Mozart - Don Giovanni, The Commendatore Scene

Mozart's Don Giovanni is an adaptation of the legend of the Spanish nobleman and womanizer Don Juan, that was first written about in a play dating to the middle of the 17th century in Spain. The legend was written about in poems and plays by many authors but Mozart's opera (based on a libretto by Lorenzo da Ponte) is the most well-known version and has inspired other versions of the legend. Don Giovanni is part comedy, part drama, part morality play. It was premiered in Prague in 1787 and conducted by Mozart to great acclaim.  He also participated in the works premiere in Vienna the following year.

The original name of the work in Italian is Il dissoluto punito, ossia il Don Giovanni - The Rake Punished, or Don Juan.  Act 2, Scene 5 climaxes the work with what has been come to be known as The Commendatore Scene.  In previous action, Don Giovanni has killed the Commendatore in a sword duel after Don Giovanni was caught with the Commendatore's daughter.  Then there occurs a lot of tomfoolery, deceit, disguises and attempts at seducing other women including a woman Don Giovanni has already betrayed once, a woman named Elvira.  Giovanni and his servant Leoperello have traded clothing and Elvira thinks Leoperello is Giovanni, while Giovanni tries to seduce Elvira's maid.

In complicated twists of plot, Elvira finally discovers that Leoperello is not Giovanni when people that Giovanni has betrayed condemn him and Leoperello confesses and runs away. They vow to get revenge against Giovanni. in the meantime, Giovanni and Leoperello meet in the cemetery that the Commendatore is buried in. The statue erectged on his grave comes to life and warns Giovanni that he will no longer be laughing by morning. Leoperello is horrified, but Giovanni laughs it off and forces him to invite the statue to supper.

Don Giovanni goes home and begins a late supper when Elvira (who still loves him despite all that the Don has done to her) bursts in and begs him to repent and change his life. Don Giovanni laughs at her and she storms out of the room. Her screams are heard from outside, she runs through the room still screaming and out another door. Leoperello hides under a table in fear and refuses to answer the door. Don Giovanni opens the door and the statue of the Commendatore enters. The statue tells Giovanni to repent numerous times, but Giovanni refuses. So the statue grabs Don Giovanni and as he screams the horror of what is happening to him finally sinks in. The statue disappears and drags Don Giovanni to hell.

Despite the influence the opera had on Beethoven, he came to  criticize the subject of the opera. Writing an art work on such a licentious subject offended Beethoven's somewhat prudish sensibilities.  But the music itself must have made up for the subject matter, for Beethoven knew the work well, wrote variations on an aria from the opera and quoted motifs from it in other works. The juxtaposition of the subject matter, the many moods and the final terror of the dying Don as he is dragged to hell for his wicked ways has made Don Giovanni one of the most popular operas ever written.

The video below begins as the statue of The Commendatore comes to life:

Mozart

 

Schubert - Der Erlkönig Opus 1, D.328

Franz Schubert wrote in all the musical genre of his day, but by far the form he is best known for is German Lieder. He wrote over 600 German art songs for voice and piano in his short life, some of them becoming standards of the vocal repertoire. His most famous song, Der Erlkönig,  is set to a poem of the same name by Johann Wolfgang von Goethe, Germany's most eminent poet, writer, playwright and statesman. The poem was written in 1782 as part of a German Singspiel and it was Goethe's intention for it to be sung. The poem was sung to a simple tune that was created by the actress that was to sing the poem.  Schubert wrote the first version of the song in 1815 and continued to revise it until he finalized the fourth version of it in 1820. It had a private hearing that same year and its public premiere in 1821.

Johann Goethe

The poem tells a story about a father riding a horse through the night with his sick child cradled in his arm whose life is threatened by the Erlkönig, which is a supernatural being from Danish folklore that is similar to the Grim Reaper, at least in Goethe's retelling of the folktale.  The child hears the Erlkönig's voice trying to lure him to go with him. The child tells his father who tries to reassure the son by saying it is only the rustling of the leaves in the wind. The father finally reaches his destination after a hard ride, but it was in vain for his son is dead.  

