Bizet - Symphony in C Major

Georges Bizet had an outstanding career as a student at the Paris Conservatoire, and was known to be a brilliant pianist, but he seldom played in public. He graduated with honors and won the Prix de Rome.  After spending three years in Italy, Bizet returned to France and found very little interest in his compositions. He earned his living by arranging other composers music until he began to have moderate success writing operas.  His last composition was his masterpiece, the opera Carmen, which he (and some critics) considered a failure.

The Symphony in C Major was written apparently as an assignment from his teacher Charles Gounod. Bizet had just turned 17 four days before he began the work in 1855. The symphony follows Gounod's Symphony No. 1 in style if not exactly in content, although there are hints of actual music quotes from Gounod's symphony used by Bizet.  Bizet evidently was not keen on having the symphony performed or published, perhaps because the musical life of France at the time was centered around opera with very little instrumental music being performed. After being considered lost for many years, a copy of the symphony was found and first performed in 1935. The symphony is in four movements and is in the style of the classical symphonies of Mozart and Haydn:

I. Allegro vivo -  The movement begins with a fortissimo C major chord and then the strings take up the first theme, a simple tune that is extended and developed as it goes. The first theme plays for a considerable time until the second theme in the solo oboe appears. The first theme returns and leads to the repeat of the exposition. The development begins with a short variant of the first theme followed by the second theme. This pattern of alternating themes lasts throughout the development until the recapitulation arrives. The first theme again dominates, the second theme is played by the flute, and a beginning fragment of the first theme brings about the end of the movement.

II. Adagio - An introduction leads up to the exotic first theme played by the oboe.  A second lyrical theme is played by the violins as the pizzicato accompaniment from the lower strings continues. A fragment from the first theme spins into a subject for a fugue in the middle section until the introduction reappears as a lead in for the exotic theme once again played by the oboe. The second theme appears again briefly before the movement slowly ends with a partial repeat of the oboe solo.

III. Scherzo- Allegro vivace - The theme of the scherzo is a variant of the first theme that began the symphony. The trio also contains references to the first theme of the first movement.

IV. Allegro vivace - The finale begins with the first  theme that runs through the violins. A second theme is played by the woodwinds. The first theme makes another appearance, and then a third theme is played primarily in the strings with comments from the woodwinds. Transition material leads to the repeat of the exposition. The development section bounces from theme to theme until it arrives at the recapitulation. The same general pattern of themes is followed from the exposition until Bizet winds things up neatly in C major.

Bach - Harpsichord Concerto No.1 in D Minor

Johann Sebastian Bach (1685 - 1750) wrote some of the first concertos for keyboard and strings. He wrote seven for solo keyboard and strings and wrote others for 2, 3 and 4 harpsichords. All of the solo concertos are transcriptions of Bach's own concertos for solo melody instrument such as violin. In many cases it is only the harpsichord transcription that survives complete.

Bach was the director of the Collegium musicum in Leipzig, a student musical society that gave concerts.  He led this group from 1729 to 1741, and it is believed Bach wrote these concertos for performance at these concerts.The D minor concerto sees Bach use the same music for strings as in the original violin concerto while the solo part is filled out harmonically from the solo violin part of the original. Bach obviously strove to make the keyboard version as virtuosic as the violin version. Bach was familiar with his contemporary Vivaldi's concertos and they exerted a large influence on Bach's concerto style.

The concerto is in three movements:

1. Allegro - Written in ritornello form, which simply put, has the orchestra play a recurring passage after which the solo instrument develops fragments of the passage. This dialogue between orchestra and soloist continues, with each repetition of the original passage whole or in part being in a different key and the soloist expanding the passage  until the piece ends with orchestra and soloist playing the original passage in the home key.
2. Adagio - A very expressive movement, the right hand of the soloist plays the melody of the original violin version that Bach has masterfully transformed to the full harmony and texture of the harpsichord while the left hand plays with the string accompaniment.
3. Allegro - This movement is also in ritornello form and is thematically related to the first movement. 

Bach's Harpsichord Concerto #1 in D Minor:

Liszt - Symphonic Poem 'Mazeppa'

Franz Liszt (1811 - 1886) was the originator of the Symphonic Poem, a piece of music inspired by literature, art or other non- musical source.  He wrote thirteen of these pieces using various subjects as inspiration.

