Posted on by tjphilbrick

Lark

Hello all,

This week’s music is The Lark Ascending by Ralph Vaughn Williams, performed by violinist Hilary Hahn.

The Lark Ascending was inspired by an 1880 George Meredith poem about a skylark in flight. The violin line dips and soars, imitating the path of the bird. The orchestra seems to represent the shifting breeze on which the bird floats. It is a visual picture, created in sound. Vaughn Williams referred to it as his “pastoral romance.”

I think perhaps the best thing I can offer you is the words of the poem on which this piece is based. So without further ado:

He rises and begins to round,

He drops the silver chain of sound,

Of many links without a break,

In chirrup, whistle, slur and shake.

For singing till his heaven fills,

Tis love of earth that he instills,

And ever winging up and up,

Our valley is his golden cup

And he the wine which overflows

to lift us with him as he goes.

Till lost on his aerial rings

In light, and then the fancy sings.

Enjoy!

T

Posted on by tjphilbrick

Pie Jesu

Happy Easter all!

To finish our short series on music relating to the celebration of Easter, we will listen to Pie Jesu from the Requiem by the great French composer Gabriel Faure. It is performed by the singers of the ensemble Voces8.

Faure’s Requiem was written as a prayerful tribute to his father. It is somewhat strange that he would have written a Requiem, an inherently religious work, given that he was not religious and described himself as a “sceptic.” Yet Faure’s Requiem is unique among religious compositions in that it avoids the somber, often heavy nature of those works and instead creates a light, serene atmosphere.  

The Pie Jesu is the most well-known portion of the Reqiuem. Most requiems are based on an opening movement titled dies irae, which introduces the thematic material for the entire work and presents the text of the Latin mass. Pie Jesu is simply the last verse of the dies irae.

Enjoy!

T

Posted on by tjphilbrick

Wagner’s “Parsifal”

Hello all,

This week’s music is a piece that routinely features in the conversation of “most beautiful music of all time”: the Overture to Act I of Richard Wagner’s opera “Parsifal.”

Parsifal was written in 1882. The storyline is the search for the Holy Grail and the adventures that arise along the way. Parsifal, who doesn’t arrive until later in the story, confronts numerous curses, betrayals, and other challenges on his journey to uncover the Holy Grail. He is eventually crowned king. The story, which has equivalents across the literature of multiple ancient civilizations, is timeless, but I think the music is the best part.

This overture is a trumpet player’s dream. The trumpet is featured as the primary melodic instrument, and it has multiple moments in the spotlight. Listen at 2:15 for the trumpet’s first presentation of the melody – one of the most beautiful and well-known melodies in all of music. You’ll hear another presentation of the melody, this time with more harmonic support from the strings, at 4:30. I appreciate the way this video focuses on the trumpet player and gives you a close-up view of his performance.

Enjoy!

T

Posted on by tjphilbrick

Pictures at an Exhibition

Hello all,

This week’s music is Pictures at an Exhibition by Modest Mussorgsky, transcribed for orchestra by Maurice Ravel.

When Russian artist and architect Victor Hartmann died, he left behind a lifetime of imaginative drawings, paintings, and designs. At an exhibition in honor of Hartmann’s work, his good friend, the composer Modest Mussorgsky, was inspired to make a musical representation of Hartmann’s images. He therefore composed a set of piano pieces that represented his walk through the exhibition of Hartmann’s works. He wrote eleven short pieces that depicted himself “roving through the exhibition, now leisurely, now briskly, in order to come closer to a picture that had attracted his attention, and at times sadly, thinking of his departed friend.” The pieces were never performed in Mussorgsky’s lifetime.

After Mussorgsky died, his friend and fellow composer Nikolai Rimsky-Korsakov, who was the administrator of Mussorgsky’s estate, discovered the piano pieces and began musing about the possibility of putting them to full orchestration. However, it was the French composer Maurice Ravel who finally transcribed Pictures at an Exhibition for full orchestra in 1922. In keeping with his incredibly bright and colorful style, Ravel added a flair and imagination to the piano pieces that is unforgettable. However, Ravel was also very familiar with Mussorgsky’s compositional style and made sure to remain as faithful as possible to the original score.

One of the most fascinating aspects of Pictures at an Exhibition is its orchestration. The orchestra consists of the usual winds, brass, strings, and timpani, but it also includes English horn, alto saxophone, glockenspiel, bells, tam-tam, rattle, whip, and celesta. This unconventional arrangement is in line with Mussorgsky’s tendencies. He is reported to have detested symphonies and operas as overly conventional and boring.

