callmeClassical

2007-07-28T22:39:00.000-05:00

Richard Wagner, 1843.
The Flying Dutchman - Overture .

Richard Wagner was most notably known for his powerful and dramatic operas. His works were extensive and while there are many to chose from, The Fying Dutchman should not be left off any list of his greatest works. For the opera, Wagner drew a great deal of inspiration from the legend of the ghost ship "The Flying Dutchman". A rather compelling story, the legend tells of a ghost ship, its captain and crew, and their damnation to sail the seas until the coming of judgement. The overture as heard here opens with a powerful storm/sea motiff, which is followed by short motiffs introducing the Dutchman, and other characters. The Flying Dutchman truly is a compelling story of love and redemption (which Wagner will use in subsequent operas) with a remarkable underlying legend.

Selected recordings recommended for purchasing:
Royal Opera House Orchestra (conducted by Dorati) version available here.
New Philharmonia (conducted by Klemperer) version available here.

Artwork: Albert Ryder // The Flying Dutchman

2007-07-25T15:39:00.000-05:00

Wolfgang Amadeus Mozart, 1785.
String Quartet in C Major, K. 465 "Dissonance" - IV. Allegro molto .

Perhaps the most famous of all of Mozart's quartets are the six that are often termed the Haydn Quartets. Writen in response to the meeting and befriending of Joseph Haydn, and the subsequent publication of Haydn's imensely influential Opus 33 quartets, Mozart's Haydn Quartets are among his finest. Perhaps the most famous is the 19th String Quartet also called "Dissonance". The innovative work gets its name from the dissonant opening of the first movement, where the four instruments enter in a different key. Here in the remarkably strong 4th movement Mozart is full of bright elegance and rich intonation. The Emerson Quartet selection below also includes two other quartets from the Haydn Quartets. A truly great value.

Selected recordings recommended for purchasing:
Emerson String Quartet version available here.

Artwork: Canaletto // The Bucintoro at the Molo on Ascension Day

2007-07-23T09:30:00.000-05:00

Tan Dun, 1997.
Symphony 1997 - III - Dragon Dance .

Tan Dun has had a vast and diverse history of classical composition. Some might know him best as the composer of the Crouching Tiger, Hidden Dragon and Hero soundtrack scores. Others might know him best for the work on display here. Symphony 1997 is the work that Tan Dun wrote when commissioned by his native China to mark the re-unification of Hong Kong with mainland China in 1997. The work marks the duality, yet unity of the two entities. In the opening passages of the symphony, the duality is marked by the dragon and the phoenix. These two distinct figures serve as representations of many things; China/Hong Kong, The Emperor/The Empress among them. This piece is a true blending of eastern and western styles along with the "new" and the "old", making it a wonderful piece to mark the ceremony it was commissioned for.

Selected recordings recommended for purchasing:
Premier performance by the Imperial Bells Ensemble w/ Yo-Yo Ma (conducted by Tan Dun) available here.

Artwork: Lei Li // Untitled

2007-07-04T20:28:00.001-05:00

John Philip Sousa, 1897.
Stars and Stripes Forever .

John Philip Sousa, the king of the American March, is most known for this premiere work. Forever popular, it is the official march of the United States and is a staple of July 4th celebrations. In fact if you hear a fireworks concert, you just might here it today!

Selected recordings recommended for purchasing:
Philip Jones Brass Ensemble (Stars and Stripes forever and other Sousa Marches) available here.

Artwork: Emanuel Leutze // Washington Crossing the Delaware.

2007-07-01T11:27:00.000-05:00

Nikolai Miaskovsky, 1918.
Symphony No. 5 - 3 - Allegro burlando .

Nikolai Miaskovsky, the king of the Soviet Symphony, is in full glory here in the rather quiet 5th Symphony. A product of the early Soviet era, many of his symphonies depict the great battles of World War I and promote the Soviet and Russian ideal. The 5th symphony as heard here is perhaps the first of the Soviet Symphony (a tradition Shostakovich and others would later take up both willingly and unwillingly). Its themes are honest and apparent. The lovely third movement, heard here, features a pleasant and energetic melody from Russian folk dances. The woodwinds create a driving line, directing the listeners ears forward. A truly entertaining piece by a composer who does not get the attention he once recieved and should receive.

Selected recordings recommended for purchasing:
BBC Philharmonic (conducted by Downes) version available here.

Artwork: Alexander Tschemissow // First of May

2007-06-27T22:11:00.000-05:00

Felix Mendelssohn, 1844.
Violin Concerto in E minor- 1. Allegro molto appassionato .

Mendelssohn's rich and heartfelt Violin Concerto has long been an essential part of virtuosic violin players. Innovative at its time of publication and premiere, the opening movement heard here was unique in its incorporation of the soloist from the very onset of the piece. The inward searching of the soloist's notes is charming and endearing, yet challenging and energetic. The soloist continues from the opening theme and for the first time in violin concertos the soloist serves to accompany the orchestra more so than simply to repeat back a variation of the orchestra parts.

Tonight, I had the opportunity to hear Itzhak Perlman play this concerto with the Philadelphia Orchestra. His tonal control and lyrical beauty serve the piece well. Several others such as a great like Heifetz and young sensations Jansen and Bell have played this piece to perfection under their unique stylings.

Selected recordings recommended for purchasing:
Concertgebouw Orchestra performance with Itzhak Perlman (conducted by Haitink) available here.
Gewandhaus Orchestra performance with Janine Jansen (conducted by Chally) available here.
Salzburg Camerata performance with Joshua Bell (conducted by Norrington) available here.
Boston Symphony Orchestra performance with Jascha Heifetz (conducted by Munch) available here.

