented in them draw some from his song cycle of the same name. All but the first have a singing component in it. His 1st symphony is probably the next most accessible, with a lot of the same scenic and pastorale beauty found in the 4th. However, there are some heart-wrending cries in the stormy 4th movement that are not found in the 4th symphony, and there is a strange funeral march to the tune of "Frere Jacques" in a minor key. Here is the opening of the 1st symphony, depicting the early morning with dawn awakening and birds calling, eventually breaking into a beautiful melody that communicates contentedness and joy.
The 2nd symphony, called "Resurrection", was one of Mahler's most successful symphonies during his day. Here is an excerpt of the opening movement, a funeral march depicting the death of Mahler's "hero" that is the subject of his first symphony. The gargantuan 3rd symphony I really don't know at all, and is the longest symphony ever written, clocking in at about 100 minutes. I've heard it a couple times and there are some really beautiful moments, especially the 6th (and final) movement. It didn't enjoy the popularity that the 2nd symphony did during Mahler's time. One reviewer wrote "the composer should be shot".
Mahler's symphonies 5 to 7 are in his second period, and none have a vocal component. As I've already mentioned, I'm very fond of his 5th symphony. It took me a while to get into it, but once I did, it proved just as much or more rewarding than any of the other symphonies. Here is the opening of the 1st movement, another funeral march (yes Mahler was preoccupied with death - lots of personal tragedies in his life, I'm sorry to say). Here is the exquisitely beautiful and famous Adagietto (4th movement), which may very well be Mahler's most well-known piece of music.
The 6th symphony I really haven't listened to more than once or twice, but it is supposed to be a real masterpiece, although very dark and tragic. There are two (or three depending on which version you have) "hammer blows" in the last movement, which supposedly depict fate and the impending doom that Mahler had weighing on him. Mahler designed his own hammer and podium to go with it - check it out in this brief excerpt - pretty manly instrument!
The 7th symphony is about the night. The middle three movements (two of which are labeled "Night-music") is how the symphony got it's nickname - "Song of the Night". The 2nd movement is a melancholy march with frequent woodwind cadenzas depicting the night-calls of birds. The 3rd movement depicts midnight and is a rather ghostly nightmare. The 4th movement takes a turn toward the tender side, with mandolin and guitar accompaniment to a lovely melody. The 5th and final movement bursts forth with fanfares and joy - Mahler himself stated of it " and now for the daytime". The 7th is supposedly poorly understood and not well-liked, but I recently got a recording of it and really have come to appreciate it. Here is the opening of the 2nd movement.
Mahler's last symphonies - Nos. 8, 9, "Das Lied von der Erde", and 10 (unfinished) are from his last period of writing, in which he starts to push tonality even further, with his 9th and 10th bordering on atonality in places. Mahler was superstitious about writing a 9th symphony, since every major composer after Beethoven that wrote 9 symphonies died shortly after (Beethoven, Schubert, Dvorak, Bruckner, etc.). So after the 8th, he wrote "Das Lied von der Erde" (The Song of the Earth), a song-symphony with a tenor and contralto alternating singing each movement, set to some Chinese poetry. Out of these late symphonies, I'm particularly fond of this work. Here is the lovely fourth movement, "Of Beauty".
Mahler also had many song cycles (none of which I've actually listened to), including "Des Knaben Wunderhorn" (The Youth's Magic Horn), the basis of much of his early symphonic works, "Kindertotenlieder" (Song's on the Death of Children), "Ruckertlieder", and others.
I hope you've enjoyed this brief and selective tour into the world of Mahler, whether or not you have a touch of Mahleria.
Here's a long thread from some individuals clearly infected with Mahleria (the beginning post admits it outright). There are some interesting comments about his music in here, especially the first post, which gives a short summary of each of Mahler's symphonies.
Here is a link to a more in-depth analysis of Mahler's symphonies and songs than you'll probably ever want to read, from a man who has been listening to and studying Mahler's works for more than 40 years. I couldn't even make it through the first symphony's commentary, it was so long, but skimming this is pretty interesting if you know the music already, or if you're really motivated to know which recording you should buy of each Mahler symphony.
As those I link to have written, much of Mahler's music is programmatic. His music is extremely emotional, ranging from the most tortuous heart-wrending cries to the grandest exultations of rapture. Even though Mahler is not my favorite composer, I think I would rather go to a concert of a Mahler symphony than any other piece of music. The dynamic range of his works, from the ultra-soft to the fullness of the large brass sections and deafening crashes have a tendency to utterly amaze one sitting in a concert hall. The performance I went to of Mahler's 5th symphony some 10 years ago I will never forget as the most amazing musical concert I have ever attended. I was shedding so many tears from the pathos of the first 3 movements, that I was too emotionally exhausted to thoroughly and properly enjoy the tender 4th movement and the joyous 5th movement. Sigh... maybe I do have a touch of Mahleria.
On to the music. If you are new to Mahler, and don't have the natural tendency to enjoy loud, emotional late-romantic music, I would suggest beginning with his 4th symphony. Mahlerites always refer to it as "remarkably understated" or something of the sort. It was the first Mahler I ever heard, and it didn't take me too long to really enjoy it. It is his shortest symphony (usually a little under an hour), and is in only four movements (many of his symphonies are 5 movements, and two are even 6 movements). Here is the lovely classical-sounding first movement, parts 1 and 2. Here is the mysterious and ghostly (yet very lyrical) second movement. The third movement (parts 1, 2, and 3) forms the core of the symphony and is a very tender, yearning, beautiful song-like piece. This is truly heavenly music - take the time to listen to it and I think you'll agree! The fourth movement is a poem about heaven from a child's viewpoint, sung by a soprano, and is exquistely beautiful as well. What a perfect way to end Mahler's most peaceful and accessible symphony.
Mahler's first four symphonies are called the Wunderhorn symphonies because the themes presented in them draw some from his song cycle of the same name. All but the first have a singing component in it. His 1st symphony is probably the next most accessible, with a lot of the same scenic and pastorale beauty found in the 4th. However, there are some heart-wrending cries in the stormy 4th movement that are not found in the 4th symphony, and there is a strange funeral march to the tune of "Frere Jacques" in a minor key. Here is the opening of the 1st symphony, depicting the early morning with dawn awakening and birds calling, eventually breaking into a beautiful melody that communicates contentedness and joy.
The 2nd symphony, called "Resurrection", was one of Mahler's most successful symphonies during his day. Here is an excerpt of the opening movement, a funeral march depicting the death of Mahler's "hero" that is the subject of his first symphony. The gargantuan 3rd symphony I really don't know at all, and is the longest symphony ever written, clocking in at about 100 minutes. I've heard it a couple times and there are some really beautiful moments, especially the 6th (and final) movement. It didn't enjoy the popularity that the 2nd symphony did during Mahler's time. One reviewer wrote "the composer should be shot".
Mahler's symphonies 5 to 7 are in his second period, and none have a vocal component. As I've already mentioned, I'm very fond of his 5th symphony. It took me a while to get into it, but once I did, it proved just as much or more rewarding than any of the other symphonies. Here is the opening of the 1st movement, another funeral march (yes Mahler was preoccupied with death - lots of personal tragedies in his life, I'm sorry to say). Here is the exquisitely beautiful and famous Adagietto (4th movement), which may very well be Mahler's most well-known piece of music.
The 6th symphony I really haven't listened to more than once or twice, but it is supposed to be a real masterpiece, although very dark and tragic. There are two (or three depending on which version you have) "hammer blows" in the last movement, which supposedly depict fate and the impending doom that Mahler had weighing on him. Mahler designed his own hammer and podium to go with it - check it out in this brief excerpt - pretty manly instrument!
The 7th symphony is about the night. The middle three movements (two of which are labeled "Night-music") is how the symphony got it's nickname - "Song of the Night". The 2nd movement is a melancholy march with frequent woodwind cadenzas depicting the night-calls of birds. The 3rd movement depicts midnight and is a rather ghostly nightmare. The 4th movement takes a turn toward the tender side, with mandolin and guitar accompaniment to a lovely melody. The 5th and final movement bursts forth with fanfares and joy - Mahler himself stated of it " and now for the daytime". The 7th is supposedly poorly understood and not well-liked, but I recently got a recording of it and really have come to appreciate it. Here is the opening of the 2nd movement.
Mahler's last symphonies - Nos. 8, 9, "Das Lied von der Erde", and 10 (unfinished) are from his last period of writing, in which he starts to push tonality even further, with his 9th and 10th bordering on atonality in places. Mahler was superstitious about writing a 9th symphony, since every major composer after Beethoven that wrote 9 symphonies died shortly after (Beethoven, Schubert, Dvorak, Bruckner, etc.). So after the 8th, he wrote "Das Lied von der Erde" (The Song of the Earth), a song-symphony with a tenor and contralto alternating singing each movement, set to some Chinese poetry. Out of these late symphonies, I'm particularly fond of this work. Here is the lovely fourth movement, "Of Beauty".
Mahler also had many song cycles (none of which I've actually listened to), including "Des Knaben Wunderhorn" (The Youth's Magic Horn), the basis of much of his early symphonic works, "Kindertotenlieder" (Song's on the Death of Children), "Ruckertlieder", and others.
I hope you've enjoyed this brief and selective tour into the world of Mahler, whether or not you have a touch of Mahleria.
Wednesday, June 18, 2008
Rhythmically Russian
Russian Composer Igor Stravinsky was born on June 17 in 1882. Stravinsky has been hailed as one of the most important and influential composers of the 20th century.
Of his contributions to music, one is his unusual use of rhythms. One musicologist has said that "Stravinsky is perhaps the only composer who has raised rhythm in itself to the dignity of art", and the composer Aaron Copland was very influenced by Stravinky's use of rhythms. Stravinsky also made use of polytonality, or musical lines in multiple clashing keys at the same time.
His early compositions can be seen as Russian nationalistic. The most famous are his first three ballets, The Firebird, Petrushka, and The Rite of Spring.
Here is an old video of the composer himself conducting part of The Firebird, which has a very late-romantic feel to it. If it sounds familiar to you, it may be because Fantasia 2000 has used some of the music from this ballet for its finale (the one about the spring sprite and elk vs. the "volcano bird").
The music I'd like to play of Petrushka is a piano version made by the composer himself of some pieces from the ballet. Here are the first and second movements - notice the competing rhythms in the two hands, clever chord patterns, and lightning fast arpeggios in the first piece; and in the second piece (starting at 2:33), the striking dissonances that resolve into ethereal flittings and floatings - this is really fascinating music! Finally, here's a fragment of Shrovetide Fair, which gives a taste of the relentless rhythmic drive and repetition of chords that is so often part of Stravinsky's music.
