Dreyschock - Piano Concerto

Alexander Dreyschock was born in Bohemia in 1818 and became one of the era's top virtuoso pianists. By the time he was 20 years old he was an accomplished pianist and went on a tour of Europe.  He was renown for his stunning technical ability, especially in playing thirds, sixths and octaves. He was also known for his compositions for the left hand alone which he played in his recitals. He garnered the praise of Berlioz and other musicians of the time, while others were not as impressed. Felix Mendelssohn heard him and said, "He plays some pieces so admirably, you fancy yourself in the presence of a great artist, then immediately afterwards something so badly that you change your mind." Others commented on his marvelous tone while still others complained that he played loud enough to be heard in the next town.

There seems to have been somewhat of a circus atmosphere to his recitals, as he would amaze the audience with his technique with his own compositions and transcriptions of other composer's music.  He increased his reputation as a master of technique with his transcription of  Chopin's Opus 10, Number 12 Etude, the famous Revolutionary Etude with octaves in the left hand instead of single sixteenth notes.  Legend has it that he practiced the piece twelve hours a day for six weeks until he could bring it up to tempo. Mendelssohn heard him play the transcription and was amazed by it. Anton Rubinstein thought enough of Dreyschock's abilities to hire him on as a staff member at the newly-founded St. Petersburg Conservatory in 1862. He was named Professor of Piano, and also Court Pianist to the Tsar and Director of the Imperial School of Music for the Operatic Stage.  Dreyschock died in 1869 of tuberculosis

Most of his compositions were for piano solo, with his single piano concerto being written around 1865. As with many concertos written and performed by the composer, Dreyschock emphasizes his strengths with the type of music he writes. The concerto is reminiscent of the Chopin piano concertos as there is no doubt that the spotlight is on the piano throughout, with all the crackling virtuosity that the composer was known for.   It is in three movements:

I. Allegro ma non troppo - The first movement is in loose sonata form, with there being no exposition repeat and the development/recapitulation sections being combined.  The orchestra begins with a statement of the first material, the piano enters and comments.  The second group of themes is ushered in by the piano with orchestra accompaniment. There is no usual exposition repeat of this material. The development section and recapitulation is combined and the piano develops one of the beginning themes, after which the horns have a short fanfare that brings forth the development/recapitulation of some of the second group of themes.  A brilliant coda for octaves and other Dreyschock 'tricks' brings the movement to a close.

II. Andante con moto  -  This movement for me shows Dreyschock's rather plain gifts for writing any kind of music for piano that is less than technically brilliant. The music sounds like an obligatory 'slow' movement that the times called for with not much sweetness or lyricism. There are some rather awkward moments, and the music sounds like nothing but 'filler' until the fireworks can start again.

III. Allegro vivace - There are two major themes in this movement, the first in a minor key in a rapid tempo and dramatic mood, the second rather attractive theme is in a major key in a slower tempo and a more mellow mood. A third theme is heard prancing along in a major key until the first theme returns. The theme is expanded upon slightly until  the second theme is heard in a different key than before. Then a fiery coda winds up the movement spitting fire with octaves chasing each other, whirlwind single-note runs and other knuckle-busting goings-on that no doubt brought down the house.

Saint-Saëns - Piano Trio No. 2 In E Minor, Opus 92

Saint-Saëns is a composer accused by some of superficiality and glibness, but the second piano trio shows the criticism to be unjust.  Gone is the Mendelssohnian early romanticism of his earlier piano trio. The second trio was written in 1892, a time when Saint-Saëns was looked upon as an ultra-conservative, and as such his music was out of fashion and not played very much.  Nonetheless, he continued to compose and even experimented with different musical language.  He lived almost another thirty years after he wrote the second piano trio, and ended his composing career with sonatas for wind instruments (one each for clarinet, oboe, and bassoon) and a few piece for piano and voice, in 1921.