Artwork: Caspar David Friedrich // Wanderer Above the Sea of Fog

2007-06-23T23:13:00.000-05:00

Ludwig van Beethoven, 1808.
Symphony No. 5 In C Minor, Op. 67: I - Allegro con brio .

Perhaps the most recognizable of all classical music compositions, the opening movement of Beethoven's 5th symphony is a passionate and powerful display. The opening 4 notes sound the beginning of something truly special. Some scholars liken the opening notes to the sound of fate knocking on a door. This concept seems to be validated by the writing of Beethoven at the time. In a letter to a friend he wrote that he intends to "seize Fate by the throat; it shall not bend or crush me completely". The Fifth Symphony was written while Beethoven was coming to terms with his increasing deafness and the challenges that it posed upon his life and career. The opening movement in a way can be seen as fate challenging again and again, coming back in many variations, relentlessly. This is realized by the way that the opening theme is revisited regularly forming the melodic bulk of the movement. Three quarters through the movement the opening theme is completely revisited. While it is unclear whether this theme is the true meaning of Beethoven's music, it certainly fits given the facts of his life at the time and his willingness to make statements.

Selected recordings recommended for purchasing:
Berlin Philharmonic (conducted by Karajan, complete 9 symphony cycle) version available here.
Vienna Philharmonic (conducted by Bernstein) version available here.
Vienna Philharmonic (conducted by Kleiber) version available here.

Photograph: Patrick Jablonski // Burned Forest

2007-06-20T20:54:00.000-05:00

Arvo Pärt 1977.
Cantus in memoriam Benjamin Britten .

Arvo Pärt, the father of "sacred minimalism", has produced a tremendous amount of powerful music over the past 50 years or so. Cantus in memoriam Benjamin Britten just might be the most serene, introspective and delicately beautiful piece of music written. Written in response to the death of the great British composer Benjamin Britten, Cantus.. is a complete meditation on death and the acceptance of silence. The work, written for strings and bells in a single tone, is an exercise in repition and the use of only the A-minor scale and the A-minor chord. Half of the strings descend the scale while the other half plays notes from the chord. This simplicity gives the work a soothing energy as the strings and the bells search through the relative darkness, where they eventually reach a point at which the final bell toll suggests the feelings of hope (possibly in the form of a resurrection or redemption). A remarkably simple composition carries so much power and energy. A true masterpiece.

Selected recordings recommended for purchasing:
The Bournemouth Sinfonietta (conducted by Stoudt) version available here. (Disc contains many other great Pärt works)

Artwork: Mark Rothko // Black on Gray

2007-06-06T23:35:00.000-05:00

Antonin Dvořák, 1893.
Symphony No. 9 in E minor - III - Op.95 Scherzo, Molto Vivace .

Antonin Dvořák's most famous symphony was written during his three year tenure in the United States as the director of the National Conservatory of Music in New York City. A truly defining piece. The "New World Symphony" is a testement to Dvořák's ability to encorporate the essence of America and portray it through the clarity and refinement of the European style of composition. His lyricism is unmatched as he embraces the ruggedness, honesty and openness that America imprinted in his mind.

Here in the third movement Dvořák depicts an indian dance and feast. The amazing thing about Dvořák is his ability to craft new and unique melodies, yet when you listen to each of his works you can sit back and say this is the beautiful craftsmanship of Antonin Dvořák. A true musical mastermind! If you have never heard the piece, or don't own a recording of it in your collection, make sure to pick up the masterful rendition by the London Symphony Orchestra under the direction of Kertesz.

Selected recordings recommended for purchasing:
London Symphony Orchestra (conducted by Kertesz) version available here.
Cleveland Symphony Orchestra (conducted by Szell) version available here.
Berlin Philharmonic Orchestra (conducted by Kubelik) version available here.

Photograph: Unknown // Algonquian Canoe on Water

2007-06-02T23:24:00.000-05:00

Johann Sebastian Bach, 1730.
Orchestral Suite No. 3 - II - Air .

Among the most popular pieces of classical music, Bach's eloquent and beautiful second movement of his Orchestral Suite No. 3 is a testament to his sublime ability to craft remarkably delicate yet thoroughly well-crafted works. In fact Bach's second movement is so beautiful and tranquil that he no doubt crafted the remaining movements to liven up the atmosphere. The Gavottes, Bourrée and the Gigue are all both energetic and festive without losing any of the beautiful perfection of "Air". The work features a rather large (for the period) orchestration of strings, two oboes, three trumpents and timpani. The sound is atmospheric and truly fit for both special occasions and quiet listening.

Selected recordings recommended for purchasing:
The English Concert (conducted by Pinnock) version available here.
Boston Baroque (conducted by Pearlman) version available here.

Artwork: JMW Turner // Blue Rigi: Lake of Lucerne

2007-05-26T22:21:00.000-05:00

Dmitri Shostakovich, 1959.
Cello Concerto #1 In E Flat, Op. 107 - 1. Allegretto .

Shostakovich is the essence of 20th century Russian orchestral music. His works are fiery, proud, expressive, joyous, and heart-wrenching. They are nothing less than honest expressions of the range of human feeling. While most known for his 15 symphonies and 15 string quartets, his 1st Cello Concerto is on par with is best works. Nearly every composer of note was commissioned to write a cello concerto for the great Rostropovich, and like nearly all of them, it has become one of the most important additions to the cello repertoire.

