Telemann - 'Burlesque de Quixotte' For Strings

Music can be looked at as belonging to one of two broad categories; absolute music or program music. Absolute music is music that has no apparent story attached to it, is not about anything, while program music has some sort of story or outside influence guiding it. Those two definitions are quite vague, but they can at least be taking-off points for a superficial categorization of music (if the listener needs one). Superficial for there are many instances of 'absolute' music that do have a story behind them, real or contrived. And program music also has a sense of  absoluteness to it in that while it may be possible to relate specific actions through sound (the bird calls in Beethoven's Sixth Symphony come to mind), music's strength is in evoking an atmosphere or feeling rather than specific actions.

Franz Liszt and the creation of the tone poem put program music 'on the map', but music written to tell a story had been written long before that. Many composers used flutes to imitate birds, drums and trumpets to imitate martial music, horns to imitate the hunt. Music like this was not common, but it did exist. French composers of the Baroque era especially wrote music with a 'program', at least in the sense that the pieces carried a title that helped express the music. The French orchestral suite was developed into a form that made use of descriptive titles for the individual pieces, and Georg Philipp Telemann helped to popularize the French orchestral suite in Baroque-era Germany.

Don Quixote by  Gustave Doré

Friend to Handel and Bach (he was godfather to C.P.E. Bach), Telemann was born four years earlier than either and outlived both.  One of the most prolific composers of his or any other generation (he composed some 3,000 pieces), he came from a family of mostly non-musical members, and except for a two-week stint of lessons with an organist had no musical instruction. He taught himself how to play many instruments, and composed sacred and secular music as well as music for the stage. He kept abreast of trends in the music of his time and was an important composer in the transition from the Baroque era to the Classical era.

Telemann's Suite For Orchestra 'Burlesque de Quixotte',by its very designation as a burlesque,  is meant to be a light-hearted tribute to the novel Don Quixote by the Spanish author Miguel de Cervantes. The book was itself looked upon (and was written to be) a humorous one as the translation from the full title shows: The Ingenious Low-Born Noble Don Quixote of La Mancha. Telemann's suite is written for strings and consists of an overture with six titled pieces in the form of Baroque dances:

Miguel Cervantes

Overture - Written in the French Overture style, the music begins with a slow section in dotted rhythms. After this, the tempo increases and the music becomes fugal. When the fugue is done, the slow tempo and dotted rhythms return and lead to the end of the overture.

Don Quixote Awakens -  Don Quixote's dream to become a chivalrous knight on a quest for adventure and romance is begun, with long notes and pauses

Don Quixote Attacks The Windmills - In his rag-tag armor, make-shift helmet and lance, Don Quixote's delusions of grandeur have caused him to see windmills as monsters and dragons to be slain. The music's rapid tempo and repeated notes represent his imagined foes.

Pining For The Princess Dulcinea - Of what use is a knight's courage if he has no princess to fall in love with?  Don Quixote imagines a peasant woman he has seen as his princess and names her Dulcinea, and longs to tell her how much he loves her. The strings play hushed sighs and the music stops and starts in sympathy with his feelings.

Sancho Panza - Don Quixote's rotund manservant Sancho is portrayed as he is jostled and mocked by villagers.

The Galloping Of Rosinante and Sancho's Galloping Donkey -  Don Quixote's horse Rosinante is heard galloping in a steady in three tempo. Sancho's stubborn lurching donkey is portrayed in music that pauses and dotted rhythms. Rosinante is heard once again to finish the scene.

The Sleep Of Don Quixote - Telemann's Don is put to sleep and has happy dreams of his conquests in jaunty music that ends gently.
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Beethoven - Piano Sonata No. 3

Among the teachers Beethoven studied with early on was Joseph Haydn. Beethoven took counterpoint lessons with Haydn but the relationship took a turn for the worse when Haydn suggested that Beethoven add the words 'a pupil of Haydn' on his first compositions to be printed, the Opus 1 piano trios.  Haydn possibly offered the suggestion to give the young composer's work the prestige of Haydn's world-wide fame, but Beethoven took it the wrong way and balked at the suggestion.  Beethoven later said that he had learned nothing from Haydn when he was his student, but Haydn thought enough of Beethoven to consider taking him along on his second journey to London in 1796.  But that didn't happen, and when Haydn made the trip the lessons with Beethoven stopped.  For the most part, it looks as though Haydn treated Beethoven well, although he did call him 'the great Mogul'. In any case, Beethoven was never an easy personality to get along with, even in his younger years.

