Total Pageviews

Monday, January 31, 2011

Piece #31 - Eine Kleine Nachtmusik - W.A. Mozart

http://www.youtube.com/watch?v=GT7_Y1pIBb4

Down to the top 3! Coming in third place, is the wunderkind Wolfgang Amadeus Mozart. As I said before, there may not be a more universal composer than Mozart who wrote for virtual all kinds and creeds during his life.

Factoids:
  • Mozart was a child prodigy, both as a keyboardist and composer.
  • He has amassed numerous symphonies before the age of 12.
  • Other contenders for "most famous piece" include: Piano Concerto No. 21, Overture to Marraige of Figaro, Symphony No. 40, Requiem.
  • It should be noted that he died before Requiem was completed. The work was later finished by one of his students.
Have at it!

Sunday, January 30, 2011

Piece #30 - Unfinished Symphony - Franz Schubert

http://www.youtube.com/watch?v=HU_giDkzwb0&feature=related

The NY Times lists Franz Schubert as the fourth greatest composer of all time. While I think Schubert is a genius, this ranking seems a bit high to me.

Factoids:
  • Much like Mendelssohn and Mozart, Franz Schubert tragically died early, not living to see his 31st birthday.
  • Like many other brilliant composers, Schubert's greatness was not fully realized until after his passing.
  • He lived a sad life and was vastly underappreciated aside from a select group of patrons and friends.
  • You may recognize some of his other works include: The Erl King, Ave Maria and his famous song cycle Wintereisse.
  • Schubert was perhaps most famous for his contribution to the genre of German Lied or German Song.
  • In his pieces he writes characterful accompaniments, and increases the role of the pianist.
  • Because of this, his works sound more like a duet between singer and piano rather than the typical idea of soloist with piano support.

  • It is widely accepted that his "Unfinished Symphony" is No. 8, although some scholars suggest it may be No. 7.
  • It is characterized as "Unfinished" because Schubert only managed to complete two of the four movements.
  • It is unclear why this work was left incomplete as these movements were written roughly six years before his death.

On a side note, the opening passage always reminds me of Tchaikovsky's Swan Lake...no?

Enjoy!

Saturday, January 29, 2011

Piece # 29 - Prelude to the Afternoon of a Faun (Prélude à l'après-midi d'un faune ) - Claude Debussy

http://www.youtube.com/watch?v=Ol4bSKpvpoc

Factoids:
  • Claude Debussy, is known as an impressionist.
    • Although he hated this term, his music appears to be a response to the extreme romanticism of the 19th century.
    • In contrast to the overtly emotional music of previous generations, Debussy used subtlety and colorful harmonies to evoke imagery.
      • This is the case in his famous "prelude."
        • Listen to the opening flute line, what else could that be but a faun?

  • Like the last piece, Rite of Spring this work was originally a ballet.
    • Also like the last piece, the original choreography was done by Nijinsky.
Have a good one!

Friday, January 28, 2011

Piece #28 - Rite of Spring - Igor Stravinsky

http://www.youtube.com/watch?v=bjX3oAwv_Fs&feature=related

Number six on the list is Igor Stravinsky. It is difficult to discuss Stravinsky without a discussion of ballet, which is why Rite of Spring is the selection for today.

Factoids:
  • This piece was HIGHLY controversial in it's day.
    • Originally I thought the controversy was surrounding the innovative use of music, but it seems as though many folks were outraged by the style of dance.
      • It should be noted that many traditional composers hated the opening bassoon solo, and felt it was vulgar and inappropriate.
  • At this time Parisian audiences were used to technically sound performances with rounded angles and perfect body positions.
    • In Rite the intent was to emphasize the raw and rigidity of an ancient ritual.
      • The famous choreographer Vaslav Nijinsky illustrates this by using very abrupt and angular motions throughout the piece.
        • You will notice this at 3:00.
    • Because of this new and rough style, this piece helped create the genre of modern dance.

Enjoy!

Thursday, January 27, 2011

Piece # 27 - Hungarian Dance No. 5 - Johannes Brahms

http://www.youtube.com/watch?v=3X9LvC9WkkQ

With all due respect to Mr. Tommasini and the New York Times, I think it is absolutely CRIMINAL that Brahms is ranked 7 in the list of great composers. I must admit that I am not totally unbiased as Brahms is probably my favorite composer, but having said that, aside from Mozart there are few composers as successful in writing for so many mediums. Although he did not write any opera, Brahms composed outstanding works for: Voice, Sonatas for various instruments, four fantastic symphonies, notable concerti for violin and piano as well as his famous double concerto, not to mention hundreds of wonderful choral works including the Requiem. Needless to say, it is surprising to see the likes of Stravinksy, Debussy, and Schubert ahead of this master. Anyway, choosing one piece by Brahms is unbearably difficult as I could do a Brahms month...in fact, I might!

Factoids:
  • Taken from Brahms set of 21 Hungarian Dances.
  • These short tunes were based on Hungarian folk tunes and originally written for piano.
  • Many of which are essentially arrangements and not new compositions at all.
  • All video gamers may recognize this as the main theme from Tetris.
Cheers!

Wednesday, January 26, 2011

Piece #26 - Brindisi (La Traviata) - Giuseppe Verdi

http://www.youtube.com/watch?v=uDo8Iz8LzW4

I find it difficult to contest the selection of Giuseppe Verdi among the 10 greatest composers of all time. His place at number eight is a reflection of his operas which are wonderful pieces of musical and theatrical drama.