Shostakovich's 1st Cello Concerto is unique in structure. Of note, the opening movement is slow and the entire third movement takes the form of a cadenza. These pieces are braced by rich, powerful and truly dynamic 2nd and 4th movements which allow the orchestra to glow along side the deep and elegant cello sound. Here in the first movement, Shostakovich orders the Cellist to deliver a chilling and unforgettable barrage of variation and distortion of his trademark DSCH theme. (for more on the DSCH theme, read here)

If you aren't familiar with Shostakovich, it is important to note that his mortal enemy was Stalin. During his career he often butted heads with the communist party and Stalin, twice receiving official censure. Many of his works including the Cello Concerto, featured hidden, sarcastic rebukes of Stalin. Similarly, the above painting by Boris Vladimirski, who actually earned a living as a painter of communist approved propaganda, is a veiled jab at Stalin's secret police.

Selected recordings recommended for purchasing:
Rostropovich with the Philadelphia Orchestra (conducted by Ormandy) version available here.
Maisky with the London Symphony Orchestra (conducted by Tilson Thomas) version available here.

Artwork: Black Ravens // Boris Vladimirski

2007-05-17T17:47:00.000-05:00

Henri Dutilleux, 1970.
Cello Concerto - V - Hymne (Allegro).

Stunningly powerful, intense, dark and beatutiful. Henri Dutilleux's Cello Concerto, entitled "Tout un Monde Lointain", is perhaps the finest work for cello written in the 20th century. Commissioned for the late great Rostropovich, it is the ultimate in feeling, of which Rostropovich was a master at expressing. The work is so intense at times that it may take quite a few listens to get a decent idea of what this work is about.

Dutilleux' music has been inspired heavily by two forces, the poetry of Baudelaire and the art of Van Gogh. Here in the cello concerto it is from the book of poetry entitled "Les Fleurs du mal" that Dutilleux draws on most. In fact the titles of the movements are drawn from this book (movement 5 is drawn from "Les Épaves"). Here in movement five is the culmination of the first four movements. It begins with an explosion of energy, which slowly subsides to the lonely voice of the soloist.

Selected recordings recommended for purchasing:
Rostropovich with the Orchestre de Paris (conducted by Baudo) version available here.

Artwork: Vincent Van Gogh // Starry Night Over the Rhone

2007-05-12T19:47:00.000-05:00

Ralph Vaughn Williams, 1921.
The Lark Ascending .

The distinctly British Composer wrote this fabulous solo violin with orchestra work in the early 20th century. It tells the story of a skylark rising above the English country side, its beauty in full view. It was inspired by the poem of the same title by George Meredith:

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,
All intervolv’d and spreading wide, 5
Like water-dimples down a tide
Where ripple ripple overcurls
And eddy into eddy whirls;
A press of hurried notes that run
So fleet they scarce are more than one, 10
Yet changingly the trills repeat
And linger ringing while they fleet,
Sweet to the quick o’ the ear, and dear
To her beyond the handmaid ear,
Who sits beside our inner springs, 15
Too often dry for this he brings,
Which seems the very jet of earth
At sight of sun, her musci’s mirth,
As up he wings the spiral stair,
A song of light, and pierces air 20
With fountain ardor, fountain play,
To reach the shining tops of day,
And drink in everything discern’d
An ecstasy to music turn’d,
Impell’d by what his happy bill 25
Disperses; drinking, showering still,
Unthinking save that he may give
His voice the outlet, there to live
Renew’d in endless notes of glee,
So thirsty of his voice is he, 30
For all to hear and all to know
That he is joy, awake, aglow,

poem in entirety here.

Selected recordings recommended for purchasing:
New Philharmonic Orchestra (Hugh Bean solo, Sir Boult conducts) version available here.
Academy of St. Martin-in-the-Fields (Iona Brown solo, Marriner conducts) version available here.
English String Orchestra (Michael Bochmann solo, Boughton conducts) version available here.

Photo from RSPB, learn more about the Skylark and conservation of various bird species here.

2007-05-09T20:42:00.000-05:00

Terry Riley, 1983.
Cadenza on the Night Plain - I - Sunrise of the Planetary Dream Collector .

Richly textured and complexly rhythmic is the simplest and most precise way of describing the music of Terry Riley. His music is so much more than the genre "minimalism" suggests. As one of the driving forces behind the minimalistic movement he has inspired many composers including Phillip Glass, Steve Reich and John Adams.

Here in the opening movement of Cadenza on the Night Plain, Riley creates a wondrous dialogue between the four instruments of the quartet. The continual back and forth of the strings brings the refreshing air on a cool morning as the sun works its way up against the horizon. Slowly the new warmth works into the music much like the warming sun. What is remarkable is the amount of texture Riley is able to create with just four instruments. Often times string quartets fall flat, failing to sufficiently fill sonic space. Instead, he has created a depth by forcing the four instruments to play off of the sound of each other to eliminate silence. Cramming so much sound may make it difficult for a first time listener, but much like the quiet murmur of a morning outside, there is so much to experience and evaluate.

Selected recordings recommended for purchasing:
Kronos Quartet version available here.

Cover artwork for the Kronos Quartet release

2007-05-06T13:07:00.000-05:00

Camille Saint-Saëns, 1877.
Bacchanale Op. 47 (from Samson et Dalila).

The ultra-conservative French composer, Saint-Saëns, was the musical rival of Claude Debussy. While Debussy's work was emotional and expressive, Saint-Saëns' work was technical and structured. Saint-Saëns entered the musical scene at the beginning of the era dominanted by the great Romantics (Wagner, Debussy, Strauss, etc) and the end of more traditional composers like Liszt, Mendelssohn and Chopin. Where his critics would argue that his technicallity and polish led to dry music, his supporters would argue that no one was able to demonstrate the natural beauty of music like Saint-Saëns.

