Beethoven - Symphony No. 4

Ludwig van Beethoven (1770- 1827) composed the 4th Symphony in the summer of 1806 and it premiered in 1807 at the home of  Prince Franz Joseph von Lobkowitz.  The work is more in the style of Beethoven's first two symphonies, especially when compared to the third (Eroica) written just before it. Beethoven seemed to have to keep variety in his writing, as many times a complex, major work like the Eroica would be followed by something in a different style. The fourth is such a work, and as the 8th symphony stands between the two giant 7th and 9th symphonies, so too the 4th symphony stands between the two giant 3rd and 5th symphonies.

Beethoven begins the 4th symphony with a dark  and mysterious slow introduction that is in marked contrast to the music of the rest of the first movement.  The second movement is taken at an andante pace, with sweet tunes being punctuated by rather rough burst from the orchestra. The third movement has the qualities of both a scherzo and minuet. The last movement is taken at a quick pace, rather like the types of fast finales preferred by Haydn.

To the listener of Beethoven's time, even this symphony that is perhaps 'tamer' than what he wrote in the 3rd symphony, was still something unique. As a critic of the time wrote, 

"That the composer follows an individual path in his works can be seen again in this work; just how far this path is the correct one, and not a deviation, may be decided by others. To me the great master seems here, as in several of his recent works, now and then excessively bizarre, and thus, even for knowledgeable friends of art, easily incomprehensible and forbidding."

It seems as though Beethoven was ever baffling his listeners, so unalike were his works. Now that we have so much time since they have been written, and so many opportunities to hear the works much more often than anyone did in Beethoven's time,  our ears have no doubt had a chance to 'get used' to Beethoven's uniqueness. And it is not so much that familiarity breeds contempt, but that it breeds complacency. The uniqueness and power of Beethoven's music is still there, if we can manage to actively listen to it, learn from it, and question what we think we know about it.  The music certainly deserves and warrants it.  There is really nothing like a Beethoven Symphony.  Even another Beethoven symphony, for they all are worlds unto themselves. That certainly includes the 4th.

Frescobaldi - Variations 'la Frescobalda'

Girolamo Frescobaldi (1583 - 1643) was an Italian organist, keyboardist and composer whose compositions exerted a great deal of influence on musicians like J.S. Bach. He was the organist at St. Peter's Basilica for over thirty years.

He was one of the first composers of his time to specialize in composing for the keyboard. He did write some music for voice, but the vast majority of his output was for keyboard.  In Frescobaldi's time,  keyboard music could be played on organ, harpsichord, or clavichord.  Unlike many composers of the time, Frescobaldi published many of his works which lead them to be well-known in the musical world of the time. He was an innovator in his composing, his playing and even in the ways he notated his music (which lead to the modern method of notation) and was so acknowledged by his contemporaries.

One of the compositions he printed was also the very first known instance of a set of variations on an original theme, the 'la Frescobalda' variations.  Any variations previously were on folk songs or popular melodies.  Frescobaldi states his theme (or 'aria' ) at the beginning, and there are four variations on it. In the recording below, the performer follows the practice sometimes done in Frescobaldi's time, of playing a reprise of the original theme after the last variation.

Frescobaldi's Variations On An Original Theme 'la Frescobalda' :

Glazunov - The Seasons

Alexander Glazunov (1865 - 1936) was a Russian composer, music teacher and conductor. He was a child prodigy and was taught privately by Rimsky-Korsakov, who said Glazunov's musical progress did not increase day by day but hour by hour.   He began composing at age eleven and wrote his first symphony at age 16 in 1881 and it was premiered one year later.

Glazunov became a professor at the St. Petersburg Conservatory in 1899 and went on to be director of the institution from 1905 until 1930.   After the Russian Revolution, Glazunov refused luxurious accommodations for himself from the new regime for the sake of the conservatory and the students there.  He took a personal interest in many of the students welfare because of the hard times after the revolution. One of the many students he taught and helped was Dmitri Shostakovich.  He remained in Russia until 1928, when he went on tour as a conductor and lecturer in Europe and the United States. He never went back to Russia but settled in France, dying there in 1936.

The Seasons was a ballet written by Glazunov in 1899. It is written in one act and four scenes and was choreographed by Marius Petipa. It was premiered in 1900 in St. Petersburg.  Glazunov uses a large orchestra for music that shows his talent for orchestral color and gift for melody. It is written in a lighter, more lyrical style than his symphonies and remains one of his more accessible and  popular compositions.

The Synopsis for the ballet:
Tableau 1 — A winter landscape
Winter is surrounded by his companions: Hoar-frost, Ice, Hail and Snow, who amuse themselves with a band of snowflakes. Two gnomes enter, and soon light a fire that causes all assembled to vanish.