The Rite of Spring is probably Stravinsky's most famous (and most infamous) work. It has very interesting and beautiful moments, but mostly it is full of brutal dissonance and very complex rhythms. The 1913 Paris crowd listening to its premiere did not like it at all - there were boos, tomatoes thrown, and riots throughout! It's likely that both the dissonant music as well as the ballet was offensive to them, given that the work is about pagan rituals and human sacrifice. I think I'd rather avoid watching the ballet myself! Here is a link to a four-hands version, played by one person (he recorded the 1st part and plays over it with a special piano). This gets a bit thick at times (whereas the many different instruments of the orchestra and each unique timbre do the piece more justice), but it is interesting to hear some of it on piano if you're already familiar with the piece. Here is the version played for the original Disney Fantasia movie, Part 1, Part 2, and Part 3. I personally find this very interesting to watch - it seems to enhance the music for me, and is much more uplifting to me than Stravinsky's own program for the piece, which I find frankly disturbing.
All the above compositions were from Stravinsky's early period. His middle period of composition is termed Neoclassical. During this time, he wrote music which reinvestigated the compositional style of the classical period. One such piece is his Symphony of Psalms. Just prior to writing it, Stravinsky had a re-awakening of his Christian faith, and this is partly what inspired him to write the piece. Here is the third movement (Psalm 150) of the work.
Although I don't have any examples to play, his last period of composing featured music written with twelve-tone-row technique (serialism), in which the 12 half-steps of the chromatic scale are all treated equally and used in a certain order. The effect is atonality in music. This compositional technique was popularized by the Austrian composer Arnold Schoenberg, and will be explored here more on his birthday.
Of his contributions to music, one is his unusual use of rhythms. One musicologist has said that "Stravinsky is perhaps the only composer who has raised rhythm in itself to the dignity of art", and the composer Aaron Copland was very influenced by Stravinky's use of rhythms. Stravinsky also made use of polytonality, or musical lines in multiple clashing keys at the same time.
His early compositions can be seen as Russian nationalistic. The most famous are his first three ballets, The Firebird, Petrushka, and The Rite of Spring.
Here is an old video of the composer himself conducting part of The Firebird, which has a very late-romantic feel to it. If it sounds familiar to you, it may be because Fantasia 2000 has used some of the music from this ballet for its finale (the one about the spring sprite and elk vs. the "volcano bird").
The music I'd like to play of Petrushka is a piano version made by the composer himself of some pieces from the ballet. Here are the first and second movements - notice the competing rhythms in the two hands, clever chord patterns, and lightning fast arpeggios in the first piece; and in the second piece (starting at 2:33), the striking dissonances that resolve into ethereal flittings and floatings - this is really fascinating music! Finally, here's a fragment of Shrovetide Fair, which gives a taste of the relentless rhythmic drive and repetition of chords that is so often part of Stravinsky's music.
The Rite of Spring is probably Stravinsky's most famous (and most infamous) work. It has very interesting and beautiful moments, but mostly it is full of brutal dissonance and very complex rhythms. The 1913 Paris crowd listening to its premiere did not like it at all - there were boos, tomatoes thrown, and riots throughout! It's likely that both the dissonant music as well as the ballet was offensive to them, given that the work is about pagan rituals and human sacrifice. I think I'd rather avoid watching the ballet myself! Here is a link to a four-hands version, played by one person (he recorded the 1st part and plays over it with a special piano). This gets a bit thick at times (whereas the many different instruments of the orchestra and each unique timbre do the piece more justice), but it is interesting to hear some of it on piano if you're already familiar with the piece. Here is the version played for the original Disney Fantasia movie, Part 1, Part 2, and Part 3. I personally find this very interesting to watch - it seems to enhance the music for me, and is much more uplifting to me than Stravinsky's own program for the piece, which I find frankly disturbing.
All the above compositions were from Stravinsky's early period. His middle period of composition is termed Neoclassical. During this time, he wrote music which reinvestigated the compositional style of the classical period. One such piece is his Symphony of Psalms. Just prior to writing it, Stravinsky had a re-awakening of his Christian faith, and this is partly what inspired him to write the piece. Here is the third movement (Psalm 150) of the work.
Although I don't have any examples to play, his last period of composing featured music written with twelve-tone-row technique (serialism), in which the 12 half-steps of the chromatic scale are all treated equally and used in a certain order. The effect is atonality in music. This compositional technique was popularized by the Austrian composer Arnold Schoenberg, and will be explored here more on his birthday.
Composer of My Ancestry
The Norwegian Composer, Edvard Grieg, was born on June 15 in 1843. Much of his music draws largely from Norwegian folk music. Grieg was quite a gifted pianist, and had the opportunity to study in Leipzig, Germany. His piano music shows clear influences from Liszt, Schumann, and Chopin.
One of the most popular compositions (and rightly so) is his Piano Concerto in A minor. The piece is often compared with Schumann's Piano Concerto in the same key, which Grieg heard Clara Schumann perform in Leipzig in 1858 (he composed his own concerto 10 years later). The first movements of both pieces begin with a short piano cadenza leading into an orchestral introduction of the first theme, followed by a repetition of the theme in the piano. After this follows some quicker piano passage-work and eventually the second theme. I've also observed that Rachmaninoff's 1st piano concerto is clearly influenced by both of these concertos, with the same type of program at the beginning. Listen to the first movements of the Schumann, Grieg, and Rachmaninoff 1st piano concertos to see what I mean.
Here is the continuation of the Grieg 1st movement and the 2nd movement (starting at 4:20), and the third movement (starting at 0:45). The second movement of this piece is to me one of the most beautiful movements in all of classical music. I know that since I'm Norwegian, too, I'm probably biased, but it's not like I've ever even been to Norway or know any of the language or culture. But there is something so pure and wistful about the 2nd movement (clearly influenced by the 2nd movement of Beethoven's Emperor Concerto, another one of the most beautiful pieces in all of classical music).
Another very popular work by Grieg is the music he wrote for Henrik Ibsen's play, Peer Gynt. He put some of the music together into two Peer Gynt Suites, from which we get Morning Mood, Anitra's Dance, In the Hall of the Mountain King, and Solveig's Song among others. Although Grieg was influenced by a lot of the mainstream Romantic composers of his day, these last few compositions should give a taste of his unmistakable sound, probably because of the Norwegian folk music influence. I'm getting misty-eyed right now thinking about how my Grandmother used to ask me to play Solveig's Song for her on the piano all the time (she immigrated from Norway).
Grieg also wrote a lot of little piano pieces, many of which are included in his suites of Lyric Pieces, wonderful little gems, some profound and difficult, but most of them quiet little understated pieces. Here's a few: Wedding Day at Troldhaugen, March of the Dwarfs, The Butterfly, Melody, and Peace of the Woods. I've recently been playing through these and bought a 7-CD set of all of Grieg's piano works - delightful to listen to!
One of the most popular compositions (and rightly so) is his Piano Concerto in A minor. The piece is often compared with Schumann's Piano Concerto in the same key, which Grieg heard Clara Schumann perform in Leipzig in 1858 (he composed his own concerto 10 years later). The first movements of both pieces begin with a short piano cadenza leading into an orchestral introduction of the first theme, followed by a repetition of the theme in the piano. After this follows some quicker piano passage-work and eventually the second theme. I've also observed that Rachmaninoff's 1st piano concerto is clearly influenced by both of these concertos, with the same type of program at the beginning. Listen to the first movements of the Schumann, Grieg, and Rachmaninoff 1st piano concertos to see what I mean.
Here is the continuation of the Grieg 1st movement and the 2nd movement (starting at 4:20), and the third movement (starting at 0:45). The second movement of this piece is to me one of the most beautiful movements in all of classical music. I know that since I'm Norwegian, too, I'm probably biased, but it's not like I've ever even been to Norway or know any of the language or culture. But there is something so pure and wistful about the 2nd movement (clearly influenced by the 2nd movement of Beethoven's Emperor Concerto, another one of the most beautiful pieces in all of classical music).
Another very popular work by Grieg is the music he wrote for Henrik Ibsen's play, Peer Gynt. He put some of the music together into two Peer Gynt Suites, from which we get Morning Mood, Anitra's Dance, In the Hall of the Mountain King, and Solveig's Song among others. Although Grieg was influenced by a lot of the mainstream Romantic composers of his day, these last few compositions should give a taste of his unmistakable sound, probably because of the Norwegian folk music influence. I'm getting misty-eyed right now thinking about how my Grandmother used to ask me to play Solveig's Song for her on the piano all the time (she immigrated from Norway).
Grieg also wrote a lot of little piano pieces, many of which are included in his suites of Lyric Pieces, wonderful little gems, some profound and difficult, but most of them quiet little understated pieces. Here's a few: Wedding Day at Troldhaugen, March of the Dwarfs, The Butterfly, Melody, and Peace of the Woods. I've recently been playing through these and bought a 7-CD set of all of Grieg's piano works - delightful to listen to!
Sunday, June 8, 2008
The Poet Speaks
Robert Schumann was born on this day in 1810 in Germany. Schumann is a very interesting person to learn about in many ways. He was of a very passionate temperament, was mentally unstable, was a very well-respected music critic, and of course wrote lots of very beautiful music that has stood the test of time.
Schumann would also have been possibly considered a great pianist, but while studying piano with the great Friedrich Wieck, he injured his right hand permanently and so gave that up as a career and focused on composing instead. He did fall in love with Wieck's daughter, Clara, however, and eventually married her (after a long legal battle with her father, who was very much against their union). Clara turned into one of the greatest pianists of her day, and often showcased her husband's piano works after he composed them.
An example of this is his Piano Concerto in A minor. This piece is one of the most popular romantic piano concertos in the repertoire today. Many very beautiful themes, lots of spontaneity (typical of Schumann), and impressive pianism. It was first performed by Clara. Here is a performance by the great virtuoso Martha Argerich, who I'm sure could have rivaled Clara had she lived at that time: first movement, parts 1 and 2, 2nd movement, and 3rd movement.
Schumann's skills as a writer and music critic gave him the unique opportunity to assist other younger composers and musicians who greatly benefited from his generous encouragement and enthusiasm. Schumann helped both Felix Mendelssohn and Johannes Brahms in their careers as musicians. Brahms became very close to the Schumanns later in life. Although many writers have played up that he was in love with Clara and speculate about an affair, it is unlikely that anything untoward happened between them, although Clara and Brahms did become very good friends after Schumann died (in an insane asylum).