Beethoven and Haydn came to respect each other, with Beethoven considering him an equal to Mozart and Handel. Haydn too respected Beethoven's talent and compositions. And as far as Beethoven not learning anything from Haydn, perhaps he didn't learn a great deal in the formal lessons he took from him, but from Haydn's compositions Beethoven learned much.

The first piano sonatas Beethoven had published were the three sonatas in his Opus 2, all of them dedicated to his old teacher Haydn. The third one in the set, in C Major, is written for a virtuoso and is a good example of Beethoven's piano playing abilities. It is in 4 movements:

I. Allegro con brio - Beethoven opens the piece with a motive in triplet thirds that  test the musicality of the performer right off:

What makes this movement unique for the time it was written is that Beethoven uses three instead of the customary two themes in sonata form. After the first theme there is the first secondary theme:

After the statement of the theme Beethoven works his way to the second secondary theme:

This all happens in the exposition of the first movement amid virtuosic passages and key modulations. In the working out of these themes in the development section there are more surprises as Beethoven uses his skill and imagination to keep the listener interested. Beethoven even uses a cadenza towards the end of the movement, something most generally heard in a concerto at the time. 

II. Adagio -  The slow movements in Beethoven's sonatas are distinctive for their ingenuity and expansion of mood and emotion. This slow movement has moments of serenity juxtaposed with moments of fury, an indication of Beethoven's personal temperament. 

III. Scherzo: Allegro - The scherzo of this sonata begins with a theme that is treated contrapuntally, and by way of contrast the trio is a simple minor key melody played in the bass while the right hand scampers about playing arpeggios.

IV. Allegro assai - Beethoven throws a few 'curves' at the listener in this movement. This sonata was written while Haydn was still alive and having a grand success with his second batch of 'London' symphonies. The great Mozart was only 5 years dead.  This sonata was written in a grand virtuoso style by Beethoven, but it also contains much that was characteristic and original to Beethoven that were increased in his later compositions. 

Liszt - Grosses Konzertsolo For Piano

Franz Liszt wrote his Grosses Konzertsolo (Grand Concerto Solo) in 1849-1850, three years before his Sonata In B Minor.   Liszt wrote it for a piano competition that was to be held at the Paris Conservatoire in 1850. Liszt dedicated the work to Adolf von Henselt, one of the premier virtuoso pianists of the time. The work proved so difficult that Henselt couldn't master it which caused him to comment:

"It is not in the realm of possibility for me to play this piece..."

Liszt made two other versions of the work; one for piano and orchestra under the title Grand Solo de Concert which was not published,  and another arranged for two pianos published under the title Concerto Pathétique.  

The work is an experiment in form and substance that Liszt continued and refined in his Sonata In B Minor.  It is in one continuous movement. The opening begins with a dramatic main theme followed by a quiet section that leads to a transitional passage that brings the music back to the main theme. Next there is a grand theme played in large chords that is marked grandioso. This theme continues in the middle register of the keyboard as the accompaniment flows around it. This is basically the exposition of a sonata form movement. Liszt then inserts what amounts to a slow movement marked Andante sostenuto. This theme slowly unfolds and gains in complexity until a cadenza appears, after which the music grows to a double forte as the theme is hammered out. Themes from the exposition reappear and the drama of the opening section returns. Themes are developed, the music continues in dramatic fashion until a section is reached that is written in 4 staves and marked Andante, quasi marcia funebre:

  Themes continue to be developed,  the music again grows in intensity and ends in the major mode.

Henselt wasn't the only virtuoso of the day that refused to play this work. Liszt sent a copy of it to Clara Schumann but she publicly begged off the work claiming excessive technical difficulties while in private she criticized the work for what she considered empty virtuosity. There is no record of the piece being played at the piano competition in Paris, and outside of Liszt's pupil Carl Tausig who Liszt said was the first pianist to perform the piece, it may have been only Liszt himself that could have surmounted the technical and musical difficulties of the work. 