Factoids:
  • Verdi is perhaps the most famous composer of opera.
    • Some of his notable operas include: La Traviata, Rigoletto, Nabucco, Aida, Othello, and Falstaff to name a few.
  • His Requiem is one of the finest settings of the funeral text ever completed.

  • This piece is taken from the great La Traviata.
    • Brindisi is a generic title for an Italian drinking song, and an appropriate nickname for this piece.
      • The actual title is the first line of text, Lilbiamo ne' lieti calci.

While this is one of Verdi's most famous works, here are a few additional candidates:
Chorus of the Israeli Slaves from Nabucco  - http://www.youtube.com/watch?v=H0H23qiz9iI&feature=fvst

La donna e' mobile (Rigoletto) - http://www.youtube.com/watch?v=aef9DGvZ8Qo

Stay warm!

Tuesday, January 25, 2011

Piece #25 - Prelude from Tristan und Isolde - Richard Wagner

http://www.youtube.com/watch?v=fktwPGCR7Yw&feature=related

Ranking ninth on the list compiled by NY Times critic Anthony Tommasini is German composer Richard Wagner.

Factoids:
  • The "Tristan" chord, which happens about 14 seconds in, is perhaps the most famous chord in the history of Western Classical Music.
    • This half-diminished chord, as a part of a leitmotif associated with the character Tristan.
  • Remember that a leitmotif  is a musical idea meant to evoke thoughts of a specific character.
    • This idea is similar to The Imperial March and Darth Vader.
  • This is just a short excerpt from his lengthy opera Tristan und Isolde.
Have fun!

Monday, January 24, 2011

Piece #24 - Concerto for Orchestra - Bela Bartok

http://www.youtube.com/watch?v=Y9bIoYvdMtE

As I mentioned yesterday, Anthony Tommasini,  The New York Times top classical music critic, has created his list of the top 10 composers. As a classical music nerd, this was a fun column to follow as Mr. Tommasini outlined a musical period each day, and justified the candidacy for several composers until releasing the final list last week. I thought I might take the next 10 days to outline what I consider to be the most notable work of each of these masters included on the list. We'll begin with the VERY surprising selection of Bela Bartok at #10. It should be noted that I am not certain Bela Bartok would crack my top 50 much less my top 10!

Factoids:
  • Bartok is widely regarded as the first ethnomusicologist.
    • Ethnomusicology is musical study of a people.
      • He traveled often, collecting and annotating folk music.

  • Bartok was a fine pianist.
    • He composed his famous 6-volume set Mikrokosmos to complement his son's piano studies.

  • As discussed in earlier entries, a concerto is a piece written for solo instrument and orchestra.
    • This makes a Concerto for Orchestra an interesting contradiciton.
      • Bartok used this term as each instrumental section should be played soloistically, rather than several sections accompanying a solo instrument.
    • Typically a concerto has three movements, and this has five.

Enjoy!

Sunday, January 23, 2011

Piece #23 - Pavane - Gabriel Faure'

http://www.youtube.com/watch?v=TmztBK92r6s

In reading the recent NY Times listing of the top 10 composers, I thought Faure' was a major omission. While I certainly could understand leaving him off the actual list, there was very little discussion of his candidacy, which I think is very strong. Although he never composed a symphony, his contributions to chamber music and the art song should give him consideration to sit at the big table.

Factoids:
  • Gabriel Faure' served as organist at La Madelaine, one of the most prestigious church positions in all of France.
  • Eventually he would teach composition at The Parios Conservatory where he would later serve as director.

  • A Pavane is a renaissance dance, typically associated with royalty.

  • Notice the sparse orchestration, which allows for absolute expression in the solo line, in this case performed by Bobby McFerrin.

Enjoy!

Saturday, January 22, 2011

Piece # 22 - Overture to The Magic Flute - W.A. Mozart

http://www.youtube.com/watch?v=h018rMnA0pM

Without a doubt one of my favorite moments of the entire opera, and it's before the action begins! I recently had the chance to see Julie Taymor's wonderful production at the Met - What a terrific show!

Factoids:
One of the great tragedies in all of music is the length of Mozart's life, a mere 34 years!
Although his life was short, it was musically fruitful including roughly 41 symphonies and around 20 operas.


  • The Magic Flute is a wonderful and complex fairy tale.
  • Within the story there are several allusions to freemasonry as both Mozart and librettist Emanuel Shikaneder were freemasons.
  • The show is set in Egypt, and as you know the pyramid as a significant masonic icon.
  • The number "3" is hugely important.
    • Three ladies in waiting, Three boys, Three Trials etc.
  • The trials Pamino is asked to endure are intended to be similar to masonic initiation rites.

  • Musically, the opening of this overture is meant to sound like the secret knock (3) needed to enter the Viennese lodge.
Enjoy the weekend!

Friday, January 21, 2011

Piece #21 - Gloria - Francis Poulenc

http://www.youtube.com/watch?v=2FzR97xoUMo

Factoids:
  • Poulenc was a member of Les Six the group of intellectual French/Swiss composers
  • Poulenc was deeply affected by the passing of a friend in 1923.
  • Following this tragic event, he wrote almost exclusively sacred works.

  • This particular piece, written in 1961 is one of his most famous works.
  • Given the text, it is appropriately light-hearted in sound.
  • Poulenc had mentioned thinking of "Monks playing soccer" as he composed this piece.
  • You can certainly hear that playful nature in this movement.
  • Enjoy!