Here are some more of Schumann's best:
Toccata, Op. 7 - a monstrously difficult piece, requiring immense technique and endurance. It displays unbridled joy and passion, but has lots of light-hearted parts, too.
Carnaval, Op. 9. This work is a set of 20 short pieces, each of very different character, very spontaneously jumping between tender/slow and frantic/fast moods. Several pieces are written with certain people in mind, such as Clara Wieck (not yet his wife), a different love-interest (displaced by Clara), composer Chopin, composer Paganini, etc. It is a very likeable piece, and very passionate. Here are the opening few pieces.
Schumann also wrote 4 symphonies, all of which are quite good. Here is the opening movement of the 3rd symphony, "Rhenish".
Finally, probably his most well-known and loved little gems, the "Scenes from Childhood", Op. 15. They are little piano pieces in which the composer reminisces about his childhood as an adult. Here they are, pieces 1-8 and 9-13. By the way, the last piece in this set is entitled "The Poet Speaks", in case you were wondering about the title of my blog entry.
Schumann would also have been possibly considered a great pianist, but while studying piano with the great Friedrich Wieck, he injured his right hand permanently and so gave that up as a career and focused on composing instead. He did fall in love with Wieck's daughter, Clara, however, and eventually married her (after a long legal battle with her father, who was very much against their union). Clara turned into one of the greatest pianists of her day, and often showcased her husband's piano works after he composed them.
An example of this is his Piano Concerto in A minor. This piece is one of the most popular romantic piano concertos in the repertoire today. Many very beautiful themes, lots of spontaneity (typical of Schumann), and impressive pianism. It was first performed by Clara. Here is a performance by the great virtuoso Martha Argerich, who I'm sure could have rivaled Clara had she lived at that time: first movement, parts 1 and 2, 2nd movement, and 3rd movement.
Schumann's skills as a writer and music critic gave him the unique opportunity to assist other younger composers and musicians who greatly benefited from his generous encouragement and enthusiasm. Schumann helped both Felix Mendelssohn and Johannes Brahms in their careers as musicians. Brahms became very close to the Schumanns later in life. Although many writers have played up that he was in love with Clara and speculate about an affair, it is unlikely that anything untoward happened between them, although Clara and Brahms did become very good friends after Schumann died (in an insane asylum).
Here are some more of Schumann's best:
Toccata, Op. 7 - a monstrously difficult piece, requiring immense technique and endurance. It displays unbridled joy and passion, but has lots of light-hearted parts, too.
Carnaval, Op. 9. This work is a set of 20 short pieces, each of very different character, very spontaneously jumping between tender/slow and frantic/fast moods. Several pieces are written with certain people in mind, such as Clara Wieck (not yet his wife), a different love-interest (displaced by Clara), composer Chopin, composer Paganini, etc. It is a very likeable piece, and very passionate. Here are the opening few pieces.
Schumann also wrote 4 symphonies, all of which are quite good. Here is the opening movement of the 3rd symphony, "Rhenish".
Finally, probably his most well-known and loved little gems, the "Scenes from Childhood", Op. 15. They are little piano pieces in which the composer reminisces about his childhood as an adult. Here they are, pieces 1-8 and 9-13. By the way, the last piece in this set is entitled "The Poet Speaks", in case you were wondering about the title of my blog entry.
Friday, June 6, 2008
Armenian Folk Music
Today in 1903, Aram Khachaturian was born in Georgia (then Imperial Russia) to an Armenian family. He enjoyed music from a young age, but did not study formally or learn to read music until he was older.
He initially was a supporter of communism and its ideals, joining the party in 1943. But after writing his third symphony (which was intended to be dedicated to the communist party), he was denounced by communist leaders (who also attacked two other popular Russian composers, Prokofiev and Shostakovich). This attack shocked him and forced him to reconsider his positions.
Khachaturian was also very proud of his Armenian heritage, and he incorporated Armenian folk-music into his compositions. His most famous work of music is the "Sabre Dance" from his Ganaye ballet, which is played in all sorts of movies, cartoons, TV shows, etc. Here is an excellent performance of it.
Other than the previous piece, my main exposure to Khachaturian is through his Piano Concerto from 1936. It is modern and dissonant, but is full of very moving themes and dazzling piano passage-work. It is truly romantic at it's heart, despite the modern sounds throughout. The second movement is especially beautiful, and the whole piece is full of themes that sound like folk-music. Here is a recording of this piece, 1st movement parts 1 and 2, 2nd movement, and 3rd movement.
He initially was a supporter of communism and its ideals, joining the party in 1943. But after writing his third symphony (which was intended to be dedicated to the communist party), he was denounced by communist leaders (who also attacked two other popular Russian composers, Prokofiev and Shostakovich). This attack shocked him and forced him to reconsider his positions.
Khachaturian was also very proud of his Armenian heritage, and he incorporated Armenian folk-music into his compositions. His most famous work of music is the "Sabre Dance" from his Ganaye ballet, which is played in all sorts of movies, cartoons, TV shows, etc. Here is an excellent performance of it.
Other than the previous piece, my main exposure to Khachaturian is through his Piano Concerto from 1936. It is modern and dissonant, but is full of very moving themes and dazzling piano passage-work. It is truly romantic at it's heart, despite the modern sounds throughout. The second movement is especially beautiful, and the whole piece is full of themes that sound like folk-music. Here is a recording of this piece, 1st movement parts 1 and 2, 2nd movement, and 3rd movement.
Wednesday, May 7, 2008
Two of the Greatest Romantic Composers, Part 2
Brahms' music starkly contrasts Tchaikovsky's. The emotions that come through are powerful, but reserved and controlled, not wild and frantic. However, aside from a few selected works, Brahms' music doesn't have the immediate appeal that Tchaikovsky's does. Yet I find that his music is deeper and becomes more satisfying with each listen. The deeper I get into a particular Brahms piece, the more I am in amazement at the complex, intellectual brilliance that went into the composition. Yet the rugged beauty in his music doesn't need an intellectual understanding of it to enjoy it.
Here are some of my favorites of Brahms.
Orchestral music:
Piano Concerto No. 1 - a monumental work of genius. Although very difficult for the pianist, there is no gratuitous "showing-off" - the orchestra and piano work together to create musical ideas and cohesiveness. Unfortunately, the concerto was received very harshly when the composer premiered it, with an icy silence after one performance, and hissing by a later audience. That sort of thing would be unheard of today - and today's music isn't close to being in the same league! Here is pianist Stephen Hough discussing the piece after playing it. Here is the monumental concerto, parts 1, 2, 3, 4, 5, and 6 (First movement up to part 3, 5:15; Second movement up to part 5, 2:20, Third movement the rest). The second movement is one of my favorite pieces of all time. My piano teacher recalls his teacher telling him "It will create a chapel in your soul!" It is full of calm and beauty, and the climax in the middle is very moving. The other two movements are powerful and full of austere beauty.
Piano Concerto No. 2 - an even more difficult piece for the pianist, and even more integrated into the orchestra part, such that it was called "a symphony with piano obbligato" in early days. It has four movements, making it even larger than the first concerto (if that were possible!). This ranks as one of the most difficult concertos of all time (up there with Rachmaninoff 3rd). I think of it as one of the most satisfying musical meals I could ever have. The longer the better (it is usually about an hour long)! It is more pastorale and less austere than the first concerto, and the emotions in the piece run the whole gamut. Here is the first movement, parts 1 and 2. The second movement, which Brahms jokingly called "a tiny wisp of a scherzo" is here. The third movement is a beautiful slow movement, complete with a cello solo. Here are parts 1 and 2, the latter also containing part of the fourth movement, which is light-hearted but still full of power and beauty, concluding here.
Violin Concerto - one of the greatest violin concertos of all time. It can be very austere and serious, especially in the first movement, but there are more light-hearted and tender moments as well, especially in the 2nd and 3rd movements. Critics of his time have said that it is not a concerto for violin as much as "against the violin" and others have said it was "unplayable". It is indeed a hard piece, but it has stood the test of time and is one of the most loved works of all time today. Here are the first, second, and third movements (the first is incomplete here).
Double Concerto - Brahms' last composition for orchestra, it is a concerto for violin and cello together. It is characteristically austere and powerful, but not without lots of beautiful writing and good humor in many places. The opening is especially powerful, with the orchestral outburst followed by a cadenza for the cello, then violin, then both together before the orchestra comes back to have a longer introduction. This a moving piece! Here are parts 1, 2, 3, and 4. The middle movement (part 3 here) is particularly tender and full of the "deep" Brahms beauty.
Four Symphonies - all four of his monumental symphonies are precious jewels. They were late in coming, due to the composer's dissatisfaction and highly self-critical nature. The first symphony was finished in his 40's, and is a tour-de-force. The last movement is very reminiscent of Beethoven's 9th symphony, and so Brahms was dubbed as the continuation of Beethoven - very high praise, but which I think is appropriate. The second symphony is very pastorale and beautiful - probably my favorite Brahms symphony. Since this blog entry is too long already, I'll link only to the third movement, my favorite. I would highly recommend this recording, which is a performance of Brahms and Tchaikovsky's last symphonies (Brahms 4th, Tchaikovsky's 6th) as well as some absolutely brilliant commentary (about 20 minutes per piece) by the great conductor, Leonard Bernstein. It includes other pieces on it as well, with commentary. This will give you a good idea of the musical genius in the creative process by both of these composers in their symphonies.
Variations on a Theme of Haydn - a set of variations on a theme unlikely by Haydn, but that doesn't matter. It's one of his most accessible works, but this doesn't mean it's not deep! The mood changes throughout, from very thoughtful and pensive to unabashedly joyful. I was only able to find a 2-piano version worth listening to (the orchestral version is superior), but here is the opening.
Chamber Music:
Brahms wrote lots and lots of chamber music. It tends to be pretty thick and heavy, but is, once again, quite satisfying in a way that no other composer can match (except perhaps Bach or Beethoven).
Violin Sonatas - he wrote 3, all of which are an incredible feast for the soul. Here is the first movement (parts 1 and 2) of the G major sonata. Brahms also wrote two viola sonatas, originally written as Clarinet sonatas, later transcribed for viola. They are both wonderfully rich and a joy to listen to and play, as are his two cello sonatas.
