Autumn

Hello all!

Since the summer is winding to an end and we will soon (for those of us in
non-tropical climates, at least) be surrounded by orange and red leaves, I
thought it was a good time to bring back a piece we’ve heard before that
will get us in the mood for fall. Today you will hear the violinist
Frederieke Saeijs perform Autumn from Antonio Vivaldi’s famous
“Four Seasons” on a 15th-century Italian Guarneri violin.
She is accompanied by the Netherlands Symphony Orchestra.

Here’s a quick refresher on the “Four Seasons.” The “Four
Seasons” is a set of four violin concertos (or, in the more
appropriate Italian plural form, concerti) in which each concerto
represents one of the four seasons of the year. The composer is the great
Italian violinist Antonio Vivaldi, who penned them around 1716 and later
premiered them in Venice to dazzling reviews.

As with the rest of the seasons, Autumn is based on a set of
written sonnets. Each movement of the “season” corresponds to one of the
sonnets. The first movement’s Allegro, which represents the harvest
dance of a drunk farmer (Vivaldi’s subscript says that he has been “inflamed by
Bacchus”), is delightfully cheerful. The pensive second movement represents the
eventual and peaceful slumber of the tired peasants. The third and final
movement depicts a country hunting party setting out a dawn with their horns
blaring. If you watch the (incredibly helpful) subtitles that the maker of this
video inserted into the video, you’ll be able to see when the hunt begins and
what takes place as the hunters journey through the wilderness.

Enjoy!

T

 

Not Again…

Hello everyone,

I have some troubling news for you. It appears we’ve been beseiged by our long-time nemesis “That Random Guy.”

Those of you who have been around for a while may remember his unfavorable credentials. Critics have compared his musical endeavors to the honking of a shorted horn in a 1971 pink-laminate Model T, the braying of a seizure-prone yearling donkey, the croaking of an aged pond toad, and the intestinal noises supposedly made by hungry Martians. He has been cut from multiple low-ranking orchestral engagements, including the Bottom-Notch Symphony, the Last Resort Philharmonic, and the No-Hope-on-Earth Ensemble. His professional collaborations have been a consistent disaster, as he has only landed one performance – the one you are about to hear – and the audience members were paid (otherwise known as bribed) to attend. In sum, we can expect a rough road ahead. All I can do is wish you luck.

In all seriousness, this week’s music is Carmen Fantasy by Pablo de Sarasate, performed by yours truly with the New Hampshire Philharmonic Orchestra, conducted by Anthony Princiotti. This May 2009 performance was the result of my success in a concerto competition the year before, and it was one of the highlights of my musical life.

Sarasate was a 19th century Spanish virtuoso who wrote a number of showpieces for violin and orchestra. Carmen Fantasy is one of his most popular works because it overlaid themes from the opera Carmen with dazzling violin pyrotechnics. You will hear five movements, each of which is built on a theme from the opera, and each of which showcases different virtuosic aspects of the violin – left-hand pizzicato, flying 16th-note passages, complex chords at high speed, fingered harmonics, and more.

Enjoy the ride!

T

Christmas Concerto

Hello all,

Our music for Christmas Eve is the “Christmas” Concerto by Archangelo Corelli. I first played it when I was 10 years old as part of the NH Youth Symphony Orchestra, and since then my siblings and I have played it at numerous Christmas concerts.

The concerto is written in the sonata de chiesia form, which was used regularly by Corelli and his early-1700’s contemporaries. Corelli expanded this format from the usual four movements to five, but otherwise he stuck with the stylistic conventions. Like most of the music written during this time period, the concerto is written for two violin soloists and a single cello soloist, accompanied by a tutti orchestra.

There are six movements in the concerto, all of which are beautiful. However, the sixth movement (Pastorale) is the most well-known and, in my opinion, the most beautiful. The melody in the violins is unforgettable.

Merry Christmas, and enjoy!

T

Shostakovich Concerto for Piano and Trumpet

Hello all,

Our music for this week is the Concerto in C Minor for Piano and Trumpet by Dmitri Shostakovich.

If you’ve been with us for a while, you’re probably scratching your head at this one. Shostakovich? Trumpet with piano? When I discovered this piece a few weeks ago, I was shocked as well. It is a very unconventional combination of instruments by a modern composer who we don’t tend to think of as a trumpet fan. As it turns out, though, this piece is a lot of fun!

Shostakovich wrote this concerto in 1933 (at only 27 years of age!) as an experiment in mixing baroque and modern musical elements. The concerto has four movements, with the energetic outer movements encapsulating a meditative waltz. The trumpet features most prominently in the waltz, so listen for it around the 12-minute mark.