Thursday, January 20, 2011

Piece #20 - So Many People - Stephen Sondheim


http://www.youtube.com/watch?v=9OAh9aGDwQU

Sadly this is the best recording I could find on youtube. While Audra is truly wonderful, I am not sure I like this as a part of a medley.


I am typically not a musical theater fanatic...so mark it, Matt Travis has written about something from a musical!

Props to my lovely sister for pointing out this piece. I couldn't help but notice the text, which really spoke to me, particularly the lines, "so many people laugh at what they don't know," and "the man means more than the means."
Have a look at the entire text for this wonderful piece:

I said the man for me must have a castle.
A man of means he'd be, A man of fame.
And then I met a man who hadn't any,
Without a penny to his name.
I had to go and fall for so much less than
What I had planned from all the magazines
I should be good and sore, what am i happy for?
I guess the man means more than the means.


They'll never know love like my love for you.
So many people laugh and what they don't know
Well, that's their concern
If just a few, say half a million or so, could see us, they'd learn.
So many people in the world don't know what they've missed.
They'd never believe such joy could exist.
And if they tell us its a thing we will outgrow, they're jealous as they can be.
hat with so many people in the world you love me
Factoids:
  • I was surprised to know that Sondheim is one of the most decorated composers of all time, having racked up 8 Tony Awards (most of any composers), a Pulitzer Prize, and several Grammy Awards.
  • FYI, he received the Pulitzer for Sunday in the Park with George
  • Additionally, he wrote lyrics for the little known Leonard Bernstein show, West Side Story.
  • Other famous musicals write by Sondheim include: Into the Woods, Company, A Little  Night Music,and A Funny Thing Happened on the Way to the Forum.
  • In writing A Little Night Music he completed one of the most widely recognizable songs of all time, Send in the Clowns.

Have a good one!

Wednesday, January 19, 2011

Piece #19 - Zadok the Priest - G.F. Handel

http://www.youtube.com/watch?v=QCHUCMiJ_Ew&feature=related

Factoids:
  • Handel was asked to write the anthems for the coronation of George II (1727).
    • This was considered to be the highest honor bestowed on a composer living in England.
    • Handel was the first non-Brit to be chosen for the post.

  • In all he composed four anthems for the service, the others being:
    • My heart is inditing
    • The king shall rejoice
    • Let thy hand be strengthened

  • "Zadok" remains the most famous of all the anthems, and has been played at most, if not all coronations since 1727.

Tuesday, January 18, 2011

Piece #18 - Symphony No. 4, mvt. 4 - Johanees Brahms

http://www.youtube.com/watch?v=WZGWB93-mmI

 
I was going to begin this blog by saying, "even as a choral guy this may be my favorite piece of all time." Then I thought about it, and what does that really mean. I guess I am deemed a "choral conductor" in the American system of higher education we have to specialize which type of conductor we are. I guess aside from being a relatively decent person, I would like to be thought of as a musician, not the "choral guy" that I almost called myself. Sorry, totally random thought for the day.

 
Factoids:
  • Brahms was a masterful student of music, and was especially interested in musical forms of the past.
    • This is evident in this piece as it is a modified passacaglia.
      • A passacaglia is a piece based on a fixed, repeated bass line.
        • This particular bass line is taken from a Bach's Cantata 150, and is the backbone of the entire movement.
  • It's important to think about this gesture within the context of the music of the 19th century.
    • At this point the likes of Richard Wagner are expanding tonality to the limits, using excessive chromaticism and tonicization.
      • Brahms on the other hand, remained conservative, mastering forms, like the passacaglia and fugue that had been used by the great composers of previous generations.


  • You can find no better example of Brahms masterful use of pre-existing musical ideas than mvt. 4 of this, his final symphony.
    • At this point the passacaglia had fallen out of fashion many years ago.
  • The general interest was on the music of the future, not the music of the past a compositional style in which Brahms continued to thrive and expand.

 
  • The bass line is best heard in the opening passage, when the chords are presented in such a raw fashion.
    • It is important to note that Brahms foreshadows the opening chord of this movement by placing it as the penultimate chord of the first movement.

 
Enjoy and stay warm East Coasters - yes, I guess that includes Pittsburgh as well...

Monday, January 17, 2011

Piece #17 - Serenade to Music - Ralph Vaughan Williams

Part 1 - http://www.youtube.com/watch?v=HPteIR4Qaog
Part 2 - http://www.youtube.com/watch?v=btxc1giNl9A&feature=related

As conductors, we always talk about those pieces that we MUST perform before we die...this certainly is on mine. I think in many ways this piece has become the unofficial "musician's international anthem" as the only thing more poignant than the text itself, is the musical setting.

Here is the text, which is taken from The Merchant of Venice.

How sweet the moonlight sleeps upon this bank!
Here will we sit and let the sounds of music
Creep in our ears: soft stillness and the night
Become the touches of sweet harmony.
Look how the floor of heaven
Is thick inlaid with patines of bright gold:
There's not the smallest orb that thou behold'st
But in his motion like an angel sings,
Still quiring to the young-eyed cherubins;
Such harmony is in immortal souls;
But whilst this muddy vesture of decay
Doth grossly close it in, we cannot hear it.
Come, ho! and wake Diana with a hymn!
With sweetest touches pierce your mistress' ear,
And draw her home with music.
I am never merry when I hear sweet music.
The reason is, your spirits are attentive –
The man that hath no music in himself,
Nor is not mov'd with concord of sweet sounds,
Is fit for treasons, stratagems and spoils;
The motions of his spirit are dull as night
And his affections dark as Erebus:
Let no such man be trusted. Music! hark!
It is your music of the house.
Methinks it sounds much sweeter than by day.
Silence bestows that virtue on it
How many things by season season'd are
To their right praise and true perfection!
Peace, ho! the moon sleeps with Endymion
And would not be awak'd. Soft stillness and the night
Become the touches of sweet harmony.