Brahms also wrote several piano trios and piano quartets, all amazing and monumental works. However, his Piano Quintet in F minor (written for piano and string quartet), to me is the peak, the pinnacle, of all chamber works written for piano and strings. Yes, you heard me right. I know that's kind of a strong statement, but that's how I feel. All four movements are astounding in their passion and integration between the instruments. It is a very serious work with a passion and energy unmatched by any other piece I know of. The most amazing and innovative movements are the 3rd and 4th. The third movement has a driving force and passion in it that stirs my soul every time I listen to it. The fourth movement has extraordinary harmonies in it, pushing the envelope of Romantic music. Listen especially to 7:00 on to the end - so much passion and fire!
Here are some of my favorites of Brahms.
Orchestral music:
Piano Concerto No. 1 - a monumental work of genius. Although very difficult for the pianist, there is no gratuitous "showing-off" - the orchestra and piano work together to create musical ideas and cohesiveness. Unfortunately, the concerto was received very harshly when the composer premiered it, with an icy silence after one performance, and hissing by a later audience. That sort of thing would be unheard of today - and today's music isn't close to being in the same league! Here is pianist Stephen Hough discussing the piece after playing it. Here is the monumental concerto, parts 1, 2, 3, 4, 5, and 6 (First movement up to part 3, 5:15; Second movement up to part 5, 2:20, Third movement the rest). The second movement is one of my favorite pieces of all time. My piano teacher recalls his teacher telling him "It will create a chapel in your soul!" It is full of calm and beauty, and the climax in the middle is very moving. The other two movements are powerful and full of austere beauty.
Piano Concerto No. 2 - an even more difficult piece for the pianist, and even more integrated into the orchestra part, such that it was called "a symphony with piano obbligato" in early days. It has four movements, making it even larger than the first concerto (if that were possible!). This ranks as one of the most difficult concertos of all time (up there with Rachmaninoff 3rd). I think of it as one of the most satisfying musical meals I could ever have. The longer the better (it is usually about an hour long)! It is more pastorale and less austere than the first concerto, and the emotions in the piece run the whole gamut. Here is the first movement, parts 1 and 2. The second movement, which Brahms jokingly called "a tiny wisp of a scherzo" is here. The third movement is a beautiful slow movement, complete with a cello solo. Here are parts 1 and 2, the latter also containing part of the fourth movement, which is light-hearted but still full of power and beauty, concluding here.
Violin Concerto - one of the greatest violin concertos of all time. It can be very austere and serious, especially in the first movement, but there are more light-hearted and tender moments as well, especially in the 2nd and 3rd movements. Critics of his time have said that it is not a concerto for violin as much as "against the violin" and others have said it was "unplayable". It is indeed a hard piece, but it has stood the test of time and is one of the most loved works of all time today. Here are the first, second, and third movements (the first is incomplete here).
Double Concerto - Brahms' last composition for orchestra, it is a concerto for violin and cello together. It is characteristically austere and powerful, but not without lots of beautiful writing and good humor in many places. The opening is especially powerful, with the orchestral outburst followed by a cadenza for the cello, then violin, then both together before the orchestra comes back to have a longer introduction. This a moving piece! Here are parts 1, 2, 3, and 4. The middle movement (part 3 here) is particularly tender and full of the "deep" Brahms beauty.
Four Symphonies - all four of his monumental symphonies are precious jewels. They were late in coming, due to the composer's dissatisfaction and highly self-critical nature. The first symphony was finished in his 40's, and is a tour-de-force. The last movement is very reminiscent of Beethoven's 9th symphony, and so Brahms was dubbed as the continuation of Beethoven - very high praise, but which I think is appropriate. The second symphony is very pastorale and beautiful - probably my favorite Brahms symphony. Since this blog entry is too long already, I'll link only to the third movement, my favorite. I would highly recommend this recording, which is a performance of Brahms and Tchaikovsky's last symphonies (Brahms 4th, Tchaikovsky's 6th) as well as some absolutely brilliant commentary (about 20 minutes per piece) by the great conductor, Leonard Bernstein. It includes other pieces on it as well, with commentary. This will give you a good idea of the musical genius in the creative process by both of these composers in their symphonies.
Variations on a Theme of Haydn - a set of variations on a theme unlikely by Haydn, but that doesn't matter. It's one of his most accessible works, but this doesn't mean it's not deep! The mood changes throughout, from very thoughtful and pensive to unabashedly joyful. I was only able to find a 2-piano version worth listening to (the orchestral version is superior), but here is the opening.
Chamber Music:
Brahms wrote lots and lots of chamber music. It tends to be pretty thick and heavy, but is, once again, quite satisfying in a way that no other composer can match (except perhaps Bach or Beethoven).
Violin Sonatas - he wrote 3, all of which are an incredible feast for the soul. Here is the first movement (parts 1 and 2) of the G major sonata. Brahms also wrote two viola sonatas, originally written as Clarinet sonatas, later transcribed for viola. They are both wonderfully rich and a joy to listen to and play, as are his two cello sonatas.
Brahms also wrote several piano trios and piano quartets, all amazing and monumental works. However, his Piano Quintet in F minor (written for piano and string quartet), to me is the peak, the pinnacle, of all chamber works written for piano and strings. Yes, you heard me right. I know that's kind of a strong statement, but that's how I feel. All four movements are astounding in their passion and integration between the instruments. It is a very serious work with a passion and energy unmatched by any other piece I know of. The most amazing and innovative movements are the 3rd and 4th. The third movement has a driving force and passion in it that stirs my soul every time I listen to it. The fourth movement has extraordinary harmonies in it, pushing the envelope of Romantic music. Listen especially to 7:00 on to the end - so much passion and fire!
Two of the Greatest Romantic Composers, Part 1
Today is the birthday of two very important composers of the mid-romantic era of music. Pyotr Ilyich Tchaikovsky was born in 1840 in Russia. Johannes Brahms was born in 1833 in Hamburg, Germany.
Although not part of "The Five" Russian Composers (see blog on Jan 2), Tchaikovsky had interactions with them, and he wrote music that was quite nationalistic. He is the prototype of a composer who "wears his emotions on his sleeve", so to speak. His music is passionate, intense, and very accessible, bursting with beautiful melodies. His philosophy of music was that it should be immediately comprehensible to the listener. He felt that his fellow composer, Brahms, placed too many demands on the listener, and that Brahms' music lacked beauty.
I remember reading somewhere that Brahms didn't care much for Tchaikovsky's music, either. He attended a concert of his fellow composer's music and promptly fell asleep through it. Brahms' music is worlds apart from Tchaikovsky's. He is much more reserved in his displays of emotion, and can be very austere. A complaint from a critic of his day was that Brahms' music wanders around and never goes anywhere.
I suppose it depends on one's personality which composer's music one would like better. When I was younger, I listened more to Tchaikovsky's music and remember saying that his 5th Symphony was my favorite piece of music. Those days are long gone - aside from a few of his best works, his music holds my interest much less, and a lot of it seems frantic, repetitive, and noisy.
Brahms, on the other hand, composes some of the deepest music that I know. It may be hard to get into at first, but upon repeated listens, it is more rewarding than the music of most other composers.
I'll start first with a sampling of Tchaikovsky's best works:
Piano Concerto No. 1 - one of the most well-known of pieces of all classical music. It is chock-full of wonderful themes and has both beautiful orchestral writing and beautiful and impressive piano passage-work. Here is the first movement (parts 1, 2, and 3).
Violin Concerto - one of the absolutely best violin concertos in the romantic repertoire. It is a priceless gem of a piece, again full of beautiful melodies. The 2nd movement to me is one of the best works of all time - hauntingly sad and beautiful. Here is the first movement (parts 1 and 2), the sublime second movement, and the third movement.
Variations on a Rococo Theme for Cello and Orchestra - this very beautiful piece of music was the closest thing to a cello concerto that the composer wrote. It has characteristic beautiful melodies and lots of interesting variations. Here is a performance of this great piece, parts 1, 2, and 3.
Six Symphonies - His 4th, 5th and 6th symphonies are the most well known. The 3rd is quite good, too. The 6th symphony, called "Pathetique" is the most famous, and rightly so. It has a lot of pathos, especially in the 4th and final movement. The 3rd movement is a fast scherzo that ends so triumphantly, most audiences feel impelled to applaud such that the orchestra has to start the last movement before they finish clapping just to get on with the show. The last movement is such a heart-wrenching contrast to the previous movement, it is probably why the symphony is named so. My uncle commented to me years ago "when you listen to that movement, you just want to lay down and die" - not far from the truth, but it sure is a beautiful piece.
Nutcracker Suite - again another very famous suite of pieces (originally part of a ballet), parts of which are probably recognizable by most people. It has immediate appeal, and for good reason. So many catchy melodies, orchestral textures, and rhythms to feast on. Here's the Waltz of the Flowers, the last piece in the suite.
Since this blog entry is already quite long and we haven't touched Brahms' music yet, I'll put that in part 2.
Although not part of "The Five" Russian Composers (see blog on Jan 2), Tchaikovsky had interactions with them, and he wrote music that was quite nationalistic. He is the prototype of a composer who "wears his emotions on his sleeve", so to speak. His music is passionate, intense, and very accessible, bursting with beautiful melodies. His philosophy of music was that it should be immediately comprehensible to the listener. He felt that his fellow composer, Brahms, placed too many demands on the listener, and that Brahms' music lacked beauty.
I remember reading somewhere that Brahms didn't care much for Tchaikovsky's music, either. He attended a concert of his fellow composer's music and promptly fell asleep through it. Brahms' music is worlds apart from Tchaikovsky's. He is much more reserved in his displays of emotion, and can be very austere. A complaint from a critic of his day was that Brahms' music wanders around and never goes anywhere.
I suppose it depends on one's personality which composer's music one would like better. When I was younger, I listened more to Tchaikovsky's music and remember saying that his 5th Symphony was my favorite piece of music. Those days are long gone - aside from a few of his best works, his music holds my interest much less, and a lot of it seems frantic, repetitive, and noisy.
Brahms, on the other hand, composes some of the deepest music that I know. It may be hard to get into at first, but upon repeated listens, it is more rewarding than the music of most other composers.
I'll start first with a sampling of Tchaikovsky's best works:
Piano Concerto No. 1 - one of the most well-known of pieces of all classical music. It is chock-full of wonderful themes and has both beautiful orchestral writing and beautiful and impressive piano passage-work. Here is the first movement (parts 1, 2, and 3).
Violin Concerto - one of the absolutely best violin concertos in the romantic repertoire. It is a priceless gem of a piece, again full of beautiful melodies. The 2nd movement to me is one of the best works of all time - hauntingly sad and beautiful. Here is the first movement (parts 1 and 2), the sublime second movement, and the third movement.
