Beethoven - Symphony No. 7

With his usual Romantic hyperbole, Richard Wagner called Beethoven's Symphony No. 7 the "apotheosis of the dance".  As Wagner's universe-sized ego seldom allowed him to praise a fellow composer, this remark may appear suspect. But Wagner did admire Beethoven's symphonies, even if he did resort to re-orchestrating them in places when he conducted them.  What Wagner is referring to is the emphasis put on rhythm in this symphony, and dancing is all about rhythm.

The rhythm of a piece of music is an integral part of it, but seldom is rhythm emphasized the same way as in this symphony.  But that's not the only unique aspect of this symphony.  Symphony No. 7 was completed in 1812 and premiered in 1813 at a benefit concert for wounded soldiers of the Battle Of Hanau. Beethoven conducted it himself and the work was a resounding success, especially the second movement Allegretto which had to be immediately replayed before the symphony could continue.

The work begins with a long introduction, and the movement proper begins after an ingenious transition where the orchestra passes the pitch of  E natural back and forth in different octaves and note lengths. The dance element is felt immediately when the first theme is heard in the flutes and oboes in a dotted rhythm:

This rhythm shows up throughout the movement in different guises and pitches. In the coda of the movement, Beethoven writes a gradual crescendo as this 2-bar motive appears in the violas, cellos and double basses:

This motive is played eleven times as the rest of the orchestra takes turns chattering snippets of melody over it until the crescendo is finally reached with the restatement of the dotted rhythm.  This is one of the most unique transitions in symphonic history, and some at the time did not understand it. Carl Maria von Weber, a composer that was Beethoven's contemporary, was one who did not understand it at all as he thought that it proved Beethoven was ripe for the mad house.

The second movement was originally marked Andante, but a printing error changed the tempo marking to Allegretto. Beethoven himself asked for a correction back to Andante but to no avail. The movement is not to be taken too fast, and it surely isn't 'light' in character as allegretto intimates. After a sustained chord in the woodwinds and horns, the violas, cellos and double basses begin one of Beethoven's most recognizable melodies:

 The theme is recognizable as much as for the rhythm as the pitches of the notes. This movement is one of Beethoven's most popular compositions. The tune and the rhythm wend their way through the short movement and are heard at various pitches and with interesting counter-melodies playing in the background.

The third movement is a scherzo that scampers and stomps its way until it turns into a calm trio for winds and horns playing over a gentle string accompaniment, until the horns blat out an invitation for the strings to loudly play the theme. The horns do this again, the strings loudly play the tune again, and then all fades into the orchestral scampering again.  But then Beethoven throws the listener another curve; he repeats the trio (not unique really, for he did it before in other compositions) and the scampering theme returns again.  But just when the trio begins for the third time, Beethoven cuts it short with a change of key and an abrupt ending.

The rhythmic vitality doesn't let up in the finale, as the orchestra dances away in sonata form, and once in awhile the dancing resembles peasant stomping at a village festival. A movement full of energy, it ends in a blaze of rhythmic good humor.

Alkan - Le festin d'Ésope (Aesop's Feast)

Charles Alkan's set of etudes in all the minor keys is a work of staggering proportions. The first etude is a flurry of 16th note triplets and is named 'Like The Wind. Etudes four, five, six and seven are arranged as a four-movement symphony for piano solo, and if that isn't enough, etudes eight, nine and ten are arranged as a three-movement concerto for solo piano where the first movement is 72 pages long and takes 30 minutes to perform.

The last etude in the group is a set of 25 variations on an original 8-bar theme. The title of the piece implies that the variations could represent various fables of Aesop and depict the animals in the fables. There is no program or clue outside of the title of the piece however. It is up to the imagination of the listener to provide a 'picture' of the proceedings.

This set of variations acts as a culmination to what has gone before with the other eleven etudes. As the previous etudes have been far from simple piano pieces, this final one is really complex for the pianist. But Alkan's imagination has created a most engaging set of variations that will provide the imagination of the careful listener a tour de force of pianistic music making at its highest level.

The emotional, passionate and at times witty aspects of Alkan's music need to be stressed. It is not just music that can be difficult to play (although some of it most assuredly is) but it is the passion and intensity behind it that makes it so attractive. This is the case as well with his piano music that is not as difficult. His larger, more challenging works usually get the most attention, but he wrote a great many smaller, shorter pieces for piano and was a talented miniaturist as well.      