Factoids:
  • The work was originally arranged for 16-soloists and orchestra.
  • Vaughan Williams later modified it for chorus and orchestra.

  • There are some truly stunning moments in the piece.
  • The lyrical opening violin solo (more prominent in the choral version) is absolutely heart wrenching.
  • Additionally, the lovely ascending soprano line on the text "of sweet harmony."

  • Vaughan Williams masterfully mirrors the turns in the text, with key changes and shifts in orchestral color.

Please enjoy this wonderful piece.

Sunday, January 16, 2011

Piece #16 - Violin Concerto, mvt 1 - Tchaikovsky

Part 1 http://www.youtube.com/watch?v=ATK_pj2iMqg
Part 2 http://www.youtube.com/watch?v=UKfdMR1WfNY&feature=related

Factoids:
  • A concerto is a multi-movement (usually 3) work written for solo instrument and orchestra.
  • Completed in 1878, this may be the most famous and technically demanding violin concerto of them all.
    • Was finished just two years after his famous ballet Swan Lake.

  • Although numerous references in pop culture have made his ballets recognizable, his symphonies and concerti are truly masterworks.
    • His first piano concerto is also one of the most noteworthy written for the instrument.

  • I enjoy the playful nature of this opening movement.
  • There are exciting passages where the soloist will play a multi-textural line.
    • One part being the primary theme, and the other an accompanimental figure.

Happy Listening!

Saturday, January 15, 2011

Piece #15 - It is enough (Elijah) - Felix Mendelssohn

http://www.youtube.com/watch?v=tEkClendR3s

Without a doubt, Mendelssohn's Elijah is my favorite piece. Mendelssohn masterfully crafts the music to mirror the exciting story of the prophet Elijah. The piece is one of the last works Mendelssohn ever completed as he died roughly one year later. Once can only wonder what great music was lost when Mendelssohn was stolen from us before his 40th birthday.

Factoids:
  • Elijah is an oratorio, or a large scale dramatic work (usually sacred) intended for concert performance.
  • Other famous oratorios include: Messiah, The Creation, and The Dream of Gerontius

  • In order to understand the significance of this work, you must understand that in Elijah there are two motives, or musical ideas, that predominate:
1. The major and minor triad.
2. The descending diminished 5th.

  • The first motive, the ascending triad, usually comes when Elijah is about to make a prophecy or commit an act on behalf of god.
    • This occurs in the opening measures (of the entire oratorio), when Elijah sings an ascending minor triad as he issues the curse of famine and drought.
      • Elijah later uses a major triad to announce that the curse is over.
        • Please note that these are just a few of several examples used in the piece.

  • The second motive, is used to represent the curse discussed above.
    • This motive also occurs in the opening recitative, or speech-like singing with text that develops the plot.

  • In this particular aria, we have both these motives at work.
  • Elijah's first words, "It is enough," are set on a descending minor triad.
    • This could signify that he has lost faith in god, and is resign to giving his life away.
  • Just a few measures later, Elijah sings the word "life" on a descending diminished 5th.
    • The interval that is associated with the curse.

  • The piece is essentially in an ABA form, and is a duet between Elijah and the celli.

Please enjoy this wonderful piece!

Friday, January 14, 2011

Piece #14 Symphony No. 9, mvt. 3 - Ludwig Van Beethoven

Part 1 - http://www.youtube.com/watch?v=rOw0R03BuCE&feature=related

Part 2 - http://www.youtube.com/watch?v=rOw0R03BuCE&playnext=1&list=PL8C10BD75EE56E0BE&index=5

The 9th Symphony of Beethoven is a truly interesting case. I think your average Joe knows that Ode to Joy is Beethoven Nine. The unfortunate thing is it seems most people think that IS the entire symphony, oddly enough that chorale theme is the basis for the majority of the final movement alone - granted, the Finale is perhaps the most famous movement in all of music. Having said that, I think the 4th and final movement tends to dwarf the beauty of the others, which is why I would like to tip my hat at the lovely third movement.

Factoids:
  • Beethoven is widely regarded as the finest symphonist of all time.
    • His Third, Fifth, and Ninth symphonies each have a place in the discussion of the finest crafted symphonies ever written.
  • This work was groundbreaking as it was the first symphony to use voices.
  • Anyone who has ever sung this work will attest that the choral writing is very symphonic, often featuring disjunct leaps and difficult resolutions.

  • One of the most important elements of music is contrast.
    • Given the fiery opening of the final movement, it seems the third movement is a good place for something slow and lyrical.
      • This was a standard move by Beethoven, placing the slow movement third, not second as was traditional.

  • The movement itself is a classic theme and variation.
    • In a theme and variation, the initial theme is presented.
      • After the theme is first heard, it is repeated, but elements such as melody, rhythm, pitch, orchestration, etc. are modified.
  • On a personal note, I think the wind writing, especially for clarinet is truly stunning.
  • For all you classical music fans out there it is difficult to miss the resemblence to the slow movement of Beethoven's Pathetique Sonata, found here:
  • http://www.youtube.com/watch?v=yyelz5Q0Z9w

Have a good one!

