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

Free, but Happy

Hello all,

Our music for today is the third movement of Johannes Brahms’ Symphony #3, performed by the Orchestra of the Liszt Conservatory.

“Free, but happy.” These are the words in which Brahms characterized his mood in 1883. At the time, he was a fifty-year-old bachelor who had taken a five-year sabbatical from writing symphonies. In his native German, “free, but happy” is written Frei aber froh, and Brahms decided to use F-A-F (the first letters of each of these three words) as the foundational harmonic line for his third symphony.

This third movement is so beautiful because it captures the mixture of loneliness and freedom that Brahms was experiencing at this time. It is simultaneously mournful and joyous; restrained and unleashed; reflective and expository. Unlike most symphonic melodies, the primary theme of the movement begins from the very start of the movement. The cellos carry this line toward the violins, which help it soar to the winds and onward. I think of this movement as the definition of Romantic-era lyricism.

Enjoy!

T