English composer John Tavener passed away yesterday. Born in 1944, Tavener was known for meditative choral music, influenced by minimalism and Gregorian chant.
Here is the Winchester Cathedral Choir singing, As One Who Has Slept:
Here is Lament of the Mother of God:
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Monday’s post featured the first movement of Beethoven’s revolutionary Symphony No. 3 in E-flat major (“Eroica”) Op. 55. This music, which helped plant the seeds of Romanticism, introduced shocking new sounds and an expansive, heroic form. Let’s continue and listen to the other three movements:
[typography font=”Cantarell” size=”28″ size_format=”px”]Marcia funebre. Adagio assai[/typography]
Beethoven’s second movement is a solemn funeral march. Paying attention to the rhythm, consider what aspects of the music suggest a dirge. Why do you think Beethoven chose to put this type of movement in the middle of the “Eroica”? Does the atmosphere remain the same throughout the movement or does the character of the music develop into something new? Can you hear the sounds of the funeral procession fading into the distance at the end?
https://www.youtube.com/watch?v=6l_bPmJifV4
From the opening of the movement you probably heard the basses creating the rhythmic foundation of the funeral march. Beethoven creates a ponderous, weighty feeling by marking the downbeats with the lowest instrument in the orchestra.
At 5:11 the music tip toes almost hesitantly into a new theme in C major from C minor. It quickly crescendos to a sudden heroic statement or proclamation in G major (5:40). Isn’t it amazing how this heroic music can emerge so quickly from the depths of despair and then evaporate (7:32)?
But Beethoven soon has a new surprise in store for us, perhaps the most significant so far. At 8:16, the second violins suddenly launch into the subject of a fugue. A fugue is “a contrapuntal composition in which a short melody or phrase (known as the subject) is introduced by one part and successively taken up by others.” Like the development section of the“Eroica’s” first movement, the music gets increasingly worked up, almost seeming to transcend everything we’ve heard up to this point (10:04). As you were listening the first time through, you may have been shocked by what happens next. At 10:42 we think we are returning to the quiet, predictable opening…but listen to what happens…
It’s no exaggeration to say that this is music which changed the course of music history from Brahms and Wagner through Mahler and beyond. This collection of pitches still speaks to us today as powerfully as it did in 1804. In fact, we often turn to great music like the “Eroica” when we need to try to make sense of tragedy. The Boston Symphony played this movement when President Kennedy’s assassination was announced to concert goers at Symphony Hall in 1963.
[typography font=”Cantarell” size=”28″ size_format=”px”]Scherzo and Finale[/typography]
The word “Scherzo” translates as “joke.” What comes to mind as you listen to the opening of the Scherzo? Maybe it’s breathless anticipation? Do you feel like the lid is about to blow off and the music is set to explode, no longer able to contain its excitement?
The final movement begins at 6:16. Are you surprised by the music which follows the dramatic opening of the movement? It’s only a harmony line without melody…a seemingly insignificant fragment of music. But this is the seed from which the last movement blossoms. What follows is a set of variations which cover exciting and far reaching musical territory. Notice how many different ways this theme can be developed and the contrasting emotions which result. What is each variation saying?
Beethoven’s music conjures up a complex sea of emotions. We often overlook humor in Beethoven, but listen carefully to the passage starting around 15:30. We know that the end of the piece is just around the corner, but listen to the way Beethoven plays with our expectations. I’m not sure if the music beginning at 16:28 is funny or frightening or maybe a mixture of both. How does this music set up the coda? What emotions do you feel as you listen to the end of the piece?
https://www.youtube.com/watch?v=u0eWcb1_uGM
[typography font=”Cantarell” size=”28″ size_format=”px”]Interesting Links[/typography]
Now that you’ve heard the whole piece, you may want to go deeper with some analysis by Leonard Bernstein. Here is Michael Tilson Thomas introducing the piece and then giving a performance with the London Symphony. Also, check out this episode of the San Francisco Symphony’s Keeping Score this link from NPR.
[typography font=”Cantarell” size=”28″ size_format=”px”]The “Eroica” Through Time[/typography]
Over time, interpretations have changed. This fun clip documents the opening chords of the first movement from the earliest recordings up to the present. You’ll hear a variety of tempos as well as tunings. Remarkably it seems fairly easy to guess the style of each performance, based on the opening chords (quite a time saver).