Thursday, January 13, 2011

Piece #13 - Crucifixus - Antonio Lotti

http://www.youtube.com/watch?v=OZ9dXLmRlpo

When I was student teaching, I used this piece as a listening assignment. Without giving the students any information about the piece, including the title, I played it for them. After the piece was done, I asked them what they thought the text was about. To my amazement the first to responses were, "it sounds like the story of a death," and "it sounds as though people are mourning." These two answers were spot on, and really hit the primary affect intended. I think it's pretty interesting that a group of 16 year old students can pinpoint the meaning of a piece 300-plus years after it's been written - now THAT is the sign of a master composition.

Factoids:
  • Although Lotti was a fairly prolific composer in terms of output, this is without question his greatest hit.
    • Additionally, this may be considered the finest "one hit wonder" in all of choral music.

  • When I first heard this piece, I was very surprised to find that Lotti worked in the Baroque period, which took place in the 17th to mid-18th centuries.
    • The extensive use of suspensions coupled with moments of extreme polyphony make this sound as though it were written in the Renaissance Period.
      • Additionally, a cappella works were more prevalent in the Renaissance as opposed to the more ornate Baroque Period.
  • You can't help but hear the weighted sound in this piece.
    • I think this gives that feel of weeping my students mentioned.

  • Does anyone hear some of the Bruckner motets in this?
    • Anybody..anybody?

Happy Listening!

Wednesday, January 12, 2011

Piece #12 - Overture to Rienzi - Richard Wagner

 
While I had heard this piece several times, it was on NPR and I had a chance to actually listen to it. In my classes, we speak a great deal about the difference between hearing and listening to music as outlined by Daniel Barenboim in his fascinating book Music Quickens Time. Essentially, hearing is a passive activity, noticing that Taylor Swift is on the radio as you shop for groceries; and listening is an active event where you focus on what is heard. I remind my students that listening is a selfish activity, and cannot be done while multi-tasking. Anyway, as I returned from going to the store, this piece was on NPR. I was so moved that I remained in the car and listened to the entire work.

 
Factoids:
  • Richard Wagner (1813-1889), is without question one of the most tyrannical composers in history.
    • He went so far as to write an aricle, Das Judenthum in der Musik or "Jewishness in Music" persecuting Jews in the music industry.
    • In part because he was  openly antisemitic, his music was loved by Hitler and was played as Jews marched to their deaths.

  • While his beliefs are reprehensible, his contributions to music, opera specifically, are undeniable.
  • Wagner is credited with the expanded role of the Leitmotif.
    • A Leitmotif is a musical idea that is associated with a specific character.

  • The Rienzi Overture is one of his first works to become a mainstay in standard repertory.
  • Prior to the Romantic Period (19th century) most operatic overtures had little to do with the opera that followed.
  • This overture, and many others written in this era, piece together a highlight reel of melodies to be heard in the opera, an idea later copied by composers of musical theater.

  • Musically speaking, it is difficult to miss the lovely lyrical melody played by the celli around 1:30.
  • This theme recurs several times throughout the work, which seems to be almost a sonata form of sorts.
  • In classical Wagnerian fashion, the climax of the work has extreme chromaticism (using notes not typically affiliated with a given key) applying additional tension and giving it an extra element of excitement.

  • I should note that this is a performance by the Simon Bolivar Youth Orchestra.
  • This is arguably the finest training program for musicians in the world.
  • Where is it located...not France, Germany, England or Spain, but Venezuela.
  • This performance is under the direction of wunderkind, graduate of the Bolivar program, and current music director of the L.A. Philharmonic, Gustavo Dudamel.

Have fun!

Tuesday, January 11, 2011

Piece #11 Che gelida manina (La Boheme) Giacomo Puccini

http://www.youtube.com/watch?v=rpxXlhTP8os

I am very excited to be taking my students to see a performance of "Boheme" at the Met in a few weeks. Needless to say we have been studying and digesting the piece so we can fully understand it when we arrive at Lincoln Center. Typically I do not like to write about works I am studying and teaching. My original intent was to use this as a way to expose myself to new works, or think about familiar wotks in a more critical manner, rather than write about works I am teaching. Having said that, I have heard Act I of Boheme dozens of times, and it still thrills me, so I must make an exception just this once!

Factoids:
  • This aria occurs midway through Act I of "Boheme."
  • Rodolfo, the writer, is alone in his Parisian apartment.
  • His neighbor,the frail Mimi, knocks on the door, and asks him to light her extinguished candle.
  • The two have almost an immediate attraction.
  • Rodolfo sings this aria as he grabs her cold hands.
  • A rough translation of Che gelida manina is "your icy little hand"
  • Rodolfo continues to sing of his work as a poet, boasting that although he is poor he has the soul of a millionaire.
  • As the piece ends,  Rodolfo asks Mimi to tell him about herself.
  • Mimi responds with her equally famous aria, Si, mi chiamano, Mimi or "Yes, I'm called Mimi."

  • When I listen to the opening passage, I can't help but think of a first meeting with a new love interest.
  • The instrumentation is sparse, aside from lush string interjections and the harp.
  • I can't help but think of this section as timid and playful, much like a first date.

Enjoy!

