Beethoven - Symphony No. 2 In D Major

In Beethoven's day, most music was taught by private instruction. Beethoven had the good fortune to be taught by some of the finest teachers of his era. The first of his teachers that we know about besides his father is Christian Gottlieb Neefe, who thought much of his young student and instilled in him a love for Bach by having Beethoven learn how to play Bach's set of preludes and fugues in  The Well Tempered Clavier.  Beethoven also studied with Johann Georg Albrechtsberger, an acknowledged master of counterpoint.  Joseph Haydn taught Beethoven for two years and their relationship was strained. Haydn called Beethoven 'The Great Mogul' and Beethoven refused to be acknowledged as a Haydn pupil.  Antonio Salieri also taught Beethoven about vocal composition, especially for opera.

But perhaps the best teacher Beethoven had was experience. At age 14 he was named organist for the Choir of Maximillian Franz, and he also played the violin well enough to be in t he orchestra for the Bonn Opera house for four seasons.  His time as an orchestral musician was no doubt of the utmost usefulness to the budding composer as he rehearsed and played through the operas of Mozart and many others.

Beethoven used that experience to good effect in his first symphony, written in 1799 and first performed in 1800 at a concert that also saw the premiere of his 2nd Piano Concerto and Septet.  This was Beethoven's initial concert of works in Vienna. His Second Symphony followed closely behind, as he began writing it in 1800 and finished it in 1802.

He wrote much of the symphony while staying in Heiligenstadt, where he came to terms with his increasing hearing difficulties. The prospects of his growing totally deaf were a hard blow to overcome for Beethoven. He was at the point of taking his own life.  But he came to terms with it and went on to take a different path in his compositions. In some ways, the second symphony was the very beginning of this new path, and considering the state of his mind during some of his stay in Heiligenstadt, the work is remarkable for its confidence and playfulness.

The symphony is in 4 movements:

1) Adagio molto : Allegro con brio - The symphony begins with an Introduction that makes its way to the opening theme, with an outburst in D minor thrown in for good measure.  The first theme is full of energy and spirit with a rapid connecting piece to the second theme. The connecting music that leads to the recapitulation has some of the syncopated off-beat accents that Beethoven was fond of. The development sees Beethoven modulating and varying both the main themes and their accompaniments. The recapitulation is condensed considerably and has a coda added to it.

2) Larghetto -  The second movement is in sonata form, and contains some of Beethoven's most lyrical writing  for the orchestra. It is also rather long for a 'slow' movement, but the sheer beauty of the music and the way it is presented makes it seem shorter than it is.

3) Scherzo : Allegro -  Beethoven's first use of the term 'scherzo' in his symphonies. This movement is a foreshadowing of the originality and rhythmic vitality of the Beethoven that is to come in the later symphonies. The contrast between loud and soft 'makes' the joke in the scherzo and plays a part in the trio also, along with the chattering bassoons and other woodwinds. The scherzo moves briskly along, and seems like it just got started before it is over.

4) Allegro molto -   This is the movement that gave Beethoven's contemporary audiences the most problem. The orchestra begins the movement with a huge 'dip' from G down 12 notes to C.

This was looked upon at the time as bizarre at best and downright crude at worst. There has been all kinds of interpretations concerning this re-occurring rondo theme, even to a modern-day idea that Beethoven was depicting the noises he made due to his poor digestion, that it is a hiccup, belch, or (heaven forbid in a piece of 'serious' music) a fart.  Or it could just have been an attention-getter to make the listeners of the day sit up and take notice. Kind of like a jab in the side to get one's attention. Be that as it may, the entire movement was something of a novelty of the time.

Beethoven was a composer that was always growing, always evolving.  The second symphony is not a revolutionary symphony as was the third, but it was markedly different in tone and expression if not in form. Indeed, the second symphony is as far as Beethoven could go within the confines of the form as known by Haydn and Mozart. To go further, he had to add and expand on the form and technique of the symphony until he made it his own.