Glazunov - Symphony No. 1

Alexander Glazunov has been called the Russian Brahms, which may or may not be a good comparison to either composer. He was one of the most remarkable child prodigies Russia ever produced. He was the son of a wealthy publisher and began piano lessons at age nine,  and began composing at age eleven.  Mily Balakirev recognized Glazunov's talent and brought him to the attention of Rimsky-Korsakov when he showed him a orchestral composition written by the young musician. Rimsky-Korsakov taught Glazunov as a private pupil beginning in 1879 and within two years Glazunov had progressed so rapidly (not day by day but by the hour) that Rimsky-Korsakov considered him a mature musician and a younger colleague.

The Symphony No. 1 was written when Glazunov was sixteen and premiered the following year in 1882. The first symphony is known as the Slavonic Symphony because of Gazunov's use of folk song like themes throughout it. The audience applauded the piece enthusiastically and when the composer went on stage to take a bow wearing his school uniform people could not believe the piece was written by one so young. In fact there were rumors started that the symphony had been written by professional composers hired by Glazunov's parents and been passed off as his own. But Rimsky-Korsakov refuted the rumors.  Glazunov and his symphony went to Europe and it was played for Liszt.  Tchaikovsky heard about the premiere and later purchased a copy of Glazunov's first string quartet and declared that the composers talent was undeniable.

Glazunov went on to become a virtuoso of the orchestra and a master of counterpoint.  He had one of the greatest musical memories ever known. He could hear a piece one time and play it perfectly, even years later. although Glazunov developed alcoholism later in life and couldn't teach without a bottle of alcohol in his desk, his phenomenal memory remained unimpaired. He went on to compose eight complete symphonies and part of a ninth. He gradually became more conservative and taught for many years at the St. Petersburg Conservatory.  He left soviet Russia in the 1920's and settled in Paris.

Dmitri Shostakovich was a student of Glazunov and relates many things that tell much about his character. He used his influence to help the conservatory as much as he could in the lean years after the Russian Revolution. He even refused a luxury apartment offered to him by the government in exchange for extra fire wood for the Conservatory so the students could be warm and learn better.

Glazunov's music suffered from neglect in the past, but is being played more in recent years. What was once considered old-fashioned can now be appreciated for its orchestral mastery and creativity.

Moscheles - Piano Concerto No. 7 ' Pathétique '

Ignaz Moscheles (1794 - 1870) was a Bohemian composer and pianist. He was born in Prague and showed a remarkable musical aptitude early on. Upon the death of his father he moved to Vienna in 1808 where he completed his studies and became a well-known pianist around town. He developed a long-lasting relationship with his idol Beethoven and was given the task of creating a piano reduction of Beethoven's opera Fidelio.  Moscheles remained lifetime friends with Beethoven and championed his music. He became friends (and rivals) with the other piano virtuosos in Vienna at the time. Moscheles also acted as an intermediary for the Royal Philharmonic Society and Beethoven. He got the society to send Beethoven some much-needed funds and to commission a symphony for them, but Beethoven died before he finished the commission.

He embarked on a European concert tour and especially enjoyed his stay in London in 1822.  He accepted an invitation from Abraham Mendelssohn Bartholdy in Berlin to give his two children, Felix and Fanny, music lessons. He was quite taken with the children, especially Felix and was instrumental in getting Felix his first exposure in London in 1829.  He said of Felix shortly after he began to teach him:

"This afternoon... I gave Felix Mendelssohn his first lesson, without losing sight for a moment of the fact that I was sitting next to a master, not a pupil."

He remained friends with Mendelssohn and taught at the Leipzig Conservatory Mendelssohn had founded. After Mendelssohn's death in 1847 he took over as leader of the Conservatory.  While Moscheles was not close to Wagner because of Wagner's attack on Mendelssohn in a pamphlet titled "Jewry in Music", (Moscheles was also Jewish) he was on friendly terms with Liszt and Berlioz, even though he had little understanding of their compositions. His own later compositions were looked upon as old-fashioned in their time, as was his method of piano playing. He was of the old school that used primarily finger work and very little body or arm weight to play, and he disliked the increased use of the pedals.

He composed 142 opus numbers, and had written pieces in most forms that were popular in  the early 19th century. He wrote eight piano concertos, with the seventh being subtitled 'Pathétique'.  It was premiered in 1835 in Leipzig. The first movement opens with an ominous bass. The piano and orchestra play off each other and key changes create a blurred kind of sonata form in which we're not sure what section we're in sometimes. The second movement is a combination scherzo-slow movement which leads to the final movement which is thematically related to the second.