Dreyschock - Piano Concerto

Alexander Dreyschock was born in Bohemia in 1818 and became one of the era's top virtuoso pianists. By the time he was 20 years old he was an accomplished pianist and went on a tour of Europe.  He was renown for his stunning technical ability, especially in playing thirds, sixths and octaves. He was also known for his compositions for the left hand alone which he played in his recitals. He garnered the praise of Berlioz and other musicians of the time, while others were not as impressed. Felix Mendelssohn heard him and said, "He plays some pieces so admirably, you fancy yourself in the presence of a great artist, then immediately afterwards something so badly that you change your mind." Others commented on his marvelous tone while still others complained that he played loud enough to be heard in the next town.

There seems to have been somewhat of a circus atmosphere to his recitals, as he would amaze the audience with his technique with his own compositions and transcriptions of other composer's music.  He increased his reputation as a master of technique with his transcription of  Chopin's Opus 10, Number 12 Etude, the famous Revolutionary Etude with octaves in the left hand instead of single sixteenth notes.  Legend has it that he practiced the piece twelve hours a day for six weeks until he could bring it up to tempo. Mendelssohn heard him play the transcription and was amazed by it. Anton Rubinstein thought enough of Dreyschock's abilities to hire him on as a staff member at the newly-founded St. Petersburg Conservatory in 1862. He was named Professor of Piano, and also Court Pianist to the Tsar and Director of the Imperial School of Music for the Operatic Stage.  Dreyschock died in 1869 of tuberculosis

Most of his compositions were for piano solo, with his single piano concerto being written around 1865. As with many concertos written and performed by the composer, Dreyschock emphasizes his strengths with the type of music he writes. The concerto is reminiscent of the Chopin piano concertos as there is no doubt that the spotlight is on the piano throughout, with all the crackling virtuosity that the composer was known for.   It is in three movements:

I. Allegro ma non troppo - The first movement is in loose sonata form, with there being no exposition repeat and the development/recapitulation sections being combined.  The orchestra begins with a statement of the first material, the piano enters and comments.  The second group of themes is ushered in by the piano with orchestra accompaniment. There is no usual exposition repeat of this material. The development section and recapitulation is combined and the piano develops one of the beginning themes, after which the horns have a short fanfare that brings forth the development/recapitulation of some of the second group of themes.  A brilliant coda for octaves and other Dreyschock 'tricks' brings the movement to a close.

II. Andante con moto  -  This movement for me shows Dreyschock's rather plain gifts for writing any kind of music for piano that is less than technically brilliant. The music sounds like an obligatory 'slow' movement that the times called for with not much sweetness or lyricism. There are some rather awkward moments, and the music sounds like nothing but 'filler' until the fireworks can start again.

III. Allegro vivace - There are two major themes in this movement, the first in a minor key in a rapid tempo and dramatic mood, the second rather attractive theme is in a major key in a slower tempo and a more mellow mood. A third theme is heard prancing along in a major key until the first theme returns. The theme is expanded upon slightly until  the second theme is heard in a different key than before. Then a fiery coda winds up the movement spitting fire with octaves chasing each other, whirlwind single-note runs and other knuckle-busting goings-on that no doubt brought down the house.

Saint-Saëns - Piano Trio No. 2 In E Minor, Opus 92

Saint-Saëns is a composer accused by some of superficiality and glibness, but the second piano trio shows the criticism to be unjust.  Gone is the Mendelssohnian early romanticism of his earlier piano trio. The second trio was written in 1892, a time when Saint-Saëns was looked upon as an ultra-conservative, and as such his music was out of fashion and not played very much.  Nonetheless, he continued to compose and even experimented with different musical language.  He lived almost another thirty years after he wrote the second piano trio, and ended his composing career with sonatas for wind instruments (one each for clarinet, oboe, and bassoon) and a few piece for piano and voice, in 1921.