Schubert has 5 distinct representations of people or things in this mini-tone poem, 4 of which are taken up by the singer:
Narrator -Opens the song with the voice being in the middle range of the singer and in a minor key.
Father - Sings in the low register of the singer and in both major keys.
Son - Sings in the high register of the singer and in minor keys.
Erlkönig - Sings up and down the range of the singer in major keys in a lower dynamic.

The fifth representation in the song is the horse that the father is riding, and that part is taken up by the piano. It is this very representation of a horse's beating hoofs in the fathers frantic urging to get the child assistance that is heard first in driving triplets in the right hand:

 The left hand plays a simple figure in triplets going up and quarter notes going down that does nothing more astounding than to outline the chord of G minor, the key of the piece, but which sounds very ominous combined with the right hand triplets. The tempo designation given in the above example, schnell, means fast. The metronome marking (quarter note = 152 note a minute, an editor's addition) is an extremely rapid tempo, for each beat is subdivided into three beats, which means the right hand is pounding out 456 notes a minute, which is roughly 8 notes a second. The right hand keeps up the triplet figuration in octaves and chords practically throughout the entire piece with the exception of a few very brief places and the ending measures. So this piece is not only difficult for singers in that one singer has to convey 4 different entities, but the pianist has a real workout for the roughly 3 1/2 minutes of this piece.

 Below is a translation of the song into English with parts labeled for clarification;
Der Erlkönig
[Narrator]Who rides so late through the windy night?
 There is the father with his child,
he has the boy safe in his arm.
He holds him safely, he keeps him warm.

[Father]"My son, why do you hide your face?"
[Son]" My father, don't you see the Erlkönig
with his crown and tail?"
[Father] "My son, it is the fog"

[Erlkönig]"You dear child, come with me!
Such lovely games I'll play with you;
Many colorful flowers are on the beach,
My mother has many golden robes."

[Son]"My father, my father, can not you hear,
What the Erlkönig quietly promises me? "
[Father]"Be calm, stay calm, my child,
 in the dry leaves the wind is rustling."

[Erlkönig]"Will you, sweet boy, will you go with me?
My daughters shall wait upon you;
My daughters lead the nightly dances.
And will rock and dance and sing you to sleep. "

[Son]"My father, my father, don't you see the
Erlkönig daughters in the dark?"
[Father]"My son, my son, I see it well,
it is the old gray willows."

[Erlkönig]"I love you, your beautiful form entices me;
If you're not willing to go, I will force you."
[Son]"My father, my father, he seizes me!
The ErlKing is hurting me! "

[Narrator]The father shudders, he rides swiftly,
holding in his arms the moaning child.
The father reaches his courtyard with toil and hardship;
In his arms the child was dead.


Schubert's song was orchestrated by a few composers such as Berlioz and Reger. Below is a version for orchestra. I'm not sure who did the orchestration, but I think it is by Berlioz:

Schumann - Symphony No. 3 In E-flat 'Rhenish'

In 1850 Robert Schumann accepted the Director Of Music position in the town of Düsseldorf situated in the lower valley of the Rhine river.  It was the first time Schumann had lived outside of his native Saxony, and shortly after his arrival he set to work on new compositions. The scenery of the Rhine river inspired  the 3rd Symphony (hence its nickname) and with characteristic swiftness Schumann wrote the work in about a month, from early November to early December of 1850. Schumann conducted the premiere of the symphony in Düsseldorf early in 1851.

There is some confusion concerning the numbering of Schumann's 4 symphonies, as the 3rd is actually the last one composed. What is now known as the 4th Symphony was written in 1841 but was withdrawn by Schumann after a poor reception. Schumann didn't return to this withdrawn symphony until 1851 which was after the 'Rhenish' had been published.