If you want to choose one contrasting performance, I recommend John Eliot Gardiner’s performance with the Orchestre Revolutionnaire et Romantique. This performance attempts to recreate the instruments of Beethoven’s time. You’ll notice that the tempos are significantly faster and the tuning is lower. Also notice the limited use of vibrato in the strings and the valveless trumpets and horns. Brass instruments at that time could play a limited set of pitches controlled by the lip:
https://www.youtube.com/watch?v=c6JtVCYIPYw
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Keep listening to this powerful, revolutionary music. You’ll continue to hear new, exciting things. Share your thoughts in the thread below. If you have a favorite recording of the piece, let us know about it.
Revolutionary, exhilarating, ferocious, heroic…these are all words which could describe Beethoven’s Symphony No. 3 in E-flat major (“Eroica”) Op. 55. The “Eroica” stretches the elegant Classicism of Mozart and Haydn to its breaking point and plants the seeds of Romanticism. This is music of Revolution (the French and American) and the ideals of the common man.
The dawn of Romanticism brought profound changes. The stately private palace gave way to the public concert hall. Orchestras became bigger and louder. Symphonic structures expanded. The heroic struggles of man and the poetry of nature were elevated.
Beethoven originally dedicated this symphony, written in 1804, to Napoleon Bonaparte. When Napoleon declared himself Emperor, betraying the ideals of the French Revolution, Beethoven angrily crossed out the dedication on the title page and replaced it with a dedication to heroes (“Eroica”).
[typography font=”Cantarell” size=”28″ size_format=”px”]Allegro con brio[/typography]
Let’s start by listening to the first movement, performed by Leonard Bernstein and the Vienna Philharmonic. The piece begins with a surprise…two thunderous musical “hammer blows.” Pay attention to the underlying pulse as the music develops, growing like a living organism from these opening chords. Can you hear moments where a competing rhythmic groove fights against this established pulse? Do you hear anything which suggests conflict or struggle?
This movement is built on sonata form. You can learn more about this type of musical structure here. As the piece unfolds, pay attention to this overall structure as we move from the exposition (which gets repeated at 3:40) to the development (around 6:49) and back home to the recapitulation.
https://www.youtube.com/watch?v=W-uEjxxYtHo
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[typography font=”Cantarell” size=”28″ size_format=”px”]A Few Details…[/typography]
Can you imagine how shocking those opening “hammer blow”chords would have been for the first audiences in 1805? Beethoven makes the orchestra growl with a ferocious intensity which had never before been heard. When I play orchestral music by Beethoven, I always get the sense that the classical orchestra is being pushed to its limits. The musical vision almost seems too big and powerful to be contained. Beethoven’s compositional style also reflected the monumentality of the work. His sketches suggest that he struggled relentlessly over each motive. The most minute detail separated the pedestrian from the sublime.
Now that you have an idea of the piece, let’s go back and listen again. From the beginning, you probably felt the music flowing in groups of three (3/4 time). Quickly, however this clear pulse becomes infected with a competing groove, first with jarring accents on the “wrong” beat (around 1:00), then with more overt “hammer blows” (3:00-3:32). The music always makes us feel a little off balance. Go back and listen to the exposition again, paying attention to this rhythmic conflict.
Towards the end of the exposition, the music tells us that something new is about to happen (3:26-3:40). Beethoven heightens our anticipation, but listen to what happens…We abruptly return to the beginning of the exposition. Classical symphonies commonly repeated the exposition, but Beethoven goes out of his way to make this transition as sudden and jarring as possible. Listen to what happens the second time we come to this musical “fork in the road” (6:42-7:09). This time we move further away from “home” into completely new musical territory. This is the development, the mid section of sonata form where the motives (the DNA of the piece) go through all kinds of exciting and far reaching embellishments and transformations. Listen to the way the opening motive is obsessively repeated in different guises (and keys) throughout this section, simultaneously spinning off new, but related musical material. This is the most unstable part of the piece, where anything can happen. Can you hear the music getting increasingly wound up throughout this section as it searches for a distant and elusive goal?
Listen to the intense passage beginning around 8:44 one more time. This is the moment where the rhythmic conflict we heard in the exposition explodes with a new insistence and completely takes over. This passage ends with a shockingly dissonant chord at 9:26. This harsh new sound is something we might expect to hear in twentieth century music by Stravinsky. It’s the furthest you can get from the elegant, refined sound world of Mozart and Haydn.
Another innovative moment comes with the “false” horn entrance around 11:36. During the first performances, even Beethoven’s most devoted students assumed that this had to be a misprint in the score. It was just too weird. Listen to the way the horn emerges from the eerie tremolo in the strings. A few moments later, after a modulation, a new horn solo appears in the “right” key.
