Loewe - Two Ballads

Carl Loewe composed in most of the genres of his day, but he is most remembered for his over 400 songs for voice and piano. He was called the Schubert of North Germany, and exerted a great influence on German lieder composers in the 19th century.  Loewe was also a fine pianist as well as baritone, conductor and composer, and his songs are known for the imaginative effects in the  accompaniments.  His ballads were very popular in the 19th century, especially in Germany where they remain in the lied repertoire.  With the coming of modern scholarship and recordings, Loewe's music is being heard more often outside Germany.

The text for the ballad Edward Opus 1, No. 1 originated in the British Isles. There are many versions of this poem in England, Scotland, and Ireland and there are also very similar ballads in Northern Europe.  The poem was many centuries old before it was put on paper in 1765.  The German poet Johann Gottfried Herder translated the poem to German, the version Loewe used in his setting of the poem.

The poem is a dialogue between Edward and his Mother. After his Mother presses him where the blood on his sword came from, Edward confesses that he has killed his father. After the Mother continues to ask questions, this time about what will happen to his wife, children, towers and house, his Mother asks what will he do for his Mother dear. Edward replies she will recieve the curse of hell, and it is then that he accuses his Mother of counseling him to murder his father. 

Edward

"Why does your sword drip with blood,

Edward, Edward?

Why does your sword drip with blood

And why are you so sad, O?"

"O, I have killed my hawk so good,

Mother, Mother;

O, I have killed my hawk so good,

And I have no more, O!"

"Your hawk's blood was never so red,

Edward, Edward!

Your hawk's blood was never so red,

My dear son, I tell you, O!"

"O, I have killed my red-roan steed,

Mother, Mother;

O, I have killed my red-roan steed,

That was once so fair and free, O!"

"Your steed was old, and you have more,

Edward, Edward!

Your steed was old, and you have more,

Something else troubles you, O!"

"O, I have slain my father dear,

Mother, Mother;

O, I have slain my father dear,

Alas and woe is me, O!"

"And what penance will you do for that,

Edward, Edward?

And what penance will you do for that,

My dear son, now tell me, O!"

"I'll set my feet in yonder boat,

Mother, Mother;

I'll set my feet in yonder boat,

And I'll go over the sea, O."

"And what will you do with your towers and house,

Edward, Edward?

And what will you do with your towers and house

That were so fair to see, O?"

"I'll let them stand till they fall down,

Mother, Mother;

I'll let them stand till they fall down,

For here will I never be, O."

"And what will you leave to your children and wife,

Edward, Edward?

And what will you leave to your children and wife,

When you go over the sea, O?"

"The world has room, let them beg through life,

Mother, Mother;

The world has room, let them beg through life,

For never more will I see them, O."

"And what will you leave to your mother dear,

Edward, Edward?

And what will you leave to your mother dear,

My dear son, now tell me, O!"

"The curse of hell from me shall ye bear,

Mother, Mother;

The curse of hell from me shall ye bear,

For the counsel you gave to me, O!"

The link below is of the German bass Kurt Moll singing the ballad with an orchestral accompaniment:

Moll's interpretation is classic, and his deep bass voice suits the music quite well. At the other end of the spectrum is the 1932 version done by Lawrence Tibbett. This version uses the original piano accompaniment. Tibbett also sings in the dialect that the poem was written in when published in 1765.  In comparison to Moll's more contemporary interpretation, Tibbett's is much more free musically in tempo and is over the top dramatically, some might even say to the point of going too far. But his version is certainly not boring:

Totendanz, Opus 44, No. 3 is set to parts of a poem by Johann Goethe who wrote the poem in 1813.  The poem is not only in the tradition of the dance of death that runs through European culture for centuries (an aftermath of the changes in society created by the Black Death ), but Goethe infuses it with some black humor as a night watchman at first just watches the skeletons shed their shrouds and dance. But a voice whispers in his ear to take one of the shrouds, which he does. As the skeletons end their dance, they all grab their shrouds and go back to their graves except for the one that had his shroud taken by the watchman.  The skeleton climbs up the tower wall, and as it corners the watchman, bells toll out and save the watchman as the skeleton shatters into pieces.

Totendanz

At dead of night the watchman on the tower

looks down on the row of graves.

The moon has made everything bright,

the churchyard is as if in daylight.

One grave stirs, then another;

out they come, here a woman, 

there a man, in white

trailing winding sheets.

Now intent on pleasure, they stretch

their bones in around dance.

Poor and young, old and rich,

their trains hinder their dance.

Since they have no need of shame,

they all shake them off and the 

shrouds lie scattered 

over the burial mounds.

Now shanks stir and legs totter,

there are crazy antics and 

now and then clicks and clacks

as if castanets were beating time. 

To the watchman it seems ludicrous,

and the artful Tempter whispers in his ear,

"Go out and seize one of the shrouds!" No sooner said

than done, and he retreats behind hallowed doors.

The moon shines brightly on the hideous dance,

but at last  they disperse, and  one by one

slip back into their clothes and scurry

back under the turf.

Finally only one is left, tripping and stumbling,

fumbling and groping at the graves,

but none of hiss fellows has wronged him.

He smells the grave cloth in the air. 

He rattles the tower gate, but is repulsed,

fortunatley for the watchman,

by holy ornaments

shining with metal crosses.

But he has to have his shroud and will not rest,

nor is there time for lengthy reflection.

The creature grasps the Gothic decorations

and clambers from coping to coping.

Poor watchman, he's done for now!

Up it climbs from turret to turret like a long legged spider.

The watchman blenches and trembles, gladly

would he give the shroud back! Now -can anything save the watchman!

A corner of the shroud catches on an iron spike,

already the moon is clouded over, the light fades,

the bell thunders out a mighty stroke of ONE!...

And the skeleton is dashed to pieces below.