Tableau 2 — A landscape covered with flowers
Spring dances with Zephyr, flower fairies, and enchanted birds. Upon feeling the heat of the sun, the assembly takes flight.

Tableau 3 — A landscape of flowing fields of wheat
Cornflowers and poppies revel in the light and warmth of the sun. They take rest after their exertion. Now Naiads appear, who bring water to refresh the growth, and the Spirit of Corn dances in thanksgiving. Satyrs and Fauns enter playing their pipes, and attempt to carry off the Spirit of the Corn, but she is rescued by the wind of Zephyr.

Tableau 4 — A landscape in Autumn
The Seasons take part in a glorious dance (the well-known "autumn bacchanale") while leaves from autumn trees rain upon their merriment.

Apotheosis — The Sable sky
Constellations of stars sparkle above the earth.

Glazunov's The Seasons : 

Pfitzner - String Quartet in D Minor

Hans Pfitzner (1869 - 1949) was a German composer best known for his operas.  His music was highly regarded by Mahler and Richard Strauss, although neither of them liked Pfitzner personally.

He was appointed to a moderately prestigious post of opera director and head of the conservatory in Strasbourg in 1908 when he was 40 years old.  After the First World War, France annexed Strasbourg and Pfitzner lost his job and livelihood at the age of 50.  This event hardened his already coarse personality and his elitism. He became a outspoken opponent of any modern trends in music.

His life during the Second World War was one of complacency on the one hand, and a cooperative spirit with the Nazis when he wanted something.  He worked with Jewish musicians in the early part of the Nazi era, but used anti semite invective when it suited his purpose.  It was all to no avail, as he eventually fell out of favor with the Nazis and towards the end of the war was homeless and suffered from mental illness. After the war he was denazified and given a pension, performance bans for his music were lifted and he was given a place to live in an old folks home in Vienna Austria.

He wrote 4 string quartets with his String Quartet in D minor No. 1 being written when he was 17 years old.

Pfiztner's String Quartet In D Minor:

J. S. Bach - Cantata Actus Tragicus 'Zeit ist die allerbeste Zeit' BWV 106

Johann Sebastian Bach (1685 - 1750) wrote over 300 sacred cantatas for services in the Lutheran Church, about 195 survive. It is known that he composed three complete sets of cantatas consisting of one for every Sunday of the year and one for every church holiday. They are written for almost every kind and blend of instrumental groupings imagined, from solo cantatas to cantatas with a large performing group.

Zeit ist die allerbeste Zeit, (God's time is the very best time) also known as Actus Tragicus was written for performance at a funeral, possibly for one of Bach's uncles. It is composed for the unusual combination of continuo, two viola da gambas,  two alto recorders,  bass viol, Soprano, Alto, Tenor and Bass soloists, and choir.  The instrumentation of this cantata gives a nod to the sound of the music of Bach's predecessors.

The viola da gamba is a type of viol, a stringed instrument used in the Renaissance and Baroque era. It is similar to a cello, except it generally has six strings and frets like a guitar.  It is strung with gut strings and has a more mellow sound than  cello. 

The recorder is a type of whistle flute made of wood that was also popular in the Renaissance and Baroque eras. It was especially associated with music of a pastoral nature.

This cantata is thought to be an early work, written when Bach was twenty two years old. It remains one of his popular cantatas, not least of all because of the short instrumental Sonatina for recorders, viols and continuo that opens the work.
The text is a combination of bible passages and excerpts from Lutheran Church Chorales that would have been familiar to the church congregations where the cantatas were given.

The cantata is in 4 parts:
1st Part - A gently moving instrumental sonatina.

2nd Part - 
a) Chorus - God's time is the best of all times. In Him we live, move and are, as long as He wills.In Him we die at the appointed time, when He wills. (Acts 17:28)
b) Tenor solo - Ah, Lord, teach us to consider that we must die, so that we might become wise. (Psalm 90:12)
c) Bass solo - Put your house in order; for you will die and not remain alive! (Isaiah 38:1)
d)Chorus and soprano -
Chorus - It is the ancient law: human, you must die! (Ecclesiasticus 14:17)
Soprano - Yes, come, Lord Jesus! (Revelations 22:20)

3rd Part - 
a)Alto aria - Into Your hands I commit my spirit, You have redeemed me, Lord, faithful God. (Psalm 31:6)
b) Bass aria and alto chorus
Bass - Today you will be with Me in Paradise. (Luke 23:43)
Chorus - With peace and joy I depart in God's will,
My heart and mind are comforted, calm, and quiet.
As God had promised me: death has become my sleep. (Taken from Chorale Mit Fried und Freud, by Martin Luther)

4th Part Chorus -
Glory, praise, honor, and majesty
be prepared for You, God the Father and the Son,
for the Holy Spirit by name!
The divine power makes us victorious through Jesus Christ, Amen. (Taken from chorales In dich hab' ich gehoffet, Herr, by Adam Reusner, and Ich hab mein Sach Gott heimgestellt, by Johann Leon )

Bax - Symphony No. 6

Arnold Bax (1883 - 1953) was an English composer and poet who had a restless intellect that caused him to read voraciously. He developed a strong affinity for Ireland through the works of W.B Yeats the Irish poet and playwright. Bax visited Ireland for extended stays and the countryside and ocean side inspired him to write music that reflected his love for the country and the people. But Ireland was not his only influence.  Norwegian and Russian music also influenced his compositions.