The 3rd Symphony 'Rhenish' is in five movements:

I. Lebhaft -  The rhythmic first theme begins the work in E-flat and its character has been compared to Beethoven's opening theme of his 3rd Symphony In E-flat 'Eroica'.  A short theme acts as a transition to the second more lyrical theme that is mostly carried by the winds. As the second theme continues, it is interrupted by fragments of the first theme until it takes over. The exposition is not repeated. The long development section concerns itself with the two main themes and the short transition theme of the exposition. Schumann modulates to other keys without returning to the home key of E-flat until the climax that leads to the recapitulation. The themes repeat, the first theme dominates the coda and the movement ends.

II. Scherzo: Sehr mäßig -  Written in the key of C major and called a scherzo, it is more in the spirit of a German Ländler. Schumann originally added the title 'Morning On The Rhine' to the movement but removed it. The  ländler is in two sections and is repeated before a trio section in A minor is played. Throughout the entire short movement there is an underlying, gently rolling quality to the music, perhaps revealing its debt to the rolling waters of the Rhine. After the trio section the ländler reappears and is slightly varied, and it leads to a gentle ending.

III. Nicht schnell - A lyrical, short interlude in A-flat major that lends a few moments of calmness to the symphony.

IV. Feierlich - Tradition has it that this movement was inspired by Schumann's visit to the Cologne Cathedral where he witnessed the installation of the Archbishop of Cologne. Whether this is true or apocryphal is moot. Schumann originally titled this movement 'In the character of an accompaniment to a solemn ceremony', so it may be a case of what Schumann admitted concerninig some of his other works with titles; that he composed the music first and the title was inspired by the music. All of this doesn't detract from the beauties of the music of this movement, perhaps Schumann's best work for orchestra. Written in E-flat minor, the music begins with a loud chord and proceeds in a solemn tone. Trombones that have been waiting silently the previous three movements make their entrance and add to the solemn progression as the music moves towards a new theme, a chorale. The complexity increases as the music makes its way to an ending that leads directly to the last movement.

V. Lebhaft -  The music makes an abrupt change in key (back to E-flat major) and mood as two themes are paraded through the orchestra. A theme from the preceding movement appears and is transformed from its former solemnity to one of brightness. Schumann rounds off the work with a short reference to the theme that began the symphony, and the work proceeds to end with chords in the home key.

Schubert - Symphony No. 9 In C Major 'The Great' D.944

Robert Schumann went on a trip to Vienna in 1837, ten years after the death of Franz Schubert and while there visited Schubert's older brother Ferdinand. While Ferdinand had possession of most of his younger brother's manuscripts, the manuscript for this final symphony was in the possession of the Gesellschaft der Musikfreunde (Society of The Friends of Music In Vienna). Schubert had dedicated the work to the Society and sent it to them in 1826 in hopes of a performance. The Society paid a small sum to the composer and had the parts copied, but after a few rehearsals the leadership of the orchestra decided the work too long and difficult.

Schumann's excitement over the lost work extended to Felix Mendelssohn who performed a version of the work in 1839. Schumann wrote a glowing review of the work and referred to its heavenly length.

Schubert wrote a work beyond the capabilites of his contemporary orchestras as well as orchestras of the near future, for it took many years before the work would be performed in its entirety. Even with cuts, many orchestras refused to play it. To add to the confusion it was first numbered as Symphony No. 7 when it was published in 1840, as Symphony No. 8 in the Neue Schubert-Ausgabe, and as Symphony No. 9 in the catalog of Schubert's works published by musicologist Otto Deutsch in 1951. The fact that many of Schubert's manuscripts were unpublished at his death and that he neglected to catalog his own works helped create confusion in the numbering of his works that continues today.

The work got its nickname 'The Great' to differentiate between Symphony No. 6 in the same key of C major. Symphony No. 9 is in four movements:

I. Andante - Allegro ma non troppo -  Solo horns begin the extended introduction with the first theme which is then taken up by the strings. A secondary theme that is related to the first theme is played in the low strings, after which different versions of the two themes are repeated. The first theme returns and leads to transition material to the beginning of the exposition of the movement which begins with a theme in quicker tempo. The second theme is taken up by the woodwinds, then there follows a progression of thematic material.  Themes have their say in the development section in most creative ways before the recapitulation begins with the first theme and the others repeated. The final section of the coda recalls the opening theme of the introduction as the movement comes full circle.