A word about the recording in the video. The Academy Of Ancient Music was one of the first organizations that began playing period music on instruments and with methods of the period. They made a name first by exploring medieval and renaissance music, instruments and performing practices. Under their director Christopher Hogwood, they branched out into the Classical era and have given new insight on how the music of Beethoven and other composers sounded in their time. In this recording, all the strings are strung with gut strings instead of wire, the horns are natural horns (valveless), the woodwinds have fewer keys,  tympani have real hide drum heads, the music is played at the standard pitch of the time (lower than modern pitch). As there was no baton-wielding conductor at the time of Beethoven's Second Symphony, either the concertmaster (leader of the first violins), or a leader at the piano or harpsichord lead the orchestra, sometimes both of them shared the duties. So if you can hear a piano in some places of the symphony, it is Mr. Hogwood leading the orchestra per early 19th century performance practice.

Bruch - Symphony No. 1

Max Bruch's music aesthetics put him squarely in the camp of Brahms and other so-called conservative composers.  But the fact that a composer is or isn't conservative only refers to their style and content of their compositions. Like many other labels, it groups people into a readily identified unit that by its very nature is broad and somewhat prejudicial.

It's not that the conservative label doesn't fit Bruch, for it certainly does. But the conservative label doesn't mean that Bruch was a mediocre composer. On the contrary, he had a wonderful melodic gift and he was a master of orchestration,  as his popular Violin Concerto No. 1 and Scottish Fantasy For Violin and Orchestra readily attest.  So it's good to try and go further than just the labels that are put on people. This is pretty good advice for all facets of life, not just music. When we acquiesce to a label given to someone, we cease to think, discover and explore about that person for ourselves. We are in essence taking someone else's opinion without question or examination, an opinion arrived at through their own particular frames of reference, knowledge, taste, and yes, prejudice.

Bruch's Symphony No. 1 in E -flat was composed in 1867 and dedicated to Johannes Brahms. It is in the traditional 4 movements:
1) Allegro maestoso -  Bruch was a master of sonata form and used it in his own way to express himself musically.  The first movement is in sonata form and opens with a grand theme stated by bassoons and horn:

This is not the initial theme of the exposition proper. It is a type of introduction to the initial theme which follows shortly after. After the initial theme is heard, the introductory theme is restated, and the second theme is played. At the end of the second theme, parts of the introduction appear again and the exposition continues with the repeating of the initial and secondary themes. The introduction also plays a large part in the development section as it plays off and against the other themes until the theme itself is varied and leads directly into the recapitulation of the other two themes of the first movement. Bruch's personalized use of sonata form shows why the form was so prevalent for so long in classical music. It is a way to give form and direction to a piece of music while still maintaining a semblance of allowable variation in the use of the form itself to suit the music and the composer.

2) Scherzo. Presto -  This scherzo scurries along somewhat like the music of Mendelssohn, a composer that Bruch emulated in his popular Violin Concerto.

3) Quasi fantasia. Grave -  A heart-felt slow movement, somber in orchestration.

4) Finale. Allegro guerriero -  The Finale begins without pause and is marked 'guerriero' - war-like or militarily. Not so much as a struggle as between two enemies in war, but as a swaggering, self-confident military unit passing by on galloping horses .

 

Rust - Sonata For Viola

Friedrich Rust  was a German composer that was a contemporary of Haydn. By his own admission he could play the first part of J.S. Bach's Well Tempered Clavier by the time he was sixteen. He studied music with two of Bach's sons, Wilhelm Friedrich and Carl Philip Emmanuel and finished his studies in Italy.

He settled in Dessau and was the focal point of the musical life there. He organized concerts, was instrumental in starting a theater there and was honored for his work within the community when he was appointed court musical director. He was well-known in his day as a composer as well as a performer. He composed in most forms except the symphony.  He was also a very influential teacher. He was the subject of a minor scandal years after his death when his grandson Wilhelm Rust,  a noted and respected musician and music editor (he was the editor of 26 volumes of the collected works of J.S. Bach, the Bach-Gesellschaft) brought out an edition of his grandfather's piano sonatas. He credited his grandfather with writing music that was well ahead of his time that was very influential in bringing about the Romantic era. Wilhelm Rust was the editor of this edition of his grandfather's works, and after creating quite a stir in the music world it was found that Wilhelm had made numerous additions of his own to his grandfather's works to make them look like they really were ahead of their time.

