Balakirev - Tamara

Mily Balakirev's influence as a mentor, pianist and conductor was substantial. He was the guiding light to the group of Russian composers known as The Five, and also gave advice to the young Tchaikovsky. His influence was most strongly felt in the development of nationalism in Russian music. He championed the use of Russian folk tales and literature as inspiration for Russian composers, along with a kind of orientalism that stemmed from the vast expanse of the country itself and all of the differing cultures it contained.  But his work as a composer was sporadic. He had the tendency to begin a work but not finish it until years later. His second piano concerto was begun in 1861, was taken up again years later but remained unfinished after his death in 1910 (his protege Sergei Lyapunov finished the concerto). His tone poem Tamara was started in 1867 and was completed in 1882.

Shortly after Balakirev began the work in 1867 he went through depression so severe that his friends hid all of his works in progress for feat that he would destroy them. In 1876 he had recovered enough to take up the work again but it took him another three yeas to finish the piano score. He waited another two years before he orchestrated the work and it finally had its premiere in 1883. It is dedicated to Franz Liszt and he asked for a four handed arrangement of the work for study, which Balakirev did shortly after the request.

Mikhail Lermontov

Tamara is based on the poem Tamara by  Mikhail Lermontov, a highly influential writer, poet and artist of Russian romanticism, who died in a duel at the age of 26.  Lermontov based the poem on a local legend of the Caucasus region where he had been exiled. The poem deals with a beautiful but evil princess named Tamara that lives in a tower in a ravine that the river Terek flows. She is a temptress and lures male travelers to her castle. She has sex with them all night long, kills them in the morning and throws the corpse into the river to float away.

The work begins with music that represents the water of the river. The main body of the work focuses on two love themes representing Tamara's seductiveness. Balakirev expands these two themes and develops them until the music reaches a climax as Tamara murders the traveler. The work ends as it began with the rippling of the river Terek as it carries away the corpse.

Balakirev was one of the most naturally gifted musicians of 19th century Russia, and while he was influential he may have been even more so if not for the mental illness he suffered from. After his so-called recovery from depression he was never the same person. He coped with mental illness enough to function, but he didn't really develop past the point where he was at in 1867.  Nevertheless, he managed to write some great works, with Tamara being one of the best.

C.P.E. Bach - Symphony In D Major Wq. 183/1

C.P.E Bach composed music that was at the forefront in the development of music that strayed away from the more formal Baroque style of his father J.S. Bach. He helped develop sonata form (a compositional method as much as a form) that was refined by Haydn and Mozart and perfected by Beethoven. His influence on those three composers also led to more expressive music. Bach was also a proponent of empfindsamer Stil, a rather imposing German phrase that translates as 'sensitive style.'  Some of the features of empfindsamer Stil are:

•  Music was to appeal to the emotions by the performer being emotionally involved
• Subtle nuance and shading 
• Expression of a variety of sentiments, sometimes in rapid succession
• A singing, expressive style
• Short phrases
• Frequently changing dynamic and rhythmic patterns

C.P.E Bach composed copiously in all of the musical forms of his day, including symphonies.  It is unclear how many symphonies C.P.E. Bach composed, but the number that are definitely known to musicologists is 18. His first symphonies date to about 1741 and are for strings and continuo.  His symphonic output spans over thirty years and his last known works in the form date from 1775-1776. This set of four symphonies was written for an unknown patron and are written for a larger ensemble than the early symphonies. Translated from German, the full tile of this set is named Orchestral Symphonies with Twelve Obbligato Parts. Besides the usual strings and harpsichord continuo, the symphonies call for pairs of horns, flutes, oboes and a single bassoon.  The first symphony in this set is the subject of this article. 

All of Bach's known symphonies follow a three movement plan of fast-slow-fast, and all have a part for continuo but it plays a much smaller role in the later symphonies.

I. Allegro di molto - The symphony opens with the 1st violins playing the tonic note of D with the first measure being a whole note and then alternating D's in syncopation in a procession of shorter notes while the rest of the strings play arpeggiated D chords  until all the strings play D's. The 1st violins repeat the pattern but this time play an F# while the rest of the strings play arpeggiated B minor chords. The pattern repeats, 1st violins play a B while arpeggiated G chords are played by the rest of the strings. The 1st violins then play a C natural and the winds make their entrance and the full orchestra finds its way back to G major. The instruments take their turn in the music that leads up to an interlude for the woodwinds. The strings then take up an agitated theme that is punctuated by the woodwinds. Another theme appears that is just as agitated in  a major key, which leads to the end of the exposition. Bach wrote no repeat for the exposition, so the development begins straight away. The material from the exposition is commented on and developed. The recapitulation then begins and as the movement ends, it gently segues into the next movement.

II. Largo - Bach asks the continuo to be silent in this movement, a slow and gentle tune. The calm mood doesn't last long, as this movement leads directly to the finale.

III. Presto - A rhythmic dance-like movement that Bach repeats. After the repeat there is a short coda that wraps up the symphony.  

Telemann - Viola Concerto In G Major

The viola's usual role in the symphony orchestra is to fill the inner voices and add depth and tone color to the string section as its range is approximately between the violin and cello.  The instrument poses a problem to players as it would be too ungainly if it were built to scale with the other two members of the violin family; too big to play comfortably on the arm like a violin, too small to play between the knees as a cello.  So the viola is an instrument of compromise as it is built to be playable on the arm while supplying the middle range of notes. This is done with larger diameter strings and a body large enough to project its tone.

Viola technique is somewhat different than violin technique in that there is a larger span needed for the fingerboard and more pressure must be applied to stop strings on the fingerboard, and more pressure as well on the bow to make the string sound. The larger diameter and longer length of the strings also make the viola slightly slower to 'speak'. The viola is the only member of the violin family that does not have a standardized size, probably because of the problems in playing the instrument, especially for players with short arms or small hands.

J.S. Bach loved to play the instrument as did Mozart, and because of that it has been called a composer's instrument. No doubt being in the 'middle' of the harmony is what attracted composers to the viola, but besides a few notable exceptions the viola has not been used as a soloist in concertos. Berlioz's Harold In Italy is one of those exceptions, and that composition isn't so much a viola concerto as a symphony with viola obbligato.   One of the earliest examples of a viola concerto is by Telemann. His Viola Concerto In G Major was written probably between 1715-1720 and is still performed today. 

Instead of writing the concerto in the 3-movement fast-slow-fast form used by Vivaldi and other composers of the time, Telemann used the older 4-movement church sonata form of slow-fast-slow-fast. Telemann lived a long life and was one of the composers that created a bridge between the Baroque style and the newer style galant that led to the classical era of music by Haydn and Mozart.

I. Largo - This opening movement makes good use of the viola's mellow tone. The string orchestra plays a ritornello, a short tune repeated by the orchestra, as the viola plays between the repeats of the short tune. The ritornello is repeated a few times, the viola comments, and the movement ends.

II. Allegro - A melody is played by the strings, the viola has its say in this short movement that is also in ritornello form, a favorite of Baroque composers. Baroque composers were aware of what other composers in other countries were writing. Vivaldi was a great influence on German composers as can be heard in Vivaldi-like allegro.

III. Andante - The viola sings a slowly moving song in G minor as the strings gently accompany. 

IV. Presto - A movement of high energy as the strings start things off and the viola joins in. 

This concerto shows to good effect what ritornello form was capable of in the hands of a master. This viola concerto has been one of Telemann's most popular works, most likely because Telemann has managed to span the centuries by composing a piece that is Baroque in the best sense of the word while also writing with a lightness that appeals to the more modern listener.  

Beethoven - String Quartet No. 8 In E Minor Opus 59, No.2

Prince Andrey Kirillovich Razumovsky was a representative for the Russian Czar that was stationed in Vienna for many years. He was also a great music patron and musician himself. He commissioned Beethoven for three string quartets (the prince played second violin in his own in-house quartet) and asked the composer to include a Russian theme in each one. Beethoven's String Quartet No. 8 is one of the three works that came to be known as the Rasumovsky Quartets of opus 59.

Beethoven wrote all three quartets in 1806, a very busy year for him. Besides these three quartets he composed the 4th Symphony, 4th Piano Concerto, Violin Concerto, the 32 Variations On An Original Theme, and the 'Appassionata' piano sonata. The quartets were first played in 1807 they were not received very well. The leader of the quartet that played the premiere, Ignaz Schuppanzigh, was amazed by the quartets, and the listeners at the premiere were more than amazed. Some were confused, and some thought Beethoven was playing a joke on them.  But over the years these quartets have gained in reputation. In 1855 German author Wilhelm von Lenz  wrote about these three quartets in his book 'Beethoven And His Three Styles' :

Prince Razumovsky

"The three quartets dedicated to Count Rasoumowsky (sic) are the natural fulfillment of the promise of the symphonies and the piano sonatas, but a greater achievement, since the form of the quartet is less adapted to innovation of style than either the sonata or the symphony… the content of these quartets is as great as the content of the symphonies, only the medium is different."