C.P.E. Bach - Six Spiritual Songs

C.P.E. Bach is most well known for his instrumental works, of which his most prolific genre is the works for solo keyboard with over 400 pieces.  But it may be a surprise to learn that his second largest genre of works was his output of songs, with over 250 works.  Bach's role as a transitional composer applies to his songs as well as other genres. To be sure, songs had been written before his time, but the style of accompaniment for earlier songs was a holdover from the Baroque era, a continuo accompaniment that could be played by a bass instrument that included numbers (a figured bass) that were an outline for harmony to be filled in by a keyboard.  Bach wrote out his accompaniments in full to his later songs and made them specific for a keyboard instrument.

Bach was very discriminating towards the texts that he set to music. Many of the texts he used were spiritual or sacred in nature.  One of the poets he set to music was Christoph Christian Sturm, German writer and preacher. Geistliche Gesänge (Sacred songs with melodies) is a set of two volumes of Sturm's poems (thirty in each volume for a total of 60 songs) that Bach set to music in 1780 and 1781.  Many of the songs are strophic; the music is the same for each verse of the poem.  Bach did not always set all the verses of a poem, and performers did not always perform all the verses that were contained in a song.

1) Über die Finsterniss kurz vor dem Tode Jesu (On The Darkness Shortly Before Jesus' Death) Wq. 197, No. 29

Christoph Christian Sturm

 Bach did not always set every verse of a poem, and performers did not always perform all the verses that were contained in a song. This is part of the tradition of these songs to this day, and  the performance linked at the end of this post has only the first verse of the song performed.  Modern scholarship has seen more awareness of the tonal colors C.P.E. Bach was familiar with. With most of Bach's songs being intended for private performance in a household or a very intimate venue, the keyboard instruments of his time are often utilized in performance. The first five songs in the linked video are accompanied by a tangent piano, a keyboard instrument that was a hybrid between piano and clavichord.

Night and shadow cover
the mediator's face,
and the soul cannot bear
the soul's terror!
Oh, how he feels the despair
for joy and light!
Father, oh how long
must your face remain hidden!
Lord, have mercy!
God, have mercy!

Christian Gellert

Geistliche Oden und Lieder (Spiritual Odes And Songs) are a collection of poems written by Christian Fürchtegott Gellert, who was a German philosopher and poet that helped usher in the Golden Age of German literature that culminated with the writings of Schiller and Goethe. Despite that he could be exceedingly wordy, his works were very popular. C.P.E. Bach admired Gellert's works so much that he set all fifty four poems of the first volume in 1758 as well as a supplement of twelve poems in 1764. Bach himself wrote a preface for the first edition of the work that conveys his purpose in setting the poems:

It would be superfluous to add more praise to the famous author of the text, since his work has already received much recognition. However, it can not be thankful enough fully convinced of the distribution of this collection and its enormous advantage. I for my part, have been very moved by the excellence of the noble and instructive thoughts contained in these texts and felt compelled to set all of them to music. It is common knowledge that didactic odes are not so easily set to music as lyrical poems. However, if didactic odes are as beautifully written as by Mr. Gellert, one feels compelled to make every effort to beautify their purpose, so that their use will be more widely circulated. It is solely for this reason that I composed these melodies. My main objective was to allow these odes to be more accessible and enjoyable for music lovers...

The melodies, which show directions such as 'alive', 'happy', et al. require a moderate pace, otherwise one can easy fall into a bold interpretation and can be easy to forget that these are religious songs Last but not least, I hope again for the approval of the experts and would be very grateful if my good intentions would be recognized.

2) Prüfung am Abend (Reflections In The Evening) - WQ. 194, No. 7
The day has gone again, and so thus far in my life,
how have I spent it? Has it passed by in vain?
Have I seriously strived after good?
Have I, perhaps only obeyed myself and not my duties?

God, who knows everything, what could I conceal from You?
Every day I still feel the frailty of my soul.
Forgive my breach of duty through Christ's blood;
Forgive and do not pronounce judgement on me.

Yes, You forgive the one who is wounded by his sins;
You love mercy and You will have mercy on me, too.
You protect me this night as well;
if I live, I live for You, if I die, I die for You!

3) Trost der Erlösung  (Consolation Of Redemption) - Wq. 194, No. 30
What cannot be explained by thought
the heart is able to understand.
"That God so loved the world that He gave
his only begotten son."

Give me the comfort to know that Jesus Christ
on the cross removes the blame from me,
that He is my redeemer
so that I am not filled with fear.

I know that my Redeemer lives,
that when I rise from the grave
I will see Him in the flesh.

4) Paßionslied - Erforsche mich, erfahr mein Herz (Passion Song - Search within me, inspect my heart) - Wq. 194, No. 14
Search within me, inspect my heart
and see, Lord, who I am.
I think of the pain of your suffering,
of your love, and I weep.
Your cross shall be praised!
What a miracle of mercy
have you given the world.
When have I ever thought of this enough,
and when have I ever, with all my strength,
praised you for it enough?

A victim, according to the old scripture.
burdened with our afflictions,
for you people's iniquity
tormented and beaten.
You are taken away to the cross
in innocence, like a lamb,
that leads to the slaughter.
Voluntarily as the hero's hero.

Your head falls. It is accomplished.
You die, the earth trembles.
This I have made you do.
Lord, my soul is shaking.
What is man, that you free him?
Oh, if only I could be truly thankful;!
Lord, let me find mercy.
And your love shall press me
so that I love you back,
and never crucify you again with my sins.

5) Abendlied - Herr, der du mir das Leben (Evening Song - Lord, you have given me my life) - Wq.194, No. 32
Lord, you have given me my life.
Until this day,
I pray to you like a child!
I am much too undeserving
of the loyalty that I sing of,
which you have shown me today.

Covered with your blessing
I hurry towards my rest,
your name shall be praised!
My life and my end
is yours; into your hands
Father, I commit my spirit.

6) Bußlied  (Song Of Penance) Wq. 194, No. 46
This final song in the video is sung to the accompaniment of a clavichord, reportedly Bach's most favorite keyboard instrument. It is an instrument that is capable of much nuance and expression, but in a very subdued tone.

Against you I have sinned
And often done evil in front of you.
You see the guilt,
Which declares my curse,
God. also look at my misery!

To you my pleading
My sighing is not hidden,
And my tears are in front of you,
Oh God, my God,
How long must I worry?
How long will you be absent from me?