II. Andante con moto - An extended, lyrical first theme is countered by a more rhythmical second theme. The themes are repeated, after which a more passionate version of the first theme grows until it comes to an end with a climax punctuated by timpani.  The two themes return in different guises until Schubert again comes full circle by ending the movement as it began in A minor.

III. Scherzo: Allegro vivace - Schubert's scherzo dances in C major, the trio a waltz in A major. As with the two previous movments Schubert fills the third movement with melodies that are played, repeated and developed at length.

IV. Allegro vivace - There are two main themes in this sonata form movement, but those themes consist of their own melodic parts. What Schubert has done in this movement and the entire symphony is to enlarge the themes and transform them into long, sometimes complex melodies. The first theme begins with a call to attention, continues with running strings accompanying woodwinds, and ends with a full close and short pause before the second theme begins. The second theme also has a running figuration for the strings while the woodwinds play the melody. There are further extensions of this theme until both main themes are heard again in their entirety. The development section deals with selected parts of the themes instead of the entire theme itself. The recapitulation repeats all the elements of the two themes with some getting a change of key. A coda continues to expand some of the melodic material with a short episode where strings, horns and bassoons hammer out an accented C for 4 measures with the full orchestra answering in different keys. Violins chatter away with the full orchestra until the final C major chord.

Dvořák - Symphony No. 8 In G Major

Antonín Dvořák's father was the village butcher who was also an innkeeper and amateur musician. Antonin was born in a little town outside of Prague and was apprenticed as a butcher in his father's shop for three years. But due to his natural abilities in music and the patronage of an uncle, he studied music, played in an orchestra as violist, held organ positions and finally made a name for himself as a composer. He became one of the most well-known composers of his era and had an international reputation.

But at heart Dvořák remained a simple man. Two of his greatest pleasures were trains and nature. He memorized train schedules so he could meet the trains when they came into the station and loved to ride on them. He wrote some of his best and most famous compositions while he was in the countryside of his native Bohemia and at the Czech community of Spillville, Iowa when he was in the United States.

He wrote the 8th Symphony during the summer at his vacation cottage in the country in Bohemia in 1889.  The work has been called his Pastoral Symphony, and compared to his dramatic Symphony No. 7, Symphony No. 8 is a lyrical work full of melodies and moods of his native countryside. but the work is much more than that.  Dvořák intended to use a different treatment of themes in his 8th Symphony, which he accomplished to mixed reviews.  Johannes Brahms was one who had mixed feelings about the work, as he spelled out in a letter to his publisher:

Too much that's fragmentary, incidental, loiters about in the piece.  Everything fine, musically captivating and beautiful - but no main points! Especially in the first movement, the result is not proper. But a charming musician!

It is good to remember that Brahms helped Dvořák to get music published in his early days and was a friend. Brahms' genuinely liked and admired Dvořák's music, but that did not stop him from critiquing it through the filter of his own style.  But criticisms of a more biting nature have appeared over the years, which have added to the reputation that the 8th is not one of Dvořák's best works. But by listening to it with a careful ear, what seems at first hearing to be episodic and disconnected actually has a structure all its own. That it is a structure somewhat removed from the traditional is true, but that is what makes the work part of the triumvirate of Dvořák's three final great symphonies.  The 8th Symphony is in four movements:

I. Allegro con brio -  The first movement begins not in G major, but G minor. This first theme also acts as an introduction, and is soon interrupted by a solo flute that is giving out the first hint of the second birdsong-like theme in G major. The second theme is taken up by the orchestra and builds to a climax and is followed by a third theme. Themes two and three have a short dialog until the birdsong theme finally wins out. Another climax is reached with the second theme and yet another theme appears, after which fragments of what has gone on before leads to another climax. The music fades and the very first theme appears to signal the beginning of the development section. Bits and parts of themes are tossed about the orchestra during the development. The very first theme reappears as a lead in to the recapitulation.  Dvořák again throws out themes and fragments of themes as he builds up to the final chords of the movement.