The String Quartet No. 8 is in 4 movements:

I. Allegro - The movement is in sonata form and opens with two abrupt chords. These chords appear throughout the movement, sometimes in the foreground, sometimes in the background, sometimes varied in key, sometimes not. Beethoven's skill as a composer gave him the power to use very short snippets of music as building blocks for entire movements. The first theme proper appears, punctuated by rests and drama. The second theme is in contrast to the first as it is in the major and more legato, but even this theme has a certain amount of bite to it. The repeat also includes the two abrupt chords. The development section begins with the two abrupt chords, this time in the major. These two chords go through a short development after which the rest of the two themes are developed. The recapitulation is ushered in, and the themes move quickly to one last statement of the opening bars that lead to the quiet ending of this dramatic movement.

II. Molto adagio -  Besides the tempo designation, Beethoven wrote this direction to the musicians: "Si tratta questo pezzo con molto de sentimento" (This piece must be played with much feeling). Beethoven's student Carl Czerny wrote:

"The Adagio, E Major, in the second Razumovsky Quartet, occurred to him when contemplating the starry sky and thinking of the music of the spheres"

Beethoven crafted this movement so well that the music unfolds seamlessly. Czerny's comment describes the music better than I ever could.

III. Allegretto - Beethoven  doesn't label this movement a scherzo. It has a few characteristics of one, but it is not a typical Beethoven scherzo. It's mood is not hurried, and somewhat disembodied. The ghostly mood is broken with the trio which is where Beethoven uses a Russian theme based on a Russian patriotic song. Mussorgsky, Rachmaninoff , Tchaikovsky, and Stravinsky also used the song in their compositions.

IV. Finale : Presto -  A movement in a type of rondo form. The opening dance-like theme occurs throughout the movement with episodes interlaced. The opening theme finally ends the movement with a final appearance and a short, rapid ending.

It is hard if not impossible for us to imagine the impression these quartets made the first years of their existence. They were longer than most traditional quartets up to that time. The difficulties they made on the players, both technical and musical, made them less likely to be taken up by amateurs as many quartets before them were. All three are masterpieces in their own way. Beethoven's string quartets eventually changed the way listeners listened and players played.

Dvořák - Piano Quintet No. 2 In A Major, Opus 81

Antonín Dvořák began his musical career as a violist in the National Theater Orchestra in Prague, and played in a concert of Richard Wagner's works that was conducted by Wagner himself. He began composing as a child, and his first documented composition as an adult was his string quintet written in 1861. After his marriage in 1873 he retired from the orchestra and took a position as a church organist in Prague. This new position gave him financial security and more time to devote to composing.

Included in the list of chamber works composed by Antonín Dvořák over a period of practically 30 years are two works for piano quintet. Both are for piano, two violins, viola and cello, and both are in the key of A major. Fifteen years separate the two works and it was Dvořák's intention to revise the first quintet as he had not been satisfied with it, but changed his mind and decided to write an entire new work.  The work was composed late in 1887 and premiered the following January.

Along with Smetana, Dvořák used his native Czech music as an inspiration for his compositions. He doesn't always use authentic Czech melodies, but he wrote in the style of Czech music and used Czech musical forms in his works, including the Piano Quintet No. 2. Dvořák  infused the rhythms of idealized peasant dancing throughout the work and has created one of the masterpieces for the combination of piano and string quartet.The quintet is in 4 movements:

I. Allegro ma non troppo - The work begins with a gentle, lyrical theme played by the cello, but the mood suddenly shifts with the passionate uttering of a violin. The lyricism reappears in the piano and is taken up by the violin.Another outburst, this time from the piano. New material is introduced by the cello,  taken up by the violin and piano in turn. The music turns more dramatic and passionate, and the entire sequence is taken from the beginning. After the repeat, the exposition of the movement in Dvořák's creative use of sonata form leads to the development section.  The previous material is varied and expanded and has a seamless flow to it that leads to the recapitulation and ending of the movement. The entire movement has a wealth of thematic material, alternates between drama and calmness, energy and lyricism. It is a masterpiece of compositional skill and artistry.

II. Dumka : Andante con moto -   Dumka is a type of dance, the name taken from the Ukrainian language and in music it originally means a piece in a melancholy mood. When Dvořák and other Slavic composers incorporated it into their compositions, its form changed to a melancholy tune interrupted by music of a more cheerful nature. It is essentially a rondo by a different name, at least in this case.

III. Scherzo (Furiant): Molto vivace - A Furiant is another type of dance that sometimes follows the Dumka. By its nature it is in contrast to the Dumka as a Furiant is a fast and furious dance with shifting accents. Dvořák uses the form of a scherzo for his Furiant. The middle section or trio of the piece is much slower in tempo than the first part of the movement, but it is made from the theme of the furiant itself.

IV. Finale: Allegro - Again Dvořák treats the listener to a wealth of themes, some of them similar in mood to another Slavic dance, The Polka. These themes are developed throughout the short movement and one is even given a fugal treatment. The music shifts from major to minor key, in mood from exuberant to calm, giving the movement a sense of tonal color. The music shifts the mood to slow and reserved before it grows in intensity with what could be thought of as an energetic stomping of dancing feet for a grand ending to the piece.