Variations on a Rococo Theme for Cello and Orchestra - this very beautiful piece of music was the closest thing to a cello concerto that the composer wrote. It has characteristic beautiful melodies and lots of interesting variations. Here is a performance of this great piece, parts 1, 2, and 3.
Six Symphonies - His 4th, 5th and 6th symphonies are the most well known. The 3rd is quite good, too. The 6th symphony, called "Pathetique" is the most famous, and rightly so. It has a lot of pathos, especially in the 4th and final movement. The 3rd movement is a fast scherzo that ends so triumphantly, most audiences feel impelled to applaud such that the orchestra has to start the last movement before they finish clapping just to get on with the show. The last movement is such a heart-wrenching contrast to the previous movement, it is probably why the symphony is named so. My uncle commented to me years ago "when you listen to that movement, you just want to lay down and die" - not far from the truth, but it sure is a beautiful piece.
Nutcracker Suite - again another very famous suite of pieces (originally part of a ballet), parts of which are probably recognizable by most people. It has immediate appeal, and for good reason. So many catchy melodies, orchestral textures, and rhythms to feast on. Here's the Waltz of the Flowers, the last piece in the suite.
Since this blog entry is already quite long and we haven't touched Brahms' music yet, I'll put that in part 2.
Sunday, April 27, 2008
Russian Musical Wit and Dissonance
Sergei Prokofiev was born today in the Ukraine in 1891. He gained a reputation as a young man of being a musical rebel. You can hear it in his music - beautiful melodies and interesting harmonies interrupted frequently by brutally dissonant, brash interludes. Some of his music is immediately recognizable and accessible to anyone. A lot of his music, though, takes some getting used to, but is still very rewarding after adjusting to the unusual sounds.
Here are clips of some of his best music:
Peter and the Wolf - probably the most beloved work by Prokofiev. It is a children's tale, involving an orchestra and narrator. Each instrument symbolizes a character in the tale - Strings (Peter), Flute (Bird), Oboe (Duck), Clarinet (Cat), and so forth. If you've never heard this before, you're missing out! A great story with terrific music! Here's a trailer for one particularly entertaining-looking production.
Symphony No. 1 "Classical" - one of his most accessible works. A delightful piece of music with very interesting harmonies/melodies, meant to emulate the music of Josef Haydn; it is one of the first "Neo-classical" works written by Prokofiev. Here are movements 1, 2, 3, and 4.
Piano Concerto No. 3 in C Major - probably my favorite piece by this composer, and certainly his most popular concerto. The dialogue between piano and orchestra is vibrant, interesting, full of "witty dissonance" contrasting with beautiful melodies and harmonies. Here are movements 1, 2, and 3.
7th Piano Sonata - one of the composer's "War Sonatas" (including Nos. 6, 7, and 8). The third movement is very rhythmic, especially interesting, and technically extremely challenging (listen to the last 2 minutes - crazy!).
March from The Love for Three Oranges - this is a short transcription for piano played by the composer, taken from one of his operas. Short, joking, full of wit and sarcasm.
Sonata for Cello and Piano - one of my favorite cello sonatas. It is was one of Prokofiev's last compositions, but is much more mellow and lyrical than many of his earlier works, but still full of fun. The second movement sounds "Peter and Wolf"-ish to me and lots of fun. Here are movements 1, 2, and 3.
Here are clips of some of his best music:
Peter and the Wolf - probably the most beloved work by Prokofiev. It is a children's tale, involving an orchestra and narrator. Each instrument symbolizes a character in the tale - Strings (Peter), Flute (Bird), Oboe (Duck), Clarinet (Cat), and so forth. If you've never heard this before, you're missing out! A great story with terrific music! Here's a trailer for one particularly entertaining-looking production.
Symphony No. 1 "Classical" - one of his most accessible works. A delightful piece of music with very interesting harmonies/melodies, meant to emulate the music of Josef Haydn; it is one of the first "Neo-classical" works written by Prokofiev. Here are movements 1, 2, 3, and 4.
Piano Concerto No. 3 in C Major - probably my favorite piece by this composer, and certainly his most popular concerto. The dialogue between piano and orchestra is vibrant, interesting, full of "witty dissonance" contrasting with beautiful melodies and harmonies. Here are movements 1, 2, and 3.
7th Piano Sonata - one of the composer's "War Sonatas" (including Nos. 6, 7, and 8). The third movement is very rhythmic, especially interesting, and technically extremely challenging (listen to the last 2 minutes - crazy!).
March from The Love for Three Oranges - this is a short transcription for piano played by the composer, taken from one of his operas. Short, joking, full of wit and sarcasm.
Sonata for Cello and Piano - one of my favorite cello sonatas. It is was one of Prokofiev's last compositions, but is much more mellow and lyrical than many of his earlier works, but still full of fun. The second movement sounds "Peter and Wolf"-ish to me and lots of fun. Here are movements 1, 2, and 3.
Tuesday, April 1, 2008
Difficult Piano Music
Sergei Vasilievich Rachmaninoff was born today in 1873 in Russia. He was born one year before Schoenberg and two years before Ravel, and unlike his colleagues, stayed very much in the Romantic period, though some of his later stuff sounds pretty modern. He was a truly amazing pianist (we have recordings of him!), one of the best and most technically sound of the 20th century. Like Chopin, he is another composer for pianists, although unlike Chopin, he wrote 3 symphonies, and a few other works that did not feature the piano. He had very big hands, supposedly spanning an interval of a 13th (C to A)!
The other day, our little family was eating dinner at the dinner-table, and my precious little 21-month-old daughter was learning to say some new words, so I decided to give her a couple of tough ones:
Daddy: Rachel, can you say supercalifragilisticexpialidocious?
Rachel: (quizzical look)
Daddy: Rachel, can you antidisestablishmentarianism?
Rachel: (quizzical look with an impish smile)
Daddy: Rachel, can you Sergei Vasilievich Rachmaninoff?
Rachel: (Rachel looks away toward her box of composer statuettes) 'off! 'off! 'off!
(Translation: hey, where's my Rachmaninoff figurine?! I want it right now!)
My wife and I both got a hearty laugh out of this one! Anyway...
I'd like to start with what I think is Rachmaninoff's best music - his piano concertos. Two of them have become standard repertoire, due to not only their beautiful melodies and lush chords, but also their impressive technical challenges to the pianist.
Piano Concerto No. 1, 1st Movement, played by the composer himself. This was his first published composition, written when the composer was only 19 years old. Even at such a young age, this composition is full of fire, strength, and maturity, with some really great melodies and amazing virtuosity.
Piano Concerto No. 2, 1st Movement, 2nd Movement, 3rd Movement. Perhaps overall his most well-loved concerto. It begins with large chords in the piano, getting louder and louder until the orchestra bursts in with the first theme. It is chock full of beautiful melodies and counter-melodies, as well as some amazing virtuosity. The 2nd movement is especially beautiful and tender. It sounds to me like he was influenced by Chopin's 1st Concerto, 2nd movement, one of the most magical pieces ever written. Rachmaninov's movement comes very close to rivaling it.
Piano Concerto No. 3, Part 1, Part 2, Part 3, Part 4, and Part 5. This is probably the most technically difficult piano concerto ever written. It is not perhaps as immediately accessible as the 2nd concerto, but it has many very beautiful melodies, and has strength, force, and fire that exceeds its predecessor.
For some of the most powerful, commanding piano-playing you'll ever hear, listen to the extremely difficult cadenza in the first movement (he plays the difficult version here), part 2 from about 2:30 to 4:30. All three movements have great beauty and amazing virtuosity, but probably the most breathtaking energy is found in the 3rd movement (Parts 4 and 5).
Piano Concerto No. 4, 1st Movement. Probably his least popular concerto, it is still full of that beautiful nostalgia and virtuosic chromaticism that characterizes his music.
Rhapsody on a Theme of Paganini, Part 1, Part 2, Part 3 - I include this with his piano concertos, because it is for piano and orchestra and of similar length and difficulty. It's beauty and creativity rivals at least concertos 1 and 4, if not 2 and 3. The magical 18th variation is quite well-known and one of his most well-loved themes (Part 2, 5:25 to 8:00).
Rachmaninoff wrote a few chamber works as well, including his sonata for Cello and piano. Here is the Cello Sonata, 2nd movement, a very powerful piece with high energy and a lovely relaxing, lyrical middle section. I want to play this piece with a cellist someday!
He also wrote a numerous amount of solo piano pieces, most of them dazzling and difficult to play. Here are some of his best:
Preludes:
Op. 3, No. 2 in C# minor, probably his most popular composition of all, although Rachmaninoff himself grew to dislike it because he was asked to play it so often. This version with the composer himself at the piano is quite stunning.
Op. 23, No. 4 in D Major, one of my favorites. It is quite simple in form and melody, one of his least virtuosic pieces, but still quite difficult to play well.
Op. 23, No. 5 in G minor, another one of his most popular pieces. The middle section has some beautiful inner melodies that are brought out nicely in this recording.
Op. 32, No. 12 in G# minor, another popular piece. Full of fire, passion, and nostalgia.
Op. 32, No. 10 in B minor, another one of my favorites. It is very sad, wistful, and nostalgic, but full of fire and passion. An anecdote tells of how this was supposed to have been a picture of Rachmaninoff's longing to come home to Russia after having been exiled to other countries during the communist take-over.
Etudes-Tableaux:
Op. 39, No. 3 in F# minor, a very difficult piece - watch the flying fingers!
Op. 33, No. 5, an insanely difficult piece! This time watch the notes.
I'll end on a couple of his more light-hearted pieces, all performed by the composer:
Lilacs, a beautiful little piece with lots of flowery passages
Humoresque
Polka de V.R. (a polka written by Vasili Rachmaninoff, Sergei's father, arranged and played here by the son) - a delightful little piece, and a great way to end this post.
The other day, our little family was eating dinner at the dinner-table, and my precious little 21-month-old daughter was learning to say some new words, so I decided to give her a couple of tough ones:
Daddy: Rachel, can you say supercalifragilisticexpialidocious?
Rachel: (quizzical look)
Daddy: Rachel, can you antidisestablishmentarianism?
Rachel: (quizzical look with an impish smile)
Daddy: Rachel, can you Sergei Vasilievich Rachmaninoff?
Rachel: (Rachel looks away toward her box of composer statuettes) 'off! 'off! 'off!
(Translation: hey, where's my Rachmaninoff figurine?! I want it right now!)
My wife and I both got a hearty laugh out of this one! Anyway...