Piano Trio No. 2 is in 5 movements:

I. Allegro non troppo - The movement begins with a theme taken up by violin and cello as the piano plays an agitated accompaniment. A second theme is in E major. The development section expands the themes amid a general feeling of turmoil and passion. The themes return in the recapitulation, after which the agitation of the opening of the movement returns in the coda and after a run from the piano a unique cadence ends the movement.

II. Allegretto - The beginning of the movement gives the impression that it is going to be one of Saint-Saëns' delicate trifles, as a tripping tune in E major and 5/8 time is played.  Contrasting sections in the minor show that the movement is not just gentle salon mood music. The piano has some particularly brilliant music in the contrasting sections. The opening theme has the final say in an emphatic close.

III. Andante con moto - Written in A-flat major, this movement has a lyrical theme that is the basis of the entire movement.

IV. Grazioso, poco allegro - A graceful movement that begins in G major with a waltz-like tune. There is a slight contrasting section, more like an intermezzo.  The interplay between the instruments begins again with the opening theme as the music slows down and ends.

V.  Allegro -  Two themes, the first in E minor and the next in E major, begin the movement. Material is treated contrapuntally on its own before the first theme is integrated into it. The second theme returns and leads to a very rapid version of the first theme and the ending chords.

 

Mendelssohn - Octet in E-flat Major

The career of many composers is a long road of constant growth, sometimes small, sometimes large, even sometimes a complete change in style. Beethoven's music from the very beginning of his career was different from his contemporaries, but the difference between his first symphony and his ninth, his first string quartet and his sixteenth, are huge.

Mendelssohn almost seems like he was formed a complete composer from a very early age, and his style and complexity of his music didn't change dramatically his entire career. Of course he also didn't live past his 38th year, so no one knows if he would have changed his essentially conservative musical voice later in life. 

The String Octet is from 1825 when Mendelssohn was sixteen years old, and another of his popular compositions, Overture To A Midsummer Night's Dream was written a year later. These were far from Mendelssohn's first works as he had written twelve symphonies for strings between the ages of 12-14. The octet  is for a double string quartet; 4 violins, 2 violas and 2 cellos. Mendelssohn himself left directions for its performance: "This Octet must be played by all instruments in symphonic orchestral style. Pianos and fortes must be strictly observed and more strongly emphasized than usual." That the work was written with this orchestral style is evident from the very opening of the work, and that the work lends itself admirably to transcription for full string orchestra.

The octet is in 4 movements and opens with the first theme directly, played by violin with accompaniment. The first movement is far and away the longest in length, but Mendelssohn's inventiveness and mastery of sonata form keeps things interesting. The second movement is a study in gracefulness tinged with a tad of restlessness. It is the third movement, the scherzo where Mendelssohn shows hos much of a master he really was at only sixteen.  Unlike almost all scherzos that are in 3/4 or triple time and ternary form, this one is in 2/4 time and sonata form. It is a precursor to the Overture To A Midsummer Night's Dream written the following year. It is taken at a rapid tempo at a subdued music, the original 'fairy' music of which Mendelssohn is known for. The finale begins as a fugue and also brings back echoes of the scherzo.

Mendelssohn was a musical conservative who tolerated the music of Wagner, Liszt , Berlioz and others of the new school, but he had no admiration of it. He helped found the Leipzig Conservatory which mirrored his own views on music and upheld the conservative tradition. But all of that makes not a hoot of difference as far as his music. It is all well-crafted, inspired, and a delight to the ear. 

Verdi - Requiem

The Catholic religious rite of the Mass is basic to the faith, and takes many forms. The most basic is a Mass that contains the reading of scripture and is based around the Eucharist, also known as Communion in other denominations. The Mass can be different for different occasions, as instructed in the Roman Missal. One specific type of Mass is the Requiem Mass For The Dead. It is a ceremony in remembrance of the deceased and to offer prayers for their soul to have eternal rest in heaven. The word requiem itself comes from the first word in the Latin Introit (the beginning of the Mass sung by a choir, taken from a psalm) Requiem aeternam dona eis - Rest eternal grant unto them.

The art of music grew for centuries under the auspices of the Church,  so it was natural that composers would set the Mass to music. The coming of the first documented polyphonic Mass in the 15th century brought with it a large number of settings for the Requiem Mass. At first these compositions were quite rigid in structure, but as the art of music grew, so did expression in the Requiem. By the time Giuseppe Verdi came to write his Requiem in 1874, there were many examples already written by composers obscure and famous.