Liszt's Symphonic Poem No. 6 was inspired by the legend of Ivan Mazeppa, who was born in Lithuania in 1639.  He was of noble birth, and as the legend goes he had a love affair with a Polish princess who was married to a much older man. When the husband found out about the affair as punishment he had Mazeppa stripped of his clothes and tied to a horse and set free to run in the wilderness.  The horse ended up in Ukraine, Mazeppa survived the ordeal, and was found by Cossasks, who eventually made him their Hetman, the person of highest military rank in the country.

Although just a legend, it inspired many Romantic era writers, painters and musicians. Lord Byron, Alexander Pushkin and Victor Hugo wrote poems about it,  Liszt and Tchaikovsky wrote music based on it, and there are many paintings inspired by it.

Liszt first wrote a piano piece based on the legend, part of his set of Transcendental Etudes , first published in 1837 then revised with the revisions printed in 1852.  Mazeppa is the 4th Etude in the set and remains one of the most technically difficult pieces in the repertoire for piano.  Liszt's orchestral version differs from the piano version as it is longer and  expands on some of the musical ideas of the original.

The poem has musical representations of the ride through the wilderness, the beating of the horses hoofs, the terror of the rider and after Mazeppa is found by the Cossacks a triumphant military march.

Mazeppa by Franz Liszt, followed by a performance of the original piano piece:

Sibelius - Symphony No. 5 In E-flat Major Opus 82

Jean Sibelius (1865 - 1957)  was a Finnish composer most known for his symphonies. He wrote seven symphonies all together, and after his 7th Symphony, Sibelius composed very little for the rest of his life. There were rumors and hints from the composer himself about an 8th symphony, but it was never composed.

Sibelius' first love was the violin, and he worked towards being a virtuoso, but relented when he decided he had started too late. He became a conductor as well as composer. His first great compositional influence was Wagner, but with time Sibelius rejected much of Wagner's esthetic and was then influenced by Anton Bruckner and Pyotr Tchaikovsky.  He was a master of orchestration, and despite composing his symphonies in a time of great experimentation with atonality, Sibelius continued to write tonal music. But he developed a highly refined and unique style of orchestration and composition that give his music a certain kind of  sound that is like no other. No doubt his love of nature and the terrain of his native Finland inspired much of his music, whether directly with the tone poems or indirectly with the symphonies.

Sibelius received a commission from the Finnish government in honor of his 50th birthday. He filled the commission with the 5th Symphony. He finished the score and led the premiere in 1915.  It was revised in 1916 and also in 1919, and it is the 1919 version that is usually performed.  The symphony is in three movements:

1. Tempo molto moderato - Allegro moderato (ma poco a poco stretto) - Vivace molto - Presto - Più Presto.  This movement is actually a combination of the original 1st movement and 2nd movement from the first version of the symphony .
2. Andante mosso, quasi allegretto - Poco a poco stretto - Tranquillo - Poco a poco stretto - Ritenuto al tempo I.  This movement is a set of variations.
3. Allegro molto - Misterioso - Un pochettino largamente - Largamente assai - Un pochettino stretto.  The tune for horns shortly after the beginning of this movement is thought to be the sound of swan calls, as well as a representation of 16 swans taking off all at once, an event witnessed by Sibelius.

The structure of the symphony is unique. There is much debate among musicologists about the first movement especially. Add the structural uniqueness to the many tempo designations and modulations within the music, and we have one of the most original symphonies composed by Sibelius.

Mendelssohn - Piano Trio No. 1 in D minor Opus 49

In a review in 1840 of Mendelssohn's Piano Trio No. 1, Robert Schumann wrote:

The storm of recent years is finally beginning to abate, and we must admit that it has washed several pearls ashore. Mendelssohn, as one of the many sons of this age, must have had to struggle with and often listen to the insipid declaration of some ignorant critics that ‘the true golden age of music is behind us’ – although it probably affected him less – and has so distinguished himself that we may well say: He is the Mozart of the 19th century, the most brilliant of musicians, the one who most clearly perceives the contradictions of the age, and the first to reconcile them.

Despite Schumann's praise, the very qualities that caused Schumann to praise the music were later looked upon as faults. Mendelssohn's mastery of sonata form was looked upon as old-fashioned and conservative, the nimbleness of his scherzos were deemed emotionally lacking, the lyrical turn of his tunes were regarded as too unemotional. Richard Wagner was one of the main players in the smear campaign when he wrote his pamphlet Jewishness In Music in which his disgusting antisemitism sneers and takes cheap shots at Jewish composers, namely Meyerbeer and Mendelssohn (a pamphlet by the way, that Wagner used a pseudonym for).  And as if all this was not enough, the filth of the Nazi regime in Germany  labeled Mendelssohn's music as degenerate Jewish music.

