The fourteenth installment in our series on the Top 25 Greatest Pieces of Classical Music is Smetana’s Ma Vlast.
Bedrich Smetana was an ardent Czech nationalist whose claim to fame was to have created a uniquely Czech style of music. This is somewhat ironic, since he spoke mainly German, had studied at German music schools, and was heir to a tradition of classical music that was full of German composers (Bach, Beethoven, Schubert, Schumann, Mendelssohn, etc). His fame and performing abilities were flourishing fantastically when he suddenly became deaf in 1874 at the peak of his career (yet another sadly ironic similarity to a famous German composer). Nonetheless, he embraced his new role as somewhat of a spokesperson for Czech music and wrote his massive set of Czech tone-poems titled Ma Vlast (meaning “My Country”) in 1879 with the goal of putting Czech music on the map once and for all.
Each of the tone-poems, all of which are written for full orchestra, reflect a different aspect of the Czech culture, land, or people. There is an opera entitled The Kiss, the famous melody of The Bartered Bride, and even a narrative of his life that ends with a high-pitched, ringing E that represents his elderly deafness.
The River Moldau Suite (Vltava) is undoubtedly the most famous tone-poem of the entire set. It describes the river that flows through Prague and includes specific depictions of places along the river that Smetana had visited himself. It begins in the mountains as a tiny brook – listen for the trickling water representation in woodwinds – and ends as a powerful, rushing river that courses through the Czech countryside and through downtown Prague (heard in the sweeping melodies played by the strings and the brass). Smetana noted in his description of the tone-poems that he had personally been to the mountain-top location where the Moldau started and had heard the folk music of the villages nearby. He also made sure to mention that he had ridden a boat through the rapids of the Moldau outside of Prague and also sailed through the city on its currents.
There isn’t a feat of orchestration or a set of amazing harmonic shifts that make this piece unique – it is simply just a beautiful piece of music with timeless melodies. You’ll wish you were in Prague!
I hope you enjoyed a wonderful Christmas and New Year’s celebration! We are kicking off the new year with #13 in our series on the Top 25 Greatest Pieces of Classical Music with Tchaikovsky’s Swan Lake Suite.
As with so many other composers, there are an endless number of options when it comes to Tchaikovsky. I could have chosen to highlight the Nutcracker ballet, his monumental piano concerto, or his soaring violin concerto. However,I felt that Swan Lake captured the range of Tchaikovsky’s style while also highlighting the genre for which he is most famous – ballet.
Swan Lake is a tragic story about the doomed love between Prince Siegfried and Princess Odette. While out hunting, Siegfried decides to follow a group of swans into the forest. One of them turns into a young woman (Odette), who tells him that she and her friends were turned into swans by an evil magician named Van Rothbart. The spell can only be broken with a promise of unfailing love, so the Prince pledges his love to Odette and promises to wed her at the palace. However, Van Rothbart sends his daughter, disguised as Odette, to the palace. Siegfried, thinking it is Odette, asks for her hand in marriage. When he and Odette discover that they have been tricked by Van Rothbart, they choose to die together by drowning themselves in Swan Lake rather than live under Van Rothbart’s spell.
But the ballet dancers who first tried to dance Swan Lake weren’t worried about the tragedy. They were worried about being able to dance the ballet at all. It was simply too difficult. Many ballet companies refused to even attempt it due to the complexity and physicality of the music.
Today, however, ballet companies around the world perform Swan Lake as one of the most popular ballets of all time. You will hear today a condensed orchestral version of the ballet.
Our music for this week is the Overture to Gioachino Rossini’s Barber of Seville.
You probably know it as the Bugs Bunny theme song (or Robin Williams’ hilarious aria in Mrs. Doubtfire), but it was originally the overture to a fantastically popular Rossini opera. Part of its appeal may have been due to the fact that The Barber of Seville was the fourth occasion for which Rossini had recycled the tune. By the time they heard this opera, Rossini’s listeners were likely quite familiar with the tune.
While the opera has remained relevant in today’s musical circles, it is the overture that has transcended its composition and become worthy of a spot in this Top 25 Countdown. However, the play upon which it was based – also titled The Barber of Seville – was notorious as a raunchy, low-budget production that wasn’t worth seeing. Rossini knew that he was pushing the limits of public acceptance by presenting this particular play in opera form. Therefore, in an effort to avoid public disfavor, he premiered his Barber of Seville under a different name – Almaviva, or “Useless Precaution.” The trick worked – the audience was fooled and his Barber of Seville was a great success!