I'd like to start with what I think is Rachmaninoff's best music - his piano concertos. Two of them have become standard repertoire, due to not only their beautiful melodies and lush chords, but also their impressive technical challenges to the pianist.
Piano Concerto No. 1, 1st Movement, played by the composer himself. This was his first published composition, written when the composer was only 19 years old. Even at such a young age, this composition is full of fire, strength, and maturity, with some really great melodies and amazing virtuosity.
Piano Concerto No. 2, 1st Movement, 2nd Movement, 3rd Movement. Perhaps overall his most well-loved concerto. It begins with large chords in the piano, getting louder and louder until the orchestra bursts in with the first theme. It is chock full of beautiful melodies and counter-melodies, as well as some amazing virtuosity. The 2nd movement is especially beautiful and tender. It sounds to me like he was influenced by Chopin's 1st Concerto, 2nd movement, one of the most magical pieces ever written. Rachmaninov's movement comes very close to rivaling it.
Piano Concerto No. 3, Part 1, Part 2, Part 3, Part 4, and Part 5. This is probably the most technically difficult piano concerto ever written. It is not perhaps as immediately accessible as the 2nd concerto, but it has many very beautiful melodies, and has strength, force, and fire that exceeds its predecessor.
For some of the most powerful, commanding piano-playing you'll ever hear, listen to the extremely difficult cadenza in the first movement (he plays the difficult version here), part 2 from about 2:30 to 4:30. All three movements have great beauty and amazing virtuosity, but probably the most breathtaking energy is found in the 3rd movement (Parts 4 and 5).
Piano Concerto No. 4, 1st Movement. Probably his least popular concerto, it is still full of that beautiful nostalgia and virtuosic chromaticism that characterizes his music.
Rhapsody on a Theme of Paganini, Part 1, Part 2, Part 3 - I include this with his piano concertos, because it is for piano and orchestra and of similar length and difficulty. It's beauty and creativity rivals at least concertos 1 and 4, if not 2 and 3. The magical 18th variation is quite well-known and one of his most well-loved themes (Part 2, 5:25 to 8:00).
Rachmaninoff wrote a few chamber works as well, including his sonata for Cello and piano. Here is the Cello Sonata, 2nd movement, a very powerful piece with high energy and a lovely relaxing, lyrical middle section. I want to play this piece with a cellist someday!
He also wrote a numerous amount of solo piano pieces, most of them dazzling and difficult to play. Here are some of his best:
Preludes:
Op. 3, No. 2 in C# minor, probably his most popular composition of all, although Rachmaninoff himself grew to dislike it because he was asked to play it so often. This version with the composer himself at the piano is quite stunning.
Op. 23, No. 4 in D Major, one of my favorites. It is quite simple in form and melody, one of his least virtuosic pieces, but still quite difficult to play well.
Op. 23, No. 5 in G minor, another one of his most popular pieces. The middle section has some beautiful inner melodies that are brought out nicely in this recording.
Op. 32, No. 12 in G# minor, another popular piece. Full of fire, passion, and nostalgia.
Op. 32, No. 10 in B minor, another one of my favorites. It is very sad, wistful, and nostalgic, but full of fire and passion. An anecdote tells of how this was supposed to have been a picture of Rachmaninoff's longing to come home to Russia after having been exiled to other countries during the communist take-over.
Etudes-Tableaux:
Op. 39, No. 3 in F# minor, a very difficult piece - watch the flying fingers!
Op. 33, No. 5, an insanely difficult piece! This time watch the notes.
I'll end on a couple of his more light-hearted pieces, all performed by the composer:
Lilacs, a beautiful little piece with lots of flowery passages
Humoresque
Polka de V.R. (a polka written by Vasili Rachmaninoff, Sergei's father, arranged and played here by the son) - a delightful little piece, and a great way to end this post.
Monday, March 31, 2008
Father of the Symphony
Franz Josef Haydn was born today in 1732 in Austria.
The above article quotes musicologist James Webster summarizing Haydn's role in the history of classical music: "He excelled in every musical genre… He is familiarly known as the 'father of the symphony' and could with greater justice be thus regarded for the string quartet; no other composer approaches his combination of productivity, quality and historical importance in these genres."
Haydn wrote a whole lot of music. Check out the list! Among them: more than 100 symphonies, 52 piano sonatas, 80-some string quartets, and the list goes on.
I have to confess, I haven't listened to a lot of Haydn's music. Some of it sounds a little bit simplistic to me, and just not as good as Mozart. But other works I've heard sound very rich and quite advanced, like Beethoven. He had a great richness especially in some of his later works. While Haydn (the elder) and Mozart got along very well, playing music together at times and having mutual admiration for each other's works, Haydn and Beethoven's relationship was at times tense. Beethoven had taken lessons from Haydn for a short while, but found his teaching unsatisfactory.
Haydn had a really good sense of humor. This is evident in his "Surprise" symphony (heard here), "Farewell" symphony, and many other works.
Here's a couple other links:
- Trumpet Concerto in Eb, 3rd movement - a delightful piece of music, I grew up hearing my brother play this
- Part of a piano Sonata, showing more of his sense of humor...
- Another piano sonata, light-hearted and full of spirit
- Symphony No. 104, a mature work, and his last symphony.
The above article quotes musicologist James Webster summarizing Haydn's role in the history of classical music: "He excelled in every musical genre… He is familiarly known as the 'father of the symphony' and could with greater justice be thus regarded for the string quartet; no other composer approaches his combination of productivity, quality and historical importance in these genres."
Haydn wrote a whole lot of music. Check out the list! Among them: more than 100 symphonies, 52 piano sonatas, 80-some string quartets, and the list goes on.
I have to confess, I haven't listened to a lot of Haydn's music. Some of it sounds a little bit simplistic to me, and just not as good as Mozart. But other works I've heard sound very rich and quite advanced, like Beethoven. He had a great richness especially in some of his later works. While Haydn (the elder) and Mozart got along very well, playing music together at times and having mutual admiration for each other's works, Haydn and Beethoven's relationship was at times tense. Beethoven had taken lessons from Haydn for a short while, but found his teaching unsatisfactory.
Haydn had a really good sense of humor. This is evident in his "Surprise" symphony (heard here), "Farewell" symphony, and many other works.
Here's a couple other links:
- Trumpet Concerto in Eb, 3rd movement - a delightful piece of music, I grew up hearing my brother play this
- Part of a piano Sonata, showing more of his sense of humor...
- Another piano sonata, light-hearted and full of spirit
- Symphony No. 104, a mature work, and his last symphony.
Friday, March 21, 2008
The Greatest Composer That Ever Lived
Johann Sebastian Bach was born today in Germany in 1685. I know it's just my opinion, but I think he's the greatest composer of all time. I don't say this lightly. If you've read my previous blogs, you know how much I like the music of so many other composers, especially Mozart, Beethoven, Chopin... and the list goes on.
But if I had to choose only one composer whose music I could listen to for the rest of my life exclusively, I think I'd have to say Johann Sebastian Bach. In fact, when I was young, I went through a phase where I disliked listening to anything else (I think around age 7 to 9). I was in love with the music of Bach and I couldn't get enough, nor did I need any other music. My musical tastes have obviously widened since then, but I still come back to Bach as my "first love" in classical music. I owe this in large part to my oldest brother, who taught me to love Bach when I was very young (thanks, Tim!). I'm doing my best to pass down this love of good music to my beautiful 20-month-old daughter. I have little plastic classical composer statuettes that I gave to her to play with. Her favorite is Bach. She says "Ock! Ock!" and runs and gets the little Bach statuette, then runs over to the CD player and says "Ano! Ano!" Translation: "I want to hear some Bach piano music, please!" Which, of course, means hearing Glenn Gould play, since I mostly have his recordings of Bach.
What do I love so much about the music of this composer? One of my piano teachers said, "Throughout all of Bach's music, there is an inner joy." His music has so much substance, order, and stability. There is also great emotional depth, though the emotion is under control. There is also great intellectual satisfaction from his music. The more you study it, the more you realize how expertly it is put together, and marvel at the symmetry of form. Bach was a master improviser at the keyboard. This plays out in many of his works, where his improvisatory skill leads to so much beauty and diversity.
I'd like to highlight his best. He wrote so much music (over 1000 works), and so much of it is just so good!
For solo keyboard:
OK, so before I list his solo keyboard works, I have to say something about a certain pianist who was very influential in my life, and particularly in regard to my love of the music of Bach. The Canadian pianist Glenn Gould deserves a separate blog entry, but for now, briefly, Glenn was sort of a personal musical hero of mine growing up. He was highly eccentric, yet highly articulate and intellectual. His playing of Bach was out of this world, although sometimes controversial. His impeccable timing and clean playing (where every note can be heard with precision) is stunning. Critics may say this can lead to an overly mechanical sound, but hey, nobody can have it all. I'll be drawing heavily from his playing in the following links.
- The Well-Tempered Clavier (2 books of 24 Preludes and Fugues in every key, both major and minor). This has been called the "Old Testament" for pianists (the "New Testament" being Beethoven's 32 piano sonatas). Here's the Bb minor Fugue from Book II, B Major Prelude and Fugue from Book II
- The Goldberg Variations - perhaps Bach's finest solo keyboard work (in my opinion). It begins with a slow aria, transcendently beautiful in its simplicity, followed by an amazing set of 30 variations. Every 3rd variation (except for the last) is a "canon" (where the melody is repeated exactly, note for note, one measure after the melody begins, and trails the initial melody for the duration of the whole piece). Canons are difficult enough to write and not sound forced, but Bach steps it up a notch. The first canon (3rd variation) is a "traditional" canon (with each note exactly repeated), but each successive canon increases the interval at which the notes are repeated. For example, the second canon (variation 6) is done with an interval of a 2nd, the third canon (variation 9) with an interval of a 3rd, the fourth canon (variation 12) with the interval of a 4th, and so on until variation 27, which has an interval of a 9th. I listened to these variations from the womb, and didn't realize this until I played and studied them in my teens, when I was completely blown away with the symmetry and intellectual depth to the piece. Even if one is completely unaware of all these things, though, this piece remains one of the most uplifting and satisfying works to listen to of all time.
Glenn Gould was sort of responsible for reviving this piece in the mid-20th century. He did the unthinkable and made it his debut recording in 1955. Usually pianists would save little-known, bold, difficult pieces to record when they are well-established and well-loved by critics and the public, but Gould made it his first recording, and pulled it off. Now over 50 years later, this recording still remains a sensation. Before Gould, this piece was played slowly, with all of the repeats (making it last 90 minutes or so). Gould sped through in 38 minutes with no repeats, shedding off the drudgery of previous recordings and catapulting the work into popularity. Gould recorded the piece a second time in 1981, playing it very, very differently. I personally don't like it as much, but it is interesting nonetheless.