Lord, do not treat me
As I deserve because of my sins,
Do not punish me for my guilt.
I seek you,
Let me find you,
God of infinite patience.

Soon you will fill me
With your grace,
God, father of mercy.
Make me glad for the sake of your name,
You are a God that gives delight.

Allow me on your path
Wander again with joy,
And teach me your holy law,
So I can every day
Do what pleases you.
You are my God, I am your servant.

Schubert - Three Songs, Opus 4

Schubert had an exceptional drive to compose at every possible opportunity, almost an obsession for writing music. Schubert said himself that:

I compose every morning, and when one piece is done, I begin another.  

Despite the few years of life he had, he developed his talent to a remarkable degree.  When Franz Schubert died in Vienna in 1828 even his close friends had no idea of how much music he had written. He wrote in almost every musical genre of his day,  and it wasn't until the last few years of his life that his works were beginning to be published. It wasn't until 1951 when research done by Otto Erich Deutsch resulted in the publication of a comprehensive catalog of Schubert works that the tremendous number of Schubert works were known.

During his lifetime Schubert was known for his songs; it is the genre that he wrote the most in with over 600 songs to his credit.  His songs were the first compositions to be published, beginning in 1821 with his setting of Goethe's poem Der Erlkönig. The three songs of opus 4 were published in 1822 and included Der Wanderer (1816) , Morgenlied (1820), and Wandrers Nachtlied I (1815). 

The Wanderer, D. 489 -  Schubert had a genius for being able to read a poem and setting it to music. Sometimes the poems he set were of the highest quality by poets such as Goethe, but he was adept at making the most of any poem that set his musical imagination to composition. The poem Der Wanderer was written by  Georg Philipp Schmidt von Lübeck who was something of a Renaissance man. He was born to an old merchant family, studied law, medicine, was an astute business man and politician.  He was also a man of letters who wrote on historical subjects as well as poetry. By the time Schubert wrote this song he had written over 300 songs as well as numerous cantatas for solo voices and choirs ans well as part songs with piano accompaniment. He used the experience of writing all of these vocal works and no doubt his experience of listening to opera and created a song with operatic overtones and a concentrated opera aria structure. It was one of Schubert's most popular songs in his lifetime and still resonates with audiences today.

Georg Philipp Schmidt von Lübeck

The Wanderer
I come down from the mountains,
The valley fills with mist, the sea roars.
I wander silently and  unhappily,
And my sighs always ask "Where?"

The sun seems so cold to me here,
The flowers dead, life old,
And what they say has an empty sound;
I am a stranger everywhere.

Where are you, my dear land?
Sought and brought to mind, yet never known,
That land, so hopefully green,
That land, where my roses bloom,

Where my friends wander.
Where the dead ones rise from the dead,
That land where they speak my language,
Oh land, where are you?

I wander silently and unhappily,
And my sighs always ask "Where?"
In a ghostly breath it calls back to me,
"Where you are not, there is happiness."

Morning Song D. 685 -  A man of many accomplishments, Zacharias Werner studied law, was appointed a government post for tow years until he resigned and traveled widely. He became acquainted with Goethe and other literary artists while traveling, and while in Rome converted to Roman Catholicism and was consecrated a priest.  He was also a playwright, and Schubert got the poem from Werner’s play The Sons of the Valley. This song was also popular in Schubert's time, but it doesn't age very well, at least the lyrics.

Morning Song
Before the sun rises early,
When from the sea mist
The morning breeze wafts up and down,
When dawn, armed with it shining spear, leads forward,
Little birds flutter here and there,

Zacharias Werner

Sing joyfully in all directions
A song, a jubilant song.

"What so delights all you birds,
So happy in the warming rays of the sun?"
"We are happy that we live and exist,
And that we are companions of the air,
According to time-honoured custom
we flutter joyfully through the bushes,
Wafted about by the lovely morning breeze,
Whose caress is also enjoyed by the sun."

"Why do you little birds sit so silent and crouched down
In your mossy nests on the roof?"
"We sit because the sun no longer takes notice of us,
Night has already been enveloped by the waves,
The moon alone, the lovely light,
The sun’s lovely reflection
Does not leave us in darkness,
Wherefore we rejoice quietly."

O youth, cool morningtide,
Where we, our hearts wide open,
With senses quick and waking
Delight in the freshness of life,
Now you have fled!
We old ones sit alone crouching in our nest,
But the lovely reflection of our youthful days,
Where we delighted in early dawn,

Johann Goethe

Never leaves us even in old age,
But fills us with the quiet, joy of the senses.

Wanderer's Nightsong I,  D. 224 -  Schubert chose a poem written in 1776 by the ultimate German poet Johann Goethe. Goethe wrote two poems named Wanderer's Night Song, this one is the first. Schubert also set the second poem to music.  Schubert achieves a calmness and beauty in this short song that is remarkable considering he was only eighteen when he wrote it.

Wanderer's Night Song I 
You who are from heaven,
who eases all pain and sorrow,
and the doubly wretched
you fill with doubly with fresh vigor.
Ah, I'm tired of restless life!
For what is all this pain and joy?
Sweet peace,
come, ah, come into my breast!

Mussorgsky - The Seminarist

Modest Mussorgsky, one of the great natural musicians of the 19th century,  died of alcohol-induced epilepsy in 1881 at the age of 42. He began his early adult life as an officer in the Russian military, but after serving only a year or two resigned his commission and began to devote himself to music. Mussorgsky had been a child prodigy on the piano, but his technical training in musical theory, harmony and counterpoint was sparse.

Mussorgsky planned and began many more compositions than he ever finished. He either planned or began eleven operas, but he completed only one, the well-known Boris Godunov, that for many years was only heard in Rimsky-Korsakov's version done after Mussorgsky's death.  He wrote many pieces for piano solo and his best-known work Pictures At An Exhibition is more well known in the orchestration done by Ravel than the original piano version.

One area of composition in which he excelled was songs for voice and piano, of which he wrote over 70 examples. He was the first great song composer that integrated the inflection and stress of the Russian language with music.  He wrote his first songs while still a teenager, but it wasn't until 1866 that he became adept as a composer of unique songs in and for the Russian language.