The Saint-Saëns work entitled Bacchanale is from the great Opera Samson et Dalila. Perhaps my favorite Saint-Saëns work, it reminds me of what Rimsky-Korsakov's Sheherazade might have sounded like had it been written before the Romantics came to the forefront.

Selected recordings recommended for purchasing:
Philadelphia Orchestra (Ormandy conducts) available here.
Pittsburgh Symphony Orchestra (Maazel conducts) abailable here.
Chicago Symphony Orchestra (Barenboim conducts) available here.

Artwork: Gustave Moreau // Samson et Dalila

2007-05-02T20:12:00.000-05:00

Max Bruch, 1867.
Violin Concerto No 1 In G Minor, Op. 26 - 1. Vorspiel: Allegro Moderato .

Fiery and passionate, Bruch first violin concerto from its premiere in 1868 was a monstrous success both critically and with the public at large. It is notable that Bruch, a pianist, wrote such a masterful work of violinistic expression. While drawing upon techniques utilized by Felix Mendelssohn's Violin Concerto and influenced by the violinist for which the work was dedecated (Joachim), Bruch's Violin Concerto No. 1 is rather unique and is unusual in several aspects. The first rarity is the nature of the first movement being written as a Vorspiel (prelude) and its direct link to the slower second movement. The opening movement is not without depth and richness though, as the violin of the soloist reigns supreme and dances through the orchestra. The second oddity is the lack of a cadenza either written for the violinist or allowed for the violinist to insert. It is the grand nature and free wheeling spirit of the written violin parts that has made the use of a cadenza decadent and gratuitous.

I recently saw Janine Jensen perform this work with the Philadelphia Orchestra, it was a highly refreshing and energetic perfomance and her recording is recommended with high praise.

Selected recordings recommended for purchasing:
Heifetz with New Symphony Orchestra (conducted by Sargent) version available here.
Perlman with Concertgebouw Orchestra (conducted by Haitink) version available here.
Jensen with Gewandhaus Orchestra (conducted by Chailly) version available here.

Artwork: Théodore Géricault // The Charging Chasseur

2007-04-28T10:41:00.000-05:00

Mstislav "Slava" Rostropovich, March 27, 1927 – April 27, 2007
Shostakovich - Symphony No. 8 - III - Allegro non troppo [Rostropovich - LSO].

The impassioned cellist, composer and humanitarian, Rostropovich passed away yesterday in his native Russia. Rostropovich had recently celebrated his 80th birthday but had been suffering from intestinal cancer and degeneration of his liver.

Rostropovich as a cellist commissioned many works, helping to improve the cello repertoire (including by Shostakovich, Prokofiev, and Britten). As a composer he championed the works of Shostakovich, Tchaikovsky and Prokofiev. And as a humanitarian he fought freedom of speech and the promotion of democracy. Slava even played an impromptu performance in Berlin when the Berlin wall came tumbling down.

He was a great man and I suggest taking a listen to his works both as a composer and a cellist.

Selected recordings recommended for purchasing:
Rostropovich conducts Shostakovich's Symphony No. 8 w/ London Symphony Orchestra available here.
Rostropovich plays Shostakovich's Cello Concerto w/ Philadelphia Orchestra (Ormandy Conducts) available here.
Rostropovich plays Haydn, Saint-Saens, and Elgar Cello Concertos w/ London Symphony Orchestra (Rozhdestventsky Conducts) available here.

Photograph: Reuters Press // Rostropovich at the Berlin Wall

2007-04-25T16:46:00.000-05:00

Pyotr Il'yich Tchaikovsky, 1880.
1812 - Festival Overture, for orchestra in E flat major, Op. 49 ..

Still super busy. More will come soon, I promise. Until then, a brief history of the piece. Tchaikovsky was comissioned to complete this work in 1880 in celebration of the 1812 defeat of the French invasion of Russia. Tchaikovsky was never happy with this work and dismissed its festival nature as lacking true artistic value and lacking his heart and passion. Enjoy!

Selected recordings recommended for purchasing:
Gothenburg Symphony Orchestra (conducted by Jarvi) version available here.
Philadelphia Orchestra (conducted by Ormandy) version available here.
Russian National Orchestra (conducted by Pletnev) version available here.

Artwork: Franz Roubaud // Raevsky Battery during the Battle of Borodino

2007-04-19T07:33:00.001-05:00

Modest Mussorgsky, 1886.
Night on Bald Mountain .

Super busy with work this week. So for now I am just going to post up the track and suggested recordings. I'll get the full detail up as soon as I get the chance! Enjoy!

Selected recordings recommended for purchasing:
New York Philharmonic (conducted by Bernstein) version available here.
Vienna Philharmonic Orchestra (conducted by Gergiev) version available here.
Chicago Symphony Orchestra (conducted by Reiner) version available here.

Artwork: Ilya Yefimovich Repin // Portrait of Modest Mussorgsky

2007-04-14T16:54:00.000-05:00

Franz Schubert, 1825.
Symphony No. 9 in C Major, D.94 - III - Scherzo: Allegro vivace—Trio—Scherzo da capo .

Franz Schubert's Ninth Symphony is often refered to as the Great symphony. At first this was to draw a distinction between his Little Symphony in C Major, but now this term is applied out of respect for the symphony's epic and grand sound as well as its innovativeness.