Alessandro Manzoni

The work was written in memory of the Italian novelist and poet Alessandro Manzoni whom Verdi admired.  Manzoni had died in 1873 and the Requiem was premiered in 1874 on the one year anniversary of his death. Verdi conducted the first performance that was given, in a Milan church. It was met with limited success, perhaps partly due to the fact that women were only just being allowed to sing in the Catholic church which delayed the work's acceptance in Italy.  But after a short time it fell out of the repertoire until the 1930's.  Some critics found the drama of the music to be more in the style of an opera than a religious work while others found the style of music too radical (meaning too modern). There is no doubt the music is quite dramatic, but it covers pretty much all human emotions which was quite in keeping with Verdi's style. The spirit of Verdi perhaps has had the last laugh, for the Requiem is now one of the most performed works of the choral literature.  Verdi's spirit has another reason to chuckle over the veneration of this religious work, for he was at the most an agnostic and at worst a confirmed atheist.

The Requiem is written for 4 soloists, double choir and a large orchestra. It is in seven parts:

I. INTROIT & KYRIE - Beginning with muted strings that are almost inaudible, the chorus quietly enters. Both sections convey a wish for gentle rest for the departed.

Introit

Chorus

Grant them eternal rest, Lord,

and may perpetual light shine on them.

A hymn to you is fitting, God of Zion,

and to you shall a vow be made in Jerusalem.

Listen to my prayer;

unto you all flesh shall come.

Grant them rest eternal, Lord,

and may perpetual light shine on them.

Kyrie

Solo Quartet and Chorus

Lord, have mercy.

Christ, have mercy.

Lord, have mercy

II. DIES IRAE - This longest part of the work portrays the drama of human emotion, something that Verdi was known for in his operas.  The pleading for mercy and a way to salvation is interrupted by the savagery of the Dies Irae.

Dies Irae - In music that shakes the rafters, Verdi portrays the destruction of the world with strings that rip through scale passages, piccolos that screech, brass that roars and a bass drum that gets the hell beat out of it. This section is like an idee fixe as it returns throughout the work, (twice in this part alone) driving home the hopelessness of the sinner on Judgement Day.

Chorus

 Day of wrath, that day

the world will dissolve in ashes,

as witness David and the Sibyl.

 What trembling there will be,

when the judge shall come

to examine all things thoroughly.

Tuba Mirum -  Trumpets off stage join the trumpets in the orchestra for an echoing effect that grows into a tremendous crescendo that spreads to the chorus that has to struggle to be heard over the rolls played on the bass drum.

Chorus

The trumpet, spreading its wondrous sound

through the tombs of all regions,

will gather all before the throne.

Mors Stupebit

Bass Solo

Death will be stupefied, also nature,

when all creation arises

to answer to the judge.

Liber Scriptus

Mezzo-Soprano Solo and Chorus

A written book will be brought forth,

in which everything shall be contained,

 by which the world shall be judged.

When the judge is therefore seated,

whatever is hidden will be exposed;

nothing shall remain unavenged.

 Day of wrath, that day

the world will dissolve in ashes,

as witness David and the Sibyl.

Quid sum miser

Soprano, Mezzo-Soprano and Tenor Solos

What am I, a miserable one, to say then?

What patron shall I request,

when the righteous are scarcely secure?

Rex tremendae

Solo Quartet and Chorus

King of fearful majesty,

who freely saves the redeemed,

save me, fount of mercy.

Recordare 

Soprano and Mezzo-Soprano Solos

Remember, merciful Jesus,

that I am the cause of your journey;

do not abandon me on that day.

Seeking me, you sat down exhausted;

you redeemed me by suffering the cross.

 Such great labor should not be in vain.

Just judge of vengeance,

 make the gift of remission

before the day of accounting.

Ingemisco - This solo was sung by the late Lucio Pavarotti many times in concert, and is a favorite of tenors.

Tenor Solo

I sigh as one accused;

shame reddens my face.

Spare the supplicant, God.

You who absolved Mary 

 and listened to the thief

have given me hope also.