Piano Trio No. 2 is in 5 movements:

I. Allegro non troppo - The movement begins with a theme taken up by violin and cello as the piano plays an agitated accompaniment. A second theme is in E major. The development section expands the themes amid a general feeling of turmoil and passion. The themes return in the recapitulation, after which the agitation of the opening of the movement returns in the coda and after a run from the piano a unique cadence ends the movement.

II. Allegretto - The beginning of the movement gives the impression that it is going to be one of Saint-Saëns' delicate trifles, as a tripping tune in E major and 5/8 time is played.  Contrasting sections in the minor show that the movement is not just gentle salon mood music. The piano has some particularly brilliant music in the contrasting sections. The opening theme has the final say in an emphatic close.

III. Andante con moto - Written in A-flat major, this movement has a lyrical theme that is the basis of the entire movement.

IV. Grazioso, poco allegro - A graceful movement that begins in G major with a waltz-like tune. There is a slight contrasting section, more like an intermezzo.  The interplay between the instruments begins again with the opening theme as the music slows down and ends.

V.  Allegro -  Two themes, the first in E minor and the next in E major, begin the movement. Material is treated contrapuntally on its own before the first theme is integrated into it. The second theme returns and leads to a very rapid version of the first theme and the ending chords.

 

Mendelssohn - Octet in E-flat Major

The career of many composers is a long road of constant growth, sometimes small, sometimes large, even sometimes a complete change in style. Beethoven's music from the very beginning of his career was different from his contemporaries, but the difference between his first symphony and his ninth, his first string quartet and his sixteenth, are huge.

Mendelssohn almost seems like he was formed a complete composer from a very early age, and his style and complexity of his music didn't change dramatically his entire career. Of course he also didn't live past his 38th year, so no one knows if he would have changed his essentially conservative musical voice later in life. 

The String Octet is from 1825 when Mendelssohn was sixteen years old, and another of his popular compositions, Overture To A Midsummer Night's Dream was written a year later. These were far from Mendelssohn's first works as he had written twelve symphonies for strings between the ages of 12-14. The octet  is for a double string quartet; 4 violins, 2 violas and 2 cellos. Mendelssohn himself left directions for its performance: "This Octet must be played by all instruments in symphonic orchestral style. Pianos and fortes must be strictly observed and more strongly emphasized than usual." That the work was written with this orchestral style is evident from the very opening of the work, and that the work lends itself admirably to transcription for full string orchestra.

The octet is in 4 movements and opens with the first theme directly, played by violin with accompaniment. The first movement is far and away the longest in length, but Mendelssohn's inventiveness and mastery of sonata form keeps things interesting. The second movement is a study in gracefulness tinged with a tad of restlessness. It is the third movement, the scherzo where Mendelssohn shows hos much of a master he really was at only sixteen.  Unlike almost all scherzos that are in 3/4 or triple time and ternary form, this one is in 2/4 time and sonata form. It is a precursor to the Overture To A Midsummer Night's Dream written the following year. It is taken at a rapid tempo at a subdued music, the original 'fairy' music of which Mendelssohn is known for. The finale begins as a fugue and also brings back echoes of the scherzo.

Mendelssohn was a musical conservative who tolerated the music of Wagner, Liszt , Berlioz and others of the new school, but he had no admiration of it. He helped found the Leipzig Conservatory which mirrored his own views on music and upheld the conservative tradition. But all of that makes not a hoot of difference as far as his music. It is all well-crafted, inspired, and a delight to the ear. 

Verdi - Requiem

The Catholic religious rite of the Mass is basic to the faith, and takes many forms. The most basic is a Mass that contains the reading of scripture and is based around the Eucharist, also known as Communion in other denominations. The Mass can be different for different occasions, as instructed in the Roman Missal. One specific type of Mass is the Requiem Mass For The Dead. It is a ceremony in remembrance of the deceased and to offer prayers for their soul to have eternal rest in heaven. The word requiem itself comes from the first word in the Latin Introit (the beginning of the Mass sung by a choir, taken from a psalm) Requiem aeternam dona eis - Rest eternal grant unto them.