II. Adagio -  A solemn theme in C minor opens the movement, and soon flutes answered by clarinets lighten the mood somewhat. This is all by way of introduction to a folk-like theme in C major. The orchestra takes up the theme and increases the volume of it on its way to a climax. The flutes and clarinets take up their call and answer again in hushed tones that gradually die away. The strings play very quietly and the horns call out the beginning of a new theme that is vaguely related to the very first theme of the movement. This gives way to a more decorated version of the folk-like theme. A variant of the opening theme is heard as the music builds to a final climax before it fades away.

III. Allegretto grazioso - Molto vivace -  A theme is played in waltz time in G minor. A new theme in G major is heard in the oboe in the trio section a tune that Dvořák had previously used in an early opera. The oboes and flutes carry the tune in two beats to the bar while the strings accompany in three to the bar, one of Dvořák's favorite rhythmic devices. The first theme is repeated and leads to a short repeat of the theme of the trio in a faster tempo, in 2/4 time with the full orchestra before the music fades away.

IV. Allegro ma non troppo -  A trumpet fanfare opens the movement after which the main theme of the movement is played. There are seven variations of this theme that was inspired by Dvořák's beloved Czech folk music.  A slow, heartfelt variation leads to a vigorous repeat of a previous loud outburst and finishes off the symphony with a Czech furiant.

Field - Piano Concerto No. 2 In A-flat Major

John Field was an Irish composer that was known and respected by many early 19th century composers and performers. His music influenced Chopin, Liszt, and Schumann of his own generation and later composers such as Brahms.  He is most well known as the composer that got the credit for originating the nocturne, a form of music brought to perfection by Chopin.

He was a child prodigy and played his debut recital at the age of nine. His family moved to London where he began studies with the Italian pianist, composer and piano manufacturer Muzio Clementi. He was heard in concert by Haydn who praised his playing. He was also taught violin by J.P.Solomon, the violinist and impresario that had lured Haydn to London. 

He continued his studies with Clementi and became a representative for Clementi's piano firm. They both visited Europe and Russia, with Field staying in St. Petersburg. He remained in Russia living in St. Petersburg and Moscow  from 1802 until 1829 as a teacher, representative for Clementi's firm, composer and performer.  His health began to fail in the middle 1820's as he developed cancer of the rectum. He appeared less and less in public and traveled to London in 1831 to seek medical treatment. He was operated on and tried to resume his concertizing but with only moderate success. He went on tour in Europe and ended up back in Moscow where he died in 1837 aged 55 years. 

Fields wrote 7 piano concertos with the 2nd in A-flat being the most popular. It has never gone out of print and earned praise from Schumann and Chopin used it in his teaching. It was a staple of the piano concerto repertoire for many years but went out of favor after the turn of the 20th century. It was written about 1811, and is in three movements:

I. Allegro moderato - Some musicologists see enough similarities in this first movement to think that it served as a model for Chopin's Piano Concerto No. 2. The orchestra begins straight away with the first theme of the exposition. The theme is explored with an extended section for the orchestra until the strings introduce the second theme.  This leads to a repeat of the first theme, after which the piano makes its entrance in lyrical passage work that suits the theme, and as in its initial presentation the first theme is explored, but this time by the piano. The soloist takes up the second subject which leads to the development section. Field extends the development section considerably as both themes as well as snippets of new material go through modulations and piano configurations along with string tremolos, rarely heard outside of the opera house in 1811. The recapitulation begins with the orchestra repeating the first theme but in a highly truncated form of only a few bars before the soloist takes up the theme.  After the second theme goes through its modulations to the home key, trills close out the soloist part with no cadenza. The orchestra brings the movement to a close with a few bars.

II. Poco adagio -  A nocturne in everything but name, no doubt another great influence on Chopin. The movement is not only a contrast to the first movement by its material, but by its very short length. The nocturne gently throbs for a few minutes and gently ends.

