Beethoven - Piano Concerto No. 4

Beethoven wrote his 4th piano concerto between 1805-1806. It had its public premiere in December, 1808 in Vienna at the massive concert that also had the premiere of the 5th and 6th symphonies and the Choral Fantasia as well as other pieces.  It was the last time Beethoven appeared as soloist on piano with orchestra.   Most of the newer music heard was not appreciated by many in the audience. Small wonder,  considering  the concert lasted well over 4 hours, there was inadequate rehearsals for all the pieces which lead to much starting and stopping,  and the concert hall it was held in was unheated.

After this performance the 4th piano concerto was neglected for almost thirty years. It was finally revived in 1836 by Felix Mendelssohn.  Young Robert Schumann was at the concert and wrote that he sat there transfixed through the entire work, scarcely moving a muscle or even breathing. That the concerto made a much more positive impression since then and has not left the repertoire hints that the work was far ahead of its time and not understood by the audience in 1808. With the solo piano beginning the work instead of an orchestral exposition is just one of the innovations Beethoven introduced in this concerto. The first movement is far from heaven-storming. The serenity in the dialogue between soloist and orchestra colors the whole first movement with a calm intimacy that makes this opening movement much different than the previous three concertos.

The mood changes with the 2nd movement as unison strings declaim in rugged tones the opening theme of the movement. Franz Liszt was the one who began the tradition of equating this movement with the legend of Orpheus taming the wild beasts with his lyre. It is a fitting description, as the piano slowly increases its voice and domination over the orchestra until it breaks out into trills of triumph. The orchestra is now 'tamed', the piano has the last quiet 'say' as the strings purr quietly in the background.

The 3rd movement Rondo begins without break on the note being held on the strings from the previous movement. The piano enters over the accompaniment of a cello and the finale takes off in music of good humor. Beethoven's sense of humor could be very gruff and crude, even in his music, but this rondo sees him more witty and subtle, as the music has a grand time working its way to the end.

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Liszt - Hungarian Rhapsody No. 17 in D Minor

Among the 19 Hungarian Rhapsodies of Franz Liszt are some of his most popular pieces. Rhapsody #2 is a perennial favorite, and thanks to the treatment it got in the Warner Brothers cartoon Rhapsody Rabbit, the piece was exposed to a wide audience of adults and children, albeit in a less than original form:

Most of the 19 Rhapsodies follow the general idea of what a rhapsody is in music: A piece in one movement, episodic and loose structured but still integrated as a whole piece, improvisatory in nature,  with differing moods and colorations within the piece. With Liszt being one of the great piano virtuoso, his rhapsodies are not at all easy to play. With glittering piano effects, extremes of tempo and feeling, the rhapsodies have sometimes been looked down upon as empty show pieces. They most certainly are show pieces, and for the pianists that can do them justice technically and bring out their musicality, the rhapsodies need not be looked down on as inferior. They are perfect in their own right, wonderfully difficult pieces to play and a delight to listen to. In some basic ways, they are a solid representation of the Romantic era in music.

While Liszt called them 'Hungarian', he heard many of the tunes he used in the rhapsodies from gypsy bands that were not necessarily Hungarian.  While Liszt thought the tunes were folk songs, many were in fact songs written by other Hungarians and the tunes were taken up by the gypsy bands who played them in their own style, a style Liszt emulated in the rhapsodies.

Liszt published the first fifteen rhapsodies in 1851-1853 but many were no doubt written long before they were published. The last four rhapsodies appeared in 1882-1886, and these final four are markedly different. With a leaner texture, different harmonies and musical ambiguities, Liszt is a precursor of things to come. The Rhapsody #17 is a good example. It is a short piece, the music lacks any brightness. Even the rapidly  rolled chords in the middle of the piece that are higher on the keyboard don't ease the tension of the bare octaves and black harmonies of the piece.

Late in life Liszt suffered many physical illnesses and his mental state on occasions brought up the possibility of depression. His late music stands in stark contrast to his former style. The glitter is gone, there is a hard edge to it, almost as if Liszt were looking into the very face of death and writing music that he heard when he did. Liszt went further into the future than any other composer of his generation, including Wagner.

The 17th Rhapsody ends with the hammering of heavy chords in the bass. It doesn't really end, for there's no resolution. It just stops. Perhaps it represents Liszt in his last years, sick and dying, trying to stay active and work as long as he can with no real end, his life just stopped.

Saint-Saëns - Cello Concerto No. 1

Camille Saint-Saëns lived a long life,  (1835 - 1921) long enough to grow from his early years as a musical innovator to a musical conservative. His First Cello concerto was written in 1872 when he was still an innovator that took his lead from the 'modern' composers Liszt and Wagner.