The art of music grew for centuries under the auspices of the Church,  so it was natural that composers would set the Mass to music. The coming of the first documented polyphonic Mass in the 15th century brought with it a large number of settings for the Requiem Mass. At first these compositions were quite rigid in structure, but as the art of music grew, so did expression in the Requiem. By the time Giuseppe Verdi came to write his Requiem in 1874, there were many examples already written by composers obscure and famous.

Alessandro Manzoni

The work was written in memory of the Italian novelist and poet Alessandro Manzoni whom Verdi admired.  Manzoni had died in 1873 and the Requiem was premiered in 1874 on the one year anniversary of his death. Verdi conducted the first performance that was given, in a Milan church. It was met with limited success, perhaps partly due to the fact that women were only just being allowed to sing in the Catholic church which delayed the work's acceptance in Italy.  But after a short time it fell out of the repertoire until the 1930's.  Some critics found the drama of the music to be more in the style of an opera than a religious work while others found the style of music too radical (meaning too modern). There is no doubt the music is quite dramatic, but it covers pretty much all human emotions which was quite in keeping with Verdi's style. The spirit of Verdi perhaps has had the last laugh, for the Requiem is now one of the most performed works of the choral literature.  Verdi's spirit has another reason to chuckle over the veneration of this religious work, for he was at the most an agnostic and at worst a confirmed atheist.

The Requiem is written for 4 soloists, double choir and a large orchestra. It is in seven parts:

I. INTROIT & KYRIE - Beginning with muted strings that are almost inaudible, the chorus quietly enters. Both sections convey a wish for gentle rest for the departed.

Introit

Chorus

Grant them eternal rest, Lord,

and may perpetual light shine on them.

A hymn to you is fitting, God of Zion,

and to you shall a vow be made in Jerusalem.

Listen to my prayer;

unto you all flesh shall come.

Grant them rest eternal, Lord,

and may perpetual light shine on them.

Kyrie

Solo Quartet and Chorus

Lord, have mercy.

Christ, have mercy.

Lord, have mercy

II. DIES IRAE - This longest part of the work portrays the drama of human emotion, something that Verdi was known for in his operas.  The pleading for mercy and a way to salvation is interrupted by the savagery of the Dies Irae.

Dies Irae - In music that shakes the rafters, Verdi portrays the destruction of the world with strings that rip through scale passages, piccolos that screech, brass that roars and a bass drum that gets the hell beat out of it. This section is like an idee fixe as it returns throughout the work, (twice in this part alone) driving home the hopelessness of the sinner on Judgement Day.

Chorus

 Day of wrath, that day

the world will dissolve in ashes,

as witness David and the Sibyl.

 What trembling there will be,

when the judge shall come

to examine all things thoroughly.

Tuba Mirum -  Trumpets off stage join the trumpets in the orchestra for an echoing effect that grows into a tremendous crescendo that spreads to the chorus that has to struggle to be heard over the rolls played on the bass drum.

Chorus

The trumpet, spreading its wondrous sound

through the tombs of all regions,

will gather all before the throne.

Mors Stupebit

Bass Solo

Death will be stupefied, also nature,

when all creation arises

to answer to the judge.

Liber Scriptus

Mezzo-Soprano Solo and Chorus

A written book will be brought forth,

in which everything shall be contained,

 by which the world shall be judged.

When the judge is therefore seated,

whatever is hidden will be exposed;

nothing shall remain unavenged.

 Day of wrath, that day

the world will dissolve in ashes,

as witness David and the Sibyl.

Quid sum miser

Soprano, Mezzo-Soprano and Tenor Solos

What am I, a miserable one, to say then?

What patron shall I request,

when the righteous are scarcely secure?

Rex tremendae

Solo Quartet and Chorus

King of fearful majesty,

who freely saves the redeemed,

save me, fount of mercy.

Recordare 

Soprano and Mezzo-Soprano Solos

Remember, merciful Jesus,

that I am the cause of your journey;

do not abandon me on that day.

Seeking me, you sat down exhausted;

you redeemed me by suffering the cross.

 Such great labor should not be in vain.

Just judge of vengeance,

 make the gift of remission

before the day of accounting.

Ingemisco - This solo was sung by the late Lucio Pavarotti many times in concert, and is a favorite of tenors.

Tenor Solo

I sigh as one accused;

shame reddens my face.

Spare the supplicant, God.

You who absolved Mary 

 and listened to the thief

have given me hope also.

 My prayers are not worthy,

but you, good one, be merciful,

 lest I burn in everlasting flames!

Place me prominently among your sheep,

 and from the goats separate me,

 placing me in the portion on the right.

Confutatis 

Bass Solo and Chorus

Silencing the accursed,

 to acrid flames consigning them,

call me with those blessed.

I pray, bowed and kneeling

my heart contrite as ashes;

take care of me at the last.

Chorus

Day of wrath, that day

 the world will dissolve in ashes,

as witness David and the Sibyl.

Lacrymosa - After the roar and thunder of the Dies Irae, this is a gentle plea for mercy.

Solo Quartet and Chorus

That tearful day,

when guilty man shall rise

 from the embers to be judged.

 Oh, therefore spare him, God.

Merciful Lord Jesus,

grant them rest. Amen.

III. OFFERTORY - A beautiful setting for the soloists.

Solo Quartet

Lord Jesu Christ, glorious King,

free the souls of all the faithful dead

 from punishment in the inferno,

and from the deep pit.

Deliver them from the lion's mouth,

lest the abyss swallow them up,

lest they fall into darkness.

But may the standardbearer St. Michael

bring them into the holy light,

as once you promised to Abraham

and his seed.

Sacrifices and prayers we offer

to you, Lord, with praise.

 Receive them for the souls of those

whom today we commemorate;

make them, Lord,

to pass from death to life,

as once you promised to Abraham

and his seed.

Free the souls of all the faithful dead

from punishment in the inferno.

May they pass from death to life.

IV. SANCTUS -  In this rather brief part, the choir is divided into eight parts in counterpoint in music that is jubilant and full of hope.  Near the end the orchestra plays rapid chromatic ascending and descending chromatic scales to good effect.

Choruses I and II

Holy, holy, holy,

 Lord God of the Hosts.

The heavens and earth are filled

 with your glory.

Hosanna in the highest.

 Blessed is he who comes

 in the name of the Lord.

Hosanna in the highest!

V. AGNUS DEI - Soprano and mezzo-soprano sing a simple, gentle melody an octave apart.

Soprano and Mezzo-Soprano Solos and Chorus

 Lamb of God,

who removes the world's sins,

 grant them rest.

Lamb of God,

who removes the world's sins,

grant them rest everlasting.

VI. LUX  AETERNA - The music begins softly and wrapped in mystery. The mezzo-soprano continues pleading for mercy. The bass enters with a chilling solo that reminds all of the seriousness of the consequences (at least in the dogma of the Catholic Church) of not being one of the chosen.

Mezzo-Soprano, Tenor and Bass Solos

May eternal light shine on them, Lord,

with your saints for eternity,

because you are merciful.

Grant them eternal rest, Lord,

 and may perpetual light shine on them,

with your saints for eternity,

because you are merciful.

VII. LIBERA ME - The final part contains sections of chant, choral fugue, and a trembling soprano that is terrified by the coming judgement. The Dies Irae makes one last appearance to remind the listener about the horror to come that makes the soprano tremble. 

Libera me

Soprano Solo and Chorus

Deliver me, Lord, from eternal death,

on that dreadful day,

when the heavens and earth shall be moved,

when you come to judge

the world through fire.

I am made to tremble and to fear,

awaiting the judgement that shall come,

and also at your coming wrath,

when the heavens and earth shall be moved.

Dies irae

That day, day of wrath,

of calamity and misery,

 great and exceedingly bitter day,

when you come to judge

the world through fire.

Requiem aeternam

Grant them rest eternal, Lord,

and may perpetual light shine on them.

Libera me - The soloist grows desperate, only to be answered by a fugue for the chorus.  After the fugue and passionate singing by the soloist that goes from the bottom of her register to the top, the orchestra roars through as section until the soloist grows hushed and is directed by Verdi to sing without strict time as she chants Deliver me, Lord, from eternal death, on that dreadful day. The chorus and soloist sing in a very subdued triple piano dynamic Libera me two times, and the music dies away. 

Deliver me, Lord, from eternal death,

on that dreadful day,

when the heavens and earth shall be moved,

when you come to judge

the world through fire.

Albéniz - Suite española

When the father of Isaac Albéniz realized that his young son displayed prodigious musical talent
(little Isaac reportedly gave his first concert when he was 4 years old), the boy divided his time between studying and giving concerts. His parents took him to Paris, but he was denied entry into the Conservatoire because he was too young.  The pressure put on him by his father to study and give concerts may have been the reason Isaac made many attempts to run away from home.

Albéniz's father was a custom's agent, and on his job-related travels he took Isaac and his younger sister on a concert tour of northern Spain. Isaac was nine years old when his concert career began and by the age of fifteen he had traveled many parts of the world concertizing, and contrary to legends about Albéniz running away from home as a stow away on a ship to South America, his father accompanied him on his travels.

He concertized as a pianist for most of his life, in addition to composing. His style made a major shift from salon pieces to music that reflected the mood, rhythm and style of the traditional music of Spain.  Albéniz's was original in that he did not use folk tunes in his works, but he adapted the style of the Spanish folk tune.

 Suite española originally had only four pieces included, but after Albéniz died in 1909 his publisher added four more pieces to make the version of the work that is most well known.  The original four pieces are named after regions of Spain along with the type of dance or musical form used. Some of the four additional works added after Albéniz's death do not retain this distinction. The names were chosen by the publisher and not Albéniz himself.

All but one of the eight pieces in the suite are in ternary form with a contrasting middle section called a copla, an interlude of a vocal nature.  Albéniz heard many guitar players of Spain, and when some of the pieces from the suite were arranged for guitar he was delighted, and said that was the sound he had in mind when he wrote the pieces.

I. Granada (Serenade) - The meaning of the word serenade is derived from the Italian word for calm.. Albéniz creates a mood of calmness with a simple melody in the bass accompanied by rolled chords in the right hand in imitation of a guitar:

The middle section has the melody move up to the right hand and alternates between minor and major mode. Granada along with Asturias is one of the pieces of this suite most often transcribed for guitar. Granada was the last Arab-held part of Spain, and it was one of Albéniz's favorite places to be, as he wrote in a letter:

I think that Granada, where I am, is 'the treasure of Andalusian music.' I also believe that I must write this, as I am convinced that my youth is full of enough musical experiences to embark in the conquest of this wonderful land, endowed with exquisiteness, cordiality and love, but safe-keeping all this as the Arabs safe-kept the flowers of their garden and the women in their palaces.

II. Cataluña (Courante) -   The only piece in the suite that is not in ternary form. It has a dotted rhythmic pulse in the melody, and after it is played through a short coda brings the piece to a close.  Some have suggested that this piece was in honor of Albéniz's mother who had recently died.

III. Sevilla (Sevillanas) -  The sevillanas are dances that can be mistaken for Flamenco, but while it was influenced by flamenco in the early 19th century it is not the same. After the repeated notes in the bass ends the first section, the middle section begins with a plaintive melody played two octaves apart.

IV. Cádiz (Canción) -  Canción means song in Spanish, and the form is descendant from the saeta, a song of religious nature that may have had Jewish origins that go back to the 16th century. This piece evokes the subtler rhythms of Flamenco.

V. Asturias (Leyenda) - This piece is the most glaring example of the mismatching of a style to a region in the suite. The music of the Asturias region of Spain has nothing in common with the Flamenco style of the music. The subtitle Leyenda meaning Legend,  is not any dance or song form, but it is descriptive of the mood of the piece. It opens with an imitation of a Flamenco guitarist with the melody in the left hand intertwined with the repeated note in the right hand:

Albéniz imitated the guitar so well that this piece was adapted quite readily to the guitar and is more often heard in that version than the original piano version. The entire first section expands on this beginning, and is punctuated by leaps of accented chords in the right hand and octaves in the left while the melody still manages to be carried in the left hand. The slower central section is made up of different subsections that refer to motives in the opening. The first section repeats and a short coda brings one of the most representative of Spanish piano pieces to a hushed ending.

VI. Aragón (Fantasía) -  This piece has a reoccurring motive of a triplet on the second beat of the measure throughout. Repeated sixteenth notes herald the middle section which is title copla by the composer. It is a mellow theme in thirds. The copla does not last long, as the tempo of the beginning returns and the music plays a variant of the opening theme that magically repeats, twists and turns upon itself.  A short section with rolled chords in the right hand over a melody in the left segues to a repeat of the first section. A coda closes this excellent piece solidly in F major.

VII. Castilla (Seguidilla) - In another guitar inspired rhythm, the melody is in the left hand in this seguidillas, an ancient Castillian dance.

VIII. Cuba (Capriccio) -  Has also been referred to as a nocturne, Albéniz included Cuba as a region of Spain because it was indeed a possession of Spain at the time the piece was written, and Albéniz had played many concerts there. The piece is in 6/8 time and the first section's main feature is a melody that in the second and third bar of the phrase plays two notes against three in the left hand:

The middle section is in more the mood of a nocturne.

Cowell - The Banshee

Henry Cowell (1897-1965) was an American composer, teacher and pianist.  He was a part of the avant-garde movement in music at the turn of the 20th century, and experimented with complex rhythms, atonality, and was an early advocate of the use of tone clusters. 

He also would play directly on the strings of the piano, sometimes for the entire piano piece. The Banshee is one of those pieces. A Banshee is from Irish mythology, is usually female. and appears as an omen of death and to bring messages from the other world.  The Banshee begins to wail when someone is about to die, and some legends say that each Irish family has their own Banshee. 

The work is for two performers and a grand piano. One performer merely holds down the damper pedal of the piano while the other stands at the bend of the piano. Cowell directs this performer to wave their hands over the strings like a harp, to pluck the strings, to scrape their fingernails over the strings of the bass notes. Cowell brings out some very distinctive, different sounds from the piano, well suited to the subject of the piece.

Saint-Saëns - La Muse et le Poète, Opus 132

In 1907 a statue of Saint-Saëns was exhibited in the Paris Salon. An admirer of Saint-Saëns saw it, a Mme. J-Henry Carruette, (obviously a woman of means), and wanted to present it to the town of Dieppe. But there was an actual law at the time that strictly forbade a statue being erected to a living person. Mme Carutte (and no doubt others) worked some political magic, and the statue was allowed to be erected. The irascible Saint-Saëns was not impressed. He considered that he must be dead to have a statue erected, so therefore he didn't have to make a speech at the unveiling. 

When Mme. Carruette died in 1909, Saint-Saëns wrote a one-movement piano trio and dedicated it to her. Despite the objections of Saint-Saëns, his publisher insisted on giving the title The Muse And The Poet to the work. But Saint-Saëns obviously like the work, so he orchestrated it shortly afterwards, and that is the version that is played today. 

At the time, Saint-Saëns was bristling against the dominance of German formal music structures, so the piece has an improvisatory quality to it. Saint-Saëns grew more and more against German music, to the point of demanding that it should never be played in France during World War One. 

As much as Saint-Saëns disliked the title, it isn't inappropriate. The music begins in a somber tone with the orchestra, but when the violin enters, the mood brightens. The cello enters and things get gloomy again, but the violin keeps going and convinces the cello to brighten its mood too. The work is a difficult one for the soloists, but Saint-Saëns said it was a conversation between the two soloists instead of a debate between two virtuosos.