Schubert in many ways continues where Beethoven leaves off. The thematic sound of the symphony certainly was inspired by Beethoven. It was with the Ninth Symphony however that melody became a critical aspect of the symphony. This new use of melody has been attributed as inspiration for Schumann(who discovered the manuscript for this symphony after Schuberts death) and Mendelssohn (who conducted the symphony's first performance). Indeed this innovative style would inspire many future composers. This was not the only innovation. Along with his other masterpiece The Unfinished Symphony, Schubert was the first to truly integrate the use of the trombone in the orchestral sound. Prior to Schubert the trombone was minor in role and only used for effect.

Selected recordings recommended for purchasing:
New York Philharmonic (conducted by Bernstein) version available here.
Berliner Philharmoniker (conducted by Furtwängler) version available here.
Cleveland Orchestra (conducted by Szell) version available here.

2007-04-11T11:27:00.000-05:00

Ludwig van Beethoven, 1806.
Piano Sonata #23, The Appassionata in F Minor - III - Allegro, ma non troppo - Presto .

Beethoven's Appassionata is a wonderfully evocative piece of piano music. Widely considered one of his premiere piano sonata's the Appassionata was Beethoven's own choice as his greatest sonata's.

Usually played with all three movements together the Sonata is dazzling, covering a broad spectrum of emotion, but never losing sight of the core feeling of "passion". In particular, the sonata's third movement, Allegro, ma non troppo - Presto , is wildly exciting, fast paced and extremely complex to boot. The richness of the sound is a hallmark as well as the driving, rhythmic force of the perpetuum mobile which is utilized. The sonata requires the utmost skill of the pianist and is truly a spectacle when performed by the greatest pianists.

Selected recordings recommended for purchasing:
Claudio Arrau version available here.
Daniel Barenboim version available here.
Jonathan Biss version available here.

Artwork by: Vincent van Gogh // Red Vineyard

2007-04-07T10:54:00.000-05:00

John Adams, 1995.
Road Movies - III. 40% Swing .

America's most celebrated contemporary composer, John Adams, runs the gamut from extremely technical minimalist music to the western inspired contemporary classical music. Road Movies would be the perfect example of the latter. Road Movies is a delightful and soothing duet for piano and violin. Adams does not experiment too much with this work, but rather expands much of what he has forged in the predating Shaker Loops and will later incoporate into the epic Dharma at Big Sur. Its distinctive American flavor and energy has been well received by audiences over the last few years and it continues to gain a following. While not the most critically well received of Adams' works its overall feel has made it one of my favorites along side the highly exaulted Harmonielehre, Dharma at Big Sur, El Dorado and Short Ride in a Fast Machine.

Selected recordings recommended for purchasing:
Leila Josefowicz & John Novacek version available here.
James Ehnes & Andrew Russo version available here.

Photograph by: Joseph Holmes // Hills, San Benito County

2007-03-31T17:55:00.000-05:00

Jean Sibelius, 1899.
Finlandia, Op. 26 .

Jean Sibelius' Finlandia has become synonomous with Finnish national pride. The dramatic, proud, regal tone poem is typical of the rich and heavily layered compositions of Sibelius. It is no surprise that Finlandia and Sibelius have been elevated to honored levels in Finland. At the time that Sibelius wrote the piece, Finland was still controlled by Russia and despite the growing nationalistic sentement it was still dangerous to be outwardly patriotic. The work went by the title Impromptu early on, but there was no mistaking the intentions of the piece and audiences in Helsinki celebrated Finlandia immediately.

Selected recordings recommended for purchasing:
London Symphony Orchestra (Davis conducting) version available here.
London Symphony Orchestra (Berglund conducting) version available here.
London Philharmonia Orchestra (Ashkenazy conducting) version available here.
Berlin Philharmoniker (Karajan conducting) version available here.

Artwork by: Eero Järnefelt // Pond Water Crowfoot

2007-03-28T20:32:00.000-05:00

Claude Debussy, 1893.
String Quartet in G minor, Op. 10 - II. Assez vif et bien rythme .

Without a hint of hesitation, Claude Debussy shook the music world with his defiantly groundbreaking works. Today, one could listen to his work and not "get" what is so groundbreaking. Once can ask what is special about his music's fleeting evocations of images, sounds, and feelings? Isn't that what music is supposed to do? Before Debussy it was never done in such a free individualistic manner. Everything was structured. This is not to say Debussy didn't plan his works, it is just to say that it flows, it takes its own path as opposed to following the rigid footsteps of the great ones before him. For his efforts, Debussy was labeled an impressionist. Today we associate the term with Monet, Caillebotte, Pissarro, Renoir and the influential French art scene. At the time however, this word was critical and unappreciative.

The String Quartet in G Minor, is perhaps the piece that started it all. It was written one year before the piece that earned him the impressionist tag, Prélude à l'après-midi d'un faune. The Quartet can be seen as his first public experiment in what would become his trademark style. It is thought that the second movement, which is heard here, bears the influence of Japanese music that was heard at the World Expo in Paris a few years prior. All told it is a sparkling and lively movement remeniscent of a lively night out in Paris.

Selected recordings recommended for purchasing:
Julliard Quartet version available here.
Tokyo Quartet version available here.
Emerson Quartet version available here.

Artwork by: Camille Pissarro // The Boulevard Montmartre at Night

2007-03-24T14:04:00.000-05:00

Ludwig Von Beethoven, 1801.
String Quartet No. 2 in G Major, Op. 18 - I. Allegro .

