Tcherepnin - Ten Bagatelles For Piano

Alexander Tcherepnin ( 1899 - 1977 ) was Russian-born pianist and composer whose father Nicolas was a professor at the St. Petersburg Conservatory and also a composer. Alexander's  son and grandsons are also composers. His father also conducted the orchestra for the famed Ballet Russe so young Alexander got to meet many leading musicians and artists of the day that were guests in their home.

Tcherepnin learned the basics of music from his mother before he was five years old. By the time he began his studies in harmony and composition in his teen years he had already composed over one hundred compositions. During the Russian Revolution of 1917 the family moved to Tbilisi, Georgia where Alexander continued his studies. By this time Tcherepnin had composed over two hundred pieces, including the Bagatelles for piano. The turmoil in Russia eventually boiled over into Georgia and the family once again moved, making Paris their home. Alexander completed his studies there and embarked on a career that saw him traveling extensively around the world as a performer and composer.  

Tcherepnin's music thus was influenced from a lot of different sources from the very beginning.  That he composed so much by such a young age shows his natural gifts blossomed early. He grew as a composer and went through many stylistic phases. He was influenced by Georgian folk songs from his student days there,  traveled and taught in the far East, kept a home in Paris and the United States when he wasn't touring. He wrote incredibly complex music, avant garde music (a movement in  one of his symphonies is for unpitched percussion instruments alone), and music that was more accessible to the general public.  

As noted his Bagatelles for piano were pieces written in his youth. They are short (the longest one lasting barely 2 minutes) pithy and dissonant. They are like children themselves. Witty one moment, loud the next, fidgety and barely able to sit still, leaping about and playing.  

The Bagatelles for piano show that from the start, Tcherepnin took the influences he experienced and made of them his own musical language. He was a follower of no 'school' of composition. He made his own way with his own methods, devices and music philosophy. His style and philosophy of composition gave his works such variety that it is impossible to pigeon-hole him as a composer. His music is unique, as was the man.

Shostakovich - Symphony No. 6

Dmitri Shostakovich (1906 - 1975) was a Russian composer best known for his symphonies. He wrote his first symphony as a student when he was 19 in 1926.  Famous conductors Bruno Walter and Leopold Stokowski both thought the first symphony a work of genius and they conducted it in Berlin and the United States respectively.

Shostakovich had many influences early on, most notably Prokofiev and Stravinsky.  He went through a phase of experimental music which made his 2nd and 3rd symphonies not as popular as his first symphony. He eventually was denounced in 1936 in the soviet newspaper Pravda and after Stalin attended a performance of Shostakovich's opera Lady Macbeth Of The Mtsensk District (which had premiered in 1934 and was a great success) another newspaper article appeared that condemned the opera for being formalist, coarse, primitive and vulgar.  It was thought that Stalin ordered the article be written, and after it was, Shostakovich's commissions fell along with his income. Critics and officials that had previously praised the opera had to openly change their opinion, for Shostakovich was now a marked man at a time when that meant 'liquidation'.

The story of how Shostakovich managed to live through this denunciation and another later on is not really clear.  But he did change his style and with his 5th symphony he was returned to minimal favor, although things remained shaky for him the rest of his life.

The 6th Symphony was written two years after the 5th,  in 1939 and was first performed the same year.  Shostakovich had originally told officials that his sixth was going to be a huge symphony that was in tribute to Lenin. whether Shostakovich told them that to keep them off his back, or he changed his mind, we don't know for the reality of the symphony was quite different. The symphony has three movements and breaks with tradition because the first movement is a long, slow movement instead of the usual quickly paced first movements of symphonies. The first movement lasts longer than the other two combined, with hardly a break from the melancholy, brooding mood of the movement.  The 2nd movement is lighter in mood, and with the 3rd comes what amounts to a musical carnival compared to the first movement. The 3rd movement begins with the violins playing the 'Shostakovich rhythm', two short notes and a long note that Shostakovich used many times in his works.

The music of Shostakovich is by its very nature somewhat of a political statement. Whether within it is hidden his true feelings for the oppression he felt under Stalin, or whether he honestly praised communism in some of them is still being discussed by musicians. Suffice to say, Shostakovich's music can be very powerful,  well-constructed, and sometimes too repetitious, too loud and too long. His method of composition did not entail a lot of rewriting. He worked on something until it was finished and then went on with the next composition. But there is much in his music to admire. Like all humans, he had his weak points. The music he wrote was full of his humanness, and that makes it more than worthwhile to listen to and study.

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.

-

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.