Monday, January 10, 2011

Piece #10 - Fantasia on a Theme by Thomas Tallis - Ralph Vaughan Williams

http://www.youtube.com/watch?v=r7qJFgOlbXc&feature=related
Due to the complaints of an anonymous Brit, I have added a piece written by 20th century English composer Ralph Vaughan Williams. This is another one of those gorgeous works that will inspire a smile even amidst the worst of days.

Factoids:
  • Ralph Vaughan Williams is a truly gifted composer and fantastic melodist.
  • Like Mendelssohn, he tends to be overlooked on the list of "greats" because his work is not highly innovative.
  • Having said that, his melodies have a beauty that is virtually unmatched - a trait also associated with Mendelssohn.

  • A fantasia is a work that is free of standard form.
  • The primary motive of this piece is based on a hymn written by English Renaissance composer Thomas Tallis.
Enjoy!

Sunday, January 9, 2011

Piece #9 - Sunrise/Sunset Sequence from The Creation - F.J. Haydn

http://www.youtube.com/watch?v=XlJ_ijI2aOs

Many of us are familiar with Haydn's oratorio The Creation. We have sung the choruses, studied the famous opening passage, The Representation of Chaos, and enjoyed the gorgeous duets and trios. I have lived with this piece for several years, studying it as a singer and conductor, and this particular excerpt is probably my favorite of the entire piece.

Factoids:
  • In Creation, Haydn and librettist, Baron von Swieten combine stories from The Book of Genesis and Paradise Lost to form their version of the Creation Story.
  • The piece opens with the splendid Representation of Chaos.
    • You MUST watch this if you are not familiar with it:
      • http://www.youtube.com/watch?v=8omYmytYvlo
        • This is Haydn's depiction of the existence before the creation of the world.
          • Musically he illustrates the "chaos" by using unresolved motives and avoiding a clear cadence for almost the entire movement.
            • Right at the moment when it seems a tonic has been established, Haydn slides into a new key area, giving the listener a sense of uneasiness and uncertainty.

  • Today's excerpt, is Haydn's account of the first sunrise and sunset.
    • The passage opens with the violins on a single pitch.
      • The flute enters and plays an ascending scaler passage.
        • Which each rising pitch a new instrument enters.
        • It's as if each note of the scale represents a new ray of sunlight appearing on the horizon.
          • Each new entry creates a natural crescendo to the high point where the timpani and trumpets enter at  about :56.
            • At this moment the sun his risen, and the tenor reinforces this idea by singing "In splendor bright, the sun arise with all it's rays."

  • At about 2:12 we begin the illustration of the moon.
  • Haydn uses the basses to initiate this image.
    • Perhaps because the bass is an opposite to the violin and flute which were used in the "sun" section.
  • There is no brass in this section, reminding us of the sweetness of the moon.
Happy Listening!

Saturday, January 8, 2011

Piece # 8 - Opening of Part 2 (Christmas Oratorio) - J.S. Bach

http://www.youtube.com/watch?v=539wuC_iqkg

It seems odd that after 8 posts the great master, J.S. Bach is nowhere to be found. That ends today! While I realize Christmas has passed, the "season" is still upon us...plus this is a great piece regardless.

Factoids:
  • In the baroque and classical periods the sound of reed instruments is always associated with a pastoral setting.
  • The Christmas Oratorio is split into 6 individual cantatas, labeled Parts I-VI.
    • Part II emphasizes the tale of the Shepherds, making the reedy pastoral sound an appropriate opening for this cantata.
      • Notice the entrance of the reeds around 45 seconds in.
        • This same motive is repeated in the final chorale of Part II.
  • Another fine example of this is the Pastoral Symphony in Part 1 of Messiah.

Enjoy!

Friday, January 7, 2011

Piece #7 - Agnus Dei - Faure' Requiem

http://www.youtube.com/watch?v=5RSMcgQfM9E

This piece has one of the most beautiful and lyrical lines in the choral repertory.

Factoids:
  • Like the Durufle' Requiem discussed yesterday, Faure' wrote this as a lighter and more forgiving setting of the Funeral Mass.
    • This is a contrast to the massive settings by Verdi and Berlioz which put emphasis on the wrath of final judgment.
    • Faure' (and Durufle) do this by omitting the Dies Irae text (although it appears later in the Libera me, the initial presentation in the sequence is left out).

  • As many of you know, the text for Agnus Dei is as follows:
Lamb of God who takes away the sins of the world, have mercy on us. (repeated)
Lamb of God who takes away the sins of the world, grant us peace.

  • Often composers base their musical settings on the regret of sin, by using a darker harmonic langauge.
  • After listening to the opening ascending passage in the Celli and Tenors, it seems Faure' emphasizes the hope of forgiveness, rather than the sorrow of sin.

Enjoy!

Thursday, January 6, 2011

Piece #6 In Paradisum - Maurice Durufle'

http://www.youtube.com/watch?v=mnRTuf7aA4o

Factoids:
  • Durufle' (that should be an accent, but I don't know the shortcut) is one of the finest organists and composers for the organ, of the last century.
  • As a performer, Durufle' toured extensively and premiered the Organ Concerto of fellow French composer, Francis Poulenc.
  • Sadly Durufle' was in a horrific car crash in 1975, suffering significant injuries and ending his performing career.

  • This particular piece is the final movement taken from his multi-movement work Requiem.
  • The Latin word, Requiem, literally translates to "rest," but is the formal term for the Funeral Mass.
  • Hundreds of composers wrote settings of the Requiem including: Mozart, Berlioz, Verdi, Vittoria, and Faure' to name a few.
  • Although it was not uncommon for music to have chant-like influences, it is very rare for composers to use an actual chant.
  • Throughout his 40 minute Requiem, Durufle' uses actual precomposed chant that was written nearly 100 years earlier.