He wrote The Seminarist in 1867 and it is set to Mussorgsky's own words. It is a comic song that deals with a young seminary student's ardor for a priest's daughter. The song begins with monotonous chanting of Latin nouns, an exercise seminary students were put through to teach them Latin. This chanting of Latin nouns occurs throughout the song, and interspersed with the chants are the amorous dreamings of the seminary student as well as the thumping he receives from the girl's father after he catches the seminary student flirting with her during church. The Russian Orthodox Church censor banned the song from being circulated or printed in Russia as the song was considered to be disrespectful of the church. Mussorgsky wrote two versions of the song, and the church banned both versions, to Mussorgsky's delight:

The Seminarist
Panis, piscis, crinis, finis, ignis, lapis, pulvis, cinis…
Woe is me! Woe is me!
Orbis amnis et canalis, orbis amnis et canalis...
The priest gave me a thumping,
And blessed me with a beating,
And made me lose my memory with the blow of his holy hand.
Fascis, axis, funis, ensis, fustis, vectis, vermis, mensis…
The priest Semyon has a beautiful daughter,
Her cheeks are rosy, Her eyes are sensual,
Her breast like that of a swan,
That swells under her shirt.
Fastis, axis, funis, ensis, fustis, vestis, vermis, mensis…
Ah, Styosha, my Stoyosha,
How I would kiss you,
And embrace you!
Postis, follis, cucumis, atque, pollis, atque pollis, cucumis, cucumis… 
The other day during the service for holy and
famous Mitrodora
I read a part of the Scriptures.
But peeped at Styosha all the time
And glanced at the left side of
the choir stall and gave her a wink.
Then her devil of a Father saw it
and wrote it in his little book,
And my master blessed me three times
on the ears,
And with all his power beat the Latin lessons into my head with a stick.
Orbis, amnis, et canalis, et canalis, sanguis, unguis, et canalis, et canalis… 
Thus it was that I happened to experience temptation
from the devil In God’s own holy temple.
Amnis et canalis, sanguis, unguis, et canalis, et canalis, et canalis…..
.

Bruckner - Symphony In F Minor

Symphony in F Minor was Bruckner's first attempt in the form. Bruckner wrote it as part of an assignment from his last composition teacher Otto Kitzler. It was written in 1863 and was never performed in Bruckner's lifetime. In fact, the symphony wasn't performed until 1924, and didn't have its first modern performance until 1974.  It was one of only two symphonies that Bruckner did not write after he moved to Vienna.  It was Otto Kitzler, cellist, conductor and teacher, that introduced Bruckner to Wagner as well as other composers by way of using examples of their music in his lessons.  Bruckner was ten years older than Kitzler, and they remained friends until Bruckner's death in 1896.

Although Bruckner dismissed the Symphony as Schularbeit (Schoolwork), he never destroyed it in later years as he did with other works that didn't please him.  As it is the first symphony known to have been written by Bruckner, whether the music was good or bad wouldn't detract from its curiosity value. But the symphony shows flashes of the Bruckner to come as well as the composers that had an early influence on him.

The symphony is scored for woodwinds in pairs, four horns, two trumpets, three trombones, timpani and the usual complement of strings. It is in 4 movements:

I. Allegro molto vivace - The symphony begins with a quiet, short motive in the strings that is answered by a louder motive in a fuller orchestration. These two motives comprise the first theme and are repeated along with other material until a second more flowing theme is given in the strings. The woodwinds then take up the second theme until it is brushed away with a loud motive in the brass. Yet another motive is played by the oboe and signals the end of the exposition, which is not repeated (at least in the recording linked at the end of this article, for the repeats are in the score). The development section perhaps shows more craft than inspiration. The opening motive pops up in the horns along with other material. Motives and fragments of themes come and go until a seamless segue to the recapitulation begins. Changes in key along with different lead-ins to themes give variety as the music moves to a coda that refers to parts of themes before the music increases in volume and ends.

II. Andante molto -  Bruckner was known for his adagio movements in his symphonies and glimpses of the great slow movements that were to come can be heard in this second movement.  The opening leads to a theme played by a pleading oboe. Bruckner alternates violins with woodwinds with a gentle lower string accompaniment. The music has a continual melodic feels until a minor key episode interrupts. The woodwinds and horns try to change the mood, but the minor key interruption returns but only briefly.  The music from the beginning of the movement is heard again and it is then that the listener realizes that this movement is also in sonata form, for this is a recapitulation. A coda further develops fragments of themes until the opening motive leads to a quiet ending with horn and timpani.

III. Scherzo, Schnell -  This is the movement that foreshadows the kind of music Bruckner was going to compose.  This scherzo already has the rhythmic drive and qualities of dynamics of the later Brucknerian scherzos, although not quite the intensity.  The trio section is in a slower tempo and in contrast to the scherzo, and shows the influence that Schumann had on Bruckner at this time.

IV. Allegro -  This may have been the movement that Kitzler meant specifically when he said the symphony was uninspired, for as a whole the movement isn't one of Bruckner's better works. But he was still a student (a 39-year old student at that) and as his following symphonies show, he was a fast learner.  It is in sonata form, and like the first movement the recording linked to does not repeat the exposition. The coda shifts the key to F major from F minor and the work ends with full orchestra.

Beethoven - Seven Bagatelles, Opus 33

The Romantic vision of Beethoven with wild eyes and disheveled hair hunched over his writing desk illuminated by an almost spent candle as he scribbled out serious masterpiece after serious masterpiece, is about as far from the truth as it gets. Beethoven was an early riser and did most of his composing in the morning.  He spent many of his afternoons wandering about in the countryside with his sketchbook in his pocket so he could capture any ideas that would come to him.  He spent his evenings in various activities such as reading or in the local tavern, but seldom composing.

The raw material for his compositions that were contained in his sketchbooks were mulled over, added to or subtracted from as his artistic taste dictated. Many of his longer works went through a long period of gestation and revision before they came to their final form. While Beethoven's craft and skill as a composer is evident, his frame of mind did not always lean towards storming the heavens.