Here's the last few variations from Gould's 1981 recording.
- Partitas - here's a great clip of Glenn Gould practicing the opening movement of Partita No. 2 at his home. And here's a later clip of him playing the very feeling opening of Partita No. 6.
- Toccatas - these tend to be more free-form than his other works, with lots of improvisatory material, slow and fast sections alternating, and full of emotion. Here's a fine version of the C minor Toccata, part 1 and part 2.
- Inventions and Sinfonias (2 and 3-part variations) - these are easier pieces to play, often played by young people learning how to play the piano. They are not any less masterful in a capable pianist's hands, though. Here's a very fast-tempo version of the popular Invention 13, and a very beautiful Sinfonia No. 2.
- French Suites - for variety, here's the Gigue of the G major (5th) suite, played on harpsichord, which is probably mostly what Bach intended for his keyboard works to be played on.
- English Suites - here's a clip of one of the more well-known movements of the suites, the Gavotte from the G minor (3rd) suite.
- Art of the Fugue (for organ) - Bach's last work, not quite completely finished. An extremely cerebral work devoted to the fugue form. It is a set of fugues and canons based around one subject, varied in every possible way you could imagine (and more!). Here's Glenn Gould waxing eloquent about the piece. There is a lot of chromaticism in Bach, and in the last fugue (which is not quite finished), there are parts that sound as if they could have been written by a 20th-century composer. The very last subject introduced in the last (unfinished) fugue (there are 4 subjects in that massive fugue alone!), is the note-pattern "b - a - c - h" (b = B-flat in German, and h = B-natural in German). So Bach was signing his name to the work he knew would sum up his life (Gould comments on this in the clip). Here's Gould playing the end of the last fugue until it abruptly breaks off. Bach's last musical words... it's a rather emotional experience to listen to this! Here's the opening fugue played on organ.
For other solo instruments:
- Sonatas and Partitas for solo violin - 6 suites total: the last movement of the 2nd partita is one of Bach's finest works, called "Chaconne" (or "Ciaconna"). Here is composer Johannes Brahms' comments on the work: "On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind." Chaconne was originally written for solo violin, as seen here, part 1 and part 2. The piece has also been transcribed for solo lute/guitar, as heard here. Several composers have made arrangements of it for other instruments, including Brahms' left-hand piano version, and Busoni's very grandiose piano transcription.
- Suites for solo cello - all delightful pieces. The opening movement of Suite No. 1 is a very beautiful introduction to these pieces. The Prelude of Suite No. 5 is a very intensely emotional piece, probably my favorite of them all. Here's a stunning recording of the pieces that I'd highly recommend done by Cellist Yo-Yo Ma.
- Suites for solo lute (guitar) - many great pieces here. I listened to them growing up, as my other older brother played many on the guitar. Some of them were transcribed by Bach from the solo violin or solo cello suites, but they have a very different character on guitar. Here's the opening movement of the E Major suite (originally for violin), played by world-renown guitarist John Williams.
For Orchestra or Ensemble:
- Brandenburg Concertos - 6 concertos written for small- to medium-sized ensembles of instruments. These are some of Bach's most popular, and for good reason. They are all very uplifting, full of highly satisfying melodies and harmonies, and each one features a different (or several different) instruments, with frequent solos. Here's Concerto No. 4, Movement 1, 2, and 3, and here's Concerto No. 5 Movement 1, 2, and 3.
- Orchestral Suites - another high quality set of pieces (4 total), written for large ensemble. Here's the Overture from Suite No. 1, my favorite orchestral suite.
- Keyboard Concertos - Concerto in D minor, 1st movement - another stunning performance by a young Glenn Gould. And here's a concerto for 3 keyboards (played on harpsichords), first movement.
- Violin Concertos - there are several, some of which are the same as the keyboard concertos. One of my favorites is a concerto for violin and oboe - this has some really beautiful melodies and amazing interplay between the two solo instruments. Here's movements 1, 2, and 3. Movement #2 is especially moving (no pun intended).
For Voice/Orchestra:
Bach wrote a lot of music for the church. This is just a brief highlight of some of it. He was a committed Christian, and signed all of his music "Soli Deo Gloria (To God be the Glory)".
- St. Matthew Passion - written to the chapters 26 and 27 of the Gospel of Matthew, this focuses on the passion of Christ (his death and suffering). If this piece were in English instead of German, I'd probably listen to it more. Even so, I enjoy the music greatly. One of the themes running throughout, sung by the chorus multiple times, is the same theme used in the Christian hymn "O Sacred Head, Now Wounded". Here is the beautiful common theme running throughout, used for the aforementioned hymn. Here is the opening movement, and the last movement.
- Cantatas - Here's some introductory commentary by Glenn Gould and a performance of Cantata No. 54. Another Cantata includes the famous "Jesu, Joy of Man's Desiring", played here in a beautiful arrangement. Another favorite from the Cantatas is "Sheep May Safely Graze", played here.
This is only a small portion of Bach's wonderful music. He was a man truly gifted by God who wrote beautiful, uplifting music that draws me closer to the One who created him, and Who created all music.
But if I had to choose only one composer whose music I could listen to for the rest of my life exclusively, I think I'd have to say Johann Sebastian Bach. In fact, when I was young, I went through a phase where I disliked listening to anything else (I think around age 7 to 9). I was in love with the music of Bach and I couldn't get enough, nor did I need any other music. My musical tastes have obviously widened since then, but I still come back to Bach as my "first love" in classical music. I owe this in large part to my oldest brother, who taught me to love Bach when I was very young (thanks, Tim!). I'm doing my best to pass down this love of good music to my beautiful 20-month-old daughter. I have little plastic classical composer statuettes that I gave to her to play with. Her favorite is Bach. She says "Ock! Ock!" and runs and gets the little Bach statuette, then runs over to the CD player and says "Ano! Ano!" Translation: "I want to hear some Bach piano music, please!" Which, of course, means hearing Glenn Gould play, since I mostly have his recordings of Bach.
What do I love so much about the music of this composer? One of my piano teachers said, "Throughout all of Bach's music, there is an inner joy." His music has so much substance, order, and stability. There is also great emotional depth, though the emotion is under control. There is also great intellectual satisfaction from his music. The more you study it, the more you realize how expertly it is put together, and marvel at the symmetry of form. Bach was a master improviser at the keyboard. This plays out in many of his works, where his improvisatory skill leads to so much beauty and diversity.
I'd like to highlight his best. He wrote so much music (over 1000 works), and so much of it is just so good!
For solo keyboard:
OK, so before I list his solo keyboard works, I have to say something about a certain pianist who was very influential in my life, and particularly in regard to my love of the music of Bach. The Canadian pianist Glenn Gould deserves a separate blog entry, but for now, briefly, Glenn was sort of a personal musical hero of mine growing up. He was highly eccentric, yet highly articulate and intellectual. His playing of Bach was out of this world, although sometimes controversial. His impeccable timing and clean playing (where every note can be heard with precision) is stunning. Critics may say this can lead to an overly mechanical sound, but hey, nobody can have it all. I'll be drawing heavily from his playing in the following links.
- The Well-Tempered Clavier (2 books of 24 Preludes and Fugues in every key, both major and minor). This has been called the "Old Testament" for pianists (the "New Testament" being Beethoven's 32 piano sonatas). Here's the Bb minor Fugue from Book II, B Major Prelude and Fugue from Book II
- The Goldberg Variations - perhaps Bach's finest solo keyboard work (in my opinion). It begins with a slow aria, transcendently beautiful in its simplicity, followed by an amazing set of 30 variations. Every 3rd variation (except for the last) is a "canon" (where the melody is repeated exactly, note for note, one measure after the melody begins, and trails the initial melody for the duration of the whole piece). Canons are difficult enough to write and not sound forced, but Bach steps it up a notch. The first canon (3rd variation) is a "traditional" canon (with each note exactly repeated), but each successive canon increases the interval at which the notes are repeated. For example, the second canon (variation 6) is done with an interval of a 2nd, the third canon (variation 9) with an interval of a 3rd, the fourth canon (variation 12) with the interval of a 4th, and so on until variation 27, which has an interval of a 9th. I listened to these variations from the womb, and didn't realize this until I played and studied them in my teens, when I was completely blown away with the symmetry and intellectual depth to the piece. Even if one is completely unaware of all these things, though, this piece remains one of the most uplifting and satisfying works to listen to of all time.
Glenn Gould was sort of responsible for reviving this piece in the mid-20th century. He did the unthinkable and made it his debut recording in 1955. Usually pianists would save little-known, bold, difficult pieces to record when they are well-established and well-loved by critics and the public, but Gould made it his first recording, and pulled it off. Now over 50 years later, this recording still remains a sensation. Before Gould, this piece was played slowly, with all of the repeats (making it last 90 minutes or so). Gould sped through in 38 minutes with no repeats, shedding off the drudgery of previous recordings and catapulting the work into popularity. Gould recorded the piece a second time in 1981, playing it very, very differently. I personally don't like it as much, but it is interesting nonetheless.
Here's the last few variations from Gould's 1981 recording.
- Partitas - here's a great clip of Glenn Gould practicing the opening movement of Partita No. 2 at his home. And here's a later clip of him playing the very feeling opening of Partita No. 6.
- Toccatas - these tend to be more free-form than his other works, with lots of improvisatory material, slow and fast sections alternating, and full of emotion. Here's a fine version of the C minor Toccata, part 1 and part 2.
- Inventions and Sinfonias (2 and 3-part variations) - these are easier pieces to play, often played by young people learning how to play the piano. They are not any less masterful in a capable pianist's hands, though. Here's a very fast-tempo version of the popular Invention 13, and a very beautiful Sinfonia No. 2.
- French Suites - for variety, here's the Gigue of the G major (5th) suite, played on harpsichord, which is probably mostly what Bach intended for his keyboard works to be played on.
- English Suites - here's a clip of one of the more well-known movements of the suites, the Gavotte from the G minor (3rd) suite.