A young Beethoven stepped out into Vienna shortly after the death of Mozart and was eager to create a name for himself. The String Quartet No. 2 in many ways solidified what Beethoven was all about. Deeply tied to the classical era of Mozart and Hayden but not afraid to inovate and chart new paths as well as breathing new life into old techniques and styles. The opening movement as seen here is representative of these three styles. It opens with the formal, traditional and dignified rendition of the reoccuring theme. Its bright and airy, yet distinclty elegant. Around the halfway mark Beethoven rehashes this theme, bringing new rhytmic thinking and in a way challenging the established sound. Playfully, he resumes to a more traditional take of the opening theme, bringing a modern and fresh account that is more classic than revolutionary. As you listen to this piece, enjoy the transitions between the three "sections" and experience the diversity of Beethoven's talents in just over seven minutes of music.

Selected recordings recommended for purchasing:
Alban Berg Quartet version available here.
Emerson Quartet version available here.
Tokyo Quartet version available here.

Artwork by: Pierre-Auguste Renoir // Ball at the Moulin de la Galette

2007-03-21T13:33:00.001-05:00

Felix Mendelssohn, 1838.
String Quartet No. 5, Op. 44, No. 3 - II - Scherzo: Assai leggiero vivace .

Felix Mendelssohn, one of the most popular compsers of the romantic period straddles the line between tradition and innovation. At times romantic and full of emotion and at other times classical and structured, Mendellsohn has experienced a modern revival follow the banning of his works by the Nazis over 50 years ago.

Despite only living into his late 30's, Mendelssohn has a rather extensive catalog due in part to his early start. A young piano virtuoso, Mendelssohn completed the composition of his first full symphony at the age of 15. Many critics of Mendelssohn will try to argue that their is a lack of "maturity" over the couse of his catalog. This critique seems unfair given the inevidable comparison to Mozart, who was also a child prodigy but was much more prolific with over 600 works to his credit. Never the less Mendelssohn ranks right up there with the greats.

String Quartet No. 5, Op. 44, No. 3 is a part of what many believe to be among the greatest String Quartet sets of all time. Some will argue that No. 3 is slightly inferior to its accompanying Quartets (String Quartet No. 13, Opus 44, No. 1 and String Quartet No. 4, Opus 44, No. 2) but I believe it to be their equal. The second movement which is featured here evokes the rush of horses galloping through the country side. The rhythmic pulse and counterpuntal refrains give the sense of multiple horses plodding along each at their own stride yet equal in mission. Sir William Nicholson's Coaching conveys that feeling in much the same way.

Selected recordings recommended for purchasing:
Emerson String Quartet version (all of Mendelssohn's Quartets, won 2 Grammy Awards) available here.
Henschel Quartet version (also includes String Quartet No. 2 in A minor, Op. 13) available here.

Artwork by: Sir William Nicholson // Coaching

2007-03-17T20:06:00.000-05:00

Einojuhani Rautavaara, 1972.
Cantus Arcticus - I. Suo (The Marsh).

Einojuhani Rautavaara's Cantus Arcticus the so-called "Concerto for Birds and Orchestra" is one of the most innovative and remarkable compositions of the last 50 years. While Finland's Rautavaara has yet to become a house hold name here in America, he has a following which grows by the day and will certainly earn him a place in classical music immortality.

Cantus Arcticus is unique in that it is the marriage of sounds produced by a live orchestra and pre-recorded bird sounds. Rautavaara himself taped the bird of Finland both in the marshlands as well as above the Arctic Circle. The result is the sound of peaceful nature, the harmony of what surrounds us when we venture off into the unspoiled wild. The first movement, properly titled Suo (The Marsh), features wonderful solo flutes and woodwinds which mimick bird song and the recordings of bog birds in the early spring. As the movement progresses the strings join the piece and serve as the transient intruder trudging along through the marsh.

Kaj Stenvall is Finland's most impressive pop artists. His ability to convey the universal feeling of almost any scene and super-impose his trademark duck character (often compared to Donald Duck) leads to memorable artwork full of emotion, humor and a unique personality. "Strange Waters", as seen above, convays a sense of serenity apparent in nature and the transient passing of the duck and his boat much in the way that Ruatavaara does.

Selected recordings recommended for purchasing:
Lahti Symphony Orchestra (Conducted by Vanska) version available here.
Royal Scottish National Orchestra (Conducted by Lintu) version available here.

Artwork by: Kaj Stenvall // Strange Waters

2007-03-14T22:59:00.000-05:00

Wolfgang Amadeus Mozart, 1786.
Overture to The Impresario, K. 486 .

Mozart's The Impresario is a delightful Singspiel (song-play) that was written as a part of a dual performance comissioned by Emperor Joseph II. Its competition of musical performances was Antonio Saleri's Primalamusica e poi le parole. In order to carry out the commision Mozart stoped work on hes famous opera, The Marriage Of Figaro. Mozart was at his prime in 1786 and both The Impresario and The Marriage of Figaro are representative of that. Many music critics will concede that The Impresario is significantly under-respected and is just as strong as the much more famous The Marriage of Figaro. What has put a damper on this great work? Simply, its relative brevity for an opera makes it often unsuitable for an entire nights performance. Yet it is not short enough to fit in entirety with other works as a part of a nights performance. The compromise seems to be that this work is played in excerpted form, almost always the Overture.

The Overture its self is a dazzling display of grace and beauty. Mozart flawlessly blends his bright themes into a wonderful sonata. It truly is an enjoyable piece and should be considered among the best of Wolfgang Amadeus Mozart. The opening of The Overture to The Impresario reminds me of stepping out into a warm, sunny day much the way Gustave Caillebotte portrays in his Young Man At His Window as seen above.