  • Given the text (May the angels welcome you to paradise), it is appropriate that the music has a distinct feeling of ascension facilitated by the light, lyrical soprano line.

Enjoy!

Extra credit - The Introit/Kyrie from this piece are some of the most stunning moments in all of music!
http://www.youtube.com/watch?v=OqW7QzsT9jI

Wednesday, January 5, 2011

Piece#5 - Knoxville Summer of 1915 - Samuel Barber

Part 1 - http://www.youtube.com/watch?v=L1I1WMCX0rU
Part 2 - http://www.youtube.com/watch?v=fb5HGbLU1po

In a nice change of pace we have our first solo vocal work on the list. Like many of the other pieces discussed, I can't help but listen to this work and smile.

Factoids:
  • The piece was composed by Pennsylvania's own, Samuel Barber (1910-1981).
  • Although Barber won a Pulitzer prize (yes, there is a Pulitzer for music) for his opera Vanessa and another for his Piano Concerto, the most recognizable piece he ever composed is Adagio for Strings.
    • If you are unfamiliar with the Adagio, here is a link - http://www.youtube.com/watch?v=lV3SHBFyDZM.
      • This particular performance was given in London by just a few days after the attacks on September 11, 2001.
        • Michiganders may recognize Leonard Slatkin, current conductor of the Detroit Symphony Orchestra at the podium.

  • The poetry, which is the backbone of the work, is by James Agee.
    • Many of you singers and choral musicians (not that the two are mutually exclusive!), may have performed a setting of his text Sure on this shining night, by either Barber, or more recently Morten Lauridsen.
  • The text depicts a summer in, you guessed it, 1915 set in Knoxville, the hometown of Agee.
    • This was a significant year for Agee, a summer when everything was peaceful before the death of his father in 1916.
  • The speaker in this piece seems to alternate between euphoric remembrances of that wonderful summer, and their current state of strife.
    • Barber was drawn to this text as he had equally colorful memories of childhood.
      • Additionally, the health of his father began to fail, just prior to his composition of the work.
        • The piece is appropriately dedicated "To the memory of my father," although I believe (not positive) he was still alive when Barber completed the work.

  • I would characterize Knoxville as a modified Rondo.
    • A Rondo is a piece with a section that is regularly repeated.
      • In this case, that is the section that begins at :32.
      • You will note the feel of three in the winds, which to me unmistakably sounds like someone in a rocking chair.
        • This "rocking" motive is juxtaposed with sweeping string interjections sounding like weeping willows blowing in the wind.
  • This opening section repeats again at 6:50, and is not exact, but maintains the character and integrity of the original musical idea as is the case with all other repetitions.
As you listen to the piece, consider consulting the text. I've included Agee's poetry below:

It has become that time of evening
when people sit on their porches,
rocking gently and talking gently
and watching the street
and the standing up into their sphere
of possession of the tress,
of birds’ hung havens, hangars.
People go by; things go by.
A horse, drawing a buggy,
breaking his hollow iron music on the asphalt:
a loud auto: a quiet auto:
people in pairs, not in a hurry,
scuffling, switching their weight of aestival body,
talking casually,
the taste hovering over them of vanilla,
strawberry, pasteboard, and starched milk,
the image upon them of lovers and horsement,
squared with clowns in hueless amber.

A streetcar raising into iron moan;
stopping;
belling and starting, stertorous;
rousing and raising again
its iron increasing moan
and swimming its gold windows and straw seats
on past and past and past,
the bleak spark crackling and cursing above it
like a small malignant spirit
set to dog its tracks;
the iron whine rises on rising speed;
still risen, faints; halts;
the faint stinging bell;
rises again, still fainter;
fainting, lifting lifts,
faints foregone;
forgotten.

Now is the night one blue dew;
my father has drained,
he has coiled the hose.
Low on the length of lawns,
a frailing of fire who breathes.

Parents on porches:
rock and rock.
From damp strings morning glories hang their ancient faces.
The dry and exalted noise of the locusts from all the air
at once enchants my eardrums.
On the rough wet grass
of the backyard
my father and mother have spread quilts
We all lie there, my mother, my father, my uncle, my aunt,
and I too am lying there.
They are not talking much, and the talk is quiet,
of nothing in particular,
of nothing at all.
The stars are wide and alive,
they all seem like a smile
of great sweetness,
and they seem very near.

All my people are larger bodies than mine,
with voices gentle and meaningless
like the voices of sleeping birds.
One is an artist, he is living at home.
One is a musician, she is living at home.
One is my mother who is good to me.
One is my father who is good to me.
By some chance, here they are,
all on this earth;
and who shall ever tell the sorrow
of being on this earth, lying, on quilts,
on the grass,
in a summer evening,
among the sounds of the night.

May God bless my people,
my uncle, my aunt, my mother, my good father,
oh, remember them kindly in their time of trouble;
and in the hour of their taking away.
After a little
I am taken in
and put to bed.
Sleep, soft smiling,
draws me unto her;
and those receive me,
who quietly treat me,
as one familiar and well-beloved in that home:
but will not, oh, will not,
not now, not ever;
but will not ever tell me who I am.

Enjoy!