Whatever the reasons for the grandson to play footloose and fancy free with his grandfather's music, it was unnecessary. Friedrich Rust was a good composer and craftsman and did carry a certain amount of influence in the music he wrote. On occasion he wrote music for instruments out of fashion such as the clavichord, viola d'amore, harp, lute and even the nail violin. He also wrote for the usual instruments but in odd groupings. The Viola Sonata is a case in point. Sonatas written for violas are scarce enough, but one written for the viola accompanied by a cello and two horns is quite unique.

The sonata is in three movements, with the first being in the traditional sonata form.  The second movement is a classical andante, with a refined theme. The finale is a rondo with Rust showing good contrast within the episodes between the restatements of the rondo theme.

Although this sonata is far from earth-shattering in its originality, it is well written and the unique sonority of the viola, cello and two horns make it an interesting piece.
 

Paganini - Violin Concerto No. 5

Say the name Paganini to a modern music lover and the first impression would most likely be of a virtuoso violinist dazzling the the early 19th century audiences with his 'tricks of the trade'. To be sure, Paganini was a great showman who did barnyard imitations on his violin and other things to please the crowd. But he was much more than a showman. He was also consummate musician in the best sense of the term.  With no technical barriers to hinder his musical expression, he could give wing to his musical imagination and touch the hearts of such outstanding musicians as Schumann, Chopin and Schubert.  The slow movements of his violin concertos were less about the fireworks and more about the passionate musician Paganini could be. His tone could be heart-rending, and he could play as if he were an angel.

Many composers used the piano as an aid to composition in one way or the other. Paganini was not proficient on the piano. The instrument he used as a compositional aid was the guitar. This no doubt shows in his handling of the orchestra. And after all, his primary motive was to showcase the violin with a accompaniment that was as non-instrusive as possible.

The 5th Violin Concerto was written towards the end of his career, and only the solo part exists. The orchestral parts have been reconstructed from the solo part and are a very fair representation of how the concerto could have sounded. The reconstruction was done in 1959 by Frederico Mompellio and follows Paganini's style very well.

Like most of Paganini's concertos, the 5th is very operatic in nature. The first movement is the longest of all three, and it is written in the sonata form mold so prevalent in first movements of the era. After a drum roll and a few chords to get our attention,  the movement begins with a long orchestral introduction of the primary themes, with the first being borrowed from some of his other compositions.  The oboe is entrusted with a theme of its own later in the introduction and the orchestra repeats it which leads to the repeating of the primary theme. There is a rousing cadence and the theme is taken over by the violin. The music shifts back and for the from major to minor keys, and of course the violin is the 'star' of the concerto.   The violin plays with a simpler passion in the second movement as it decorates the music while subduing the technical fireworks.  The finale is a Paganini rondo as much as any he ever wrote as the tune keeps returning, is decorated, is spattered out with remarkable virtuosity in places and is gently stated in others. It is the perfect vehicle to show a violinist's technique and musicality. That is exactly what Paganini wrote it to do.

Goedicke - Koncertstück For Piano And Orchestra

During the Soviet reign of Russia, many composers and other artists got into trouble with the authorities because they refused to kow-tow to  'official' Soviet ideals about art.  These Soviet 'ideals' didn't reflect an actual aesthetic of art as much as what the big shots in charge liked or didn't like.  Sometimes it had nothing to do with the art of the accused, but everything to do with how well the powers that be thought they could control the person in question. Especially if, for whatever reason, the artist was disliked, it was likely to spell their doom.

