Posted on by tjphilbrick · 2 Comments

100!

Hello all,

Today marks the 100th installment in the This Week’s Music tradition! For those of you who have been with us since the email days, this is more like #200, but we have now reached the 100 mark here on the website. To celebrate the occasion, our music this week will be one of the very first pieces we ever listened to: Overture on a Hebrew Theme by Prokofiev.

Overture on a Hebrew Theme was written in 1919 while Prokofiev was visiting friends in the United States. It was written for a very rare combination of instruments – clarinet, piano, and a string quartet (2 violins, viola, and cello). Prokofiev apparently wrote the work in response to a commission from the Zimro Ensemble, a Russian group with the combination of instruments noted above. He grudgingly agreed to write them a composition and remained stolidly disapproving of the work for the rest of his life. His dislike of the piece, however, is surprising given the positive response it elicited from the public.

The work carries a distinctively Russian flavor, due largely to the efforts of the clarinetist. It features melancholy lines that are meditative and reflective in nature, interspersed with multiple sections of lively transition. The most memorable and beautiful theme comes in at 2:37. This melody is one of those rare gems that feels like you’ve always known it.

Enjoy! 

T

Posted on by tjphilbrick

The Year 1905

Hello all,

Our music for today is the second movement of Shostakovich’s Symphony #11, which carries the subtitle “The Year 1905.” The symphony was written in 1957. The Boston Symphony Orchestra performs in the recording you will hear.

The subtitle refers to the political upheaval of the Russian Revolution of 1905. At the time he wrote the eleventh symphony, Shostakovich was in hot water with the Soviet administration for statements he had made several years earlier. After writing this symphony – which effectively glorified the Soviets’ military might – he was quickly accepted back into the regime’s good graces. Soon afterward, he was awarded the Lenin Prize and an official apology was issued regarding his previous mistreatment.

This second movement is one of the wildest pieces of music you’ll ever hear. It is completely out of control. It carries the subtitle “The 9th of January,” which refers to the violent events of Bloody Sunday at the Winter Palace. On that date, a group of peaceful demonstrators were gunned down by the Imperial Guard in an occurrence that is now regarded as the catalyst for the Russian Revolution of 1905.

The eerie opening theme (which is based on a folk song from Shostakovich’s childhood) represents the group of protestors walking to the Winter Palace to complain about the government’s corruption. The distant brass foreshadow the military might that is soon to confront them. Midway through the movement (at 11:18), a sudden crescendo builds into a series of explosions from the snare drum (gunfire) and strings (the footsteps of the marching soldiers). This part of the music can only be described as absolute insanity. The amount of sound that Shostakovich unleashes is overwhelming. Pounding bass drums, searing cymbals, relentless snare drum, and overwhelming brass create a mechanical and horrifying picture of the massacre. The main theme – which in my opinion is the most “Shostakovich-ian” melody of all time – comes roaring in at 13:29.

Enjoy!

T

Posted on by tjphilbrick

Sketches

Hello all,

Our music for this week is the Suite No. 1 from Mikail Ippolitov-Ivanov’s Caucasion Sketches. I’m willing to bet that none of you – even the most veteran musicians – have heard of this piece. However, one of the many goals of This Week’s Music is to popularize music that no one knows about!

Ippolitov-Ivanov was a Russian composer in the early 20th century who studied with the famous Rimsky-Korsakov. One of his first jobs was as a conductor in the region of Russia that is now Georgia. During his eleven years there, he fell in love with the soaring mountain peaks and rich folk heritage of the region. The Caucasion Sketches are his musical depiction of the rural Caucasus Mountains of Georgia, which, as a result of their position along a major trade route from the Black Sea to Moscow, were filled with an incredible amount of cultural diversity.

There are four movements in the Caucasion Sketches:

  • In a Mountain Pass
  • In a Village – listen for the English horn’s solo in this movement. It is supposedly a representation of an instrument native to the Caucasus Mountains region called the zurna.
  • In a Mosque
  • Procession of the Sardar – the Sardar was the leader or regional commander, and this movement depicts the pomp and circumstance that surround his arrival in the village.

Enjoy!

T