Tuesday, January 4, 2011

Piece #4 - Geistliches Lied - Johannes Brahms

http://www.youtube.com/watch?v=PHe48dEar2A

This piece is truly one of the great gems in the choral realm. I hope you enjoy it! I apologize that the background of this piece is quite dark, but it's crucial to understand in order to fully grasp this masterpiece.

Factoids:
  • Brahms was a student and friend of Robert Schumann, who was a prolific composer in his own right.
    • The Schumann family was very musical as Robert's wife, Clara was also an accomplished composer.
      • Brahms and Clara had a very close relationship, the extent of which is the subject of much debate.
  • Robert Schumann battled depression for much of his life, attempting suicide numerous times.
    • Following his last attempt, Schumann was institutionalized for the rest of his life.
  • This piece was given by Brahms to Clara Schumann around the time of her husband's passing.

  • The text, which roughly translates to "let nothing ever grieve thee" makes this a fitting gift for someone in mourning.
  • This piece shows Brahms masterful craftsmanship as it is a double canon (essentially a round, a la "row row row your boat")
    • What makes this unique is that each pair of voices is separated by the interval of a 9th.
      • Many theorist and respective composers will tell you it is virtually impossible to create anything of beauty offset by that interval.

Opinion:
The final Amen is one of the most magnificent settings in all of music!

Happy Listening!

Monday, January 3, 2011

Piece #3 Hear My Prayer - Henry Purcell

http://www.youtube.com/watch?v=_WXx5tttwGo

From one Hear my prayer, we go to another Hear my prayer. This one written by Henry Purcell was completed in 1682, nearly 160 years prior to the Mendelssohn piece bearing the same title. Although the titles are the same the text is very different.

Factoids:
  • This piece is an anthem, essentially the Anglican response to the Latin motet.
  • Text taken from Psalm 102.
  • Based on the original manuscripts it looks as though this piece may have been a part of a larger unfinished work.
    • There were several blank pages after the final bar
    • Typically the last measure of a work is marked with a line extended through the spaces
      • The final barline was drawn through the stave, making scholars wonder if it may be a part of another work.
  • The text of this piece "Hear my prayer, Oh Lord, and let my crying come unto thee" describes the sorrow and pain of sin.
    • Purcell depicts this stress musically by writing with extreme dissonance and frequent suspension.
      • Colorful dissonances and a cappella music are not generally associated with Purcell, so some scholars question the authorship of this work.
Enjoy!

Piece #2, Hear My Prayer - Felix Mendelssohn

Part 1 - http://www.youtube.com/watch?v=tBYYM2B41-U
Part 2 - http://www.youtube.com/watch?v=GCIKdjVooQ0 (if you only have time for one choose this !)

Factoids:
  • Mendelssohn was a bit of a mini-Mozart in that he was a child prodigy.
    • Wrote his first symphony at 15.
    • Completed his string octet and incidental music to A Midsummer Night's Dream
      • If you have ever been to a wedding, you would recognize the famous Wedding March from Midsummer.
  • This piece, Hear My Prayer is a cantata
    • A cantata is an extended work (usually sacred) that includes solo sections, instrumental interludes, choruses, etc.
      • Typically there will be multiple movements, but that is not the case in this piece

      • The most prolific composer of cantatas is J.S. Bach (1685-1750)
        • It is believed he wrote over 300, including a complete church cycle!
        • Mendelssohn actively studied the work of Bach and revived his music, bringing it back into standard repertory with a performance of St. Matthew Passion nearly 80 years after the death of Bach. (without Mendelssohn we may not know of J.S. Bach today!)
        • When this was completed in the 1840's the cantata had fallen out of fashion
          • Further evidence of Mendelssohn's interest in the past, and his traditional compositional tactics.
  • As you listen I encourage you to think about the text...especially in Part 2.
    • O for the Wings of a Dove
      • How does this contrast musically to the more combative "The enemy shouteth" section?
        • Even if you are unfamiliar with musical terms use words you are more familiar with: louder, shorter, softer, higher, lower.
  • Enjoy! :o)

Sunday, January 2, 2011

Piece #1 Edward Elgar, Nimrod from Enigma Variations

http://www.youtube.com/watch?v=sUgoBb8m1eE

While I don't have children, I'd imagine choosing a favorite piece would be like selecting a favorite among your children. I chose this work because I am always drawn to this piece. I can't really explain it, but it puts me at ease, even in the midst of the most stressful frustrating day.

Factoids:
  • This is one of 14 variations that make up the larger work titled Enigma Variations
    • op. 36 for those of you keeping score at home.
  • The larger work begins with a "theme" or melody which is then repeated 14 times with slight modifications. Each of these 14 repetitions maintain the integrity of the original melody but the rhythm, harmony, meter, and melody are slightly modified although the original theme remains recognizable.
  • Elgar dedicated each of the variations to his friends, using their initials, or in this case a nickname as a title.

Classical Music...it doesn't have to be this way!

I guess I should first explain the purpose of this blog. I've made it my personal mission to help people experience classical music. I feel very strongly that classical music doesn't have to be "stuffy" and should be fun.

The pieces listed in this blog are by no means intended to be a "best of" list. There have been folks far brighter than I who tried to create such a list, and have failed miserably. I think it's best to appreciate  musical beauty without pinning the work of one genius against the next.

Listening is a truly selfish activity - and it's absolutely wonderful! I encourage you (whoever you are out there) to just sit back and enjoy the music. In this country we have an obsession with multi-tasking. Let it go, forget about the dishes, forget about the paper you are putting off, the dog doesn't HAVE to go out now...just listen.