The concerto is written in cyclic form in one continuous movement, but it has three main sections. Unlike other concertos, this one does not have an orchestral exposition before  the entrance of the soloist. Instead, there is one loud chord from the orchestra, then the cello is heard. Throughout the first section, themes are heard in the orchestra, the soloist, sometimes played against each other, sometimes played with each other. The first section is in sonata form sort of, but a rather loose sonata form with very little development of the themes. The first section segues into the second section. The second section is short and in the tempo of a minuet that segues into the third section which recapitulates some of the themes from the first section and then introduces new material before the ending.

The Cello Concerto No. 1 is very technically demanding for the soloist. Saint-Saëns exploits the extreme ranges of the instrument but all the while keeps the balance between soloist and orchestra such that the cello can always be heard. It is a virtuoso work written by a virtuoso composer for a virtuoso cellist, and one of the few cello concertos that have managed to remain in the repertoire.

Haydn - Symphony No. 92 ' Oxford '

Symphony 92 by Joseph Haydn is known by the subtitle of 'Oxford' because Haydn conducted the symphony when he was given an honorary doctorate from Oxford University in 1791.  But Haydn had no time to complete the symphony he meant to play at the ceremony, so he played another which was originally written in 1789 and performed for a Paris concert.  Haydn was 58 years old and this was his first trip outside the Austrian Empire.

Haydn wrote 106 symphonies, his first in 1759 and the last in 1795.  His last 12 were written for two visits to London that Haydn made. His first trip in 1791-1792 saw the English greeting him enthusiastically and Haydn wrote six symphonies and other music that was very popular. By the time he left London in 1792 he was even more famous than when he had arrived.  This prompted him to make another trip to England in 1794-1795, write six more very popular symphonies to even greater acclaim.

In London Haydn had the opportunity to work with and write for a large orchestra. He was used to writing for the small chamber orchestra of his patron the Esterhazy family.  Haydn took full advantage of the opportunity and wrote arguably his most forward-looking symphonies for his London visits.

Symphony 92 was a precursor of the London Symphonies (numbers 93-104). It was also an extension of his expanding of the form that was seen with the six Paris Symphonies (numbers 82-87).  From its slow introduction that leads to the jaunty tunes of the first movement to the giddy last movement, Symphony 92 shows the expertise of a master of the orchestra.

Paderewski - Symphony in B Minor 'Polonia'

Ignancy Paderewski (1860 - 1941) was a Polish pianist, composer, and politician. He was one of the first 'superstars'  of classical music that was popular with a wide audience of listeners of various tastes.  He made his debut in Vienna in 1887. He was a student of the famous piano teacher Theodor Leschetizky.

By the time of World War One he was internationally famous. During the war he helped organize the Polish National Committee. In 1919 the newly formed independent state of Poland appointed Paderewski Prime Minister and Minister of Foreign Affairs. As such he attended the Paris Peace Conference and signed the Treaty of Versailles.  He resigned his posts at the end of 1919 and began concertizing again.

He gave more than 1500 recitals in the U.S. alone, and traveled the world over giving concerts. He made so much money that he had his own lavish private passenger car to travel by rail when he was in the United States, and people would meet his train when he came to town.  Many times he would play long past the end of the 'official' concert as he would play encore after encore as the audience desired.

He was also a great philanthropist and donated to many different charities. He was a very popular man because of his charismatic personality and charm as well as his musical talent.  He was a great orator, and was fluent in seven languages.

How Paderewski found the time to compose is a wonder.  He was not a man that let grass grow under his feet and just his concert schedule alone was enough to exhaust most people. But compose he did, with many pieces forsolo piano, a piano concerto, an opera, cantata, and a few works for orchestra including the Symphony in B minor subtitled ' Polonia'.

The symphony is in three movements with each one being like a tone poem. Paderewski subtitled the work 'Polonia', the Italian word for Poland and  the inspiration for the work came from his love for his homeland.  As such, it is a very subjective piece,  with parts of brilliant tonal color along with stretches of  quiet meditation. The structure of the symphony is very loose, and it plays more like a rhapsody than a typical symphony, but it is well worth listening to despite the occasional wandering. Paderewski was an intelligent and creative composer with a very real gift for orchestration.

I. Adagio maestoso. Allegro vivace e molto appassionato - The first movement begins with brooding music that leads to a flurry of passionate themes. One of the motifs that appears is a 'motif of violence', a dark and forbidding motif played by of all things four saurrusophones and percussion. This motif appears in all three movements and serves to aid as a unifying factor in a symphony that stretches symphonic form. The end of the movement turns solemn as an organ mournfully  plays a chord progression that leads the final cadence of the movement. The entire symphony has been describedas a program symphony with the first movement representing Poland's glorious past.