One of the most fundamental aspects of a symphony is the sense that the music is always going somewhere. It’s constantly developing, evolving and searching. From the opening chords on, one musical motive and phrase spins into the next in this unfolding process. Consider the musical “fork in the road” we heard at the end of the exposition. Listen to what happens when we come to this critical junction again in the recapitulation, after 15:04. For the first time the music suddenly seems lost…out of ideas…unsure which direction to take. The motion almost stops. Can you tell how the music finds its way again? Listen to the second violins for a clue.
In the climactic coda, listen to Beethoven’s use of the trumpets and horns and consider the heroic connotations of these instruments. Notice that the rhythmic conflict we’ve heard throughout the movement is there, right to the final notes (17:52).
[typography font=”Cantarell” size=”28″ size_format=”px”]Listen Again[/typography]
Now that we’ve focused on some of the details in the music, go back and listen again. Listen freely with an open mind. Have fun and enjoy the ride. You may hear completely new things in the music that you missed the first time. Share your own ideas in the thread below. What does this music mean to you? What emotional impact does it create? Be sure to come back Wednesday for Part 2, where we’ll explore the other three movements.
The vibrant Fall colors outside my window are a great excuse to listen to Vivaldi’s third concerto, “Autumn” from “The Four Seasons. Antonio Vivaldi (1678-1741) was writing and playing this music at a time when the violin was developing as a virtuosic instrument. There’s a youthful joy in this music, as if he’s saying, “Look what the violin can do!” The key to playing this music well is to make the technical passages sound effortless and fun.
The piece is in three contrasting movements (fast, slow, fast). Here is a video by Julia Fischer and The Academy of St. Martin in the Fields:
https://www.youtube.com/watch?v=xVNo64WfV7o
To get an idea of how many ways this music can be played, listen to this performance which uses instruments similar to those in Vivaldi’s time. Notice the difference between the Baroque and modern bow. Can you hear a difference in the sound which is created? Also notice the sparing use of vibrato. Here, violinist Giuliano Carmignola performs with the Venice Baroque Orchestra:
https://www.youtube.com/watch?v=Ei-_g6a5sF0
Listen to Vivaldi’s Winter and Spring concertos here. Leave a comment below with your thoughts on these performances.
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Following up on my post, Jack Benny and the Violin, here are two more funny violin-centered comedy clips. First, Jack Benny demonstrates the subtle differences between a Stradivarius and an average violin:
Comedy aside, Strads really don’t play themselves. It takes time to learn exactly how to make these violins sing. Many violinists comment on the endless colors and expression they discover as they play these great instruments. I’m reminded of a story about Jascha Heifetz:
[quote]After one concert, a fan entered the dressing room to compliment the artist on his performance. She told Heifetz “what a beautiful tone” his violin had had that night. He turned around, bent over and put his ear close to the violin laying in the still open case and said, “I don’t hear anything”.[/quote]
[typography font=”Cantarell” size=”28″ size_format=”px”]With Dylana Jenson[/typography]
This clip features Jack Benny with a young Dylana Jenson. Jenson went on to win the Silver Medal in the Tchaikovsky Competition. Her 1981 recording of the Sibelius Violin Concerto with the Philadelphia Orchestra is hailed as one of the finest interpretations of the piece.
Here is a great recording of a 13-year-old Jenson playing Beethoven’s “Kreutzer” Sonata. Listen to the second movement here.
Pablo de Sarasate’s violin showpieces evoke the sunny, exotic warmth of Spain. A violinist and composer, Sarasate (1844-1908) contributed greatly to the development of the violin. Here are a few legendary performances of his short, technically dazzling pieces.
[typography font=”Cantarell” size=”28″ size_format=”px”]Zapateado[/typography]
We’ll start with a performance of Zapateado from Midori’s 1990 Carnegie Hall debut recital. I featured another piece from this recital in a past post. Zapato is the Spanish word for “shoe.” Zapateado is a dance which originated with native Mexicans and was discovered by Spanish explorers who brought it back to Europe. You’ll hear violinistic effects such as left hand pizzicato, up bow staccato and harmonics:
[typography font=”Cantarell” size=”28″ size_format=”px”]Playera[/typography]
Here is a 1952 recording of Ruggiero Ricci playing Playera. He is accompanied on the piano by the legendary violinist and teacher, Louis Persinger. Listen to the persistent underlying dance rhythm and the seductive vocal quality of the violin line:
https://www.youtube.com/watch?v=Qt–lk7CjLg
[typography font=”Cantarell” size=”28″ size_format=”px”]Romanza Andaluza[/typography]
One of my favorite recordings of Romanza Andaluza is Itzhak Perlman’s with Samuel Sanders on the piano:
[typography font=”Cantarell” size=”28″ size_format=”px”]Zigeunerweisen[/typography]
Sarasate’s most famous piece may be Zigeunerweisen, or “Gypsy Airs.” Here is a 1959 recording of Michael Rabin with the Hollywood Bowl Orchestra conducted by Felix Slatkin. Rabin’s life was cut short tragically, but his recordings cement his legacy as one of the twentieth century’s greatest violinists:
[typography font=”Cantarell” size=”28″ size_format=”px”]Share your favorite recordings.[/typography]
Leave a comment in the thread below with your thoughts on these performances. Also, share your favorite Sarasate recordings. Which violinists do you particularly admire and why?