Beethoven had a sense of humor that worked its way into his compositions. Sometimes the long and serious works had moments of humor, as is heard in the third movement of the Sixth Symphony In F Major 'Pastorale', where the orchestra mimics a village band, or the imitation of an oomp-pah-pah band in the quite serious 4th movement of the Ninth Symphony In D Minor.  The piano sonatas also have their humorous moments (and movements) as well.  Sometimes Beethoven's sense of humor took over a complete piece, as happened in some of the Bagatelles For Solo Piano, opus 33. 

The term bagatelle is of French or Italian origin and means something of little value, a trifle, and was first used as early as 1717 by the French Baroque composer François Couperin. Beethoven wrote three sets of bagatelles, a total of 24 with opus numbers as well as an additional 6 individual bagatelles without opus numbers. One of the without opus number bagatelles is arguably one of Beethoven's most well known pieces, Für Elise.  His first set of bagatelles opus 33, was written in 1802-1803 and contains seven works. It would be a mistake to take the term bagatelle literally. These are short pieces, but they aren't all fluff and stuff. Pieces like these were Beethoven's laboratory; he used them to experiment in writing for the instrument he knew very well:

I. Andante grazioso, quasi allegretto -  Written in the key of E-flat major, the first bagatelle of the set is graceful, though somewhat heavily seasoned with grace notes in the melody. A short middle section in a minor key provides contrast, after which the first section is repeated.

II. Scherzo. Allegro -  It is not certain if all seven of the pieces in this opus were written between 1802-1803, but this scherzo follows a general pattern of music Beethoven labeled as 'scherzo' at about the same time. Piano sonata Opus 14, No. 2 In G Major of 1799 includes a scherzo as the final movement. Symphony No. 2 In D Major, Opus 36 written in 1803 also has a scherzo movement.  Beethoven followed the experiments of Haydn in writing scherzos, but Beethoven's were quite unique. This scherzo is in C major and begins with a rhythmically quirky figure:

With sudden changes in dynamics, a mix of slurred notes and staccato notes and rests, Beethoven trips the ear as we try to grasp the pulse of the music. This first section is repeated, and just as the listener is beginning to get the feel of the rhythm Beethoven changes things abruptly with a section in A minor that has the melody played in octaves in the right hand to a triplet accompaniment. Like a swelling ocean wave a crescendo from piano to fortissimo spans a 3-bar section, and rapidly dies down to piano, only to do it again before the end of the minor section. The minor section is repeated, and the opening scherzo returns. The trio is of a more mellow mood, as runs of thirds in the right hand spell out the simple theme. The trio repeats, after which the scherzo returns but with some syncopation thrown in for good measure. A short coda begins to wind down the music, but the final bars hammer out a C major chord in the right hand alternating with a low C in the left.  The accents shift for a few bars until the music ends on the low C in the second beat of a measure.

III. Allegretto - The third piece is in F major. The first phrase is in the home key, but Beethoven throws the ear another curve ball when the second phrase unexpectedly shifts to the key of D major. This section repeats. The next section begins with a very short development of the initial phrase before the initial phrase is repeated. This section also repeats. Another development section begins and leads back to the beginning material which is now decorated with grace notes. A short coda ends the work solidly in F major.

IV. Andante -  A graceful theme in A major begins the piece, and shifts to a contrasting section in A minor. The A major theme returns and is varied. The melody shifts to the bass, and a shor coda brings the music to a quiet ending.

V. Allegro ma non troppo - Written in C major, this is another scherzo in all but name. Ascending arpeggios bring the music to rest upon a high A after some hand crossing, after that both hands descend in triplets before the hands move in contrary motion. The right hand plays trills to the chords in the left hand.  The next section has both hands playing triplet figures along with long bass notes in the left and the melody in the right. The middle section is in C minor, with the melody in right hand octaves with low triplets in the bass. The C major scherzo begins again, but it not a verbatim repeat as Beethoven makes changes.  A coda of longer duration begins and ends the piece in C major.

VI. Allegretto, quasi andante - Written in D major, this piece carries the added instruction Con una certa espressione parlante (with a kind of speaking voice) along with the tempo indication. It is a gentle, lyrical and short bagatelle that ends not long after it begins.

VII. Presto -  After the gentleness of the preceding bagatelle, this one comes as a surprise. Written in A-flat major, the music begins with pianissimo thirds in the left hand for 4 measures in a beginning that may have been an experiment for what was to become a similar opening in the scherzo of Symphony No. 3 In E-flat Major 'Eroica'. The motive of this scherzo staggers into the picture in the right hand:

 The second section follows the same general pattern. The next section begins with a low note in the bass played fortissimo, with pianissimo arpeggios in both hands for eight measures.  This section has the added effect of Beethoven instructing the player to hold the damper pedal down the entire time, thus the bass note rings out while the arpeggios quietly spread over the bass, an effect that could only be done on the piano. The first section repeats with slight variations. The extended pedal music also repeats. One more time the first section repeats, again with slight variations.  Large chords played forte in both hands begin the coda, are then repeated in a different chord position and fortissimo. The right hand plays a variant of the opening motive under strongly accented chords and the movement comes to a quiet ending.

Sarasate - Concert Fantasy On Themes From Gounod's 'Faust'

The French composer Charles Gounod is remembered mostly for his operas, with Faust being his most popular. The opera was loosely based on Johann Goethe's play Faust : eine Tragödie, Part One.  The legend of Faust, a scholar that trades his soul to the devil so he can gain unlimited knowledge and worldly pleasures, is a German legend that was first published in 1593, but the legend is probably much older than that.  Goethe's version was published in 1808, with a second part published after his death.

Gounod's opera premiered in 1859 but it wasn't until a revival of the work in 1862 that it became popular. At one time Faust was the most popular opera in the repertoire, and Pablo de Sarasate was evidently quite  taken with the opera, for he wrote two fantasies on themes from it, with the later opus 13 fantasy being the subject of this post.