We continue our series on the Top 25 Greatest Pieces of Classical Music with Igor Stravinsky’s “The Rite of Spring.”
The “Rite of Spring” was a complete scandal when it was first performed. Stravinsky wrote it as the score for a French ballet in 1929, and the audience was horrified by Stravinsky’s disregard for conventional harmonic structures. When combined with Russian Ballet director Serge Diaghilev’s jolting choreography, the dissonant sounds of Stravinsky’s music were anything but “spring”-like. However, this notoriety ended up serving “The Rite of Spring” well. It is now performed just as often in orchestral settings as it is in ballet settings. The music has come to define an era of music.
“The Rite of Spring” is based on a representation of Russian rituals and culture that Stravinsky had been wanting to compose for many years. The themes are simple and dark, depicting furious storms and violent struggles. Stravinsky described it as “a musical-choreographic work . . . unified by a single idea: the mystery and great surge of the creative power of Spring.” There is no specific storyline that unifies “The Rite of Spring,” just a serious of separately choreographed scenes that represent moments in time.
I hope you all enjoyed a wonderful Thanksgiving holiday with friends and family!
This week, we will hear a piece that those of you who have been here for awhile have definitely heard before – Edvard Grieg’s Peer Gynt Suite. It is performed in the video above by the Limburgs Symphony (Amsterdam) under the direction of Maestro Otto Tausk.
The Peer Gynt Suite is a musical rendition of Henrik Ibsen’s 1867 drama “Peer Gynt,” which depicted the story of a Norwegian peasant-hero. Initially, Ibsen did not intend for the play to be performed with musical accompaniment. However, halfway through the composition process, he changed his mind and reached out to his good friend Edvard Grieg. Despite having no experience writing music for plays, Grieg agreed to create a score for the production of “Peer Gynt.” Ibsen’s play has largely been forgotten, but Grieg’s musical representation of it has become a central component of the musical universe.
There are four movements in the Peer Gynt Suite. First, you’ll hear “Morning,” which opens the drama with the awakening of the hero character. Second, you’ll hear “The Death of Ase,” which creates the primary tension in the drama. Third, you’ll hear “Anitra’s Dance.” Fourth and finally, you’ll hear what may be the most famous of all Grieg’s compositions: “In the Hall of the Mountain King.” This is one of the most well-known and widely-loved orchestral compositions of all time, and I trust that, after hearing it, you’ll see why.
Number 10 on our list of the Top 25 Greatest Pieces of Classical Music is George Frederic Handel’s “Water Music.”
I am willing to guarantee that most of you have heard at least some portion of the Water Music before. Like Vivaldi’s “Four Seasons,” Water Music has somehow been incorporated seamlessly into modern culture (think TV car advertisements and dentist-office background music). The video above shows a performance of Suite No. 1, but there are actually three suites that make up the Water Music. Suite No. 1 is by far the most popular, in part because it includes such a wide variety of musical styles and formats. It begins with a French Overture, progresses through Bourees, Minuets, and a range of other movements before ending with perhaps the most famous movement in the entire composition – the Hornpipe.
You’ll notice the prevalence of the brass in this piece. Most of the main melodic material is performed by the brass, and the strings function as background sound. This is because Water Music was written to be performed outside. In fact, King George I commissioned Handel to write music that would be played on his royal barge as he was rowed up the River Thames. Wanting to make sure the sound carried across the water, Handel orchestrated the Water Music with plenty of brass power.
But it gets a bit more complicated than that. As it turns out, the composition process for the Water Music had brought out the stylistic differences between Handel and King George I. After many disagreements, Handel was fired. Many historians believe the Water Music – which is stylistically quite different from the way Handel wanted to write at the time – was a peace offering to the King. In other words, there was a lot riding on this open-air performance.
The Water Music was so popular with the
King that he requested it be performed three times! That’s nearly six consecutive
hours of playing for the court musicians. Handel’s goal, however, was
accomplished. He had won back the good graces of King George I and, in the process,
had penned some of the most memorable melodies of all time.
This week’s music continues our series on the Top 25 Greatest Pieces of Classical Music. We will hear the Piano Quintet in A Major by Franz Schubert, popularly known as the “Trout” quintet. It is performed by the principal string members of the Berlin Philharmonic Orchestra (the first chair members of each string section – violinist Noah Bendix-Balgley, violist Mate Szucs, cellist Bruno Delepelaire, and double bassist Matthew McDonald) with Yannick Rafalimanana on piano.