 My prayers are not worthy,

but you, good one, be merciful,

 lest I burn in everlasting flames!

Place me prominently among your sheep,

 and from the goats separate me,

 placing me in the portion on the right.

Confutatis 

Bass Solo and Chorus

Silencing the accursed,

 to acrid flames consigning them,

call me with those blessed.

I pray, bowed and kneeling

my heart contrite as ashes;

take care of me at the last.

Chorus

Day of wrath, that day

 the world will dissolve in ashes,

as witness David and the Sibyl.

Lacrymosa - After the roar and thunder of the Dies Irae, this is a gentle plea for mercy.

Solo Quartet and Chorus

That tearful day,

when guilty man shall rise

 from the embers to be judged.

 Oh, therefore spare him, God.

Merciful Lord Jesus,

grant them rest. Amen.

III. OFFERTORY - A beautiful setting for the soloists.

Solo Quartet

Lord Jesu Christ, glorious King,

free the souls of all the faithful dead

 from punishment in the inferno,

and from the deep pit.

Deliver them from the lion's mouth,

lest the abyss swallow them up,

lest they fall into darkness.

But may the standardbearer St. Michael

bring them into the holy light,

as once you promised to Abraham

and his seed.

Sacrifices and prayers we offer

to you, Lord, with praise.

 Receive them for the souls of those

whom today we commemorate;

make them, Lord,

to pass from death to life,

as once you promised to Abraham

and his seed.

Free the souls of all the faithful dead

from punishment in the inferno.

May they pass from death to life.

IV. SANCTUS -  In this rather brief part, the choir is divided into eight parts in counterpoint in music that is jubilant and full of hope.  Near the end the orchestra plays rapid chromatic ascending and descending chromatic scales to good effect.

Choruses I and II

Holy, holy, holy,

 Lord God of the Hosts.

The heavens and earth are filled

 with your glory.

Hosanna in the highest.

 Blessed is he who comes

 in the name of the Lord.

Hosanna in the highest!

V. AGNUS DEI - Soprano and mezzo-soprano sing a simple, gentle melody an octave apart.

Soprano and Mezzo-Soprano Solos and Chorus

 Lamb of God,

who removes the world's sins,

 grant them rest.

Lamb of God,

who removes the world's sins,

grant them rest everlasting.

VI. LUX  AETERNA - The music begins softly and wrapped in mystery. The mezzo-soprano continues pleading for mercy. The bass enters with a chilling solo that reminds all of the seriousness of the consequences (at least in the dogma of the Catholic Church) of not being one of the chosen.

Mezzo-Soprano, Tenor and Bass Solos

May eternal light shine on them, Lord,

with your saints for eternity,

because you are merciful.

Grant them eternal rest, Lord,

 and may perpetual light shine on them,

with your saints for eternity,

because you are merciful.

VII. LIBERA ME - The final part contains sections of chant, choral fugue, and a trembling soprano that is terrified by the coming judgement. The Dies Irae makes one last appearance to remind the listener about the horror to come that makes the soprano tremble. 

Libera me

Soprano Solo and Chorus

Deliver me, Lord, from eternal death,

on that dreadful day,

when the heavens and earth shall be moved,

when you come to judge

the world through fire.

I am made to tremble and to fear,

awaiting the judgement that shall come,

and also at your coming wrath,

when the heavens and earth shall be moved.

Dies irae

That day, day of wrath,

of calamity and misery,

 great and exceedingly bitter day,

when you come to judge

the world through fire.

Requiem aeternam

Grant them rest eternal, Lord,

and may perpetual light shine on them.

Libera me - The soloist grows desperate, only to be answered by a fugue for the chorus.  After the fugue and passionate singing by the soloist that goes from the bottom of her register to the top, the orchestra roars through as section until the soloist grows hushed and is directed by Verdi to sing without strict time as she chants Deliver me, Lord, from eternal death, on that dreadful day. The chorus and soloist sing in a very subdued triple piano dynamic Libera me two times, and the music dies away. 

Deliver me, Lord, from eternal death,

on that dreadful day,

when the heavens and earth shall be moved,

when you come to judge

the world through fire.