The concerto is full of quotations from both the popular music of the time and previous great composers. For instance, you’ll hear the Broadway tune “California, Here I Come” in the fourth movement. You can also hear melodic echoes of Beethoven’s famous Appassionata Sonata in the first movement. Making such musical quotations was very risky for Shostakovich, who was walking a precarious tightrope between creating honest musical expressions and pleasing the Soviet officials who policed his music.

Enjoy!

T

Rubinstein plays Chopin

Hello all,

This week’s music is the first movement of Frederic Chopin’s Piano Concerto No. 2, performed by the legendary pianist Arthur Rubinstein.

Each instrument has a composer that defines it. At some point in history, a composer makes such a difference in the repertoire of the instrument that its musicality is forever changed. For the violin, that person is Niccolo Paganini; for the cello, Pablo Casals; for the flute, James Galway; for the French horn, Hermann Baumann. For today’s featured instrument – the piano – that person was Frederic Chopin (although I will accept arguments for Franz Liszt if you feel so inclined). Arthur Rubinstein’s interpretation of his second piano concerto is breathtaking because it captures the romanticism of Chopin while dashing off technical passages with amazing ease.

You will hear only the first of three movements in this concerto. As many of you know, the typical concerto format involves three movements (while the typical sonata has four and symphonies also usually have four). The movement is titled Maestoso, which means (loosely) “in a majestic manner.” This fits with the compositional style that Chopin was experimenting with at the time he wrote this concerto: “stile brilliante.” In the mid-1850s, Chopin and several of his contemporaries began to adopt the bel canto style of Italian composers like Rossini and Bellini. Unlike his predecessors (such as Beethoven), Chopin was not interested in crafting the perfectly balanced concerto. He was instead interested in magnifying the virtuosity of the pianist, and this first movement clearly showcases his quest for soloistic glory.

Enjoy!

T

Top 25 #15 – Four Seasons

Hello all,

The fifteenth installment in our series on the Top 25 Greatest Pieces of Classical Music is “Autumn” from Antonio Vivaldi’s Four Seasons.

No list of greatest hits would be complete without the Four Seasons. Vivaldi’s classic composition is one of the most commonly-performed pieces of music even today, and many of us have heard his “Spring” melodies in television advertisements and waiting room playlists. Today you will hear violinist Frederieke Saeijs perform Autumn with the Netherlands Symphony Orchestra.

The “Four Seasons” are essentially a set of four violin concertos in which each concerto represents one of the four seasons of the year. The composer is the great Italian violinist Antonio Vivaldi, who penned them around 1716 and later premiered them in Venice to dazzling reviews.

As with the rest of the seasons, Autumn is based on a set of written sonnets. Each movement of the “season” corresponds to one of the sonnets. The first movement’s Allegro, which represents the harvest dance of a drunk farmer (Vivaldi’s subscript says that he has been “inflamed by Bacchus”), is delightfully cheerful. The pensive second movement represents the eventual and peaceful slumber of the tired peasants. The third and final movement depicts a country hunting party setting out a dawn with their horns blaring. If you watch the subtitles that the maker of this video inserted into the video, you’ll be able to see when the hunt begins and what takes place as the hunters journey through the wilderness.

Enjoy!

T

Top 25 #14 – Brandenburg

Merry Christmas all!

This week’s music continues our series on the Top 25 Greatest Pieces of Classical Music with J.S. Bach’s Brandenburg Concerto No. 3. The music of Johann Sebastian Bach simply must be on any “top hits” list, and there may even be a legitimate argument that the entire list be dedicated to Bach. Such is his importance and position in the world of classical music.

Bach wrote the six Brandenburg concerti around the same time that he wrote his six sonatas and partitas for solo violin, showcasing Bach’s preoccupation with numerology and symbolism. They were initially not very popular. Bach had written them as a resume-of-sorts in a kapellmeister job application for a local Duke. Ironically, he was rejected by the job that he had applied for using the Brandenburg concerti, leading snarky commentators to title them “the most successful failed job application of all time.” They now stand atop the world of music as some of the most foundational pieces ever written. They define the Baroque era of music while simultaneously stretching the boundaries of that genre. They incorporate German, French, and Italian stylistic elements, and they feature a wide range of solo instruments.

You will hear the most famous of the Brandenburg concerti today. In this concerto, Bach utilizes the concerto grosso (small multi-movement ensemble featuring a group of soloists) format that gets introduced in the first concerto, but he decides not to feature a soloist. This was actually quite a controversial move, since the concerto grosso format was distinctly Italian (not his native German) and the featuring of soloists was considered a requirement of the genre. Bach, however, wasn’t deterred by the possibility of a negative public reaction. He continued to create controversy by adding something that we don’t often see until the mid-Classical period (18th century) – a cadenza (an opportunity for the solo instrumentalist to impress the crowd by improvising on top of the composition’s main themes). Listen for the lead violinist’s cadenza in the middle movement of this concerto.