His orchestral music is complex and colorful with more than a hint of impressionism in it. He composed 7 symphonies, many tone poems, and other pieces for orchestra as well as chamber, choral, and solo piano music. He was a fine pianist, but very rarely was on the concert platform.

His Symphony No.6 was written in 1935 and premiered later that same year. It was Bax's favorite symphony. Formally it is in three movements, but there are two sections in the opening movement and three in the final movement. The symphonic music of Bax shows his skill with the orchestra and use of materials as well as good, original material to begin with.

I. Moderato - Allegro con fuoco -  The symphony begins in C-sharp minor with the bass trombone playing an ostinato figure:

The woodwinds play dissonant chords over the bass trombone. This dissonant introduction continues and expands until the strings play a declaiming motive that is punctuated with percussion and brass until it segues directly to the first theme of the movement, which is based on material heard in the introduction. The music comes to a brief pause before the first theme continues. A section of transition leads to a second lyrical theme first heard in the flutes. The first theme returns and is developed. Tension increases until a full-blooded rendition of the first theme in the brass blares out from the orchestra. The music grows softer and the second theme returns. The tempo picks up speed as material from the first theme gathers momentum and ends the movement in a resounding thump.

II. Lento molto espressivo - The themes of this movement are related to the material already heard in the first movement. An interesting variant appears over a steady beating accompaniment a little over halfway through the movement. The movement winds down to a gently quiet ending.

III.  The last movement is in three sections:
a) Introduction (Lento moderato) -  A solo clarinet plays material that will be heard later in the movement. The strings enter with a variant of the clarinet theme that builds in intensity. Other woodwinds enter and play another motive until transitional material segues into the scherzo section.
b) Scherzo & Trio (Allegro vivace - Andante semplice) -  The opening theme of the scherzo is a variant of the clarinet theme heard in the introduction. Other snippets of music resemble motives heard in previous movements. The trio moves gently through the orchestra, primarily in the strings. The scherzo returns with a vengeance and slowly builds to an impressive climax. The music slowly winds down and segues to the last section.
c) Epilogue (Lento) - A solo horn plays the clarinet theme over a delicate accompaniment of divided and muted solo strings, as well as the harp. The music slowly throbs with previous motives in colorful but subdued instrumentation. The music turns mysterious as it gradually dies away until it comes to rest in the key of C major.

Paganini- Caprice No.24 For Solo Violin

Nicolò Paganini (1782 - 1840) was an Italian violinist, guitarist and composer. Paganini was perhaps one of the greatest violinists that ever lived. He expanded violin technique far beyond what was thought possible in his time. His influence was not only brought to bear on technique, but his compositions inspired many other composers.

Paganini studied under many violin teachers but his progress was so swift that he outgrew them. He held a few minor court posts before he went on concert tour of Italy.  He continued touring Italy until he gave a concert in Milan, Italy in 1813 where he drew a lot of attention, not only from his playing but his womanizing and gambling also.  He gained in notoriety so much that he began touring Europe in 1828 to wild acclaim. He continued tours of Europe and England until he quit concertizing in 1834 due to poor health.

He was a rare combination of genuine artist and showman as he would do animal imitations with his violin, play an entire piece on one string, and other stunts that pleased the crowds and made some think he was a charlatan. But he was a serious musician and composer as his compositions show. Paganini's prowess with the violin was so great that there were rumors that he had made a pact with the devil to be able to play so magnificently. This rumor persisted even after his death, in nice, France as he was denied a Catholic burial because of his being in league with the devil.  After four years and an appeal to the Pope, the body was allowed to be shipped to Genoa, Italy but it still was not buried until 1876 in Parma, Italy26 years after his death.

His 24 Caprices For Solo Violin , Opus One, were written between 1802 and 1817. They were published in 1819.

Each one of the 24 exploits a specific technical issue, so they are actually etudes for the violin.  Except the Caprice #24. This caprice throws a myriad of technical problems at the player as a summing up of all that has gone before with the other twenty three. It is a set of variations on an original theme that has inspired many other musicians to write their own set of variations on it, including Brahms, Rachmaninoff, Schumann, Liszt and many others. His compositions remain a paragon of violin technique and musicality even after so many years past his death.

Paganini's Caprice #24 For Solo Violin: