C.P.E. Bach - Symphony In G Major Wq 183/4

The word symphony is derived from two Greek words that roughly mean 'an agreeable, concerted and harmonious sound'. As far back as the 11th century it could be used as the name of an instrument, usually one that played more than one tone at once, as with the bagpipe or the medieval instrument called the hurdy gurdy. Later it came to mean music played by a group of instruments or even vocalists.

The words sinfonia and symphony were used for instrumental pieces in opera, concertos and sonatas all through the Baroque period in the 17th and early 18th centuries.  Soon the term symphony and overture were used interchangeably in Italian opera. The overture to many Italian operas followed a three-movement form that had the tempo scheme of fast-slow-fast. The evolution of the form was more or less standardized with the later symphonies of Haydn and Mozart in the late 18th century by the addition of a fourth movement.

Scholars have determined that C.P.E. Bach wrote his first documented symphony in 1741. It followed the fast-slow-fast form and was for strings and continuo, which makes Bach one of the first recognizable composers of compositions that were meant to be heard as stand-alone works not tied to the theater. There are 20 symphonies extant that can be confidently attributed to Bach, all of them follow the three movement form.

The other feature of the symphony is the presence of sonata form, usually found in the first movement, but it can be used for any of the movements. It was derived from binary form, a form that consists of two related sections that are repeated. An early style of sonata form was used by Bach in his symphonies, with Haydn and Mozart standardizing a model of the form in their symphonies and other works. As C.P.E. Bach uses it, sonata form utilizes two themes, the first being in the tonic key, the next in the dominant key (or other related key), that are played in succession after which a short section develops these themes by variations in key, phrasing, etc. The themes appear again (recapitulation) after the development with the first theme played as before, and the second theme modulating to the tonic (usually).

Bach's Symphony In G Major Wq. 183/4  is in three movements:
I. Allegro assai - An angular, down-beat stressed theme is played by the violins while the second theme is played by the flutes with comments by oboes and violins. The first theme reappears and goes directly to the development section where the second theme is commented upon after which the first theme modulates to the minor. This leads to the recapitulation that segues to the slow movement

II. Poco andante - A short movement in the minor that serves as a contrast in mood to the first movement.

III. Presto - A lively dance movement.

Weber - Andante And Hungarian Rondo For Bassoon And Orchestra

 The bassoon, along with the cello and string bass, is a primary part of the bass register in the modern symphony orchestra. The modern bassoon has evolved from earlier keyless forms of bass double reed instruments called dulcians. It was during the 19th century when increased demands for range, volume control and tone quality caused instrument makers to improve the instrument.

The bassoon also has a place in chamber music, and solo concertos have been written for it. One of the most played works for bassoon and orchestra is Weber's Andante And Hungarian Rondo For Bassoon And Orchestra, especially in a version for piano and bassoon that many students of the bassoon have had to struggle through.  The first version of this work was written in 1809 for his brother, who played the viola. The basoonist Georg Friedrich Brandt asked Weber to arrange it for the bassoon in 1813. Weber didn't make very many changes in the work as he knew full well the capabilities of Brandt, one of the leading players of the day.   Weber must have enjoyed the challenge of concerto writing, for he wrote over a dozen for various instruments, many of them being for wind instruments.

The work is in two sections:
I. Andante - A theme and short set of variations. The theme is in the mood and tempo of a siciliana, a slow dance with origins in Italy in the early Baroque period. There are three variations on this theme. The two bassoons in the accompanying orchestra join in with the soloist in a trio of bassoon-ness. After the last variation where the baassoon chatters away as the orchestra plays the theme, a short bridge section leads directly to the second movement.

II.  Hungarian Rondo - The bassoon plays the 'Hungarian' tune to begin the rondo. As  'Turkish' music of roughly the same period was not actually turkish tunes,  'Hungarian' music was not actually hungarian tunes. Both kinds of music were ways composers introduced different exotic rhythms and instruments to their music. Weber's music may resemble a form of hungarian dance called Verbunkos, but the resemblance is slight and as with most examples of Hungarian-styled music of the time, owes as much to music of the Romani (Gypsy) people who lived in Hungary as anything else. The tune is a skipping, rather light-hearted tune that brings out the humorous side of the bassoon. As in the first movement, Weber has the bassoons of the orchestra join in with the soloist for more examples of bassoon-ness. The theme is interlaced between episodes of differing material with the bassoon always in the forefront. The bassoon goes off on a tear of triplets near the end and finishes up with a scurry of notes to end the work.

Alkan - Sonate de Concert For Cello And Piano

The French composer Charles-Valentin Alkan is most often thought of as a composer for keyboard instruments, with most of his works being for piano solo, but he did compose two Concerto da Camera for piano and orchestra, and a few chamber music works. His Sonate de Concert For Cello And Piano In E Major was written about 1856.  The name itself gives some indication of what Alkan attempted to achieve with it; something larger and more substantial than music written to be played by amateurs in a 19th century drawing room.

The composers who wrote the most sucessful sonatas for cello and piano were Beethoven and Brahms. Other composers have written examples also, but for many it was a one-time endeavor.  Alkan wrote only one, as did his friend and sometime neighbor, Chopin.

As with most of Alkan's music, the technical (and musical) difficulties of the cello sonata are many for both instruments, not least of all keeping the proper balance between the two. It is in 4 movements, with each movement being in a differet key:
I. Allegro molto - This movement isi n the home key of E major and begins straight away with a theme, the first of three main themes of the exposition, although there is much of the material that connects the main themes that can be thought of as short secondary theme material. (The recording that I've linked to at the end of this article does not take the exposition repeat, which in my opinion is somewhat excusable in music that is more familiar, but in works that are heard but seldom, it would help the listener find their way a little better if the themes were placed in the ear more securely by a repitition of them.) The development section is extensive and begins with the development of the short pizacatto motive that ends the exposition along with other material. The first theme appears, plays for a few bars before going off in different keys. Other themes follow suit. The recapitulation proper begins with the first theme followed by other material from the exposition that has modulated to other keys. In a short coda that is marked brilliante, the movement ends.

II. Allegrettino - This movement is in A-flat major. In contrast to the opening movement, this has the feeling of a  gently swaying dance, but there are surprises as minor keys float into the mix giving a feeling of unrest to the middle section.

III. Adagio - This movement is in C major. Alkan was devoutly Jewish and an Old Testement scholar.  He prefaced the music with a quotation from the Old Testement book of Micah:

"As dew from the Lord how the Jewish people endure, awaiting help from God alone."

The movement begins with three-note motives on the cello followed by a harmonic as the piano lags slightly behind as it plays its own three-note motive. The music is mysterious, not least of all for the incessant pizacatto notes played in a seemingly random pattern by the cello as the piano gently plays sixteenth notes in both hands in the treble topped by a melody even higher in the right hand.  The music reaches ever higher until it comes to rest with a high C major chord in the piano while the cello plays a low C pizacatto.

IV. Finale alla Salterella - Prestissimo - A dance in the key of E minor that gets wilder and wilder as it goes. It's full of dotted rhythms and extremes in range of both instruments until a trill in both hands of the piano along with an arpeggiated chord in the cello lead to the final chord.

Hummel - Introduction, Theme And Variations For Oboe And Orchestra

When Johann Nepomuk Hummel was born in 1778 his birthplace was in the town of Pressburg in the Kingdom of Hungary which was then a part of the Austrian Empire, which currently is Bratislava in Slovakia. The change in the name of Hummel's birthplace as well as the country which it was in, is a reflection of the changes in Europe within the relatively short time span of a few centuries. Hummel himself was a product of former times. A composer and performer of renown during his lifetime, his music fell victim to changing times and rapidly faded into the background shortly before after his death in 1837.

Hummel moved to Vienna as a child and was a student of Mozart and later was a friend and fellow student of Beethoven (they were both taught by Haydn and Salieri). Hummel suceeded Haydn at the court of Prince Esterházy in Hungary until he was dismissed for inattention to duties in 1811. He went to Vienna, composed and toured Europe and Russia as a virtuoso pianist. He later held the post of Kappelmeister at other places, most notably at the court of Wiemar from 1819 to 1837. While he was at Wiemar he invited the best musicians to play there and made the city a music capital of Europe.

Besides his compositions and performing, his treatise A Complete Theoretical and Practical Course of Instruction on the Art of Playing the Piano Forte in 1828 was a great influence on young pianists as it revolutionized performance practices that heralded the Romantic era of the composer/pianist. Chopin and Schumann studied Hummel's music. Hummel was also a direct influence as a teacher. Carl Czerny transferred to Hummel after his three years of study with Beethoven. Czerny went on to teach Franz Liszt. Some of Hummel's other students were Sigismond Thalberg, Adolf von Henselt and Felix Mendelssohn.

Although Hummel is most often associated with music for the piano, he composed in all the musical forms of his time except he wrote no symphonies. He wrote eight piano concertos and many others for various solo instruments. His Introduction, Theme And Variations For Oboe is a concerto in all but name, and was written in 1824 during his time in Wiemar. It consisits of two sections:
I. Introduction - The introduction is in F minor as the orchestra sets the stage for the soloist. The music is solemn and reflective. It leads directly to the next section.
II. Theme And Variations - The theme is in contrast to the previous introduction as it is in F major and of a more cheerful disposition.
a) Variation 1 - The first variation sees the theme stated in mostly eighth notes. Each variation is in two sections that are repeated. A short ending of the first variation is played by the orchestra without the soloist.
b) Variation 2 - The theme is transformed into eighth-note triplets. This is also ended by the orchestra.
c) Variation 3 - The next variation slows the theme and is labeled cantabile ed un poco sostenuto (in a singing style, slightly sustained). The orchestra plays a con fuoco (with fire) ending to this variation.
d) Variation 4 - The theme is played in running sixteenth notes as the string s play pizacatto.
e) Interlude - Hummel deviates from the usuual set of variations and writes an extended interlude that includes fragments of the theme, but is not an actual variation on it.
f) Theme - As if to assure the listener that he hasn't forgotten about the theme, Hummel repeats it with a few changes. A fermata at the close of the theme gives the soloist opportunity for a cadenza.
g) Variation 5 - The variations begin in earnest once again as the theme is transformed into a waltz.
h) Variation 6 - The theme takes on a pattern of eighth rest-three eighth notes-quarter note per bar.
i) Variation 7 - Hummel transforms the theme to rapid eighth-note triplets with repeated notes. This variation leads to a short coda that ends the music with a high note from the soloist.

Although Hummel wrote some music that looked ahead to the Romantic era just over the horizon, he was essentially a classically trained musician whose music was rapidly looked on as being old -fashioned in the Europe of the 1830's.  Unlike Beethoven, a composer that was the model for conservative and radical composers alike, Hummel's art was of a less staggering kind but by no means trivial.  With recordings, Hummel's music is once again being heard, and perhaps will be heard more in the concert hall as well. A piece such as the Variations For Oboe, a lesser piece in that it isn't heaven-storming,  shows that he was a wonderful craftsman, could be inspired on ocassion, and a great musician.

Mozart - Violin Concerto No. 5 ' Turkish' , K. 219

Most often it is the keyboard that is closely identified with Mozart as a performer, the harpsichord early in his career and the piano later.  But in his travels around Europe as a child prodigy he not only played keyboard instruments but the violin as well. His father Leopold was a renown performer and teacher of the violin and Wolfgang no doubt was taught and encouraged by Leopold on the violin. Leopold was employed as court musician at the court at Salzburg, eventually reaching the position of deputy concertmaster.

Wolfgang was also a court musician at Salzburg in different capacities, including that of concertmaster, the first desk violinist and the leader of the string section of the orchestra. For Mozart to have garnered this position he had to have been more than an average violinist. It was while he was a court musician at Salzburg that he composed his five violin concertos, the only concertos for violin he wrote. Four of the concertos were written in 1775 with one other written a few years earlier. Musical historians are divided in regards to whom the concertos were written, but perhaps Mozart played them himself in an effort to impress  the new Prince of the Salzburg Court, Count Hieronymus von Colloredo.  If this was the case, it was in vain as Mozart and the new Prince eventually came to loggerheads a few years later, and when Mozart tried to resign his position the prince refused at first, but a few months later the Prince relented and sent word to Mozart by way of a lackey who at the Prince's orders, dismissed Mozart with a literal kick in the ass!

The 5th Violin Concerto in A major has 3 movements:

Leopold Mozart

I. Allegro Aperto -  Mozart begins the concerto with the themes first played by the orchestra, as was the practice in concertos of his time. The themes are deceptively simple in their first hearing. The soloist, instead of entering in the same mood and tempo as the orchestra has set plays a short section, adagio in tempo and sweeter in mood. This adagio section leads directly to the violin taking up the mood and tempo of the beginning, and the violin fills out the first theme as the initial hearing by the orchestra was but a glimpse of what was to come. The second theme with its naive-sounding repeated notes is also expanded upon by the violin. The rather short development section is followed by the recapitulation. The violin plays a cadenza before the orchestra ends the movement.

II. Adagio -  Slow and graceful music that is like a faint reminiscence to the adagio section of the first movement that sounds like an opera aria for violin and orchestra. The violin sings throughout in long melodies that slowly unwind with sighs and slight pauses that contribute to the gentleness of the music.

III - Rondo - Tempo di Minuetto - The rondo theme is stated by the violin and returns between sections in different keys:

Roughly halfway through the movement the music changes time signature from 3/4 to 2/4, increases the tempo to Allegro, and changes the key to A minor:

 The new section is an example of the 'Turkish' music that was the rage of the times. It has nothing to do with authentic Turkish music, but more like a European composer's translation of it. It was usually in the form of a march and made use of percussion instruments not found in orchestras then. As Mozart wrote this for a small court orchestra that perhaps had no access to the cymbals, rattles and drums that other composers used, the cellos and double basses are instructed in the score to strike the strings with the wood of the bow to give a percussive effect.  The music swirls and turns becoming wild and rough. This section is the source of the nickname for the concerto. After a short cadenza for the soloist the music returns to the minuet.. After hearing the previous section the return of the minuet is as startling as the transition to the Turkish music. After the restatement of the theme and some other material, the slightly altered theme returns and the concerto comes to a close with an A major arpeggio from the soloist.

When Mozart was summarily booted in the ass from Salzburg he became a freelance composer in Vienna. To earn a living he turned to writing concertos for piano and appearing as soloist in them. No one knows why he composed only five violin concertos. Some musicologists have put forth that it was part of  his breaking away from his father, among other suppositions. Whatever the reason, there are the five violin concertos written in Salzburg, with the 5th being the most popular. 

Mozart

Beethoven - Piano Sonata No. 17 In D Minor 'Tempest'

“I am not very well satisfied with the work I have thus far done. From this day on I shall take a new way", Beethoven said to one of his friends shortly after his opus 28 piano sonatas were written. An example of what his new way would be can be found in Beethoven's opus 31, No. 2 piano sonata, one of a set of three that he wrote in 1801 -1802. The story told by Anton Schindler, acquaintance and self-styled Beethoven authority,  that the first movement source of inspiration was Shakespeare's play of the same name is highly suspect along with many other stories from Schindler. But the nickname has stuck, for the first movement is a tempest of passion and drama.

The sonata is the first major work he wrote in the key of D minor, and it would be the only piano sonata out of 32 that would be written in that key.  It remains one of the most powerful pieces ever written for piano more than 200 years after it was written.

The sonata is in 3 movements:
I. Largo -Allegro - Beethoven begins with a slowly arpeggiated, pianissimo A major chord, which is followed by an increase in tempo and 3 bars of eighth note slurs of 2 notes, that rise in volume until the tempo changes to adagio and comes to rest on another A major chord. The first five bars of this sonata form the basis for the entire exposition. What makes this so unique is that this first theme of the sonata contains incredible contrast, something that is usually accomplished in two different themes.  Tempo and dynamics change again as another chord is arpeggiated, after which the eighth note slurs reappear, but this time they continue and lead to a  theme in the bass that changes to high in the treble as a triplet figure plays in the middle register.

This continues until the two-note slurs of the opening reappear with a different accompaniment. Other related material leads to the first ending before the repeat. After the section is repeated (and in my opinion this sonata needs the exposition repeat) the second ending comes to rest on three G notes. The development begins with arpeggiated chords, this time with more notes. This happens three times, then the music takes off in a double forte repeat of the triplet figure-theme-in bass-and-high-treble material, but in different keys. This continues with heightened  drama until a climax is reached when a section of eighth note thirds are played on the first and second beat with a sforzando on the second beat. Then whole note chords and a transition section lead to the recapitulation with arpeggiated chords and two-note slur material, but this time there is a short, unaccompanied recitative inserted between them:

After the A-flat fermata, there is an increase in tension as chords are played pianissimo with rapid arpeggios. This happens three times with an increase in volume until the fourth time the two-note slurs reappear in a different key and accompaniment. More material is brought forth and it leads to a pianissimo ending in D minor.

II. Adagio - This movement also begins with an arpeggiated chord, but the mood is calmer, more reflective. This movement is in sonata form, but without any development section.

III. Allegretto -  The music of this movement is constantly moving and full of tension that does not ease up throughout. The quiet ending of the movement gives the impression that the music really doesn't end, but fades into the distance.

Beethoven's compositional style was constantly evolving throughout his career. This brought about experimentation that can be subtle, or as in the case with this sonata, glaringly obvious. His physical malady of hearing loss, which he lamented was getting worse in the letter to his brothers that is called the Heiligenstadt Testament, was written about the same time as this piano sonata.  What affect his hearing loss had on his art can only be imagined, as well as what his music would have been if he had not suffered from deafness. Beethoven was one of the greatest musical minds that ever existed, but he was also one of the most human of human beings. It is that quality that makes his music still so moving and influential almost 200 years after his death.

Milhaud - La Création du Monde

The Frenchman Darius Milhaud was born in 1892 and studied violin before switching to composition at the Paris Conservatory. After his studies he spent two years in Brazil as the secretary to the French ambassador. Upon his return to France he composed music that was inspired by what he heard while in Brazil, such as Le bœuf sur le toit (The Ox On The Roof) which contained references to many Brazilian chôros he heard there.

American jazz was very popular in the Paris of the 1920's and it was there that Milhaud first heard it. He was so intrigued by it he went to New York City in 1922 where he visited Harlem, heard authentic American jazz and talked to jazz musicians. Milhaud was not only influenced by  jazz music but by black culture and folklore. He  wrote La Création du Monde (The Creation Of The World) for a ballet troupe performing in Paris, and the ballet was based on African creation folktales. At its premiere, the ballet was more of a scandal than a success. The ballet itself is revived rarely, more of a curiosity than anything else, but Milhaud's music is still played and the piece is one of the most successful uses of the jazz idiom by a classically trained composer.

La Création du Monde is scored for a chamber orchestra that consists of 2 flutes, 1 oboe, 2 clarinets, 1 bassoon, 1 alto saxophone, 1 horn, two trumpets, 1 trombone, 2 violins, 1 cello, 1 double bass, piano, and an assortment of percussion instruments. The work consists of an overture and five sections played without a break:
Overture - The work begins with a solo for the saxophone played over a steady pulse. Other instruments are added to reach a climax, and the saxophone resumes. The trumpets come to the fore, the flutes comment on the saxophone tune. There is a general rumbling in the background while the saxophone and bassoon play together until the saxophone plays the end of the tune.

1. Chaos Before Creation - The piano and percussion thump out a rhythm and the double bass begins the subject of a jazz fugue. In turn, the trombone, saxophone and trumpet contribute to the fugal texture. Other instruments enter playing the subject as the music gets more and more complex. The fugue ends and slow, somewhat ominous music leads to the next section.

2. Creation Of The Animals, Insects, And Trees - The saxophone tune from the overture is played while the cello plays the fugue subject from the first section. This leads to a new bluesy tune played by the oboe.

3. Creation Of Man And Woman - The two violins play a syncopated duet while other instruments comment. The theme is passed to other instruments, fragments of previous tunes are heard. The violins resume their duet, a masterful segue by Milhaud leads to the next section.

4. Desire - The clarinet is in the spotlight accompanied by the piano, strings and percussion.  The music modulates to a higher key, then goes back to the original key. The oboe enters and leads the music back to the theme of the overture. The accompaniment to the clarinet solo enters, but the overture theme overrides it. This struggle for supremacy is finally won by the clarinet theme and accompaniment dominating. It modulates once again, only to fall back to the original key as the intensity grows until the music grows mellow with the blues of the oboe tune from the second section.

5. The Kiss - Themes from section 2, the overture return, with a memorable playing of the fugal subject by the flutes using flutter tonguing.  The saxophone and strings gently end the work.

Milhaud was not only a prolific composer but a teacher as well. He moved to the United States during World War II (he was Jewish) and taught jazz musician Dave Brubeck and song writer Burt Bacharach. Jazz and other kinds of music continued to influence Milhaud until his death in Geneva, Switzerland in 1974 at the age of 81.