Here’s a quick summary of what you’ll hear:

  • The piece opens with a Promenade. This depicts the moment that Mussorgsky walks into the exhibition. The tempo is relatively slow and heavy, which may reflect Mussorgsky’s considerable girth and slow gait.
  • The first movement is the Gnomus, which represents Hartmann’s Christmas-time depiction of a gnome eating chestnuts. Listen for the disjointed, awkward leaps in the music, which represent what Mussorgsky thought of as the gnome’s “droll movements.”
  • Second, you’ll hear The Old Castle. This movement features the alto saxophone and represents the two medieval castles that Hartmann was fond of visiting.
  • Third, there is Tuileries, which represents Hartmann’s drawing of his favorite park in Paris.
  • Fourth, you’ll hear Bydlo. In this movement, Mussorgsky is describing Hartmann’s picture of a Polish wagon called a “bydlo” that is being drawn by a team of oxen. Listen for the hoofbeats!
  • Fifth, there is the Ballet of the Chicks in their Shells. This movement represents Hartmann’s picture of a group of young boys and girls playing together.
  • Sixth, you’ll hear Samuel Goldenberg and Schmuyle. This movement is in reference to two of Hartmann’s paintings that Mussorgsky himself owned. Goldenberg, a renowned merchant, is represented by the authoritative opening salvo, while Schmuyle (or “the poor one”) carries a grating, unsteady character.
  • Seventh, there is The Market Place. Hartmann painted over 150 watercolors of the marketplace at Limoges, France, and this movement depicts the hustle and bustle of the market.
  • Eighth, you will hear Catacombs. Hartmann was very fond of wandering the lamp-lit passageways underneath the city of Paris, and this movement depicts his journeys therein. If you listen carefully, you will hear a mournful and somber version of the opening Promenade at the end of this movement.
  • Ninth – and perhaps most famously – there is The Hut on Chicken’s Legs, or Baba-Yaga. One of Hartmann’s most famous sketches was a picture of the mythical witch Baba-Yaga. Russian folklore told stories of her lair deep in the forest, which was apparently perched on chicken’s legs.
  • Finally, there is The Great Gate of Kiev. Hartmann was not only an artist. He was also an architect, and he entered a national competition to determine who the architect would be for the Great Gate of Kiev. Mussorgsky had always been impressed by his friend’s plan for the gate, and this movement reflects the grandeur of the structure. Ravel’s masterful and colorful orchestration creates an incredible finale.

Enjoy!

T

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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

Posted on by tjphilbrick

Parsifal

Hello all,

This week’s music is a piece that routinely features in the conversation of “most beautiful music of all time”: the Overture to Act I of Richard Wagner’s opera “Parsifal.”

Parsifal was written in 1882. The storyline is the search for the Holy Grail and the adventures that arise along the way. Parsifal, who doesn’t arrive until later in the story, confronts numerous curses, betrayals, and other challenges on his journey to uncover the Holy Grail. He is eventually crowned king. The story, which has equivalents across the literature of multiple ancient civilizations, is timeless, but I think the music is the best part.

This overture is a trumpet player’s dream. The trumpet is featured as the primary melodic instrument, and it has multiple moments in the spotlight. Listen at 2:15 for the trumpet’s first presentation of the melody – one of the most beautiful and well-known melodies in all of music. You’ll hear another presentation of the melody, this time with more harmonic support from the strings, at 4:30. I appreciate the way this video focuses on the trumpet player and gives you a close-up view of his performance.

Enjoy!

T

Posted on by tjphilbrick

Organ Symphony

Hello all,

To finish our series on music for the organ, we will be listening to the second movement of Aaron Copland’s Symphony for Organ and Orchestra. My apologies for the lack of a live performance in today’s video.

Widely considered the greatest American composer of all time, Aaron Copland wrote music that defined the ethos of the United States of America. His famous Third Symphony, his ultra-famous “Appalachian Spring,” and his mega-famous “Fanfare for the Common Man” are featured every July 4th by orchestras around the country. Yet Copland did not write only orchestral music; he was also open to experimenting with unique orchestrations and uncommon instrument selections, as evidenced by his Symphony for Organ and Orchestra.

Copland wrote this symphony in 1924 while studying in Paris with Nadia Boulanger, who many consider to be the greatest composition teacher to have ever lived. The legendary Boston Symphony Orchestra conductor Sergei Koussevitsky asked Copland to write an organ symphony in which Boulanger herself would solo as the organist. Though not a fan of the organ, Copland agreed to write the symphony.