The writing of fantasies on other composer's works was a mainstay of 19th century concert life as well as music publishing.  Tunes from popular operas (the 'hits' of the 19th century) were used by many performer/composers to showcase their virtuosity.  Hearing opera performed live was beyond many music lovers, and the fantasies, variations (or as Liszt called them paraphrases) on popular tunes was a way music lovers could hear the latest works.

Charles Gounod

Sarasate wrote Concert Fantasy On Themes From Gounod's 'Faust'  in 1874 for violin and piano and as with many of his other fantasies on popular works by other composers, he made a version for soloist and orchestra.

The work begins with dramatic chords played by the piano. The soloist enters and the fireworks begin straight away.  After some appropriately heavy and 'damned' music followed by more lyrical music, Sarasate segues to music from Act 2, At The City Gates.  Faust has already made his pact with  Méphistophélès. At the city gate Méphistophélès sings his aria Le veau d'or (The Golden Calf), a spiteful song about greed and the wickedness of man.  Sarasate translates some of the harshness of the original with the embellishments he gives to the aria.  The set of themes are from the Garden Scene, Act 3 of the opera. Méphistophélès and  Faust are in Marguerite's garden where Faust attempts to seduce her.  Faust kisses her, but she sends him away. But soon she longs for him and calls for his return. The final theme used is from the final scenes of Act 2, the famous Waltz From Faust.

Beethoven - Piano Trio In D Major Opus 70, No. 1 'Ghost'

The form of the piano trio, usually for the combination of violin-cello-piano (but also any two instruments with piano) became popular in the home during the 18th century. In the 37-year span of 1760-1797 Joseph Haydn wrote 45 piano trios. The early ones were dominated by the keyboard with the other instruments more or less accompanying.  With his later piano trios Haydn began to balance out the three instruments until they were in almost equal partnership. Mozart wrote 6 piano trios and did even more than Haydn in balancing out the contribution of the three instruments.

Both older composers influenced Beethoven, who worked the form to perfection with his 12 trios. The most well-known of the piano trios for violin-cello-piano is the Piano Trio In B-flat Major Opus 97 'Archduke'  written in 1811.  Three years previous to that work he wrote the two piano trios of Opus 70.  The first trio of that opus is in D Major, and is close in popularity to the 'Archduke' .  This trio also has the nickname Ghost, taken from the atmosphere of the 2nd movement. The Ghost trio was Beethoven's return to the form after he wrote his first trios ten years before.  Unlike most of his other piano trios, this one is in only three movements:

I. Allegro vivace e con brio - The first movement begins with a declaration of equality between all three instruments as they all play the same motive over a 4-octave span:

This motive acts as an introduction, but it recurs in different guises through the first movement. After the introduction, a theme is heard in the cello. This theme is related to the introductory material and goes through a short development before another theme is heard first in the strings, and then the piano. The exposition is repeated. The development begins with the introductory material and dissects it into smaller pieces that goes through imitative statements between the instruments. The recapitulation reworks the introductory material to a different key before the first theme is heard. This theme is also reworked and expanded. The second theme is given a slightly different treatment until a short coda brings back the first theme once more until a fragment of the introduction closes this short sonata form movement.

II. Largo assai ed espressivo -  Written in D minor, this movement is the longest of the trio. The movement begins with a stark dialogue between strings and piano:

With foreign harmonies and unstable tonality, the movement is one of the most strange Beethoven ever wrote. There is evidence that at the writing of this trio Beethoven was also thinking about writing an opera based on Shakespeare's Macbeth, with the music of this movement based on sketches of music for the Witches' Scene.  With deep tremolos in the piano like a creeping spectre and sharply accented chords like the howling of a damned spirit, it is no wonder the nickname of Ghost has lasted for so many years. After one last howl, the music tries to settle into a more calm major key mood, but the end comes quickly with short and dry notes in the piano and pizzicato in the strings on the key note of D.

III. Presto -  The finale resembles the opening movement as both are rather short in length and begin with a short motive that returns:

But the final movement is in a much needed more humorous mood to balance out the 2nd movement. All tension is broken as the finale makes its way to the end.

Bruckner - Motet 'Os Justi Meditabitur' WAB 30

After Anton Bruckner's father died in 1837, he was sent to the  monastery in the town of St. Florian as a choirboy.  While there he studied singing as well as organ and violin playing. The monastery of St. Florian in the town had a pipe organ that was originally built in the late Baroque era, which Bruckner played quite often.  The organ came to be called in later years the Bruckner Organ and the composer was buried underneath it after his death in 1896.

Bruckner was Austrian and Catholic with the years he spent in St. Florian as a youth and later as a young adult were formative. He was a devout Catholic all his life and some of the first music he was acquainted with was sacred music. While he is more well known for his symphonies, he wrote a considerable amount of music for the church. At first his compositions reflected his younger days as it was traditional and conservative, but by the time he had completed his studies with Simon Sechter (whom he began lessons with after he had been composing for a few years) he had been exposed for the first time to the music of Wagner and Liszt. 

He was slow to develop as a composer (he didn't write his first symphony until 1863 when he was 39 year old, and this symphony was an assignment from one of his last teachers). His progress as a composer can be seen clearly from his sacred compositions, the first which was written in 1836 up to the last written in 1892, but most of his vocal works differed from the symphonic works. The sacred works reflect Bruckner's faith in that they were written simply (and the later ones very skillfully) and reverentially.  

The motet Os Justi Meditabitur was written in 1879 at about the same time as the 6th Symphony.  It written in response to a group of church music reformers known as the Cecilians.  This group of Catholic priests and musicians was in reaction to the modernization of church music since the Enlightenment.  Bruckner's work is a motet that was intended as a gradual, a piece of music connected with the ritual of the Eucharist (Communion in the Protestant church).  The motet is written in the key of F but uses no sharps or flats in either the key signature or the written notes, thus it is in Lydian mode, the fifth mode of eight in the system of church modes instituted sometime in the 8th century.  The motet is for a usual four-part a capella choir, but there are two places in the work where it is written in eight parts. Bruckner dedicated the work to Ignaz Traumihler, who was choir director at St. Florian as well as a Cecilian.  The text is taken from Psalm 36 in the Latin Vulgate, verses  30-31:

The mouth of the righteous utters wisdom,
and his tongue speaks what is just.
The law of his God is in his heart:
and his feet do not falter.
Alleluia

Monteverdi - Beatus Vir SV 268

The Italian composer Claudio Monteverdi was born in 1567 and is considered one of the most important musicians in the history of music. He was a transitional composer that was as adept at composing music in the style of the Renaissance era as he was in the newer style of the Baroque era.