III. Rondo: Moderato innocente - Fugato - Moderato -  The rhythmic theme of the rondo is played between episodes of other material, and is expanded and varied upon each repeat. Field uses devices found in music of his homeland such as the Scotch Snap, a sixteenth note followed by a dotted eighth. There are also grace notes heard in the winds that suggest the grace notes of a bagpipe. A section in counterpoint, a rarity for Field, appears close to the end. The theme makes its last appearance amid a highly decorated piano part. The strings play a drone as the piano weaves filigree passage work. The orchestra finishes the movement and the concerto.

C.P.E. Bach - Oboe Concerto In E-flat Major Wq. 165

In the period between the Baroque and Classical eras there was a short period of transition that began in France and spread throughout  Europe called Rococo, music that is typically lighter but intimate in style with ornate ornamentation. Music in this style was called style galante in France and empfindsamer stil in Germany.

The concept of eras in music is merely a device used by scholars and teachers to subdivide the vast history of the subject into more digestible chunks, so it is well to remember that  elements of one era overlap quite often into differing eras. If the 50 - year period between 1720 - 1770 can be considered the Rococo era, there was considerable overlap within the Baroque era at the beginning of it and within the Classical era at the end of it.  Composers can be difficult to pigeonhole into any one era as many times works were written with specific occasions, performers and patrons in mind, which would determine the style. Even within a single composition there could be sections representing more than one style.

The development of the solo concerto in the early 18th century by Vivaldi can be thought of as one example of the reaction against the learned contrapuntal composing style of the Baroque. The 12 concertos printed as L'estro Armonico in 1711 were widely distributed and studied by many composers, including J.S. Bach who made many transcriptions of them. Not all of the concertos are for solo violin. Some are for two, three or four violins and may be technically considered concertos grosso, but it is the style in which they were composed and the ritornello form that they used that were so influential.

With the contributions by J.S. Bach to the solo concerto literature in the style of Vivaldi, he can be considered at least an occasional composer of works in the Rococo style. As the elder Bach was the only teacher that his son C.P.E. Bach ever had, it is natural that the son was taught not only the learned style of counterpoint, but other styles as well. C.P.E. Bach can be considered a Rococo composer, but he also expanded beyond that and was one of the primary composers in the development of the Classical style later perfected by Haydn and Mozart.

C.P.E. Bach composed works in most genres of his time, and the number of concertos is considerable, with some 52 works.  All of his concertos are originally written for keyboard, but he did make alternate versions of a few of these for other instruments such as flute, oboe, and cello.

He arranged two concertos for solo oboe in 1765, with the first one being in B-flat major which amounts to an enjoyable equivalent of 18th century easy listening music, while the second concerto in E-flat major shows more of Bach's quirky style. They were likely written for a prominent soloist whose name is not known, but who was probably a traveling virtuoso or member of the local orchestra in Berlin. The concerto is written for oboe, strings, continuo and is in three movements:

I. Allegro - The orchestra begins the work with a stubborn two note motive played in the violins over a shifting accompaniment in the other strings. The theme expands and goes off in a different direction until it returns to the opening two note motive. A rather awkward sounding chord progression (completely intentional, Bach usually has some harmonic surprises in his better compositions) leads to the entrance of the oboe. The oboe takes up the two note motive and develops the music that was introduced in the opening by the orchestra. The orchestra tosses out music in its own episodes and as an accompaniment to the soloist in Bach's version of ritornello form. A cadenza is played by the soloist, after which previous material is repeated by the orchestra in an early form of a sonata recapitulation. A short coda by the orchestra ends the movement.

II. Adagio ma non troppo - The middle movement is in C minor. The orchestra plays the melancholy theme which is taken up by the soloist and varied while the orchestra accompanies and comments. The oboe plays a short cadenza after which the orchestra repeats the melancholy theme without the oboe. The music moves to a cadence to an E-flat major chord and the last movement is played without a break.

III.  Allegro ma non troppo -  The final movement has a three to the bar theme played by the orchestra. AS in the previous movements, the oboe takes up the theme, expands and varies it between the orchestra's restatement of it. After the oboe develops the theme, it repeats it almost as it was first played. The orchestra then makes its final comments and closes the work.