The second movement, which you will hear today, is a broad, burly Scherzo that seems to have been inspired by Copland’s classmate in Paris, the great Igor Stravinsky. Listen for the irregular note groupings and uneven accents that Copland sprinkles throughout the movement to give it a jolting, punchy style. In his words: “The Scherzo was my idea of what could be done to adapt the raw material of jazz.”

Enjoy!

T

Posted on by tjphilbrick

The Music of Ballet – Daphnis et Chloe

Hello all,

To wrap up our series on the music of ballet, we will be listening to the second suite from Maurice Ravel’s ballet Daphnis et Chloe.

While he is most popular for his large-scale orchestral works like Bolero, Ravel was an accomplished and versatile composer whose compositions spanned the breadth of the ballet, opera, solo, and chamber music repertoire. Daphnis et Chloe, the story of the romance between goatherd Daphnis and shepherdess Chloe, contains some of the most beautiful music ever written by Ravel. It is unique among the ballet repertoire because it is less than an hour long and contains only one act. Most commentators refer to it has a choreographed symphony rather than a full-scale ballet.

Ravel was a master of tonal harmony and meter, but he was unafraid to stretch their bounds as well. The opening of Daphnis et Chloe is a perfect example of this combination: a tonal center filled with luscious melodies, juxtaposed with a jarring, unpredictable rhythmic structure.

There are three parts to the ballet. Today, we will listen to the second part. It opens with an a capella choir of wordless voices singing a translucent, somewhat sinister line representing the pirates who have kidnapped Chloe. This is followed by the staccato brilliance of the trumpets, who introduce the second main theme of the ballet.

Enjoy!

T

Posted on by tjphilbrick

The Music of Ballet – Firebird

Hello all,

This week’s music is the “Infernal Dance” from Stravinsky’s ballet The Firebird, conducted by Sir Simon Rattle.

The Firebird is a musical rendition of a Russian folk tale about a magical creature called a firebird, whose favorite food is golden apples. Prince Ivan, in an effort to overcome the evil wizard Kashchei’s rule over the kingdom, goes into Kashchei’s garden looking for a tree that grows golden apples. Ivan captures the firebird, but lets it go in return for one of its feathers. He is then captured by Kashchei, escaping only by waving the firebird’s feather and summoning the firebird to his rescue. The firebird leads Kashchei and his monsters in a dance that is so exhausting that Kashchei and his monsters fall asleep. This is known as the “Infernal Dance,” which you will hear today. Prince Ivan then, with the help of the firebird, kills Kashchei and frees the kingdom. The firebird flies away, never to be seen again.

Stravinsky wrote the score for The Firebird in 1910 as part of a collaboration with the famous choreographer Sergei Diaghilev, and the music began his rise to international stardom. Soon after its premiere, Stravinsky created The Rite of Spring, Petrushka, and his violin concerto, all of which were met with critical acclaim. The music of The Firebird is considered to be a prime example of Stravinsky’s style, but I find this claim to be misleading. Stravinsky’s style is hard to pin down due, I believe, to his astounding versatility. For instance, he wrote entire symphonies in the Baroque style, yet his violin concerto sounds more like a late Romantic composition. He wrote very modern-sounding pieces like The Rite of Spring while also crafting orchestral suites in the style of Mozart. In short, Stravinsky was a consummate master of composition who did not have a single style. The genius of The Firebird is yet another example of his brilliance. The music is glittering, dissonant, and sometimes even unnerving, yet Stravinsky finds unique ways to surprise the listener with flashes of harmonic resolution.

Enjoy!

T

Posted on by tjphilbrick

The Music of Ballet – Don Quixote

Hello all,

This week’s music is the Dance of the Matadors from the ballet Don Quixote.

Inspired by the Miguel de Cervantes novel by the same name, Don Quixote was composed by Ludwig Minkus and first choreographed by Marius Petipa for its 1869 premiere in Moscow. It tells the story of Don Quixote, a bumbling, romantic dreamer who decides to escape from reality by living in a fantasy world of his own creation. In this world, Don Quixote is a brave knight searching for his beloved Dulcinea. To assist him in his quest he enlists the ever-faithful Sancho Panza, and the two of them set off in search of glory.

Different groups of dancers are featured throughout the ballet. The Dance of the Matadors is one such instance. Notice how Minkus’ music mirrors the energy and bravado of the matadors, and how it changes to incorporate new characteristics when the lead matador dances with his love interest. This is a skill that ballet composers are especially adept in: creating music that aesthetically imitates certain physical movements.

Enjoy!

T