He received training in music as a choir member as well as at the University of Cremona.  He worked as a singer and violist and had some motets published as early as 1582. He also became music director and conductor at various courts until he was appointed music director and conductor at St. Mark's Basilica in Rome.

He composed nine volumes of madrigals in his many years as a composer (over 150 works) and it was in the later volumes of madrigals that he began to include more and more compositions in the new Baroque style of composition. As with any innovator, Monteverdi received his share of criticism as his new style was attacked for being crude and taking license with the traditional composing methods. Monteverdi weathered the criticism and continued to innovate the art of music. He began to compose opera in 1607 with L'Orfeo, based on the Greek tragedy of Orfeus. This is the oldest opera that is still performed with any regularity.  Monteverdi wrote for an orchestra of about forty players and was one of the first composers to assign music to specific groups of instruments, although the work wasn't orchestrated in the modern sense and still followed the Renaissance tradition of giving the players a certain amount of freedom in  execution. The video below gives an idea of how Monteverdi's orchestra may have sounded as the first few minutes of L'Orfeo are played:


 Monteverdi also composed many sacred compositions such as the collection titled Selva morale e spirituale (Moral And Spiritual Forest) that was printed in 1640 and 1641. This collection contains 37 works for various combinations of voices and instruments. Included in this set is one of Monteverdi's most recognized works, his setting of Psalm 111 from the Latin Vulgate (Psalm 112 in the Protestant Bible), known from the first two Latin words of the psalm as Beatus Vir.  It is scored for 6 - part choir (2 sopranos, 1 alto, 2 tenors, 1 bass)  2 violins, 3 viols or trombones and continuo. It was composed around 1630. The motet begins with a feeling of rejoicing. The middle section becomes more subdued and dramatic until  the rejoicing returns with the opening music of the Beatus vir. The music ends with a beautiful and reverent Amen.

Beatus vir, qui timet Dominum, in mandatis ejus volet nimis.
Praise the Lord. Blessed is the man who fears the Lord, who finds great delight in his commands.
Potens in terra erit semen ejus, generatio rectorum benedicetur.
His children will be mighty in the land; the generation of the upright will be blessed.
Gloria et divitiae in domo ejus, et iustitia ejus manet in saeculum saeculi.
Wealth and riches are in his house, and his righteousness endures forever.
Exortum est in tenebris lumen rectis, misericors et miserator et iustus.
Even in darkness light dawns for the upright, for the gracious and compassionate and righteous man.
Iucundus homo, qui miseretur et commodat, disponet res suas in judicio,
Good will come to him who is generous and lends freely, who conducts his affairs with justice.
quia in aeternum non commovebitur. In memoria aeterna erit iustus,
Surely he will never be shaken; a righteous man will be remembered forever.
ab auditione mala non timebit. Paratum cor ejus, sperare in Domino,
He will have no fear of bad news; his heart is steadfast, trusting in the Lord.
non commovebitur, donec despiciat inimicos suos.
His heart is secure, he will have no fear; in the end he will look in triumph on his foes.
Dispersit dedit pauperibus; justitia ejus manet in saeculum saeculi, cornu ejus exaltabitur in gloria. He has scattered abroad his gifts to the poor, his righteousness endures forever; his horn will be lifted high in honor.
Peccator videbit et irascetur, dentibus suis fremet et tabescet. Desiderium peccatorum peribit.
The wicked man will see and be vexed, he will gnash his teeth and waste away; the longings of the wicked will come to nothing.

Rachmaninoff - Vocalise Opus 34, No. 14

The term vocalise can be traced back to the Italian/French composer Jean-Baptiste Lully as well as other French composers of the Baroque period who wrote songs without words that were known for their value as exercises in vocal technique, as etudes for the voice. Later vocalise were written specifically for teaching purposes.  In the 19th century these exercises for voice were sometimes written with piano accompaniment to further train the singer in execution and style.  The beginning of the 20th century saw composers writing wordless music for soloists as well as choruses. These works treated the voice more as music of expression rather than technical studies.


Sergei Rachmaninoff wrote his opus 34 set of Fourteen Songs to various texts with the final song Vocalise being one of his most popular and well known works. The songs of opus 34 were originally written for solo voice and piano, with Vocalise being the final song written in 1915.  The other 13 songs in the set are seldom performed, but Vocalise was an audience favorite from the start. The song has been transcribed for many different instrumental combinations, with individual instruments like the violin or cello playing the vocal part. Rachmaninoff himself transcribed the work for soprano and orchestra and orchestra alone.

Vocalise is one of Rachmaninoff's most beautiful melodies. The soloist sings no words, but in a constant vowel sound. The soloist covers two octaves as the melody begins in a whisper, reaches a climax and ends in a whisper.  As with many of Rachmaninoff's melodies, there is a hue of Russian melancholy about it. The original version is written in the key of C-sharp minor.

Beethoven - Adelaide, Opus 46

Germany has a long tradition of Lieder (songs) that began as early as the 12th century with the sung poems of the troubadors as well as church music and folk song.  Late in the 18th century the Romantic Movement began in Europe, and flowered in Germanic countries somewhat later than other areas. Writers, poets and playwrights such as Goethe, Heine, Herder and many others attempted to create a synthesis of philosophy, art and science.  As the movement grew, so did the use of highly dramatic, emotional and psychological prose. But not all Germanic Romantic literature was serious. There was room for humor as well as tension, simple words that reflected the wonder of nature as well as author's soul-searching seriousness.

Lieder for solo voice and bass continuo that were written in the Baroque era gave way to songs written for voice with keyboard accompaniment. C.P.E. Bach was an early composer of this kind of lied which moved away from the complexity of polyphony and figured bass to a simpler style. Haydn, Mozart and other composers of the Classical era continued to develop the form, but lied was considered a lesser form in the late 18th century.