Selected recordings recommended for purchasing:
Vienna Philharmonic (Conducted by Pritchard - full length) version available here.
Dresden Staatskapelle (Conducted by Vonk - Overture only, along with 10 other Mozart vertures) version available here.

Artwork by: Gustave Caillebotte // Young Man at His Window

2007-03-10T08:55:00.000-05:00

Johann Sebastian Bach, 1715.
English Suite No.2 in A minor, BWV 807 - V. Bourrée .
English Suite No.2 in A minor, BWV 807 - VI. Bourree II - Bourrée I da Capo .

Bach's English Suite No. 2 is a wonderful dance. It is both powerful and delicate, fast and slow, and at all times poetic and articulate. The Bourrées are representative of the powerful and fast elements of the suite. The harmoniously accompanying counterpoint, which has become a trademark of Bach, marvelously develops and reveals itself as the segments progress. It helps propel this dance at a furious pace without losing control and maintaining a graceful presence.

The two recordings I have selected below are the two best renditions currently available. Glenn Gould's is the clear favorite. The power and clarity which he plays is unrivaled. Martha Argerich, however, is no slouch and I happen to like her rendition of the Bourrées better than that of Gould. She provides a slightly more poetic interpretation than Gould and plays the piece with equal strength. Fortunately, I was able to see Argerich perform the two Bourrées as an encore fairly recently and it is nothing short of dazzling.

Selected recordings recommended for purchasing:
Glenn Gould version (complete set of Six English Suites) available here.
Martha Argerich version (English Suite No. 2 only) available here.

Artwork by: Wilhelm Gause // Der Hofball

2007-03-07T08:37:00.000-05:00

Nikolai Rimsky-Korsakov, 1888.
Sheherazade - II - The Tale of the Kalander Prince .

Rimsky-Korsakov's Sheherazade is one of the most popular pieces from the 19th Century. Full of fire and character, it is the musical telling of various stories told by Sheherazade in Arabian Nights (which contains the tales of Aladdin, Ali Baba and Sinbad). Later Nikolai would remove the reference to specific stories from his titles however their continued use is a testament to his ability to effectively translate these tales using the language of music.

The second movement is the Tale of the Kalander Prince. Opening with the solo violin (representing Sheherazade herself) and the accompanying harp it is distinctively exotic and magical. This figures in well with the fact that the Kalander people were portrayed as magicians and entertainers. As the piece progresses, its noble and lively character shines particularly with the playful banter back and forth between the tuba, horns and strings. The entire piece truly shows off all elements of the orchestra and is a truly fun piece to see performed.

As a side note, the Moorish Chief portrayed in the painting of the same name by Eduard Charlemont, is not historically accurate to represent the Kalander Prince. The Moors were African Muslims and the tales of Sheherazade are more likely Persian in nature, the majestic and magical impression which Charlemont portrays is in all likelihood what both Sheherazade and Rimsky-Korsakov intended. Much like Rimsky-Korsakov's work, Charlemont's painting is full of color and texture and should be seen in person at the Philadelphia Museum of Art.

Selected recordings recommended for purchasing:
Philadelphia Orchestra (Conducted by Ormandy) version available here.
New York Philharmonic (Conducted by Bernstein) version available here.
Philharmonia Orchestra of London (Conducted by Batiz) version available here.
Kirov Orchestra (Conducted by Gergiev) version available here.

Artwork by: Eduard Charlemont // Moorish Chief

2007-03-03T15:30:00.000-05:00

Olivier Messiaen, 1930.
Les Offrandes Oubliées .

Olivier Messiaen was a profoundly religious man. His faith eminated through his works at an almost uncomparable frequency. Les Offrandes Oubliées which was written at age 22 was Messiaen's first public work and reveals his faith explicitly. Structured as three mini-movements representing the Cross, Sin, and the Eucharist. "The Sin" in particular is my favorite segment of Les Offrandes. Its harsh contrast to the adjacent segments draw the listener in. At the 2:42 mark the trumpet and cymbols break the somberness of the opening segment. Here Messiaen reveals the pain and despair that is the absence or forgetting of God.

Messiaen provided a stanza for each of the three segments, and of "The Sin" he wrote:
Forced by madness and the sting of the serpent, in a frenzied, breathless course without release, we descended into sin as into a tomb.

The surrounding slow and beautiful segments are meant to be representative of the beauty and peace of God's love shown through the Divine offernings.

Selected recordings recommended for purchasing:
Bastille Opera Orchestra (conducted by Chung) version available here.

Artwork by: Mark Rothko

2007-02-28T06:50:00.000-05:00

John Coolidge Adams, 1986.
Short Ride in a Fast Machine .

John Adams is one of the most memorable American composers of the past few decades. Few great composers can claim to be Harvard grads and the recipient of a Grammy Award.. Adams has 3 of them. His popularity stems from his roots in minimalism, providing the great rhytmic character of his work, which are combined with the broader appeal associated with the harmony of more traditional classical orchestrations.

John Adams has said of Short Ride in a Fast Machine, "You know how it is when someone asks you to ride in a terrific sports car, and then you wish you hadn't?". Adams has that feel down pat. It is a blistering orchestral work characterized by the driving wood block beat and the progression of building chords. It is a joyous fanfare. The horns and percussions are highlighted as the orchestra celebrates life through music. Commissioned by the Pittsburgh Symphony Orchestra under Lorin Maazel, who now directs the New York Philharmonic, for the opening of the Great Woods Festival it is a true musical whirl.

Selected recordings recommended for purchasing:
Birmingham Symphony Orchestra (Conducted by Rattle) version available here.