II. Andante con moto - Paderewski wrote his  symphony between 1903-1908. This movement represents the Poland of 1907 that was under Russian rule. Poland was a hotbed of revolutionary activity during the first attempted Russian Revolution of 1905.  Poland felt the repercussions from their revolutionary activity by being brutally domionated by The Empire.  The music flows from lyricism and resignation to recurrences of the dark motif of violence.

III. Vivace -  This movement represents Paderewski's hope of a bright and happy future for Poland as the motif of violence is finally defeated. There is a melody in this finale that is based on the Polish anthem 'Poland has not perished yet'.

Paderewski sketched a scherzo movement for this symphony but it was not completed. The symphony lasts well over an hour when played in full, with most performances being cut, especially the final movement. The performance in the link below is a version with cuts to the finale.

Tchaikovsky - Marche Slav

An artist is above all a human being, perhaps a human being to the nth degree. Tchaikovsky was such a human. His music can be passionate, emotional, sometimes completely over the top. He is a composer that was emotionally very vulnerable, and his great 'secret' of homosexuality made him all the more vulnerable emotionally and in other ways as well. Indeed, modern scholarship has refuted the 'official' cause of his death to drinking unboiled water during a cholera epidemic,  to suicide ordered by a 'court of honor'  because of his homosexual encounter with a member of the nobility.  That the court of honor would have exposed his secret was probably more than Tchaikovsky could have handled.

When Tchaikovsky's politics are considered, it makes for an interesting comparison with his outlook on his art. Politically, he was an ultra-conservative that was even against the freeing of the serfs in 1861, and was adamantly pro-Czar in his sympathies. His music and compositions were far from conservative, were progressive and in some instances revolutionary. But as with all human beings, Tchaikovsky could be an enigma on occasion.  Adamant about his outlook on his art, just as adamant on his outlook on politics and society, even if they are polar opposites.

Perhaps that is why such an emotional, heart-on-his-sleeve composer such as Tchaikovsky could write a piece such as the 1812 Overture and Marche Slav.  Both are patriotic pieces, and both even share some musical material. Marche Slav was commissioned by the Russian Music Society for a Red Cross benefit for Serbian soldiers that were fighting in a war against The Ottoman Empire.  Russia was an ally of Serbia and eventually did enter the war on the side of the Serbs.  Tchaikovsky wrote it using Serbian tunes and the Russian National Anthem of the time,  'God Save The Czar'. The Russian anthem is used to depict whe n the Russians entered the war and 'rescued' the Serbs.

Make no mistake, this music is a potboiler no matter how it's looked at. A piece of patriotism, written for money by a great composer to help pay the bills, but also because Tchaikovsky perhaps looked at it as a 'patriotic' thing to do. But all of that is no matter, in the final analysis. I've liked this piece from the first time I heard it, and after over thirty years of music listening, I still like it.  All of that probably says more about my taste in music than anything,  but I also think it shows that a great composer can catch your ear even when they write a potboiler.

 

Dukas - La Péri

Musically, France in the time of Paul Dukas ( 1865 - 1935) was of two camps, conservative and progressive. Dukas was not a member of either, but was admired by both sides, a feat that says much about the man himself.

He was a composer, critic and member of the faculty at the Paris conservatory.  He was severely self-critical as a composer and destroyed much of his work.  The music he published is of a very high quality, with his best known work being the symphonic poem The Sorcerer's Apprentice , very popular even before Walt Disney included it in his film Fantasia.   There is also a symphony, an overture, a piano sonata and other pieces for solo piano, one opera, and a ballet La Péri .  Dukas was well-known as a teacher of composition later in his life, and for his knowledge of historical music and its forms.

La Péri was written in 1911 and was commissioned by  the Ballets Russes of Serge Diaghilev.  The fanfare for brass that opens the work was composed at a later date and was inserted at the beginning of the work because the original tone poem begins very quietly and Dukas was concerned that the audience would miss it.  Dukas called the piece a 'dance poem in one scene', and it is his last published work.  The original scenic and costume designs for the ballet were by Leon Bakst an example of his design for the costume for Iskender is shown below.

The story of the ballet comes from an ancient Persian legend. A prince named Iskender travels to the end of the world in search of the flower of immortality. He finds a péri  (a fallen angel) that has fallen asleep with a lotus flower in her hand.  He steals the flower, the péri wakes up and proceeds to dance and through her dance takes back the lotus. The prince feels as if his life were over, as the péri and the lotus fade away. The lotus flower was indeed the flower of immortality and without it the prince slowly dies.

Dukas was a fellow student of Debussy and admired his music.  La Péri shows that Dukas knew Debussy's music very well, for it is somewhat impressionistic like Debussy's, but in Dukas' own personal style.