Gottshalk - The Banjo

In many ways American music has its roots in the rhythms and practices of black folk musicians.  The blacks who were sold into slavery from their native Africa brought their rhythmic folk music style along. From the Caribbean sugar plantations to the plantations of early America, the rhythms, tunes and (in the case of the Banjo) the instruments of the transplanted Africans influenced local music. The ragtime phenomenon of the late 19th century came from African American piano players that plied their trade in the only places they were allowed; black bars, saloons and houses of ill-repute. Eventually their music made its way to Europe where it influenced Debussy and other composers. In The United States, Antonín Dvořák was exposed to African music and wrote a string quartet and symphony that were inspired by it.

But the influence of African music began much earlier and is reflected in the music of Louis Moreau Gottschalk who was born in New Orleans to a Jewish father and creole mother, in 1829. He heard black musicians while a child, and as an adult traveled extensively as a virtuoso pianist in the United States, South America and the Caribbean countries. He observed and absorbed the local music wherever he traveled, and incorporated much of it in the music he composed and played on his tours. He composed The Banjo, A Grotesque Fantasy (the full title of the piece) around 1853 and it is arguably his most well-known piece.

Gottshalk may have based the work on a banjo player he heard in person. Some scholars have argued that Gottshalk's duplication of pre-Civil War banjo playing is an authentic representation of actual banjo technique, a point author Paul Ely Smith makes in his essay Gottshalk's 'The Banjo' op. 15, and the Banjo in the Nineteenth Century.

The piece begins with a short introduction that is actually a snippet taken from the tune at the very end of the piece. After this introduction, a short phrase is repeated in variation, the short introduction reappears in octaves and the section is repeated. After the repeat, the finale is played which consist of variations on the chorus of Stephen Foster's song Camptown Races, the tune that the introduction of the piece is taken from.

The Banjo is a short and quite serious in its difficulty, but its influence on American music is immense. Gottshalk's music in general and The Banjo in particular, was the forerunner of the quintessentially American musical idioms of jazz and ragtime.

Mozart - Piano Sonata No. 8 In A Minor K.310/300d

In the time of Mozart, most musicians were employed by  the church or by royalty.  Either way, musicians of the time were in the same class as servants, maids and butlers. Mozart's contemporary Haydn was employed by the royal Esterházy family at the court in Hungary on either a full time or part time basis from 1761 to 1802.

Mozart also worked for a royal employer, Prince-Archbishop Hieronymus Colloredo in Salzburg, Mozart's birthplace. Mozart spent his early childhood touring Europe as a child prodigy and spent some time in Italy studying music. When he returned to Salzburg he was hired as a court musician when he was seventeen years old.  Because of Mozart's strained relations with the Archbishop over salary and other matters, he resigned his position at court when he was twenty and planned to tour Europe once again in search of employment. Mozart ended up in Paris with his mother while Leopold stayed in Salzburg to try and find a better position for his son.

Mozart's trip to Paris produced no opportunities for employment. He performed little and composed little. He was reduced to pawning some of his personal effects for money to get by on.  To add to his miseries his mother became ill and after three weeks died in Paris in 1778. The Piano Sonata No. 8 was most likely a product of his sorrow over the loss of his mother.

Mozart wrote few major pieces that were in minor keys, only one other piano sonata besides this one is in a minor key. It is in three movements:

I. Allegro maestoso - The movement is in sonata form and begins straight away with a dotted theme accompanied by eighth note chords in the bass

The theme progresses at a restless pace until the second theme appears in the key of C, the relative major of the home key of A minor. While this theme is in a major key, the restlessness of the opening continues. After the obligatory repeat, the development section begins with the first theme being heard in C major. The music modulates and shifts to a minor key as the first theme is developed briefly. The recapitulation begins and after the restatement of the first theme along with transitional material, the second theme reappears, this time in the minor. There is a short coda that emphasizes the dotted rhythm of the opening that is punctuated by the bass moving in 16th notes until the final A minor chords.

II. Andante cantabile con espressione -  This movement is in F major and begins with simple elegance that stands in sharp contrast to the darkness of the first movement. But roughly half way through the movement the music returns to the restlessness of the first movement. The music returns to simple elegance as it sings its way to the end.

III. Presto - The finale is written in rondo form. A striking theme opens the movement that reflects the turmoil of the first movement, but by different means. The music is relentless in its pursuit of expression. There is a brighter section, but the music returns to the opening theme. The theme bounces into the bass momentarily, and after a few more comments the music ends as it began, in the key of A minor.