Moscheles shows a mastery of orchestration and solo piano writing in this concerto that can once again be appreciated without being called old-fashioned. It is a product of its times to be sure, but there is no longer the  great divide in music as there was in the middle and late 19th century, where composers, critics and listeners were often part of a traditional conservative camp or a modern progressive camp. We can enjoy Moscheles' music for what it is; well-constructed, interesting and beautiful.

Moscheles - Piano Concerto No. 7 ' Pathétique '

Herz - Piano Concerto No. 1

Henri Herz (1803 - 1888) was born in Vienna but lived most of his life in France. He was a virtuoso pianist and composer, one of the most popular composers of his day.  He published over 200 compositions, eight piano concertos, and the rest mostly for piano and sold more pieces than any other composer for a twelve year period in the 1820's and 1830's.

He was derided in his day by no less of a composer than Schumann for his shallow and showy style of playing and composing. As Herz was selling his music at as much as four times the price of other composers (including Schumann) there was no doubt a hint of jealousy and hurt pride in the criticism. Not that some of the criticism isn't warranted. Herz's music doesn't plumb the depths of emotion, nor is it overly serious. Herz was all about writing music to entertain, and he seems to have done that quite well for his era.

He was on a world tour in 1846-1850  that included South America, Mexico, Russia and was the first major pianist to tour the United States, traveling all the way to San Francisco. He wrote a book about his American tour, My Travels in America.  Between his compositions and his touring, Herz became a very rich man. He built a concert hall in Paris and started a piano manufacturing company.  Herz was also a private piano teacher and taught at the Paris Conservatory after his traveling virtuoso days were over.

Popularity can be a fleeting thing as Herz discovered. The man himself outlasted his music and when Herz died in 1888 his music had been relegated to the back shelf. It wasn't until fairly recently that Herz has been given his due as a composer.  He himself knew he wasn't a Schumann or Chopin, but he did know how to write music that is easy to listen to and enjoy.  And the solo parts of his piano concertos do show that he was a virtuoso with a fine, light touch and critics of his day (at least the ones without bias) also said as much.

The first piano concerto in A major, written in 1828, is  a typical example of Herz's composing style. The first movement has an orchestral exposition and the soloist enters with a flurry of notes. While this music may not challenge the listener, it most assuredly can impress with the virtuosity demanded from the soloist. The second movement is a slow melody first heard in the horns and then delicately picked up by the soloist. The third movement is full of yet more piano fireworks as Herz  sprays notes and runs all through the movement.

Herz - Piano Concerto No. 1

C.P.E. Bach - Symphony For Strings In B Minor Wq. 182/5

Mozart said of C.P.E. Bach, "He is the father, we are the children", high praise indeed from Mozart who didn't have much nice to say about most composers.  Haydn also held him in high regard, and once C.P.E.'s music is heard we can understand why.

His music is full of originality, wit, depth of feeling and craftsmanship. He was also influential as a keyboard teacher and his Essay on the True Art of Playing Keyboard Instruments was used by Beethoven for his students and is still in print today.  Bach lived in a time of great change in musical style, from the learned fugue and counterpoint that his father J.S. Bach was master of, to a style more accessible, simple and tuneful, the Style Galante.  Bach wrote over 800 pieces in many different forms, including the symphony.

Bach's symphonies are written in the Italianate style, that is they are in three movements and alternate fast-slow-fast, and are descended from overtures to operas.  His other stylistic factor is that he does not follow style galante nearly as much as he follows empfindsamer Stil, or the sensitive style of composition. Bach's symphonies are the forerunners of the Romantic style in that they have more of a depth of feeling to them and are full of sudden changes of mood between the movements.

There's some question as to how many symphonies Bach wrote, but we do know that the Symphony in B Minor For Strings was fifth in a set of six string symphonies he wrote for Baron Gottfried van Swieten. Upon talking to Bach about the commission for the symphonies, the Baron told Bach to not be concerned about writing difficult music to perform. Evidently the Baron had a good orchestra at his disposal. The Baron was also a patron of three other great composers, Haydn, Mozart, and the young Beethoven.

The symphony is typical of Bach, with a first movement that flirts with the major and minor scales, is full of runs for the violins and outbursts for the entire ensemble. The second movement is a gently rocking larghetto that leads into the third movement presto with the orchestra scampering out a theme amid the outbursts from the high strings.

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.