Artwork by: Nicholas Simmons // After Rothko #7

2007-02-24T00:21:00.000-05:00

Antonín Dvořák, 1896.
Concerto for Cello and Orchestra in B minor, Op. 104 - I - Allegro .

Dvořák is king when it comes to the romantic school of musicians. His wonderously expressive, slavic-folk tinged composition and sound is unique and immensly enjoyable. I first heard the Cello Concerto played live by the masterful Lynn Harrell alongside the National Symphony Orchestra. Since that unforgetable performance I have been searching for a recording that mirrors his talent (below I have listed two suitable versions available: The Philadelphia Orchestra's rendition is faster than the New York Philharmonic version).

Dvořák was an outspoken opponent of the Cello Concerto thinking the Cello unfit for the task. During his three-year stay in New York this idea was changed after interactions with a friend and colleague, Victor Herbert, whose own Cello Concerto was highly thought of by Dvořák. What resulted from this change of heart is a masterpiece. The first movement opens with the orchestra calling for the listeners attention. In dramatic fashion, horns and clairinets begin with a swaying dance-like motif which were integral in Dvořák works. Soon the soloist enters and the piece enters the next level. Here the work is challenging and subject to interpretation. The cello is joined by the orchestra to re-interpret the inital themes which are often interpreted as triumphant yearning and nostalgia for his homeland. Interestingly, Dvořák's sister-in-law was ill at the time and died before the piece was complete and his love and affection for her no doubt had a great impact upon the concerto.

Selected recordings recommended for purchasing:
London Symphony Orchestra with Lynn Harrell as solo cello (Conducted by Masur) version available here.
Philadelphia Orchestra with Natalia Gutman as solo cello (Conducted By Sawallisch) version available here.
New York Philharmonic with Yo-Yo Ma as solo cello (Conducted by Masur) version available here.

Artwork by: Viktor Oliva // Absinthe Drinker

2007-02-21T17:09:00.000-05:00

Dmitri Shostakovich, 1967.
Violin Concerto no. 2 in C Minor - III - Adagio-Allegro .

Dmitri Shostakovich is a brilliant master of texture, composition and construction. Like much modern art that falls in the category of abstract expressionism (think De Kooning, Jackson Pollock) a casual glance at Shostakovich's work leads many to think sloppy, casual, disconnected and disjointed. Shostakovich's work, like the work of those painters, is none of those things. Shostakovich prided himself in his sense of structure and composition, often borrowing themes from the greats that came before him. Indeed, his Violin Concerto No. 2 is profoundly simple and technically sound. It manages to draw on the works of Mahler and Stravinski yet remain remarkably fresh and inventive. Below the surface of the third movement is a strong and complex rondo (think ABACADA pattern). The repeating refrains are divided by expressive episodes that touch on themes such as life, morality, and mortality. All of which were striking put into focus by a heart attack in the year prior to the completion of this concerto. The cadenza in this third movement (starting at the 3:39 mark) is ferocious and prodigiously peculiar. The cadenza is what this piece is all about. Anxiety over the unpredictability of life oozes from the soloist's violin. FInally the movement concludes with a driving, triumphant flourish.

Selected recordings recommended for purchasing:
BBC Symphony Orchestra with Daniel Hope as soloist (Conducted by Shostakovich's son Maxim Shostakovich) version available here.
Tchaikovsky Festival Orchestra Moscow with Dmitri Kogan as soloist (Conducted by Maxim Shostakovich) version available here.
Prague Radio Symphony Orchestra with Jiri Tomasek as soloist (Conducted by Sir Charles Mackerras) version available here.

Artwork by: Willelm de Kooning // Light In August

2007-02-17T08:00:00.000-05:00

Claude Debussy, 1905.
La Mer - III - Dialogue of the Wind and the Sea .

The great french composer Claude Debussy earned himself the reputation of being an "impressionist" composer. Music critics at the time compared his music to the artistic movement around the same time keeping Paris a buzz with debate about the value of the arts attempting to convey feeling or impression as oppossed to more complete works. La Mer is among Debussy's most popular works and is a testament to his ability to express the idea of the sea in ways that his predecessors never dreamt. His loose and diverse construction suits itself well to the sea's volitility and transience. The third movement of La Mer which is often translated as "Dialogue of the Wind and the Sea" serves to represent the passing of a storm. It is rich and evocative. It is a swirl of feeling that is worthy of much praise.

Selected recordings recommended for purchasing:
Montreal Symphony Orchestra version available here.
Philadelphia Orchestra version available here.
Berliner Phimharmoniker version available here.

Artwork by: J.M.W. Turner // Snow Storm - Steam-Boat off a Harbour's Mouth

2007-02-14T11:43:00.000-05:00

Antonio Vivaldi, 1725.
Op. 8, Summer, Concerto in G minor, RV 315, III Presto .

Vivaldi's widely acclaimed The Four Seasons is one of the most popular and easily recognizable pieces of classical music. A hallmark of the Baroque era, The Four Seasons, consists of four concertos each depicting one of the seasons. Vivaldi gave us a tremendous resource when he published these concertos. Along with the music he wrote four sonnents for which we can follow the music. In this selected movement, Vivaldi aims to portray the building and eruption of a summer thunderstorm. This is evident in the sonnet where he writes:

Alas! his fears are justified,

for furious thunder irradiates the heavens,

bowing down the trees and flattening the crops.

Selected recordings recommended for purchasing:
London Symphony Orchestra version available here.
Boston Symphony Orchestra version available here.
English Chamber Orchestra version available here.

Artwork by: David Foss // I am the Wind, You are the Fire