[quote]“Music is liquid architecture; Architecture is frozen music.” -Wolfgang von Goethe[/quote]
[typography font=”Cantarell” size=”28″ size_format=”px”]A Living Room for the City[/typography]
This month marks the tenth anniversary of the opening of Walt Disney Concert Hall, the gleaming, iconic home of the Los Angeles Philharmonic, designed by Frank Gehry. The hall is more than a monument to a world class orchestra in the middle of a world class city. It’s a reminder that, like sports, music is a public, collective activity. It brings us together. In a city which hasn’t always been known for its great public spaces, Gehry wanted to create “a living room for the city.” He blurs the lines between architecture and sculpture, showing that buildings can curve, swoop and catch the changing light in exciting new ways. Disney Hall’s soaring “sails” are clad in sleek, shimmering titanium. Gehry used the same material for his Guggenheim Museum in Bilbao, Spain. Inside, the audience surrounds the orchestra, creating a feeling of intimacy. Disney Hall captures the unique spirit of a maturing Los Angeles and conveys the message that symphonic music is essential, dynamic, democratic and anything but stuffy.
Frank Gehry talks with LA Phil CEO Deborah Borda here:
The Los Angeles Philharmonic celebrates the history and impact of Disney Hall here. To get the perspective of musicians in the orchestra read this interview. Also read this article from the Los Angeles Times and a story from NPR. Take a virtual tour here and learn more about the design from Frank Gehry.
For a live concert in Disney Hall, here is the final movement of Mahler’s Symphony No. 1 with the Los Angeles Philharmonic and Gustavo Dudamel:
https://www.youtube.com/watch?v=IIykYnoKKt8
[hr] [typography font=”Cantarell” size=”28″ size_format=”px”]Kansas City’s Kauffman Center[/typography]
Disney Hall isn’t the only architecturally daring concert hall to be built in recent years. The Kansas City Symphony got a new home when the Kauffman Center for the Performing Arts opened in 2011. Situated on a prominent mound on the edge of downtown Kansas City, the building was designed by architect, Moshe Safdie. He talks about the building in this interview with the PBS Newshour:
[hr] [typography font=”Cantarell” size=”28″ size_format=”px”]What Makes a Concert Hall Great?[/typography]
In the end, the most important aspect of any concert hall is how it sounds. An acoustically good space allows the audience to hear each musical voice clearly, whether high or low. Patrons should be able to sit anywhere in the hall without encountering “dead” spots. It’s also important for musicians on stage to be able to hear each other clearly. A concert hall can change the way an orchestra plays. Musicians always listen to the sound as it reverberates and “play the hall” as if it’s another instrument. This video will give you an idea of how acoustic engineers were able to shape the sound of the Kauffman Center. A period of adjustment and “tuning” of a concert hall takes place over time as engineers hear the orchestra. Watch the first rehearsal of the Kansas City Symphony in the new hall.
If you’re interested in learning more about concert hall acoustics, read Orchestral Acoustics 101: Vineyard vs. Shoebox and Orchestra vs. Hall by Christopher Blair.
Last March, cellist Lynn Harrell and a host of fellow all star musicians, including John Williams and Jessye Norman, released a special recording called We’ll Paint You a Rainbow. The recording raises money for the HEARTbeats Foundation, a project Harrell and his wife founded in 2010. The Foundation’s noble goal is to bring the transformative power of music to disadvantaged children throughout the world. The joyful reaction of these children in Nepal is a testament to the universal appeal of music and the value of the project. Check out Harrell’s account of the trip to Nepal here and read an article in this month’s Strings Magazine.
Here is an excerpt from the recording session featuring Harrell and soprano Christine Brewer performing Harold Arlen’s Over the Rainbow. Enjoy the music and consider supporting the HEARTbeats Foundation’s mission.
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