Quintet is one of the most widely performed pieces of chamber music in all of classical
music. Along with the Mendelssohn octet and a few other mainstays, it is
featured at nearly every chamber music festival in the world.
wrote the Trout Quintet while on vacation in the Austrian alps. The fact that
he was overwhelmed by the “inconceivable” beauty of the mountains is clearly
evident in the joyous, even rapturous lyricism of the piece. Albert Einstein,
himself an amateur violinist who loved chamber music, wrote that “we cannot
help but love” the Trout Quintet. It is Schubert at his carefree best, with no
hint of the somber colors that he began to explore after contracting syphilis
in his later years.
It is important
to note that this is chamber music. In other words, the Trout Quintet was not
meant to be performed in a concert hall. It was meant to be performed in a
living room or some other intimate setting for friends and family. This has
significant implications not just for how the quintet is to be performed but
also how it is to be heard.
A few comments
on each of the four movements:
The first movement is unforgettable. Listen for the main theme at 1:53.
The second movement has two parts – see if you can tell them apart.
The third movement, a Scherzo, turns the second movement’s two parts on their head, reverses their order, and doubles their speed.
The fourth movement is the most important. It is a set of variations on the tune of Die Forelle, or in German, “The Trout.” Die Forelle was a short song written by Schubert in 1817 for soprano and piano. He created this song by setting to music the text of a poem by Christian Friedrich Daniel Schubart about a trout being caught by a fisherman.
The Quintet finishes with an Allegro that revisits the Die Forelle theme a few times.
The seventh installment in our series on the Top 25 Greatest Pieces of Classical Music is the 1812 Overture by Pyotr Tchaikovsky.
Tchaikovsky wrote the overture in 1880 to commemorate the Russian army’s successful defense against Napoleon’s invading forces in 1812. Along with The Nutcracker and Swan Lake, the 1812 Overture has become one of Tchaikovsky’s most well-loved and widely-performed compositions. As you will see from the video, it is often performed with much fanfare at Independence Day celebrations around the world.
Despite the fact that it rocketed him to international fame, Tchaikovsky disliked the 1812 Overture. He defined it as “very loud and noisy, but without artistic merit, because I wrote it without warmth and without love.” The success of the overture convinced him that the world cared more about theatrical fanfare than it did about the deep personal expression that he put into his other compositions. (I personally find it hard to believe he wrote it without love; some of the folk songs that he weaves into the earlier parts of the overture are stunningly beautiful).
The context for the overture (the 1812 defense of Russia) gives it an amazing storyline. Tchaikovsky introduces Russian folk songs through the piece, and they trade places with the French national anthem multiple times. At the 11-minute mark, the Russian folk songs, along with artillery fire and an ample dose of timpani, drown out the French national anthem at the close of the overture. The overture ends with the French anthem morphing into the Russian anthem “God Preserve the Tzar.” The symbolism is unmistakeable.
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.
Our music for this week – and the fifth installment in our Top 25 Greatest Pieces of Classical Music – is the famous Symphony No. 9 by Dvorak, popularly known as the “New World Symphony.”
Internationally-renowned Czech composer Antonin Dvorak emigrated to the United States in 1892 to take conservatory teaching position in New York. This was right around the time that the country was exploding with new inventions. Carnegie Hall had just been built, baseball was the country’s new favorite pastime, and steam engines were the greatest power source to yet arrive (although Henry Ford was closing in fast on his Model T). Dvorak was overwhelmed. After getting his bearings, he penned the symphony you will hear today, titling it “From the New World.”
Within months of his move, Dvorak became obsessed with the musical genre of black spirituals. He began incorporating many of these tunes into his music. For instance, if you listen closely you will hear the melody of “Swing Low, Sweet Chariot” in the first movement of the “New World Symphony.” Likewise, the second movement “Largo” – although not originally a spiritual – was later rewritten by one of Dvorak’s students and set to words in that genre. This melody has become so popular that it is frequently found in hymnals and other compilations of religious tradition. However, it has transcended its genre and been used for many other contexts. For instance, it was played at Franklin Delano Roosevelt and Gerald Ford’s funerals and was the inspiration for pianist Art Tatum’s 1949 “Largo Swing.”
The famous Largo (second movement) starts at minute 12:56. Michael Tilson Thomas, one of the best conductors on earth, has said that this melody perfectly encapsulates the idea of homesickness. Others have said it describes longing, and still others have said that it is the musical expression of restfulness. Regardless of what it means to you, I can assure that you won’t soon forget it.
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