Enjoy!

T

Top 25 #6 – Mendelssohn’s Masterpiece

Hello all,

We continue our series on the Top 25 Greatest Pieces of Classical Music with Felix Mendelssohn’s violin concerto in E Minor.

This was a difficult one to choose. There are so many fantastic and worthy Mendelssohn compositions to pick from – his light-hearted Overture to “A Midsummer Night’s Dream,” his delightful Songs Without Words, and his rollicking string octet. But his violin concerto is in a class of its own. I chose it because it is perhaps the closest thing to perfection in the entire violin repertoire. Everything in this concerto is perfectly balanced – texturally, harmonically, technically, emotionally – and I think the violinist Kirill Troussov does a marvelous job of bringing that across while also adding his own unique flavor.

The perfection of the Mendelssohn violin concerto is a result of the seven years Mendelssohn took to write it. He revised and edited relentlessly, striving for the perfectly-proportioned concerto. This approach may be explainable in light of who he wrote it for – his good friend, the violin virtuoso Ferdinand David. As a pianist who held David in very high esteem, Mendelssohn harbored a deep insecurity about his ability to write for the violin and was worried about letting his friend down.

David was known to have a light, airy, almost Mozartian sound that was best utilized in a chamber music setting (as opposed to a solo setting). You will hear the concerto’s chamber-music-like qualities throughout the second movement in particular, where the violinist and orchestra converse with frequent thematic trade-offs. You will also hear – particularly in the third movement – the kind of lightness and youth that is reported to have characterized David’s playing.

Mendelssohn’s violin concerto isn’t just about balance. It’s also about trailblazing, new ideas, and bravery. In fact, Mendelssohn took a lot of risks in the way he composed this concerto. For instance, he put the solo cadenza (a fancy word for “the time where the soloist gets to show off without the orchestra slowing him down”) in the middle rather than the end of the concerto. Another risk was the blending of the three movements together with no break in between them. The fact that Mendelssohn was able to incorporate these new ideas into his concerto while maintaining its elegance is yet another testimony to his genius.

Enjoy!

T

Top 25 #3 – Elgar by du Pre

Hello all,

The third installment in our series on the Top 25 Greatest Pieces of Classical Music is the Cello Concerto by Edward Elgar, performed by Jacqueline du Pre.

First, the concerto. Elgar’s cello concerto is a tour de force. Its soaring heights and delicately-shaped melodies hardly suggest the fact that while he wrote it, Elgar was in a nursing home recovering from surgery. As he transitioned back to his home in Brinkwell, England, he spent the majority of every day of the summer of 1919 writing this concerto. His work was interrupted only by daily firewood-chopping duties.

Unlike most concerti, Elgar’s cello concerto is not always flashy or powerful. In fact, it can sometimes seem quite timid, almost too private. The opening roar of the cello solo, as spine-tingling as it is, quickly gives way to an intimacy and immediacy that is hard to find. Even the passion of the Adagio in the first movement (the main theme of the concerto) is reserved at points. This is a reflection of Elgar’s waning health, his wife’s impending passing, and the loneliness that he dealt with later in life. It is interesting that he chose to use the cello to convey these very personal emotions – not the more common violin or piano. Perhaps he saw something in the dark, rich colors of the cello that spoke to him.

Second, the cellist. Jacqueline du Pre is one of the most beloved musicians of all time and one of the most talented cellists to ever live. Her performing career was tragically cut short by multiple sclerosis at the age of 28 (she later passed away at 42 years old), but we are fortunate to have video and audio recordings of her performances of the Elgar concerto. In this video, she is only twenty years old. It is sadly fitting that she is the performer of a concerto that is part expose, part poetic epithet, part elegy.

Enjoy!

T

The Duet #2 – Petite Suite

Hello all,

As we continue our series on the great duets in the classical music repertoire, we turn this week to Claude Debussy’s Petite Suite, performed by Christoph Eschenbach and Lang Lang.

Petite Suite is written for one piano and four hands. Debussy premiered it himself, in collaboration with fellow French musician Jacques Durand. There are four movements (not all of which are present in this performance, unfortunately) that evenly feature both pianists.

You will notice that the piece is quite simple and not technically difficult; Debussy is reported to have intended it for an amateur piano-lesson-type audience. It is particularly interesting to note that he wrote this piece shortly after being told by his Paris Conservatory piano instructor that he should focus on composition because he would never make a good pianist.

One of the things that I find most interesting about this composition is its historically anomalous nature. Debussy was a late Romantic-era composer, closely preceded by colleagues who wrote thundering symphonies (Brahms) and soaring concerti (Tchaikovsky). It is therefore curious to experience the simplicity and – as one critic put it – “delightful plainness” of the Petite Suite.

Enjoy!

T