- Art of the Fugue (for organ) - Bach's last work, not quite completely finished. An extremely cerebral work devoted to the fugue form. It is a set of fugues and canons based around one subject, varied in every possible way you could imagine (and more!). Here's Glenn Gould waxing eloquent about the piece. There is a lot of chromaticism in Bach, and in the last fugue (which is not quite finished), there are parts that sound as if they could have been written by a 20th-century composer. The very last subject introduced in the last (unfinished) fugue (there are 4 subjects in that massive fugue alone!), is the note-pattern "b - a - c - h" (b = B-flat in German, and h = B-natural in German). So Bach was signing his name to the work he knew would sum up his life (Gould comments on this in the clip). Here's Gould playing the end of the last fugue until it abruptly breaks off. Bach's last musical words... it's a rather emotional experience to listen to this! Here's the opening fugue played on organ.
For other solo instruments:
- Sonatas and Partitas for solo violin - 6 suites total: the last movement of the 2nd partita is one of Bach's finest works, called "Chaconne" (or "Ciaconna"). Here is composer Johannes Brahms' comments on the work: "On one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind." Chaconne was originally written for solo violin, as seen here, part 1 and part 2. The piece has also been transcribed for solo lute/guitar, as heard here. Several composers have made arrangements of it for other instruments, including Brahms' left-hand piano version, and Busoni's very grandiose piano transcription.
- Suites for solo cello - all delightful pieces. The opening movement of Suite No. 1 is a very beautiful introduction to these pieces. The Prelude of Suite No. 5 is a very intensely emotional piece, probably my favorite of them all. Here's a stunning recording of the pieces that I'd highly recommend done by Cellist Yo-Yo Ma.
- Suites for solo lute (guitar) - many great pieces here. I listened to them growing up, as my other older brother played many on the guitar. Some of them were transcribed by Bach from the solo violin or solo cello suites, but they have a very different character on guitar. Here's the opening movement of the E Major suite (originally for violin), played by world-renown guitarist John Williams.
For Orchestra or Ensemble:
- Brandenburg Concertos - 6 concertos written for small- to medium-sized ensembles of instruments. These are some of Bach's most popular, and for good reason. They are all very uplifting, full of highly satisfying melodies and harmonies, and each one features a different (or several different) instruments, with frequent solos. Here's Concerto No. 4, Movement 1, 2, and 3, and here's Concerto No. 5 Movement 1, 2, and 3.
- Orchestral Suites - another high quality set of pieces (4 total), written for large ensemble. Here's the Overture from Suite No. 1, my favorite orchestral suite.
- Keyboard Concertos - Concerto in D minor, 1st movement - another stunning performance by a young Glenn Gould. And here's a concerto for 3 keyboards (played on harpsichords), first movement.
- Violin Concertos - there are several, some of which are the same as the keyboard concertos. One of my favorites is a concerto for violin and oboe - this has some really beautiful melodies and amazing interplay between the two solo instruments. Here's movements 1, 2, and 3. Movement #2 is especially moving (no pun intended).
For Voice/Orchestra:
Bach wrote a lot of music for the church. This is just a brief highlight of some of it. He was a committed Christian, and signed all of his music "Soli Deo Gloria (To God be the Glory)".
- St. Matthew Passion - written to the chapters 26 and 27 of the Gospel of Matthew, this focuses on the passion of Christ (his death and suffering). If this piece were in English instead of German, I'd probably listen to it more. Even so, I enjoy the music greatly. One of the themes running throughout, sung by the chorus multiple times, is the same theme used in the Christian hymn "O Sacred Head, Now Wounded". Here is the beautiful common theme running throughout, used for the aforementioned hymn. Here is the opening movement, and the last movement.
- Cantatas - Here's some introductory commentary by Glenn Gould and a performance of Cantata No. 54. Another Cantata includes the famous "Jesu, Joy of Man's Desiring", played here in a beautiful arrangement. Another favorite from the Cantatas is "Sheep May Safely Graze", played here.
This is only a small portion of Bach's wonderful music. He was a man truly gifted by God who wrote beautiful, uplifting music that draws me closer to the One who created him, and Who created all music.
Russian Imagery
Modest Mussorgsky was born today in Russia. He was an important part of "The Five" Russian composers (see blog for January 2). His music contains both the grotesque and the majestic. Probably most people know him for his tone poem, "Night on the Bald Mountain", popularized by Disney in the original Fantasia movie. I don't think this piece is very uplifting, so aside from linking you to an impressive piano version here, I'll focus instead on my favorite work of Mussorgsky's, Pictures at an Exhibition.
This is a set of piano pieces he wrote after viewing a collection of paintings done by his friend Victor Hartmann, who had died at the young age of 39. Mussorgsky uses one theme over and over throughout the pieces, and calls it "Promenade". It is a beautiful melody, but has awkward timing, meant to depict the composer himself walking to each picture (he was very overweight and walked with an awkward gait). Each Promenade, although containing the same melody, has a very different mood, since each painting he viewed changed what he felt for that moment. Each piece depicts a painting of Hartmann's, and the ones we know about can be viewed here.
The following links are of the entire set of the pictures, divided into 4 videos:
- Promenade - The Gnome - Promenade - The Old Castle
- Promenade - Children Disputing While at Play - Polish Oxcart - Promenade - Dance of the Unhatched Chicks - Goldenberg & Schmuyle (Two Jews: One Rich, One Poor)
- Gossip/Bickering at a French Marketplace - Catacombs
- The Hut on Chicken's Legs (Baba Yaga) - The Great Gate of Kiev
These are amazing pieces with vivid imagery and colors, beautiful melodies, and wide dynamic ranges. It is made even more impressive than the original piano version Mussorgsky wrote by the masterful orchestration done by composer Maurice Ravel. Hope you enjoy them!
This is a set of piano pieces he wrote after viewing a collection of paintings done by his friend Victor Hartmann, who had died at the young age of 39. Mussorgsky uses one theme over and over throughout the pieces, and calls it "Promenade". It is a beautiful melody, but has awkward timing, meant to depict the composer himself walking to each picture (he was very overweight and walked with an awkward gait). Each Promenade, although containing the same melody, has a very different mood, since each painting he viewed changed what he felt for that moment. Each piece depicts a painting of Hartmann's, and the ones we know about can be viewed here.
The following links are of the entire set of the pictures, divided into 4 videos:
- Promenade - The Gnome - Promenade - The Old Castle
- Promenade - Children Disputing While at Play - Polish Oxcart - Promenade - Dance of the Unhatched Chicks - Goldenberg & Schmuyle (Two Jews: One Rich, One Poor)
- Gossip/Bickering at a French Marketplace - Catacombs
- The Hut on Chicken's Legs (Baba Yaga) - The Great Gate of Kiev
These are amazing pieces with vivid imagery and colors, beautiful melodies, and wide dynamic ranges. It is made even more impressive than the original piano version Mussorgsky wrote by the masterful orchestration done by composer Maurice Ravel. Hope you enjoy them!
Tuesday, March 18, 2008
Russian Orchestration
Nikolai Rimsky-Korsakov was born today in Russian in 1844. He was one of "The Five" Russian composers (see blog on January 2), and perhaps ended up being the most famous of them all. He was a master of orchestration.
Scheherazade is one of his most famous compositions. It is an amazing piece of orchestration, with beautiful melodies and amazing colors descriptive of storms at sea, adventures, etc. that go along with the story he depicts with the music. Listen to the first movement here.
Flight of the Bumblebee is another one of his most popular tunes. Here is an insane version with 8 pianos. And here is the original orchestral version.
Scheherazade is one of his most famous compositions. It is an amazing piece of orchestration, with beautiful melodies and amazing colors descriptive of storms at sea, adventures, etc. that go along with the story he depicts with the music. Listen to the first movement here.
Flight of the Bumblebee is another one of his most popular tunes. Here is an insane version with 8 pianos. And here is the original orchestral version.
Friday, March 14, 2008
Most prolific composer
Today in 1681, Georg Philipp Telemann was born in Germany. While in his day he was more popular than his fellow German, J. S. Bach, nowadays Bach outshadows him. Telemann is credited with being the most prolific composer in all of history, writing apparently over 3000 works.
One of my favorites is his Watermusic (although Handel's Watermusic is far more popular). This recording is especially beautiful and uplifting, played on period instruments and to the tuning of the day, so as to sound as authentic as possible.
He was also known for writing pieces for combinations of instruments. Whoever heard of a concerto for 4 violins (or 4 of anything?). Here is part of that Concerto for 4 violins, but transcribed for 4 guitars. It sounds pretty good on guitar!
One of my favorites is his Watermusic (although Handel's Watermusic is far more popular). This recording is especially beautiful and uplifting, played on period instruments and to the tuning of the day, so as to sound as authentic as possible.
He was also known for writing pieces for combinations of instruments. Whoever heard of a concerto for 4 violins (or 4 of anything?). Here is part of that Concerto for 4 violins, but transcribed for 4 guitars. It sounds pretty good on guitar!
Sunday, March 9, 2008
Saddest Piece of Classical Music
Samuel Barber was born in 1910 in Pennsylvania, America.
His Adagio for Strings is his most famous work. Originally written as part of a string quartet when he was only 26 years old, it was later made into a separate piece for orchestra, which is the way it is usually played today. The piece has been said by some to be the "saddest piece of classical music", and has been in many movies. In 2001 it was played at the World Trade Center in commemoration of all the lives lost. I've read comments from the families of those victims say that this piece has touched their souls and gotten them through a lot. It's hard to imagine how Barber at such a young age had the insight to write such a deeply-felt, excruciatingly sad piece of music. Here is a performance of the Adagio for Strings. This is one of the most amazingly beautiful, rich, harmonious pieces ever written. Listen to the pathos and weep!
Another notable version of the piece is Barber's arrangement for 8-part choir, set to the text "Agnus dei" (referring to Jesus Christ - "Lamb of God, who takest away the sins of the world, have mercy on us..."). Powerful music!
His Adagio for Strings is his most famous work. Originally written as part of a string quartet when he was only 26 years old, it was later made into a separate piece for orchestra, which is the way it is usually played today. The piece has been said by some to be the "saddest piece of classical music", and has been in many movies. In 2001 it was played at the World Trade Center in commemoration of all the lives lost. I've read comments from the families of those victims say that this piece has touched their souls and gotten them through a lot. It's hard to imagine how Barber at such a young age had the insight to write such a deeply-felt, excruciatingly sad piece of music. Here is a performance of the Adagio for Strings. This is one of the most amazingly beautiful, rich, harmonious pieces ever written. Listen to the pathos and weep!
Another notable version of the piece is Barber's arrangement for 8-part choir, set to the text "Agnus dei" (referring to Jesus Christ - "Lamb of God, who takest away the sins of the world, have mercy on us..."). Powerful music!
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