Before Beethoven arrived in Vienna in 1792 he had already written lieder in Bonn.  Beethoven had become a voracious reader, perhaps to try and make up for a poor general education. He came to know the early Romantic writers and set many poems to music.  With over 60 lieder, Beethoven showed at least a passing interest in the form. He carried on a young tradition of voice and piano compositions that led the way to the first true master of German Lieder, Franz Schubert.

One of Beethoven's most popular songs  is set to a poem by Friedrich von Matthisson, a poet of the Romantic movement.  The song was written after Beethoven settled in Vienna. It was published in 1797 and was dedicated to the poet. In 1800 Beethoven sent a copy of the song to Matthisson along with a letter:

Friedrich von Matthisson

MOST ESTEEMED FRIEND,- You will receive with this one of my compositions published some years since, and yet, to my shame, you probably have never heard of it. I cannot attempt to excuse myself, or to explain why I dedicated a work to you which came direct from my heart, but never acquainted you with its existence, unless indeed in this way, that at first I did not know where you lived, and partly also from diffidence, which led me to think I might have been premature in dedicating a work to you before ascertaining that you approved of it. Indeed, even now I send you "Adelaide" with a feeling of timidity. You know yourself what changes the lapse of some years brings forth in an artist who continues to make progress; the greater the advances we make in art, the less are we satisfied with our works of an earlier date. My most ardent wish will be fulfilled if you are not dissatisfied with the manner in which I have set your heavenly "Adelaide" to music, and are incited by it soon to compose a similar poem; and if you do not consider my request too indiscreet, I would ask you to send it to me forthwith, that I may exert all my energies to approach your lovely poetry in merit. Pray regard the dedication as a token of the pleasure which your "Adelaide" conferred on me, as well as of the appreciation and intense delight your poetry always has inspired, and always will inspire in me. When playing "Adelaide," sometimes recall 

Your sincere admirer, 
BEETHOVEN.

Beethoven's worrying about whether Matthison liked the song turned out to be for nothing. A collection of Matthison's poems was published in 1825 and in the introduction Matthison wrote:

Several composers have animated this little lyrical fantasy through music; I am firmly convinced however that none of them so threw the text into the shade with their melody as did the genius Ludwig van Beethoven in Vienna.

Adelaide was very popular in Beethoven's day and it went through many editions. As written, the song couild be sung by soprano or tenor voice, but it has been transposed to make it more suitable for other voices:

Adelaide
Alone does your friend wander in the Spring garden,
Mildly encircled by magic light
That quivers through swaying, blossoming boughs,
Adelaide!

 In the mirroring stream, in the snow of the Alps,
In the dying day's golden clouds,
In the fields of stars, your image shines,
Adelaide!

Evening breezes whisper in the tender leaves,
Silvery lilies-of-the-valley rustle in the grass,
Waves murmur and nightingales pipe:
Adelaide!

One day, o wonder! upon my grave will bloom
A flower from the ashes of my heart;
And clearly on every purple leaf will gleam:
Adelaide!

Loewe - Sir Olaf Opus 2, No. 2

The Erlking (Erlkönig in German)  is a Scandinavian folktale that was introduced to Germany in the 18th century and is most closely associated with the poem written by Johann Goethe in 1782 and set to music by Franz Schubert.  Goethe's Erlking poem was inspired by a translation by Johann Herder of a much older poem originally published in 1739 in Denmark. Scholars reckon that the original Danish poem dates from sometime in the Middle ages, which in turn may have been passed down from old Breton legends.

Johann Herder

The poem that Herder translated didn't deal with the Erlking directly, but with the Erlking's daughter. The Danish poem was known as Oluf han rider, (Olaf he rides).  The ballad tells of Sir Olaf riding through the woods to his wedding. On the way he meets a group of elves dancing in the forest and the Erlking's daughter repeatedly asks him to dance with her. Olaf refuses repeatedly her offers of gold until the Erlking's daughter becomes angry and strikes him a painful blow. Sir Olaf makes it back to his home and mother. The next morning Olaf is found by his bride dead under his red cloak.

Carl Loewe set the poem in 1821 and it was published in 1824 in his opus 2 set of songs. Loewe was a well regarded baritone singer as well as a composer and conductor. He wrote in many different genres but was most well known for over 400 songs.  The beginning of the 21st century has seen an increased interest in Loewe and his songs, especially in Germany.

SIR OLAF
Sir Olaf rides late and far to
summon his wedding guests.
Elves are dancing on a green bank,
and the Erlking's daughter offers him her hand.
"Welcome, Sir Olaf, come dance with me
and I will give you golden spurs."

"I cannot dance, I do not wish to dance - for tomorrow is my wedding-day."
"Come closer, Sir Olaf, come dance with me,
and I will give you a shirt of silk, a shirt of silk so white and fine -
my mother bleached it with moonbeams!"
"I may not dance, I do not wish to dance -
for tomorrow is my wedding-day."

"Come closer, Sir Olaf, come dance with me
and I will give you a heap of gold."
"A heap of gold I would gladly take,
but I cannot and should not dance with you."
"If you will not dance with me, Sir Olaf,
then plague and sickness will follow you!"

She dealt him a blow to the heart,
and all his life he had never felt such pain.
Then she heaved him up upon his horse:
"Ride home to your worthy lady then!"
And when he came to the door to his house,
his mother, trembling, stood before him.

"Tell me, my son, and tell me true,
Why are you so pale and sick?"
"And should I not be pale and sick?
I was in the Erlking's realm."
"Tell me, my son, so dear, What should I tell your bride?"
"Tell her that I rode to the wood,
To test my horse and hound."

At early morning when day had hardly dawned,
his bride arrived with the wedding crowd. They poured mead and wine:
"Where is Sir Olaf, my bridegroom?"
"Sir Olaf rode to the wood,
To test his horse and hound."
The bride lifted up the cloth scarlet red,
Under it lay Sir Olaf: he was dead.