After the Russian revolution of 1917, some notable artists did leave the country. In music, the names of Rachmaninoff the composer/pianist, Horowitz the pianist and Chaliapin, the Bass singer come to mind. Others chose to stay, some were done away with, some like Shostaskovich lived the rest of their lives in fear. But there were those who didn't get into trouble, mostly by not making waves.  Russian's a big country, and if a composer chose to remain somewhat anonymous, or didn't cause official displeasure at any rate.  Alexander Goedicke appears to have been a survivor, for he lived until 1957, the year he turned 80 years old.  He was much better known in Eastern Europe as a composer and performer on the piano and organ. He was well regarded for his interpretations of J.S. Bach's organ works.

Although Goedicke was a  professor at the Moscow Conservatory,  he had no formal training as a composer. He studied piano performance at the conservatory, but managed to win the Anton Rubinstein prize in  composition in 1900 when he was 23 years old.  He wrote 3 symphonies, concertos, many piano pieces, operas and other pieces, nearly a hundred opus numbers worth. He is mostly remembered for his Concert Etude for Trumpet.

The Koncertstück is a Romantic piece, steeped in the same harmonies and musical world as the music of Rachmaninoff and Glazunov. It opens with a gentle horn call, which is taken up by the soloist. The piano part is highly decorative. The main theme is finally heard in the piano, a melody that is big and strong, very Russian in character in my opinion. Another theme is stated by the orchestra, very similar to the preceding one. This is expanded by soloist and orchestra, snatches of preceding motifs are played. The piano decorates the orchestral renditions until the recapitulation of the first theme appears.  Bits and pieces of the second theme (and others) are heard, and after a  short cadenza, themes combine and play against each other until the finale begins with thundering chords in the piano and a noble theme heard in the brass. The piano writing is brilliant, the orchestra states its business with the piano grandly summing up and the piece comes to a close.

This piece is more than enough to whet my appetite to hear more of Goedicke's music.  Sadly, not much of it has been recorded and some that has been recorded is out of print.

Goedicke - Koncertstück For Piano And Orchestra

Liszt - Dante Symphony - Inferno

The full title of Liszt's work is A Symphony to Dante's Divine Comedy.  Liszt began sketching themes for this work as early as 1840. He worked on fragments of it until he laid it aside. In 1855 he took up the work again and completed almost all of it by the end of 1856.  Liszt played the piano version of the work to Wagner, who praised it but suggested some changes.

Liszt had originally conceived the work in three movements, Inferno, Purgatory, and Paradise.  Wagner talked Liszt out of writing a symphonic work that portrayed paradise, as he thought no composer could do paradise justice. Liszt agreed, and retained the first two movements and added a Magnificat  in place of the Paradise movement.  The first performance was held in Dresden in 1857 with Liszt conducting, and it was a disaster. Lack of rehearsal was the cause, but Liszt didn't give up on the work and conducted it again in 1858.

The work has not been one of Liszt's most popular. It is an innovative work, as most of Liszt's compositions, and makes use of different forms, musical scales and harmonies. Along with his Faust Symphony (finished in 1854) these two works are more like groups of related tone poems than symphonies, at least in structure. The Faust Symphony to me is a more balanced work, the three sections having much more in common with each other in material and length. The Dante Symphony's strongest movement to me is the first one, Inferno.  The second movement is also very good, but the very short Magnificat that follows it tends to throw the last two thirds of the work out of balance to my ear. That doesn't mean the Magnificat isn't good, it most certainly is and is very innovative in Liszt's use of the whole tone scale. Perhaps if Liszt had kept to his original plan for a Paradise movement the work many have been even better.

Inferno begins with a depiction of the gates of hell itself with a slow introduction for brass. Liszt repeats the motif 4 times, each time slightly varied and the first three lines and the ninth line written on the gates of hell are written over the notes in the score:

Through me is the way to the sorrowful city,
Through me is the way to eternal sorrow,
Through me is the way among the lost people.
Abandon all hope you who enter here.