Watercolor by Mendelssohn

No doubt some of the invective against Mendelssohn was due to his staggering talent as well as his being born into a family that was very well off financially. By some contemporary accounts, Mendelssohn had some of the trappings of personality that economic and social privilege can bring, such as aloofness and class consciousness. He was also afflicted with a terrible temper when he did not get his way.

But Mendelssohn's music has gone through a rehabilitation of sorts. He is now acknowledged as an inspired composer, conductor, pianist, and one of the greatest musical prodigies of any era.

The Piano Trio No. 1 in D Minor is written for the standard grouping of cello, violin and piano. The Piano Trio is one of his most popular chamber music pieces,  along with his Octet for Strings.  The Trio is in 4 movements:

I. Molto allegro ed agitato - The cello begins the movement with the first theme, a lyrical tune that Mendelssohn changes as he repeats it as it leads to the second theme in A major that also begins with the cello. The movement is in sonata form, but the skill of Mendelssohn makes the music seem like one long flowing melody. After the development and recapitulation, the music gains in drama (mostly from the florid piano part) as the first theme makes one last appearance as the movement rushes to a close.

II. Andante con moto tranquillo - The music of the second movement begins with a solo for piano of the main theme. All the instruments join for a repeat and expansion of the theme. A slightly agitated middle section is in contrast to the preceding. The main theme returns and the music slows to a quiet close.

III. Scherzo: Leggiero e vivace -  A light, agile scherzo, music that Mendelssohn was known for. 

IV. Finale: Allegro assai appassionato -  A return to D minor, the main theme is in the same general mood as the first movement. The piano especially has a lot to do in this movement. Contrasting material interrupts the main theme's progress a few times, but the main theme is persistent and keeps returning until it is transformed to the key of D major as the movement speeds towards the end.

Franz Liszt - Tasso, Lamento e Trionfo

Franz Liszt (1811 - 1886) combined his love for literature and the other arts and music in a form of composition he called the Tone Poem, or Symphonic Poem.  A Tone Poem is a one movement compositions reminiscent of concert overtures written by Beethoven, Mendelssohn, Berlioz and others.

Tasso, Lamento e Trionfo ( Tasso, Lament and Triumph) was inspired by the life of Torquato Tasso, an Italian poet of the 16th century.  Liszt referred to two works written about the poet, one by  German writer and poet Johann von Goethe and another by Lord Byron, an English poet.  Tasso suffered from mental illness and spent many years in an asylum. He did eventually leave the asylum and resumed his writing, but he was never cured. It is now thought that he suffered from schizophrenia.

It was the sufferings and inner turmoil of Tasso's years spent in the asylum that Liszt depicts in music in the first half of the piece, with the triumph and release from the asylum and the resumption of his creative work that is depicted in the second half.

Liszt wrote 13 of these one movement Tone Poems, with Tasso being number two.  They were all inspired by literature, art, or some other non-musical source.  With this series of Tone Poems, Liszt created a new type of composition, one well suited to the Romantic era of the 19th century.

Beethoven - Symphony No. 8 in F Major

Ludwig van Beethoven (1770 - 1827) called his 8th Symphony "My little Symphony in F" to differentiate between it and Symphony No.6, also in F and a longer work. The symphony was begun in 1812 and premiered in 1814.  It was greeted with politely enthusiastic applause and was not received with the same fervor as Symphony No. 7.  When asked why this symphony wasn't as popular as No. 7, he reportedly replied, "Because the Eighth is so much better!"

The Symphony is in four movements:

I. Allegro vivace e con brio - 

The symphony begins with no introduction, but gets right to the matter at hand. It is written in sonata form, and in the development section there is a long stretch where the orchestra plays fortissimo, a most unusual dynamic for so long a stretch.

II. Allegretto scherzando - The second movement is thought by some to be a humorous imitation of a metronome.

III. Tempo di Menuetto - A minuet in the style of a Haydn peasant stomp.

IV. Allegro vivace - Beethoven has plenty of surprises in this last movement. 'Wrong' notes played to good effect, the kettle drums tuned to octaves instead of 5ths are two examples.

The 8th Symphony sits between two of Beethoven's mightiest compositions, the 7th and the 9th. That it sits and thumbs its nose a little at them is no mistake, for Beethoven quite often countered a piece of serious and noble intentions with a piece more light-hearted. Beethoven's notorious sense of humor shines through this symphony and makes it one of his best, if not most popular.