There is a chant recited by the trumpets and horns, the tempo quickens and the music makes a rapid descent that depicts Dante and Virgil descending into hell. As Dante goes through the circles of hell, the music evolves into waves of noise, violence and borderline hysteria, probably one reason why this work is none too popular; Liszt's depiction of hell gets pretty noisy in places.  After the second circle of hell, Liszt takers part of a previously heard motif and relates the story of Francesca da Rimini and Paolo, two lovers that were contemporaries of Dante, who wrote their story into his Divine Comedy.  The pair were murdered by Francesca's husband (who was also Paolo's brother) before they could repent of their sin, thus they are doomed to hell for eternity, clutching each other in their misery.  Francesca tells Dante the tale before they are swept along the torrents of hell with the other lost souls, and Dante faints.  Liszt's music depicts the heartache and passion of the story in music that is in vivid contrast to what has gone before.

After what amounts to the lengthy interlude of the telling of the story of Francesca da Rimini,  Dante and Virgil resume their journey and the music returns to the inquietude of the beginning.  Snatches of music that has been heard before return, in a twisted recapitulation of the beginning. It isn't until these are heard that we realize Liszt has used his own version of sonata form for this movement.  The music picks up momentum as it hurtles through the circles of hell until the final horrible vision of Satan himself is seen chewing on the bodies of the damned.  The music builds into a loud, shrill climax, then with five chords the bottom falls out and the music ends.

I first hear this symphony more than thirty years ago, and Inferno has been one of my favorite pieces ever since, and it made me a ‘fan’ of Liszt. It was my introduction to Liszt besides the Hungarian Rhapsody No. 2 I heard Bugs Bunny play in the old cartoons. The power of the piece, the sheer visceral reaction from the loudness of the beginning and end coupled with the tenderness of the middle Francesca da Rimini section still sends chills up the back of my neck. And I do admit that it is the Inferno movement I listen to the most. The other two movements seem anti-climatic to me.  I do better to listen to them without the first part .

Respighi - The Birds

Respighi was a musicologist as well as a composer, and he used the music of the past as inspiration for some of his compositions. The Birds is a suite of pieces that are based on various 18th century composers.  It is an attempt to depict (somewhat stylized) bird songs of the Dove, Hen, Nightingale and Cuckoo.  The composer uses the woodwind section of the orchestra for the bird imitations to good effect.  Respighi conducted the premiere of the work in Brazil in 1928.

The Birds consists of 5 movements - 

I. Prelude -  This prelude acts as a mini-overture for the rest of the work. The first-heard melody in the prelude is based on an opera aria by the Italian composer Bernardo Pasquini (1637-1710) , who was not only a composer but a virtuoso keyboardist, perhaps the greatest keyboard player of his generation.  He wrote operas, cantatas, many works for voice, and music for keyboard. He was an outstanding teacher and may have taught Domenico Scarlatti. He may have been the first composer to write three-movement sonatas for keyboard.  After this melody, there is a medley of the bird songs that comprise the rest of the work, and the Pasquini melody returns again to finish the prelude.

II. The Dove -  This movement is based on the music of French composer and lutenist Jacques de Gallot (ca.1625-1700). A solo oboe plays gently with the accompaniment of harp and strings. Trills in the strings imitate the flutter of wings while the melody is given to clarinet, then the solo violin.

III. The Hen - This is based on the music of the French harpsichordist, composer and theorist  Jean-Philippe Rameau (1683-1764).  Rameau's music is seldom heard in the concert hall, but he was one of the great musicians of the Baroque era and the history of music in general. It was Rameau who codified what had been going on for a hundred years in music,  basing music on harmony instead of counterpoint. He was the culmination of the Baroque era in France, much like J.S. Bach was in Germany. The music starts with the clucking of a hen and before it is over the entire hen house is a stir.

IV. The Nightingale - The only thing known about the next melody is that it originated in England in the 18th century. Respighi orchestrates the gentle melody with the appropriate winds, and even has the solo horn gently sing the melody.

V. The Cuckoo - Another melody from Pasquini, this one from a harpsichord piece. The woodwinds imitate the cuckoo, the melody from the prelude is heard once again to round off the piece and the work is finished.